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Joss Whedon Chats about
"Dollhouse" on FOX
Dollhouse Conference Call
February 5, 2009/11:00 a.m. PST
Joss Whedon talks about his new show, "Dollhouse", premiering this
Friday on FOX at 9pm eastern. It was a joy to listen to him. You can
tell everyone is a bit in awe of him from his previous shows. Too bad
time was short and we didn't all get to ask our questions.
Moderator Ladies and gentlemen, thank you for standing by and welcome to
the Dollhouse interview call with Joss Whedon. Due to the large volume
of callers, we ask that you please limit yourself to one question and
one follow-up. You may then re-queue, and additional questions will be
taken as time permits. I would also like to remind you that todayís
conference is being recorded.
I will now turn the conference over to Todd Adair for opening remarks.
Please go ahead.
T. Adair Good morning and good afternoon to everyone. Thank you so much
for joining us. Joss is on the line, and happy to answer questions today
about the Dollhouse premiere, which again is set for Friday, February
13th from 9:00 to 10:00 p.m. Eastern/Pacific Time, following the return
of Terminator: The Sarah Connor Chronicles, which will be on from 8:00
to 9:00 p.m. Eastern/Pacific. So, without further adieu, weíll get
started with the questions.
Moderator Thank you. Our first question will come from Daniel Fienberg
D. Fienberg Hello, Joss. Thank you so much for doing this call.
J. Whedon No problem.
D. Fienberg I was hoping you could talk a little bit about the process
of finding this show through the rewritten pilot, and then the early
episodes, and then talk about how it differed from finding your earlier
J. Whedon I think this show definitely went through a tougher process,
tough in a different way than the other shows. Probably most similar to
Angel in the sense of what we had in our minds about what Angel was
ultimately was different than what the network did. Our version was a
little darker, and in this instance, it wasnít so much a question of
reworking what the show was as it was a question of reworking how we get
into it. There were definitely some differences of opinion about what
was going on and what we were going to stress in the show, but mostly it
was about how do we bring the audience in and the mandate was very much
once they had seen the pilot.
They made some noise about this before. I donít want to say that they
just thought it up out of the blue, but the mandate ďwas give us not
just the world of the show, but the structure of the show.Ē The original
pilot explained everything that happened, but came at it very sideways,
and they said let the audience see an engagement so that they understand
that every week sheís going to go to a different place and be a
different person and that they have that sense of structure.
That part was simple enough. It was my idea to do a new pilot, because
once I was clear on what it was they didnít have that I had planned to
provide in the show anyway, it seemed like a no-brainer to give them
something they could get behind more.
But there was some real questioning about what exactly we wanted to get
at in terms of the humanity and what they do and why people hire them
and thereís a sexual aspect to it that makes some people nervous. Part
of the mandate of the show is to make people nervous. Itís to make them
identify with people they donít like and get into situations that they
donít approve of, and also look at some of the heroic side of things and
wonder if maybe they were wrong about what motivated those as well.
So weíre out to make people uncomfortable, but not maybe so much our
D. Fienberg Following up quickly, do you feel like youíve found the show
now, or is it still just an ongoing process?
J. Whedon Well, itís always an ongoing process to an extent, but I would
say emphatically yes. We had all of the elements, the characters, none
of which were changed really, and none of the regular characters, and
the premise, the concept, the way we were able to explore what makes us
human, all of that is in there.
As the season progresses, it ends up going exactly where I had hoped it
would go before all of this happened, so I do feel like we got back to
our vision in a way that really works for the network. And the last few
episodes that we just completed shooting got all of us extraordinarily
D. Fienberg Thank you.
J. Whedon Thank you.
Moderator Next we have Amy Amatangelo with The Boston Herald.
A. Amatangelo Hello. Thank you for talking to us today.
J. Whedon No problem.
A. Amatangelo I just wanted to ask you: what do you have to say maybe to
the fans who are already in a panic and have formed these save Dollhouse
campaigns long before the story even ends, maybe even starting last
summer? Do you have words of calming for them, or anything like that?
What do you say to people who are already worried about the show before
J. Whedon Usually, words of calm in these situations lead to panic. If
you say thereís nothing to panic about, somebody says, he said the word
panic. Basically, we found the show. My concern isnít whether the show
gets saved. Itís whether these fans who are panicking about it love it.
They may get over their panic. They may see it and go, you know,
actually, weíre okay. The network should do what they think is right.
