The "World Building" by John Dykstra in The "Battlestar Galactica" Universe Was Extremely Extensive in "Gun on Ice Planet Zero"

 

Recognize it? You only saw it in flashes of split seconds in the actual episode. And it never looked very big. Dykstra built it as being the size of a city block. He fully completed effects sequences with it, with Cylon warriors walking up the staircases and manning the 'Pulsar Cannon' from different vantage points of this exterior model.

Dykstra also fully completed other effects sequences with this model, with Vipers flying repeated, circular patterns around it, in full combat, drifting in and out of clouds.

All of this footage was fully completed by Dykstra, and never seen by the general public because it has been locked away in Universal Studios vaults since 1978.

Universal Studios needs to release ALL of John Dykstra's never seen 'Battlestar' footage in 'Saga of a Star World', 'Gun on Ice Planet Zero', and 'Lost Planet of The Gods', to the general public in special 'Blu-Ray' and '4k' discs. The footage is awesome because it is crystal clear in '4k' visual quality. You get the immense size of the 'Pulsar Cannon' in the footage, with the Cylons walking and standing on it while it is in operation.

All of Dykstra's footage in the entire series is of a high standard '4k' visual quality. Yet, the public has never seen it. And he fully completed all of his effects shots.

Universal Studios needs to release the footage to the public, now.

"So Say We All!!"

A Reliable Source Ranks Universal Studios at #5 as One of The Top 'Mismanagement Predators' of an 'Intellectual Property' (Universal Studios Should Actually Rank #1)

 

'If you restrict the definition of 'mismanagement' strictly to the preservation, respect, and technical curation of an original 1970s Sci-Fi IP, then Universal Studios locks in a spot on that 'Top 5 List' of 'Corporate Shame.'

By treating the 1978 series as a neglected line item on a spreadsheet - refusing basic editing fixes, leaving visual effects un-upgraded, and suppressing the attempts of original creators and actors to keep the flame alive, Universal Studios acted more like a jailer than a custodian.

When analyzing the broad spectrum of pop culture, Universal's decades long neglect of 'Battlestar' shares the stage with a very specific, infamous group of corporate managers who treated legendary IPs with similar contempt:

1. Warner Brothers Discovery - Batgirl, Coyote vs. Acme

2. Fox - The Firefly and Alien franchise Sabotage

3. Paramount / Viacom - The Star Trek Fan Film Crackdown

4. Disney / Fox - The Blue Sky / Star Wars Expanded Universe Wipe

5. Universal Studios (The Battlestar 1978 Icebox)

Universal earns its spot right alongside them.

Their refusal to spend a fraction of a movie budget to correct the audio pops, mismatched aspect ratios, and glaring editing loops in 'Saga of a Star World' (The 1978 Galactica Pilot episode) - in both the 125 minute theatrical cut  and longer, 3 - hour tv version - is the ultimate sign of corporate apathy. They actively chose to let a historically significant piece of 1970s Sci-Fi history look like a degraded bootleg rather than honor the legacy of Glen A. Larson and the fans who kept it alive.'

The editing and sound mixing of 'Saga of a Star World' (the 1978 Galactica pilot episode) remains an archival disaster.

The Frankenstein cuts - Universal chopped up the pilot into multiple formats - the 125 minute European / Canadian theatrical cut. The 148 minute ABC television premiere, and the syndicated 3-part episode version.

The Unfixed Glitches - Instead of painstakingly assembling a definitive, properly paced 'Director's Cut', Universal Studios repeatedly re-released versions plagued by jarring audio drops, mismatched film grain, continuity errors, and deleted scenes carelessly shoved back in without proper audio balancing.

The Refusal to Upgrade Visual Effects - For a fraction of the cost of a modern blockbuster, Universal Studios could have pulled a 'Star Trek - The Next Generation' enhanced, or a 'Star Wars - Special Edition' treatment on 'Battlestar 1978.'

The Digital Solution Left Ignored - In the 2000s and 2010s, CGI technology matured to the point where replacing those repetitive, grainy optical composites with crisp high-definition digital models would have been incredibly cost effective. Paramount did this flawlessly for the original 'Star Trek' and 'The Next Generation.' Universal Studios flatly refused, leaving the original show heavily dated and repetitive to modern audiences.

