We are thrilled to be welcomed by Sharon Simms, actor and stunt double for Amanda Tapping, to share the process of bringing Samantha Carter to life in some extraordinary stunts in SG-1 and Atlantis!

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TRANSCRIPT
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David Read:
Welcome back, everyone to Episode 431 of Dial the Gate: The Stargate Oral History Project. My name is David Read. I appreciate you joining me for this episode. Samanda Carter, Amanda Tapping, man, what a hell of a way to start off, Sharon. How are you?

Sharon Simms:
Good. I’m good. How are you?

David Read:
I am well. Samantha Carter is not made by one person. Her words come from someone else. Her face comes from someone else. Her rigorous activity comes from someone else. It’s very easy for us to get into the mindset that Amanda Tapping is Samantha Carter. She is Samantha Carter, but also you are Samantha Carter as well. Her double for how many seasons of SG-1 and Atlantis?

Sharon Simms:
A lot. Here and there, pockets. I had a little break myself with kids and family, but for the most part.

David Read:
Wow.

Sharon Simms:
Quite a few of these seasons. I actually printed them out, so I was looking at them going, “Wow, that’s a lot.”

David Read:
I can’t wait. All right. This is a live broadcast, everyone. So, we’ve got Sharon with us on the YouTube live feed. If you want to submit a question to her, you can do so through Lockwatcher. He’s in the chat right now taking questions. So, the fact of the matter is, I haven’t had the pleasure of a ton of stunt personnel on the show. I’ve had Dan Shea. Thank you, Dan, for connecting us, by the way. I’ve had Bam Bam, who has gone on to be a director in his own right. There’s so much that goes into this process, and it is not a role for the faint-hearted. It’s for someone who is more hardy. What made you go, “I wanna have the crap beat out of myself for a living?” Where did the kernel come from, Sharon? I’m very interested to find out.

Sharon Simms:
It’s funny because everyone always asks that, and it’s probably one thing for boys and one thing for girls. But growing up, I had an older brother that I completely idolized. So I’m the youngest of four, and there’s three girls and one boy. I just wanted to do everything that he was doing. And in order to do that, I had to do stuff with him. So, I picked up dirt biking. I spent a lot of time BMXing, probably every weekend when I was 12 to 15, driving from Ottawa to Kingston with my parents in the big, long station wagon with the bikes loaded up.

David Read:
BMXing?

Sharon Simms:
BMXing, and then he taught me how to dirt bike. Having lots of variety, I think, was what it was, for a female, being able to do lots of different things. And then that’s when I started to go, “OK.” I moved to BC, saw lots of the trucks and movie sets out there. Pre-COVID, you could go and knock on the door of these sets and bring your resume safely, or get a look at who’s coordinating, read the list, look at the name, and I saw Dan Shea. Knock on the– “Is Dan Shea around? I wanna give him my resume,” and by probably the 10th or 15th resume that pretty much looked the same. I didn’t have any credits, so it was just photos. It was photos of me doing a BMX trick or riding a dirt bike. That, I think, helped. So, he’s like, “OK,” and my height and my size was very unique, so I think he just gave me a chance.

David Read:
Was this Stargate?

Sharon Simms:
It was Stargate.

David Read:
It was your first gig?

Sharon Simms:
No, my first stunt was with Bam Bam, which was so funny, on this other show. And then Dan– I had moved here from Ontario, and then I was going out to volunteer. I remember I was on Stargate volunteering to move mats and pads with two other stunt people. And it was the crappiest day. It was pouring rain. There were huge port-a-pits that we needed to move around, and we were there for 14 hours with Dan. He’s like, “Move them over there. Nope, move them over there. Nope, move them over there.” So, he kind of like, “OK, she really wants to do this.” And I think just being around him and seeing my size, and it matched Amanda, and that’s when he decided to give me my first chance. But Bam Bam gave me my first chance, and in order to vet me, he brought me to this gym, and he beat the crap out of me to see if I could do it. And every time I got up, got up, got up, he’s like, “OK.” And then it just sort of rolled. It’s kind of funny.

David Read:
And you probably enjoyed nearly every second of it.

Sharon Simms:
Yeah, pretty much. It was great.

David Read:
You know how to have a good time, don’t you?

Sharon Simms:
Yeah, totally.

David Read:
That’s funny.

Sharon Simms:
But for Amanda, she had such short hair for Carter.

David Read:
Yes.

Sharon Simms:
It was very, very short. I have a lot of hair. I think it’s just a lot of, everyone to make a movie, it’s a team effort, and however you can help, whether it’s hair or makeup or anything. So, I was very helpful, “What can I do to help de-puff this?” But I really wanted the chance, so I slicked back my hair and put it in a bun, and helped. It’s like, “This is gonna work.”

David Read:
So, they didn’t have you cut it?

Sharon Simms:
No. They asked, but I had lots of advice. It’s interesting because when you’re new as a performer, lots of jobs, you wanna do everything right away. You wanna give up everything, your time, and say yes to everything. You really have to think about, “OK, I really want this, and I will do anything for it.” But you have the older people that you can talk to about it and say, “No, long-term, if you are wanting to do this, if you cut it, you’ll pinhole yourself without having your hair to double other people.” So it was good advice.

David Read:
You have to have something left of yourself to give for the next project.

Sharon Simms:
Yeah, you do. I think that comes with everything. It’s a balance.

David Read:
So, what season was this that you started off on?

Sharon Simms:
Oh, God.

David Read:
Bam Bam was already there.

Sharon Simms:
It was Dan Shea that hired me. I arrived in Vancouver…

David Read:
When was that, the beginning?

Sharon Simms:
Probably ’99. So, I guess Season Two? Even Season One.

David Read:
You were on the show before Bam Bam was on the show?

Sharon Simms:
If Dan Shea was first.

David Read:
Dan Shea was on the pilot.

Sharon Simms:
I didn’t know he was on the pilot.

David Read:
1999 was Season Two of SG-1.

Sharon Simms:
I think I came at the end of Season One.

David Read:
So, you were a part of this thing for nearly the entire run for Carter?

Sharon Simms:
A long time, then I have two daughters. And I had the first one in 2009. I stepped away for that. And then the second one was 2012.

David Read:
2009, that was Universe.

Sharon Simms:
And I was there when Amanda had her daughter.

David Read:
Olivia.

Sharon Simms:
Yeah. Which was so amazing.

David Read:
Absolutely. Did you go on to work with them on Sanctuary?

Sharon Simms:
I went on to work with them with Sanctuary, yes, and a little bit of Atlantis.

David Read:
Got it. But SG-1 mostly.

