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Dial the Gate’s host has amassed a bit of a collection over the years he has been covering the franchise. Now he welcomes you into his home for a special tour of the larger pieces.

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Timecodes
0:00 – Opening Credits
0:32 – Welcome and Episode Outline
1:57 – David’s Prop History
2:29 – Welcoming Remington and Martin
3:12 – Gate Room Stargate Segment from Universe
6:15 – Stargate Worlds Panorama
7:06 – Child’s Doll from “Whispers”
8:24 – Matthew Scott’s Ancient Space Suit from Universe
12:28 – Borg Mannequin from Star Trek: First Contact
14:00 – Borg Queen Spinal Column from Factory Entertainment
14:29 – Primordial Goa’uld Queen Symbiote from “The First Ones”
16:25 – Mission Patch Collection
21:05 – Replicator Type I from 3dTech.pro
23:37 – Asuran Replicator Disruptor from “Progeny”
25:02 – Ancient Stunner from “Aurora”
26:33 – Puddle Jumper Concept Art from Atlantis
28:35 – USS George Hammond Plaque from “Air, Part 1”
31:07 – Ne’tu Concept Art from “Jolinar’s Memories”
31:59 – Chris Diston’s Voyager and Universe CGI Art
33:35 – DHD Schematics from “The Fifth Race”
35:48 – Signed Stargate Worlds Poster
37:06 – Wraith Drone from Atlantis
39:01 – Cylon War Painting from Battlestar Galactica 2004
39:59 – Kino Prop Replica from SG1Props.com
40:57 – Star Wars Millennium Falcon Coffee Table from Regal Robot
41:31 – Star Trek Tricorder Mark X Replica From Roddenberry
42:25 – Atlantis City Sconces
43:55 – A Kino for Martin
46:16 – Giza Attack Plan from “Moebius”
46:52 – Dial Home Device Blueprints from SG-1
47:10 – Heliopolis Castle Concept Art from “The Torment of Tantalus”
47:32 – The Ascended Times Newspaper from “Threads”
48:20 – Opening Scene Storyboards from “Children of the Gods”
49:42 – Ernest Littlefield’s Calendar Pages from “The Torment of Tantalus”
50:34 – Jaffa Warrior Armor and Serpent Helmet from SG-1
52:42 – “Inceptum” CG Art by Chris Diston
54:01 – Destiny Control Console from Universe
56:10 – Stargate Worlds Box Concept Art
57:21 – “Agnos” Concept Art from Stargate Worlds
58:32 – Replica Grail Diary from Indiana Jones and the Last Crusade
59:45 – David’s Office
1:00:40 – Destiny Model and Stand
1:01:06 – Replicator Type II from 3dTech.pro
1:01:37 – Stargate Command Flag from Bra’zat
1:02:10 – David’s Grandfather’s Flag
1:02:24 – Goa’uld Mothership (Custom Build)
1:02:47 – Screen-Used Kino from Universe
1:03:06 – Tablet Replica from “Chimera”
1:03:37 – Custom Brass Stargate from Bryan Harris
1:03:57 – Custom Destiny Countdown Clock from William Murphy
1:04:45 – Ori Symbol from “Flesh and Blood”
1:06:15 – Evan Lorne’s Atlantis Finished Painting from “The Last Man”
1:07:57 – Wrap-Up
1:08:48 – End Credits

***

“Stargate” and all related materials are owned by MGM Studios and MGM Television.

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TRANSCRIPT
Find an error? Submit it here.

David Read:
Hello and welcome to another episode of Dial the Gate: The Stargate Oral History Project. My name is David Read. I really appreciate you joining me for this episode because this time I am gonna welcome you into my home. Since I’ve been doing the show, I’ve been getting requests for people to see the Stargate collection. Not just the one that’s behind me, but the one that I’ve claimed is in the rest of the house. It’s always been, “not there yet.” The main reason is that I have felt that I hadn’t earned the privilege of bringing you into my home because I hadn’t really brought Dial the Gate into a place yet where I was comfortable with turning it back on me and saying, “Hey, look what I’ve got.” Now that we’re past 250 episodes, I think it’s OK. It’s appropriate to spend a little bit of time showing you my personal collection because it is Stargate stuff. I’m more comfortable with it at this stage now that Dial the Gate is an established brand. For this episode and the next episode, I’m gonna invite you into my home and show you around the collection. I started working for Propworx in 2010, 2009 technically when they got the Stargate collection for SG-1 and Atlantis, and for the past 14 years I have been building onto this thing on a pretty regular basis. I’m gonna show you pieces that you’re gonna recognize. I’m gonna show you maybe some pieces that you won’t and a closer look at some of the pieces that you’re already well familiar with. I hope you enjoy. I really appreciate you guys coming all the way out to North Nashville to check out the collection. It means a lot to have you here. You have not seen the collection?

Martin McClean:
No, not at all.

David Read:
You have.

Remington Phillips:
I have.

David Read:
We’re gonna let you wander and what catches your eye, we will cover.

Martin McClean:
We take what we want or is this…

David Read:
There’s non-sci-fi, non-Stargate stuff in there. We can discuss that a little bit too. It’s no big deal.

Martin McClean:
Awesome.

David Read:
So, be my guest.

Martin McClean:
Thank you. Wow. David, this is awesome. Wow.

David Read:
This is one of the Destiny gate room pieces.

Martin McClean:
Wow, it is huge. It gives you a real idea of what the scale of the on-set prop must have been. It’s incredibly large.

Remington Phillips:
Imagine nine of them.

David Read:
Imagine nine.

Martin McClean:
That’s what I mean. It’s incredible. And wider, too, than I thought it might be.

David Read:
I’m hoping to get this, with someone’s help, anyone’s help, lit again. I don’t know if the electronics are still inside of it. I suspect that they are and the cords are cut.

Martin McClean:
Did it come with these panels on the side?

David Read:
Uh-huh. When the Propworx auction happened, we had Stargate Productions put end caps on the Atlantis pieces. That was a rubber Stargate, so they took out a couple of glyphs and put these on so that we could sell seven of those Atlantis pieces, but there are nine of the Destiny pieces from the gate room. They had their location Stargate as well. There are nine of those out there. This is easier to find between Destiny and Atlantis. It’s my favorite gate. I think it’s the prettiest, in my opinion. I’d love to get it lit again.

Remington Phillips:
The SG-1 gate, they took that apart differently, didn’t they?

David Read:
The SG-1 gate was bolted together. It was in a different set of sections, so it was gate, gate, gate, gate, gate, chevron. Gate, gate, gate, gate, gate, chevron. That was built based on the molds from the feature film. This was a completely different design and they were able to put it this way. The fiberglass plates on the top of the SGC gate were bolted onto a steel frame.

Martin McClean:
Wow.

David Read:
They got rid of the steel frame and Propworx sold the face plates. Where they are, I don’t know.

Martin McClean:
So, this is a James Robbins design?

David Read:
Uh-huh.

Martin McClean:
It’s beautiful, it really is. Look at the detail in there. It’s incredible. It’s really amazing.

David Read:
I was really fortunate when Paul and Michelle, a couple of friends of mine, told me that they had two of them and they were willing to part with one. It was a handshake deal. I got this a few years ago so it’s actually one of the newer pieces in the collection.

Martin McClean:
It must weigh a lot, I’m assuming. It feels there’s quite a bit of bulk in it.

