Marstersverse - Джеймс Марстерс

VasquezE(04/06/04 01:39:59)

Комментарии к LMPTM + спойлерные мысли

Комментарии создателей серии "Lies My Parents Told Me". Расшифровано DeborahW (BAPS) - и огромная благодарность ей от всего спайкофильского сообщества!
Сокращения:
JM - думаю, и так понятно
DG - Дрю Годдард, сценарист серии
DF - Дэвид Фьюри, сценарист и режиссер серии
DB - Д.И. Вудсайд, исполнитель роли директора Вуда

Teaser

Hi this is David Fury the co writer and director of Lies My Parents Told Me This is DB Woodside who plays Principal Robin Wood James Marsters who plays Spike this is Drew Goddard who was the co writer. (DB and DF are kind of hard to distinguish at times so I hope I got the right bits to the right writer for the right comment)

DG: We open here in central Park which is not Central Park in New York it's in fact Greff? Park Los Angeles California and we married in shots of New York into some open spaces can you see where that big wide open space is behind where they're fighting we added
some New York Skyscrapers

JM: And this is one of the top three female stunt performers that I've ever had a fight with DG " really?" she was fabulous yeah and really good stories in between shots , when you're wet late at night you've got to have good stories

DF: she was also really beautiful which also helps. She wasn't hard on the ears

JM: yeah but no the actress was great but actually I was talking about the stunt performer

DF: so am I, I dropped by that night

JM: oh yeah … he says something else that's lost in
laughter

DF: This actually looks incredibly and I'm surprised how much it does look like Central Park in New York

JM: yeah you did a really good job

DG: Yeah we found a good location I'm from New York as well so

DF: we looked at a lot of places But this is the one that really spoke to me and said this is where we can we needed the pavement they dressed those benches which are accurate to what Central Park benches looked like back in the seventies

DB: And this Woman right here is KD Alpert who actually played my Mother we actually did a film together a few months before we did this together so we were already friends

DF: Now when I saw this on TV there's some computer rain added in but now there's nothing here what's up with that?

DG: There was actually someone had added that in right before we delivered it to the network and we don't know who. in these rain shots you'll see that the rain is hard to see here when it's on her just the way it's lit but it's very clear when it's on Robin and someone added some digitized rain which looked terrible ( Much Laughter)

DG: I so remember I panicked I was there and I went woah wah what happened? There was a big scramble and by the time it aired in the United States they took out the fake rain so that's all real fake rain as opposed to the digitized rain

DB: and yes that is me that got thrown on the roof of that car cos that hurt

DF: Good sports

DB: this was fun this was a lot of fun

DF: I love the way this fight turns out

DG: favourite move coming up here this was a front double kick .that little move that Spike does is really an homage to Fool For Love. Twirling the pole down on the subway

JM: yeah that's great but you gave me a shovel man and that makes it a little harder

DG: yeah but I knew you could handle it

(Vamp dusts) that's always the fun thing to do the
staking reveal

JM: I love it that I stake and Spike gets him off his ass

DG: this was a lot of fun to shoot because we always try to keep the background action going on I love how she just keeps pounding away at him

And that was you really bleeding I believe?

DB: yeah yeah that's quite true

DF: in all seriousness I loved that teaser I loved shooting that teaser you know I hadn't shot any fight scenes as a director so this was my first attempt my first go at it and it turned out to be great fun. It really helps when James and DB are both so willing to be to go as far as legally possible for actors in their stunts and they'll go "yeah I'll take that fall for you I'll jump in it

DG: this is basically him saying that James and DB have a problem and somebody needs to come talk to them (James giggles "who cares?") That shot right there on the credits was the shot I was paying homage to with James spinning the pole.

