Дорогие гости, перенос форума Marstersvers завершен. Мы рады приветствовать вас на новом ресурсе!)))). Вся первичная информация об этом форуме находится здесь
Геро, извини, но у меня опять появился значок, что топик закрыт, а мне хочется поделиться поскорее...
Голосовалка на сайте
Два часа назад лидировал Ангел. Потом весть разнеслась по спайковским форумам. Сейчас результаты вот такие
The Poll I'll probably regret: Who should be with Buffy? Spike 39.6% Angel 33.1% Xander 10.3% No one. 8.8% The mummy hand 5.0% Other (comment) 2.5% Riley (barring a divorce) 0.7% Ben (barring resurrection) 0.2%
Total votes: 604
Меня умиляет относительно высокий процент "руки мумии".
И еще: похоже, я поторопилась, заявив, что у Уток сплошной позитив. Я не заходила к ним несколько дней, а там, оказывается, была такая буча... Поскольку место побоища уже убрали, подробности можно почитать в другом месте -
Всем огромное спасибо. Я и сама ужасно рада своему возвращению, теперь буду приходить в себя в родных стенах и на родных сайтах . Теперь перевариваю новое инфо. Что ж, дождемся финала и точно узнаем будет ли СМГ, хотя шансы на ее появление нулевые. Отдельные пасибки за фото Дэвида с женой.
И по опросу слейерверса среди фанатов пока Эли имеет больше шансов на удачную кинокарьеру - 52,1% (к примеру, у Сары - 25,6%). И наши девочки на непоследних местах журнала FHM (если кто еще не видел): http://www.buffy.nu/article.php3?id_article=3850
Вау, очаровательные фотки! Спасибо! Новости. Сегодня показывали промку последних 6 серий. Вот описание:
Yes, 2 quick promos were on, one just before the Smallville ep airing in AtS' timeslot, & one about 35 minutes into it. At the end of the Smallville ep, where you would expect a promo, they aired a Smallville promo, grrr!
Anyway, the first promo was VERY short, literally 3 1/2 seconds.
Announcer: "Fresh episodes of Angel Return in 2 weeks." Then the following shots:
2 DB Promo/Glamour shots, that we've seen before. The second one was against their famous little wall.
2 JM Promo/Glamour shots, that we've seen before. The first one, he has his finger up to his eye, & the second is a side view shot w/ his head down, & their annoying bright lights.
Then there was a shot of DB as Angel, glaring.
And the last, best shot was Spike facing off against Illyria, in the training room. His brows are raised, & his pouty lip is out, & he nods to her, obviously meaning, "Let's have it, then," as they just start to circle. They show a shot of Illyria with an Ice Queen smile. Make that an android, zombie Ice Queen smile! Spike is wearing duster, when he fights with Illyria.
The second Promo the WB aired tonight was longer, about 20 seconds.
Announcer: "In 2 weeks..."
(Begins w/ various shots of Angel. I'm guessing the first is from the Boxer Rebellion, the Power Walk scene.)
Ann.: "200 years..." (Second shot is Angel galloping on horseback, w/ a sword & shield)
Ann.: "Saving the world..."
(Angel standing, in a building, swinging another sword)
"Redeeming his Soul..."
(Angel running through woods, that look like the woods by Drogyn's Well. Then a shot of Angel chained, in a small old brick basement/dungeon type place. He is standing shirtless, back to camera, when the chains are pulled tight, so his arms are pulled up above his head. Then there is a front view of same scene. Setje, you can just see his nipps, hee! Angel looks scared & in pain, not crazy, or like Angelus.)
"Now, Angel's past returns..."
(Someone w/ dark hair, jeans, & white stripe buttondown falls to his knees. Might be Connor, can't see his face. Then a shot of Darla biting Liam, & a shot of his reaction. Then a shot of Dru, then Darla, then Angel on his knees, looking scared, a bright light flashes.)
"The Final 6 Episodes Begin..."
(Wide Shot of Illyria standing over Spike, who's face down on the training room floor. Still wearing the Damn Duster!!!)
Next is a shot of Angel, Lorne, & a woman, looks like it's in a parking garage. Angel is holding something, I can't tell what it is. But it's bigger than a breadbox!
Then a shot of SPIKE! He's in someplace dark, I can't tell where, glaring & walking toward the right side of the screen. Then a shot of Angel, walking in a large sewer drain pipe.)
"Darla..." (shot of Darla, in bed)
"Drucilla..." (shot of Dru, hands in the air, looking crazy)
(Then a shot of Connor - hair a bit shorter, maybe he filled out a little since last year?) Then a shot of Angel, who says "Connor." (Then shots of Angel walking, first a closeup & then a wide shot.)
Announcer:"Angel returns, in 2 weeks, on the WB Wednesday night."
Ends w/ the screen showing:
Angel The Final 6 Episodes In Two Weeks
С сегодняшнего дня серия "The girl in question" числится в IMBD в списке актерских работ Джули Бенц и Джульет Ландау.
Геро, у меня к тебе вопрос, как к человеку, который пасется на MTS: как зовут персонажа, которого ДМ должен быть играть в "Венецианской жаре"? Дело в том, что в Сhicago Tribune сегодня появилась вот такая штука:
Several weeks ago, you mentioned Vanessa Redgrave's two daughters with Tony Richardson. She also hada son Carlo, with her "Camelot" co-star; Franco Nero. What are they doing now? Does Vanessa have any other children? -- Jeane T. Perry, Miller Place, N.Y.
Now 34, Caro Gabriel Nero works as a writer and director; and just finished directing his mother and half-sister, Joley Richardson, in a film for HBO called "The Fever," adapted from a play by Wallace Shawn.
Carlo's father, Franco Nero, now 62, enjoys an active career in both films and TV in his native Italy. As of this writing, he is co-starring with Derek Jacobi in a historical drama, "Venetian heat," set for release later this year.
Production Notes/Status: Status: Pre-production Status Updated: 21 December 2003
Cast (in alphabetical order) Sean Bean .... General Schneider Derek Jacobi .... Don Giorgio Franco Nero .... Fabiani Paul Nicholls .... Mario
Конечно, с декабря многое могло измениться, но странно, что ничего не просочилось по фанатским каналам. Мое сильное подозрение - что автор сходил на ту же страничку, куда сходила я, и творчески переосмыслил увиденное. Неро на главного героя не тянет - ему за 60. Пола Николса я посмотрела - ему 25, и он по идее должен играть молоденького солдата, который соблазняет жену. Значит ли это, что режиссер все переиграл? Или роль ДМ вакантна?
Васкес, огромное спасибо за описание трейлера, очень интересно, хочу видеть ) А Дарла и Дрю в 20-й.. Хм, я так понимаю, что они будут все же во флэшбэках
А героя ДМ в "Жаре", если мне не изменяет память, должны были звать Адриано, жену его - Катерина, так что я пока тоже ничего не понимаю...
Подтверждено, что Карпентер в финале пятого сезона "Ангела" не будет! Новая работа Джули Бенц - минисериал "The Long Shot".
И гляньте на первую страницу новостей Слеерверса -- у них там веселое голосование по поводу того, кто самый горячий вампир - Ангел или Спайк, кто лидируети, думаю, понятно итак, но проголосовать не мешает )
На Спаклях народ обсуждает, расскажет ли Ангел Спайку про речь Баффи насчет недопеченного печенья. Станет ли это "эмоциональной развязкой" треугольника. Я сильно в этом сомневаюсь - не может быть развязки, построенной на событиях из другого сериала. Но мне все-таки интересно, добавит ли Ведон хоть что-нибудь помимо стандартной присказки "мы оставляем ее, чтобы она могла жить нормальной жизнью"?