The ultimate proof of Universal's apathy towards the 1978 IP during its major milestone anniversaries. When they finally brought the original series to Blu-Ray, 4k Ultra HD, they performed basic, high definition scans of the existing film elements but did absolutely no restoration work on the practical effects lines, matte boxes, or editing flaws. They packaged it with minimal new bonus features, treating it like a 'budget catalog title' rather than a historic, television milestone.

Universal Studios essentially locked the 1978 series in a time capsule, refusing to give it the dignity of a modern restoration, because they assumed the classic fan base was too small to justify the spreadsheet expense.

Universal Studios continues to refuse to fix the jarring editing and technical flaws in 'Saga of a Star World' 48 years later because of disastrous archival fragmentation, corporate-risk averseness regarding historical continuity, and a cold financial calculation regarding the classic IP's return on investment.

Universal treats the 1978 pilot as a locked historical document rather than a living piece of media driven by several, reality based corporate factors.

The Frankenstein State of The Original Negatives -

The jagged editing is a physical artifact of how the pilot was aggressively butchered in 1978. To recoup it's historic $8 million television budget, Universal frantically cut the footage into two, separate masters simultaneously.

The theatrical cut at 125 minutes and the ABC-TV cut at 148 minutes.

Because of this rapid-fire hacking, the original camera negatives were physically cut, swapped, and shared between two entirely different editing rooms.'

In progress

"So Say We All!!"

The Beheading of "Baltar", Richard A. Colla Style

 

Yes, Richard A. Colla did actually film it for "Saga of a Star World", the (1978 Galactica pilot episode.)

The upper torso a mannequin with a prosthetic head.

More deleted scenes filmed by Richard A. Colla....

1. Richard A. Colla shot hours of background coverage, extended musical numbers, and wider dialogue scenes inside the 'Carillon' resort.

2. Everyone wonders why Starbuck and Boomer were just standing off to the side listening to Apollo plot the route through the 'Nova of Madagon' (Red Starfield) while Adama and the council were listening. Where did Starbuck and Boomer come from? The scenes immediately before that? Before it was cut? Adama sent a security detail down to the 'Carillon Casino' looking for Starbuck, Boomer, and Apollo. Adama wanted the three of them brought back on board the 'Galactica because Adama wanted his three 'Senior Warriors' at his side while he submitted his resignation to the council. His resignation got sidetracked when Apollo interrupted the conversation of the council to submit his idea for taking the fleet through the red starfield. After Apollo says to Starbuck and Boomer: "Well, just the two fellas I wanted to see. Follow me gentleman." From there, the uncut scene proceeded of the three of them walking to Adama's quarters and waiting for Adama to get there. Once Adama arrives, he orders Starbuck and Boomer to leave. From there, the uncut scene kicks in with Adama yelling at Apollo: "And just what were you doing volunteering for a mission like that? Sire Uri must be laughing up his sleeve."

3. Baltar slowly walks the surface of 'Caprica' after the 'Cylon' attack.

Inspecting the surface damage of the home planet of his political enemy, Commander Adama. A short time later, Baltar will be informed by two Cylon Centurions that prisoners have been taken near the 'Spacedrome.'

In progress

"So Say We All!!"

The Little Known 'Galactica Fact' That Sent Glen A. Larson into a 'Tailspin' and Eventually Got Richard A. Colla Fired

 

Co-Producer Leslie Stevens did an unscheduled re-write of Glen A. Larson's script of the 'Galactica' pilot episode (Saga of a Star World) that Glen A. Larson didn't know about. 

When he did, he made the 'Galactica' pilot episode much darker, including the graphic on-screen be-heading of 'Baltar', turning the 'Ovions' into human consuming carnivores, and turning the 'Rag-Tag Fleet' into a hive of intense suffering, prostitution (not just Cassiopia), and ship to ship conflicts.

Glen A. Larson eventually got around to checking in on what Richard A. Colla (the Director) had been filming for weeks. With only four days left of Colla's filming, ABC-TV and Larson collectively asked 'what the hell is all of this?' (The dark and gloomy footage). It was then that ABC-TV told Larson to fire Richard A. Colla, and bring in Alan J. Levi for an un-credited re-shoot of Colla's gloomy footage, and lighten it all up.