David Read:
It’s not too bad, it will scratch the floor.

Martin McClean:
But put several of them together and then it would be massive.

David Read:
Obviously, these are lightsabers. This here was one of the earliest production pieces for Stargate Worlds. I showed up and started working with that group and this was hanging on the wall in one of the offices and I said, “I must have this.” They gave me the file and I went and got basically the exact same frame and this has been with me since ’07.

Martin McClean:
Wow.

David Read:
It’s probably one of my oldest pieces. I love that environment, ’cause it just suggests new worlds.

Martin McClean:
It really has a lot of depth, doesn’t it? There’s a lot of depth in there. Wow.

David Read:
It was brilliant.

Remington Phillips:
Wonderful piece.

David Read:
Do you wanna see what’s behind you?

Martin McClean:
Wow. Where did you possibly acquire this?

David Read:
That’s how I hang stuff, with nails.

Martin McClean:
The expertise. Wow.

David Read:
Do you recognize it?

Martin McClean:
This is very good. No. I probably should.

David Read:
Atlantis, “Whispers.”

Martin McClean:
It’s heavier than I thought.

David Read:
It’s a resin doll.

Martin McClean:
It’s really well done though. Wow.

David Read:
Production could make anything. Dusty picks that up. There were two of them made. A lot of the stuff that Propworx had was duplicates.

Remington Phillips:
That’s so common for any prop production department to make multiple items.

David Read:
Kenny Gibbs said, “When there’s one, there’s none.” ‘Cause if something happens to it, you’re hosed.

Martin McClean:
It’s cool. They really can make just about anything.

David Read:
Just about anything.

Martin McClean:
The detail is really impressive.

David Read:
That’s it.

Martin McClean:
It works well though.

David Read:
Until it falls in the middle of the night and scares the hell out of ya.

Martin McClean:
This looks super impressive.

David Read:
This is Matthew Scott’s piece from his spacesuit from Destiny. This was not a cheap purchase.

Martin McClean:
No, I can imagine.

David Read:
It’s one of my favorites. If you’ll notice, this is different. The circuit board, which I still have but he said it doesn’t really do anything, behind here failed. I had a buddy who was in electronics and he rebuilt it. He was like, “I added some colors and some lights.” I said, “You add… Don’t add. This is an authenticity thing. You restore; you don’t make new.” He’s like, “This was a clear piece here, so I went ahead and I put a light behind that.” From Atlantis, when it was the Vanir suits… yes. But they redid it.

Remington Phillips:
That’s a nice Christmas light.

David Read:
I know, I know. I’m hoping at some point to have that restored to what it was. He fed these lights through; these were not sticking up. He did a fair job though. I’m glad to have something there, but it’s not authentic anymore.

Remington Phillips:
Most of the LEDs on the Stargate stuff were the surface-mount chips. Very rarely do we see these six-millimeter LEDs.

Martin McClean:
It’s an impressive piece though, isn’t it? What strikes me is it looks very heavy to wear. I don’t know if it weighs a lot, but it looks like it would be quite heavy to wear the whole thing.

David Read:
It’s like a suit of armor.

Martin McClean:
‘Cause it’s multiple layers. It looks like you’ve got this whole quilted suit and then you’ve got the armor and stuff on top, which I think would make it quite warm to wear as well as quite heavy to move in.

David Read:
I let Brian Smith know that I had it and he was like, “Do you have any idea how badly that stank?” I was like, “That’s the image that I wanted.” It doesn’t stink no more, Brian. Once I get my nose right up to it, then maybe. The wear that they did to this thing after Universe got it was so cool. I’ve had shoulder pads under here and I don’t know where the other one went, but it’s not there right now.

Martin McClean:
Is it Vacuform or something like that? Or maybe it’s resin. I don’t know. It feels quite strong.

Remington Phillips:
These pieces are probably either Vacuformed or cast resin. A lot of the Jaffa armor was urethane rubber or foam backed.

Martin McClean:
That would’ve been warm.

David Read:
I suspect it’s Vacuformed pieces.

Martin McClean:
That would’ve been really warm to wear, especially in the studio lighting. It would’ve been quite intense.

Remington Phillips:
Hours and hours on end.

Martin McClean:
Hence the warning about the smell of the suit.

David Read:
Exactly. He did what he could with what he had. I don’t blame him.

Martin McClean:
They used to put a cooling mechanism under some of these suits? A cone vest or something?

David Read:
This is a motorcycle helmet that they had modified. There were CPU fans in there for the longest time. Don’t you like his brilliant lashes? Pretty lashes.

Martin McClean:
But imagine if you got up during the night and then walked around into it and suddenly seeing this and being like, “My star.”

David Read:
There are several suits in the house, as you’ll see. My folks have had that issue when they come and visit. My dad wants to punch him out. The fact of the matter is you get used to them; you get used to them being there.

Martin McClean:
That’s very cool, indeed. Wow. There’s another one. You’re right, there are several. This is cool.

David Read:
This is First Contact. He still works.

Martin McClean:
Hanging on there.

David Read:
Awesome. But gravity is slowly catching up with him.

Martin McClean:
This is very cool. What an amazing movie, too.

David Read:
A great film.

Martin McClean:
So, what is it made of? Is it sort of latex or a rubber of some sort?

Remington Phillips:
This is some foam rubber; this is cast foam rubber. You can actually see some of the exposed rubber. In some cases, this will be topped with a urethane rubber coating for detail because rubber is terrible at showing fine detail.

David Read:
Really? OK.

Remington Phillips:
It could be a mix of urethane rubber with foam backing.

Martin McClean:
Again, wearing this suit would have been so warm

David Read:
Very warm.

Martin McClean:
I think it would have been.

David Read:
This is a dummy, so the whole thing was in production. They made suits for actors, but this one is one of the ones who were on one of the top levels in the engine room.

Martin McClean:
Wow.

David Read:
He actually appeared on screen.

Martin McClean:
That’s amazing. The detail even on the prosthetic arm there is so impressive.

David Read:
This lady here is a replica from Factory Entertainment? Am I right?

Remington Phillips:
Yeah.

David Read:
Is that a prop store?

Remington Phillips:
It sounds correct.

David Read:
Then that’s it.

Martin McClean:
Wow. That’s super impressive.

Remington Phillips:
This one almost has the Terminator TX-type look.

Martin McClean:
That’s true. It is very reminiscent of that.

David Read:
There’s a couple of Star Trek pieces in here for sure.

Martin McClean:
It was a wonderful film.

David Read:
Do you recognize that?

Martin McClean:
I recognize that it’s a symbiote.

David Read:
There you go.

Martin McClean:
I can see all of the lovely little teeth in there and the super secular spine. This is really impressive.

David Read:
It’s the queen.

Martin McClean:
The fossilized remains of it.

David Read:
It’s a primordial queen and then I have the concept art below for this one. This is Cleo from “The First Ones. From P3X-888, I think?

Martin McClean:
888.

David Read:
This is the finished product, what they were intending for and then that’s it. This was taken from the mold for the prop. You can see they did a couple of different pours here. You can see this first pour here and then the second here. What I love was that it was so dirty. It had been laying around on a flatbed somewhere. Also, when they pulled the mold, it transferred, all the dirt. You’ve got this layer of dust and dirt that actually makes up the surface here.

Martin McClean:
Yes, you can see it there.

Remington Phillips:
Adds authenticity.

David Read:
It does.

