We have been huge fans of Anne Marie DeLuise since her initial appearance as “Farrell” in Stargate SG-1’s “The Other Side,” and were delighted when she returned as “Amy Vandenberg” in “Bounty.” We are tremendously excited to get to catch up with her, along with her husband — and Stargate Writer/Producer/Director — Peter DeLuise, LIVE!

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Timecodes
0:00 – Splash Screen
00:21 – Opening Credits
00:47 – Welcome
00:58 – Guest Introduction
01:56 – Anne Marie’s Awareness of Fandom
02:45 – When Peter Met Anne Marie
05:10 – “The Other Side”
09:07 – One of Brad Wright’s Best Scripts
10:57 – Andromeda Characters
12:24 – The Eurondans: Too Good to Be True?
16:10 – Interfering in Other Cultures
17:41 – Rene Auberjonois as Alar
20:40 – Alar’s Twin
23:06 – Kyle Cassie’s Audition for “The Other Side”
25:13 – Farrell’s Death By Rock
26:57 – ADR Looping
29:13 – Saving Time for Richard Dean Anderson
30:14 – The Secrets of Dialogue Looping and ADR
34:54 – Britt Loder: An Upcoming Industry Talent
37:08 – Industry Relationships Mean Often Being Alone
41:00 – Burning the Candle at Both Ends
43:29 – Two-Handers: The Domain of Second Unit
44:11 – Meeting Rowdy!
45:00 – Jake DeLuise: Game Designer
46:05 – “Bounty”
47:55 – Kissing Ben Browder
50:06 – David Lovgren: “She Looked Back and She Looks Good”
52:05 – Vala VS Amy Vandenberg
53:56 – Mike Dopud
55:50 – Family Gatherings at the DeLuises
57:38 – Anne Marie’s Favorite Place to Visit Back Home
1:00:09 – Working with Johnny Depp in 21 Jump Street
1:05:08 – What To Do Outdoors in Vancouver
1:05:57 – Thank you Peter and Anne Marie!
1:07:07 – Post-Interview Housekeeping
1:07:54 – 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 everyone and welcome to Episode 260 of Dial the Gate. The Stargate Oral History Project. My name is David Read. I really appreciate you being here for this episode because I have a couple of very special people. And she is just in time. Look at that. I have Peter DeLuise, writer, producer and director of Stargate, and Anne Marie DeLuise, who played multiple parts in SG-1. How are you guys?

Anne Marie DeLuise:
We’re good.

Peter DeLuise:
We’re great. Happy Saturday.

David Read:
Happy Saturday to you guys. Is it hot in Vancouver yet?

Anne Marie DeLuise:
No, we’re getting a miserable slow start to summer this year.

Peter DeLuise:
At this point, we just call it not raining.

Anne Marie DeLuise:
Although it is sunny right now so that’s good.

David Read:
Well, I really appreciate you being here, Marie. I got to meet you a couple of years ago at Gatecon really briefly, and Peter and I go way back, but I never had a chance to see you guys together [for] more than that five minutes so it really means a lot to me that you’ve taken little time to be with us and the fans this afternoon. Do you know just how big a thing this Stargate fandom is? Through Peter or through anything that you’ve watched. Or was it just, “He’s going to work today?”

Anne Marie DeLuise:
No. I’ve been aware of… The show was… It ended a long time ago and the fact that there are still conventions, and stuff is a testament to the power of the show. And the fans are true blue and they’re still fighting for new version. And I think that might be in the works but with different people from what I hear.

David Read:
Something’s coming along. God knows what it is. I hear a different thing every few weeks. So, we’re just gonna have to wait and see. But I always assumed, incorrectly, that you guys met on the set of The Other Side. And that was wrong.

Anne Marie DeLuise:
No, we were already dating.

Peter DeLuise:
We don’t like to brag about that. We had already… We knew each other but before that and you would come to work a few times, right? And they were aware of who you were, right?

Anne Marie DeLuise:
We met just before…

David Read:
Tell me the story. I wanna know the story.

Anne Marie DeLuise:
I’ll do the brief version. I have ADHD so I tend to go off on a tangent, so he’ll keep me in line. We met the previous year, in 1999, [in] September. I had just booked a lead in a TV series called Higher Ground. So, I was the female lead with Joe Lando, and so when I started that show, Peter was my director my very first day. And we were both single, and had both been single for a while, and really not interested in getting into anything serious. And my very first day, he was absolutely hilarious and charming and gorgeous and kind, and he took me under his wing. It was my first series regular at the time and so he kind of gave me some really sound advice and I just was, like, “I really like this guy.” And he ended up, over the course of that season, directing four episodes. The first two were before we started dating and then the next two were after we started dating, which was very different for me because suddenly I was very self-conscious, and I really wanted him to think I was good and all that.

Peter DeLuise:
I knew she was. Very talented. There was no way that it was just her attractiveness along that was gonna catch my eye.

Anne Marie DeLuise:
We both agree that we wanted to be with people who are smart and talented. That was a dealbreaker.

David Read:
Well, you wanna have someone who’s gonna not only prop you up and make you look good. “I got ADHD so he’s gonna keep me in line.” Things like that are compliment to marriage. But also, someone who will challenge you intellectually. Or not so much.

Anne Marie DeLuise:
Absolutely. That was a definite… And so, we had met, we’d worked together…

Peter DeLuise:
Stimulate your brains as well as your loins.

David Read:
OK. We had known each other… So, September, that show… I was on there from September to March and then I literally came off Higher Ground and went straight onto the set for The Other Side. I had a really bad cold or sinus infection at the time, too.

Peter DeLuise:
Before any of your viewers think that she was just hired because she was my girlfriend…

Anne Marie DeLuise:
I had to audition, too.

Peter DeLuise:
But also, I don’t know if you can see this… Can you lean in and show them your eyes my darling?

Anne Marie DeLuise:
Because they were plain blue.

Peter DeLuise:
Getting there.

Anne Marie DeLuise:
They’re really blue.

Peter DeLuise:
So, this was part of the plot twist that the people that Alar was representing, or that Farrell and Alar, played by…

Anne Marie DeLuise:
Eurondans.

David Read:
The Eurondans. That’s right. René Auberjonois.

Peter DeLuise:
Right. So, it wasn’t an accident that they were supposed to be… We were perpetrating this not-so-subtle Nazi thing about purebred white people. And Anne Marie has piercingly blue eyes, which, when you first see them, it’s hard to form sentences. And so, in addition to being my girlfriend, she also had the absolutely perfect look as Alar’s second-in-command.

Anne Marie DeLuise:
And I did a good audition.

Peter DeLuise:
And she did an awesome [audition].

Anne Marie DeLuise:
There was a lot of sci-fi being shot in Vancouver at the time.

Peter DeLuise:
And we knew what the job was.

Anne Marie DeLuise:
It was a lieutenant. Second in command. Very committed to the cause.

Peter DeLuise:
Right.

David Read:
So, I’m trying to think now. Did all of the Eurondans have the same color of eyes even?

Peter DeLuise:
No, no. They were all white.

David Read:
OK.

Anne Marie DeLuise:
The scene where they go in through and they get the tour and they’re all in these chambers.

Peter DeLuise:
The pods.

Anne Marie DeLuise:
The pods. And you can see, all of a sudden you realize that they all look the same.

David Read:
Yeah, exactly. I just wanted to see how far down you would take it. Because he called out your eyes, which they are striking, but I was, like, “Were all their eyes the same color, too? Is that how specific they are with their genetic engineering or their breeding programs?”

Peter DeLuise:
We couldn’t afford that. It was a little too expensive.

Anne Marie DeLuise:
[Inaudible] being Aryan looking.

Peter DeLuise:
Everybody with piercing blue eyes.

Anne Marie DeLuise:
Aryan looking.

Peter DeLuise:
But that was a hard… That particular… I’m getting a little off topic there but that was a difficult matte shot to achieve because you were supposed to notice that it was only white people, and that the Eurondans were not inclusive, and that the other side, the Breeders, were inclusive, and that there was some non-white representation in there. But we didn’t get a chance to see them very well until we saw just a flash of them when the one drone slammed into the bomber.