Sharon Simms:
Mostly SG-1.

David Read:
She was in Season Four of Atlantis for that season, a very, very notable episode that I suspect you were a part of, called “Trio.” They were in a Genii mine. And it was an episode that ran well over budget, was designed to be a cost-cutting episode. But there’s a lot of– Let’s break this character down for you, and your relationship with Amanda and everything else. What kind of a person is Carter to you? When you’re looking at who this is, and when you compute Amanda, and when you compute the text and how your approach is to it. Amanda and I haven’t had a chance to meet on Dial the Gate yet. It’s been a while since we’ve spoken. I’m very interested. Who is this character, as far as you’re concerned? Because you’re not just executing the more intense visuals, as far as Carter is concerned. You’re embodying that character for that moment in time.

Sharon Simms:
She’s very… She’s very athletic, and she wasn’t, “I can’t.” The character wasn’t like, “Oh, I can’t do–” She was very strong. Capable is the word. So, it was that balance, “OK, what can actually Amanda do for Carter, to get her into it, to feel confident and embody the confident Carter? And then what do we need to make sure that it’s obviously safe?” And she’s fun and relaxed as well, so she’s not too stiff. So, it was a lot. I would always try to talk to Amanda, and say, “How do you wanna play this? How do you want it to look?” I remember what you were talking about, the episode where they found the mine. ‘Cause we’re in a big field, and then we fall into it, basically. That was super cool. And Amanda, we’ll get into that later, just an incredible person. I really enjoyed being able to have that relationship with her, where I could talk to her about how she wants it to look, mostly athletic and confident, and that she was very capable. I think part of our job as a stunt performer is that it’s not just the actual stunt. A lot of it is what people don’t always like: the lead-up and the after, in order for the editing. How can I match Amanda leading up to it so she runs strong? And doing that piece to cut it well, and then rolling out of something Amanda’s gotta be able to do, and she can. We were very trusting, and we had a very good working relationship, which I really like.

David Read:
She’s very collaborative.

Sharon Simms:
She can laugh at herself, so if she– Sometimes a lot of things, you need to go, OK, step with the left and then the right in order to sort of match it, or you’re carrying the gun in the right hand. If she does a misstep, she laughs first at it and wants you to go for it again. So, it’s neat. It’s asking her, “Would you realistically be able to do a full sort of turn to lean into it or tuck or to roll out of it.” That kind of stuff, what would Carter– She’s confident, she’s good with a gun, she’s got all those qualities, so working with her to make sure that it looks how she wants it to basically.

David Read:
We talked a little bit about BMX. What is your athletic background? Do you have any martial arts experience? Are there any specific areas that you developed, or have honed to get you prepared for basically a number of these physical tasks? Is there anything specific that you are known for?

Sharon Simms:
See, I was not a fighter growing up at all. I had to go in for training for that. When I moved here, I would always find the training. Erna Jackson had a gym. All the stunt people would go and do it together, so I would take the time to learn the sticks and basic hand combat. But it doesn’t come naturally to me. I’m sort of tall and gangly, but I love motorcycles, dirt bikes, gymnastics, that kind of thing, and I feel like, when I was getting into it, a lot of people were saying, “The more you can do and keep yourself more broad, the better.” I thought that was really good. And we always had people that were super handy, like Bam Bam obviously, and Dan, great with fighting, so together, we would sort of walk Amanda through the steps. But again, the role of Carter, she wasn’t this very specific military– It worked out really well. It really did.

David Read:
I’ve gotta ask. Do you still ride?

Sharon Simms:
Yeah, a ton. I sold my street bike because just with kids is weird, and then dirt biking, I recently sold it. Actually, it’s kind of funny how things come around, because I just had a stunt job BMXing at the age of my age now, when I was 12, so it was pretty cool. It was …

David Read:
Wow.

Sharon Simms:
… a fun little gig. I was doing this BMX race on camera, and it had to look like I couldn’t keep up, so I was like, “Well, that’s too difficult.” ‘Cause everyone else was 20 and I was older, so it was pretty funny. But it was cool. ‘Cause I sent it to my brother, and I was like, “You got me– You basically inspired me.” That was neat for him.

David Read:
That is wild. I have a Yamaha Super Ténéré that I love very much.

Sharon Simms:
Nice. Wow. OK.

David Read:
I have been riding for a long time. I imagine that continuity is something that you really have to keep your eyes open for from one take to the next. But I’m also assuming that there are people on set to assist you with that process. Am I right?

Sharon Simms:
Yeah. But it just makes you a better performer. You could be over at crafty or sitting in your trailer until it’s time for you to come up, but that’s not how I ever wanted to operate. I learned from sort of the best and try to keep following that. With the doubling stuff, you wanna make sure of what’s the scene before, how is she holding her gun, how is she running, what foot does she start off with? And again, talking with them, how they want it to look, all that. It’s all-encompassing.

David Read:
How often were you firing the weapons? Or was that always Amanda on camera?

Sharon Simms:
No. We had the armorer, Rob Fournier, and his team. They’re so good. I don’t know if you’ve had him on here.

David Read:
Twice, three times.

Sharon Simms:
He’s so good. I grew up with them, with all the stunties and Rob, so I was in DC5 with his original company and then learned all the tactical stuff and worked with them. And I see him out on set still now, and I think he’s hoping to go on the movie.

David Read:
For Stargate?

Sharon Simms:
Yeah, he would love– I’m sure a lot of us would love to go. Remember it.

David Read:
There are only a handful of people, particularly in his field, who can pull this off. It’s one of those frustrating things that I know especially in my audience, we were all really hoping for Vancouver to be the home for this next–

Sharon Simms:
That would’ve been–

David Read:
I know. But–

Sharon Simms:
That would’ve been so good.

David Read:
They’ve got a master plan, and I’m hoping they’ll bring a few over, but we’re gonna have to see.

Sharon Simms:
It’ll be so interesting. Obviously you have all the plastic guns and things, and then there were so many times where we were out in those fields running through the fields and explosions go off, and that was so fun, remembering that with the guns, having the plastic, making sure it’s on your right hip, you’re not landing on it. It was such a good memory. Everyone always asks me as a stunt performer, “What’s your favorite? What’s your funnest? What’s–” And this one was so much fun, and also I think it’ll be a great memory for me with the crew and the cast and getting to know Amanda, and also that it was my first real show.

David Read:
What is Amanda Tapping like? How freely could you feel coming to her and getting input or making a suggestion, or how was she to work with on the day-to-day?