Remington Phillips:
Even the dirt is from the set of Star Trek.

Martin McClean:
It’s incredible, the detail. They could have easily gotten away with not doing that and you probably would never have noticed it, but they didn’t. They followed all of the bones around.

David Read:
The camera was here so you could get perspective and shadows. It’s one of my favorites.

Martin McClean:
It’s really incredible. In fact, when you say the dimensions of it, you think, “I wouldn’t want that inside me.”

David Read:
No, absolutely not.

Martin McClean:
That’s not exactly pleasant.

David Read:
This is a primordial one, so these went inside the Unas.

Martin McClean:
That’s very cool.

David Read:
You see these?

Martin McClean:
Very cool. All the mission patches.

David Read:
This took ages to collect.

Martin McClean:
These are from?

David Read:
These are all production made.

Martin McClean:
All production made?

David Read:
Most of them are screen used, but these are all production made.

Martin McClean:
It’s interesting because you see a lot of fan base sort of things out in the wild, but the size is nowhere near the same as these. These are much larger than you imagine when you see them on the screen.

David Read:
It was a bear figuring out which direction this went. I’m like, “OK, that little triangle is the head of the horse, so…” I was like, “OK, that goes that way.” This took a while to get. This was one of the last pieces, obviously. I was really excited the day that bad boy came in. Propworxdidn’t do the SGU auctions. We did the SG-1 and Atlantis, so SGU was fair game and I bid on that and I didn’t get it. A a couple of days later, I got an email saying, “The other person didn’t pay. Do you want it? You’re next in line.” I was like, “Yes!”

Martin McClean:
“Yes, great, I’ll take that.”

David Read:
Absolutely.

Martin McClean:
It’s interesting that with the Daedalus patch, the F-302 there, I expected it to be Prometheus or something in there and not the 302. I don’t know why.

David Read:
There was never a Prometheus patch, unfortunately. I have to wonder why that is.

Martin McClean:
They’ve got an F302 in there. It’s unusual.

David Read:
You’ve got the Odyssey and the Apollo patches, that’s it. Had I done this, I would’ve done an overhead view of the ship or something to give it a different view. That is so cool. Some of these are one-offs. That’s from “Moebius.”

Martin McClean:
Nice. I love the Midway Station.

David Read:
Midway Station is really cool.

Martin McClean:
I think the design of that… I don’t know who did that design, whether it was James or someone else, but I really like that a lot.

David Read:
Someone in graphics, for sure. James probably designed the original. That was another one of the short-lived ones, too.

Martin McClean:
How long did it take you to collect all of those?

David Read:
Years.

Martin McClean:
I’m assuming they’re complete in that there are…

David Read:
As complete as can be. There’s a couple out there in the wild that I never got. There’s a Seth patch, but in terms of our teams, this is it. I think all of these are Earth-based stuff, so Earth military. There’s a Goa’uld one of these that was created for “Into the Fire” and “Out of Mind.” There were three of them. At Propworx, everything that I got from Propworx paid for based on what one previously had sold for, if we had twins or duplicates. Some stuff was like, “I want that, but I’m not going to deprive someone of that,” not when we had so few pieces of something. It’s like, I want those out. I want those to go. The funny thing is, a number of the stuff that you’re going to see in this house came back to me after someone else had it for a little while and then put it online.

Martin McClean:
They end up coming home either way. Wow.

David Read:
Exactly right.

Martin McClean:
Did the studio keep any of the pieces at all?

David Read:
The Stargate feature-film stuff, they have a lot of.

Martin McClean:
But not the series?

David Read:
No.

Martin McClean:
They had the big auctions and a lot of things, including the gate, was in there.

David Read:
The studio reportedly has the puppets from “200.” They had one of the Replicators. I think the Replicator from “Small Victories” that was on the Asgard ship that Thor and Carter were looking at. I’m told that that wasn’t MGM. But otherwise, not really, no. Most of the stuff they have is from the movie, like a lot of the helmets were around the studio when I went there last to work.

Martin McClean:
Why did they decide to auction them in the first place? I would’ve thought the studios would’ve had some interest in keeping more of the pieces.

David Read:
From the film, yes. Not from the TV series.

Martin McClean:
Interesting.

David Read:
They just wanted the prop.

Martin McClean:
The TV series went so much longer.

David Read:
It’s a warehouse of stuff. Where do you put all of it? You have to be selective. Obviously, the film stuff is the film stuff. Who knows how they would handle it now?

Martin McClean:
Speaking of Replicators.

David Read:
Yes.

Martin McClean:
Wow.

David Read:
That is fan-made. Kevin Szabo from 3dtech.pro, may it rest in peace. He’s no longer around anymore. He created that.

Martin McClean:
It’s a stunning piece. He’s done a wonderful job.

David Read:
He’s so good.

Martin McClean:
It’s difficult. I’ve been designing one of these myself in CAD.

David Read:
Really?

Martin McClean:
It’s interesting because it’s difficult. The shape looks simple, but it isn’t.

David Read:
They’re not flat. No, they’re like that.

Martin McClean:
They’re not flat. Despite the appearance and how wonderful a job he’s done there, they don’t naturally fit together the way you’d think.

David Read:
No, it’s all trickery.

Martin McClean:
It’s like a layer-type of procedure. It is really complex. It’s complex to print. It’s complex to manufacture. I think it would be really cool to animate it, which is what I’m trying to do, and actually have it move.

David Read:
In real life?

Martin McClean:
Yeah.

David Read:
I’ve seen one that did.

Martin McClean:
Really? That would be cool.

David Read:
Obviously, you have to hide certain things to make it do that.

Martin McClean:
Yes.

David Read:
I reached out to the guy. I said, “I’d love to have you on.” Never got back.

Martin McClean:
That’s too bad.

David Read:
Yep.

Martin McClean:
Hiding the electronics is the difficult bit, because everything is servo controlled. That requires space et cetera.

Remington Phillips:
You’re gonna have to take some creative license redesigning it.

David Read:
Of course. This is the king of creative license.

Martin McClean:
It’s the king of creative license.

David Read:
He makes it work, so absolutely.

Martin McClean:
I love it though. It’s great. Often you see much smaller ones around but this one is really nice and large.

David Read:
You take the scale of the block and you scale it up. Or you maintain the size of it and then you make more of them and then you get the result of what it would actually be.

Martin McClean:
I often used to wonder, when they were on set and they would shoot these and they would essentially explode into pieces, what actually was going on? Was it a visual effect or did they actually literally make hundreds or thousands of those little blocks and throw them around?

David Read:
They did have several hundred of them by the end of “Arc of Truth.” We had a tub of them and I will show you some of them.

Martin McClean:
Wow. Awesome. I love it. Wow. The walls.

David Read:
The walls.

Martin McClean:
I love it. The ancient blaster. That’s brilliant.

David Read:
Go ahead.

Martin McClean:
Can I lift it?

Remington Phillips:
Mm-hmm.

Martin McClean:
Wow. This is so much heavier than I thought it was gonna be. It’s cast aluminum, I’m assuming?

Remington Phillips:
That’s milled aluminum.

Martin McClean:
Wow. That is cool.

David Read:
It’s one of Kenny Gibbs’ favorite pieces.

Martin McClean:
The thing I love about this is the fact that they used real metal to do it has given it…

David Read:
Smell it. Like gunmetal.

Martin McClean:
… a real authenticity that it would not normally have if they’d have done it in resin or something.

