Tema: Joss Whedon

Iniciado por ChuacheFan

Synch, ya he visto los 9 primeros episodios y es verdad lo que dices, la cosa cambia bastante y se pone más interesante . Por ahora, lo que es la trama me resulta muy interesante, con muchas posibilidades e interpretativamente hablando un caramelito para cualquier actor, debido a eso de poder encarnar a todo tipo de personajes.

Los actores me gustan, pero al menos por el momento si tuviera que quedarme con uno, sería con el trabajo de Harry Lennix, el cual espero que no pase a un segundo plano ahora que

Spoiler:

ha asumido las labores del jefe de seguridad

Las Crónicas de Sarah Connor la pienso retomar tras ver Dollhouse, en su día la dejé tras la 1ª temporada y es que no me hacía gracia, pero bueno, ahora la veré sí o sí.

Firefly la vi gracias a que Netflix España la dobló y me gustó, es una pena que no funcionase, me quedé con ganas de más aventuras. Lo de la peli, Serenity, es curioso, en su día la vi sin haber visto antes la serie y no me gustó una mier..., sin embargo, cuando terminé la serie me la revisioné y entonces sí que me gustó y me hice con ella en 4k (lástima que el doblaje no sea el mismo de la serie, especialmente en lo que respecta a Nathan Fillion).

Dollhouse sólo la he visto una vez y me gustó bastante aunque, como decía el otro día, es la que menos me gusta de las 4 series de Whedon (Agents of SHIELD no la cuento porque pese a estar co-creada por él, no pudo encargarse de ella una vez iniciadas las emisiones ya que estaba con Age of Ultron).

Creo que Dushku, la cual no se porque pero me cae muy bien (y a Whedon... Básicamente montó la serie para ella tras una cena en la que Dushku le dijo que tenía un contrato con la Fox para una serie y quería que Whedon se encargara de ello... En aquel momento Whedon estaba recién salido del proyecto Wonder Woman, sin que su guión Goners se hiciera realidad y con su status elevado gracias al éxito de Dr Horrible Sing Along Blog así que decidió volver a la TV), es un poco limitada como actriz pero el resto de la plantilla es un acierto: Enver Gjokaj (Victor) es tremendo, ya verás la de personajes que puede llegar a interpretar; Olivia Williams (Adelle) se lleva todas sus escenas y Fran Kranz (Topher) es tal vez el personaje más whedonita de todos (es un personaje de Dollhouse pero sus reacciones parecen como si fuera consciente de que está en una serie ).

Durante la serie van desfilando varios habituales de Whedon como la citada Summer Glau, Alan Tudyk, Alexis Denisof y Felicia Day. Esta aparecerá en el último de la primera temporada, la idea de Whedon de como dejarte un poco KO ante la segunda temporada.

Firefly es una delicia. La adoro. Es un milagro, joder.

Ahora estoy con la segunda de las Crónicas de Sarah Connor y, bueno, ha ido de más a menos, una lástima. Creo que el mundo Terminator daba para mucho más. Eso sí, Summer Glau como Terminator es un puto acierto. Es brutal!

Anoche se me quedó el c... torcido con el final del capítulo 11 , cuando vi que

Spoiler:

Alan Tudyk era Alfa , ni en un millón de años me lo habría imaginado. Por cierto, me encantó su interpretación, muy divertida, hasta el momento la mejor de la serie

Si todo va bien, esta noche terminaré con la 1ª temporada, ¡que ganillas!, pues con menudo hype me quedó anoche tras el final del 1x11 .

Iniciado por ChuacheFan

Anoche se me quedó el c... torcido con el final del capítulo 11 , cuando vi que

Spoiler:

Alan Tudyk era Alfa , ni en un millón de años me lo habría imaginado. Por cierto, me encantó su interpretación, muy divertida, hasta el momento la mejor de la serie

Si todo va bien, esta noche terminaré con la 1ª temporada, ¡que ganillas!, pues con menudo hype me quedó anoche tras el final del 1x11 .

Ojo que la primera temporada son 13 episodios aunque se emitieron 12. El que hace 12, Omega, se emitió pero luego viene el 13, Epitaph One, que no se emitió pero es totalmente oficial y se encuentra en los DVD y plataformas streaming.

Ese Epitaph One es importante, de los mejores de la primera temporada y algo especial

Iniciado por Synch

Ojo que la primera temporada son 13 episodios aunque se emitieron 12. El que hace 12, Omega, se emitió pero luego viene el 13, Epitaph One, que no se emitió pero es totalmente oficial y se encuentra en los DVD y plataformas streaming.