Ultimately, the support is very sweet, and the fact that people care and
they want to see the show get a chance. Thatís important to me too,
because it really is a show that finds itself as it goes along, but, at
the end of the day, my biggest concern is that I give them something
worth panicking over.
A. Amatangelo With a show like Buffy, you had some episodes and you did
some things that really stood out in peopleís minds like having a
musical episode, having an episode where no one speaks. Do you have some
of those ideas for Dollhouse where you want to try something different
than maybe hasnít been done in TV before, or things like that that are
in your mind right now for this show?
J. Whedon Most of the things I think have been done at some point, and
we donít think itís done for their own sakes, but one of the exciting
things about the show, one of the reasons why weíre excited to have more
runs at it is that you can really come at these stories from a lot of
different perspectives; from the perspective of a client, from the
perspective, as we do in episode six, from the man on the street, from
the perspective of obviously Echo or any of the dolls or the people who
are running it.
Thereís always a different way into the story, and since there is a
basic structure of an engagement where somebody comes in, says what they
want, and they build that personality and the engagement takes place,
there is a lot of fun that can be had with how you come at those
But I donít have anything specific in mind, and no, Iím not planning a
Dollhouse musical just yet.
A. Amatangelo Thank you so much.
Moderator Next we have Fred Topel with Sci-Fi Wire.
F. Topel Hello, Joss.
J. Whedon Hello.
F. Topel I found the second episode so outrageous, I think anyone who
sees it will be hooked. I couldnít believe you did a most dangerous game
on TV in the second episode, so why did you not want to start with
something that outrageous, and how many more of those sort of hooks of
an outrageous concept can we expect?
J. Whedon Outrageous is always good. That episode was meant originally
to be around episode five, or possibly even eight, and it was the
network who said, excuse me, did you say bow hunting? That will come
second please, because we already had the pilot working, so it kind of
got bumped up further than, but youíre not the first person to say why
didnít you just open with that, and my answer would be I donít know. I
had the other idea first.
Basically, I think its one aspect of it is the bigger than life
adventure, but we have episodes that I think are equally insane and, in
some ways even more beautiful. So if people watch episodes and wonder
they shouldíve opened with this, that means the episodes are getting
better, and Iíll take an upward curve any day.
F. Topel Itís not even the action aspect of it. Itís finding out they
will hire people out to be hunted and killed.
J. Whedon Well they didnít actually mean to hire her out, to be honest
with you. Somebody said well how come things go wrong with the
Dollhouse? Thatís a question Iíve gotten. Itís like so that we can have
a show. Obviously, something is going to go wrong, or strangely right in
F. Topel Just quickly, I know youíve talked about the more earnest
nature of the show and the Joss-e humor, but I just wanted to follow-up
and ask why you felt this should be a more earnest show, because it
seems like with the concept, there would be plenty of opportunities to
have fun with it too.
J. Whedon There is a lot of fun and a lot of humor in it. What it
doesnít have is an inherent silliness that both Buffy and Firefly had,
and even Angel, that was we could just take one step back that part of
the fun was of deconstructing the genre we were in. This has to be a
little bit more grounded in order for it to play, or it would become
campy, and with vampires and spaceships and horses, we had more leeway
to be a little less realistic in how we plotted things.
But humor is a part of the show all over the place, because we have
really funny actors, and these situations do become absurd, and besides,
we would get really bored if we didnít.
F. Topel Thank you, Joss.
J. Whedon Thank you.
Moderator Thank you. Next we have Joshua Maloni with Niagara Frontier.
J. Maloni Hello, Joss. Thank you for your time today.
J. Whedon Hello.
J. Maloni Can you tell us a little bit about the genesis of the show?
What got you thinking about these characters in this world?
J. Whedon Well, thereís already the famous story of lunch with Eliza
where we were talking about what kind of stuff she should play and I
thought she should play lots of different things, and then the show
Beyond that, there has also been Iím very interested in concepts of
identity, what enounce is our own, whatís socialized, can people
actually change, what do we expect from each other, how much do we use
each other and manipulate each other, and what would we do if we had
this kind of power over each other? And in this, our increasingly
virtual world, self-definition has become a very amorphous concept, so
it just felt what was on my mind. I donít mean it felt timely like I was
trolling the papers looking for something timely. Itís just been
something I think about a lot.