David Read:
My dad, he looked at this stuff, he was like, “Nah.” I brought that home, he’s like, “Now what’s this?” My mother was like, “Ah!”

Martin McClean:
It’s great.

David Read:
Then you’ve got the magnets to hold that up, but then you can store it.

Martin McClean:
How does that work? You just put that down?

David Read:
You just pull.

Martin McClean:
OK, and then the crystal in there as well. Wow. That’s nice.

David Read:
Hefty.

Martin McClean:
I love it.

David Read:
Isn’t someone working on one?

Remington Phillips:
Rumor has it that somebody is working on a similar replica.

David Read:
There you go. The little hidden trigger. Where they hide these things.

Martin McClean:
Wow.

David Read:
The concept art for it. Behind you is from a year earlier.

Martin McClean:
The Wraith stunner?

David Read:
No, this is the ice cream cone from “Aurora.”

Martin McClean:
Wow.

David Read:
It still lights, from 2005.

Remington Phillips:
Original battery.

David Read:
The artwork for it.

Martin McClean:
This is really, really beautiful. I guess it feels like it’s resin? You’re saying?

David Read:
They were hero and stunt ones produced for both of these.

Remington Phillips:
This is brass.

Martin McClean:
But the body is different.

Remington Phillips:
The body, yes, you’re right, is resin. David has the version that is actual milled brass. It’s a feat of engineering.

Martin McClean:
Wow.

David Read:
Where’s the ancient, made in China, this says.

Martin McClean:
Yes, there it is.

David Read:
It’s font substitution. There’s the little switch for it.

Remington Phillips:
I love the marbling in this cast.

David Read:
It’s frosted.

Remington Phillips:
It’s very beautiful.

David Read:
What did they say here? Slightly fogged acrylic.

Martin McClean:
That’s a nice job. They’ve really achieved that well.
David Read:
One episode. When you introduce that, bring ’em back to it. “We found a cabinet full of it, that’s where they put them.” “Make them a part of your arsenal.” But they were just aboard the Aurora.

Martin McClean:
Wow. I love this piece much more than the Zat. It’s really nice. Again, it’s quite heavy. I expected it to be really light.

David Read:
These are originals.

Martin McClean:
Wow. The puddle jumper for me is, I think, one of the coolest designs in the series, apart from the gate itself. It’s amazing. I love the fact that they took the gate and made something that could go through it. That it was large enough to pull it off, in terms of believability of where the ship would actually go, which obviously came much later than the original gate design. Super clever idea.

David Read:
They did a great job. It’s still one of the cooler ships. I wish it was gunmetal gray. I’m not thrilled with the color. But A, personal preference, and B, what does it matter anyway? It’s still an awesome design. It came from a friggin’ loom shuttle, in terms of the idea behind it.

Martin McClean:
I know that I made a model of one of them. It took me weeks to work out the paint work.

David Read:
Is this the one that’s the size for the toys?

Martin McClean:
It’s huge. It’s big. It started off quite small, around this size, and then I thought, “I wonder if this might be a little bit bigger.” It just kept getting bigger and bigger and I thought, “I wonder what else…”

David Read:
It’s six-inch action figure scale.

Martin McClean:
“Yes, this should fit in there.”

Remington Phillips:
That’s amazing.

Martin McClean:
It took forever to make it. The painting took a long time because it appeared to me, it’s a stippled paint effect. There’s a layer of green and then there’s turquoise.

David Read:
It’s like skin; very translucent.

Remington Phillips:
Which reference photos do you go off of? When the ship is in space, when it’s in orbit?

David Read:
They’re all a little different based on the lighting.

Martin McClean:
That’s the real killer because the lighting is different. Sometimes it might look a bit gold and then other times it might be green. What I came to understand is I think all of those colors are actually in the Dapple paint work. I love this, the George Hammond.

David Read:
This is the original plaque for the USS George Hammond in Stargate Universe “Air.” But this, underneath it, was originally for Atlantis. Under here, if you see this… underneath it is the Apollo. Then this is a plant-on and they took a nail gun and then put it on there. So, Apollo is actually underneath. It’s literally sticky tack holding it on, and that’s it.

Martin McClean:
That’s really cool. So, this was originally the Phoenix, right? It was the Daedalus-class ship and then it became the George Hammond.

David Read:
The George Hammond was supposed to be the Phoenix and then Hammond died in our timeline. Yes.

Martin McClean:
But this panel here is from the Daedalus set?

David Read:
Mm-hmm. I think it was used, I believe, for the Daedalus. I’ve never seen a Daedalus nameplate or an Odyssey nameplate. I’ve only seen the Apollo and the George Hammond.

Martin McClean:
Did they auction those set pieces as well?

David Read:
Which ones?

Martin McClean:
From the Daedalus ships and the other craft?

David Read:
We sold much of the…I called it the Earth spaceship set. Alec was always like, “Call it the Daedalus.” It’s more than the Daedalus, it’s all of them. They were so heavy. We only took a few pieces. The bridge set we took; the consoles and the chairs. It was a Lego jigsaw. We sold those in the various auctions. This was sold separately and we didn’t have authorization to sell this because this was a Universe piece and we didn’t have Universe. Alec, my boss, called me after I left Propworx, months later, and he said this was not ultimately sold. No one paid for it and he asked me if I wanted it.

Martin McClean:
That’s awesome.

David Read:
I went and got this and now they’re together again.

Martin McClean:
That’s really cool.

David Read:
It’s really cool.

Martin McClean:
I think it’s really interesting when you see it lit on set, it looks very metallic. When you see that closer it’s not quite the same. The magic of lighting is really incredible.

David Read:
Lighting is a huge percentage of what’s goin’ on.

Martin McClean:
David, what is this?

David Read:
That is Ne’tu, otherwise known as Hell.

Martin McClean:
Wow. That’s quite a depiction, isn’t it?

David Read:
That’s an original, pencil sketch. Is it Herron or Rabehl? I can’t tell. It’s either Brenton Herron or Ken Rabehl. They did the sketches for that period, just before James Robbins came on.

Martin McClean:
People changed. It’s really quite something.

David Read:
I think that these characters are pasted on into this scene. They were shots, they were made separately and then the rest of it was this one. They really captured it.

Martin McClean:
It’s really incredible.

David Read:
The visual effects people made that work.

Martin McClean:
It’s really amazing.

David Read:
Kent Matheson, I believe, did the matte shot for that. This, and then this here, is by a fan by the name of Chris Distin. He posted this stuff on DeviantArt and I fell in love with his work. This obviously Borg space with the orange background, from Scorpion. This is Season Two of Universe outside of the galaxy that they were in. He’s brilliant. It looks like he’s taken a frame out of the show.

Martin McClean:
You couldn’t tell. It’s true magic artistry. The detail is incredible.

David Read:
The Borg models that he used are the assets from the show. He got a hold of it for that one. I don’t know about Voyager. So, that is the Borg cube from the show.

Martin McClean:
Wow. The Destiny’s really interesting because I’m assuming, and I don’t know if this is true, but the shape of it looks like the chevron, part of the chevron from the gate, which I think that sort of symmetry is brilliant.

David Read:
That’s where they started. James Robbins was spit balling a number of different ideas and Brad put Destiny’s shape on a napkin. That’s the legend.

Martin McClean:
On a piece of napkin.

David Read:
I think it’s probably true, and he duplicated that shape exactly.