Ese Epitaph One es importante, de los mejores de la primera temporada y algo especial

Tranqui, tengo el 1x13 .

Hoy (ya ayer) ha aparecido el primer número del cómic Giles, el personaje de Buffy The Vampire Slayer, ahora con publicación propia. Escriben Joss Whedon y Erika Alexander. Dibuja Jon Lam.

Con la emisión de The Real Deal, Agents of SHIELD llega a su episodio número 100, siendo la tercera serie creada o co-creada por Joss Whedon en lograr dicha marca. Las citadas son:

-Buffy The Vampire Slayer, 144 episodios, 7 temporadas (+ 4 en formato cómic y la 12a en camino)

-Angel, 110 episodios, 5 temporadas (continuada en cómic pero no como nuevas temporadas, sino más como spins)

-Agents of SHIELD, 100 episodios, 5 temporadas (virtualmente es seguro que llegará a los 110 al finalizar la temporada).

No obstante Agents of SHIELD es un caso especial en la carrera de Whedon, en el sentido creativo es su Lost, en el sentido de que fue co-creador, co-escribió y dirigió el primer episodio pero no ha ejercido de showrunner nunca y sólo estuvo activo (que se sepa) en la primera temporada con una supervisión general. Caso totalmente opuesto a Buffy, Angel, Firefly y Dollhouse.

En total sus series suponen 394 episodios (404 de forma virtual) en 20 temporadas.

Whedon se encuentra en D.C. para la March of our lives, se ha fotografiado junto a Abraham Lincoln (la estatua, se entiende) y suelta:

He helped end slavery and I did punch up on “The Quick and the Dead” so, basically, twinsies

Recordando su participación en The Quick and the Dead, aquí llamada Rápida y mortal (la cual en una revisión el año pasado me pareció digna, densa y tal pero aún así no estaba del todo mal).

Qué mam...

Anoche me volví a ver Los Vengadores (por 1ª vez tras ver Dollhouse) y me he dado cuenta de la presencia del actor que en Dollhouse daba vida a Victor (en la escena de Manhattan, donde el Capi entra en acción dando órdenes a dos policías). Se nota que a Whedon le gusta contar con actores con los que ha trabajado anteriormente.

Iniciado por ChuacheFan

Anoche me volví a ver Los Vengadores (por 1ª vez tras ver Dollhouse) y me he dado cuenta de la presencia del actor que en Dollhouse daba vida a Victor (en la escena de Manhattan, donde el Capi entra en acción dando órdenes a dos policías). Se nota que a Whedon le gusta contar con actores con los que ha trabajado anteriormente.

Correcto, suele repetir mucho con actores que han trabajado para él. Aquí tienes un cuadro con los que más han repetido.

La que más es Amy Acker: Fred en Angel; Whiskey en Dollhouse; papel en Cabin in the Woods (si digo cual puede ser spoiler ); y Beatrice en Much Ado About Nothing.

Del sexo opuesto, Nathan Fillion: Malcom Reynolds en Firefly; Caleb en Buffy; Captain Hammer en Dr Horrible; Dogberry en Much Ado About Nothing.

Iniciado por Synch

Correcto, suele repetir mucho con actores que han trabajado para él. Aquí tienes un cuadro con los que más han repetido.

La que más es Amy Acker: Fred en Angel; Whiskey en Dollhouse; papel en Cabin in the Woods (si digo cual puede ser spoiler ); y Beatrice en Much Ado About Nothing.

Del sexo opuesto, Nathan Fillion: Malcom Reynolds en Firefly; Caleb en Buffy; Captain Hammer en Dr Horrible; Dogberry en Much Ado About Nothing.

Muchas gracias por la info, Synch , mola saber estas cosillas .

Sobre dos nuevos libros de Firefly (nada que ver con futuras novelizaciones que también se anunciaron).

Preview: Explore the Serenity and the 'Verse in These New Firefly Books



While Joss Whedon’s Firefly is not likely to come back anytime soon, the franchise continues to live on. Two great examples are these in-world books from the world of Firefly, including a guide to everyone’s favorite ship, Serenity, and the ’Verse at large. Better yet? We’ve got your first looks at each.