Sharon Simms:
She was the best. I feel really lucky. I think I probably am where I am today because I just look up to a female that was in the role that she was as an actor. Again, you said collaborating. I could knock on her trailer and say, “Hey, here’s some stunt pads. You wanna put these under?” And she was so– And it was vice versa. It wasn’t, “Oh, you’re just the double,” or “I want to do it, I can do it all.” Or some people sit in the trailer, they’re like, “Sure, you can do it,” and they don’t even come out, so you can’t really work with them. And then it went on with Amanda, which was amazing, being a friend, and then she went on to direct other shows. She put my name in for my first coordinating job with her for Motherland and Rhys.

David Read:
Wow.

Sharon Simms:
And then seeing her in the role as a mom was– And being able to juggle it all, I think that’s what we need as females to see, that you don’t have your kids and it stops. You can still be working, trying to …

David Read:
You can.

Sharon Simms:
… do what you love, be behind the camera, be on camera. She has so many– She’s amazing.

David Read:
Absolutely amazing. Every accolade that she gets, she deserves. I have a shot that I want to run by you, I want to know if you were here for this. Let me switch this over here real quick so you can see. Give me just a second. It just dawned on me that you’re not gonna have that. OK, here we go. Does this ring any bells? This is …

Sharon Simms:
Funny.

David Read:
… one of the most– This is perhaps, I think, the longest action sequence in SG-1. This is from “Heroes.”

Sharon Simms:
That was amazing.

David Read:
Andy Mikita. And it’s one of those sequences that you have to wonder how they got that on a TV budget, where you got …

Sharon Simms:
I loved it.

David Read:
… all these players going on here.

Sharon Simms:
This is what’s so funny is that when I told you earlier that that is my memory of Stargate, this type of sequence. It’s always outside in the grass, running, things blowing up, people going everywhere, rocks, fake rocks that look like they’re a million pounds but you can lift it up and throw it.

David Read:
There’s so much happening in this shot. How much preparation is involved in something like that? How many chances do you get to have at it before it’s photographed, typically? Or is it always different?

Sharon Simms:
It’s always different also. At that specific time, I was so new, so I was following my one job. But now that I’ve been doing this for over 20 years, I know looking back that there was so much going on. The coordinator, it’s a lot to make sure everyone’s where they need to be, doing their stunt that’s on camera, not missing it, doing it in the wrong spot. And the special effects, you gotta work with them a lot. This is gonna be going off here, be safe over there. It’s a big day. So, when you get home and it all goes well, you’re really happy when everyone’s high-fiving and clapping after. I think that’s why some people get such a rush, and it’s such a team effort.

David Read:
I have had an interesting couple of conversations with Dan and Bam Bam regarding the rush, as you call it. You have to watch out for people who don’t have a safety mindset, who get off on the thrill of this and want to go in and do something for the sake of doing it, or something similar. And I’m curious if you’ve ever– Although I suppose by the time they get to where you are on set and everything else that’s far less likely. But have you ever been in a situation, not to name names or anything like that, where you’re like, “You know what? This doesn’t feel safe to me. I’m not crazy about this situation that I’m in,” and how do you handle that?

Sharon Simms:
Yes, that’s a big question. That again, it sort of ties back into what I was saying about when you’re a new stunt performer, you’ll say yes to all these things and you want to prove yourself. So it all ties in with that, not just whether you’ll cut your hair or not. It’s what will you do, what won’t? Because there’s so much going on, it’s a big question. If you say yes to one thing, it doesn’t really help your stunt community, because if you do it maybe you shouldn’t. That way it protects everybody. I’ve been in those situations. And you just have to work together as a team with your coordinator, ’cause if they’re asking you to do something that doesn’t seem right, you have to have a voice. I think the main thing before you even get into that position, if the coordinator says they want to hire you for this and they tell you what it is, you have to be honest with yourself. Can you do that? Are you gonna show up on the day and you’ve lied to yourself that you want the day, but you should’ve maybe passed on it because you’re not 100% or you haven’t practiced it enough, you’re not ready? It’s a lot different when you get to set, even with cars and things. And you really have to be confident and know that you’ve practiced it. There’s a little bit of a funny story to that too, because when you are new we have this debate going on with some of the coordinators and the performers. When they call you and they say, “Are you available on this day?” people just say, no, you have to say yes, you’re available, or no. You don’t say, “What’s the stunt?” Because there are two ways to think about it. Maybe some people think you want to know what the stunt is so you can bring all of your gear that you might need. Because what you would bring for a driving day would be different for a high fall. But some people are like, “Well if you’re such a professional you just bring all your stuff anyway to every stunt,” which is also very true. So, if you’re capable across all avenues you bring it all and you’re ready for anything. But now we’re joking ’cause as we get older we’re like, “Is it day or is it night?” We probably wanna be in bed at 9:30 now. That’s the running joke. But it is true.

David Read:
Are you saying that if you do ask what’s the stunt, there’s a possibility that they’re gonna move on to someone else?

Sharon Simms:
No. You’re not saying, “What is it?” It’s a valid question. And lots of coordinators don’t think anything of it. But I was talking to some of the more experienced ones when I was younger. “What’s the best way to ask? Should I ask what it is so I can bring more gear?” And also, like I said earlier, to know whether I can actually do it and feel confident. It just goes both ways. More sort of a running joke. Should you ask? But you definitely wanna know what you’re doing.

David Read:
Am I getting wet?

Sharon Simms:
How you can do it.

David Read:
There’s all kinds of …

Sharon Simms:
Do I need my wetsuit?

David Read:
… practical situations. Do I need a change of clothes, for heaven’s sake?

Sharon Simms:
There are.

David Read:
Gosh.

Sharon Simms:
We do ask. We say, “What do I get to do?” or, “What do you need? What should I bring?” Those are all good questions. But it just goes back to what I was saying. When someone asks if you’re available, you wanna say yes to everything. And it goes along with the safety, what you’re saying. Getting details isn’t a bad thing.

David Read:
How transparent, and maybe you can’t speak to this. Maybe you have none. In terms of the industry, how transparent should you be on phobias?

Sharon Simms:
It varies.

David Read:
Like, “I have a serious problem with heights.” Or, “I have a terrible fear of drowning.” That these things apply.

Sharon Simms:
100%. For example, I was on Snakes on a Plane. They’re getting a bunch of people to be on the plane. And if you have a fear of snakes, you might wanna mention that. Because there will be real snakes on the plane. Again, they’ll just say yes ’cause you want the days, and then have a panic attack sitting on the plane. That kind of stuff. Or spiders. I don’t know. How good are you with tarantulas? That kind of thing.

David Read:
I don’t know. Let me know when I meet one.

Sharon Simms:
Totally.

David Read:
And I’ll tell you.