As for the characters, they sell out by necessity. I wanted to have a
strong ensemble around Eliza, because I didnít want her to have to carry
the burden of every single day of shooting, or she would burn out. So it
was the question of really just doing the math. Youíre going to need the
handler, youíre going to need somebody running the place, youíre going
to need the programmer, and then realizing what all of those different
perspectives would give us, even before we had the astonishing cast,
started to make the show really live.
J. Maloni What do you like about Eliza? Why was she the right actress to
build this around?
J. Whedon Sheís overcome her homely shyness over these years. Eliza is,
apart from being, in my opinion, as great a star as I have ever known,
she has a genuinely powerful electric and luminous quality that Iíve
rarely seen. Sheís also a really solid person. Sheís a good friend.
Sheís a feminist. Sheís an activist. Sheís interested in the people
around her. She has a lot of different things going on, and Iíve watched
her over the years, as a friend, try to take control of her career, and
try to get the roles that werenít available to her, and protect the
ethos and the message of what it was that she was doing, and I respect
that enormously. Being part of that progression is, for me, one of the
greatest benefits of this show.
J. Maloni Great. Thank you, Joss.
J. Whedon Thank you.
Moderator We will go next to Julia Diddy with Fancast.com.
J. Diddy Hello, Joss. Thank you for your time today. Given the pressures
and drawbacks of being a creative person working within television, what
keeps you going? What inspires you?
J. Whedon You know, the thing that keeps me going, chardonnay. I
shouldnít have said that. Honestly though, actually that kind of slows
me down. Ultimately, itís two things. Itís the story and itís the people
Iím working with. Iíve gotten pretty good at putting together a group of
people, both in the writing and in the acting fields who are not just
really gifted and delightful to learn from and to watch, but are just
good people to be around. And creating an environment that is fun and
safe and creative is difficult and enormously important, and a lot of
shows obviously donít feel the same way, and a lot of stars donít feel
the same way.
But I have had both good luck and the good sense to make sure the people
Iím around are the people you want to spend your time with, and when
those people come to you with ideas, or bring you something you didnít
expect and really know what theyíre doing, it snowballs and an idea gets
bounced around between all of the people who are helping create it and
it just gets bigger and better.
Ultimately, it comes from the world itself. It comes from the world
youíve created. If youíve really created a world and not just a
character, then itís constantly going to be screaming its awesome
variations at you. And when youíre surrounded by a group of people who
are hearing that scream as well, then you go on, despite being really
tired some of the time.
J. Diddy That makes sense. Thank you so much.
J. Whedon Thank you.
Moderator Thank you, and before we move on, due to the large volume of
callers, weíre asking that you please limit yourself to just one
question. And weíll go to Alice Newgen with The Times Courier.
A. Newgen Hello.
J. Whedon Hello.
A. Newgen I was wondering, what are some of the topics that you would
like to address in future episodes that you havenít tackled before?
J. Whedon Well, the constant topic of identity is one. There are a
couple of things that were originally on the slate that didnít quite fit
the venue and had to stand back. We had an episode about Rwandan boy
soilders that was really about how we imprint people now, how we
literally brainwash people, and weíre contrasting that with the
There was episode that was about perversion. It was about sexual shame
and peopleís inability to deal with real people that was, I thought,
ultimately very heartfelt and very strange and very beautiful, but
again, not to make the cut for the first 13. Those are some that would
be coming up.
A. Newgen Okay. Thank you.
Moderator Thank you. Next we have Kimberly Wetter with Buddytv.com.
K. Wetter Hello, Joss. Howís it going?
J. Whedon Hello there.
K. Wetter I noticed that Topher made a comment referring to Adam and Eve
and I wonder how much youíll explore theology in your exploration of
what it means to be human.
J. Whedon I will explore it only in so much as people will tend to use
it as a metaphor for the way they talk. As an atheist, Iím not going to
spend a huge amount of time with it unless there is a point about the
way religion interacts with our humanity that I think needs to be made.
But the Garden of Eden stuff, you canít stop that. It keeps coming up,
because this is the mythos that I was brought up with, and itís very
powerful in this place. But I would say that Iím more interested in the
philosophy than the theology of the thing.
Moderator Thank you. Weíll go next to Jennifer Godwin with E-online.
J. Godwin Hello, Joss. I actually saw the episode where the Elgin
marbles were in play and I noticed it was written by Craft and Fain, who
I understood are going to be the acting show runner on this. Can you
talk a little about what they bring to the table, and why they seem to
get your sense of humor so well?