First up is The Serenity Handbook: The Official Crew Member’s Guide to the Firefly-Class Series 3 Ship, which is “designed as an actual crew-created manual and is the first in-world book set in the ‘Verse. Featuring technical blueprints, personal mementos, and humorous commentary from Mal, Kaylee, and the rest of the crew, this book will allow fans of Firefly and Serenity to explore the iconic spaceship in an entirely new way.” Here’s a first look, which includes the receipt from when Mal first bought the Serenity:



Next up is Hidden Universe Travel Guides: Firefly: A Traveler’s Companion to the ‘Verse, which contains “the history, geography, and culture” of the worlds in the Black “from Core planets such as Ariel to the outlaw badlands of the Rim worlds.” It also has concept art and original illustrations, which you can see some of here:





Both books are published by Insight Editions. The Serenity Handbook: The Official Crew Member’s Guide to the Firefly-Class Series 3 Ship is out July 3, while Hidden Universe Travel Guides: Firefly: A Traveler’s Companion to the ‘Verse arrives August 14.

34 (aunque la 2a página no tira así que son 17) infos que se encuentran en los comentarios del DVD/BD de The Cabin in the Woods (entre ellas la sabida de que Whedon presionó para la contratación de Chris Hemsworth como Thor):

34 Things We Learned From ‘The Cabin in the Woods’ Commentary

Since audiences feasted their eyes on The Cabin in the Woods earlier this year, many have waited for the day they could listen to the commentary. To hear Drew Goddard and Joss Whedon wax nostalgic on horror and let us in on the secrets behind the making of this highly inventive movie would truly be a joy.

Now, the DVD/Blu-Ray has been released for this film that’s sure to be on a number of top 10 lists, and not just those of horror fans. So sit back, click off the lights – your computer should light up enough so you can read – and check out all the things we learned listening to this commentary for The Cabin in the Woods.

Cue the harbinger.

The Cabin in the Woods (2012)
Commentators: Drew Goddard (co-writer, director), Joss Whedon (co-writer, producer)

1. The two start off the commentary describing the chardonnay they’re drinking. This item is listed on here for the number of people asking how many commentaries are done while the commentators are inebriated. They usually don’t talk about it unless it’s Trey Parker and Matt Stone. On this commentary, Goddard suggests we get our own bottle and join in. ”

This isn’t like just two nerds sitting in a dark room who made this movie because they have no friends and girls won’t date them. It’s more like we’re very elegant,” adds Whedon.

2. “Opening the movie with this scene is one of my favorite things that accomplished,” says Whedon over the opening scene with Bradley Whitford and Richard Jenkins. Goddard agrees adding that he thought it would be a creative way to open the film by making the audience think they had walked into the wrong movie. The studio noticed this, too, and raised their awareness to Goddard and Whedon. “There were some fun discussions with out studio at the time,” adds Goddard.

3. Whedon notes some “conversations” he had with the studio, who were worried that the audience would be too confused too early on. “Well, they’re not going to walk out,” Whedon had said to them. Goddard notes that it goes back with Whedon to his “Buffy” days, how he lets the audience in on the secret without being coy about it.

4. “Did this guy do anything again?” asks Whedon when Chris Hemsworth shows up, filming a scene he did probably a year before Thor came out. “I can’t remember,” the co-writer jokes.

5. The car Marty (Fran Kranz) pulls up in near the beginning of the film is the same car Goddard drove throughout high school, and the action of locking his door without rolling his window up was something the director pulled from his real life, as well. Maybe a few other things about Marty come from Goddard’s real life, but he doesn’t talk about it.

6. The first day of filming was at the gas station location where the group meets Mordecai, The Harbinger. Goddard notes it was his first day of directing a feature film, and when they showed up to the set it was covered in snow. Whedon jokes that, as the film’s producer, he should have known this would be the case, as it was snowing the night before. Goddard remarks this was the moment when he realized he and Whedon were in charge and had to figure things out on their own.

7. Each of the characters had their own scenes specifically written for the auditioning process. Goddard notes The Harbinger (Tim De Zarn) was cast using a scene that had him fighting with a vending machine over a dollar while remarking on grand, existential ideas. He and Whedon were looking for actors who performed their scene more subdued, that they would “bring the silly.”



8. The Cabin in the Woods shot in the woods outside Vancouver, the same woods where the latest Twilight film was shooting concurrently. “If you pan left in any shot, you’ll see Bella and Edward,” jokes Goddard. The real monsters of the horror genre.

9. The way Goddard remembers it, the two always planned for him to direct and Whedon to serve as producer. He recalls Whedon deciding halfway through writing the screenplay that he wanted to direct it instead. Goddard was saddened but took it as a good sign that the movie would get made.

10. The way Whedon remembers it, he and Goddard had no idea who was going to direct it, and the two bandied around director’s names while they wrote. He recalls they landed on Jeepers Creepers director Victor Salva. This information comes right when Jesse Williams is taking his shirt off, but we’ll just chock it up as coincidence. Goddard and Whedon do both note they like the Jeepers Creepers movies.