Martin McClean:
I don’t think it’s ever received enough credit. The design is so beautiful and the series only had that two-year run. I don’t ever think it got the exposure that it deserved.

David Read:
It’s my favorite ship.

Martin McClean:
It’s wonderful.

Remington Phillips:
It’s a classic science fiction spaceship.

David Read:
You recognize this?

Martin McClean:
The DHD.

David Read:
This is the original drawing of what O’Neill comes up with. What you see on screen is a blueprint that’s been done up, but this is the original.

Martin McClean:
So, this is to get Carter off the planet that’s like 150 degrees?

David Read:
SG-1.

Martin McClean:
…that are trapped out there. He’s trying to use the knowledge of the Ancients.

David Read:
Let me get a side on this so fans can have a look at it.

Martin McClean:
This is stunning.

David Read:
It’s one of those things where I can’t believe that I have this. All the notes, all of his field notes. I love this one here. “Remove the bypass clips before powering up. Leaving them on would produce unpleasant results. If this all fails, well, see ya.”

Remington Phillips:
Classic.

David Read:
I tried.

Martin McClean:
Of course, the great thing again, going back to Remington’s point, the detail that you never see, all the time. That’s on screen for but a second or two, maybe. If I remember right, it was on a monitor? They rolled it out like a blueprint.

David Read:
You see it in scenes later on in the show if you’re really looking. They kept his stuff and I’ll show you more from “The Fifth Race” later on in Part Two.

Martin McClean:
I love this too, the way they’ve got all of the detail. Down in there as well. That’s great.

Remington Phillips:
And just in case you didn’t see it, “Do not use.”

Martin McClean:
Do not use.

David Read:
All these references to alligator clips and everything.

Martin McClean:
I wonder how long it took him to do some of these pieces.

David Read:
They have weeks, if not days. They have a couple of weeks to prepare and go for it.

Martin McClean:
Brad Wright made a comment the other day: he would come in in the morning, it would be dark, and the designers would be there and he’d leave in the dark…and the designers would be there. To produce this sort of collection… I can only imagine.

David Read:
This is something very special for me. This is Howard Lyon’s, one of his first promotional posters, if not the first, for Stargate Worlds. It is signed by the entire dev team.

Martin McClean:
That is cool. I’ve always thought that that’s the most unexploited … There’s never really been a successful computer game product.

David Read:
Not truly successful, yes.

Martin McClean:
There’s been a couple, like we had the one that came on iPad.

David Read:
For a blink, for two episodes and then it was gone.

Martin McClean:
For a blink and then it was gone.

Remington Phillips:
So many of those projects… they crashed and burned.

David Read:
I would love to feature that so that people can see it.

Martin McClean:
For me the most disappointing one was the wonderful fan production of Stargate Network. That had the first-person sort of shooter environment and the wonderful renders and beautiful work that they had done. I’m so sad that they weren’t allowed to continue with that. It was such a labor of love, internationally.

David Read:
Passionate team, yes.

Martin McClean:
Across so many countries, that people had taken their time and done that, so that was really sad. I would love to see that come back to life and be finished.

David Read:
I would too. There are always possibilities. Did you notice anyone?

Martin McClean:
Yes, I did. The Wraith over here, the Wraith drone?

David Read:
Yep.

Martin McClean:
Wow, again this looks like a super-heavy costume to wear.

David Read:
Yes.

Martin McClean:
The feet especially, those boots look enormous.

David Read:
That’s foam rubber. It’s a bear to put together, let me tell you. Every time I move, I have to disassemble and then reassemble and then it’s like, “Oh my God.” You can try not to do that, but when you get to location, everything is like gravity. You have to take it all off and put it back on anyway.

Martin McClean:
Of course. The first question is, how do the actors see out? I guess there’s lots of little holes in it.

David Read:
Yes. They revealed when they first did that, I think … It was one of the props guys who came on, I can’t remember which one, and said that they made the rubber masks and they forgot to put holes in them. They had no way to see on day one so they were literally in the back room with a drill putting holes in them so that the poor guys could see out.

Martin McClean:
It’s really well done because it’s not evident that the holes are there.

David Read:
Correct. Looks like a carapace.

Martin McClean:
It gives you a really profound sense of respect for the actors that run around. Not just standing there but physically running around and doing things, given the sort of limitations all of this really had.

David Read:
This was added a couple of seasons in so that they didn’t have their buff arms to show anymore. I would’ve thought that doing an airbrush to their arms would have been easier, but they went with that after, I think, somewhere in Season Two. I don’t know if y’all are Battlestar Galactica fans.

Martin McClean:
We do.

Remington Phillips:
We do.

David Read:
It’s the Ron D. Moore version. This is Ken Rabehl, who was the artist for the first five seasons of SG-1, went over to Galactica and did this. This hangs in Commander Adama’s quarters. This is not the original, this is one of the prints that were licensed.

Martin McClean:
Quite epic though, eh?

David Read:
I got the frame for it.

Martin McClean:
I really love the Cylon.

David Read:
We’ve got a couple of them in here.

Martin McClean:
I was a huge fan of the original very short-lived series that they did back in ’78. If you watch it today, which is the way I saw it, it has aged, of course.

David Read:
Man.

Martin McClean:
But the original Cylon helmets, I always loved. I thought that the design was really amazing. The Kino!

David Read:
This is a Remington Phillips Kino.

Martin McClean:
Wow.

David Read:
How many hours did you spend on this?

Remington Phillips:
Hours? In R&D, hours in development?

David Read:
To make that one specifically?

Remington Phillips:
Production, it’s about four hours to produce.

David Read:
To make each one?

Remington Phillips:
To produce a cast.

David Read:
Wow.

Martin McClean:
It is beautiful, man. That is absolutely gorgeous, man.

David Read:
Take a look.

Remington Phillips:
The way that they’re made is technically four different pieces. Even though you’re seeing two halves to a sphere, there’s the inner sphere and the outer sphere. It’s actually fully encapsulated in transparent resin.

Martin McClean:
It is amazing. You got it? Great job. Great job. That is amazing.

David Read:
It’s a beautiful piece.

Martin McClean:
It really is.

David Read:
This one’s got a flat spotted so I can actually park it, which I liked, but apparently, you’ve worked that out.

Martin McClean:
Yes.

David Read:
This is one of my favorite pieces here.

Martin McClean:
This is very cool. The Millennium Falcon. I love it, David. This is great.

David Read:
I can just hear John Williams’ score looking at this.

Remington Phillips:
It’s so fun to look at and study this piece.

Martin McClean:
I sometimes look at the artistry that went into creating something like this and think, when George originally conceived this idea, he could never have had any idea of how far the fandom has taken it.

Remington Phillips:
Beautiful artwork,

Martin McClean:
It’s astounding. Is this a Roddenberry?

David Read:
I believe so.

Martin McClean:
Wow.

David Read:
Nice. I love that. This is a replica of the tricorder.

Martin McClean:
Again, quite nice.

David Read:
I know. They would not have been that heavy.

Remington Phillips:
Makes you feel like you’re in the series.

Martin McClean:
The sound…Wow.

David Read:
The ratchet? Yep.

Martin McClean:
There it is again, owning the last mile.

David Read:
Medical tricorder.

Remington Phillips:
Alien life form detected.

Martin McClean:
Yes, that’s true. That’s true.

David Read:
A couple more pieces. Come to my bedroom real quick here. Come into my bedroom.