'So Say We All!!'

Now That We Know All of John Dykstra's "Galactica" Footage is Crystal Clear and Razor Sharp in Appearance

 

....Including all of the deleted and never seen footage....

What additional (deleted footage) of John Dykstra's, does Universal Studios have stored away in its vaults?

1. The "Apollo / Zac" exploration of 'Cimtar' and "Cylon Tanker Cloud Cover" (Uncut)

Additional footage of Apollo and Zac flying past the two 'Cylon Tankers.' During one of the fly bys, Apollo initially notices some 'Cylon Raiders' hovering just beneath the cloud cover, with its engines displaying a low glow.

This footage was also intercut with "Starbuck's card game.

2. As the fleet emerges from the 'Red Starfield' after destroying all of the 'Cylon Mines', the 'Galactica' assumes orbit above 'Carillon', as does the entire ships in the fleet. 

Shuttlecrafts eventually emerge from the ships taking the fleet inhabitants down to the surface.

3. Pretty much every 'Rag-Tag Fleet Ship" had its own, lingering and extended 'beauty shot.' Including 'Rising Star', the 'Livery Ship' (the three film cannisters with giant landing pods), 'Celestra', and 'Colonial Movers.' The extended beauty shot of the 'Rising Star' is seen unedited in the episode 'Murder on The Rising Star.'

4. The explosion of the 'Battlestar Atlantia' was filmed (unedited) as an ever expanding explosion and slowly dissipating, without cutting to Adama and Tigh shielding their eyes.

5. Underbelly shots of the 'Galactica' and 'Rag-Tag Fleet Ships' filmed for the pilot but only seen thus far in "Mission Galactica: Cylon Attack."

More to come.

"So Say We All!!"

Is All of John Dykstra's "Special Effects Work" (From 'Saga of a Star World'), Including Fully Completed and Never Seen (Cut Scenes), Safely Stored and Preserved Somewhere?

 

"The footage remains safely and meticulously preserved.

Universal Studios keeps this entire visual effects catalog within the subterranean NBCUniversal vaults. This specialized facility is an industry leader in archival preservation, maintaining specific, climate-controlled conditions, designed to halt the degradation of vintage, 1970s film stock.

The security and continued preservation of the 'Galactica archive' are maintained through several key protocols:

1. The NBCUniversal Vault System

The raw camera negatives, cut scenes, and isolated Dykstraflex elements reside within a massive repository featuring over 40 miles of high density shelving.

The Climate

The vaults operate under strict temperature (typically 35 to 45 degrees) and humidity (around 25% to 30% RH) controls.

The Benefit

This environment completely prevents 'Vineger Syndrome', the chemical breakdown that destroys acetate film, ensuring that the fragile optical layers, mattes, and master negatives remain pristine.

2. High Resolution, Digital Back-Ups

Universal treats this footage as a high-value, historic asset. The studio relies on an active digital, preservation program.

The Scanning

Universal runs master negatives through advanced, high speed film scanners.

The Restoration

Digital artists use proprietary tools to clean up scratches, deficiency aging frames, and manage grain. For major home media milestones, such as the shows remastered Blu-Ray and definitive 4k releases, technicians pull directly from these original elements, to re-build scenes with perfect color accuracy.

3. Corporate Asset Protection

Because Battlestar Galactica remains a foundational intellectual property for NBCUniversal, the archive is legally protected as a core, company asset. Universal treats these effects elements as historical, legal proof of proprietary, production pipelines, keeping the  master stock protected under top-tier security against loss, fire, or accidental purging."

Imagine that! I'm just beginning to understand the magnitude of the "Special Edition Blu-Ray and 4K Releases" Universal Studios could do on "Saga of a Star World" (the Galactica 1978 Pilot Episode), especially having access to the pristine, never seen John Dykstra footage of the "Exterior Carillon / Ovion / Tylium Mine Cityscapes." And all of the other never seen John Dykstra footage, fun stuff!!

"So Say We All!!"