JM: and you know you gave yourself two fight scenes in a teaser which is a pretty tall order

DG: Yeah that's a pretty action packed teaser he's right and then comes the very slow act one beginning

Act One

DF. That’s actually an artificial push in I neglected to push in on DB as I wanted to when we shot that cos, you know , young director but you know we were able to add in in electronically

DF this was a tough scene from the writing standpoint, we struggled with it, we probably went through about eight drafts

DG Yeah the biggest problem was it’s length was it’s length, we knew what the scene could have in it but if we put everything that the scene could have in it it was an eight page scene It was long, long, long, and as well played and as well acted as it is it’s just a long time to be in the same room

DF I think what we ultimately decided was we got to allow the exposition to happen in this sort of “Who’s on first” homage that ( I love the way DB plays this)

DG Yeah nice

DB it was actually a lot of fun for me this actually was the first time that I worked with Anthony it’s the first time that I worked with him

DF yean and Tony brings up everyone’s performance like that

DB He’s great, so much fun

DF that’s one of those camera moves that I’m working on keep that camera moving in a very static scene is what I’m doing and DB had this great thing where he comes in and says “ you’re a freelance demon fighter” and he’s like embarrassed and don’t mention that and goes to the door and closes it

DB that’s one of the things my secretary doesn’t know about me though

DF yeah

DG it really helped to motivate the move to the desk

Sarah is so great in this scene she has the ability to deliver comedy in such a kind of, it’s kind of a low key way but it’s hysterical

(DGs names come upon screen) DG. I like that part right there

(DFs name comes up) DG that parts less interesting

Here’s the whose on first routine

DBs eye work is outstanding

DF you know we have a problem on our shows where we become our own worst enemies with our extensive mythology and sometimes it’s hard to just get into any of this and one of the methods that we use is to just completely make fun of ourselves
Because at the end of the day it does get a bit ridiculous

Much laughter

DF now here’s one of those flaws that you notice it’s something that’s interesting because some people pick up on it and some people don’t, one of the things you try for when you’re shooting is eye line, if you see Buffy is looking off to the right and so is Tony they’re supposed to be speaking to each other and both looking off to the right and that’s actually technically incorrect although most people unless I mention it don’t really notice

DG wow I did not notice that
DF yeah I probably shouldn’t have mentioned it. Actually Tony’s being shot from Robin’s point of view right now although he’s conversing with Buffy so it kind of throws the loop a bit

DG but you know in some strange way it works because you’ve set it up in the master so we know where everybody is
DF that’s mumble mumble mumble . (not a clue what he said here sorry) I do remember thinking that this was the worst eye lined episode I’ve ever been a part of. Much laughter including a distinctive JM giggle

DG again another scene that was very difficult to write because so much exposition had to be explained about what it is we’re doing to Spike with that stone what’s going on what it does
JM and yet the characters are still in conflict which is a constrict on how you write it

DG his is definitely, I don’t know how you feel about this Fury but this was one of the most difficult scripts to write

DF oh yeah

DG because there’s so much who’s the good guy who’s the bad guy who ya know ,with some scripts you have a very clear opinion this one is very yeah you know the shades of grey take a long time to sort of suss out

DF for me that was not so much the more difficult part the more difficult part was as you were saying, there’s so much mythology there’s so much back story there’s so much hidden agenda, so many things that need to be expressed that it’s in danger, it can be in danger of bogging down the story and clouding it .The greys in there I kind of enjoy, the fact that we’re sympathetic to Spike and we’re sympathetic to Wood and Giles

JM yeah but then you go and stick a worm in my eye I mean that’s cool

DG yeah a little CGI effect , it was a long time trying to get this the right looking stone, our prop guy spent a long time trying to find the right stone that would look the way it was described

DG the wonderful thing about this scene was that I remember standing there that day and it was a kind of a long day and watching James do this over and over and over again and what’s amazing to me is how great the acting is when you don’t even know what it’s going to look like at the end of the day I just remember seeing this and thinking that it was great

DF this was also a kind of a tricky shot the wide shot which was the transition piece we’re going into Spikes head and I wanted to have him seeing himself as we angled round pre vampire

