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Tema: Joss Whedon

  1. #176
    Don
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    Predeterminado Re: Joss Whedon

    Cita Iniciado por Alejandro D. Ver mensaje
    Yo lo que espero es que no transforme a Justice League en un Vengadores de DC o sea chistecitos a cascoporro,la verdad prefiero al estilo Snyder que al Whedon,quiero que la película sea de Snyder,no de Whedon.
    Ya le gustaría a Snyder tener la capacidad narrativa de Whedon además de su talento como guionista, ya le gustaría.

    Eso sí, visualmente Snyder me parece superior pero yo primo la capacidad narrativa sobre la virguería visual.
    Draconary, nadim y jack napier han agradecido esto.

  2. #177
    Chico del futuro Avatar de Marty_McFly
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    Predeterminado Re: Joss Whedon

    Cita Iniciado por Alejandro D. Ver mensaje
    Ya sé que Los Vengadores es muchísimo más que chistes,a lo que me refiero es que personalmente prefiero a Snyder que a Whedon como Director de películas basadas en Comics,no me gustaría que Justice League terminara siendo un producto Whedon en vez de Snyder.
    Cita Iniciado por Don Ver mensaje
    Ya le gustaría a Snyder tener la capacidad narrativa de Whedon además de su talento como guionista, ya le gustaría.

    Eso sí, visualmente Snyder me parece superior pero yo primo la capacidad narrativa sobre la virguería visual.
    Qué pesadez con las comparaciones. Se puede disfrutar de todo y ya está.
    ¿Podemos volver a hablar de Joss Whedon?
    ShangT_Tnf y Branagh/Doyle han agradecido esto.
    I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason.(HUGO)

  3. #178
    Don
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    Predeterminado Re: Joss Whedon

    Cita Iniciado por Marty_McFly Ver mensaje
    Qué pesadez con las comparaciones. Se puede disfrutar de todo y ya está.
    ¿Podemos volver a hablar de Joss Whedon?
    Toda la razón, mis disculpas.
    Marty_McFly y Branagh/Doyle han agradecido esto.

  4. #179
    Senior Member Avatar de Synch
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    Participación de Joss Whedon en Guardians of the Galaxy:

    Joss Whedon's Behind The Scenes Role On Guardians Of The Galaxy Revealed

    Joss Whedon and James Gunn don’t actually have any joint creative credits on their respective filmographies, but they have been friends for a very long time. In fact, the Angel character Charles Gunn, played by J. August Richards, was actually named after the Super writer/director. After years of friendship, however, their bond is now being solidified within the Marvel Cinematic Universe, and the two filmmakers now share a connection working for Marvel Studios. But exactly what kind of role did the Avengers director actually play in the making of Gunn’s Guardians of the Galaxy? It turns out the answer is a significant one, as Whedon’s power position not only opened the door for Gunn to get the job, but also fully express his creative vision.

    Enthusiastically answering questions between takes on the set of his latest film last fall, Gunn wasn’t shy about admitting he reached out to Whedon when he was first going out for the Guardians of the Galaxy directing gig. After all, he really cared about getting the job, and who better to get a recommendation from than the guy who had just directed the third most successful blockbuster in history?

    "I wrote him an e-mail and said, ‘Hey, I’m trying to get this job. Can you help me?’" Gunn revealed. What he discovered, however, was that he was just a bit tardy in his efforts. Whedon responded, "’You're fucking late. I already talked to all of those guys all about you.’"

    Having Whedon in his corner not only helped Gunn get the job, but also – strangely – helped make sure that Guardians of the Galaxy actually feels like a James Gunn film. The director told a story about a time early in the development process when he had completed the first draft of his screenplay. The script earned the approval of Marvel Studios President Kevin Feige and producer Louis D’Esposito, but it was when the work fell in Whedon’s hands that it wound up hitting a roadblock rarely found in Hollywood moviemaking.

    "Joss was happy, but he wasn’t as happy as everybody else," Gunn explained. "I was like, ‘Whoa, man!’ And he’s like, ‘Well, I really loved this and this is great, and the story’s been cracked. But I just really want there to be more James Gunn in the script. There are things that are too conventional, and I want more James Gunn in it… And I was like, ‘Alright, your funeral.’"

    Gunn took this as a cue to go home and write a seven page, all dialogue scene set on a spaceship and featuring the main characters just chatting. The time we were on set, the sequence was scheduled to shoot the next Friday.

    This environment left Gunn as Guardians of the Galaxy chief creative voice, but Whedon had his share of direct involvement as well. As producer Jonathan Schwartz explained, "Joss was involved with a little bit of the writing process. He and James go way back and have a great relationship, and everything we do is kind of crafting the same tapestry that is the [Marvel Cinematic] Universe. So Joss and James got to work together putting this together. It’s James’ script, but Joss was able to be involved in a really useful way."

    Given the strong creative visions of both filmmakers, I can’t wait to see what their joint powers can produce. Guardians of the Galaxy’s August 1st release date can’t get here soon enough.
    Marty_McFly, Warren Keffer, Zack y 1 usuarios han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  5. #180
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Me estoy leyendo una biografía de Whedon (la de Amy Pascale) y aunque ya pondré, en orden, anécdotas/info que he encontrado, adelanto un poco el tema Marvel:

    Efectivamente Feige y Whedon se conocían de hacia bastante. En las citadas negociaciones de Whedon con New Line para hacer Iron Man en 2001-2002, resulta que contactó primero con gente de Marvel. Tiene lógica ya que antes de constituirse como estudio, Marvel iba por ahí buscando guionistas, directores, dinero, producción y estudios para montar las películas así que es normal que la primera reunión fuera con gente de Marvel.

    Dicha reunión tuvo que aplazarse: estaba programada para el 11 de septiembre de 2001.

    El tema, como digo,era una película de Iron Man de cuando sus derechos los tenía New Line. Whedon era no sólo un niño Marvel sino que Iron Man era de sus favoritos. Escribió un tratamiento de 5 páginas que fue aprobado. En 2002 rehusó seguir negociando debido a que estaba con hasta 3 series (Buffy y Angel en antena y Firefly en preparación). Agrego que es lo mejor que pudo hacer. En cada serie tenía gente de confianza llevando el día a día (Noxon, Bell, Minear) pero dirigir una película hubiese implicado dejar las series sólo para una supervisión mínima.

    Según el libro también hubo negociaciones para dirigir X-Men y X-Men 2 (pero no para X-Men 3 como si aparece en varias webs).

    Whedon estuvo años en el radar de Marvel, sobre todo porque escribió Astonishing X-Men y Runaways para ellos. En una entrevista sobre los primeros dijo que, de Marvel, sólo podría escribir para X-Men por su condición de superhéroes marcados por el dolor. Ese era su campo. Sin embargo no podría escribir para The Avengers...

    Años más tarde, cuando Feige le propuso dirigir The Avengers, Whedon no lo tenía claro: llevaba muchas decepciones en el cine y en concreto con los superhéroes, y con Dr Horrible se había dado cuenta de las maravillas de la total autonomía. Al final la lógica se impuso y aceptó.

    En cuanto a su etapa ya dentro del MCU: ya sabía que el fichaje de Chris Hemsworth estuvo relacionado con la llegada de Whedon pero he leído más detalles.

    Ignoro si se presentó a las pruebas de casting por su cuenta pero el caso es que debió coincidir o con el rodaje o la post producción de The Cabin in the Woods porque Whedon y Goddard le recomendaron/prestaron cómics de Thor para que se hiciera una idea.