цитата:
Я вот думаю, это ж сколько надо его смотреть, чтоб так все разглядеть
Именно! На стоп-кадрах изучают. Перед финалом все особенно взбудоражены и ждут, чем все кончится. А Ведон сегодня участвовал в каком-то радиошоу и пообещал "ощущение открытого финала" (open ended feeling). Вот что написал человек, слушавший передачу:
spikeylover "Joss was on the Kevin & Bean show this morning on KROQ. It was great. He talked about the fan response and how "cool" it's been knowing that the fans are feeling the sadness of the cancellation of Angel just like the ME people. He also said that he was aware of the rally on Wednesday. His basic message this morning was to "keep making noise." He doesn't think that Angel will come back next year as a series. BUT, that it has a strong possibility of coming back in some form. He used words like "spin off" "miniseries and tv movie". They just don't know yet.
K & B asked why it got cancelled. Joss said the WB gave him a lot of reasons but mainly it was about making room for reality and repeats. He said it was about tv ad money for repeats. And that reality tv is destroying the landscape of television. He then joked that (and I'm paraphrasing) Angel was canceled because of dollars and cents. Well, it's about dollars but they have no sense.
Joss said that they are going to start shooting the last episode. And, that the feeling on the set is one of sadness. He made mention of the title of the last episode. But, I can't remember it. I was driving on the 405 and couldn't write it down. Sorry. But, it had a open ended feeling.
So, that's it kids. Keep up the noise. Joss said so!
Oh, and keep writing to everyone. He said that too."
А это - летнее интервью Годдарда, которое появилось в сети только сейчас. Кое-какие вещи меня поразили - например, что товарищ сценарист понятия не имеет, зачем в его серии (707CwDP) была проставлена дата и время. И что во втором сезоне "Ангела" линию Дарлы оборвали так быстро, потому что Джули Бенц должна была сниматься в другом сериале.
Drew Q&A, 2003 So, many moons ago, also known as the time just after Buffy ended its run, I (Dachelle) sent a rather ambitious list of nearly 30 questions to Drew by e-mail for him to answer for the site. Drew, bless him, tried his best to get to all the questions, but over time he became busy with Angel, and I became busy with law school stuff, and eventually it became clear that the Great DrewGoddard.com Site Interview was never going to be completed. However, in the interests of fandom enlightenment, I present the truncated, belated, but nevertheless interesting official site Q&A with Drew from summer 2003.
Q. Who are the hardest and easiest characters for you to write?
They're all challenging and rewarding in their own way. But for some reason, writing mean-spirited, obnoxious villains comes very easy to me. Hmmmm. For instance, I'd be at my happiest if I could write an entire script about D'Hoffryn discussing bathroom fixtures and making fun of frat boys. It must be because I'm so pleasant and humble in my every day life.
Also, now that I think about it, Andrew's a really easy character to write because I just stick my head out of my office and write down whatever the hell Doug Petrie is talking about that particular day.
Q. How has being a writer on the show changed your opinion on certain characters/storylines/relationships from those you had when you were just a fan?
You become more understanding to storyline issues when confronted with the reality of putting on a television show every week. Good example -- as a fan, I was always bothered by the abrupt ending of the Darla story arc in season two of Angel. When I came over to Mutant Enemy I found out that Julie Benz was cast in a pilot for another show that season and the writers had to work around it. When I look back at those episodes now and I can appreciate the work everyone did given the constraints of the situation.
Q. What is your favorite episode out of the ones you've written?
The one where Mark Greene keeps making small mistakes when delivering the baby and ultimately gets his patient killed. After that, it's all pretty much one big tie. Though "Selfless" does have Swedish Viking Troll dialogue in it. That's going to be hard to top. Where do you go after that? What's the point?
Q. For each of your episodes, list a favorite moment and/or a scene you'd change given a second chance.
"Selfless" -- Favorite moment: "Lloyd has a sketch of it on his wall." I'd change: the Spider Demon scene with Xander -- the webslinging effect didn't really work the way it was supposed to.
"Conversations" -- Favorite moment: Jonathan's last speech. I'd change: Not really sure... I was pretty happy with that one.
"Never Leave Me" -- Favorite moment: "It was kinda like when I used to get ulcers in high school, only at the end I became one with light and hope." I'd change: The building explosion effect. Don't even get me started...
"Lies" -- Favorite moment: Giles and Wood's scene in the basement. I'd change: Not sure... Fury did a damn good job directing.
"Dirty Girls" -- Favorite moment: "Like Falcon Crest." I'd change: Some nitwit wrote an eight page fight for that last sequence and caused the show to run out of money. If said nitwit had it to do over again, he'd condense it a bit. Ah, the limitations of television.
Q. You were given the task of killing off one of the most-popular and longest-running recurring characters in the Buffyverse, Jonathan. Describe how you went about writing that scene and what you think of the end result.
Jonathan's been there since the beginning, and it was important to us to give him a death that completed his character arc. When I was writing it I basically sat down and watched all the key Jonathan episodes -- "Earshot," "Superstar," the Season Six arc -- and looked at Jonathan's journey. He follows a fairly logical progression from beginning to end, so it was simply a matter of servicing the character.
I love how the scene turned out. Danny Strong breaks my heart.
Q. Why is Anya afraid of bunnies?
I'm not sure. You tell me.
Q. What the heck was up with the time/date stamp at the beginning of "Conversations with Dead People"?
I'm not sure. You tell me.
Q. You've written two episodes with other writers, and three solo episodes. How does your writing process change when you're writing with someone else? How are the duties broken up, and is there a lot of compromise involved or does each writer do his or her own thing and then the individual works are pulled together at the end?
Every script is different -- "Conversations" was a very compartmentalized script and "Lies" was a true collaboration from top to bottom. Writing for television is about playing well with others, so in a sense all scripts are collaborations whether you're credited as solo writer or not. I'm lucky because I work with such talented writers. There isn't a lot of ego involved. Everyone just wants to make the best script possible.
Q. Which parts of “Lies My Parents Told Me” did you write, and which parts belonged to Fury?
"Lies" was a weird process. At the beginning Fury wrote Acts One and Three and I took Two and Four and then we switched and I rewrote One and Three and he rewrote Two and Four. I don't think there's a scene that doesn't have both of our voices in there. It was an odd way to work, but Fury kept us on track. He had a very strong vision of what the episode should be right from the outset.
Q. "Lies My Parents Told Me" ended up being a fairly controversial episode among some segments of the fandom. Some fans felt Spike was portrayed too sympathetically, others too harshly, and many were upset by Giles's betrayal of Buffy's trust and Buffy's reaction to Giles at the end of the episode. Can you describe to us what you and Fury were going for in terms of the character development of Spike and the relationship between Buffy and Giles in that episode, and how well you think you accomplished those goals in light of the fan reaction to it?
At the end of the day, any time these characters take a strong position it's going to upset some people. Buffy's not a story-driven/standalone show; characters evolve within this universe. This doesn't always make people happy. Admittedly, we go to some dark places.
What's important is that the story stays true to the character. With "Lies," individual point-of-view shapes the morality of the episode. We tried to show that each character truly feels he or she is doing what's right. How you view the episode may depend on which character you identify with the most. I couldn't be happier with how it turned out. It's exactly what we intended it to be. I'm glad people are talking about it.
Мдя-м, я и не сомневалась, что насждем открытый финал, вот что-что, а закрытые финалы я у Джосса еще не видела )) И по поводу печенья с тобой полностью согласна )
Отдельное спасбио за интервью Дрю - весьма и весьма позновательно )
---------- Marstersverse Buffy and Angel in Ukraine
За последние сутки на нас обрушился град информации. Во-первых, вышли комментарии Ведона к Chosen на DVD 7 сезона:
deborahw37 с BAPS расшифровала и вывесила все, что он сказал. Вот краткая аннотация
...he talks a lot about Bufy and Spike through the whole commentary how James and Sarah bring a history and intimacy and vulnaribilty to their scenes that take it to a different level from that that David and Sarah work on.. how they have rebuilt trust and comfort and intimacy but it's not sexual (I'll transcribe it all tomorrow) although he says the fade to black encourages to believe what we wish and if we wish to believe they spent their last night making love or talking thats fine ,that shot of them in the basement was about trust and connection and it's the most imporatnt in the show . And he talks about Spike as " our boy" how " our boy is redeemed and saved and destroyed and completed by the Soul and how fantastic James is . what supurb acting chops he has and how he loves him (and not just for his shiny shiny hair) he talks a lot about how Sarah and James seemed to have got together and arrived at the wrong reading of the end, they were playing it as things falling apart but he told them no . the sound and the world and the battle fade away it's just them. perfect intimacy and the romance of the flaming hands the culmination of a complex rich relationship ..he seemed very surprised that James and Sarah had it so wrong because James is usually on the nail and that Sarah never really did seem to understand exactly what he was after but he got it anyway ... and yes " Love him when you say you Love him.. Love her when you say she doesn't" .. The only mention of CGI was that they used a real burn but the gel showed so they GCI'd it
And for what it's worth the Cookie dough was Marti's pitch
И вот весь (вроде бы) транскрипт.