Sharon Simms:
But they’re all good questions. It’s important.

David Read:
I’m curious, Sharon. Have you– And you don’t have to answer, or you can noodle it when we talk and come back to it later. And if things come up to you, let me know.

Sharon Simms:
I will.

David Read:
Have you ever gone for something like, “Man, I don’t know if I shoulda taken this,” and you get to the end of that day and it was like, “That was hard, but I did it. I got through that.” Or you conquered a fear or approached something that you had, like, “I don’t know if I’m gonna be able to pull the– I think I can, I think I have it in me, but I’m not sure until I get out there.”

Sharon Simms:
Yeah. I think that’s a great question because the coordinator is 100% confident in you. ‘Cause it’s a lot of things. It’s a mix. Are they competent on set? Do they work well with the crew? Are they gonna be helpful on set? Those little things. When the coordinator called you, they’re confident already in those types of things. And they’re confident that you know your level of what you can do. But there’s also that they’re confident you know where you can push yourself and wanna try it, and where you shouldn’t. So, it really comes down to the performer being honest with what they can do. I’ve been in the position where if someone says that you can do something, like I said, doing it on camera, in a small space, with crew around is completely different. Sure, you can go and ride a motorcycle in the open area on a street or on a trail. But the second you’re in a confined area with people not paying attention, and you need to be able to ride slower and be able to maneuver around things and people, and have your head up for someone, a bogey or something, that kind of thing. It’s another level. So, saying you can do something is a lot different than can you do it on set. And can you do it 10 times if they need you to? ‘Cause sure, I could do one thing once. But trust me. You’re gonna have to do it more than one time.

David Read:
I guess I’m asking for specific examples, if you can …

Sharon Simms:
I have a specific example.

David Read:
… recall things you have conquered. Give us a couple of juicy details.

Sharon Simms:
You’re so funny. I went to Western University, and I played soccer for them for five, six years. So that’s how I moved out to BC. I got asked out for this team out here, and so I was in Vancouver. Wow, this is so amazing. But when I was at Western, I had a friend that was on the rowing team, and I went down and we would go and she showed me how to get into the boat and all that. And I did it. I did it in those tippy, tippy sculls. And she showed me it’s a two-person one. We played around with it. It was fun, early mornings. And then in return I would kick the ball around with her on the soccer field and stuff, ’cause she always wanted to play more soccer. And then in the end, I got a call up to see if I could do this rowing job doubling Rebecca Romijn. And so, I was like, “Yeah, I can row.” And then my stomach was in a knot the whole day. But again, I knew I could do it, but I was nervous for it. Because, again, on camera it’s different. It could be choppy and could be windy.

David Read:
Were you rowing alone?

Sharon Simms:
Yeah, I was.

David Read:
Wow.

Sharon Simms:
I was. Everything went amazing, and I was super thrilled and I was really happy. But I had a lump in my stomach.

David Read:
It went sideways.

Sharon Simms:
It coulda gone sideways, and if I fall in, hair, wig, reset. I could not do that. Also, I have to look like a professional rower, because that was her role. You gotta embody, like you were saying, the role of that character. She was a rower when she was younger. She’s out early in the morning. She can’t look really bad. So, I had a lump in my stomach. It wasn’t that I couldn’t do it, it was that I was gonna let someone down.

David Read:
Exactly right. There are few more awful feelings for me than not being there when I’m expected, in whatever capacity that is.

Sharon Simms:
That’s exactly …

David Read:
Whether it be …

Sharon Simms:
… what it is.

David Read:
… punctuality, or in a task, or something, it’s like you’ve failed. And you’ve got a hundred and fifty people waiting on you to nail it.

Sharon Simms:
Waiting on you.

David Read:
And on top of that, Rebecca Romijn wants to come off lookin’ good. There’s a little bit of an unsung hero quality to that as well. Because you are supposed to be invisible.

Sharon Simms:
Some people pride themselves on being a good athlete, and I also pride myself on being humble, quite humble. Not cocky.

David Read:
No.

Sharon Simms:
I took it and then I was humbly after saying, “OK, this pushed me to the corner.” And then he goes, “Ah, I can tell.” ‘Cause I was nervous. So, it went well. Like I said, even if you fail or you do your best or whatever, you’re gonna learn something from it. So, I learned a lot that day. A lot. Don’t push yourself. That’s not the time to do it. I did go out a bunch before the day, down to the Vancouver Rowing Club, and I did a bunch of– I did the work to be able to do it. But again, we pride ourselves on being able to do it so well and so efficiently on set. You’re doing it for someone else when you’re doubling someone.

David Read:
That’s what they’re paying you for.

Sharon Simms:
Exactly. You get some days that you’re an ND stunt person, where you’re playing yourself, and you do your best job. Whereas, then there’s a position where you’re stunt doubling. So, you need to be proficient in that when you’re stunt doubling, and proficient as an ND stunt person when you’re playing yourself. You really only have yourself to disappoint when you’re doing an ND stunt. But really, when you’re doubling someone, it’s a bigger pressure, a lot more.

David Read:
Is ND non-double?

Sharon Simms:
It’s a nondescript stunt.

David Read:
Nondescri–

Sharon Simms:
Like a–

David Read:
So, you’re not playing yourself, you are playing an unnamed character.

Sharon Simms:
Exactly. You’re a woman who gets her purse stolen.

David Read:
That’s fun.

Sharon Simms:
That is fun.

David Read:
I’ve got a few fan questions coming in for ya. PhilippeCanat: “How badly have you been injured?”

Sharon Simms:
I love that question.

David Read:
If you’re willing to share.

Sharon Simms:
I am. I worked on a show– I guess I was doing stunts for about five to eight years or so. I was super nervous about this the whole week. I did all the lead-up of this fight scene on a huge earth mover. Have you seen those trucks? They’re massive. They’ve got a landing on the– They’re at the mining– You see it on the way to Squamish. On the right-hand side, there’s a huge earth mover. It’s basically a giant dump truck.

David Read:
It’s been a while since I’ve been to Squamish.

Sharon Simms:
The mining, they carry all the dirt …

David Read:
Hang on …

Sharon Simms:
… but they’re huge.

David Read:
… a second here. I want to get the exact one right. Hang on a moment. I apologize.

Sharon Simms:
Glad you’re doing all the screen sharing.

David Read:
OK. Here we go. Hang on a second here. Which one of these lovely orange creations were you dealing with?

Sharon Simms:
Ooh. None.

David Read:
What did it most look like … ah, not great. Sorry.

Sharon Simms:
The very middle one, sort of. I can’t even explain it. It’s huge. That one, but it had a platform on the front, and it’s massive. I can’t even tell you …

David Read:
Wow. OK.