David Read:
“I said the reconnaissance vessel was unmanned.”

Peter DeLuise:
That’s right.

David Read:
“Their bombers are manned.” That’s a creepy scene.

Anne Marie DeLuise:
I re-read the synopsis and everything. I cheated last night just to remind myself. Because it was 25 years ago.

Peter DeLuise:
I don’t think it’s cheating. I think it’s more conscientious.

Anne Marie DeLuise:
Refreshing my memory. But there were also the allusions where… Because René Auberjonois’ character Alar was not wanting Teal’c to be there and sent him back. He was making little things that were alluding to… So, then you kind of caught on when you saw that, like Peter said, matte shot. It was sort of, like…

David Read:
It clicks. Because you’re watching Jack’s reaction unspooling. Because he’s very protective of Teal’c, on a host of levels.

Peter DeLuise:
That great line, like, “He’s concealing something.” “What do you think it is?” “I don’t know. He’s concealing it.” That’s why I love that.

Anne Marie DeLuise:
I think we all said that line, like, 25 times.

Peter DeLuise:
It was so funny. And it’s… You can only make those kind of jokes early in the first act when it’s still light-hearted and then as it gets more and more serious the jokes tend to go away. But you always gotta take your opportunity early on in the show. Sorry David, I interrupted.

David Read:
It’s OK. Anne Marie, you got the script. Do you remember anything about, [and] know this is a stretch, that first readthrough? It’s one of Brad Wright’s, in my opinion, one of his… He had so many great scripts, but this was… This is one of my favorite episodes from the show. And it’s one of the reasons that I’ve wanted to have you.

Anne Marie DeLuise:
[inaudible] He didn’t do a sit down readthrough.

David Read:
OK. But you did read the script before coming on.

Anne Marie DeLuise:
I’m a professional, David. Don’t you know?

David Read:
Absolutely.

Anne Marie DeLuise:
For the audition I would have only had the sides for my scenes. And then you get the full script and of course you inhale it before you ever [inaudible] on set.

David Read:
What do you think of it as a piece of drama as a whole, in terms of what sci-fi is? Are you a sci-fi fan?

Anne Marie DeLuise:
I would say not particularly in that it’s not my first go-to. I’m gonna confess something to you. Of all the Stargates, Universe was my favorite. Because of the humanity. I prefer the sci-fi setting to be the backdrop to people reacting to extraordinary circumstances, to be set in all these different worlds and places. I think it’s just a great storytelling device. But sci-fi for the sake of sci-fi, like, just people standing on ships and button pushing is boring to me.

David Read:
You see the socially relevant…

Anne Marie DeLuise:
That’s what I was getting to. So, in terms of the story, of course it was… And I think that I did watch Star Trek when I was a kid. Who didn’t? And I worked with, oh my God, help me, Shatner, William Shatner in a TV [series Kung Fu: The Legend Continues] a million years ago, back in Toronto.

Peter DeLuise:
When you were on Andromeda.

Anne Marie DeLuise:
I did Andromeda.

Peter DeLuise:
Look, if I do this, do you recognize?

Anne Marie DeLuise:
That was the first of… I didn’t… I can’t remember.

David Read:
I haven’t seen it.

Peter DeLuise:
Oh, you don’t… Well, that’s OK.

David Read:
I haven’t seen Andromeda.

Peter DeLuise:
Not that it’s not for you. That’s fine.

Anne Marie DeLuise:
That was when I played an alien and I had prosthetics. I had, like, raised thingies. I had to be there 3 a.m. in the morning.

Peter DeLuise:
A thingy on the forehead.

Anne Marie DeLuise:
To get prosthetics on. But then we did one together. We played husband and wife when I was pregnant with Jake.

David Read:
Really?

Anne Marie DeLuise:
We played husband and wife on an episode of Andromeda. That’s a funny one. It was really silly.

David Read:
I’m gonna go and watch this.

Anne Marie DeLuise:
Oh my God. He should have won an award for that episode. He did not direct it.

Peter DeLuise:
It was in the style of the commedia dell’arte.

Anne Marie DeLuise:
It was over the top.

Peter DeLuise:
It was very, very over the top.

Anne Marie DeLuise:
And he was basically playing King Henry VIII, like, literally swinging a drumstick and
A goblet.

Peter DeLuise:
It was fun.

Anne Marie DeLuise:
It was really fun. I had to wear a hat that was a crown that, like, really tall.

Peter DeLuise:
And you were pregnant.

Anne Marie DeLuise:
And I was pregnant.

David Read:
In the script, were you pregnant too?

Anne Marie DeLuise:
What’s that?

David Read:
In the script, were you pregnant too?

Anne Marie DeLuise:
No. But I had a big, brocade cover, big gown. It was…

Peter DeLuise:
We’ve been trying for a long time.

Anne Marie DeLuise:
And I just happened to get pregnant and booked a role.

Peter DeLuise:
That was Jake’s first job on camera.

Anne Marie DeLuise:
The only person…

Peter DeLuise:
He looked like this, “Hey, hey!”

Anne Marie DeLuise:
He was, like, this big at that point. The only person who knew I was pregnant was…

Peter DeLuise:
That’s how I was imagining a baby, “Hey. It’s warm in here.”

Anne Marie DeLuise:
The only person who knew I was pregnant was a wardrobe. And him.

David Read:
The episode has a lot of, I think, going on beneath the surface because we’ve been trying to get technology. We’ve been trying to prove our worth as an organization, and we finally get someone who not only says, “Hey. We’ve got this stuff,” but [also], “We’re willing to share it with you for water.” It’s game changing for the show. And Jack’s usually the one who’s pushing this, pushing this, and Daniel’s, like, “I don’t know. We need to get more information.” And Jack wakes up to the realization that not everything is as awesome as it seems. We do need to do a little bit more research. It’s one of the best, in my opinion…

Anne Marie DeLuise:
The moral dilemma. And then saying, “Close the iris,” when René Auberjonois’ Alar was trying to come through.

Peter DeLuise:
And Brad totally nailed that. Because thematically he knew exactly the moral dilemma and how it would play out, and that we would see O’Neill do something that we don’t usually see him do. We know that he was capable of it because of his Black Ops history. But that was a closer to a Kurt Russell O’Neill than RDA O’Neill.

David Read:
I would agree with that. Peter…

Anne Marie DeLuise:
When I was reading…

David Read:
Please, go ahead.

Anne Marie DeLuise:
I was reading last night that this was very parallel to what happened during World War II with the Nazis. They had technology but they didn’t have resources to implement, to keep going. It was very, very similar. So that part of sci-fi, I do love. When I talk about humanity, that’s what I’m talking about. About a circumstance where it parallels… It’s a mirror to society. And through great storytelling and reflecting back to people that this, you know…

David Read:
Absolutely.

Peter DeLuise:
I think, thematically, that it was “rewards at what cost?” That was “technology but at what cost?” Even the NASA program, and I know a lot of people are aware of this already, but some are not, that the whole American space race was headed by Wernher von Braun, who learned most of his foundational rocketry stuff by being a scientist for the Nazis.

David Read:
Absolutely. There is a lot of history there and it’s not just so black and white. And you can’t always come out from the other end, looking down the barrel of history, saying, “Oh, we made all the right turns, in all the right directions, all the way down.” History is messy and I think that it’s great for our heroes to be tested against similar situations where we know that we’ve got an enemy beating down our door, that will wipe us out if we don’t get the bomb built in time, as it were, to get strong enough to protect ourselves. But Jack, when it comes down to it, sees his friend being mistreated and that’s the first antenna that goes off in his head. You can see it and the he begins to dig, tells Daniel he’s sorry and continues to dig, and we get where we’re going.

Anne Marie DeLuise:
I love that ego battle of wanting to be right, and O’Neill really telling him to shut up and put him in his place, but then finally realizing and doing the right thing. And the apology was, I think, particularly healthy. To not just begrudgingly say, “You were right,” but he actually apologized.