    Pero sobre todo, cuando Hemsworth estaba ya a punto de fichar, Whedon llamó a Kenneth Branagh para terminar de apuntalar el tema.

    Además una de las primeras acciones de Whedon en el MCU, además de reescribir Captain America, fue pedirle a Branagh ver un corte primario de Thor pues quería saber como era el Loki de la película y trabajar a partir de eso.
    Última edición por Synch; 06/10/2017 a las 11:41
    Warren Keffer ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  6. #181
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Parece que Whedon va a seguir con los cómics de Buffy (desde 2007 Buffy siguió en formato cómic, con las temporadas 8, 9 y 10).

    JOSS WHEDON Returns to BUFFY THE VAMPIRE SLAYER - In Comic Books



    Dark Horse and 20th Century Fox are excited to give Scoobies something fresh to munch on with Buffy the Vampire Slayer: Giles. Buffy the Vampire Slayer creator Joss Whedon and Erika Alexander (Concrete Park) unite to pen the new miniseries, while artist Jon Lam (Gotham Academy, Batgirl) joins the Whedonverse for the first time. Colorist Dan Jackson (Buffy the Vampire Slayer Season 10) brings the story to life. Steve Morris (Buffy the Vampire Slayer Season 11) and Arielle Jovellanos (Fresh Romance) create gorgeous covers and variant covers for the four-issue miniseries.

    Buffy the Vampire Slayer: Giles finds Rupert Giles returning to high school! But this time—as a grown man living in a teenage body—Giles will be a student instead of a teacher. At an inner-city Los Angeles school, when a mystical influence is detected and teachers start to go missing, Giles enrolls to investigate. What he finds is more than vampires and demons . . . something unusual and frightening is happening here. If Giles can get through one day as a student, he’ll have a chance to find out who, what, and where, but high school is still hell.

    The first issue of Buffy the Vampire Slayer: Giles goes on sale February 28, 2018 and is available for preorder at your local comic shop.

    --------------

    Un artista -Jon Lam- venido de Gotham Academy y Batgirl? A lo mejor es casualidad pero podría tener algo que ver con la entrada de Whedon en DC.
    Última edición por Synch; 06/10/2017 a las 11:55
    Marty_McFly y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  7. #182
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    He encontrado una broma del Aprils Fools de este año: una serie sobre el mundo de Harry Potter con los niños actores de Stranger Things

    ‘Stranger Things’ kids cast in Netflix ‘Harry Potter’ series, produced by Joss Whedon

    No sé si el/los autores de la broma lo hicieron por ello pero Whedon parece bastante fan del mundo creado por JK Rowling.
    Marty_McFly, Zack y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  8. #183
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Pongo esto aquí porque estaba leyéndolo, no por nada actual, ya que es un artículo de 2008 sobre la reunión entre Whedon y Eliza Dushku tras una comida en la que ella le propuso hacer una serie que -Eliza- tenía pactada con Fox y que terminó siendo Dollhouse.

    Eliza Dushku es/era una de las actrices fetiche de Whedon: Faith Lehane en Buffy (temporadas 3, 4 y 7), Angel (1 y 4), así como el papel protagonista de Dollhouse, Echo (aunque la serie funcionaba mucho mejor cuando se volvía coral, pero bueno).


    Joss Whedon on How He Staged a Career Intervention for Eliza Dushku

    If you're a (talented, cute, snarky) actor in search of a tough-love mentor, you could do worse than Joss Whedon. The creator of Buffy, Angel, and Firefly admits he was cajoled to finally return to television, and delay a film project or two, by protégé–Buffy nemesis Eliza Dushku. A marathon lunch at the Ivy last year yielded the idea for Dollhouse, the memory-swiped-operative-chicks show that premieres on Fox in January. "I was mentioning writers, but Eliza kept saying 'Don't you want to do it? Don't you want to do it? Look how cute I am!' And she's really cute," allowed the strawberry-blond auteur at last night's after-party for the Fox upfronts at Wollman Rink.

    We were impressed that Dushku held such sway over Whedon and wondered if he had that kind of bond with other actors. Whedon said that he's closer on a daily basis with Buffyverse alumni like Alyson Hannigan, Amy Acker, and Alexis Denisof. But Dushku, he said, is different. "Eliza and I are seldom in the same place for very long. And I'm an old married guy, she's a lot younger and bubblier." But he has given her plenty of career advice — a tradition that started "when I got frustrated with all these crappy horror movies she was making. Like Wrong Turn and Soul Survivor and whatnot. Those broke my heart." So Whedon staged an intervention. "I said, 'I love you. I think that you have something that no other actor I've worked with has. What can you be making these movies for? Why are you doing this to me? You're killing me! You're better than this.'"

    But what about the One True Slayer? "Sarah Michelle Gellar's made some really good choices," he says. "She's had some bad breaks. She goes with the independent, interesting young filmmakers and then they get slammed, like Southland Tales. I'm proud of what she's trying to do. It's hard." And onetime Angel David Boreanaz, who's now scored a lucrative role on the Fox hit Bones? "David owes me money." —Justin Ravitz
    Última edición por Synch; 19/12/2017 a las 16:30
    Zack y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  9. #184
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    El usuario Passion of the Nerd, en youtube, lleva como 3 años haciendo vídeos de cada episodio De Buffy y Angel, analizando sus escenas, las metáforas, lo que se pretende, comparando con otros episodios, series, películas y, si se tercia, literatura, psicología, filosofía y demás en unos brillantes trabajos de edición de audio y vídeo que deben costarle su tiempo y esfuerzo, sin duda.

    Destaco el más reciente porque es el del Hush, décimo episodio de la cuarta temporada (hace nada, el día 14, se cumplieron 18 años de su estreno en TV) escrito y dirigido por Joss Whedon.

    La premisa, aunque levemente mezclada con el arco de la temporada, es la habitual de un episodio individual: un contratiempo fantástico que Buffy y su Scooby Gang deben solventar. En este caso unos demonios, los Gentleman (sin duda de los mejores diseñados de toda la serie) roban las voces de todos los habitantes de Sunnydale. Buffy y los suyos deben hacer frente a esa circunstancia sin, claro, poder hablar entre ellos.

    Buena parte de los elogios hacia la serie iban destinados a los diálogos así que Whedon pensó en un episodio casi mudo. El resultado no es sólo el mejor episodio de la cuarta temporada sino que suele citarse como de los mejores de la serie. Normalmente este y otros pocos más suelen copar las primeras posiciones (los finales de la segunda y tercera temporada, el citado Hush, The Body y The Gift de la quinta y el famoso musical, de la sexta).

    El vídeo contiene spoilers pero vale la pena. Eso sí, Hush, aunque es ejemplo de uno de los mejores episodios de la historia de la TV (este y/o The Body y el musical suelen entrar en listas de mejores episodios del medio), no lo sería de Buffy, precisamente porque en si mismo es excepcional al ser casi mudo. Bendita contrariedad.

    Branagh/Doyle ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  10. #185
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    En 1993 y 1994, como ya comenté hace meses, Whedon vendió dos guiones por importantes sumas de dinero: Suspension y Afterlife.

    Suspension se vendió en 1993 a Lago Entertainment por 750.000$ (de 1993, eh) + 250.000$ si entraba en producción. Como tantos otros guiones vendidos a productoras o estudios han quedado sin realizar o congeladas en desarrollo. En 2014 Liam Neeson afirmó que iban a hacerla pero de momento no se sabe mucho más.