Sharon Simms:
… how high it is. It’s really big.

David Read:
Common dump truck.

Sharon Simms:
We were on a platform– It’s not a common one. Think of the biggest dump truck for mining. On the front, there’s a platform. So, we do this fight scene on the platform while it’s moving. Yes, the dump truck’s moving. We’ve got these two SUVs that are trying to drive up the side of the dump truck and someone from the SUV is jumping onto the dump truck because they’re trying to get us off the dump truck. We’re trying to take over the dump truck, basically. The two characters that we’re doubling are having this fight scene on the front of the dump truck. We’ve got a lot going on. Someone’s jumping from the SUV onto the dump truck, and then we hear that the dump truck’s gonna blow, so we need to jump off. And it was the last scene of that episode, and we talked about, “Oh, we’re gonna try to do it a different way.” But it’s in the books, and I thought, “Ugh.” I was so nervous. And this is the situation where myself and the other stunt double, you can’t not jump. ‘Cause if they go, you’ve basically screwed up the shot. And they could get hurt. So, you both gotta go. You’re committing.

David Read:
‘Cause in the story, this thing’s gonna explode.

Sharon Simms:
It’s gonna explode. So, the dump truck’s barreling along, probably– It’s huge, so it can only go so fast. But we’re in sort of Abbotsford, and the ground is like cement because these trucks have been going over it back and forth. That’s what they do all day long. So, it feels like cement even though it’s like dirt. It’s compact. We have to do it. We have to jump off. It’s so high. It’s 15 feet high. It’s crazy, and we’re moving, so they call, “Action.”

David Read:
How fast would you estimate you’re going?

Sharon Simms:
We were going 15 kilometers an hour, but the problem is, it wasn’t a stunt person driving that could hold a pace. They have to have a certain license for it. Anyways, we knew we could do it, and we were confident. Everything was looking amazing. The drivers were doing great. The guy jumped out of the SUV onto the dump truck. Anyways, we have to jump. Three, two, one, action, and we both go for it, and when I hit the cement, I basically fractured both my ankles. And we tried to match by rolling, and I roll a half roll, and the other double knows that really hurt. So, he comes over to try to match the scene a bit, and then we cut, and I have to get someone to carry my bags home, and it wasn’t good.

David Read:
Did the camera capture the landing? That was on purpose?

Sharon Simms:
Everything looked good. They kept it. It’s in the show. It’s actually on my demo reel for my own memory.

David Read:
Do you remember the show?

Sharon Simms:
That wasn’t fun. I do. I probably shouldn’t say.

David Read:
OK. Go check out the demo reel.

Sharon Simms:
It was awesome. Go check out the demo reel. That was one of my hardest stunts.

David Read:
And that was one take?

Sharon Simms:
I went for it. One take. It was one take, and three, two, one, we just jump. And you can’t jump low. You know how you can sometimes cut the difference between the height, and sort of one foot off and drop low? We had to jump so it looked good. Because it was on the sides. We needed to show some air. I think what I proved that day was a commitment to my coworker/stunt performer, ’cause we both said we’re both going for it.

David Read:
I love to go to baseball games. I don’t watch sports on TV, but I’ll go to a baseball game at the drop of a hat. And when they slide into base, every time they do it, a switch goes off in my head that says, “I would not do that for you, David. That’s not happening.” I cannot imagine the circuit that flips that says, “I’m going to dive face-first into a plate.”

Sharon Simms:
Exactly.

David Read:
Not happening.

Sharon Simms:
Not happening.

David Read:
And there has to be, perhaps you can speak to this a little bit on a lizard brain–way deep inside of there–level, a switch that you just have to throw. “I’m gonna go for this, and it’s going to hurt, and it may put me out of commission for a while, and I may do serious damage to myself.”

Sharon Simms:
I can’t say what it is because I had a daughter at home, so I think that was my big thing. But that question from your fan was a good one. It was good to go back in memory, but before kids, I think you just don’t have that switch. So, I was asked to do a 250-foot decelerator off a building in Surrey, and it was wild. You’re 250 feet high, and you’re on a wire, and you have to go backwards, and the system was–

David Read:
That’s a ratchet pull?

Sharon Simms:
No, it was a decelerator where you get lowered down with the– It looks like I’m falling down the side of the building, really high. And again, it was outside, windy day, have to be super confident. I was nervous, but I knew it was gonna go great, and I knew it was gonna be so much fun, but still pretty scary. But again, I think I didn’t have that– I was on my own. I was a young kid, didn’t have a family yet, and went for it. I guess I trusted the riggers and everything. But then, as you get older and you have kids, you think, “OK, this–” You start to think about the what ifs a lot more.

David Read:
What if I’m not gonna see my grandkids?

Sharon Simms:
Or I can’t afford to be hurt right now.

David Read:
No instances of–

Sharon Simms:
Or playing out the…

David Read:
Playing out the…?

Sharon Simms:
Playing out the– OK, if– Even people doing–I haven’t done one–but basically a car roll. Your body is gonna be very sore after, and it’s gonna be super cool, but are you OK to be sore, go to physio, and have a hurt back for a couple weeks? You have a different mindset.

David Read:
You have to. You’re just …

Sharon Simms:
You have to.

David Read:
… you’re made of strong stuff. I forget the name of the stuntman. Forgive me. Maybe the chat knows, but it’s on the SGU Blu-rays. Special features for Cloverdale, and he’s doubling for Brian J. Smith, who played Matthew Scott in Universe, and he– There’s a car roll. He goes onto the hood, and he doesn’t complete the roll, and he gets hurt.

Sharon Simms:
Ow.

David Read:
And they edited it in such a way that they were able to cut to the interior of the car, so you get the glass effect and everything else. But the side shot, he didn’t go up completely onto the car, and part of the car struck him– He’s on the hood, but he doesn’t make it the whole way, and he was OK, but he also had to get help. And it’s one of those where it’s like, “Did we get the shot?” “We got the shot.” “OK. Ow.”

Sharon Simms:
I know. Unfortunately, a little bit indisposable, in a way. You put your best effort, you stay with the show. But if you do get hurt, they have to finish it. They have to put someone else in.

David Read:
Brent Connolly.

Sharon Simms:
Sometimes, you–

David Read:
Thank you, Antony Rowling.

Sharon Simms:
You just feel like, “Oh, I did all that, but then, OK, next.” But it’s part of the job. It’s part of the job.

David Read:
Absolutely. Man.

Sharon Simms:
Connolly, that’s so good.