Martin McClean:
Wow. So, Atlantis. There is the paint stippling I was talking about on Puddle Jumper.

David Read:
That’s it.

Martin McClean:
You can see it, the multiple layers that they’ve gone through. You would think it’s fast to do, but it’s not. They could have easily painted this one color and it wouldn’t have made much difference, but they’ve gone to this amazing detail.

David Read:
Is the lighting okay, guys?

Remington Phillips:
Yeah.

Martin McClean:
So, you’ve got two of them?

David Read:
Yeah, I’ve got two of them. These were a bear to move, let me tell you what.

Martin McClean:
So, I assume they’re wood, or are they cast?

David Read:
They are fiberboard and wood, layers on layers on layers. I would take one off the hook, but it’s a pain in the ass to get back on. I have produced a video online for Propworx, I’ll point it out to you, that shows everything behind it.

Martin McClean:
I remember these pieces. They don’t feel anywhere near as tall as this. It must’ve been a huge, obviously it’s a multi-story set.

David Read:
Two levels.

Martin McClean:
Where Weir’s office is on the top. It really is large.

David Read:
Real quick here, this is my favorite vehicle from the show

Martin McClean:
The walker.

David Read:
Star Wars. I’ve got more Kinos here.

Martin McClean:
Whoa.

David Read:
This is for you.

Martin McClean:
This is for me?

David Read:
Yeah.

Martin McClean:
Wow, thank you so much.

David Read:
Remington and me.

Martin McClean:
Thank you. That’s great. Thank you, guys.

David Read:
Had that made for you.

Martin McClean:
Awesome. This saves me stealing one.

David Read:
There you go.

Martin McClean:
This is really good. This is really good. Thank you so much, David. That’s wonderful.

David Read:
Thank Remington, he built it.

Martin McClean:
It’s great. Thank you.

Remington Phillips:
You’re very welcome.

David Read:
His craftsmanship is just wild.

Martin McClean:
It is stunning. I just love the way all the detail is inside and sort of weathered as well. It’s amazing. You have to hand paint, I assume?

Remington Phillips:
Hand painted, multiple layers, through all the different colors.

David Read:
Nicole’s like…[nodding]

Remington Phillips:
From the black base coat to your gold to your silver and weathering.

Martin McClean:
Wow, thank you so much. That’s brilliant.

David Read:
Absolutely. One more piece downstairs and then we’ll go up.

Martin McClean:
Wow, thank you.

Remington Phillips:
Hope you enjoy it.

Martin McClean:
I do. I have a private place for this. That’s awesome. I’ll just carry it with me.

David Read:
Of course, absolutely.

Remington Phillips:
It is a camera.

Martin McClean:
It is a camera.

Remington Phillips:
It is a camera.

Martin McClean:
Ah. So, there’s an ulterior motive having this camera in my hand.

Remington Phillips:
There’s the camera. You’ll be filming.

David Read:
Reveal your secrets. Does this ring any bells?

Martin McClean:
Is it from… goodness?

David Read:
“Moebius.”

Martin McClean:
Yes, yes.

David Read:
There were two of these made, we sold one, and I paid for the other. We would sell an item and see how it did and then I would pay that on to MGM. That’s how we would do it.

Remington Phillips:
That worked out well for you.

David Read:
In some cases. Not for my pocketbook.

Remington Phillips:
The second auction would sometimes sell for more than the first.

David Read:
Exactly.

Remington Phillips:
In many cases with those props when you had multiple.

David Read:
I got this in Egypt. My kitchen is full of masks and if I’ve gone to a new country, I’ve tried to get a mask.

Martin McClean:
Amazing. So, you spent some time in Egypt?

David Read:
Yep.

Martin McClean:
Wow.

David Read:
Spent some time in the Great Pyramid. My guide woke me up at 6:00 AM and he said, “Put your clothes on. Let’s go up to the plateau.” The sun’s coming up and I walk up to the Great Pyramid, he palms some money to the guard, the guard steps out of the way and my guide goes, “Go ahead.”

Martin McClean:
Wow.

David Read:
I was in the Great Pyramid by myself for an hour.

Martin McClean:
Wow. Now we know who stole the Stargate. It’s so weird.

David Read:
It’s one of the surreal…I am alone in the most ancient structure that still exists today.

Martin McClean:
Wow.

Remington Phillips:
What a sensation.

Martin McClean:
That’s incredible.

David Read:
That was wild.

Martin McClean:
That’s a real gift.

David Read:
Up the stairs. Here, Nicole, get a closer pass in a minute.

Martin McClean:
The DHD. It didn’t really change a lot in production from the production artwork, the sketches, did it?

David Read:
That’s right.

Martin McClean:
It seems they sort of got it right first time, as it were. Wow.

David Read:
Then this is the original of the Heliopolis Castle from “Torment of Tantalus.”

Martin McClean:
I love that. That was so wonderful.

Remington Phillips:
Great episode.

Martin McClean:
Wasn’t it?

David Read:
Yeah.

Martin McClean:
Just superbly acted. Just a great story. Unfortunately, all the knowledge went into the sea at the wrong moment.

David Read:
All into the sea. I suspect one of the ships went back and excavated it. This is a reproduction of the Ascended Times.

Martin McClean:
That is so cool. This is a reproduction of production work they did?

David Read:
Yes. This is a production-made paper. Jackson still undecided. “Decisions, decisions, decisions. This one would appear at least on the surface to be a no-brainer. However, Dr. Jackson, who has partially ascended in the past, has returned to face the same decision again.”

Martin McClean:
Wow.

David Read:
You should notice, Easter egg, “Wraith on the way to Atlantis.”

Martin McClean:
Cat-astrophe. That’s cool.

David Read:
Cat-astrophe.

Martin McClean:
That’s very cool.

David Read:
There are cat fans in there. If you come over here…

Martin McClean:
Goodness me. How did you manage to get these?

David Read:
These are the storyboards to the opening scene of SG-1. I think it’s 6, 11, 13. Here, here, and then that’s how they go.

Martin McClean:
I’m surprised to see such detailed storyboards for television. Is that normal to have there when you see them in the movies and stuff?

David Read:
For the opening sequence of a show, I’m not surprised.

Remington Phillips:
For the premiere.

Martin McClean:
I guess so.

Remington Phillips:
This was their premiere. This was a big deal.

David Read:
I love this last plate here. I’ve already shown this in an episode with Mario Azzopardi. Shot 38: “General Hammond, whose face says that he knows mankind could be in deep shit.” This is before Don was cast. Look at that. Don was always the one planned.

Martin McClean:
No.

David Read:
Up here you can see one of the concepts for the Goa’uld early on.

Martin McClean:
The silver grill.

David Read:
This was gonna be much more violent.

Martin McClean:
I’m assuming that’s because it was on Syfy and they could do that.

David Read:
Showtime.

Martin McClean:
Showtime, wasn’t it?

David Read:
Yep.

Martin McClean:
Yes, Showtime.

David Read:
No limits.

Martin McClean:
Then it went to Syfy, that’s right.

David Read:
Then this… Does this ring any bells?

Martin McClean:
No.

David Read:
This is Ernest Littlefield’s calendar from “Torment of Tantalus.”

Martin McClean:
Wow.

Remington Phillips:
Now, is this three separate pieces?

David Read:
Yep. There were like 10 pages and then there were a few leftover.

Martin McClean:
I love it. So, every day he was there crossing it out.