David Read:
He means it.

Peter DeLuise:
Is that… David, you know these episodes so well because they’re so fresh for you. That wasn’t our first foray into breaking the prime directive, right? We never set up a prime directive but here we are getting involved with a culture, early on, because that was in fact very early in the show.

David Read:
I’ll pull up GateWorld. It’s not as fresh… Because I’m curious as well.

Peter DeLuise:
I didn’t mean for you to have to look it up. It just felt… If you followed Star Trek, you would almost immediately recognize it as breaking the prime directive and getting involved.

David Read:
Demons had a lot of interference as well, which… “The demons comes!” But this was one of the bigger ones, absolutely. But it wasn’t necessarily, like, the first time that we upended a society for better or for worse. And one of the things that I love about later episodes in Season Four, which was the Double Jeopardy episode that Shanks directed, was that you can come along and transform a society but that doesn’t mean it’s gonna stay that way. In that case, someone else came to the planet and took over, and just absolutely leveled the people right back to where they were before. So just because we make a positive change temporarily doesn’t mean it’s gonna stick. And doesn’t mean we’re capable of completely empowering the people to take care of themselves. There’s a lot going on there. But I really wanted to know, Peter, from you first, and then Anne Marie, what was it like working with the great René Auberjonois?

Peter DeLuise:
I was aware of him from Deep Space Nine, and the show was always interested in crossover whenever possible. So, I was excited about the prospect of working with him. And of course, he didn’t have any of the prosthetics that he had on that show as the head of security for the Deep Space Station. But you’re always cautious because you don’t wanna meet your heroes and then have your illusions shattered. But he was super sweet. He knew exactly what he was doing, and I think he was excited about playing this kind of a character. Because he knew that he needed to elicit sympathy early on and then eventually reveal himself to be not as morally pure as we’d hope. And then what does he do? He throws everybody else under the bus and just tries to save himself. So that wat quite an…

Anne Marie DeLuise:
Arc.

Peter DeLuise:
Interesting three-part story he got to do.

Anne Marie DeLuise:
Yeah. My experience of him was absolutely lovely. He was a total professional. Kind, sweet, pleasant.

Peter DeLuise:
Not a diva at all.

Anne Marie DeLuise:
Zero, zero. Just absolute pro.

Peter DeLuise:
And I say that because he could be. He was a well-knows science fiction entity. So, he could say, “Bring me Diet Coke,” which is of course what all the divas say.

Anne Marie DeLuise:
That’s a story from somewhere else. But yeah, he was so lovely. I was still a younger actor at the time, and there was absolutely no sense of, you know, treating me like a newbie or less than… Or any of that. He was just awesome.

David Read:
Did Rick know how big he was in the sci-fi sphere? Some of their scenes together are just great.

Peter DeLuise:
Rick, when he gets to be in the scene with somebody who’s got some gravitas, obviously he’s excited about that. Because he doesn’t wanna… If you’re playing tennis, you wanna have a good partner to hit the ball back to you. He was just a super sweet guy. No complaints. Just beautiful.

Anne Marie DeLuise:
I think that there was a sense on set that everybody knew that he was a special guest star.

Peter DeLuise:
It was a big deal when he was on the show.

Anne Marie DeLuise:
To have him there, and then he just kind of came in and did his thing like everybody else, and didn’t expect any special treatment. He was just lovely.

David Read:
But apparently, he had a really good time because he mentioned something of Alar’s twin, or something, wasn’t that [right], Peter?

Peter DeLuise:
Right, yeah. Because they were working with genetics, so, maybe he could come back. You never say never in sci-fi.

Anne Marie DeLuise:
I think he seemed to be quite thrilled to be there if I remember correctly. He really enjoyed it.

Peter DeLuise:
And we shot that… The conditions were a little bit wonky because we shot that at the Norco stage. We called it Norco because Norco was a bike company and a bicycle company.

David Read:
I didn’t know that.

Peter DeLuise:
So, Norco was a bicycle… It was a building where they created the bicycles, and it was no longer being used for that. And it now had been converted into a studio. It was off the lot. It wasn’t at the Brooks… It wasn’t at the…

David Read:
Bridge.

Peter DeLuise:
It wasn’t at the Bridge Studios. It was, actually, where Sanctuary ended up finding its home, in the Norco studio. And Norco… One of the things that was weird about Norco, because it was an older building, the ventilation wasn’t great. And so, it was hard with the hot lights and everything. On the certain days, it was actually…

Anne Marie DeLuise:
Didn’t you use the smoke to fake the atmospheric smoke?

Peter DeLuise:
Sometimes when we used atmospheric smoke and the ventilation being the way it was, everybody would get sort of sleepy, so we called it Snorko. It was Snorko. And everybody had Norcolepsy.

Anne Marie DeLuise:
And I went in there with a bad cold at the end of the season, coming off Higher Ground, and I was really struggling. I think I was on antihistamines and stuff. So, we have a couple of funny stories. Because we were reminiscing about the episode.

Peter DeLuise:
Just to finish that thought. We also had to drop dirt. We would have… There was a guy just there with a breadbasket or a bread tin of dirt. And it would go up and over his head and it would go, “Boom! Three, two, one, boom!” And they’d shake the camera, and the guy would go shake, shake, shake, and the dirt would come down.

Anne Marie DeLuise:
It was dust and…

Peter DeLuise:
When you go…

David Read:
They’re in the bunker. They’re trying to survive.

Peter DeLuise:
They had to do that. And then you wanted to tell the story about…

Anne Marie DeLuise:
There were two stories that we remembered.

Peter DeLuise:
Anne Marie was the lieutenant, the second in command.

David Read:
Farrell.

Peter DeLuise:
But there was yet another speaking character.

Anne Marie DeLuise:
So, then I had my little soldiers that I had to give instructions to at one point and there was a young actor who became a friend of ours over the years, Kyle Cassie. And so, because Peter was directing the episode…

Peter DeLuise:
Just a sweetheart. Very smart.

Anne Marie DeLuise:
Yeah. Good actor. He’s actually in Deadpool. He had a funny role in Deadpool.

Peter DeLuise:
He had almost no lines. So, audition was just, like, “Yes, sir,” or “The breeders are attacking again,” or whatever they said.

Anne Marie DeLuise:
“Move out!” He had something simple soldiery bland line. So, he was trying to make it interesting.

Peter DeLuise:
He’s tried something during the audition. Do you wanna do it or you want me to?

Anne Marie DeLuise:
No, no. You do it. He was there.

Peter DeLuise:
So, he said, “The enemy is attacking.” And your line was, “Move out!” “OK. Pingping. Mongmong. This way.” He made up some ridiculous alien sounding names, and said, “This way!” but did it absolutely serious. And Brad Wright and I, this is in the audition, threw our heads back, we were laughing, we thought that was just hilarious. Because what hutzpah, what moxie, to do that, to say to our faces these silly, silly alien names.

David Read:
And with a straight face.

Anne Marie DeLuise:
The second the door closed after him, they’re, like, “Let’s hire that guy.”

Peter DeLuise:
Because he was fun. He was having fun, and it was, like, “You gotta spend time with [somebody], it might as well be him.”

Anne Marie DeLuise:
Right. And he was willing to bring something. Peter and I have told that story. We’ve taught acting classes over the years, and we always tell that story to young actors as, when you say, “Bring something,” this is what we’re talking about.

Peter DeLuise:
Well, that never made the light of day. He didn’t say, “Pingping. Mongmong. This way.”

David Read:
But it got him in the door.

Peter DeLuise:
It made him memorable. He was a guy who filled in the blank, made fun or had some hutzpah. And he’s basically saying, in not so many words, “I’m fun to be around. I’m smart.”

Anne Marie DeLuise:
And the other story was… My character, Farrell, you did not see her demise in the script, on the page.

Peter DeLuise:
She just disappeared. All chaos breaks loose, and I was, like…

Anne Marie DeLuise:
We’re being attacked.