David Read:
How big is that team up there? If I mention that name, it’s like, “I see them every once in a while,” or, “I have no idea who that is. I’ve heard of them, but otherwise, I’ve not worked with them.”

Sharon Simms:
No.

David Read:
Vancouver’s a big pool now.

Sharon Simms:
It is a big pool. There was a time where lots of people got in, and then, when it gets slower, that pool gets back to the same crew again, and then, when it gets busy, it gets bigger again. So, that’s just all how it goes, but Brent and I are in Stunts Canada together, so that’s a bit of a smaller group. And then, you just know people you’ve been working with and trust and count on for that long, and you have a long resume. A lot of times, if you’re coordinating and you move into that position, what I like about that role is– Any position, if you have a question about something that you’re not quite confident about, I could pick up the phone and ask so many people that would gladly help you either understand how to coordinate or who the best person to call, and then, when you are coordinating, if you do hire the best of the best, your day is gonna go a lot smoother, and that’s when it’s fun.

David Read:
Man. There’s so much involved here to pull this off. Lockwatcher wanted to know what the extent of your work was with Brad Wright on Travelers. Great show.

Sharon Simms:
Travelers.

David Read:
Underrated show.

Sharon Simms:
Yes.

David Read:
I loved it.

Sharon Simms:
Yes. That’s right. I think I was probably on something else during that time. What year was that? Wait. Because I always go by 2009 and 2020.

David Read:
Sorry, if that came up, I assumed that you were in it. I apologize.

Sharon Simms:
No, I’m trying to think what year that was, ’cause I had a short break.

David Read:
It aired from the fall of ’16 to spring of ’19. So, that timeframe there.

Sharon Simms:
OK. Again, there was a few years there was a lot of things going on and shows. And if you got stuck on one, you didn’t–

David Read:
There’s so much overlap there, for sure, and it’s one of those situations, especially, I would think, in your industry, where if you know someone who can do the job, part of me would be like, “Do I really wanna take a chance on an unknown?” If I have a bird in the hand, you want to bring in people that you can rely on and trust, who can do the work, and you can be confident will be straight with you.

Sharon Simms:
That’s what I was saying is you learn very quickly that if you have the right person professionally, and can physically do it, then it will just go so much smoother. Again, it goes with the level, as well, let’s say you have, OK, just a driver that can go A to B or do your slides. Is there someone that can finesse it and add to it and make it look even cooler for the director? That’s when you’re getting to an even better level. Sure, we can do what the director wants, which is a sliding 90, but can we make it more pizzazzy? That’s what’s gonna– I think that’s the part that you start to have a lot more fun, and people are getting more than they expected and didn’t know that you could do that, but being able to express that you could offer, not that you’re trying to take away the job of the director and take away his vision, but if he doesn’t really know that someone capable of doing something bigger or more cool for him gets more value out of that, I think that’s cool. That’s when it gets really fun.

David Read:
Are there instances where you’re executing or wanna execute something with a certain move or maneuver or a certain jump, a certain stance, and the director’s like, “Well, I want you to do it this way,” and physically, it feels weird, but you look at the take after and are like, “Yeah. That was the right call.” But if it was actually me in that situation, I wouldn’t do it that way, nor does it make sense to do it that way, but the camera is watching and the camera is why we’re doing it.

Sharon Simms:
I think that happens a lot in the fight scenes and things. So, I couldn’t really speak to that. I’ve done those things. Some little things, if you’re holding something, it is awkward for the double, but for camera, you definitely can try to contort your body to make it happen, those kinds of things, for sure. I think of the basic level or correcting things, like if this double is running and she runs kind of funny, but you got the stunt double that’s this Olympic sprinter. You have to actually tone it down and match. There’s always a running joke with the stunt people that right before they’re gonna go, the coordinator will be like, “OK, hey, don’t F it up,” or, “Don’t suck.”

David Read:
That’s the thing, but then you look at the script and it’s like, “This character does what for a living?” I’m pretending to be that. I guess that all comes down to communication and prep.

Sharon Simms:
But the joke is, you’re nervous already and you’re ready to go, and they’re about to call three, two, one. And the coordinator’s like, “Hey, don’t screw it up.” As a joke, I won’t, but I had someone that was–

David Read:
Putting that out there in the universe.

Sharon Simms:
A girl that’s an Olympic karate or judo, and she’s doubling someone, and in this situation, make it less awesome, ’cause it had to look messy. But she’s so strong and such an Olympic athlete as a double. You’re running frantic, you’re through the snow. Don’t be so good at it. Slip once and throw a fall in. So, it’s all playing with it. It’s fun when you can communicate that with a director and get them more than they want.

David Read:
How often do you– Let me put a pin in that one and come back to it. I think that this has been a criticism that I have heard from Air Force folks and military folks, is that for Carter, for her age, for her to have both training in theoretical astrophysics and to be an Air Force pilot who flew in the Persian Gulf. She’s kind of perfect. It’s not that she’s perfect, but it’s not impossible that a person like her would exist, but it’s very unlikely. So, the point is that you are playing a role for a person that is designed to be an example for people to aspire to be. Not necessarily to be a one-to-one person who could actually exist, and there has to be some room for play there. And you’re a part of making that happen. You’re a part of making that process occur.

Sharon Simms:
I was thinking of it totally on a different level of– And I don’t think this is the right answer, but this is the way I think of it too. And, again, it’s another topic. It’s just that, sure, let’s just use Amanda. Amanda has a stunt double, but we also don’t want to take away from that understanding that Amanda can actually do it. That’s one of the things, is you want to make sure it’s inspiring for kids, or women, or it would be a “you can be anything you want to be” type thing. When I was getting into it, they were still using maybe a guy to double a girl quickly in a car. And it started to evolve. And it’s so important that it does, because now, it’s so neat to have. OK, sure, Amanda had a stunt double, but it was for safety. She’s capable. So, we had that fine line of, Amanda did as much as she could, but if it stalled the show, we’d put the stunt double in. And then, again, the stunt double is a girl, very similar. Two very capable females to get this accomplished. So, you wanna say you have a double, but it’s not that it’s not inspiring. It’s doable. I know it’s probably not along the lines of what you’re saying…

David Read:
It’s kind of next door to it, though. But it’s perfect that you bring this up, because HorizontalHarmonics wants to know, if you could go back into this and kind of thread this again, how is it decided whether an actor or a double should perform a stunt?

Sharon Simms:
That’s a great–

David Read:
How do you feel that out?