David Read:
That’s right. “It’s about time.”

Martin McClean:
It’s a bit like my office during the pandemic.

David Read:
Exactly right.

Martin McClean:
Every little line there every day.

David Read:
That’s it.

Martin McClean:
Wow. It’s really cool.

David Read:
This is one of the cooler parts of being a fan.

Martin McClean:
I’ve always loved the Serpent Guard and the way their helmet… Again, I don’t know how anyone was able to sort of balance that on their shoulders.

David Read:
As best as they could. They got a bike helmet in there to support it.

Martin McClean:
Wow.

David Read:
If you look over here, speaking of.

Martin McClean:
This is seriously cool. I have never seen one of these up close, but wow. It’s not chain mail, but of course from a distance it looks like it’s some sort of chain mail.

David Read:
It does.

Martin McClean:
Which is clever. Super clever. Interesting.

Remington Phillips:
It’s knit fabric and spray-painted silver.

Martin McClean:
Super clever.

David Read:
There’s almost no spray paint left.

Remington Phillips:
You can just see where it’s left.

Martin McClean:
Imagine how warm that was too under lighting.

David Read:
I have worn one of these.

Martin McClean:
Wow.

David Read:
It sucks. It is not pleasant.

Martin McClean:
Yet you see so many of the episodes with the Serpent Guards are being shot and they’re running down hills and what have you. It gives you such an appreciation for the performers that is delivered.

David Read:
That’s it. Exactly. So, this is a cast from the original mold, this is not screen used. A friend of mine by the name of Jared made this.

Martin McClean:
Great job.

David Read:
He did a great job and painted it. He’s brilliant.

Martin McClean:
That’s absolutely stunning. I never would have known it didn’t belong with the original piece. The fact that in the series, the eyes lit up, I always thought was just great. They could have left that and not done it, but it really worked.

David Read:
That’s it.

Remington Phillips:
It added to the fear that they would instil in these characters.

Martin McClean:
When you’re up close to it, it is quite fearsome, isn’t it?

Remington Phillips:
Extremely menacing.

Martin McClean:
It is. It’s exactly it. It’s very menacing.

Remington Phillips:
Add the staff weapon to this setup.

David Read:
Planning on putting one of those with him one of these days. It’s probably gonna be a replica as soon as I can find someone who will make one.

Martin McClean:
I always thought if it was up to me, I’d take the P90 over this guy/weapon myself.

David Read:
They do tend to have armor-penetrating rounds. “This is a weapon of terror. This is a weapon of war. It’s here to kill your enemy.”

Martin McClean:
That wonderful scene with O’Neill, “you with the skirt.”

David Read:
“You with the skirt, get that target swinging a little.” That’s funny. Turnaround.

Martin McClean:
Wow. Destiny in all its glory.

David Read:
This is another Chris Distin piece. It’s called Inceptum. It may be my single favorite piece of fan art. I have tried to get a hold of this guy through Deviantart where his account is, just Distin, D-I-S-T-O-N. I cannot get a hold of him to save my life. It’s Destiny starting its mission flying over the limb of the moon. It’s my favorite. He’s brilliant. The light, it looks like it was taken from the show.

Martin McClean:
It’s a beautiful piece. It’s unfortunate you were not able to get in contact with him.

David Read:
Nope. He’s never responded. I found his stuff years later, so people move on. It’s what they do. Now, we’re gonna go into my den. I’ve got spare bedrooms over here and sitting rooms, they’ve got nothing, but down into the den we go. We’ll go into the far end and work our way around.

Martin McClean:
Wow. This is very cool. OK. So, from Stargate Universe, the control console. Is it from the Bridge?

David Read:
This was from The Apple Core originally. I don’t know, some of these buttons are… There we go. Maybe I should have had those ready to go when you came in.

Martin McClean:
It’s again, much bigger than you expect it to be.

David Read:
Exactly. A gentleman by the name of Brad Diedricks reached out to me and he said he wanted me to have it. It’s one of those things where I’m just blown away.

Remington Phillips:
This would have been a piece that you wouldn’t have had an opportunity to buy when you were auctioning off the assets.

David Read:
No. I wouldn’t have had my hands on it first. I wouldn’t have had first dibs. There are two or three of these, I think there are two of them. They had them in the gate room. They had them in The Apple Core and they moved them around from set to set as they needed them. They can play and all the buttons.

Martin McClean:
That’s very cool. This is really clever because it rotates but it gives a great optical illusion and adds a sense of some depth, doesn’t it?

David Read:
If you could come over here, Nicole.

Remington Phillips:
David, you have the stand for this prop as well. I’ve seen this console without the stand. So, this is complete.

David Read:
Really?

Remington Phillips:
This is complete.

David Read:
So, some of them just have the top on them?

Remington Phillips:
Yes.

David Read:
I didn’t know that. OK. This was a wonderful gift. I can’t get over the fact that he reached out to me and he got this for me. “OK, this is it. I’ve got no more room. This is it.” This is the last corner in my house. I’m done. This is the last room that I made.

Remington Phillips:
It is?

David Read:
You notice anything else?

Remington Phillips:
No.

David Read:
Let me get the light on. A little bit more light. So, around the room and behind you there, Astrid, is artwork from Stargate Worlds, from the original concepts for the box art. We had a studio develop all these.

Remington Phillips:
So, every one of these would have been a concept for the box?

David Read:
A concept for the box, for the box art.

Remington Phillips:
So many different versions.

Martin McClean:
Was this the original PC game that was, I’m going to say, developed in Australia?

David Read:
No. Was it Perception?

Remington Phillips:
JoWooD?

David Read:
JoWooD Studio. No, this is Stargate Worlds that was in Mesa, Arizona. This was my first adult job after my radio station gig of five years that got me into Arizona as their community manager. That game lasted for two or three years and then they cut funding.

Martin McClean:
So, there’s no ability for people to source the game or the material?

David Read:
No. It was made on Unreal II or III. It’s outdated. We got some more concept over here.

Martin McClean:
Could’ve gone in a virtual machine.

David Read:
This is another piece. This is a Howard Lyon piece for Stargate Worlds. This was a planet called Agnos. It was an ancient outpost in the Milky Way that we would’ve found. There would’ve been puddle jumpers down here in the version that they went with when they were actually developing, that had puddle jumpers in it. This planet would’ve been controlled by an AI. I forget her name for the Agnos AI, but we were gonna hire Mel Harris.

Martin McClean:
I love the coloring. It’s really gorgeous, it really pops.

David Read:
It’s closer to the center of the galaxy. This was probably gonna be my favorite world. It was really cool.

Martin McClean:
It would’ve been really great to see it expanded out, wouldn’t it?

Remington Phillips:
It looks like that game would’ve had beautiful visuals.

David Read:
It would’ve told the story of the Furlings if the designers had their way and would’ve explained where all the crystal technology comes from.

Martin McClean:
That’s cool. Grail Diary?

David Read:
Grail Diary, Remington.

Martin McClean:
I love this. It’s such a labor of love. Look at all the detail that’s gone into there, all the inserts and all the cards.

David Read:
And now… we take a break for Indiana Jones.

Martin McClean:
Love it. Fan produced as well?

David Read:
Fan produced.

Remington Phillips:
A labor of love.

David Read:
They finally released all of the pages. Prop Store or whoever it was finally released all the pages for the Grail Diary and the sequence, including… it’s duplicates and duplicates and duplicates, but it’s what was in the film. So, they finally got that out there.