    Básicamente era una Die Hard en un puente de NY: un ex convicto, Harry Monk, sale de prisión y se ve metido en atentado terrorista en el puente George Washington. El resto se puede deducir. Whedon, claramente, escribió el guión para poderlo vender-realizar ya que era un tipo de cine que iba muy bien en esos años.

    Afterlife se vendió en 1994 a Sony por 1.5 millones $ + 500.000 si entraba en producción. El científico Daniel Hoffstetter fallece y despierta en el cuerpo de otra persona. En 2000 se dijo que Andy Tennant iba a escribir (re-escribir se entiende) y dirigir la película. De nuevo, nada. Whedon usó partes de esta idea en su serie Dollhouse.

    Os dejo un análisis de ambos guiones a cargo de Darwin Mayflower de screenwritersutopia.com

    Script Review: SUSPENSION and AFTERLIFE by Joss Whedon

    Si os gusta Whedon la lectura vale la pena. Mucho. Suspension es otro Speed/Die Hard y Afterlife, directamente, tenía muy buena pinta. No descarto que algún día se pueda rodar una o ambas aunque legalmente creo que no tiene porque tratar con Whedon.
    Warren Keffer ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  11. #186
    Senior Member Avatar de Synch
    Fecha de ingreso
    21 Dec, 09
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    Predeterminado Re: Joss Whedon

    Otro guión -de momento- no realizado es el de Goners.

    En 2005 parecía que la carrera de Joss Whedon iba hacia su salida natural como cineasta: entre 2002 y 2004 se cancelaron o finalizaron sus tres series en antena (Firefly, Buffy, Angel, en ese orden, una por año), pero en 2004 logró poder adaptar al cine Firefly, de la mano de Universal, en lo que terminaría siendo Serenity (2005). Ese mismo año se anunciaba que iba a escribir y dirigir Wonder Woman, así como la venta de un guión para el cual estaba ligado también a la dirección: Goners. Al final, como ya sabemos, Wonder Woman se canceló en 2007 y Goners de momento sigue sin proyecto. Whedon regresó momentáneamente a la TV dirigiendo un par de episodios de The Office en 2007 y tuvo un par de años intensos con Dr Horrible (2008) y Dollhouse (2009-10), además de The Cabin in the Woods, hasta que lo que tenía que llegar a partir de 2005 llegó, finalmente, en 2010 cuando fichó por Marvel.

    En esta web comentan el guión de Goners. Este fue vendido a Universal en 2005 con Mary Parent and Scott Stuber en la producción. Poco se sabe del proyecto (corre el guión por ahí, a ver si lo leo): un thriller de corte fantástico con una protagonista llamada Mia.

    Screenplay Review – Goners
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  12. #187
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Dejo un par de aportaciones random:

    Marti Noxon contando la influencia de Whedon en su forma de contar historias. Noxon es, sin duda, la alumna más avanzada de los guionistas surgidos de Buffy. Entró en la segunda temporada y en la cuarta ya era de facto la mano derecha de Whedon (se deduce pues que haciendo las veces de Greenwalt en los tres primeros años hasta que este se fue a Angel) y en la sexta ascendió a productora ejecutiva y showrunner en un año en el que Whedon tenía dos series en antena mientras preparaba el episodio musical de Buffy y su tercera serie: Firefly.

    Noxon desarrolló la serie Girlfriends' Guide to Divorce y cuenta en un artículo la influencia de Whedon:

    Marti Noxon on Working with Joss Whedon: "He Taught Me Everything About Storytelling"

    "I wouldn't be here without him, there's no question," says #GG2D's EP of her Buffy the Vampire Slayer boss.


    Long before Marti Noxon was helping to shape Abby's (Lisa Edelstein) life post-divorce on Girlfriends' Guide to Divorce, the show's writer and executive producer was penning tales about another strong female for the small screen. Marti joined Buffy the Vampire Slayer during its sophomore season, bringing to life the teen vampire slayer, Buffy Summers (played by Sarah Michelle Gellar), and penning iconic episodes including "The Prom" and "Buffy vs. Dracula." It was her time working alongside Buffy creator Joss Whedon that, she says, helped her become better equipped to weave together emotional stories that can both make viewers laugh and cry.

    "He taught me everything about storytelling; about no matter what the genre is, it's so personal. It's still about human stories," she told The Daily Dish. "And then, in terms of running a show, it's about being generous and trusting your co-workers and letting writers do their jobs; and being generous instead being somebody who acts out of fear and ego 'cause he's kind of the king that."

    In the years since her work on Buffy, as well as its spin-off Angel, Marti has gone on to work on Mad Men, Glee, and Grey's Anatomy. (Not too shabby.) But, she holds her time with Joss near and dear to her heart. "He taught me a bunch and to have him show up on Episode 1 and be able to have fun with him, it was such a joy 'cause I wouldn't be here without him, there's no question," she said, noting his Season 2 cameo.

    Picking her favorite Buffy episode is nearly impossible (and who could blame her), but there is one experience in particular that she'll never forget. Back in 2001, the show stepped out of its element and aired an episode entirely done as a musical. (Yes, long before Glee.) It also gave Buffy fans the chance to meet Marti on screen. "I feel like it's pretty hard to pick between the Joss episodes," she said. "They're all so good. I mean "Once More, with Feeling" is probably a pinnacle only because almost every show that gets to a certain season has actors who can sing, actors who can dance — but who wrote all the music for their own show, and kept the story moving forward, and actually made it a real musical? Like, only, Joss Whedon."

    It probably doesn't hurt that she also got to make a cameo. "Plus, I got to play the Parking Ticket Lady, so come on. It was my shining moment." (And you can check it out below.)

    ----------

    El artículo incluye vídeo de la participación de Noxon, como cantante, en el famoso musical de Buffy:



    Y de paso incluyo la segunda incursión musical de Noxon como presentadora de TV en el genial Dr Horrible Sing Along Blog. Junto a David Fury, otro de los guionistas de Buffy, minuto 0:34 (antes, en el 0:28, sale Maurissa Tancharoen, esposa del hermano menor de Whedon y ambos showrunners de Agents of Shield). Genial David Fury

    Pedropan, Marty_McFly y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  13. #188
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    Predeterminado Re: Joss Whedon

    La segunda es el cameo de Whedon en la serie Another Period. De farmacéutico, hablando de condones y tal

    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  14. #189
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    Predeterminado Re: Joss Whedon

    Una más... En twitter @MorganLeni soltaba:

    What @joss NEEDS to do is this.........


    A lo que Whedon responde:

    I would see the shit out of this. I’d add Helen Mirren from Prime Suspect and Sir Digby Chicken Caesar tho

    Zack y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  15. #190
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    Predeterminado Re: Joss Whedon

    Sigo:

    En 1998 se estrenó la secuela de The Lion King/El Rey León, titulada The Lion King II: Simba's Pride, una película directa a vídeo. Una de las canciones, My Lullaby, está escrita (la letra, no la música...Lo de darle a la música ya llegó con el musical de Buffy, la canción de intro de Firefly y Dr Horrible) por Joss Whedon. Nominada a un Annie Award:




    La letra:


    Zira:
    Sleep, my little Kovu
    Let your dreams take wing
    One day when you're big and strong
    You will be a king

    Kovu: (spoken)
    Good night.

    Zira: (spoken)
    Good night, my little prince.
    Tomorrow, your training intensifies.