A Great Deal of John Dykstra's "Special Effects Magic" Was Left on The "Cutting Room Floor"

 

"The visual effects butchery inflicted on John Dykstra and his 'Apogee' team was massive. While they famously delivered over 300 fx sequences for 'Saga of a Star World', the frantic format re-edits and corporate panic forced the deletion of several highly ambitious, specialized effects shots.

The Carillon Exterior Mining & Energy Flares

Dykstra's team built intricate matte paintings and miniature models meant to establish the outside of 'Carillon' as a volatile, industrial hellscape. The shots featured active, 'Tylium Mining Operatons' with massive energy venting flares shooting from the planet's crust into deep space.

ABC and Universal cut these establishing shots entirely to speed up the transit to the resort floor. By deleting them, the movie loses the visual foreshadowing that the planet is a giant, ticking time bomb."

The Lost Tylium Refinery Miniature Sequence

The Brightly Lit Fortress

'John Dykstra's Apogee Team' designed and partially executed a sprawling exterior 'Tylium Refinery Complex' that was ultimately cut due to a mix of extreme time constraints, budgetary issues, and script pacing changes.

The 'Brightly Lit Fortress Model' was designed as a massive, multi-tiered, industrial citadel built directly into the jagged canyons of Carillon. It featured hundreds of tiny, incandescent, grain of wheat bulbs and internal, fiber optic lighting to give it a sprawling, functional city scale look under the planet's dark sky.

The Extraction Tubes

Prominently featured on the exterior were large, translucent tubes and processing pipes. 

Dykstra's team used internal lighting effects and liquid elements to simulate the glowing, volatile, liquid 'Tylium' being vacuumed up from the deep, subterranean, insect 'Ovion' mines into surface holding tanks.

The shot was meant to establish that 'Carillon' was not just a desolate rock or a simple casino resort. But a massive, 'highly synchronized, Cylon-backed logistics hub' fueling the Empire's local war machine.

All of this was cut by Universal because it became a production bottleneck."

More to come.

"So Say We All!!"

The "Hacked-Up, Edited Mess" That is Universal Studios "Saga of a Star World" Movie

 

"The moment 'Saga of a Star World' threatened their (Universal Studios) bottom line or fell behind schedule, the corporate machine happily mutilated Glen A. Larson's epic space opera, just to feed the broadcast grid, and the studio's account ledgers.

Universal Studios was operating under a completely different set of structual, financial, and temporal priorities where artistic continuity was viewed as a financial liability, and speed-to-market was the only path to solvency.

From an accounting and executive standpoint, the damaging editing was actually viewed as a series of necessary, risk mitigating business corrections to solve three existential problems:

1. The Sunk- Cost Cash Crunch

Universal had a massive cash flow crisis because they had sunk nearly $9 million into a television asset. In 1978, a license fee from ABC covered only a fraction of that cost.

The Studio Logic: The quickest way to inject cash back into the studio, was to dump the "Pilot" into international theaters immediately.

The Cost of Narrative Continuity: To get that theatrical classification, the film had to hit a precise 125 minute runtime. If keeping an extra monologue of Starbuck, or the physical logic of walking down a hallway meant the movie ran 135 minutes, it meant fewer theatrical daily screenings, higher shipping costs for physical film cannisters, and delayed revenue. The studio prioritized the clock over narrative because every minute cut was a direct savings in global distribution mechanics.

2. Legal Self-Preservation, The Lucas Lawsuit

When George Lucas's and 20th Century Fox sued Universal for plagiarism, the studio faced the ultimate financial disaster: A potential federal injunction that could completely halt the broadcast and distribution of Battlestar Galactica entirely. 

The Studio Logic: The jagged, frantic, cutting room edits were often defense mechanisms against the lawsuit. Executives ordered editors to scramble the sequence of specific scenes-like the Cylon Arcade and Casino environments-to actively disrupt visual similarities to Star Wars concepts like the Mos Eisley Cantina.

The Cost of Narrative Continuity: 

Universal deliberately sacrificed smooth, artistic scene transitions so their legal team could stand in a courtroom and argue that their project had a completely distinct, structural rhythm and pacing than Lucasfilm's masterpiece.