Sharon Simms:
That’s a really good question, because, like I said, some of them really want to do it, some don’t. I think what it comes down to is, if there was potential for Amanda to twist an ankle or get hurt, you just don’t want that. It will stall. You can’t shoot all of the locations you have, and all the scheduling just comes to a screeching halt. So, I think for the most part, it’s really the coordinator picking out what are the hazards, what could potentially go wrong. And it could be anything. Did you see that clip that you had? If Amanda was running through the field, we always can pick something up at the very end, her coming out of the field, just for safety. ‘Cause if she were to twist an ankle, like I said, it’s not fun for everyone.

David Read:
No.

Sharon Simms:
So you get to see for both the actress–

David Read:
You’ve got Wray Douglas blowing things left and right. He’s having a heyday in the effects truck over there, and just–

Sharon Simms:
Totally.

Sharon Simms:
So, that’s a good question, and it is a little bit of the actor, it’s a bit of the stunt double communicating with the coordinator and director, all saying, “What?” And production. Some productions are like, “No, no. Not happening.” And some are like, “Oh, how much of Amanda can we get?”

David Read:
I’m curious, not necessarily specifically you. We always hear, “Tom Cruise loves to do his own stunts.” But he’s also– I mean, imagine the insurance policy that they have to have on him for this movie in the event that he dies doing XYZ. I always get the impression that an actor wants to do as many of their own stunts as they can. Where does that leave the double feeling? I mean, it’s like, this is why I’m here. I’d like to get utilized. Or are most of you guys, if you wanna go for this, all the more power to you. Where does your ego fall, I guess is what I’m asking, Sharon. Do you have to shove it to the side? Where is that push-pull continuum?

Sharon Simms:
That’s, gosh, another great question. It’s not about us, so that’s where the line is sort of. It’s not about us. So if someone’s coming there, they’re gonna feel bad because they get you. That’s ego. You just have to remember you’re there for the actor, for them to feel comfortable, for them to do as much as possible. You might not work, but that’s OK. Some of the days you show up and you don’t get in, and some you do. Again, you’re really there to help them, to make it all work for everyone.

David Read:
Williamarends wants to go back to “Trio,” the episode in the mine. I should have rewatched the episode. I have not. It’s been a while since I’ve seen it.

Sharon Simms:
Should have I?

David Read:
But apparently it does include a high-level fall in “Trio.” So was that likely you?

Sharon Simms:
Yeah, the boxes? I think I come in and–

David Read:
That’s right, the boxes.

Sharon Simms:
Yeah, that was me.

David Read:
With the knife bar trick.

Sharon Simms:
I have that on my demo reel, if it’s the same one we’re talking. But I was on– Some of them you’re on a wire as well. So, I was assisted, the boxes and she falls, and then I’m on a wire. That’s a decelerator on a small level. So decelerate down, kind of slow right to the last second. Then I pretend that she hurts her ankle, I think, and then she’s gotta, on the show, hobble for the next one. If that’s the same one I’m thinking of, yeah. So, we can play with a lot. I know it must be hard for fans and people watching because, like I said, it’s all the fine line of you want them to believe that we are not superheroes, but we’re human and we can do these things to inspire, but we also wanna keep it safe. So, there are things in the background like riggers and special effects. At the end of the day, when we get that high that you’re talking about, it all went well, we all high five each other, and that’s the rush. It’s the rush for the team. The special effects went off at the right time. The performer timed it well. It’s such a group effort. I think that’s the rush.

David Read:
How often do you go back and watch your work, and how many performers are you aware of who go back and look for ways to improve themselves on camera from a technical perspective to try and improve their craft, or is it for a lot of you, “It’s in the can, I never wanna see it again?”

Sharon Simms:
That’s so funny.

David Read:
“I don’t have enough time.”

Sharon Simms:
Yeah, I know. You have such good questions. I’m a visual learner and I actually need to see what I’ve done. So usually when I do one, I’ll run behind camera, Dan knows this. I’ll run and I’ll watch playback. I’m like, “Oh, I know,” because I can visualize what I need to quickly fix, even if they’re like, “Oh, that was done.” I’m like, “Oh, I can give you one more,” because I can see what I want to fix. And I think a lot of performers are constantly doing that. Nowadays you can pre-vis things, so you pre-vis a fight and you go over it meticulously. I think that’s innate in all of us. We just wanna see, we wanna correct, we wanna fix, we wanna make sure. Even when the director gets it, we want one more maybe to make it even better, whether they have time or not. So, I think that’s a big part of it.

David Read:
Any experiences with safety glass?

Sharon Simms:
I think for a while I was the glass person because on my reels …

David Read:
Tell me more.

Sharon Simms:
… going through that glass, going through that glass. And like you said, I do go back and watch a lot of these things because it brings back such a good memory. But they’re playing a lot on Netflix because I did a lot. I think that’s why some of these little pockets– I did a lot on Smallville, and they’re reshowing. So they’re on Netflix now. My daughter’s into Smallville, which is so funny because I doubled Erica. It would be neat if they brought back Stargate or something, because they’re just great shows, and I just feel like generations need to go back to.

David Read:
We’re going into a whole era where retro TV is becoming TV again. I want to take everyone to your website for a moment, if I may.

Sharon Simms:
Go ahead.

David Read:
And this is at simmsational.com, which there’s a link in the description below. I’m assuming this is your reel …

Sharon Simms:
Yes.

David Read:
… here. Can we take a look at a few of your– Woo. Sorry there.

Sharon Simms:
Gotta do the decelerator.

David Read:
Wow. Decelerator. Oh man. Glass.

David Read:
There it is, right there.

Sharon Simms:
That’s me walking through the air.

David Read:
That’s it.

David Read:
Geez.

Sharon Simms:
So good. I’m on a wire for one, for a couple.

David Read:
And they just paint that out?

Sharon Simms:
Yeah.

David Read:
Man, everything about this is rigged to go and you just fall. Before you hit the ground, it’s designed to reduce speed and stop.

Sharon Simms:
Correct. I still hit the ground, but just lighter, not hurt your ankles one.

David Read:
For sure. OK. Wow.

Sharon Simms:
This has been replayed. That has been replayed so many times. I get kicked by Don Lew. They thought I was on wires, everyone. They replay it once a year.

David Read:
Is it the one in flame or this one here?

Sharon Simms:
It’s coming up here. This one. It’s the noise. Watch, I’m standing.

David Read:
Ooh. Through the glass.

Sharon Simms:
He kicks me right out there.

David Read:
Did you feel that one?

Sharon Simms:
Yeah. I did, but I didn’t. It was fine. I felt fine.

David Read:
There we go. Are you the person in the air here?

Sharon Simms:
I am, but that was CGI with the …

David Read:
Obviously.