    Zira:
    I've been exiled, persecuted
    Left alone with no defense
    When I think of what that brute did
    I get a little tense

    But I dream a dream so pretty
    That I don't feel so depressed
    'Cause it soothes my inner kitty
    And it helps me get some rest

    The sound of Simba's dying gasp
    His daughter squealing in my grasp
    His lionesses' mournful cry
    That's my lullaby!

    Now the past I've tried forgetting
    And my foes I could forgive
    Trouble is, I knows it's petty
    But I hate to let them live!

    Nuka:
    So you found yourself somebody
    Who'd chase Simba up a tree

    Zira:
    Oh, the battle may be bloody
    But that kind of works for me

    The melody of angry growls
    A counterpoint of painful howls
    A symphony of death, oh my!
    That's my lullaby!

    Scar is gone, but Zira's still around
    To love this little lad
    Till he learns to be a killer
    With a lust for being bad!

    Nuka:
    Sleep, ya little termite
    Uh, I mean, precious little thing

    Vitani:
    One day, when you're big and strong

    Zira:
    You will be a king!

    The pounding of the drums of war
    The thrill of Kovu's mighty roar!

    Nuka:
    The joy of vengeance!

    Vitani:
    Testify!

    Zira:
    I can hear the cheering!

    Nuka and Vitani:
    Kovu! What a guy!

    Zira:
    Payback time is nearing
    And then our flag will fly
    Against a blood-red sky
    That's my lullaby!
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  16. #191
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    Predeterminado Re: Joss Whedon

    Más.

    El próximo 28 de febrero se publicará la nueva línea de cómics dentro del Buffyverse, en este caso centrada en el personaje de Rupert Giles. Escrito entre Whedon y Erika Alexander, el dibujante Jon Lam (el cual tiene bocetos publicados en su cuenta de Instagram) y el colorista Dan Jackson.

    Joss Whedon & Erika Alexander Send Buffy’s Giles Back to School

    The majority of movie-going audiences know Joss Whedon from the superhero blockbusters he has directed, namely The Avengers, Avengers: Age of Ultron and Justice League, which he took over after Zack Snyder left the production due to a personal tragedy. Yet the properties which first made him famous — Firefly/Serenity and Buffy the Vampire Slayer — have sizeable fanbases, with cult followings still rabid for anything new.

    The primary source of new material for those shows have been series from Dark Horse Comics, specifically Buffy comic books. While the TV show had a companion comic from 1998-2003, after the show finished its seven season run, the story continued in a pivotal series aptly titled Buffy the Vampire Slayer Season Eight. This ongoing was popular enough to lead to Season Nine, Ten and Eleven, as well as various miniseries and graphic novels. Whedon was the writer or co-writer for most of Season Eight and the start of Nine, but has been absent from the Buffy comics since. That is, until now.

    Buffy fans, rejoice. Whedon is back to co-write a miniseries about one of the core members of the Scooby Gang, Rupert Giles, played in live-action by Anthony Stewart Head. And Whedon has brought along another creative you may recognize from film and TV, Erika Alexander. As an actress, Alexander is best known for her role as Max on the Emmy-winning sitcom Living Single, but her more recent credits include the acclaimed film Get Out and the television series Bosch. Alexander also has comic book experience, as the co-writer of Dark Horse’s Concrete Park. Whedon and Alexander have cooked up a plot that involves Giles’ adult mind in a teen body, heading to high school in Los Angeles. Sounds fun, right?

    CBR had a chance to pick the brains of both Joss Whedon and Erika Alexander about the four-issue Buffy the Vampire Slayer: Giles series, scheduled to debut with issue #1 on Feb. 28, with art by Jon Lam and Dan Jackson. We get the down low on Giles’ new status quo, his co-star Roux, which other Buffyverse characters we may see, and even managed to sneak in a question about that long-proposed Ripper TV show.




    CBR: Joss, you killed Giles because you didn’t feel he worked in the comic book format. Did you have plans to resurrect him and send him to high school when you decided to kill him off?

    Joss Whedon: I wouldn’t say he didn’t work — just, Buffy didn’t need a mentor (actually she did, but there is a time in your life where you have to walk through the world without them) and I needed a resonant moment. I remember telling Tony at Comic-Con… he was sad, but he got it. The bringing him back as a 12 year old came later. I liked the idea that Angel’s next arc was redemptive, but that the results were not what he expected. And then it was straight-up whimsy, which the books have exploited hilariously and poignantly.

    I couldn’t bear the thought of him not having an arc of his own, and I thought throwing him into the American public school system would be the source of both fish-out-of-water hijinks and a chance to talk about something that’s important to me.

    How much does the inner city Los Angeles setting of the series shape the story?

    Erika Alexander: Los Angeles is a big part of this series. And why not, LA is a gorgeous, roaming, stucco, cement butterfly that provides a big canvas for us to play with. It’s also its own character in this mystery. Its sprawling highways help guide us to fun, new characters with their own quirks and mythologies.

    Giles, on the other hand, is a fish-out-of-water in a double bind, because he’s locked in his teenage self, undercover, in a city high school battling a strange “virus.” Joss wanted Giles to explore rich, thorny issues like class, gender, race and privilege. The types of issues that someone raised in the city can’t escape. City kids also have to deal with puberty, college applications, the prom and constantly being bombarded with traffic, ads, branding and noise campaigns ad nauseam. It’s all competing for their mind space, a total energy vampire. The landscape adds an element of pressure and overwhelm that seems to suffocate individuality and breed conformity. It’s ironic that many students who grow up in these environments turn out to be great individualists and iconoclasts. So, after the initial shock, Giles will use his migrant abilities to adapt and fit right in.

    What can you share about Giles’ “mysterious new friend” Roux?

    Alexander: Roux is a student attending Living Legend Academy and Charter School and she’s got a secret. Well, she’s got lots of secrets. As a self-proclaimed “Watcher” she spends her day guarding her ward and she’s a bit of a busy body, so she’ll clash with Giles’ investigation. Roux has survived a tragic, complicated past and now she spends her time ruminating on how to survive the future and can she get a date to the prom. In that way Giles and Roux are two of a kind.

    Will other main Buffyverse characters appear in this series?

    Alexander: Yes, beautiful Willow will make a cameo. She’s Giles confidante and connection to his other life. She reminds him that while sailing the ocean he should be careful not to fall over the edge.

    Artist Jon Lam is a newcomer to the Buffyverse. What made him the right fit for this series?

    Alexander: Jon’s work rocks and he has a beautiful sense and sensibility for story. That’s a killer recipe.

    Do you think about Anthony Stewart Head when you write young Giles?

    Alexander: I do. As Giles, Anthony did a wonderful portrayal and he is beloved, but I for this project think of Joss more. I mean, isn’t he the original template for the character Giles? Joss’ dry sense of humor, quick intelligence, shyness, and self-deprecating existential battles are charming and make a rich palette for my ear. So, that’s a lot of who this young Giles is now.

    Is adult Giles in his teenage body a spin on when adult Giles reverted back to his teenage self in the show in “Band Candy”?

    Alexander: Joss would have to answer that, but that’s a great guess.

    Whedon: Not really. Giles in “Band Candy” was a teen in an adult body. Here he’s the opposite, a 50-something guy in an even younger teen’s body. The fun here is, his mind knows way too much, but his hormonal little body is calling way more of the shots than he’s been used to for a while. When we’re out of that phase we think we remember it, but the physical and mental taffy-stretching-machine of adolescence is something you have to be feeling to truly understand. We make it an origin story after the fact: how I came to be me. During… well, it is an origin story, but it’s the falling-in-a-vat-of-radioactive-acid kind.