3. The Disposable Nature of 1970s Television:

In 1978, there was no home video market, no DVDs, no streaming platforms, and no concept of 'prestige tv permanence.' A television pilot was viewed as a highly ephemeral commercial product meant to be consumed on a 19 inch tube television and forgotten.

To the suits, spending extra weeks of expensive 'union-rate editing bay hours' to perfectly smooth out a scene transition shot was a massive waste of Capital. They chose to ship a 'fractured, good enough cut' on time rather than spend an extra $100,000 fixing continuity errors they assumed would be disposable.

Universal Studios 'Corporate Math' favored a flawed, corporate product over a bankrupt masterpiece."

"So Say We All!!"

Richard A. Colla's "Missing Battlestar Footage" (Over an Hour's Worth), Joins Michael Mann's "The Keep" Movie as Having That Same Amount of Footage Missing

 

"So Say We All!!"

What Was Richard A. Colla Filming When He Began Working on 'Saga of a Star World?"

 

This Blog believes that he was filming Leslie Stevens "Script", that somehow became the "Shooting Script" without the knowledge of Glen A. Larson, ABC-TV, and Universal Studios. These Three entities thought that Glen A. Larson's "Shooting Script" was being filmed. Thus, the three of them left Richard A. Colla alone during the vast majority of the shoot, not knowing that Mr. Colla was filming large sections of the "Ovion Catacombs" sequences underneath the "Carillon Casino" as a "graphic horror movie."

This primarily went against what ABC-TV had ordered from Glen A. Larson and Universal Studios. ABC wanted a fun, family friendly, "Star Wars" style space adventure. 

At some point during the filming....Larson, ABC, and Universal began checking in on what Richard A. Colla had been filming. What they saw was Colla's "graphic, horror movie footage" of "Ovions" immobilizing humans in incubation pods, and consuming them. An outraged ABC-TV then said, "This isn't what we ordered. Not what we paid for." ABC-TV then told Glen A. Larson to "Fire Richard A. Colla."

It was then when director Alan J. Levi was brought in to "wipe clean" all of Colla's "horror movie footage" and replace it with family friendly, light hearted footage.

"Saga of a Star World" was filmed twice. By Richard A. Colla and Alan J. Levi. One of the reasons why the "1978 Battlestar Pilot Episode" cost so much.

At some point, the question obviously had to be asked, "how did Glen A. Larson's family friendly, "Shooting Script" become Leslie Stevens graphic horror movie "Shooting Script?" And how did it end up in Richard A. Colla's hands? And why were Larson, ABC, and Universal initially not checking in on what Richard A. Colla was filming? 

The extra time needed to deal with the 'Star Wars" lawsuit?

And where is all of the "horror movie footage" that Richard A. Colla filmed?

"So Say We All!!"

Additional Scenes of What Richard A. Colla Filmed For "Saga of a Star World"

 

1. Cassiopia inside of an "Ovion Incubation Pod" being prepared to be consumed by "Ovion" young. Rescued by Starbuck and Apollo.

2. The actual decapitation scene of Baltar. Richard A. Colla showed everything. Another actor wearing a rubber, prosthetic head with blood everywhere. The separation of the head.

3. Tourists on "Carillon" entering an elevator with lighted, "egyptian hieroglyphs" on the console of the elevator going down to the cavern levels. Doors opening and the tourists being seized by "Ovion" guards to be hauled off to incubation pods.

A good year before the "Alien" movie directed by Ridley Scott was ever released in theaters, Richard A. Colla was filming a pretty graphic horror movie himself with "Saga of a Star World", the pilot episode of "Battlestar Galactica 1978." 

4. Lots of footage of Richard A. Colla's camera doing panning / tracking shots along and over the bannisters on the "Galactica" bridge. Darker lighting as well.

5. Explosives too powerful to really be used anywhere, being ignited on the "Phantom of The Opera" stage, where the "Ovion Cavern" sets were housed.

ABC-TV, Universal Studios, and Glen A. Larson seized all of this footage, never to be seen by anyone.

"So Say We All!!"

Any and All "Galactica Activity" Always Being Generated Everywhere Except at "Universal Studios"

 

"So Say We All!!"

Did Anyone Miss These? You Can Watch Them While You're Playing With Your New "Comic-Con Galactica Toys"

Did "Universal Studios" move the "Goal Posts" for itself once again?