Teaser
Hi I'm Joss Whedon and this is the very final audio commentary on the very final episode of the very final series of Buffy and if you've actually sat through all the episodes and all the commentaries and you have a feeling of exhaustion confusion and sort of a low riding rage that you can't really describe or understand then you'll know how I felt when we shot this , to say that I was wiped out by the time we got here is the understatement of the world and no scene I think showed that more than this one because we had so little time to shoot so much and I'll explain about that as we go to the credits
Credits
You see that was actually the first stuff we shot and we only had David for a little while and I mean a really little while I had about seven hours to do about ten pages and it all required everybody to be completely on point but that's what you get with Nathan and Sarah and David professionalism everybody was right on their marks and everybody worked really hard and it was a good start to this because there was no episode that we ever shot that was harder, bigger and that left less time for me to try and do anything interesting with the camera it left less time for the DP to light it left less time for everybody to do their best work and yet somehow people managed to
Act One
The stunts I did not have to shoot that day John Mettland shot most of it second unit and you'll be hearing a little bit about David Soloman who shot a huge amount of second unit for me on this show because it took so many days
What can I say about Nathan Fillion that hasn't already been said, he's a great hero and a great villain and just delightful I was so happy to have him back for the beginning of this episode just because I wanted to work with him and he'd gotten to work with other directors and I didn't think it was fair that he didn't get me, and I thought splitting him in half from the crotch up was you know maybe a little on the nose as a radical feminist statement goes but for his character I really thought he'd earned it . so
And David you know again came and just was right on the money same as Sarah from the first take which was important the only person who didn't do their best work here I think was me because lack of time meant that here we are that's an over that's an over and then we have a two shot over over two shot which is pretty much the gold standard for boring t directing but when we're in the kind of hurry that we were on this one we didn't have any choice, they make one big move in this entire scene and once they do we started shooting both of them at the same time, it's the rarest thing of all usually you light one direction it's very specific and then it takes awhile to turn round and light in the other direction but every now and then when you're desperate you ask your DP to light both people at the same time, it's not undoable both of them look good here but we had two cameras running the whole time .. it also helps the scene sometimes because both people are in it in their coverage in their close-ups at the same time and they're giving their all and they're feeding off the rhythms of the other person very specifically so you're not cobbling together something that has taken what could be hours apart . It's a fun way to shoot it just makes life hell for the DP and Ray came through as he always does really spectacularly on it.
Yes there will be praise because a lot of people really impressed me you know this was a really hard episode hard episode to shoot one of the shots coming up this one a steady cam shot designed to show the scope of the giant graveyard and give a little motion and emotion to what they're doing, course the giant graveyard is our parking lot, the graveyard that Gareth Davies our producer suggested we build at the beginning of season two to save time going out to graveyards we shot the first half of that scene the first half of that night and then we came out here to shoot the rest of it again the time constraints were insane and yet this stuff looks great and the two of them are as funny and real as they've ever been so that worked out just fine . and David doing my all time favourite thing being petty, whenever Angel is Petty I think he's at his best . And I love the fact that I feel the scope of the graveyard which is where I thought Buffy and Angel should leave their relationship on this show because it is the iconic place for Buffy the graveyard , more than anything else. A lot of this last episode had to do with finding that perfect iconic moment and that perfect iconic thing that really says this is a summation of what we've done . I've done it before I did it in episode 22 of season 5 where I had Buffy fighting a vampire in the alley at the beginning
I had made a lot of the statements to sort of round out my feelings about the show but life went on and the show went on and writing a second final episode of Buffy was much harder than writing the first partially because I'd already written one partially because I knew that this was the end at some point I just had to let go and just write forget about the pressure about it being perfect , it's not going to be and it isn't but make it good enough hit the beats give an episode so that people would remember. We knew where we wanted to go thematically It was just getting there.
This speech about cookies well not cookies exactly but I believe baking was in there was originally pitched by Marti Noxon early in the season and I think as the show runner I could have done a better job of bringing us to it , it comes to this conclusion a little bit out of the blue and that's my fault but we knew that emotionally it's where we wanted to get and where we wanted to get to was the idea of my relationships don't work out because I'm still becoming a woman and finding my place and I don't need to be finding the perfect guy at age 22 or however old Buffy is at this point , I can wait, I can wait until I'm fully formed and I think that's a very important message and when Marti had thought about this in her own life and she told me about it I was like I think this is exactly where we need Buffy to get . And it helps with the other really complicated part of writing this episode which is how to get Angel and Spike together in the same show, have her have the big emotion for both of them and not make her look like the slut queen of slutdonia as Marti herself would say . It was very tricky and I'd like to point out that I had to do it in the same act, that by the end of act , well before the end of act one she's sleeping with Spike .
This exit for Angel was designed to mirror his first exit him backing off in the darkness. Something hopefully iconic enough and something to give people hope that Buffy and Angel might one day work out because some fans, now I realise not many but there were a few fans who feel that the Buffy Angel romance was like a big deal and clearly I thought Parker was the most important romantic relationship of her life other people disagreed that's fine I guess they can do that they care about the Angel thing, some people care about the Spike thing I don't know why we couldn't get Parker in there too but apparently no you know whatever so that vocal minority who care about Buffy and Angel meant that we had to do service by him.. Comment on screen action) "eye socket jokes always funny"
And this was how to get her in the sack with Spike half an act after Angel had left but you know the experience. I've said this probably a hundred times and probably all of them on the audio commentaries to these damn episodes the trick is always to make the audience go through exactly what she's going through It's confusing to us emotionally that we should bounce from one to the other and it's confusing to her but Spike is the person in her life right now. That drawing is one of my own creations and a lot of the crew members were like "why does he hat e Butthead?" and I was like "Oh it's supposed to be Angel" and that was something that I did on the day it wasn't in the script, that's the kind of wacky improve I've got going. Who knows what could happen. At any moment I could come up with that I think that's actually the only thing I came up with. Asides from the script
The great Marsters with a chemistry with Buffy that is just completely different from Angels and different to Davids and it works very very well he's more on Buffys level he's they're [?? может быть, неправильно расшифровано, и на самом деле "here's where"] vulnerabilities come out and I don't just mean as characters but as actors Around each other and that really works it works on a different level. Their relationship, clearly been through a lot much more in fact than her relationship with Angel and you feel that history with these two and they bring it to the set they come to work and that's why we still came to work because they did And James the ability to turn on a dime is a very rare thing in an actor from incredibly noble or scary to completely dorky or disarming, he does it with the tongue line earlier he does it here you'd be amazed how few people can actually do that and the last person I ever expected to be able to do it would be a theatre trained actor yet he's got the chops he can go from Dracula to Jack Benny in a heart beat which is one of the reasons why I love him that and his shiny shiny hair
The idea behind their sleeping together is very important it was that their relationship had enough trust in it that it was physical and romantic but not sexual that was of course in response to the rape issue of last year when he had attempted to rape her because he didn't understand the boundaries of their relationship, he was soulless but having gotten his soul and having fought to become a person we wanted to say this man can be redeemed from that not and I've said this before, not in a Luke And Laura ,he rapes her and they get married way not in an all is forgiven way just in the way of he's still a human being who did a wrong thing and we still count him as a human being, I think that's a very important message, that their relationship should be complicated and yet come to a place of trust without saying alright they're going to become lovers again because I think that would be wrong I think that would be the wrong message I think that it's a very fine line
I love watching them face off, I love Nathan he tells his little jokes almost like he's an old man his little puns and his silliness the delight he takes in his character is just so very charming and the point he's hitting on of course being the whole point of the show .being the whole point of the season and it seemed not only really affordable to have Sarah playing the First fort the most part of this but also the smartest because we've come full circle and it did make sense that we had Sarah telling herself literally that she was alone. These two didn't get along together at all I thought they would but they were complaining their outfits were too similar their trailers were the same size and there was trouble " I'm drowning in footwear" just one of those lines that make you glad that you're a writer that you can write something that silly and actually out it on the air it's an odd thing to end an act with an affirmation of potential victory but it made sense to me here because it's so strange
-----------------------------
End of act one Act Two
Well this shot is kind of a cheesy trick but it got everybody in frame so I liked it this scene was one of those OK gotta make our day kind of scenes . I shot the room as a three waller, you'll notice I don't come around on Giles when he speaks to Willow I get him in profile which I don't mind doing, I don't need to be in every bodies faces the whole time exactly for every moment but it was a function of the very small amount of time that we had that I played it in the proscenium form almost you never do see that forth wall and the bed helped. Some people have complained that the magic that this scythe , originally from the Fray comic that I was writing at the same time is a little to convenient , and my answer to those critics is " well don't tell everybody" it is convenient and that doesn't really bother me because ultimately to me the magic the phlobotonin was always secondary to what needs to be said and had to do with empowerment and the way to get there was through Willows magic and what it means to her and being a slayer and what it means to them so the fact that everything really fell into place a little too easily, maybe I could have thought of something a little more interesting but that isn't where my heart was, my heart was in the heart more than it was in the magic.