DG. (As JM giggles at the terrible poetry) I so enjoyed the first thing I wrote because I had to write the scene for when we were casting the Mother of Spike, Ann, and I had to write this scene so the first thing I wrote was the poem and I was so proud of how bad it is ( laughter all round ) bad is hard to write. I can write bad Victorian poetry

JM it’s hard to write good bad poetry. And they finally spent some real money and actually built a wig for me and gave me these mutton chops which to tell you the truth I know they’re period but they look kind of weird to me

DF yeah the thing that troubled me was that we could not get we could not match you the way we did the way you looked when we last seen you in Fool For Love

JM they’d already cannibalised that wig for later in Fool For Love

DF yeah but you would think they’d be able to completely copy it you would think and yet they wanted to put their own touch on it or something

JM well you finally gave them money so they wanted to do it real period
..
DF well

JM that’s what you get for giving the artists money man, they get fancy (giggles)

DF well we won’t do that again

DG I love how this scene really sets up the relationship that he has with his Mother

DF yeah yah it’s really seeing Spike as William .His humanity and the love he has for his Mother and to not make him too much of a mommas boy . But of course he is

JM (laughing) because he sits at her feet. Cos you know

DF while she sings … alright he’s a Mommas boy but there’s such genuine love when he says I’ll always take care of you whatever it is ,that’s so very sweet and warm

JM yeah

DF another tricky FX shot James had to keep his head still to match this

JM which is really hard for James to do . You know that’s tough

DF but whaddya know he does it beautifully that was actually really nice and his eyes change first which was. We’d never done a two part morph before

JM and here’s where you just don’t think about how silly you feel. Cos all the really cool stuffs being done later and I’m just freaking out for fifteen minutes

DF yeah. And it took a half an hour to drop the stone and get it in frame

You know what when in doubt always push in on DB

JM yeah

End of act one

Act Two

JM I love this scene because Spike is in absolute denial and it’s hilarious

DG it’s like anyone else’s fault but his, anything but what’s really happening

DF Oh I love that “when I was a baby”… she sang it to him when he was like thirty years old (laughter)

DF oh here’s an interesting thing you remember this Drew? This scene started the act we didn’t come back this way for quite a while and there was a long extended scene that Drew wrote that was a really funny exchange between Xander and Tom Lenk as Andrew that we just couldn’t get to work and it didn’t quite… it worked so much better to break it up like this cos we’d be in the cellar for so long that it was better that we broke it up rather than start the act with this

JM wasn’t there also a scene with DB and me in the kitchen that didn’t make it?
DF yes
JM around a whisky bottle
DF Another scene that broke my heart to lose. This episode came in at what twelve minutes over which was ironic cos a lot of my episodes come in short but you see when I shoot them I shoot every little detail.
Of course the stage whisper that obviously Spike can hear every word but he sits there pretending that he can’t like super vampire hearing.
This is a transition I liked doing, it’s him looking at his hand and this hand slips into it and right now. It’s Juliet
DG now I’ll tell you that one of the things that I think makes this show so special is this scene right here that captured these two people who are absolutely terrifying you know and yet there’s a kind of humour to it that’s just pitch perfect
DF That’s the magic for me of Spike and Drusilla, that they were perversely funny and yet terrifying
DG it’s kind of like Bonnie and Clyde
DF and yet genuinely care about each other and I think that’s the key to the villains in the Joss Whedon universe is they actually have an agenda and they care about things as opposed to just being evil
JM Something about Juliet got me to a place I couldn’t get any other time I can just be very me when I’m with her she can go ,she’s just
DF oh and she’s blowing in your face which I remember.

JM it’s drying my eyeballs out and I can’t concentrate on my lines

DF Spike and Drusilla are so iconic and the two of you are, it was such a pleasure to shoot this iconic couple one of the last times in a Buffy.