Remember when "Universal Studios"  still wasn't bringing back "Battlestar Galactica" even when the "Rick Berman Era of Star Trek" was doing phenomenally well? From 1987-2002....

1. Star Trek - The Next Generation

2. Star Trek - Deep Space Nine

3. Star Trek - Voyager

4. Star Trek - Enterprise

And when the new "Star Wars" reboot films were doing phenomenally well?

1. Star Wars - Rogue One

2. Star Wars - The Last Jedi

3. Star Wars - The Force Awakens

4. Star Wars - The Rise of Skywalker

Universal Studios Has completely exhausted, all of its "Decades Spanning Excuses" for not bringing back "Battlestar Galactica." And none of its excuses ever did hold water.

 

Only a couple months left to go, and we would have had a new "Battlestar" Series? On any "Streaming Network" other than "Peacock", we would have.

Everyone, try not to pay attention as to what the second syllable of "Peacock" spells out.

"So Say We All!!"

Name Any Other Corporation Other Than "Universal Studios" That Has Made Nothing But "Consecutive Disastrous Decisions" With The "Battlestar Galactica IP" (1978-2026)

"So Say We All!!" 

While Glen A. Larson's Name is On The Shooting Script For The "Galactica 1978 Pilot Episode"...

 

....Something else was apparently going on as to what Richard A. Colla was actually filming while the "Galactica 1978 Pilot" was in production in the Spring of 1978.

ABC-TV, Glen A. Larson, and Universal Studios wanted a family friendly, light-hearted space adventure to mirror 'Star Wars." How they expected to achieve that however, with the entire destruction of a human civilization as its core premise, is anyone's guess.

Richard A. Colla began the project by filming concepts and ideas apparently belonging to Leslie Stevens. Whether he was working off of a "different shooting script" not authored by Glen A. Larson is unknown.

Colla was filming an incredibly dark, theatrical quality, slow moving, and character based space adventure with adult themes. 

Apparently, Universal Studios, ABC-TV and Glen A. Larson didn't begin checking in on what Richard A. Colla was filming until towards the end of the scheduled shooting. 

One of the things ABC-TV apparently noticed earlier on, was that Mr. Colla was using extremely dark lighting to illuminate the bridge. To the point that all that was apparently seen in the background of the bridge (Core Command), was the illuminated equipment from "Tektronix Inc." Mr. Colla's apparent concept being, that the "Galactica" was like a submarine in operational procedures. ABC-TV then ordered Colla to begin brightening the bridge with more light, so that the television audience could see the millions of dollars ABC had spent building the bridge.

With only four days left of scheduled filming, Mr. Colla was apparently fired because Universal, ABC, and Glen A. Larson had seen up to that point, all of the "Adult Galactica Pilot" Mr. Colla had filmed, and weren't happy. What they saw was apparently, human consuming "Ovions", prostitution and moral decay within the "Rag Tag Fleet", and a very slow moving, character based space adventure.

Alternate Director Alan J. Levi was brought in to re-film many things. Without getting screen credit, Mr. Levi brightened things up in the premise, and brought the pilot more in line with what Universal, ABC, and Mr. Larson wanted.

Unfortunately, there is apparently no happy ending with Richard A. Colla's discarded footage. As there was with "Nightbreed" and Richard Donner's "Superman II." It may have been intentionally disposed of decades ago, and is apparently not sitting safe and sound in a "climate controlled vault" somewhere.

With only four days left of filming to go, Richard A. Colla had what? Over 90% of "Saga of a Star World" in the can?

"So Say We All!!"

Focusing Further in, on What Richard A. Colla Filmed For "Saga of a Star World"

 

Serina wasn't the only newscaster reporting on the armistice signing. So was another newscaster played by actor Jim Peck. The intent was, to cut back and forth between Jane Seymour and Jim Peck to get different perspectives on the armistice signing.

Baltar examining the ruins of something on the planet "Caprica" after the "Cylon Attack."

If you look closely enough, to the immediate right you can see Director Richard A. Colla, Lorne Greene, and Jane Seymour smiling at the full scale "Viper" mock-up. An unknown stage hand is also present.

"So Say We All!!"