This scene well first all of the first time that Buffy got through this speech which I'm sure you can realise when you watch the episode we shot all as one , there are two parts to it and it's very long and it is about twice as long as what you see on screen we cut about half of it in the editing room apparently my pen runneth over so Sarah's basically doing a scene that is four times as long as what she does here and did she get every single word right on the first take? Yes she did the extras actually spontaneously burst into applause when she was done? Yes they did . Again it's one f the reasons why we went as long as we did, working as hard as we did the fact that she could do that. I'd also like to point out that it was Eliza Dushku who actually stopped to point out how much she liked the speech how much she liked the scene how much she liked the work and coming from an actor who knows they're gonna spend half the day standing there looking, with no lines I though that was particularly gracious.
In this scene she accused me of getting back at some girl because of the way Wood kind of disses on her but actually it just made me laugh, and there aren't any girls I need to get back! (Laughs) actually I think I told her that's if what I was doing with the show it would be going another four seasons.
But I think there two just had a lovely chemistry and this is not necessarily something that would have been in the last episode a relationship talk from the two of them but it deals with the isolated nature of the slayer embodied here by Faith rather than Buffy which is really an important part of the season and it just tells us a little something about the two of them and pays off at the end two takes you know in either direction , both of them were so on point so delightful, Eliza not happy about giving up control of being like vulnerable and he attacks her skills and the expression " Dude I've got mad skills" was actually said to me by Eliza in reference to serving ice cream, working at the Dairy Queen I believe not in reference to anything else but I loved the phrase so much I though I simply have to have Faith say it . Which since it was me writing it became dirty. Weird, it's a thing. DB Woodside from the first frame that I saw in the first episode he intrigued me so much a real you know a real comer a real epic guy just a little bigger than life and you look for that so often you don't get it, it's really hard to find someone. It was a match I love Iyari and Allie in this scene well I love Allie in pretty much every scene where she doesn't have to speak a foreign language and I think It's not a big secret that originally I had planned to bring Tara back and when that didn't work out you know I was looking for the anti Tara , somebody as un earthy and unlike her as possible . Iyari has a wonderful presence and a great physicality with Allie that is just very natural so I liked working with them ,this is like my first time because I didn't shoot any up until this one because I was too tired ,I was pretty much too tired to shoot this one too but I had no choice, I couldn't let somebody else do it except for the parts that I let John Maidland and David Solomon do which again we'll come to later and the reasoning behind the two of them was very simply somebody had to end this show with a God damned girlfriend and why shouldn't it be Willow? Somebody has to end in a decent relationship because we've seen so any of them fall apart.
I loved doing this as a one er because I love a One er you have to do them a lot more times they take about as long as doing a scene with coverage but when you get it and it's all there It's delightful and Tom well I can't say enough about him, this thing he does with his hood when he says step back he had never done in any take he just threw it in there now here we go he had never done that before and it just he's always trying to bring more to the table not in that annoying " I have an idea that will ruin the shot" way but just in I'm staying in it and I loved that he became a huge part of the show . this scene was also added so that we could give Amanda some screen time so that later on I could kill her because I wanted to take a toll I think that Emma knows that as well as any., a battle without some kind of a toll is not a real battle.
Pulled wide here because I had planned to shot that on set and when they said we're going out I said well then dammit I'm pulling wide so they know we really went there that night we actually had four directors shooting porch scenes for four different shows and this bit here I did actually add on set not just the picture of Butthead on the punching bag but this where I said " I wanna get a couple of shots (we were going fast) And that one I didn't know if we were going to use the two of them… and to me it's almost the most important shot in the show because it shows the mystery of their relationship and that's one where I wanted the audience to fill in the blank I wanted whatever you want to have happened to have happened If people believe that on their last night together they made love great if people believe that on their last night together they talked all night if people believe they had a fight great whatever it s it's up to the viewer the viewer has earned that and I love that analytical nature that there should be work for the viewer to do in that sense emotionally I think that makes it more textured and that shot of the two of them looking at each other I just find that beautiful …
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He talked about this right over the beginning of act three but I kept going … Now I'll post this as act two and get back
Act three
And I loved this shot too setting up all my parameters Look around big wide lens and then of course the great Andrew Oscar speech of the show which made me laugh every single time we did it sometimes out loud which was of course not a good thing for the director to do during a take his Brother Tucker of course who we referenced all the time was the guy who tried to destroy the prom and we had originally wanted that actor Brad to be one of the nerds but he was busy and couldn't so we found Tom and played up the idea that everybody couldn't remember him because he was somebody else's little Brother which by the way happened to me in high school all the time but I love that, the little continuity things are very important to me that sentence ( whatever you say is going to sound like Goodbye) was actually said to me by Marti after the show when she was leaving the house after we had watched it.. why it nearly made me cry , but I don't cry because I am a manly man This moment I don't think I really need to explain what's going on here I felt that it was very important and I think the audience did too that these four have their moment together, these four who started it all should finish it all and Much in the same way they began it that's why I echoed the exact lines from Giles this shot is I feel the every ending of the two part beginning And this shot also very important as they peel off one by one friends going to their destinies and Buffy left alone I shot that in slow motion but unfortunately it was so slow that it took up about half the show a whole long walk for Buffy where she walked down through the basement and remembered things and walked in slow motion really really long, I had to cut it I had to cut a lot of things my shows almost always come out long because I talk to much, in this instance I'm supposed to be talking right now too much but I almost cut this shot which is again I think one of the most important shots just for time when we were shooting but the idea of all these girls bleeding together I think ha a a good earthy almost menstrual metaphor to it which I think is important since they're all becoming Slayers . Oh did I give it way? Well if you're listening to the audio commentaries you probably already know that .