J. Whedon You know, why anybody gets my sense of humor I never know, but
I do know that when they do, I keep them as close as I possibly can. Liz
and Sarah are the kind of people who are so solid and so sensible and so
good at the day-to-day show running that you forget how good they are
with the script until they turn it in and you go thatís right, you guys
are really funny and very twisted. Theyíre the kind of writers who take
all of their weirdness out on the script and itís not out on me or the
people they work with, and thatís what you look for in a show runner.
It was important for me also that the show runners be female, because
the subject matter is intense and delicate, and they are aware of that
without being a slave to it.
J. Godwin Thank you.
Moderator Thank you. We have Molly Willow with The Columbus Dispatch.
M. Willow Hello.
J. Whedon Hello.
M. Willow I wanted to ask your reaction to the Friday night time slot
and what challenges or maybe even opportunities you see there.
J. Whedon Honestly, I really do see the opportunity there because the
deal with the Friday night time slot was you donít come out, bang,
opening weekend, and itís all decided. Itís about growing a fan base,
both for Dollhouse and Terminator. I think Terminator is a remarkably
good show, and the kind of show that makes sense to be paired with
Dollhouse, so I feel great about that, plus I get to see all these
posters with Summer and Eliza together and thatís just too cool.
Ultimately, this is a show where people will hopefully become intrigued
and then hang in, that really builds, so it needs the 13 weeks, and it
needs the 13 weeks of people paying attention, but not so much attention
that it gets burned out in the glare of the spotlight. Iíve always
worked best under the radar. Most of my shows people have come to after
they stopped airing, but I would like to buck that trend, and at the
same time, it is part of how I work that you stay with it and it grows
on you and it becomes family, and the Friday night is a much better
place for that to actually happen.
M. Willow Thank you so much for the thorough answer. I appreciate that.
Moderator Thank you. Next is Rachael Bishop with The Two Cents.com.
R. Bishop Hello, Joss. You can take from this a little bit, but besides
Eliza, there are a lot of other Whedon alumni in your cast, and can you
just talk a little bit about your other cast members?
J. Whedon You know, the basic mandate for me was to find new people,
because I had Eliza and I didnít want to feel like it was going to be
ďFaithĒ or just a reunion for my pals or anything like that, and I found
some not only amazing new actors, but amazing new friends. But then,
eventually, a person has to wake up and smell the ďAckerĒ and realize
you just have to cast anything that you can with her, so that happened.
Apart from that, weíve put on some old faces in some guest roles, but
not too often, and sometimes, weíve been very much behind the eight ball
in terms of production and when you know somebody can do something right
and you donít have time to go and find somebody else who can, you hire
them. But apart from Amy and Eliza, itís a new crowd.
R. Bishop Thank you very much. Iím really looking forward to it.
J. Whedon Thank you.
Moderator Weíll go to Jace Slako with Televisionary.
J. Slako Hello, Joss. In reading the original pilot script, it really
seemed like the basis for a highly serialized show, and Iím wondering
what the challenges were involved in taking your original vision and
transposing a more self-contained style of storytelling onto it, and if
you were satisfied with the way the show turned out versus your original
J. Whedon There are things I miss from my original vision, and there are
things that I think are better the way it is. Ultimately, the show ends
up going exactly where I hoped it would go. There are elements of
intrigue and high stake suspense that have been added, but I donít think
they hurt the show at all, and it really goes where we planned to have
The idea was always to have a mythology that was counterbalanced by a
standalone aspect that every episode would be self-contained, and that
the mythology would play out, but you would feel a sense of resolve, be
that an engagement, or some other aspect every week.
The mandate to go ahead and just really make the first several episodes
pure standalone engagements is tough. Itís more work for a staff to drum
up that enthusiasm and that identification for the guest of the week.
Thatís just difficult, but we knew that was part of the show going in,
that every week, we were not only going to have to create a new world
and care about it, but that she was actually going to have to join the
guest cast, because she would be a new person.
So itís a challenge, but itís one that we knew going in we were going to
have to tackle, and I think weíre getting better at it. It is definitely
a different skill.
J. Slako Just to follow-up, actives arenít aware of their personality
imprints, so Iím wondering if we should be looking at any other
characters in the cast as possible covert active.
J. Whedon Not in the first season, although weíve discussed a lot of
permutations. Weíre pretty much laying out the situation a little bit
simply at first. Weíre going to twist the knife in some people, but more
than any of the anchors, itís the people running the place who have
their own secrets that are going to be fun to pull away at.