11. The scene with The Harbinger calling in to the control center was the first scene Goddard and Whedon wrote after Whedon came up with the overall idea. Goddard remembers the idea of him calling in from a payphone was more a logistical answer than trying to come up with something creative or funny. “Everything that this movie is about is encapsulated in a Harbinger being stuck on a speaker phone,” he says. “It kind of has both worlds.”

12. An early idea that Goddard came up with was “Truth or Dare or Lecture” as the game the group plays where one person would lecture someone else in the group about something they didn’t like about them. Evidently, the lecture cut from the script involved Holden lecturing Marty about marijuana. The line “I’m living in a world of reefer” was a call-back to this scene, which Whedon notes was sadly cut due to time. Goddard notes the only things cut from the script were in the first act.

13. “Either they find it disturbingly sexy, just disturbing, or they think the wolf is going to eat her face,” says Whedon, explaining precisely why that particular scene works.

14. The Cabin in the Woods was written by Goddard and Whedon as “something for us,” as they had both just come off feature film projects that didn’t pan out. The two holed up in a hotel room and spent the weekend writing the screenplay as completely as they could, a challenge they put on themselves. The finished film was born out of that weekend.

15. The two discuss “belief systems” of characters and how you rarely empathize with the bad guys’ point of view, and they wanted a film that showed that side of things. “At the end of the day, if you look at this movie, both sides are right,” says Goddard. He notes that he got the idea to work on that angle after watching The Breakfast Club as an adult for the first time and understanding the adults’ side of the film.

16. Goddard grew up in Los Alamos, New Mexico, and he took aspects of his childhood, seeing people like Hadley and Sitterson who go to their job every day creating weapons of mass destruction, for the film. Whedon notes the retro look of the old weapons plants is very evident in the film.

17. Another influence from Goddard growing up in Los Alamos is the fact that the town has the highest number of churches per capita of all the US cities. “You realize that because they’re building weapons of mass destruction, they need faith,” he notes.

Os dejo aquí un podcast de la excelente web Tomos y Grapas en el que comentan el arco de Joss Whedon y John Cassaday para Astonishing X-Men entre 2004 y 2008 debido a una reedición actual.

A partir del 1:43:24

Podcast sobre Astonishing X-Men

Anuncio de la Comic Con de San Diego sobre un panel por el 10o aniversario de Dr Horrible Sing Along con la participación de Joss Whedon, su hermano, Maurissa Tancharoen (estos dos últimos co-showrunners de Agents of SHIELD), Nathan Fillion y Felicia Day.

https://comiccon2018.sched.com/event/FSk5

Friday, July 20 • 10:00am - 11:00am

Dr. Horrible's Sing-Along Blog Reunion

In 2008, Dr. Horrible's Sing-Along Blog became a beloved webseries. The show tells the story of Dr. Horrible (played by Neil Patrick Harris), an aspiring super-villain; Moist (Simon Helberg), Dr. Horrible's minion; Captain Hammer (Nathan Fillion), his nemesis; and Penny (Felicia Day), their shared love interest. Celebrate the 10th anniversary of this popular show by attending this lively discussion and celebration with creator Joss Whedon, Jed Whedon, Nathan Fillion, Felicia Day, and Maurissa Tancharoen!

Viendo este video de Patrick Willems (Synch!!! ), aparece una cita de Joss Whedon sobre Michael Bay, sobre la tesis en la escuela cinematografica (que compartieron instituto, pero Bay fue compi de Tarsem Singh)

Brutal (aparte, recomiendo encarecidamente ver la primera parte, de porque Bay es un AUTOR)

Iniciado por PrimeCallahan

Viendo este video de Patrick Willems (Synch!!! ), aparece una cita de Joss Whedon sobre Michael Bay, sobre la tesis en la escuela cinematografica (que compartieron instituto, pero Bay fue compi de Tarsem Singh)

Brutal (aparte, recomiendo encarecidamente ver la primera parte, de porque Bay es un AUTOR)

Efectivamente compartieron estudios, concretamente universitarios (la secundaria de Whedon fue mixta entre Estados Unidos e Inglaterra), en la Wesleyan University de Nueva Inglaterra (Estados Unidos). Ambos son de la promoción de 1987 y su tutora fue Jeanine Basinger, la cual dice que ambos le pidieron que jamás comparta sus respectivos trabajos finales

Al salir de Wesleyan, Bay ya sabemos donde se metió (vorágine visual ) y Whedon, tras intentar establecerse como guionista de Hollywood, acabó fichando por Roseanne en 1989.