Peter DeLuise:
“My girlfriend’s part doesn’t have an ending. There is no curtain call. We don’t know what happens to her.”

Anne Marie DeLuise:
So, he decided to kill me. He decided to drop the giant rock on me.

Peter DeLuise:
Do you wanna act it out?

Anne Marie DeLuise:
No.

Peter DeLuise:
Come on, just get back there.

Anne Marie DeLuise:
What are you talking about? No. I’ll do it shitty. Sorry. I’ll do it bad today.

Peter DeLuise:
We’re allowed to swear a little bit, right?

David Read:
A little bit.

Peter DeLuise:
So, here’s how it went. Just lean back. So, I took a giant Styrofoam rock, and this is not scripted, and I said, “Just look…”

Anne Marie DeLuise:
He put me way behind it.

Peter DeLuise:
And I said, “Look up, and go ‘Aah!’” And then the rock came down. And she instantly understood what was required. She looked up like this and then dropped down, and I let this giant Styrofoam rock, not unlike the one in Wormhole X-Treme!…

David Read:
Right. At your brother. And Daniel’s character.

Peter DeLuise:
So, I was just off camera, looking at the onboard camera, and the forced perspective worked so well, because it looks bigger when it’s closer, and she went like this.

Anne Marie DeLuise:
And dropped it.

Peter DeLuise:
Everybody [who] was watching the monitor went, “Ooh!” And even I, who had done it, thought I had accidentally flung the rock in her direction, and it made contact with her.

Anne Marie DeLuise:
Because it was so good.

David Read:
She bought it.

Anne Marie DeLuise:
Perfect timing.

Peter DeLuise:
So that was a fun little, “Hey, now we get to see what happens to Farrell.” She was crushed by a giant Styrofoam rock.

David Read:
So, Anne Marie, did you have to ADR that scream, or was that on set? That’s a pretty vicious death.

Peter DeLuise:
I can vouch for her. She’s an excellent screamer.

Anne Marie DeLuise:
I’ve had to scream many times in movies. I don’t remember to be…

Peter DeLuise:
Sometimes, when I get out of line…

Anne Marie DeLuise:
“Look here, mister.” I can’t remember if I had to ADR, it or not. I know I probably yelled it on the day but there was a lot going on.

Peter DeLuise:
It’s possible. It was a long time ago. But when things like screaming, or if you’re shaking dust or dirt out of a thing, you’re gonna hear [sound]. So, a lot of the times, stuff is contaminated. I’m sure René had to ADR quite a bit of his screaming when he was chasing them out towards the Stargate because there was a lot of chaos going on then.

David Read:
Absolutely. So, when you’re shooting, you just accept the fact that there is… You don’t try to cut down ADR time on the day, right? Or do you try to preserve as much audio as you can at the expense of other activities on the screen? I’m curious.

Peter DeLuise:
So, the [industry] is, you have to know when to cut your losses. So, if there is too many special effects, those are practical effects that are happening on the set, and you just know you can’t do it without making that noise, that you just say, “This is as good as it’s gonna get.” Sometimes, as a compromise, you’ll stop the effects and just have them do what we call a wild line, in the actual environment, which gives you the best version of the sound because it’s in the actual chamber that the sound took place in. And then as a last resort, you go into the studio, and you say it right into the microphone.

Anne Marie DeLuise:
And if you’re outside and there’s a plane overhead, they’ll say, “Hold for the plane.” We wait a few seconds and then you go again.

Peter DeLuise:
Unless the planes are constant and you’re never gonna get your day. Then you just have to muscle through.

Anne Marie DeLuise:
Yeah. If you’re near the airport.

David Read:
Wow.

Peter DeLuise:
I know, right?

Anne Marie DeLuise:
Or if you’re right next to the fountain or running water.

Peter DeLuise:
Or waterfall.

David Read:
Or tram going by.

Peter DeLuise:
Why tram, as in elevated train that goes by the studio… Did you ever ask yourself why… I think, if you ever watched MacGyver, you’ll see that behind Richard Dean Anderson, there’s nobody, and then the person he’s talking to, there’s tons of people walking to and fro. It’s because they want Richard Dean Anderson to ADR less. So, having the noise back behind him, because he’s otherwise engaged because he’s number one on the call sheet, he’s gonna be having to be on camera all the time. So, there’s way less time for him to ADR. So, if you’re gonna preserve somebody’s sound it may as well be Richard Dean Anderson’s lines. Whereas the guest star is, presumably, gonna have some free time to do some ADR later.

David Read:
That makes a lot of sense, too. Robert Picardo always talked about, when he was on Voyager, he quickly learned not to close the tricorder while he was speaking. He would actually add a break and save himself ADR time.

Peter DeLuise:
Right, sir. I think that’s for a good idea.

David Read:
That’s it. Now, Anne Marie, is ADR built into your contract, that you gonna have to, in general, as an actor, I’m curious, that you’re gonna have to potentially come back and re-shoot that? How does that work?

Anne Marie DeLuise:
Well, it’s understood that if it’s required that you do it. It’s a part of the job. I’m sure it’s in the contract. I never see contracts. My agent just signs them for me. And it’s basically… Under Anion rules there’s just a particular hourly fee and the two-hour minimum. So even if you have one line, or 45 lines, you go in for a maximum of two hours. If it goes longer than that, then you get paid a little bit extra on an hourly rate.

David Read:
Well, I appreciate the clarific[ation]. That’s really cool. All the little movie magic things that have to take place in order to make these things work. But wild lines, that makes a lot of sense because you’re in the same sound space and it’s gonna sound better than producing it in a booth later on. Now, Peter, as a director, are you always there, sometimes there, or never there for the loops? The loop readings.

Peter DeLuise:
The answer is sometimes.

David Read:
OK. So, you have to have someone that you trust, who knows the content to be there to plug it in.

Peter DeLuise:
Yeah. The people who are supervising, they know way more than I’ll ever know about sound quality. So, if you’re in a cave environment, and you’re crowding the mic in the studio, and you say, “Look out,” they go, “Oh, can you just back off the mic?” And they also have a way of fixing the sound to it sounds like it’s in a chamber, or a rocky chamber, and they can adjust the size of the synthetic chamber that you voice is in. So, there’s a whole bunch of things they can do after the fact.

Anne Marie DeLuise:
And also, the post-production supervisor is usually hired for the whole show so they’re consistent and they’re always there when the actors come in to do ADR. And they understand about performance and making sure that it matches what was happening on the day.

Peter DeLuise:
So, if I’m prepping or shooting the next show, then I wouldn’t be able to go in. That wouldn’t be…

David Read:
I see.

Peter DeLuise:
We wouldn’t be able to do that.

David Read:
Where was that done? Was that done at Bridge? Was there a space? Or was that at, like, Sharpe Sound?

Peter DeLuise:
I can share this with you. There was a truck that did come onto the Bridge Studios to jelp make Richard Dean Anderson’s day feasible but that was not made available to all the actors. Many of the actors had to go to… I think it was Pinewood.

Anne Marie DeLuise:
Pinewood. Sharpe. There’s another one [inaudible].

Peter DeLuise:
There’s a bunch of in-house places that you can go to.

Anne Marie DeLuise:
There’s a four or five of them all around town.

David Read:
Well, it makes sense. If you only have an actor for a certain amount of time, you come to them if you can. That makes a lot of sense.

Anne Marie DeLuise:
Usually, the looping happens a couple weeks after. Once they’ve finished [and] they’ve locked the episode.