My biggest regret about this episode was that I didn't get to do more funny Willow stuff there was just so much plot to get through and Funny Allie is such a great thing and I wished we'd had more of her
This shot is rather seamlessly welded in by Ronnie and our guys at Zoic and really gave us an epic feel that we just didn't have the money for on this show all these many years so we've been saving all year for this very sequence and these very shots the idea that there was now a technology where you could do hundreds of thousands of bad guys it just didn't exist in the first six years and people well somebody saw The Two Towers and the fact of the matter is what I saw was a literal thing that was in cinefax explaining that they had this new technology you could create thousands of bad guys and I was like that will make this battle different from all the others the sheer number
And this, this I knew I was coming to from the start of the season pretty early on in it Buffy was isolated as a character even in the world Buffy and her gang never ensemble always like the star and the others in the magazines and what not and it was very important to me to say Ok great that you've worshipped this one iconic character but find it in yourself everybody and that's why we shot the people all over and that was a great fun thing to do the very last thing I shot for the show on first unit was the girl in the trailer and Drew Goddard pointed out that it was kind of a great shot to be shooting at this point for this show and I can't say enough about our little baseball girl, so may people just lost it I thought " oh this is gonna be too cheesy the baseball thing" but so many people were like " I was that girl, I played little league it's so important" and that s the cry moment for a lot of people again I can't say enough about the Zoic guys the job they did integrating these things and Felicia Day as Vi and Indigo as Rona just doing great work they really stuck you know a lot of girls came a lot of girls got killed and.
This image which we referred to, speaking of Lord of The Rings as the Blanchett image , obviously meant to she couldn't stop talking about her black haired evil and the idea that when she empowers these women she comes to something even more powerful beyond the concept of power beyond the powers of evil something truly connected about connection about Women's connection to the earth and that it can bring out the best in her and it would be nifty It seemed like a good conclusion to her story her arc
This scene this story all of this stuff this is where David Solomon really came in and helped out, he shot for days of second unit because there was simply so much to shoot and without him I mean he was a great director on the show and a great producer anyway and without him doing this episode I never would have made it through he kept it interesting. We actually had to stop filming one night one Friday night half way through because I was just too tired
Felicia was like "you hooked me up fat" she loved all of this footage we got of her but she looked great. that shot was very specifically storyboarded before we ever did anything, that was very important (Buffy swings scythe and dusts multiple ubies) I wanted to get that moment of just everybody doing everything in slow mo I thought it came out really nice though .
And if you're going to pay off things that people have dealt with over the years , Bunnies are going to be one of the most important Emma just about the funniest person who ever looked that good DB loved to fight, so did Tony I wished we could have had more of that again we wanted to keep everything moving as fast as possible and you know "I have swimmers" ear" is just something that Tom said that made me laugh and so I put it in I don't know why the characters saying that it's not going to stop the vampire . People complained again that the vampires were too easy to kill, they were supposed to be stronger than other vampires and the fact of the matter is it's true like the convenient magic it's true because again I was more interested in showing the empowerment than I was in the continuity to make every vampire as hard to kill as the first one would have been too hard.
End of act three
Act four
Act four
Shooting the battle as it was required many ,many more days than we had scheduled and more directors so once I got all the big moments out this was a very important thing too the sharing of the scythe means the sharing of the power just about as literally as you can get . Had to use a little sunlight since it was the middle of the day. (Anya dies) one of the most brutal images we've ever done and you know done to keep the sense of battle , you know the un heroic death also interesting because I'd never seen it before I'd never seen anybody cut like that and I came up with the idea of the stuntman using a half sword and digitally adding the rest of the sword and the cut so just instead of one of those slices like you always get in swordfight movies we really cut someone down And of course Sarah following as well that was because I needed a toll I needed this battle really to feel like a battle and I couldn't kill any of my core four and still call it a happy ending I couldn't kill Dawn and still call it a happy ending either so Anya got the nod and to make it as un heroic as possible just felt very real and very creepy and that shot was in fact her last shot ( get out of my face) a lot of people didn't actually get that this was a pun but it seemed like the right thing and here you've really got to give it up for the composer he increased the budget of the show by a half just because his music gave it such an epic feel this music to me embodies so much of what I was striving for , it makes the thing feel twice as epic it was a beautiful piece of music. that's May a great great stuntwoman who gave us beautiful footage as Felicia did too all the girls really enjoyed their fighting, they wanted to fight more and more , Iyari particularly . Sarah at one point said look we're going to need more footage, just keep rolling and I'll fight
The sunlight hits Spike the sunlight is channelled through Spike and it gets nasty some of the body language from these vamps again CGI really beautifully done The idea of the soul as the thing that elevates and kills him felt like a good wrap up and again going from the epic to the humorous in a heartbeat that's our boy The girls kept walking through the beam and I had to say "you're being chopped in half. duck and she did ad she fell which was fun but she wasn't hurt nobody was hurt it's all fake . The idea of the bus was just that it felt right we had to get a lot of people out and it's a school bus and that's what we did this shot one of my favourites too , he's looking for her she's right there he doesn't find her those always get me.
This was an interesting scene because both James and Sarah came to it from the wrong place really, they were playing things falling apart and the terror of it and I said that what I wanted was for them to completely distance themselves from it and I explained how the sound was going to drift out (Hand clasp) this was sort of a romantic image the two of them, we actually did it with real fires. But the hands were all gelled up and you could tell so this is CGI and it looks beautiful I thought it was a nice comment on their relationship .What I basically told them was Play the romance be proud of him, love him when you say you love him ,love her when you say she doesn't love you. forget about the crumbling world for that period of time it doesn't exist it's a cinematic trick but it's a necessary emotional one I was surprised that they hadn't come there because usually with the three of us we come to a scene in exactly the same place and this time it really was sort of different. Eventually Sarah said if you have what you think you need I think we should move on because I'm not sure I understand how this works but I look at the two of them together and you know their work is tremendous , but that is part of making TV and movies sometimes you'll get a take from an actor that blows you away and they'll go "oh I wasn't feeling the thing can we go again and I'm like " you just gave me gold" " but I didn't feel it" and I'm like " The audience will" sometimes you can let them have another and sometimes you just say " trust me, the audience will be there cos I was" . another beautiful image our boy goin down for the last time even though everybody already knew he was gonna be on Angel
I loved revving Felicia up to as much intensity as we could get that was fun, right there we're going around the lot our little lot and then this actually miniatures and CGI and I'm just obsessed with people running and jumping on things the big leap and so I got one at the end of my show . Its an old trick there was another old trick( Sunnydale falls away .. I love that by the way you couldn't have a better description of what happened to Sunnydale) the first trick was she jumped the bus drove under her but actually they happened at different times and we were still doing something which we did when Faith fell into the truck they were talking about the bag how to cheat the perspective and I was like can't we just shoot them both and then do a split screen? And then of course this I have to say, the endless road behind them was something that came from Tony Head he pointed out " oh that's beautiful an endless horizon it's a perfect image for the rest of the show and the rest of their lives and I was like " yeah that's great except I parked in front of it and you guys play in front of the bus and we're never gonna see it" So I gave that moment to Sarah of just looking out and seeing that horizon cos I agreed with Tony I thought it was beautiful and I didn't think it should be missed. And then of course that poor sign which in one incarnation or another has been knocked down so many times
Again I had very much planned not to have any reason for Anya's death any reason behind it or any reason to come after it , but the writer in me couldn't not resolve it somewhat I think the audience needed what Xander needed which was something and that something was Andrew learning that the think that he's sort of reviled for, making up stories becomes the thing that he helps Xander with becomes the thing that he actually is good at, giving her the epic death that she didn't actually get to have
( Faith/ Wood) I think that these two have as grown up and textured a relationship as any of the characters on this show and they had about four scenes together total so I love that about them I love how much goes on in each of them when he dies dying, having a character die and then suddenly bringing them back to life is something you can only actually earn after you've killed a couple so this was a nice opportunity to say this isn't over yet, to have the call back and I wouldn't have been able to do it if I hadn't legitimately offed a few beloved characters
And then we come to what is the final shot, needless to say we shot this one a bunch of times I had this in my head from the start when we first did it we started up high and it looked kind of fake and cheesy and they're of course playing against an abyss that isn't there but I knew this was going to be a one er I knew it was going to be a slow push in we started to shoot it and then Ray the DP said you know what? the lights not that good the winds not that good lets just leave the crane arm and go shoot the little bits in front of the bus So we held off for about four hours and came back, tried again everybody getting their lines a tough thing, everybody being in the right place in frame but I wanted it to just be everyone and to end with the close up of Buffy because what this shot ultimately is about is what a lot of the shows about which is that the story goes on that there is closure but not a closing that what we've seen is a life being formed like the cookie dough speech explains , this a life in progress a life that in some ways is just beginning, like that smile. That's all I have to say thanks for watching my show
Я не в силах переводить все, поэтому (вы уж извините) переведу только куски про ДМ и Спайка. Вывешу попозже - либо сегодня вечером, либо завтра часиков в 12 (я раньше не проснусь).