JM And what you got so well was the intermediate for my character ,the intermediate step between being William and Spike which we never had done that

DF when you were Spilliam

Giggles. Oh sorry

JM It’s just that when I got the script I thought that was really, really cool

DG I remember coming down to the set and watching the period and James working so hard on that , you guys really worked at you getting that Spilliam as you say over and over which I don’t think a director who hadn’t written it would have really

DF lets James get a look at this collar right now I mean James just messed up his collar cos he wanted that’s part of his suit coming undone , his whole appearance becoming undone and turning closer to Spike

JM well he’s been partying for like two days or so. Does that sound familiar?

DF unfortunately the costumer kept straightening the collar between shots and James was like “Leave my collar alone!! I’m trying to, this is a thing! It’s my character”

You know I owe a huge debt of gratitude to the actors for their performances in this and James particularly. The actress here who played his Mother whose name unfortunately I can’t think of, I wish I could and please forgive me it was there right at the beginning of the show and I’ve neglected to look but she’s a wonderful ,wonderful, I think she did an
Amazing job here I was very happy with her

JM yeah she was great
DF I think that what you two do together is amazing
JM the thing was though David that you were very specific you were one of the most specific directors you and Joss as far as acting as far as doing a take that so many other people would have taken and moved on and moved me just like one millimetre the other way and really I thought you were one of the two best directors for actors you and Joss

DB (oh yeah what I actually love about you with me is you really, really gave me room and space to bring other things in and kind of mix things up and no one had actually done that on the show before and I feel that this in this episode is my best performance and I actually owe it to number one the writing of you guys and of course my co star here who kept pushing me to be better.

DF While we’re praising David Fury here you know what I loved about you guys is how much you loved working with me

Laughter

DG No I will just say that as a writer there’s so many different ways a director can screw things up ( JM chuckles) And it was just such a joy to watch everything get infinitely better and that’s a credit to Fury and to you guys and to our entire cast

JM Frankly I’m, oh go ahead I’m sorry

DG no, no it’s just I’m so proud of this episode I’m so proud to be a part of the way that this turned out and oh, here’s my favourite scene

DF it’s interesting that this is your favourite scene because this scene really kicked your butt

DG well that’s why it’s my favourite it’s because I probably did twelve drafts of it and finally Fury just came in and ( DB I love this scene man) just rewrote all of it and it turned out great

DF well more so I think I saw in it I guess I had the picture in my head of how it could work. I mean there’s a concern here because Giles is making a big character turn here in that he is going to side with the idea of killing Spike after Spike has been so much of an ally so often and people had a hard time buying it but it’s because I believe, I knew in my head the way these guys were to perform it and I knew that DB would deliver it such a way that it would make such a convincing argument that you would buy that Giles would see the logic in it .That for the greater good Spike needed to go as much as it may have pained him and I really think, I have to say DB that this is one of my very favourite scenes that you’re that you’re really here just listening to Tony

JM God I love this scene because when you guys shot it I got to take a nap and that was “get it right David, take your time, get everything you need”

DF well that was a very long nap because I took a very long time

JM I like a long nap

DB what I like about this scene is just being able to really open this character up in a vulnerable way , not do all the kind of yelling and screaming that this is what we need to do but really to kind of open up and allow Tony to see this characters pain and from that place even though he’s talking in a lot of pain there’s still logic to what he’s saying and trying to fuse those two it was difficult but a lot of fun right there.
DF I love this moment right here with that emphatic “never NEVER!!” so much so that I really wanted to be on DB in the edit there it almost pained me to cut off him We did it for Tony’s reaction but it was a very powerful moment

DG you’ve gotta have his reaction

DF yeah it’s that there are alternate things to know. Now here’s where we cut to the very first shot that I shot in the show Db the walk and talk in the cemetery but what had actually come before was the scene we were talking about in the kitchen ,there’s a scene where essentially Wood is stalking through the house towards the kitchen seeing Spike in the kitchen and basically it’s moving in on him and setting him up for the trap and there’s a great ,great scene between you guys where you’re sort of playing a little chess match where we used a bottle of whisky , pushing it back and forth and it’s almost like chess moves as we’re kind of feeling each other out and I really miss the fact we had to cut that scene.