Peter DeLuise:
You’re not gonna fix sound that you’re not gonna use so you have to lock the episode. You say, “These are the exact frames that we’re gonna use and this is all the sound that we have available to us, and we cannot manufacture the correct sound from other takes.” That’s called stuffing, if you take sound from a different opportunity, on another take. Either another take or another angle. You could grab sound from another take and stuff it into their mouth. So, their mouth is making that… Whatever the lip flap is, you could take pre-recorded sound from a different take and stuff it into the mouth. And if you can’t make any of that work, then you have to come and have them re-voice their [lines]. Also, sometimes you’re re-voicing… Not re-voicing, but you’re adding information that was never there. So, if you cut a scene out, and you need vital information from a scene that’s now cut out, you have to add that information somehow. So, if there’s a shot of me and I’m saying something, and the shot of the reaction, when you don’t see my mouth moving, then even on the shot of my scene partner, I could be also still talking in a way that I could be adding information that was vital to the plot.

Anne Marie DeLuise:
Imagine a camera on the back of somebody’s head or back as they’re exiting a room. They can be throwing something over their shoulder by spea[king] but the actor never did it in the day. You could go in and add dialogue as they’re leaving, as long as you’re…

Peter DeLuise:
You’ve probably seen this before, David, where you’re looking at me and this person isn’t talking and yet their jaw is doing this, right?

David Read:
Right. Yeah. Using a separate take, for sure. Whatever to make the magic happen. Anne Marie, is your family in the industry as well or were you the first?

Anne Marie DeLuise:
I’m the first. But I’m very proud to say that my niece… Her name is Britt Loder. That was my maiden name. Loder. That was my name, actually, in this episode because we weren’t married yet.

Peter DeLuise:
Do you remember from… “Loder. Come in.”

David Read:
Absolutely. And then he gets knocked off by the Unas. Nice insert of the name.

Anne Marie DeLuise:
So, my niece, Britt Loder, she is 17 and a half. She expressed an interest, when she was about 8 or 9 years old, to start acting, and so I gave her some sides and ran some scenes with her, and I was, like, “Uh-oh. She could do this.” And so got her into some acting camps, and acting classes. She lives… I have two younger brothers. One lives in Newfoundland where I was born and raised, and the other lives just outside Halifax with his family. And he has two kids, and his daughter Britt is the actor. She did a few things. They moved briefly to Vancouver, so she did an episode of The Good Doctor and a TV movie, and then just last summer she did a really large supporting lead in a Hallmark Christmas movie called Christmas Island. And she’s beautiful and very tall, and she’s very talented. She actually just won the Nova Scotia Screen Award for that role in that movie.

David Read:
Wow. I’m gonna go and check [it out]. Christmas Island?

Anne Marie DeLuise:
Christmas Island, yes.

David Read:
I’ll go check this one out.

Anne Marie DeLuise:
With Andrew Walker and I can’t remember the other girl’s name but she was a standout. We coached her and went through the script with her because we just happened to be on vacation down there, visiting.

Peter DeLuise:
She’s really, really smart. Very intelligent.

Anne Marie DeLuise:
She’s very smart.

Peter DeLuise:
I’m pretty sure we’re all gonna be working for her pretty soon.

Anne Marie DeLuise:
She wants to be a director. She went around when she was 9 years old telling people she’s gonna become an actor so that she can become a director like her uncle Peter.

David Read:
Oh, that’s great. What I’m getting at is kind of…

Peter DeLuise:
It’s no history but we do have… It’s in the genes.

David Read:
Absolutely. What I’m getting at is kind of leading to a personal question. Peter, Hollywood family. Is there a lot of time spent alone when your partner is working on set 16, 17, 18 hours a day? Is that baked into the relationship like, “If you’re gonna go with me on this, if we’re gonna spend a life together, there’s gonna be a lot of time where you’re working [or] where I’m working. One of us is gonna have Jake and that’s it.”

Anne Marie DeLuise:
It’s so funny.

Peter DeLuise:
He was teeing up the story for the…

Anne Marie DeLuise:
Maybe that’s a trigger.

Peter DeLuise:
Is that why you’re doing that? You’re teeing up the story over here.

Anne Marie DeLuise:
Why am I making out with the bust of my husband’s head?

David Read:
Actually, that leads to other separate questions, but we’ll forego those for the first one.

Anne Marie DeLuise:
Let me see if I can answer this succinctly. There are some actors who say, “I could never be married to somebody in the industry.” And I’ve always found that very odd because when I dated other people outside the industry, they didn’t really get it, and go, “Well, how do I know if you’re acting with me in our relationship?” And I’m, like, “Because I don’t have a script, and you’re not paying me, and I don’t wanna exhaust myself by doing it.” Do you know what I mean, like, that weird thing. I, personally, like being with somebody in the industry because we both understand each other, we understand the hours. When I would call him and say… When he was shooting at the Bridge Studios, that’s 15 minutes from our house so that was easy. It was long hours and back then, early days when we had Jake, he was writing, directing and producing so when he wasn’t on set he was either prepping or in the office, writing, and at home nights and weekends 24/7. That went on for several years but it was just a part and parcel of it. We knew that we were sort of making hay while sunshine kind of thing. And that helped build our life together.

Peter DeLuise:
And it was a great opportunity which I was not in a position to say no to. Brad and Robert and Joe and Paul were such excellent mentors, I really did have to take advantage of that situation and learn. Getting paid to learn was an amazing opportunity.

Anne Marie DeLuise:
When Peter’s prepping, and now it’s all changed because of COVID, he preps from home. So, call it him yelling into his computer all day because he just preps sitting here, like this.

Peter DeLuise:
I’m using my outside voice when I’m talking to all the people.

Anne Marie DeLuise:
He thinks if talks like this they can’t hear him. I’m, like, “Here it goes. He’s yelling into his computer again.” When he’s gone… We both are very much introverted. We both like being at home. We both are very content to be alone. It’s only now, very recently, because our son has gone off to college, that we call ourselves bird launchers rather than empty nesters. Having had a lot of time where I’ve been completely alone, because even when he was away working, and when he’s shooting usually out in the Valley, he goes away Monday to Friday and then he comes home on the weekends. And so, I was always still in mom mode or auditioning mode or whatever. And we were very fortunate. My parents… My mom passed a couple of years ago but my parents just live around the corner and so, when we both ended up working at the same time, they were here to pick up the slack.

David Read:
That’s huge.

Anne Marie DeLuise:
It was humongous. I don’t think I would have had any career if my parents had not been here.

Peter DeLuise:
Takes a village.

David Read:
Absolutely.

Anne Marie DeLuise:
To answer your question, it feels really, really normal for us, and for me, for him to be working… And honestly, he’s so happy when he’s working because he loves being stimulated and having…

David Read:
Professionally.

Anne Marie DeLuise:
He’s making things. He’s creating. So, it’s just our normal.

David Read:
And it’s one of those things that John Smith reinforced to me, when we had the chance to have him on a couple of months ago, that it was very important for Stargate production, in particular, to maintain as much as possible a semblance of a 9 a.m. to 5 p.m. because otherwise… And he gave examples where people die early. They’re burning the candle at the both ends. And maintaining 9 a.m. to 5 p.m. allows, as much as possible, a production to run for 17 television seasons. Because they’re not exhausting themselves for two or three years.

Peter DeLuise:
That’s an interesting point. John’s right. Life expectancy of people who work on film and television is much shorter than average. I think because of long hours.

Anne Marie DeLuise:
Lack of sleep. And the conditions outside.

Peter DeLuise:
There’s certain amount of stress that’s going on. And I guess the food is not… The food is good but it’s not the best for you.

Anne Marie DeLuise:
It’s easy to snack on junk.

Peter DeLuise:
I forgot the point I was gonna make.

David Read:
9 a.m. to 5 p.m. [and] lack of sleep.

Peter DeLuise:
Right. So, Jim Menard, one of our DOPs, Director of Photography, there was one time in the script where it called for… He raised up his hand and he halted the concept meeting which is the first meeting we have for what are we gonna do this… The beginning of prep. And he said, “What does EXT.NIGHT,” exterior night, “what does that mean?”

Anne Marie DeLuise:
Who was that? John?

Peter DeLuise:
Jim Menard.

Anne Marie DeLuise:
Jim Menard.

Peter DeLuise:
The reason he said it was being completely and utterly sarcastic.

David Read:
It’s so rare.