    In terms of look and personality, Giles would probably be considered a nerd in school. Any possibility of a story about bullying? I imagine that his knowledge and experience would make him the wrong kid to pick on.

    Alexander: Hey, maybe you should write this series, because you’re right on time! [Laughs] Yes, bullying does come up in this high school, as it would any. But our Giles is uniquely armed to handle it. Imagine, you get to go back to school as your young self with your adult mind? Boo-yah! Now deja vu becomes foresight. Dude, it’s Freaky Friday meets the Matrix with an 8-Ball. Sweet.

    Being a big fan of classic rock and a guitarist, what’s the likelihood of Giles starting a garage band in high school?

    Alexander: The 8-Ball says, “Not so likely,” at least in this iteration. But a Giles Playlist is embedded in this series, so that’s something.

    Whedon: I thought no one did that any more, but my son’s in a band and he and his friends are voraciously listening to all the old stuff. So, I guess it’s a real possibility. Of course, Giles would be insufferably exacting and his band mates would constantly be quitting.

    RELATED: Joss Whedon Is Writing A New Buffy The Vampire Slayer Comic

    Is there any possibility of that Ripper spinoff series still happening?

    Alexander: Joss, are you listening? We’re all hoping. Ruminating.

    Whedon: I will never give up hope on that one. And Tony seems to be getting younger in real life, too…

    Buffy the Vampire Slayer: Giles #1 is scheduled for release on Feb. 28.
    Branagh/Doyle ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  17. #192
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    En los últimos años WatchMojo ha incluido trabajos de Whedon en varios de sus conocidos Top10:

    Top 10 TV Vampires

    Spike en el #1 y Angel en el #3

    Top 10 Fantasy Shows

    Buffy en el #2

    Top 10 Sci-Fi Television Series

    Firefly en el #7

    Top 10 TV Shows Cancelled Too Soon

    Firefly en el #1

    Top 10 Joss Whedon Characters

    1. Spike (Buffy, Angel, comics)
    2. Malcom Reynolds (Firefly, Serenity, comics)
    3. Buffy Summers (Buffy, Angel, comics)
    4. Angel (Buffy, Angel, comics)
    5. Dr. Horrible (Dr. Horrible Sing Along Blog)
    6. Anya Jenkins (Buffy, comics)
    7. Wash (Firefly, Serenity, comics)
    8. Jayne Cobb (Firefly, Serenity, comics)
    9. Willow Rosenberg (Buffy, Angel, comics)
    10. Cordelia Chase (Buffy, Angel, comics)

    Menciones honoríficas:

    River Tam (Firefly, Serenity, comics)
    Marty Mikalski (The Cabin in the Woods)
    Kaylee Frye (Firefly, Serenity, comics)
    Xander Harris (Buffy, comics)

    Top 10 Hottest Bad Boys On TV

    Spike en el #8

    Top 10 Kick Ass Female TV Characters

    Buffy en el #5 (y Veronica Mars en el #7 )

    Top 10 Biggest TV Plot Holes

    El regreso de Angel en la tercera temporada en el #4

    Top 10 Uses of Foreshadowing in TV

    Adelanto, un año antes, de lo que ocurrirá con el personaje de Buffy en el #7
    Última edición por Synch; 28/01/2018 a las 23:57
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  18. #193
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    Predeterminado Re: Joss Whedon

    Se cumplen 20 años (19 y 20 de enero de 1998) de la emisión en lunes-martes de los episodios Surprise y Innocence de Buffy The Vampire Slayer. Ambos, sobre todo el segundo, cambiaron para siempre la serie, convirtiéndola en algo más (a trillones de años luz de lo que la serie, para un desconocido, y observando su título y viendo alguna foto promocional podría imaginar).

    Dejo un par de artículos. El segundo, directamente, habla de un cambio en la TV:

    HOW THE EPISODES 'SURPRISE' AND 'INNOCENCE' TOOK BUFFY TO THE NEXT LEVEL

    Buffy Lost Her Virginity And Changed Television 20 Years Ago
    BruceTimm y Branagh/Doyle han agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  19. #194
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Otra de listas, va. Entertainment Weekly hizo un Top 25 de los mejores episodios del llamado Whedonverse en TV, esto es, Buffy, Angel, Firefly, Dollhouse.

    Añado algún comentario y dato:

    1. The Body (Buffy, 5a temporada) (escrito y dirigido por Joss Whedon)

    Nada que objetar. Podría poner perfectamente este en la primera posición. El episodio de TV más duro que he visto en mi vida.

    Ojo a lo que dicen en el artículo: 'The Body'' isn't just the best episode in the Whedonverse: It might be the best hour of television we've ever seen.

    2. Innocence (Buffy, 2a temporada) (escrito y dirigido por Joss Whedon)

    Momento clave en la serie: cuando esta se convirtió en algo más. Mucho más. Hace nada se han cumplido 20 años de su emisión y han salido una buena cantidad de artículos.

    3. Hush (Buffy, 4a temporada) (escrito y dirigido por Joss Whedon)

    Suele aparecer casi siempre entre los mejores episodios de Buffy, sino el mejor, y de largo es el mejor de la cuarta temporada. Whedon dijo que la serie solía obtener muy buenas críticas por sus diálogos... Y se cascó un episodio donde 3/4 del mismo es mudo. Es magnífico, distinto y con momentos icónicos para los fans.

    4. A Hole in the World (Angel, 5a temporada) (escrito y dirigido por Joss Whedon)

    Si The Body era el más duro de Buffy, este lo es de Angel. Probablemente la muerte que más ha marcado a Whedon como creador con tendencia a hacernos sufrir matando a sus personajes. Aquí la víctima es el personaje más adorable de Angel y de todo el Whedonverse con permiso de Willow.

    5. Ours Mrs Reynolds (Firefly) (escrito por Joss Whedon)

    Uno de los mejores episodios de Firefly y posiblemente el más divertido. Enorme Christina Hendricks. La que lía

    6. Once More, With Feeling (Buffy, 6a temporada) (escrito y dirigido por Joss Whedon)

    Si la lista la hubiera hecho yo el #1 estaría entre The Body y este. Y debo decir que me sorprende verlo en 6a posición. El famoso musical de Buffy, con canciones escritas y compuestas por el propio Whedon, las cuales no sólo sorprenden por su calidad y producción (ahí entra Christophe Beck) sino porque todas atañen a los personajes y a la trama. Alucinante, mi episodio favorito de la serie.

    Comentan: it's an hour (and change) of melodious television so massively satisfying that we still can't quite believe Whedon was able to get away with it. But we're thrilled to pieces that he pulled it off.

    7. Not Fade Away (Angel, 5a temporada, episodio final de la serie) (co-escrito por Joss Whedon)

    Whedon debía escribir y dirigir el final de Angel pero parece que la entrada en producción de Serenity no se lo permitió. Co-firma el guión. Gran final de la serie, no tanto como el de Buffy, pero digno de una quinta temporada a lo 5a de Breaking Bad, es como un epílogo toda ella y este episodio la guinda.

    8. Graduation Day Parts I & II (Buffy 3a temporada, episodios finales) (escrito y dirigido por Joss Whedon)

    Final apoteósico para la mejor temporada de Buffy. La pelea Faith vs Buffy, la graduación con la ascensión del Alcalde y una Buffy con ganas de marcha (ese Come on...).