Далее: в пятницу, 2 апреля Ведон дал интервью радиостанции KROQ в утреннем шоу "Кевин и Бин". Сегодня появился транскрипт, сделанный anige и перепечатанный TxVoodoo со Спарклей. TxVoodoo - она же Лиза - один из организаторов кампании "Спасти "Ангела".
Ничего такого-супертакого он не говорит, но я хочу отметить, что он действительно упоминает про спинофф (хотя предупреждает, что особой надежды нет), говорит про перспективу телефильмов и минисериала. Он сообщает также название последней серии - Not Fade Away. Кстати, пришли сайдзы. Их я переведу в первую очередь, потом - Spuffy goodness из комментариев. Кому лень читать весь транскрипт радиопередачи - я выделю самое существенное.
Joss on KROQ's Kevin and Bean morning show, April 2nd Credit to anige
So my friend Elizabeth was listening to KROQ this morning sometime between 7 and 7:30 AM, and she heard something along the lines of "damn 'Angel' fans spamming us" and "we have Joss Whedon on the phone right now" and scrambled to record it. Thanks SO MUCH to my friend Elizabeth B., who was willing to sacrifice her Smashing Pumpkins tape for the cause. Those of you who were at the rally might remember her.
So, here's what was actually recorded, or what I could hear and ranscribe, anyway. Obviously, no guarantees. Punctuation is approximate. I *think* the chick in the background is Lisa, but I'm not positive. There's stuff I couldn't hear, and laughter, and people talk over each other, and sometimes I couldn't tell who was speaking, but I did the best I could. And I cut short my Friday night to do it!
Oh, and SPOILER WARNING for the title of the season finale.
Enjoy!
Bean: ...it is unbelievable! But we'd like --
Joss: I told them to target you guys specifically.
Kevin: Like we have any say over it! Right! We'd like to say, Joss, it's obvious that your fans still want it, why are you quitting?
Joss: Um, I'm not quitting, I'm being fired.
Kevin: Oh, oh, that's right, I forgot.
Bean: Oh, way to walk away from it and break everyone's heart, Joss, nice work!
Joss: Yeah, yeah.
Kevin: Tell us all about, uh, about "Angel." We really -- Bean is not exaggerating, we have been inundated with people who are dying to save this show from all over the world.
Joss: You know, um, unfortunately, none of them seem to work for networks. It's odd.
Kevin: Yeah, unfortunately.
Joss: Um, you know, I -- I was shocked as hell when we got cancelled.
Kevin: You were.
Joss: Um, I thought, uh, the show -- I know the show was doing better than it's done before, I know people were receiving it well, we thought we were hitting our stride hugely, it's been a great year, we've been having so much fun, and it sort of came out of the blue.
Kevin: So, so, ratings-wise, there were no big red flags going off, you were fine.
Joss: No, no, none.
Kevin: Huh.
Joss: But, uh, you know, the WB I think is just looking to shake up its image, and do some stuff that's new, and we've been on for five years, and so we didn't just quite make the cut with them.
Kevin: Wow.
Joss: And it's that simple, it's, it's, it's dollars and cents.
Kevin: What can you --
Joss: Well, not cents so much as dollars.
Kevin: Dollars, right. Yeah, exactly, they're willing to give you the benefit of the doubt on the pennies, but not so much on the dollars. Uh, before we, uh, before we talk about what is likely to happen, what can y -- tell folks what the saving -- how savingangel.org got started, if you know, and some of the things that they've been doing in support of how much they love your show.
Joss: Well, I do know -- I don't know how exactly they got started -- I do know that one of the things they did, uh, uh, besides, uh, hiring a truck with a billboard to drive around LA and taking out ads in "The Hollywood Reporter" and "Variety", which is not cheap --
Kevin: Right.
Joss: -- they did organize a rally that happened, uh, on Wednesday, outside the actual WB, um, uh, to make a -- a big ruckus in front of the actual executives.
Kevin: That's gotta really make you feel good --
Joss: Gotta tell you, it does.
Kevin: -- about a product that you've worked so hard on.
Joss: It does. Because, uh, I was really heartbroken when they, when they cancelled the show. We still have something to air, which, uh, we're working on now. We're about to start shooting the -- the very last episode.
Kevin: Right.
Joss: It's been really sort of sad, over in the offices, and knowing that there are so many people who are sharing that with us? Is pretty cool.
Kevin: You know, uh, w -- as you know, we've been putting in the request for the last couple of weeks to have you on because we really did want to talk about this, and raise awareness of it, and we were always told by your people, "Hey, he's furiously typing this final episode of 'Angel'", in your mind, did you write it as the last episode of "Angel", or did you leave some room open for it to come back?
Joss: Well, I always do both. When I come to the end of a season, and this started from the very beginning of "Buffy", um, I always write it to give complete closure and really cap everything I tried to say about the series, but leave enough stuff open that, should there be another season, um, there's plenty to do.
Kevin: Just because it's always up in the air, no matter --
Joss: Yeah.
Kevin: -- no matter what you're doing?
Joss: Yeah, the reaper always loometh.
Kevin: That sounds like it ought to be the name of the episode, by the way. Doesn't that sound like an "Angel" title?
Joss: No, the name of the episode is, "Not Fade Away."
Kevin: "Not Fade Away."
Lisa: Oh. Well, that's good too.
Kevin: Interesting.
Bean: Nice.
Kevin: You know, it used to be in the old days, 99.9% of the time, when a show was cancelled, that was it, there was no fighting, there was no talking, it was outta here. Nowadays, it seems like there are more and more examples of shows that are cancelled by one network, and then they get picked up by somebody else, maybe they go to cable, uh --
Bean: Uh-huh.
Kevin: Obviously, the story -- the case of the -- yeah, one of our favorite shows, "The Family Guy" that was cancelled --
Joss: Right.
Kevin: -- and then now it's being brought back because of the DVD sales. What are the various options available to you, and what do you think is gonna happen, Joss?
Joss: Well, I'm not sure what's gonna happen. There's been some talk about the idea of doing, um, TV movies or miniseries, um, uh, on a limited basis --
Kevin: Uh-huh.
Joss: Um, we haven't really, sort of, explored that yet, we're just trying to get this season through the ground. But, um, uh, you know, in the case of "Buffy", it did go to another network, in the case of "Firefly", um, you know, I've managed to turn it into a film, um --
Kevin: I love that about you, Joss. Here is what happens: "Firefly" comes on the air, and it just, for s -- for whatever reasons, I think it was on a bad night, wasn't it, uh --
Lisa: Yeah.
Bean: It was Friday nights, I remember.
Kevin: Friday nights, it just --
Joss: Possibly a bad network!
Kevin: -- it didn't catch on. And, uh, but Joss says, "You know what? I'm gonna make it into a movie anyway, 'cause I like it, and it's got some stuff that people haven't seen yet." So I love that about you.
Joss: Oh, thanks. It wasn't easy, but, uh, it should be fun.
Bean: All right.
Kevin: So you could take "Angel" to another network, right?
Joss: You know, um, it's a little bit different. "Buffy" was such a cultural phenomenon, that it -- and, and the war about it was -- got such press, that that was kind of a no-brainer for UPN. "Angel" is in a different situation. We have always flown a little bit more under the radar. Um, and, uh, I think we -- it's gonna be very difficult. I don't see it happening. I don't see another network happening for us.
Kevin: Hmm.
Bean: Wow.
Kevin: Note to UPN: you'd be lucky to have it.
Bean: Yeah, no kidding.
Kevin: Uh, you know the --
Joss: I didn't say that!