Peter DeLuise:
Exterior night had been taken out of the script because of what you’re talking about and trying to keep your daytime hours. And if we did have nighttime, we would do it in… A lot of times we would do it in the studio.

David Read:
Interior night, because you can shoot it during the day.

Peter DeLuise:
Well, we could fake an exterior set. So, he was… Everybody had a big old laugh about that because there was no exterior night on the show.

David Read:
That’s a great sign for your production as well that they’re really trying to do everything they can to keep the families from pulling their hair up. How big is the production team when the show’s in production? Is it 100? 150?

Peter DeLuise:
There’s quite a lot of people. I can’t give you the exact number, but the unit got so large at one point that John Smith actually said that the two-handers, that’s scenes with only two people in them, became the domain of second unit. So, if you only had two people in a scene, then that was a lower priority than a scene… Which is a head scratcher there because you’re, like, “Wow. We have so many people that it doesn’t make sense to do a two-hander scene.” And the other thing was…

Anne Marie DeLuise:
I’m gonna let the dog out of the crate. Sorry, our dog [inaudible].

Peter DeLuise:
Our dog is wanting some attention.

David Read:
Absolutely. Love dogs.

Peter DeLuise:
[Dog’s name] is Rowdy. Do you wanna show them Rowdy?

David Read:
Love to see dog.

Peter DeLuise:
Come here. Rowdy, come here. Rowdy is a labradoodle and he’s…

David Read:
Rodney. Come here, Rodney.

Peter DeLuise:
Rowdy. R. O. W. D. Y.

David Read:
Rowdy. I see tail.

Anne Marie DeLuise:
Oh, my goodness.

David Read:
He is gorgeous.

Anne Marie DeLuise:
Come here. Look and say hi. What’s this? Right here.

David Read:
Hi Rowdy, how are you doing? Are you a good boy? Oh, love dad. Yes. How old is Rowdy?

Peter DeLuise:
He’s 6. He’ll be 7 soon.

David Read:
I bet Jake misses him.

Peter DeLuise:
He does.

Anne Marie DeLuise:
For sure.

David Read:
Is he in town? Is he nearby?

Peter DeLuise:
Jake’s…

Anne Marie DeLuise:
In the States.

Peter DeLuise:
He’s in the States. He’s in his… He’s just finished his second year. He wants to be a game designer. Isn’t that cool?

David Read:
That’s a hard job. I worked with them on Stargate Worlds. That is a hard job, man. And hard as much as competitive. That is not an easy industry to crack. It’s not for everybody.

Anne Marie DeLuise:
That’s great. Thanks, David.

Peter DeLuise:
Thanks, David.

David Read:
My point is, if he can pull it off, he’s got it.

Anne Marie DeLuise:
This kid has been designing games since he could walk and talk so there’s nothing [else] that he wanted to do.

Peter DeLuise:
He loves board games. Always got… What do we got there? Let me grab some of those over here. This is… Next time he comes home we’ll do Exit, escape room in a box. This is a murder mystery [game] Cold Case.

Anne Marie DeLuise:
In a box.

David Read:
Wow. That’s great. Board game family.

Anne Marie DeLuise:
Here’s a little bit of interesting for you. Escape rooms. That’s our hobby. That’s what we love.

Peter DeLuise:
Love them.

Anne Marie DeLuise:
We’ve done over 100 escape rooms.

David Read:
Wow. Anne Marie, six years later you came back for SG-1 episode called Bounty.

Peter DeLuise:
Nice transition.

David Read:
And I wanna double check here. This episode… In Season Nine, there was a reference that Cameron Mitchell, played by Ben Browder, made to an old fling in high school by the name of Amy Vanderburg, “You mean there’s a reality out there where I got together with Amy Vanderburg?” And we see her in this episode played by you. Did you audition for her or was this an offer?

Anne Marie DeLuise:
No, I auditioned. OK. I don’t know. Stargate never offered me anything. I auditioned for it.

Peter DeLuise:
But what were the requirements?

Anne Marie DeLuise:
I don’t remember much about it.

Peter DeLuise:
You needed to have the qualities that somebody that Cam’s character…

Anne Marie DeLuise:
Would be attracted to.

Peter DeLuise:
Would pine for. So, she had to not just be a good-looking person but…

Anne Marie DeLuise:
Smart.

Peter DeLuise:
And charismatic and have all the qualities that we hoped that your hero would appreciate in the woman. If you were shallow and vapid, he would look foolish for liking you.

Anne Marie DeLuise:
Exactly.

David Read:
Absolutely. This was basically done in high school gymnasium. What do you remember about this episode?

Anne Marie DeLuise:
I had a blast doing this one. I actually had more fun doing this one.

David Read:
Not playing a white supremacist.

Anne Marie DeLuise:
Yeah, exactly. That helped. And not having the dust and sinus infection and all that stuff. But no, because it was fun and flirty, and I got to…

Peter DeLuise:
You got to make out with Ben Browder.

Anne Marie DeLuise:
Oh my God. That’s hilarious. So, my… I might have met Ben, like, shake his hand, “Hi, nice to meet you,” like, for three seconds on a visit. Because I would visit the Stargate set maybe once or twice a year. I’d bring Jake. Anyway, I may have met him or might have just seen him across the studio or something. But basically, when I actually really, really met him was the kissing scene, so I literally…

David Read:
At the farm.

Peter DeLuise:
It was scheduled first.

Anne Marie DeLuise:
That was my very first scene on that episode.

David Read:
Of course it is.

Anne Marie DeLuise:
It was, like, “Hi, nice to meet you. Yeah, I’m Anna Marie, Peter’s wife. Hi. OK.” And then Peter’s, like, “OK, guys. You’re standing right here and then you do your talkie talkie talkie, and then…”

Peter DeLuise:
He talked about the noses.

Anne Marie DeLuise:
“Kissie, kissie, kissie.”

Peter DeLuise:
Whose nose is gonna be on which side.

Anne Marie DeLuise:
On the front, and all that.

Peter DeLuise:
He almost got to figure out the noses.

Anne Marie DeLuise:
It was so funny because Ben was feeling very awkward and uncomfortable about kissing Peter’s…

David Read:
Producer’s wife.

Anne Marie DeLuise:
And director. So that was really… It was funny but I just had to kind of whisper to him and say, “Dude, just go for it. He’s fine. He’s the least jealous man I’ve ever met.”

Peter DeLuise:
It was hot.

David Read:
It looked good together.

Peter DeLuise:
Yeah. And she’s such a good kisser, I knew it was gonna come out.

Anne Marie DeLuise:
It was a sweet scene, and I just kind of gave Ben permission to just relax. And then Peter, of course, was so funny. What was it you then said? We finished the scene, we had kissed enough, and it was supposed to, like, “OK. And we’re out,” and Peter just, “Let’s the camera roll,” so we’re still kissing [and] kissing. And then Peter’s, like, “OK now, give her a little bit of tongue,” or whatever. And then Ben and I are, like, flipping off the camera.

Peter DeLuise:
Flipping the bird.

Anne Marie DeLuise:
So, it lightened it up for everybody. Because I think a lot of people were, like, “How’s Peter gonna feel about this?” And so, we had to make it OK.

Peter DeLuise:
Everyone was so concerned about my feelings. I’m so flattered.

David Read:
Well, yeah, because you’re a human being, and humans can get jealous, even unintentionally.

Anne Marie DeLuise:
He had already directed me kissing Joe Lando on Higher Ground before that.

Peter DeLuise:
Ben Browder was just another notch in your belt.

Anne Marie DeLuise:
My actor belt. My onscreen belt.

David Read:
I love this episode. One of my… This is gonna sound so shallow. David Lovgren played Darrell, his best friend, and one of my favorite lines from his episode, “She looked back, and she looks good.”

Peter DeLuise:
Do you remember that wasn’t in the thing?

Anne Marie DeLuise:
No. I remember that there was a lot of fun.

Peter DeLuise:
So, I had it in my head and I said, “You know that there’s feelings there if he comes back.”