JM well, you wrote a movie and you had to shoot a TV show, you wrote ninety minutes

DG well I’ll be turning in much shorter scripts from now on

Oh the other thing about this scene there was believe me it seemed like a wild party going on at the time or some such thing it was a mariachi band playing through this entire scene and we had to wait between songs to get little snippets of dialogue so it took us forever to shoot this scene it was the first night and it was just because somebody was on a loudspeaker shouting in Spanish and a mariachi band were playing ,it was very funny for a while but it became sort of tragic as we were trying to make our night
DF It got worse cos it started with just helicopters and cars honking ( JM chuckles) and you would say “ what possibly could happen next?” and then a mariachi band

And I want to point out we were in cemetery somebody had a mariachi party next to a cemetery

Part three

DB this little room is where James and I spent a lot of days

JM Party time with DB

DB we were, I remember we spent some long nights in there and I felt bad because I felt maybe James and I were getting on every bodies nerves because we were so jazzed. It’s like we had done like, you know two bottles of mountain dew. Just bouncing off the walls

DF I don’t think I anybody was irritated. In fact you infused so much energy and so care from everyone that in fact I think it raised the bar for everyone to make these scenes great between the two of you in terms of setting up the stunts in terms of the lighting we did a lot of 360s and 180s in that regard that we can move the camera in kind of a wide arc and use the space because it was kind of built to be lit from above so we didn’t have to have lighting

JM oh yeah

DF and it made quite a difference I know that I love this frame I think this whole scene was great I just loved the set up of DB in the foreground

JM and I love how you let me just stay still, a lot of directors want me to move around and it’s so much smarter to stay still

DF I love that too actually. Now this is just you feeling everything out, you’re not going to be running around a room full of crosses anyway. I like that you want to stay where you are. Stay away from the walls

Oh shirt, I forgot about the shirt, DB shall we talk about the shirt?

DB oh my God I told you to forget about that.

DF We had such a discussion, DB wanted very much to be wearing this tank top

DB yeah the tank top for the muscles

DF and I totally got that I totally wanted to see him in it, but by the same token we have a stunt that we were going to do that we do in the next act that would have made wearing that shirt impossible , there’s no way to hide the harness that we needed to pull him back . So we went back and forth with it discussing can you lose the shirt? Can you be in the tank top?

DB can we get it back on in time?

DF How do we get it back on? How do we make it all seem seamless? And not like “I’m taking my shirt off I’m putting it back on, I’m taking it off

JM but you have to believe that this guy could beat up a vampire and when DB takes his shirt off you’re like “Oh Ok”

DF I was so there I so know and that’s why I said “you know what he’s absolutely right we need him to look like this. And it’s (whispers) “how do I get that shirt back on?”
DB For me also it’s to show that I mean in the acting to be so physical and so brutal that way , just kind of would add to the little twist at the end getting my butt kicked
DG. You know every act ends on DBs face

Act break

DG I love this scene right here

DF I think I had the best time ever shooting this scene because of James and oh my God I wish I could remember her name

DB was her name Anne?

DG the characters name was Anne which was for those Buffy fans, it’s never mentioned in the script but it’s of course Buffy’s middle name

DB I did not know that

DF so we called her Ann to kind of because you know we wanted, there’s definitely a little bit of a Motherly, there’s a Motherly sort of a symbolic connection here between Spike and his Mother and Buffy and what Buffy’s been to Spike and you know all the oedipal issues that would be involved there it just seemed like a nice touch

DG I remember you running into my office saying we’ve found the woman, she looks like Sarah at that age

DG yeah well she had the blonde hair and she was small, and she was British which was wonderful because part of the thing is finding an actress who can do a good British accent

DF oh I love this scene, this scene our first drafts of this we didn’t push it far enough and Joss came in and said make it more twisted, more twisted. Which I hated hearing of course because I’m like very conservative

JM (laughs) Oh yeah safety first Fury

DF I had to call my Mum and say “Mum I love you very much and this whole scene about possibly having sex with you has nothing to do with it (Laughter)