PD: ahora me doy cuenta de que es del mismo canal que los vídeos que he colgado antes sobre el MCU. La verdad es que mola como se explica este tipo aunque, claro, va bastante en mi cuerda así que eso ayuda

Artículo sobre uno de los extras (sí, extras ) de Dr Horrible, el comentario, Y es que este está, también, cantado

Apropos of nothing, let's revisit Dr Horrible's Sing-Along Blog: Commentary! - The Musical

Now that films like La La Land and The Greatest Showman are being celebrated for inventing the musical, it’s time to reappraise the best thing to ever come singing out of the Whedonverse. No, not Once More With Feeling. And no, not Dr Horrible’s Sing-Along Blog. I’m obviously talking about Dr Horrible’s Sing-Along Blog: Commentary! – The Musical. But you knew that already. It's in the title. Come with me on a terribly niche journey...

I’m not going to assume that you know what I’m talking about and I certainly wouldn’t dare to suggest that some works of true genius often pass us by while we‘re distracted by Transformers and Fast And The Furious movies. But, just in case you have been living under The Rock for the past 11 years, back during the time of the Writer’s Strike of 2008, Joss Whedon directed and released onto the internet Dr Horrible’s Sing-Along Blog, a self-financed three-episode miniseries written by himself, his brothers Zack and Jed, and Jed’s wife Maurissa Tancharoen.

The premise sees supervillain Dr Horrible, played by Neil Patrick Harris, detailing his application to be accepted into the Evil League Of Evil via his online video blog whilst falling in love with innocent passer-by Penny (Felicia Day) and fending off his vain, dim-witted nemesis, superhero Captain Hammer (Nathan Fillion).

And it’s a musical. And not just a musical, but a brilliantly-observed, slapstick-funny, dark-edged dramatic, musical parody of the superhero genre even before the superhero genre grew into the all-consuming monster that it is today, feeding on our very life-force until the very fabric of our whole reality became equal parts superheroes, Trump and catastrophic weather. Plus the songs are really catchy. And the whole thing is just 42 minutes long.



While the show/series/online event might have lost some of its impact over the last comic-book-saturated decade or so, it ended up giving us something else that’s arguably even better and is still as sharp as an exploded death ray fragment. Because, for the DVD release of Dr Horrible’s Sing-Along Blog, the Whedons and Tancharoen wrote a full musical version of a commentary track. Together with the whole cast, they play exaggerated versions of themselves, and bang out tune after tune that are cleverly written, perfectly self-aware, and that expertly ridicule not only the filmmaking process with supposed competing egos, but also the commercial nature of DVD special features in the first place, and how they are always just vapid circle-jerks for all involved. And it all plays in precise time with what’s happening on screen. It is a most uncommon commentary, indeed.

Plus the songs are really catchy. And the whole thing is just 42 minutes long.

The opener is a bold, energetic number entitled 'Commentary!' (the exclamation mark is important), complete with deliberate extended awkward pause and the admission that "It's moments like these that sell DVDs/We need to sell more... we've only sold four". Following this comes a song that offers what could be construed as the only genuine piece of film commentary on the soundtrack: a particularly bitter retelling of the Writers Strike, with some real venom about the industry’s treatment of its writers. The whole song plays like a rousing call to arms, only to segue into a more contemplative lament that, ultimately, the strike didn’t really achieve anything, all revealed via some wicked word play: "And years from now I’ll tell my tyke/Just what it feels like to strike... out".



But then the whole musical commentary kicks up several meta gears when an extra named Stacey (who played 'Groupie No. 2') steps up next to sing an unprecedented solo on the basis that she paid Joss 10 bucks to do so. And this is exactly what the song’s about. Ten Dollar Solo contains great gag lines like "I can’t lose/I’ve paid my dues", "They say I’m not ready to get in the game/But I’ll show them... my ATM" and the sublime:

They say Hollywood is heartless
And only the strongest survives
But I like it plenty
I gave Joss a twenty
And got back a dream and two fives

After the song has finished, Zack complains aloud: "Joss, that song had no content. It wasn’t even about the movie, it was about itself. That’s like breaking the ninth wall. It’s pointless.” Except, of course, it’s not pointless. It’s very deliberate - this song sets up the musical commentary as being apart from the production it's meant to be addressing. It’s its own production – it is about itself – and you can tell that just as much effort went into creating and recording this 'special feature' as filming Dr Horrible’s Sing-Along Blog, only to much less attention and acclaim.