David Read:
Yeah, he does. He’s his best friend from high school.

Peter DeLuise:
“So, you have to walk away,” and then David Lovgren is being a lookout for you. And you did look back, “And she looked back.” And so, I was trying to let audience know that the feelings were reciprocated. Not in the script but tons of fun. Also, it created chemistry between Cam and David Lovgren’s character.

David Read:
Of course. These guys have known each other for years.

Peter DeLuise:
He was the consummate wingman.

David Read:
Absolutely. Everyone’s gotta have someone watching their back. Especially in a relationship… Especially when you know… This is the guy that you’ve known since you were kids. He really has feelings for this person, and it didn’t work out the first time around. And it turns out that she’s a divorcee so there’s a chance… I think… When I had Ben on a little while back, I think [he] made it pretty clear that I don’t think they left it at that. I hope that they didn’t. I hope that they found each other again. Because at the very least, she recognized from the circumstances of the episode the importance of what it is that he does. She may not know the details of it, but she knows that it’s a job and someone’s gotta do it and it should be him. It’s a good scene.

Anne Marie DeLuise:
So, David, what did Ben say about that episode?

David Read:
Go watch it. It was a live show.

Anne Marie DeLuise:
I’m gonna have to.

David Read:
He enjoyed it. Absolutely. Ben’s a good guy. Ben’s a really good guy.

Anne Marie DeLuise:
A sweetheart.

David Read:
But also, I love the episode because it puts Claudia in an awkward position.

Anne Marie DeLuise:
What was that Vala said about me?

David Read:
As the alien going through all the tropes of the high school reunion.

Anne Marie DeLuise:
But she didn’t think much about Amy. What did she think? That I was beige or bland or something.

Peter DeLuise:
Cure for insomnia.

Anne Marie DeLuise:
Oh yeah, she said… That was a horrible line.

Peter DeLuise:
She was playing a scoundrel. She was a bad girl.

David Read:
It’s Vala. Vala doesn’t like anybody.

Anne Marie DeLuise:
She was just threatened by Amy.

Peter DeLuise:
And she was dressed as Dorothy to facilitate The Wizard of Oz theme again.

David Read:
Did you put her in the Dorothy outfit for the country stuff?

Peter DeLuise:
That wasn’t up to me. I think it just happened, and I was, like, “Oh, there it is again.” Another tip of the hat to The Wizard of Oz.

David Read:
I love that scene. “Where is it that you work?” “Accounts. Receivable. Click, click.” She’s a badass.

Anne Marie DeLuise:
She was, right. She was actually breastfeeding at that point. She had a new baby.

David Read:
Odin.

Anne Marie DeLuise:
She was step into her trailer to pump every so often. And David Lovgren, I haven’t seen him in so many years, but he was so fun. And Jackie Blackmore, she was another one at the high school.

Peter DeLuise:
So funny.

Anne Marie DeLuise:
She was awesome.

Peter DeLuise:
She’s great.

David Read:
As Jackie.

Peter DeLuise:
And the fellow who played Ben’s father. Ian.

Anne Marie DeLuise:
Ian Robison is actually younger than Ben, and he was playing his dad.

Peter DeLuise:
In real life. They just aged him up a little bit.

Anne Marie DeLuise:
And they gave him a cane or a walking stick.

David Read:
Well, the thing was, he was already established in a previous episode, I think in Season Nine, as the actor, so it made sense not to recast but to just age him. And he looks… Structural[ly], there’s similarities there. So, when you’ve got a great actor, especially with…

Peter DeLuise:
Ian is an excellent actor. And there was a resemblance there, too, which is an [inaudible].

Anne Marie DeLuise:
And Mike Dopud is a sweetheart. He’s a friend. I’ve worked with him several times. So, it was just a hoot. It was, like, the gang’s all here. It was really fun.

David Read:
He plays bad so good. He played so many different bad guys on that show, and then when they brought him in for Varro… I know, like, contracts and… It made sense to me that it was that guy that joined up with the Lucian Alliance. I had wish that they had just done Odai Ventrell for the show but instead they created a new character, which is fine. But I loved his character. You watch the Universe, [and] I loved his arc in Season Two where he just started to recognize the things that were really important when the rubber really meets the road, and you’re out there hanging off the edge of the universe. Good guy, really good guy.

Anne Marie DeLuise:
Sweetheart.

Peter DeLuise:
And he’s been through so much in real life. I think he was a professional hockey player at one point. He was even in Rollerball. The remake of Rollerball. He is a tough, tough guy. And his early on-screen stuff was stunts. He’s just…

Anne Marie DeLuise:
He was in Ace of Hearts with me. He was the bad guy. I did a movie with Dean Cane.

Peter DeLuise:
He’s had a really, really good run. He’s a sweetheart. He’s really laid-back, really pleasant to be around.

David Read:
You can see the good ones, who the good ones are, because they’re constantly getting the work, because people enjoy working with them. I have completely lost track of the time. I have fan questions. Can you guys stick around for a little bit longer?

Anne Marie DeLuise:
Sure.

David Read:
Or do you have to go?

Anne Marie DeLuise:
What time is it? Oh no, we’re good.

David Read:
OK. Lockwatcher. I have not reviewed these so let’s see if I can review them in real time. Lockwatcher, “Question for David and Anne.” David and Anne? Peter and Anne. Come on, guys.

Peter DeLuise:
Maybe it’s a question to you, David.

David Read:
“David, his brothers, his father Dom were always so funny. How were family gatherings with the DeLuise family?” Anne Marie?

Anne Marie DeLuise:
Three ring circus. A lot of improv games. Loud. A lot of laughing. One of the things that when I first started dating Peter, when I first went to LA to meet the family, he said, “Just so you know, you gotta contribute.” I’m, like, “What do you mean?” He’s, like, “You can’t just sit there and answer questions with yes and no. They’re gonna ask you to say grace or make a speech. You gotta speak up.” And his dad had a rule that if somebody… Because they would have these crazy big dinner parties. And you never knew who was gonna be there. And it was just boisterous and loud and really fun. And he said, “So and so, that new guy, he came, and he didn’t talk. We tried to engage him, and he got to enjoy all the fun and everything, but he didn’t say anything so he’s out.”

Peter DeLuise:
“You’re out.”

David Read:
Didn’t bring anything to the table.

Anne Marie DeLuise:
Exactly.

Peter DeLuise:
He didn’t speak. He didn’t contribute. You gotta sing for yourself.

Anne Marie DeLuise:
And so, when Peter said this, he said, “You gotta talk to them,” whatever, “You gotta speak up.” I said, “Dude. Parents love me. I’m good. We’re good.”

Peter DeLuise:
Anne Marie is not a shrinking violet. So, she… Yeah, you were great.

David Read:
I had Live with Regis and Kelly on once, and Regis said, “Yeah, I went out with Dom DeLuise last night.” I can only imagine the people that came through that door that you met.

Anne Marie DeLuise:
Well, you never knew who was gonna be in the kitchen when you walked in.

David Read:
Absolutely. Tracy, my moderator, “Anne Marie, I read that you are from Saint John’s, Newfoundland. Do you and your family get to visit the…” Is it Martimes [sic!] or Maritimes?

Anne Marie DeLuise:
Maritimes.

David Read:
“…Maritimes very often,” Tracy, you misspelled it, “and if so, where is your favorite place to go?”

Anne Marie DeLuise:
I’m gonna give a little education lesson. So, the Maritimes is actually Nova Scotia, New Brunswick and Prince Edward Island so, Newfoundland and Labrador where I grew up is not a Maritime province but it’s an Atlantic province. So, the Atlantic provinces, it’s four of them, include the Maritimes and Newfoundland and Labrador. Where do I…? For a long time, I would go home, I could still call it home, to St. John’s, on average once every couple of years. Or maybe once a year for a period of time. And then there were big stretches where I didn’t go back. The only… I have my one brother who lives there, and he does have a live-in girlfriend but doesn’t have any kids. And I do have a lot… I have, like, 41 first cousins.