    9. Dr Horrible Sing Along Blog Act Two (co-escrito y dirigido por Joss Whedon)

    10. The Gift (Buffy, 5a temporada, episodio final) (escrito y dirigido por Joss Whedon)

    Episodio 100 de la serie. Suele quedar a la sombra del trio mejor valorado (Hush, Body, musical) pero dentro de los episodios normales es posiblemente el mejor de todos. El final a la temporada más serial de todas y con el sacrificio final de Buffy repleto de emociones. Si este llega a ser el final de la serie (como era en un principio aunque al rodarlo ya sabían que no), sería precioso y jodido a la vez.

    11. Jaynestown (Firefly)

    Junto a Ours Mrs Reynolds el episodio más divertido de Firefly. Incluye un temazo de taberna escrito para la ocasión:



    Enorme, precioso!

    12. Chosen (Buffy, 7a temporada, final de la serie) (escrito y dirigido por Joss Whedon)

    No es mi final de temporada favorito en Buffy (me quedo con el de las temporadas 2, 3 y 5) pero es épico y con momentos de esos que se te quedan grabados para siempre.

    13. War Stories (Firefly)

    Me gusta pero en un Top 25 sobre el whedonverse hubiera incluido, de Firefly, el piloto, Ours Mrs Reynolds, Out of Gas y Objects in Space.

    14. I Will Remember You (Angel, 1a temporada)

    Fácilmente el mejor episodio de la primera tanda de la serie, cumple una fantasía de Buffy y Angel, y de los fans, y de paso empieza a encauzar una serie que prometía pero que aún estaba buscando su camino. Estaban cerca.

    15. Passion (Buffy, 2a temporada)

    Enorme episodio de una enorme temporada. Esto es de cuando la serie había pegado ese cambio tras Innocence. Este episodio, directamente, es para mostrarlo como ejemplo de lo que es esta serie.

    16. Seeing Red / Villains (Buffy, 6a temporada)

    Inicio del tramo final de la controvertida temporada a raíz de otra muerte traumática en el whedonverse. Uno de los momentos más emocionales de toda la serie y de mis favoritos. Viva Dark Willow!

    17. Man on the Street (Dollhouse, 1a temporada) (escrito por Joss Whedon)

    De largo el mejor episodio de la primera, y demasiado esquemática, tanda de Dollhouse. Yo hubiera elegido algún otro, creo. No obstante Patton Oswalt está enorme y Man on the Street sirvió para elevar los kilates de Dollhouse.

    18. Out of Gas (Firefly)

    Sin duda de los favoritos para los fans, no es difícil que lidere una lista sobre ello. Montado a base de dos flashbacks en paralelo al presente, jugando con la fotografía, la urgencia de la situación de Mal y la historia del reclutamiento de los pasajeros de la Serenity. Escrito por Tim Minear, mano derecha de Whedon en Firefly y hombre fuerte en Angel.

    19. The Wish (Buffy, 3a temporada)

    Mi favorito de la tercera temporada en cuanto a placer de revisión: un deseo formulado por Cordelia nos lleva a un Sunnydale alternativo en el que nunca apareció Buffy. Escrito por Marti Noxon, futura mano derecha de Whedon en Buffy.

    20. Restless (Buffy, 4a temporada, episodio final) (escrito y dirigido por Joss Whedon)

    Esto es una maravilla. En la cuarta temporada la trama no se resolvía en el último episodio sino en el penúltimo, reservándose Whedon el último para otro de sus experimentos. Extenuados, la Scooby se reúne en casa de Buffy para ver películas y se quedan dormidos. Observamos el sueño/pesadilla de cada uno. Es el episodio más Lynch de todos.

    21. Smile Time (Angel, 5a temporada) (co-escrito por Joss Whedon)

    El que precede a A Hole in the World es el episodio más divertido de la temporada: Angel convertido en una Muppet!! Hay escenas que son puro cachondeo.

    22. Epitaph One (Dollhouse, 1a temporada, episodio final) (historia de Joss Whedon)

    Fácilmente el mejor de la temporada, demostrando que la serie tenía mucho potencial. Y sale Felicia Day.

    23. The Zeppo (Buffy, 3a temporada)

    Otro de mis favoritos de tan enorme temporada. Una deconstrucción de un episodio típico de Buffy: esta y los demás pasan a segundo plano y seguimos las andanzas de Xander, el menos poderoso del grupo, salvando el día pese a que el resto están salvando.. El mundo! El contraste y cachondeo con ello es sublime (esa escena exagerada entre Buffy y Angel )

    24. Conversations With Dead People (Buffy, 7a temporada) (co-escrito por Joss Whedon sin acreditar)

    Punto álgido de la última temporada: Buffy, Willow, Dawn y Andrew tienen sendas charlas con personajes ya fallecidos.

    25. You're Welcome (Angel, 5a temporada)

    Llevamos ya 4 episodios de la quinta temporada de Angel! En este se da la despedida de Cordelia en otro de esos episodios que odias y quieres por igual a los responsables.

    Resumen: 13 de las 25 entradas son para Buffy, 5 entradas para Angel, 4 entradas para Firefly, 2 entradas para Dollhouse , 1 entrada de Dr Horrible
    Última edición por Synch; 26/01/2018 a las 16:17
    Zack ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  20. #195
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Artículo sobre la adaptación shakesperiana de Whedon en su Much Ado About Nothing y posibles intentos en el futuro, inclusive Hamlet (aunque en una conferencia creo que dijo que Othello sería su preferencia).

    "Though This Be Madness, Yet There Is Method In't": Speculating on Adaptations of Shakespeare

    To borrow from Hamlet's Polonius, there is something of a method to the madness in Whedon shooting a "homebrew" adaptation of Shakespeare's play, Much Ado About Nothing, during a break on the $220 million franchise mega-hit, The Avengers (Nicholson). Whedon's idea and execution of a "homecoming party" (Whedon) is wonderfully explored elsewhere in this collection. This essay, on the other hand, shall adopt a posture comparable to that of Much Ado's Dogberry, or preferably, Buffy's Scooby Gang, in attempting to seek out clues and then speculate on any future Whedon adaptations of Shakespeare.

    Through all his types of media, Whedon has consistently pushed himself to be innovative, even when adapting 400 year old plays; so trying to pin-down which project Whedon may make next, and what form it will take, depends on a variety of factors that this essay will explore. Unlike Whedon's Ord of the Breakworld from Astonishing X-Men, we do not possess time-predicting technology, so there is a speculative sort of "madness" in this chapter, but in equal measure, there is also hopefully something of a method in exploring new endeavours, encouraged by the following quote from Whedon: "I'd love to do more Shakespeare but on the other hand I'd love to do something that I've never done before [so] it would have to be a really new enterprise every time" (Carnevale).

    The Tragedies of Hamlet and Macbeth

    As a useful point of orientation, in the accompanying script book for Much Ado, Whedon is asked which play he might consider shooting next, to which he replies: "Twelfth Night and Hamlet are the two favourites of mine" (Whedon and Shakespeare 32). Twelfth Night shall be addressed shortly; for now it is interesting to note that whilst Whedon may love Hamlet, by his own admission it is also the play that he finds most difficult to consider adapting. Much Ado was shot in only 12 days at Whedon's house, with the purpose of sharing one of the traditional Shakespearean readings that he regularly holds at home with his talented-actor friends. To shoot Hamlet in the same way would be practically impossible. As Whedon explains: Hamlet is something where I'd have to stand back a bit. I don't think I can just rattle it off' (Connelly).