JM he made me do it, he made me do it Mum

DF and the wonderful thing here is just the matter of fact ness of her cruelty

DG yes it’s beautiful

JM yeah and you worked like a long time for this one

DF she was wonderful because she totally got it, I mean even when she realised “ You know what I’m becoming too arch I’m becoming too villainous” and I’d say yep you’re right , bring it back, just be casual and when she did it was just very chilling I thought and the pain of watching you go through this pain as she’s saying these words to you that’s fascinating and it’s also offered a lot of controversy , there’s been a lot of controversy with my opinions about Spike and about his, the nature of Spike and a lot of people are concerned why is Spike, why is Spike letting her talk to him in that way? Why is he so hurt? He’s a vampire why would he, why does he seem. And I Think that was the point of this episode it was to say Spike is an anomaly in the vampire world, he has some facet of his soul even if it was removed when he became a vampire is still, he has more humanity as a vampire tan most vampires do. We haven’t explained why that is but perhaps something about the character of him as a man and he’s retained it as a vampire

JM yeah I mean it’s a kind of a technicality that you have to explain but it works as the character

DB This section here I think is so brutal

JM.. yeah

DF now here’s an interesting story, Tony wasn’t here for this scene that’s a stunt double I had to shoot this scene with Sarah and the stunt double this was the first night and we let Tony go cos we were running late and shot Tony’s side of it ten days later

DG I did not know that

DF Tony’s not even they’re not even in the same space. What I did was I used the stunt doubles to tie him in, that’s the only shot of Tony I had and that’s now the stunt double ten days later and it works it’s amazing it’s the magic of editing

DG It works well

DF you know he seems like he’s in the same space but she wasn’t there that night

That’s the stunt double getting rough

DG it’s so good

DF it’s so wonderful that he can deliver this performance when he’s not getting the lines from Sarah, they’re being read very flatly off screen by somebody and yet he’s able to deliver a performance that seems to be right on top of them

It was also shot his part was shot in an entirely different cemetery so it’s not even the same space in the same time he’s in a different part of the cemetery entirely

DB It was so wild because I really, really connected to his character

(DF, there goes the shirt back on)

DB and it was so wild to be in this moment and to think that you’ve finally I mean that this character has been searching for this one vampire his entire life and here he is finally somewhere in Sunnydale he’s found the vampire that has killed his Mother which changed his life for ever. And it was just this kind of surreal moment

DF You went to a place as an actor I saw it in you, you went to a place , I saw tears streaming down your face ( DB oh it was rough) and I was flabbergasted I went “ my God he’s there” what a .God it’s brilliant that you could do that

DB I tell you though that as an actor it’s just when everything just kind of locks up, when you have the writing the directing and working with James was lets just put it this way I’ve been spoiled and now I’m dreading the rest of my acting life . so James and I got to find stuff to do

DF you surely will, we’ll bring you onto Angel

JM well this job got a lot more fun with you being here on board I finally got someone to be in conflict with

DF now this story line the Spike side of it we originally conceived for Never Leave me it was episode 9
DG after Sleeper the episode where we were trying to get to the root of what the song was we talked about

DF and we broke the story with all these flashbacks and then decided it was just way too much for one episode

JM and now Spike wakes up

DF and now DB gets to take the beating .And it was really important that he gets in a couple of licks

DB what I like though is that you still don’t know for sure that he’s gonna lose, because he doesn’t believe it , he just has this blind conviction that he’s the good guy

DF he’s righteous and he just keeps coming and keeps coming

JM I totally believe that Wood could win
, we’ve seen him dust three or four vampires already

DG oh watch there’s the kick
JM look at that yeah yeah this was great just right now

DF Spike is superhuman ok now here’s the stunt that we needed (everyone gasps as Wood flies through the air, collective “Wow”). That’s what we needed the harness for and that’s why we needed the shirt back on