That song is another that takes a leftfield turn, when Neil Patrick Harris interrupts and takes over the lead vocal, gazumping Stacey mid-melody by paying Joss 15 dollars instead. If the song at that point was already breaking the ninth wall, then it finds a tenth when Neil shows his disdain by singing "Ten dollar lame-o" only for Stacey to provide backing with the refrain "Are those the words now?". It’s a moment of pure lyrical cognisance, a device that gets repeated throughout the whole endeavour as the songs become more and more concerned with their own existence in real time, right up until the point that the final song, a reprise of Commentary!, sings its own actions: "Here’s the big finish/Where we build up the tension/(then we get really quiet)/Then we stop being quiet/And repeat the title 'Commentary'". It’s even evident in the epilogue number that follows, in which extra-with-a-lisp Steve sings a completely isolated song filled with lots of 'S's that is about whether or not he was only chosen to sing the song because of his lisp.



It all sounds very self-indulgent, and it absolutely is, but that’s the point. Commentary tracks are, by their nature, self-indulgent, and the Whedons/Tancharoen exploit that to push the format to extremes. Of course, there’s a limit, and the concept reaches exactly that shortly before these final songs when Neil finds himself in the recording booth alone and sees it as an opportunity to showcase his real-life musical theatre talents with no one to get in his way. But the song increasingly derails the longer it goes on as Neil finds himself presented with too many options and nothing to provide him with structure. He goes from singing "No more writers to whine/Now the whole show is mine" to "I can do all of their jobs/I can just play with these knobs" as his voice becomes accidentally modulated beyond comprehension. When it comes to actually taking on the responsibility of carrying the whole show, he fails spectacularly: "Look at that shot/We used... cameras/There’s a boom guy in frame/He was great, what’s his name?". And things quickly descend from there as Neil becomes overwhelmed by endless choices without any writers telling him what to do. Soon enough he finds himself "lost and alone", wondering what the controls do, all while the music duplicates his chaos and confusion until he is just wailing "What’s with all these chords?/What’s with all these weird chords".

So far, so wacky song that’s zany, but there’s an underlying truth about the nature of art here that goes back to the original reason for making Dr Horrible’s Sing-Along Blog in the first place. Written during the WGA Strike, the internet mini-series was originally designed as a way to prove that creative types can produce great things without studio involvement, although, because it wasn’t released until after the strike had ended, the message got a little lost along the way.

Here though, the importance of writers is clear, and while frequent lines and songs are having fun with the idea, there’s authenticity in the sentiment. Take Joss, who plays an image of himself as a tortured artist throughout - when asked where the idea for Dr Horrible came from, Joss replies in a low grumble: "It came from pain" only for nervous voices to respond "er... let’s not talk to Joss. He’s sad and confusing". The seemingly depressed Joss gets his own song later on in which he bemoans being forced to analyse his own work in order to sell DVDs, arguing that art shouldn’t be treated this way. After all, he argues, when he wrote The Odyssey, Homer "didn’t say, here’s what it means/And here’s a few deleted scenes/Charybdis tested well with teens/He’s not the story". It plays perfectly into the character Joss portrays here - a curmudgeonly intellectual unable to reconcile supposedly sacred art with commercial gain.



It should be noted though that the value of the artistic process here only extends to the writing. In contrast, the actors are shown to be petty and insecure, with Nathan Fillion singing an entire song that tries to convince he is Better Than Neil ("He makes seven figures and gets Emmy nods/I make seven layer bean dip of the gods/I’m also in Halo 3, what are the odds?"). Even the extras assemble together to get in on the vanity act for a chorus of: "If I had the screen time I deserved, you’d see/It’s all about me".

Getting even shorter thrift though is Felicia Day, whose central joke on the track is that she "doesn’t discuss her process" only for her to reveal that there’s not much to discuss. Her song, The Art, written, again, by Joss Whedon, is an attempt to reveal the secrets of her talents: "A gift from Olympus who sends me the muse" only to immediately let the pretence slip with "and shoes", going on to explain "All Penny feels are these 9-inch heels". If you weren’t confident that Felicia and the rest of the cast weren’t in on the joke, it would be outright offensive for her to be sidelined as a "Bimbo" who appears giddy around the handsome Nathan Fillion while struggling to explain her "lofty... art... ness".

Interestingly though, in the same song, Felicia is afforded the opportunity to plug her own online show The Guild, an inspiration for the main Dr Horrible series. This means that, while her talents as an actress are made light of ("My tortured actor’s process/Stand here and do what Joss says"), her talents as a writer and creator in her own right are actively rewarded.



