Production
"Deadman Switch" is the first episode in which the Stargate is not seen. "Demons" was Carl Binder's first and only contribution to Stargate SG-1. He would later become a staff writer on the spin-off series Stargate Atlantis.
The urban outdoor scenes of Tollana in "Pretense" were shot on the main campus of Simon Fraser University (S.F.U.) in Burnaby, a small city just east of Vancouver.
Actor Dom DeLuise, who played Urgo and Togar in "Urgo", is the father of director Peter DeLuise, and Urgo's transformation into an Air Force officer was played by Peter. "Urgo" marked the first time a DeLuise guest-starred on the show. Dom's sons Peter, Michael, and David, Dom's daughter-in-law and Peter's wife, Anne Marie, had on-screen roles in later seasons. Dom DeLuise ad-libbed most of his lines. According to the Official Guide to Seasons Three and Four, very few scenes include Teal'c, since actor Christopher Judge couldn't keep a straight face.
Jackson's appendicitis in "Nemesis" reflected Michael Shanks' real-world condition; it was written into the script at the last minute because the writers needed to drastically reduce Shanks' role to allow for his recovery. Shanks' scenes in the episode were actually shot a week after filming of the episode was completed.
When Seth is killed in "Seth", Jack O'Neill's "Hail Dorothy" is a reference to The Wizard of Oz.
Read more about this topic: Stargate SG-1 (season 3)
Famous quotes containing the word production:
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“Every production of an artist should be the expression of an adventure of his soul.”
—W. Somerset Maugham (1874–1965)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)