Kevin: -- the, uh --
Joss: I went near it, but I didn't say it!
Kevin: The critics, that I, uh, that I read a lot in "Entertainment Weekly" or in "USA Today" -- they've been extremely supportive of "Angel". It's not just the fans, I mean, you get a lot of g -- a lot of good critical press on the show too.
Joss: You know, I -- I didn't expect it to happen after "Buffy". I expected the big backlash to start, but, uh, "Angel" kind of has its own vibe, and, and critics have responded to it too. I mean, everything about it is working just great, and these episodes that we have coming up, I'm as proud of as anything we've done on it. Everything is just perfect except for the fact that we're dead.
Kevin: All right, so, let me see if I can recap, then. Critics, check. Ratings, check. Um, success, check. But it's dead.
Joss: Yeah.
Kevin: This is odd. Um, what --
Lisa: I don't know what need to do nowadays to keep a show on!
Kevin: Did they -- did they give you a reason?
Joss: There were reasons. They had to do with repeatability, and, and, and in terms of, uh, ad revenues and the repeats, and, and again about, you know, "Well, we have to bring in new shows, we have to have more reality shows" -- yes, reality shows are in fact killing the landscape of television --
Kevin: Oh, no.
Joss: -- which I didn't think they'd do --
Kevin: Wow.
Joss: -- and, um, you know, just, uh, just no place for -- for an -- an old codger like Angel. He's like, two hundred and fifty, and that's not their demographic.
Kevin: You know, uh, we're talking to Joss Whedon here for just this morning about his show "Angel" that is gonna be leaving us, I guess, in May, will be the last episode, right?
Joss: Uh, that's right.
Kevin: May, right. And, uh, you do bring up a good point that we hadn't touched on, and that is... And this happens a lot, when you're dealing with entertainment, whether you're talking about music or TV or movies, is that you -- it touches you, because it's art, but on the other side of it, there are bean keepers, and, and, and they have to make a profit, and there are a lot of shows that end up going away, you know, because it just costs too much money to make. It's not profitable anymore. It's not that the show is -- isn't good, it's just that they can't justify it in the bottom line anymore, and --
Joss: Although --
Kevin: -- sometimes it sounds like that's what you get up against.
Joss: We did take a huge budget cut this year, actually cost less this year than it did last year.
Kevin: And you said, "Uh, okay, well, we would rather not, but we can make it work?"
Joss: We made it work.
Kevin: Wow.
Joss: For a season. Wasn't easy.
Kevin: Okay --
Joss: We spent a lot of time in that lobby.
Kevin: Okay, here's the -- here's the real question, then, Joss. Is there anything anyone can do to help you at this point, or is it just in the hands of -- of the suits?
Joss: You know, I think all the noise that's been made by the fans, um, does help. Because, um, you know, we -- we're talking about different venues for not just "Angel", but the Buffy -- Buffyverse in general.
Kevin: Right.
Joss: You know. Spinoffs, or, if -- TV movies, or whatever it is, uh, the more interest that's shown, um, whether or not the show itself as it is now gets to come back , um, that registers -- that registers with people, you know.
Kevin: Now, Bean and I are not, uh, uh, the people who can bring it back, unfortunately --
Joss: What?
Kevin: -- if we were, we would --
Lisa: Right.
Joss: Oh --
Kevin: So -- so, Joss who --
Joss: Oh, I've misdirected my fans.
Kevin: Who should they -- who should they write to?
Joss: Um, you know, I believe, uh, Fox Studios, who produces it, um, and, uh, you know, they should just keep writing to everybody. The more, you know -- the WB, the other networks -- the more the awareness of it is out there, um, the more, you know, it has a chance at -- at finding some kind of life.
Kevin: Oh, I see.
Joss: Even though I honestly don't think it's gonna come back in its present incarnation as the "Angel" series, um, you know, I think there's a lot more to say about the Buffyverse in general.
Bean: So people could even write to, say, ABC, and say "Hey, by the way, they're taking 'Angel' off, I sure would watch ABC if you were to pick it up."
Joss: If people have the time --
Kevin: Wow.
Joss: -- they could write to everybody.
Bean: Except for -- except for Kevin and Bean.
Joss: No, mostly Kevin and Bean.
Kevin: Oh, no. There's gonna be --
Joss: Listen to the sound of my voice. Kevin and Bean are the power behind the WB.
Kevin: We just have no control! But we have -- but we have no control!
Joss: They are the power.
Kevin: Oh, Joss.
Joss: Joe Levin, he puts on a cowl, he lights a candle, and he prays to them.
Bean: Joss, it's gotta be so crazy for you to wake up in a world where "Yes, Dear" is on the air every week and you're having trouble keeping "Angel" going.
Joss: Um, you know, uh, you know, uh, y-- did you know who's president?
Bean: Yeah.
Joss: World's crazy, you know.
Kevin: Yeah, the world is definitely crazy. Well, uh, we're very grateful that you, uh -- that you managed to get on the air and talk to us about this. This has -- this is something that we have been talking about, uh, without you, the past couple of weeks because we're certainly aware of the groundswell, and I -- man, I hate to see a show that people love -- not -- I mean, there are so few shows that you can get passionate about, if you find something great, there's gotta be a way to make it work so the fans can be happy I --
Joss: Yes.
Kevin: I really believe that. And I -- And I think you're giving some good advice, to just to keep -- keep making noise! You know, the old squeaky wheel, like they say.
Just something interesting: they cut to commercial right after this, and there was a traffic report, and then they had, "Hey, this is Sarah Michelle Gellar, and you're listening to Kevin and Bean on the world-famous KROQ."
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A side note from me, TxVoodoo - this makes me feel so proud
И от меня: пошла переводить сайзды 522 (благо они короткие)
Там вначале текст, потом - куда кликнуть. Грузится на Real Media Player Sarah Michelle Gellar is back on our big screens this month as dapper Daphne in Scooby Doo 2: Monsters Inc. and it sounds like she's had a great time getting her teeth into this sequel too. Although most of you probably know that Sarah Michelle Gellar was playing ever-fighting vampire slayer Buffy on TV for years, you probably won't know that her career started at the tender age of four, when she was discovered by an agent whilst eating in a local restaurant. Shortly after, her film career kicked off and numerous stints at various Broadway theatres followed.
She may have killed her last vampire on your TV screens but you will have plenty of opportunities to see her on your cinema screens, or even a theatre stage near you, very soon. Shooting Scooby Doo 2: Monsters Inc., which also features her husband Freddie Prince Jr., sadly prevented her from returning to play Buffy one last time on TV show Angel, but she says that it was probably best that way.
It's anyone's guess what is next for this multi-talented actress who is equally at home on screen and on stage. She kept her future plans firmly under wraps but who knows, she said that she loves London, so don't be too surprised if you see her walking around town, checking out a few plays in the West End.
To hear Sarah Michelle Gellar talk about filming Scooby Doo 2: Monsters Inc. and other things, such as her favourite Scooby Snacks, working with her husband and her new lucky charm, click here.
Она, в общем повторяет уже то, что мы слышали: что в 20 серию она не успевала по времени, так как находилась в Токио, а в финале ей, наверное, не стоит появляться, потому что в прошлом году, когда снимался финал "Баффи", многие фанаты были обижены, что Уиллоу и Ксандеру досталось слишком мало экранного времени - вот и здесь, мол, пусть финал будет о Фред, Уэсли, Ганне и других героях. Я слушала и восхищалась - СМГ нужно было работать дипломатом. Она сумела ни разу не назвать по имени ни Спайка, ни Ангела (только название сериала, но тут уж ничего не попишешь). И она очень хорошо сделала домашнее задание: она знает имена героев, она говорит с позиций фана, который любит шоу, и при этом не является шиппером. И все это было произнесено в очень быстром темпе и без единой запинки. Молодец девушка
Избранные куски из комментария Джосса Ведона на DVD 7 сезона к финальной серии Chosen.