This, ultimately, is the incidental purpose of Commentary! The Musical. While Dr Horrible’s Sing-Along Blog was designed to prove a point, this commentary allowed the opportunity to explicitly declare the point again and again: writing is a great, creative talent, perhaps the most important one in the industry. It’s where every initial idea is formulated and developed into whatever it later becomes. Everything starts with the writing, and yet it often goes so undervalued. At least in 2008, that’s apparently how the Whedons+Tancharoen felt.

And they warned us about this right at the start, back in that very first song: "We’ll talk about the writing/We’ll probably say 'It’s great!'". Because of course they will. This is what happens in commentary tracks. Not that you’d really know it among all the jokes and tunes and descriptions of Ninja Ropes ("Simple in its gameplay and yet epic in its scope"). You have to really dig beneath the surface to get to the central message, because everyone has put a lot of effort into making this just wonderfully entertaining first and foremost. And this is why its such an incredible piece of work.



It’s also why it is such an incredibly difficult piece of work to recommend to anyone. I can’t tell you how many people I have told about this musical commentary, but to recommend it is to suggest the person get to know Dr Horrible's Sing-Along Blog exhaustively first to really get it. And then seek out this actually quite hard-to-find special feature and listen to it, preferably while reading the lyrics. It’s not been an easy sell, but it is, I promise you, absolutely worth the effort.

Cuh. I bet you never knew that a blog post could feel so much like a really, really long history class.

He encontrado este artículo de abril de 2019 sobre Scarlett Johansson comentando las apariciones de Black Widow en el MCU:


Scarlett Johansson On How Joss Whedon Played a Role In Empowering Black Widow

When asked about Black Widow’s impact, Johansson said, “I don’t know that I have total perspective on it, but the character has certainly grown in a way.” She mentioned that she might have offended Iron Man 2 director Jon Favreau during the first Avengers: Endgame press conference where she called Natasha “a sexy secretary” in that movie.

She continued, “I think through The Avengers and then certainly with Winter Soldier [she] had an opportunity to become a woman who realized, ‘Oh, I haven’t really made any active choices in my life,” and was really coming to terms with [that] as SHIELD disintegrated,” Johansson added.

(...)

“Honest I think Joss [Whedon] was a huge part of that too,” Johansson interjected, referring to the writer and director of 2012’s The Avengers and its follow-up, Avengers: Age of Ultron. “He just is such a huge believer of strong female characters and storylines, and he really celebrated the character’s flaws and wanted to bring them to light…Just having his support and him wanting to shine the light on that character really made a huge difference.”

(...)

Though the MCU films were loosely linked through end-credit scene cameos and smaller appearances when the franchise began, it wasn’t until The Avengers that the actual forming of the series as one larger entity working towards a common goal became apparent. That was the work of Whedon, who was at the helm of the first two Avengers movies. However, the writer and director opted not to return to the franchise after Age of Ultron.

Whedon stated that he was, understandably, exhausted after filming the two major blockbusters nearly back-to-back. There were also reports of creative differences between the artist and the studio, and then there was the whole controversy around Natasha’s romance with Bruce Banner (the Hulk) and her comment about being “a monster.”

However, Whedon clearly has a soft spot for the character. He said years ago that he would want to make a Black Widow film, citing the “very interesting and very earthbound” nature the character and calling Johansson “just delightful” to work with. However, that ship has sailed: Black Widow is supposedly on its way, with a completed script and a director in place.

Anoche hubo una versión libre del musical de Buffy (del episodio musical de la serie, no es que exista un musical propiamente dicho) en un teatro de Londres y el propio Whedon estaba presente. Al finalizar subió al escenario y dijo algunas palabras.

Buffy creator Joss Whedon makes a surprise appearance at comics' Buffy tribute

Buffy The Vampire Slayer fans who turned up to watch comedians sing songs from the cult show’s famed musical episode got a huge surprise last night – when creator Joss Whedon joined them on stage.

And the stand-ups who performed at the special Amusical night at Camden Palace in South London were even more stoked to be joined by the hugely successful writer.

Jayde Adams, who co-hosts the show with Kiri Pritchard-McLean, wrote: ‘If I die now, don’t be sad. Last night after paying homage to Buffy with @AmusicalShow & UK’s funniest, I got to thank @joss for writing a story about a girl who saved the world for 7 years when no one else was. Ironically if he hadn’t, that girl in the yellow suit wouldn’t exist.’

Ed Gamble tweeted: ‘What a phenomenal we had at @AmusicalShow desecrating the Buffy musical episode "Once More With Feeling." To top it all off, @joss came down. He seemed to enjoy it and we are yet to hear from his lawyers.’