Sharon Simms:
… with the blades and all the– Obviously. I’m just saying, if you go back …

David Read:
You’re still with me, Sharon.

Sharon Simms:
… and time the timing of it– I don’t know if I go first. It wasn’t supposed to be engulfing me.

David Read:
Man, there’s the other part of that. Wow.

Sharon Simms:
Angle. Continuum. More glass.

David Read:
I have not seen it. I’ve heard it’s good.

Sharon Simms:
It’s good. That was good.

David Read:
Were you in the car?

Sharon Simms:
There’s my jump.

David Read:
OK, let’s have a look.

Sharon Simms:
Yeah, I’m in the car. I’m actually in the passenger side of the car.

David Read:
OK. Over here. So, this is the dump truck right here?

Sharon Simms:
No. That’s the one. We went for it. Whoa.

David Read:
Wow. Ouch. Did you hear it crack?

Sharon Simms:
Yeah. I knew, ’cause the cement was so hard. I wish you could see the dump truck.

David Read:
Ah, I see enough.

Sharon Simms:
She’s the Man.

David Read:
Man.

Sharon Simms:
She’s the Man was fun.

David Read:
OK. Nice dress. Soccer field.

Sharon Simms:
That was good. On the wire.

David Read:
Is this a dream sequence? Wow, OK.

Sharon Simms:
I’m on a wire.

David Read:
Man. Ooh, down hard, girl.

Sharon Simms:
That was good. Just dropped me.

David Read:
How do you do that? The wind’s gonna get knocked out of you. I imagine it’s similar to if you’re going to fall, there’s a certain way that you fall.

Sharon Simms:
Yeah, a break fall.

David Read:
So that you don’t come away with permanent damage.

Sharon Simms:
So, you can keep working.

David Read:
Exactly. Man, I don’t wanna go through all of it, but …

Sharon Simms:
It’s too fun.

David Read:
… these are really just–

Sharon Simms:
That was good. I’m wearing deer legs attached to my– There’s more glass.

David Read:
Why are you wearing deer legs?

Sharon Simms:
Because I’m a half deer, I’m one of those– What are those called? Where your body is a deer and you just use the legs. What is that?

David Read:
Not like a centaur, but–

Sharon Simms:
Like a– So, we had these prosthetic things on the front and I had to jump that with those attached to my leg, and I was like, “Oh, dear God, if I catch, like, a hook.”

David Read:
DeEr indeed. D’oh! That’s wild. I assumed that they CG’d it.

Sharon Simms:
No, I’m wearing this piece that my running shoes are under those things. That was a funny one, in the night.

David Read:
That is amazing. So, this says– I just looked at the time. I’ve–

Sharon Simms:
I’m going slow.

David Read:
I’m so sorry. The time has blown away. This has been tremendous to have you. It means a lot to go through some of your work here and explore.

Sharon Simms:
I had so much fun. I wanted to thank you. Thank you for having me on. It was a good blast of memories and it was so fun to go back and talk to you about it all.

David Read:
Absolutely a pleasure. The work that you guys create, the work that you go through to pull this stuff off, not enough accolades are given to the stunt team, because there’s so much to this process, and it is all of the same piece that comes together to pull that off.

Sharon Simms:
It is. It’s a team.

David Read:
I’m sure Amanda would agree that you are as much Samantha Carter as she is.

Sharon Simms:
I hope so, because as I said …

David Read:
It’s a treat to have you.

Sharon Simms:
… she’s an inspiration, so if she thinks that I helped her out and made it all come together, then that was all I’d be happy with at the end of the day.

David Read:
Absolutely. Sharon, thank you for coming on.

Sharon Simms:
Thank you so much. It was great to meet you.

David Read:
I would love to have you back in a bigger round table …

Sharon Simms:
Anytime.

David Read:
… with some of you in the future here.

Sharon Simms:
So fun. Oh my God, that would be so fun. Thank you so much for your time.

David Read:
We’ll have you back.

Sharon Simms:
OK, can’t wait.

David Read:
Thank you for yours. You take care of yourself, OK?

Sharon Simms:
It was awesome. I will. Thanks, everyone.

David Read:
I appreciate your time. Bye-bye.

Sharon Simms:
OK. Take care. Bye.

David Read:
Liebchen. Ah, too late. That was a perfectly valid question there. How does one become a stunt performer these days? Unfortunately, she’s already gone. Ugh. My name is David Read. You’re watching The Stargate Oral History Project. If you enjoy the show and you wanna see more content like this on YouTube, hit that Like button. It does make a difference with the show and continues 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 if you click the Bell icon, it’ll notify you the moment a new video drops and you’ll get my notifications of any last-minute guest changes. I just launched a Patreon, patreon.com/dialthegate. I swore up and down for years I was not gonna do this. I was not gonna take money out of the pockets of fellow fans, because you out there are no different than I am. Why do I deserve your hard-earned cash? And I’ve been talking with a lot of other creators recently, and in my financial situation and everything, part of it’s very much been like, what makes you better than anyone else? And there’s a certain amount of truth in that. So, I’ve gone ahead and set that up, or you can look up a clip that I created yesterday and type in Dial the Gate Humble Pie, and that will get you that information. But I’m still working on how to visualize this on the backers on the end of the show here. That’s not gonna happen this weekend. That will begin next weekend. And for those of you who have already joined me, thank you so much. I will be in touch. We have a number of episodes heading your way this weekend here. Let me pull this up here. Kevin Kiner, composer of Stargate SG-1, he is joining us tomorrow, the 24th of April at 10– This is actually 3:00 PM Pacific now, I’ll go ahead and update this. And then Eric Steinberg, Netan, joining us at 3:00 PM Pacific on Sunday, April the 26th. We actually have part three of Stargate Worlds with Christopher Klug, lead creative director of Cheyenne Mountain Entertainment. It’s a pre-recorded episode. Yesterday, Torri Higginson narrated the story of Stargate Worlds and Chris provided us with that information, along with Sean Duggan and Steve Garvin, his story team. So, with that information already out there, now he’s gonna go in and fill in some of the story with working with Brad and company to craft a story for Stargate Worlds. And that’s gonna be dropping on Saturday. I think at 10:00 AM Pacific if I can get my butt in gear and get all my ducks in a row and pull that one off. So, a lot of moving parts, and I really appreciate you for helping me pull any of this off that you can. So, thanks so much for tuning in. My name is David Read for Dial the Gate. Lockwatcher and Antony, you guys are great. Lockwatcher, captained this episode, really appreciate you. Thanks to my entire team for helping me pull this show off. Can’t do it without you guys at all. My name is David Read for Dial the Gate. I appreciate you tuning in, and I’ll see you on the other side.