    This does not preclude Whedon from ever attempting to adapt Hamlet; rather it suggests that he would have to find a different way of adapting the play. It seems clear that as a Shakespearean adaptation with black-and-white aesthetics, Much Ado entered the theatrical (cinema) market as a niche product that would appeal to a very specific target audience. However, there is a recently emergent option, which Whedon might consider to reach a wider audience with a broader time schedule: he could create something for Netflix, Amazon Instant Video, or HBO on Demand. "Boardwalk Empire meets Hamlet, or Hamlet shot using the sets from Game of Thrones, would be deeply satisfying prospects. These subscription Video-on-Demand (SVoD) providers are not only buying the rights to provide television series and films to their subscription base of over 70 million households (Sharf; Yarow), but they are commissioning and producing original and innovative content from notable directors such as David Fincher, Baz Luhrman and Woody Allen. A mini-serialised adaptation of Shakespeare might be one way in which Whedon could find the creative space and budget to tackle a more demanding play such as Hamlet. Furthermore, without the attached cultural connotations of attending a screening or theatrical production which may act as a barrier to engagement, Shakespeare and Whedon might find new audiences around the world without having to use the less critically esteemed, free online platform of YouTube, which Whedon used for his mini-series: Dr Horrible's Sing-Along-Blog.

    For Whedon, there was much "less pressure" in shooting Much Ado over Hamlet, and he would know, given that there was a reading of Hamlet at his home, with himself performing in the title role (Nicholson); but it would be tempting to think that whilst the settings and costumes within Much Ado were modernised, a performance of Hamlet could also be executed in a way similar to that of the 2015 Manchester Theatre production, which also featured modern-dress but also cross-cast the actors: Hamlet was played by the female actress, Maxine Peake. Much Ado's leading man, Alexis Denisof once performed in a Royal Shakespeare Company production of Hamlet as the minor character, Fortibras (View), and he could be promoted to a more significant role, but it is far more tantalising to imagine a Whedonesque female Hamlet, with inner torture comparable to Buffy Summers, the claustrophobic paranoia shown in Echo, the commanding intelligence of Zoe Washburne, or cut from the same classical cloth as Whedon's (undeveloped) Wonder Woman.

    Were the roles to be played "straight", Hamlet could also be played by Tom Hiddleston – who Whedon directed as the vainglorious Norse trickster, Loki, in The Avengers. In stage and television adaptations, Hiddleston has performed in productions of Shakespeare's Othello (as Cassio), Henry IV (as Prince Hal), and in the leading roles for Henry V, Cymbeline, and Coriolanus, which would all make him more than qualified to play the Prince of Denmark. Furthermore, if Summer Glau channeled her "River Tam" to perform as Ophelia, her characters' descent into melancholic madness would be a devastatingly beautiful and haunting compliment to the tortured, fragile and duplicitous madness that Whedon has already elicited in performances from Hiddleston.

    Still, whereas the Manchester stage production was also filmed live for cinema distribution, Whedon is quite emphatic that he would always prefer "a captured performance, but not in a proscenium way. [...] Making a film that had the energy of a play in the language of film" (Whedon). In wanting to avoid repeating himself, Whedon might not wish to replicate his intent to "evoke a film noir kind of look" as he did shooting at his home in Much Ado (Whedon); instead he might adapt the piece into an entirely different film genre, such as a modern gothic horror, feeding on the same creative impulses that developed The Cabin in the Woods and Buffy. If Whedon would also wish to avoid shooting any more adaptations in his house, then he might be able to use sets from his Executively Produced Agents of S.H.I.E.L.D. as the television show encompasses sets from ancient underground temple cities, through to chrome and steel modern military operation centres, and as the show is still in production there is a higher likelihood of the sets still being available.

    Macbeth's dark themes as the characters fight predestination parallel Whedon's explorations of free will and descent into evil, making it another excellent choice for adaptation. Having also recently starred in Jim Jarmusch's contemporary vampire love-story, Only Lovers Left Alive, Hiddleston would be a strong candidate for any gothic-themed Shakespeare. However, another choice for a gothic adaptation is James Marsters, who has not only played Spike the vampire in Buffy, but has played the lead character in one of Whedon's readings of Macbeth (Mellor), and has professionally performed on stage in his own abridged adaptation of Macbeth in 2005. To complement Marsters, and drawing analogies from the same Buffy-punk source to cast Macbeth, one might then cast Eliza Dushku as Lady Macbeth. Dushku has no theatre experience, but in her performances for Whedon she always plays tenacious yet "damaged" characters that make egregious errors in judgment (not always by her own volition) and must deal with the psychological fallout. For example, in the episode "Bad Girls" (B.3.14), there are already echoes of Lady Macbeth's bloody hands scene when, racked with guilt, Faith tries her hardest to wash blood from herself after accidentally killing a man – but fails to remove the emotional guilt and shame (Richardson and Rabb, "Buffy, Faith and Bad Faith"). She and Angel have a similar relationship to the Macbeths as each character pushes the other to stop wallowing in despair, take responsibility, and act to improve their lives.

    According to the director of photography for Much Ado, Jay Hunter, "the equipment used on the shoot were two Red Epic with Panavision lenses for the A & B cameras" (Fleischmann), the same technology used to shoot The Hobbit and The Amazing Spider-Man. Using this type of Hollywood technology on what is a relatively low-budget indie project suggests that whatever form of adaptation Hamlet or Macbeth might take, Whedon's approach is to work to the highest possible standards available, scaling down the production only where necessary due to location or time constraints. It might be then, in adapting Hamlet, Whedon could focus on a single aspect of the play, in the same way that Tom Stoppard created the comedy Rosencrantz & Guildenstern Are Dead from two minor characters (imagine Nathan Fillion and Alan Tudyk playing the roles); or Whedon could adapt a version of The Scottish Play, in the same way that Akira Kurosawa made the epic Throne of Blood – elevating the spectral elements and bringing in stylistic elements from elsewhere, which for Kurosawa was Noh theatre and feudal Japan, but for Whedon could be aspects from his own past creations (which would be an archeological pleasure for fans) such as the post-apocalyptic future depicted in Dollhouse, or the Chinese infused space western 'verse of Firefly: The Good, The Bard, and the Powerful Ugly, perhaps?

    Do you want to read more of Carl Wilson's speculations as to how Whedon might tackle Shakespeare's Twelfth Night and A Midsummer Night's Dream? The rest of this chapter and more smart writing about the Whedonverse can be found between the pages of After the Avengers: From Joss Whedon’s Hottest, Newest Franchises to the Future of the Whedonverse, by PopMatters.

    Carl Wilson is an Associate Lecturer in Media and English at The Sheffield College, UK. Teaching and writing on a variety of media topics, his work has recently appeared in four volumes of the Directory of World Cinema series (American Hollywood and American Independent), and three volumes of the World Film Locations series (Vancouver, Toronto, & Havana). Carl looks at UK Heritage film tourism in the recently released Fan Phenomena: Jane Austen, has an essay on "Hollywood North, Canada" forthcoming in Mapping Cinematic Norths, and he is currently developing the multi-media digitisation archive project at Kelham Island Museum, Sheffield.
    Branagh/Doyle ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  21. #196
    Senior Member Avatar de ChuacheFan
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    Predeterminado Re: Joss Whedon

    Justo esta semana y debido a la recomendación de mi amigo Ken , he empezado a ver Dollhouse .
    Synch y Branagh/Doyle han agradecido esto.