DG In another life they probably could have been friends Spike and Wood

DF I think if the show had continued and Spike had not sacrificed himself that it probably would have happened

DG Alright and here comes the, this shot right? We did like four or five days later

DF the reason was I shot this it was this was the shot and James’ performance tome was so riveting and moving that I went “I don’t need a close up” because it was so brilliant

JM and we were also pressed for time a little bit so perhaps that’s

DF yeah I wad pressed for time yeah every instant I was out there but besides that I said no , I was practically weeping how great it was and it was only the next couple of days later that I went you know what I and we were back in the space again so I said lets do that close up so yeah , he turned it back on we put him back in the make up with the burn mark on his face

JM oh yeah man it was a hold up putting that burn make up off and on and keeping that continuity

DF and I was so glad I got the close up, well as brilliant as you were in the over the shoulder I’m glad I got that close up in there

JM and I got to walk across the room as if I was very tired, which I always like to do that
(Laughs) I’m serious!

DF and those are tears; those are DBs real tears I was staring at the monitor going wow!

DB it’s all because of James’ performance he just kept giving it ad giving it (DF I know) Man it was incredible

DF a lot of morphs in this episode

Act four

DG. I remember we did one take where DB screamed as James bit into him. With this passionate scream which was very powerful but it didn’t seem right for our show , we just usually don’t play the horror of being bitten by these creatures but it was still , it was like a very gallant effort

JM and one of the few guy on guy bites I ever had and it was me that bites him

DF yeah our fans I’m sure were crying for it

DB oh James bites like no one else I Know

JM oh baby (giggles)

DF that’s true, I can attest to that. (James giggles again). Now Drew remember that this was the scene that Spike, sorry that Giles confesses to having killed Ben, which we thought, or I thought was pretty relevant in the circumstance because he’s telling Buffy that she won’t go, she won’t go down to the mat when it comes down to killing Spike for the greater good . And Giles I thought really needed to tell her “I killed Ben, he was an innocent, and Ben who I killed to keep Glory from coming back and that was the end of season five. And I was so adamant that it must be in there and we shot this long speech of his confession, and when we looked at it afterwards we went “nobody cares, nobody wants to hear about Ben, that was two seasons ago. I built the whole scene around that and ten I went “ Oh Okay”

DG And you were so passionate about it

DF I was!!

DG I raised a minor objection and you slapped me

DF I did

DG Right in the face!

DF which is not the last time it happened

DG (Doing Fury voice) “That’s enough talkback from you Goddard!”

DB now the one request I have is that when you Guys bring Spike back
(DG Ok)]
DB Can he please comes back without my Mothers jacket? . Give him a cool jacket

DF No promises my friend
DB I actually love this scene with Sarah , she was so incredible this day, she really actually took care of me this day , she didn’t want me to exhaust myself emotionally until the close ups she was very, you know that I could keep it in for all her stuff, se just wanted me to save it for my side. She was wonderful this way really good.

DF and she knew exactly what she wanted to do with this scene, she knew she wanted to walk in, help you up and walk back and take in the room. She really had all the decisions, and they’re correct.

JM oh man this eye make up was so making you crazy and I was like I so feel for you because it used to do exactly the same thing to me man, I’m vain. (Giggles)

DF it was really important to show that DB, or Principal Wood I should say, when he takes a beating if, you know from a super strong vampire, he pays for it. We see Buffy and Spike taking beatings, but because of their super strength they, you never have to put much make up on them; they never get that badly hurt. But DB getting worked over by Spike needed to, we needed to show that this was pretty devastating to his body

DB I loved that last line and how it just ripped right through his heart, there.

DG and this episode is all about, you know, killing your parents both literally and figuratively What we think, Fury, when we were talking about this, we were sort of realising the story that Giles, that in a way Buffy is severing the ties with her Father in this scene.