Rebecca Humphries tweeted the above image and said: Last night I watched a room full of hearts stop as @joss walked onstage after our daft Buffy show. We did it knobheads! We made dreams come true!’

Tom Toal added: ‘What a brilliant tribute to Buffy @AmusicalShow put on last night and Joss Whedon turned up at the end. Amazing scenes’

Un par de artículos antiguos pero vaya:

Sobre Wastelanders, la serie web que planeaba con Warren Ellis hace 10 años y que encabeza, o casi, la lista de ideas que me gustaría ver convertidas en realidad.

Texto escrito por el propio Ellis:

WASTELANDERS

Joss Whedon mentioned, at his San Diego panel last week, a project called WASTELANDERS that I was co-writing with him and which got postponed. I’ve gotten a lot of messages about that, since. So this is my WASTELANDERS FAQ, such as it is, and all I’m really prepared to say about it for now.

So Joss and I had just finished the second or third day of sitting in a hotel bar and beating out the rough shape of WASTELANDERS, a story idea he’d had that he invited me to co-write with him because it had Science Stuff and Nasty Stuff and those things are more me than him, and I demanded Meat because I really can’t run my brain for more than ten minutes before bits of it start breaking off and I think I mentioned that we’d been at this for two or three days and so we went to a steak restaurant that scared Joss because all the lighting was red and the walls were covered in cowhide and we’d just started on the beer in this Room Of Meat Terror when Joss said: "I’ve been asked to write and direct the AVENGERS film. What do you think?"

WASTELANDERS was being devised as a five-part series that we’d do as "internet television," in the mode of DR HORRIBLE, only without the singing. Joss was worried about the lack of singing. I’d hoped that directing an episode of GLEE had gotten it out of his system. I wasn’t sure who I’d have to hurt or kill to secure the situation, but we were solid enough with the outline that we’d be ready to shoot in two or three months.

"You have to take that job," I said. "Even though it’ll probably be insane. It’s a tentpole movie. You’ll be able to print your own money afterwards. You’ll be able to do anything you want. Take it."

No good deed goes unpunished. He took the gig, and then the start date got moved up, and three or four other horrible things happened, and suddenly the space to do WASTELANDERS was erased.

I saw Joss the other week. It took us a few hours to get around to WASTELANDERS, because we’re ferociously polite and respectful to each other (if to and about no-one else) and I think neither of us wanted to broach the subject. And when we finally did, I said to him; once you’re on the other side of AVENGERS, email me, and we’ll finish the bastard off. I’ll wait.

So that’s what we’ll do. And that gives me time to terminate anyone whom he might secretly work on musical numbers with.

A few notes. WASTELANDERS is not, as some people who can’t read have commented, the same as Antony Johnston’s WASTELAND. WASTELANDERS is Joss’ idea and Joss’ title. WASTELANDERS also has no connection to DR HORRIBLE. WASTELANDERS is where Joss’ sense that too few people followed the example of DR HORRIBLE meets my obsession with the QUATERMASS serials, which were half-hour episodes. Short-form genre serials of the kind that tv just doesn’t make anymore. What we eventually came up with was very much a fusion of British and American styles, and very much a fusion of my style and Joss’ style. And full-on science fiction.

And the plan is that you’ll see it once Joss has made the AVENGERS film.

(Which, by the way, is going to be really fucking good. I have Sekrit Knowledges. Also worth noting: Joss has nothing but good things to say about Kevin Feige, which bodes extremely well.)

WASTELANDERS is sort of a funny horrible story about the end of the world. I look forward to finishing it.

Y sobre su trabajo 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.

Iniciado por Synch

I look forward to finishing it.

So do we, you son of a bitch...

Iniciado por J.S.

So do we, you son of a bitch...

Iniciado por J.S.

So do we, you son of a bitch...

Estos días anda confinado en la casa en la que ahora vive en Londres (con la artista Heather Horton), con The Nevers aprox a la mitad (la jefa de maquillaje dice que el proyecto es de tamaño película y filman varios episodios a la vez). Ya podría pulir ese proyecto con Warren Ellis... O el guión de la película slasher de la II G.M. del que habló hace unos años. Aunque no pueda ponerse a dirigir ahora, que lo venda donde sea

@Branagh/Doyle me da que en The Nevers también se va a encargar de parte de la BSO o algunas canciones.

Puede ser rumor inventado pero vaya... (además hace semanas se habló de lo mismo pero para X-Men).

Cabe decir que ya escribió, brevemente, para ellos en su Astonishing X-Men:

Joss Whedon Rumored to Have Had Fantastic Four "Conversations" With Marvel Studios