Peter DeLuise:
We don’t know what’s causing it.

Anne Marie DeLuise:
Catholicism and no birth control back in the day. That’s what caused it.

David Read:
Long, dark winters.

Anne Marie DeLuise:
Yeah, exactly. And not much to do. But I love going back to St. John’s. I do have several really close girlfriends from university. I did a Bachelor of Commerce degree before I became an actor, and so I have some close friends back there that I would like to see more often. But it’s a long haul. It’s a good eight and a half hours in the air, and that’s not including a stopover in either Toronto or Montreal to get there. So, it’s a long way to go. If you’re gonna go, you go for a period of time.

Peter DeLuise:
And get the kosher meal. It’s always better.

Anne Marie DeLuise:
But my other brother lives in Halifax, and I do enjoy going there because of the kids and we do a lot of fun things. I like both Halifax and St. John’s.

David Read:
Did your parents follow you out to the West Coast?

Anne Marie DeLuise:
They did. My baby brother and I were in a race to have the first grandchild and we beat them by four weeks. So, we won grandparents.

David Read:
I lived out West for years. My folks just weren’t doing it. It’s too much stuff to move. So, I knew if I was ever gonna be near them again, I would have to come back. So, I’m in Nashville.

Anne Marie DeLuise:
Nashville. Oh, wow, cool.

David Read:
I’m three hours from them, which is just a perfect distance. No drop pop-ins. No “Saw your light was on.” Absolutely. I never asked this of you, Peter. Krisztian Unpronounceable says, that’s literally what it says, “What was it like working with Johnny Depp” in 21 Jump Street? Have you bumped into him since? I’ve never asked you about Johnny Depp.

Peter DeLuise:
Johnny Depp replaced Jeff Yagher on the show so that he started off in an unenviable situation, and then quickly became the face of the Fox lineup. His face and name were being used to promote the whole Fox lineup. He was always really intuitive, really smart actor, and I think he resented the situation that he was in where he was being set up as a teen idol. And he wanted to do profoundly deeper, more important, socially relevant work. So, he was struggling between doing what I think he would have described as a kid show and more important… During off season he was being asked to do bigger and bigger films for huge paydays and getting to work some really big-name actors and very skilled, talented actors.

Anne Marie DeLuise:
And directors.

Peter DeLuise:
And directors. Right, of course. So, he was obligated to stay on the show because he had a contract, but he was also seeing… HE was also being pulled in that direction because he was such a talented guy. Ironically, he was quite shy. So, when he was playing a different person who wasn’t himself, he was amazing. But also, what I’ve described as that scenario, he was somewhat tortured. I didn’t really blame him for wanting to be on the bigger, better shows, and so when he took off like a rocket, that didn’t surprise me. I just thought he was so talented that nothing was gonna stop him. So, he’s smart and good-looking and so, what was it like to work with him? He was really smart and fiercely, fiercely loyal. An amazingly loyal friend. Everyone around him who had that bond knew that that was unbreakable.

David Read:
Do you ever communicate with him?

Peter DeLuise:
I only… The short answer, no. The one time that we did end up doing something together was the movie remake. The Jonah Hill remake. And we did those cameos. And one of his conditions was… He said, “I will be on the show under these conditions. You have to kill my character, and I want Peter DeLuise there.” So, I’m eternally grateful to him for making that a condition of his employment. So, it was a great opportunity to hang out with him.

David Read:
Was it the same character or different character in the movie?

Peter DeLuise:
We were reprising our roles.

David Read:
OK. Sorry, Anne Marie.

Peter DeLuise:
In the movie. And they were not credited because it was supposed to be a surprise.

Anne Marie DeLuise:
I went with Peter for that week that he was there and met Johnny the very, very long day that they shot with him. And we had a very long dinner with him the night before, and he was absolutely lovely. Very kind. Just spoke so highly of other people and he was just lovely. The other… To answer your question, he did reach out when Peter’s dad died.

Peter DeLuise:
That’s true.

Anne Marie DeLuise:
And also, there was another time he was in Vancouver after Heath Ledger passed away. He and several other actors took over the role in The Imaginarium of Doctor Parnassus. And so Johnny reached out and Peter went over to the set to visit and hung out with him for a few hours back then. It was near here.

David Read:
That’s awesome.

Anne Marie DeLuise:
So he does reach out once in a blue moon but it’s not, like, regular contact or anything. [inaudible]

David Read:
There are few actors that, when I’m watching, absolutely recede into the character, and sometimes when you just turn something on, it’s, like, “Oh, that’s Johnny Depp. I don’t recognize him.” Just absolutely disappears into the role. And him, Helena Bonham Carter, there are few that’s, like, “Where do they go? Who is this thing that’s coming out?” And part of it is makeup but wow. For sure. Phoenix… No, let me move to another one here. Paul Brickler & Hundetuem, “Question for you both. What do you love doing outdoors in Vancouver?”

Anne Marie DeLuise:
Hiking. Yup. Hiking, hiking, hiking.

David Read:
Does the dog enjoy it?

Anne Marie DeLuise:
Yeah.

Peter DeLuise:
The dog loves it.

Anne Marie DeLuise:
That’s where I’m going right now after this. I’m meeting a girlfriend to go for a hike with Rowdy.

Peter DeLuise:
Anne Marie calls it hiking, I call it chafing. [inaudible]

Anne Marie DeLuise:
We actually just did a five-day…

Peter DeLuise:
We do it together.

Anne Marie DeLuise:
We did a five-day guided hiking trip to Utah just a few weeks ago.

David Read:
Great. Arches? Zion?

Peter DeLuise:
Zion.

Anne Marie DeLuise:
Zion. Bryce Canyon.

David Read:
Moab.

Anne Marie DeLuise:
Canyonlands. What’s the other…? The Capitol Reef. It was amazing.

David Read:
Great area. Absolutely great area.

Anne Marie DeLuise:
Amazing.

David Read:
Absolutely. You guys, this has been terrific having you. Anne Marie, really appreciate you taking the time coming on and…

Anne Marie DeLuise:
My pleasure.

David Read:
Sharing a little of your life. Peter, you know, man, I love you so much. I really appreciate you. You continue to support me in this project so, it means everything to have you both for a little while. Thank you for spending some time with me today.

Peter DeLuise:
Thank you, David.

Anne Marie DeLuise:
Thank you for having us.

Peter DeLuise:
And thank you for inviting Anne Marie and including her. That was very sweet of you. And thank you for doing this, documenting all of our experiences in regard to Stargate, and having the verbal history being recorded is quite special and…

David Read:
Absolutely.

Peter DeLuise:
I’m grateful to you for it. And please give my best to your parents.

David Read:
I will. I will do. They’re poking around here somewhere. They’re here this weekend. Thanks so much guys. Anne Marie, I really appreciate you. You were always one of my favorites.

Anne Marie DeLuise:
Oh my gosh. Thank you, this is so sweet.

David Read:
This is… I didn’t wanna to be awkward, like, “I really want your wife to come on.”

Peter DeLuise:
I feel a kissing scene coming on.

David Read:
Oh my God. If only. No. I appreciate you guys. Thank you so much. You take care.

Peter DeLuise:
Thank you, David.

Anne Marie DeLuise:
Thank you.

David Read:
Anne Marie DeLuise and Peter DeLuise. Really appreciate you all tuning in. If you enjoy what you’re seeing, please hit Like. It really makes a difference with the show and will continue to help us grow our audience. Please also consider sharing this video with a Stargate friend, and if you wanna get notified about future episodes, click Subscribe, and giving the bell icon a click will notify you, so you’ll know the moment a new video drops, and you’ll get my notifications of any last minute guest changes. And clips from this live stream will be release over the course of the next few weeks on both Dial the Gate and the GateWorld.net YouTube channels. Thank you to my wonderful moderating team, everyone involved and everyone in front of, or behind the scenes, I should say, to get the show up and running. We’re back with Armin Shimerman in 50 minutes join us then. My name is David Read for Dial the Gate, and I will see you on the other side.