DF Well that’s how originally I titled the episode Mother and Son but it was Drew that made me realise that it’s not just about Spike and Wood and their Mothers, it’s about Buffy and her Father figure, Giles, which prompted us to change the title to “Lies My Parents Told Me”

Screen caps come up

And they’re the bosses

Laughter

Yeah our glorious, glorious bosses

JM Damn you made me stay for the whole thing I’m never gonna buy those T shirts now, you knew that! “Come in for ten, ten minutes” you said, you knew I’d still be here

DF “Hey we’re still on you know

JM Oh (giggles)
DF Yes James was buying T shirts. And these are some of the wonderful people who work on Buffy. Anyway that’s it from me, David Fury, and Me DB Woodside, Goodbye I ‘m James. And Goddard… It’s done

GRRR ARGH

Немного соображений:
Читала я вот этот кусочек:

DB was her name Anne?

DG the characters name was Anne which was for those Buffy fans, it’s never mentioned in the script but it’s of course Buffy’s middle name

DB I did not know that

DF so we called her Ann to kind of because you know we wanted, there’s definitely a little bit of a Motherly, there’s a Motherly sort of a symbolic connection here between Spike and his Mother and Buffy and what Buffy’s been to Spike and you know all the oedipal issues that would be involved there it just seemed like a nice touch

DG I remember you running into my office saying we’ve found the woman, she looks like Sarah at that age

DG yeah well she had the blonde hair and she was small, and she was British which was wonderful because part of the thing is finding an actress who can do a good British accent

DF oh I love this scene, this scene our first drafts of this we didn’t push it far enough and Joss came in and said make it more twisted, more twisted.

И что-то как-то мне снова поплохело...
Стренджер, помнишь наши летние приватные дискуссии? Тебе не кажется, что все-таки эти теории не так уж безумны, как казалось в то время? Нет, я понимаю, что теперь-то все закрыто и опечатано, но все-таки, похоже, была у Ведона идейка... на всякий случай если СМГ проявит больше энтузиазма.

Для тех, кто не в курсе: мы обсуждали вариант, при котором Спайк оказался бы сыном Баффи и шаншуированного Ангела.

Ах, как бы гладко все легло! И неприлично большое число упоминаний о "Звездных войцнах" в 7 сезоне. И самый большой страх Баффи - стать вампиром. И "No, I'll save her, then I'll kill her" - при том что уж ЭТО-то написано лично Ведоном, и концепция OMWF - "пение есть момент истины". И сочинялось LMPTM примерно тогда, когда уже было ясно, что в Home Ангел снова вернется к тактике промывания мозгов - причем, судя по спойлерам на 18 серию, в случае с Коннором это было не просто промыванием мозгов, но "постройкой" новой личности. Так что английский акцент вручался бы в комплекте с прочими атрибутами.
И, наконец-то, стало бы ясно, почему Спайк не похож на других вампиров.
И что-то не идет у меня из ума распоряжающаяся временем Иллирия...

В самих комментариях мне интересны два момента.
Во-первых, диспозиция. Щекотливую тему в комментариях начал DB - а Вудсайд, если рассуждать логично, изо всей четверки комментаторов должен быть наименее в курсе. Годдард выболтал, что они искали актрису по принципу ее похожести на СМГ. Фьюри помянул про эдипов комплекс, а дальше сделал уже привычный ход - свалил все на Ведона (как в случае со Спармони), а потом перевел происходящее в шутку. ДМ вообще промолчал.

Во-вторых, я где-то читала рецензию на DVD 7 сезона (и, кажется, даже кидала его на общеспойлерную - но сейчас лень искать), что в комментариях к этой серии все участники чувствуют себя скованно. Я бы дорого дала, чтобы посмотреть на физиономии всех четверых в тот момент, когда они вели эту беседу.

Мне кажется, что Ведон упоминал подобные идеи в той или иной форме и смотрел, как отреагируют на них актеры и сценаристы. Что он не мог решить, заваривать эту кашу или нет. И так ничего и не решил. Впрочем, кто знает? Подобный сюжетный ход возможен только в САМОМ конце.

Оффтоп: ссылка на соответствующий топик оригинального форума Marstersverse