Disclaimer: Предупреждаю честно: перевод - точный, но выборка - тенденциозная. Это выборка, сделанная Спаффи-шиппером, и я умоляю my fellow Bangels не обижаться. Помимо этого Ведон много чего еще говорит.
О сцене между Баффи и Ангелом на кладбище: Дэвид сыграл то, что я люблю больше всего - мелочность. Думаю, когда он изображает Ангела мелочным, у него получается лучше всего. И мне нравится то, что я ощущаю масштабность кладбища, где, как мне кажется, и должны остаться отношения Баффи и Ангела, потому что это каноническое место для них.
О речи Баффи: Речь насчет печенья... была предложена Марти в начале сезона. Она очень помогла нам в решении другой очень трудной задачи, которую нужно было разрешить в этом эпизоде - как соединить Ангела и Спайка в одном шоу, дать Баффи возможность испытывать чувства к ним обоим, и чтобы она при этом не выглядела как "царица шлюх из Шлюхландии" (slut queen of slutdonia), как сказала бы сама Марти. Это было очень стремно - я бы хотел напомнить вам, что мне все нужно было уместить в один акт, потому что в конце первого акта она засыпает в объятиях Спайка.
Уход Ангела должен был стать зеркальным отражением его первого ухода во тьму. Я надеюсь, это выглядело символично и создало надежду, что у Баффи и Ангела когда-нибудь что-нибудь получится, потому что некоторые фаны, - я понимаю, что их немного, но они есть, - они считают, что любовь Баффи и Ангела - это главное. Я лично считаю, что самым важным мужчиной в жизни Баффи был Паркер, многие со мной не согласны, и это нормально, я думаю, что кто-то может волноваться за Ангела, кто-то за Спайка, а я не понимаю, почему мы не можем включить сюда Паркера. Так или иначе, это громкое меньшинство, переживающее за Баффи и Ангела, требовало, чтобы мы пошли им навстречу. А теперь мы должны были вернуть ее к Спайку пол-акта спустя после ухода Ангела... главное - заставить зрителей почувствовать то, что чувствует она. Ее смущает происходящее, но сейчас мужчина ее жизни - Спайк.
О рисунке на боксерской груше: Этот рисунок - одно из моих собственных творений. Многие члены съемочной группы не понимали: "Почему он так ненавидит Баттхеда?", и я отвечал: "Вообще-то, это Ангел!" Я придумал это в день съемок, этого не было в сценарии, у нас получилась эксцентричная импровизация. [Примечание: на конвенции в Tampa Джеймс Марстерс сказал, что понятия не имеет, кто нарисовал карикатуру на Ангела].
О Спаффи в первом акте: Великий Марстерс демонстрирует потрясающую алхимию с Баффи. Алхимию, которая сильно отличается от той, которую демонстрировал Дэвид. Это великолепно срабатывает, он в больше степени находится на уровне Баффи. Его - их уязвимость выходит на первый план, и я говорю не только о персонажах, но и об актерах, когда они оказываются рядом, и это действительно срабатывает на ином уровне. Их взаимоотношения подверглись гораздо более суровым испытаниям, чем ее отношения с Ангелом. В их отношения чувствуется прошлое, они приносят его на съемки...
Способность Джеймса мгновенно менять эмоциональный регистр - очень редкое качество в актере. От невероятно благородного или страшного - до совершенно малахольного или обезоруживающего. Он делает это чуть раньше, во время реплики насчет языка, он делает это здесь. Вы удивитесь, узнав, как мало актеров на это способно, и меньше всего я ожидал подобное от актера с театральным наследием. Тем не менее он может за секунду перейди от Дракулы к Джеку Бенни [американский комедийный актер первой половины ХХ века]. Поэтому я так люблю это - и еще за блестящие волосы.
Сцена, в которой они спят в одной постели, важна в идейном отношении. Я хотел показать, что они достаточно доверяют друг другу. Это близкие и любовные отношения, но не сексуальные. Конечно, это было эхо той сцены в прошлом году, когда он пытался изнасиловать ее, потому что не понимал рамок их отношений, потому что у него не было души. Но он завоевал душу и сражался за то, чтобы стать настоящим человеком, и мы хотели сказать, что этот человек может искупить свои грехи. Не так, как Люк и Лора [персонажи какой-то мыльной оперы, кажется, General Hospital] - он изнасиловал ее, а потом они поженились и все было прощено. А в том смысле, что он человек и совершил человеческую ошибку, и мы по-прежнему считаем его человеком. Я думаю, что это очень важное послание, что их отношения должны быть сложными и все-таки прийти к тому, что они снова могут доверять друг другу, но при этом мы не говорим "отлично, они снова станут любовниками", потому что я думаю что это неправильно, думаю, это было бы неправильное послание, думаю, здесь мы идем по лезвию бритвы.
О реплике, в которой многие увидели намек на шаншу для Спайка: "Я тону в обуви" - одна из тех реплик, которые позволяют тебе радоваться тому, что ты писатель и можешь написать что-то глупое и даже выпустить это в эфир. Это странно - закончить акт утверждением о потенциальной победе, но я видел в этом смысл именно потому, что это странно.
О сцене, когда Баффи спускается в подвал к Спайку, и далее следует затемнение: ...Для меня это почти самый важный кадр в шоу, потому что он показывает загадку их отношений. Это один из тех кадров, когда я хотел, чтобы зрители сами домыслили остальное. Я хотел, чтобы произошло то, чего хотят зрители. Если люди верят, что в их последнюю ночь вместе они занимались прекрасной любовью - отлично. Если люди верят, что всю эту ночь они разговаривали, или что они поссорились - отлично, как вам будет угодно, решает воображение зрителя, он это заслужил. Я люблю, когда зрители спорят и анализируют, люблю, чтобы у зрителей была работа - в смысле, эмоционально! - и считаю, что это делает шоу более многослойным. Этот кадр, когда они просто смотрят друг на друга - я нахожу его прекрасным.
О финальной сцене Спайк\Баффи: Солнечный свет не просто ударяет в Спайка. Солнечный свет передается через Спайка. Идея души, как субстанции, которая возвышает и убивает его - прекрасное завершение пути героя. И снова он мгновенно переходил от эпического к смешному - это наш парень! Это была интересная сцена, потому что оба - и Джеймс, и Сара - подошли к ней совершенно неправильно. Они отыгрывали то, что вокруг все рушится, ужас ситуации. Я сказал им, что мне нужно, чтобы они полностью отключились от окружающей действительности, и объяснил им, что звуки катастрофы постепенно затихнут. [Соединенные руки] - это был романтический символ их двоих. Мы пытались снять огонь по-настоящему, смазав руки гелем, но гель потек, это было видно, поэтому нам пришлось сделать при помощи компьютера, и это выглядит прекрасно. Я думаю, что это прекрасный символ их отношений. Вот что я сказал им, в общем и целом: играй любовь и гордись им, люби его, когда говоришь, что ты его любишь; люби ее, когда говоришь, что она тебя не любит. Забудьте на время о рушащихся стенах, это перестало существовать. Это кинематографический трюк, но так необходимо с эмоциональной точки зрения. Я был удивлен, что они сами это не почувствовали, потому что обычно мы трое понимаем ту или иную сцену практически одинаково, а на сей раз было иначе. В конце концов Сара сказала: "Если вы получили то, что вы считаете нужным, давайте двигаться дальше, потому что я не уверена, что понимаю, как это должно сработать". Но я смотрю на них вместе, и, знаете, они проделали гигантскую работу. Такова работа на телевидении и в кино. Иногда ты получаешь от актеров дубль, который тебя потрясает, но они говорят: "Я не почувствовал того, что нужно, давайте повторим", - а ты отвечаешь: "Ты дал мне золото высшей пробы!" - "Но я этого не чувствую!" И ты отвечаешь: "Зритель почувствует". Иногда ты даешь актеру еще один дубль, а иногда говоришь: "Доверься мне, зритель получит то, что нужно, потому что я это получил". И еще один прекрасный кадр - наш парень, каким он остается в памяти - хотя, конечно, к этому времени все уже знали, что он переходит в "Ангела".
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