  22. #197
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Cita Iniciado por ChuacheFan Ver mensaje
    Justo esta semana y debido a la recomendación de mi amigo Ken , he empezado a ver Dollhouse .
    Los primeros episodios son un poco el caso de la semana, no están mal, pero luego empieza a ser más continuada y la primera temporada termina con un episodio que te va a descolocar un poco.

    Y salen juntas Eliza Dushku, Amy Acker (la doctora) y más tarde Summer Glau, la terminator Cameron de la serie The Sarah Connor Chronicles, actriz que debutó con Whedon en un episodio de Angel y después pasó a fija en la grandiosa Firefly.

    Dollhouse tal vez sea la serie menos brillante de Whedon pero la premisa es brutal, la producción tal vez la mejor (junto a Firefly) y tras los citados episodios empieza a ser otra cosa. Más o menos en línea con el desarrollo de Echo.
    ChuacheFan ha agradecido esto.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  23. #198
    aprendiz
    Fecha de ingreso
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    Predeterminado Re: Joss Whedon

    Hay un piloto que le gustó a todo el mundo. La critica lo aplaudió cuandos e enviaron las previas. Pero a Fox no le gustó nada. Así que Whedon se sentó con Fox y para evitar que le pasara lo que con Firefly, e intentó acomodarse a a las exigencias de la cadena. Se canceló el piloto original que tanto había gustado a todo el mundo (nunca se emitió, salió como extra en los dvds) y se volvió a rodar otro intentando seguir lo que FOX buscaba. Cogió un par de escenas del piloto original y las metió en los primeros cuatro capitulos.

    La cosa duró cinco. Tras el quinto capitulo, Whedon ordenó una pausa en la producción de dos semanas. La serie no funcionaba. No estaba satisfecho con el resultado. Había querido (y empezado a rodar) una serie sobre la explotación sexual y a la FOX se le habían helado las entrepiernas. Se utilizaron esas dos semanas para encontrar un nuevo tema y un nuevo enfoque que usara los mismso personajes, set y actores pero que significara algo para el equipo creativo aunque significara mandar a la mierda a la FOX, figuratrivamente hablando.

    Se encontró. Whedon escribió el capitulo seis y la serie cambió por completo. Había encontrado un nuevo propósito.

    Aún recuerdo cuando se empezó a emitir y los actores advertían a los decepcionados fans que aguantaran hasta el capitulo seis. La tonada cambió de repente.

    Sé que vivimos en la época de "si esta serie no me engancha en el segundo capitulo, lo dejo" y el "le doy tres capítulos", algo impensable hace 20 años cuando la cancelación de una serie en el capitulo 6 provocaba marabuntas de artículas y quejas sobre lo ridículo y absurdo de no darle espacio a una serie para desarrollarse. Como cambian las cosas. Aún así, las cosas son como son. El ideal es empezar a cien, pero a veces una serie requiere algo de tiempo.

    Recuerdo que la renovación para una segunda temporada pilló a todo el mundo por sorpresa, nadie, ni los actores, lo esperaban. Pero fue una suerte que ocurriera. Es incluos mejor que la primera temporada, a pesar de la reducción de duración por capitulo y presupuesto.

    No estoy de acuerdo en que sea su obra más floja. Si, está hichada a handicaps como si fuera tortas, problemas tras las bambalinas, y una segunda temporada en la que la cancelación prematura obligó a Whedon a cerrar la serie con conceptos que requerían algo más de tiempo, resultando ser todo algo precipitado y acumulado... Pero la serie en su totalidad, y sobre todo la segunda temporada, es un festival de ideas brillantes, de giros y sorpresas, de momentos e interpretaciones memorables, de puro y duro atrevimiento con algunas de sus concepciones, y eso que están suavizadas con respecto al proyecto original.

    En mi opinión, imperfecta, si, algo frustrante, impedida por las circunstancias más de una vez como si fuera victima de una conspiración y, quizás por eso, todavía más brillante. Por estar tan llena de talento y creatividad como para superar todos esos obstáculos y brillar a pesar de todo, para mí, es una de las cumbres del universo Whedon.

    Y lamentablemnte, y exceptuando el piloto de SHIELD (que me sigue pareciendo el mejor capítulo de lejos de la serie y una promesa que luego no se cumplió, y eso que la serie me gusta mucho) su despedida hasta ahora de la TV. Lo cual, por mucho que me guste su cine, es una lástima.
    Synch y ChuacheFan han agradecido esto.

  24. #199
    Senior Member Avatar de Synch
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    Predeterminado Re: Joss Whedon

    Cita Iniciado por R.Ph.Ash.Poe Ver mensaje

    No estoy de acuerdo en que sea su obra más floja.
    La más floja de las que ha firmado, ojo, no que me parezca floja. Pero si miro la lista no puedo ponerla por encima de Buffy o Firefly, y personalmente Angel me llegó a gustar mucho en otros muchos momentos de la serie. Dollhouse, tal vez, podría haber llegado a esos niveles si hubiera podido respirar un par o tres de temporadas más aunque al igual que Firefly tiene su encanto como producto cerrado de dos temporadas.

    No cuento Agents of SHIELD en esa misma lista porque ahí Whedon aunque es co-creador y co-guionista/director del piloto, no ejerció funciones activas en la escritura de la serie salvo una supervisión (intuyo que leve) en la primera temporada, luego todo quedó en manos de su hermano, de Maurissa Tancharoen y de Jeffrey Bell, aunque la serie tiene aires whedonitas por la formación idem de los tres showrunner y, supongo, por ciertos mandatos surgidos de inicio.

    Y lamentablemnte, y exceptuando el piloto de SHIELD (que me sigue pareciendo el mejor capítulo de lejos de la serie y una promesa que luego no se cumplió, y eso que la serie me gusta mucho) su despedida hasta ahora de la TV. Lo cual, por mucho que me guste su cine, es una lástima.
    Justo estos meses la estoy viendo por primera vez. El piloto me parece el mejor episodio de la primera temporada pero hace nada he visto 4,722 hours, de la tercera y me ha gustado mucho (resonancia emocional inclusive, muy whedonita eso). Coincido en que el piloto no cuadra con el resto de la serie, se nota su mano en los diálogos y en lo que pretendía aunque en sus series, por su funcionamiento, los pilotos suelen ser introductorios (no un in media res tipo Sopranos o una explosión de sensaciones para captar gente como Lost o Fringe, sino a medio camino).

    De todas formas Agents of SHIELD, con su apuesta desde la primera mitad de temporada por la serialización total, es difícil que aporte episodios distintos, especiales. Por lo menos hasta ahora.
    Bottom line is, even if you see 'em coming, you're not ready
    for the big moments.No one asks for their life to change, not really. But it
    does.So what are we, helpless? Puppets? No. The big moments are
    gonna come. You can't help that. It's what you do afterwards that
    counts. That's when you find out who you are. You'll see what I mean.

    Whistler (Buffy The Vampire Slayer - 2x21 Becoming, Part One - Joss Whedon)

  25. #200
    Smoke and Shadows Avatar de PrimeCallahan
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    Predeterminado Re: Joss Whedon

    Buff, Agents of SHIELD ha ido en descrendo total.

    Sigue siendo su mejor episodio el original dirigido por Whedon.
    Marty_McFly ha agradecido esto.
    MI COLECCIÓN

    Nature has an Order, a Power to Restore Balance... I Believe he Is That Power


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