Martin McClean:
That’s really cool. It’s super.

David Read:
I have one more room in the house to show you.

Martin McClean:
Awesome. Wow. Love that.

Remington Phillips:
“Indiana was the dog’s name.”

Martin McClean:
That’s right.

David Read:
“Her name was ‘Dog,’ Indiana.”

Martin McClean:
I’m not surprised he wrote everything down now when he saw the amount of information.

David Read:
We end where we begin.

Martin McClean:
Goodness. I recognize some of this. Wow. David, what a great job. This is wonderful, absolutely wonderful. Wow. Love this. Where to start? The staff is incredible. I’m assuming it’s resin as well or something like that?

David Read:
Most of the stuff in here is screen used.

Martin McClean:
Wow. That is very cool. My favorite, the ZPM, which you did the best job of anywhere.

David Read:
Man. I can’t wait for that thing to be completed.

Remington Phillips:
You know you’re first in line.

David Read:
I can’t wait.

Martin McClean:
I would like to get second in line.

David Read:
I’d like a lantern. I’d like it to replace one of these lanterns here.

Remington Phillips:
Would you like it made from salt?

David Read:
A fan custom-made this for me.

Remington Phillips:
This is beautiful.

Martin McClean:
This is beautiful.

David Read:
I told him I wanted a special stand and he, of course, went out of control. I think I should dust some of this stuff.

Martin McClean:
Wow. That’s beautiful.

David Read:
It’s my favorite ship.

Martin McClean:
There’s a cut in the acrylic. That’s gorgeous. Love that.

David Read:
This was a second Replicator design, the beta shape, version two.

Martin McClean:
This one’s crouching down, ready to leap. This one, in my memory, is how I remember them; more of these poses.

David Read:
This was introduced in “Enemies” Season Five Episode One and then later came back with a vengeance in “Menace.”

Martin McClean:
Wow.

David Read:
These are also pieces from Kevin Szabo. This is a certain designer by the name of Martin McClean.

Martin McClean:
Yes, he’s quite an accent.

David Read:
Brazat was putting out these. All of the episodes end with everyone’s credentials so you can reach out to them. This used to light.

Martin McClean:
Wow. Does it now?

David Read:
No, not that one. There was one that did. I was not gonna keep that one. No way. There’s a little switch here and it doesn’t light anymore. I could take it apart and put the batteries back in, but I just haven’t done it.

Martin McClean:
It’s nicely made though.

David Read:
People are always asking me about this. This is my grandfather, Harley Read. He served in World War II.

Martin McClean:
That’s lovely that you have that.

David Read:
He’s always been a part of the show. You can’t see him much anymore, but he’s there.

Martin McClean:
He’s there in spirit.

David Read:
These are the fan-made Goa’uld Motherships.

Martin McClean:
This is really sweet. I acquired the one that Eaglemoss did recently, the small version. It was very nice too, but it really pops when you see it much bigger than that. That’s really cool.

David Read:
This is a screen-used Kino. This is taken from two halves of the Kino sled. A guy bought the Kino sled, took the equivalent of a crowbar and popped them off the bottom, and then sold them. “If that’s the way to get my hands on one, then I’ll take it.” I feel bad for the sled. This is a replica from Season Seven’s Chimera; the tablet that Osiris was trying to get Daniel to work on.

Martin McClean:
That’s great. That’s wonderful. Such a huge amount of detail in this. Wow.

David Read:
Sodan staff.

Martin McClean:
This is great.

David Read:
Our friend Brian Harris, those are his metal Stargates. I recently got that from him a couple of months ago. He’s brilliant, a die worker. Absolutely brilliant guy.

Martin McClean:
It’s amazing work. Again, huge detail. That feels like it’s rubber or something.

David Read:
It’s a hard rubber.

Martin McClean:
It’s a hard rubber. OK.

Remington Phillips:
Many of the prop weapons would be cast in this dense urethane rubber so that they wouldn’t break. The staff weapons in particular, and David, I’m sure you saw this on set, they would break so often.

David Read:
Or bend.

Remington Phillips:
There were so many busted staff weapons.

David Read:
Yep. They were absolutely full of them.

Remington Phillips:
Eventually, I had the designer tell me this, that he took it as a challenge to make them so that they could not break them anymore.

Martin McClean:
They would break because they’re long and awkward to move around?

David Read:
Every reason you can think of. Wear and tear.

Remington Phillips:
Horseplay.

David Read:
Very much so.

Martin McClean:
They had working electronics in some of them? The hero prop would have had the working pieces that open it, I’m assuming?

David Read:
Mm-hmm. There’s one that did. The earlier ones were all visual effects. I recently learned this.

Remington Phillips:
They went through two different iterations of mechanics as well. Initially pneumatic and then electronic.

Martin McClean:
Wow. So, there must have been pneumatic hoses or something traveling through costumes or something?

Remington Phillips:
They had gas canisters; they had air hoses.

David Read:
A lot of this littler stuff, we’ll explore in Part Two in detail. I just put batteries in that. There it goes.

Martin McClean:
There we go.

David Read:
Yes.

Martin McClean:
Yes.

David Read:
I was like, “Come on.” We’ll explore these in greater detail in Part Two. Over here in the back of the room, there’s one. This is all things we’ll look at again tomorrow in greater detail. Then, my workstation. When I’m talking to y’all through here, I just lower this down and do the show. Put that on.

Martin McClean:
That’s blind.

David Read:
Exactly.

Martin McClean:
I’m surprised you’re not blinded.

David Read:
You get used to it. When it turns on the first time, it’s maximum and then it dims. That is Evan Lorne’s painting of Atlantis. This is based on the finished version from “The Last Man.” He was obviously working on it in “Sunday,” which is my favorite Atlantis episode.

Martin McClean:
It’s a great episode.

David Read:
We didn’t cover this. Let’s cover that tomorrow. That’s the house.

Martin McClean:
It’s brilliant.

David Read:
Thank you, I really wanna thank you for coming all the way out here and poking around and seeing the stuff that I have in my collection. There’s a lot of flat things to go through tomorrow and a lot of smaller pieces.

Remington Phillips:
Thank you for showing us.

Martin McClean:
Absolutely, it’s been brilliant. It’s amazing to see some of these pieces from the series over all those years preserved so well, which is always awesome.

Remington Phillips:
You live in a Stargate Museum.

David Read:
It’s a little bit of one for sure. People are like, “What are you gonna get next?” It’s like, “I’m done.” I’d have to get rid of something if I’m gonna get something else. I’m not gonna crowd things in. Everything has to have its place.

Martin McClean:
Or a bigger house?

David Read:
Bigger house could do as well.

Martin McClean:
That could do it. More corners then.

David Read:
More corners. All right. We’ll see you on the other side. My tremendous thanks to Remington Phillips and Martin McClean for joining me for this episode. That’s just Part One, that’s the walkthrough of the house. Next episode is gonna be premiering very soon and it’s gonna be a sit-down in my dining room with a number of handheld pieces that will interest you as well, so come back for that. Tremendous thanks to Nicole and to Astrid for filming this episode; we couldn’t have done it without them. Thanks again to Remington and Martin for indulging all of us for this show to show off some of the memorabilia. I really appreciate them coming out. We’ll see you on the next one. My name is David Read for Dial the Gate and I’ll see you on the other side.