J. Slako Thank you.
Moderator We have David Martindale with Hearst Newspapers.
D. Martindale Hello, Joss. As a writer creating characters, do you
identify a lot with Echoís programmer?
J. Whedon I do. Itís not a shock to see a lot of Topher in myself,
because heís building people, and heís amoral and fairly goofy, but I
see a lot of myself in Adelle DeWitt too, and ultimately, in all of the
characters. If you donít, youíre usually doing it wrong. If just one
person is your mouthpiece, then youíre going to have trouble writing a
real conversation between two people, and the fact of the matter is the
person who is my mouthpiece is definitely sketchy, which is good,
because it makes me question everything I have to say, no matter how
funny it is.
D. Martindale Okay. Thank you so much.
Moderator Thank you. Next is Jim Halterman with ProgressivePulse.com.
J. Halterman Hello, Joss. Itís good talking to you. Youíve gone through
the process of launching this show several times now, so how has the
process changed for you since you launched Buffy?
J. Whedon You know, in many ways, it hasnít changed at all. We were held
to mid-season on Buffy. There was a certain amount of birth pangs. We
were re-shooting things for the first episode during the last episode.
So I think part of this is either the same, or I just really havenít
learned anything about how to do it better.
But I think the changes have really been that the media is constantly
making new demands. There are six act breaks instead of four. They did
remote free TV, which means fewer commercials, which is an exciting
prospect, but it also means weíre shooting 15% to 20% more show per show
on the same schedule as every other show, and that just really is
beating the hell out of us.
Also something that ultimately, because of the remote free TV, and
because of our production issues, fell by the wayside, but these are the
extras that people expect. Thereís just more to it than going in there
and telling your story. The marketing of the thing and the story itself
are intertwined in ways that create opportunities, and in some ways that
just really exhaust me.
J. Halterman Best of luck with the show.
J. Whedon Thank you.
Moderator Weíll go to Troy Rogers with Deadbolt.com.
T. Rogers Hello, Joss. Thank you for taking the time. I was wondering:
how will the audience connect with any of the actors? Are they supposed
to be like empty vessels with new info each week?
J. Whedon Theyíre supposed to be empty vessels and the constant struggle
with Dollhouse is that theyíre not quite, that Echo and Sierra have
formed a kind of bond, and that Echo is clearly evolving in a way that
they have not imprinted her to do.
The ideal is to create people that people can relate to, because they
were so helpless and so innocent, and then let them have these latent
senses of identity and of their surroundings, and create sympathies
through that, as well as through the characters that they become.
T. Rogers Okay, and one quick thing. Will there be a dark horse comic
tie-in for this?
J. Whedon There wonít. The science fiction of this is much more fiction
than science. Ultimately, its actors acting differently, which is not
something you need to see drawn. There is however, a CSI comic book, so
I guess everything could be a comic book, but I donít feel it lends
itself in the same way that my other fictions have.
T. Rogers Okay. Thank you.
Moderator Thank you. Weíll go next to Jenny Reardon with
J. Reardon I just wanted to say thank you again for taking the time to
talk with us. My husband and I are both huge fans, and when I told him I
was going to get to talk to you, I asked him what he thought I should
ask, and his question was why did you have to kill Wash, but thatís not
what Iím asking.
You already talked about this a little bit, but I wanted to clarify for
viewers. How easy will it be for new viewers to join after the first
episode? How much of the show will be episodic and how much will be an
overall season or series arc that they may miss if they donít start
watching from episode one?
J. Whedon We absolutely made sure of that. We always refer to the first
seven episodes as the seven pilots. You canít just shut down after
episode one and it canít be a train thatís left the station. So the
first several episodes, the first five are all individual engagements
where the premise is made clear and the cast of characters is made clear
and relationships are made clear. Obviously there is some progression in
those relationships, but there is nowhere where you have giant pieces of
information missing, or where you have to sit through a three minute
previously on in order to get to the show. We really care about that,
and that was one place where we were completely on the same page as the
J. Reardon Okay great, because if viewers donít watch FOX, for example,
then they may miss when it premieres, and I always have readers that say
I missed it. Am I going to be confused when I come in later? So that
will be good for them to know.
J. Whedon Since Iíve already fielded the question, ďwhy didnít I make
Steve DeKnightís episode the pilot instead of my own,Ē which Iím sure
Steve will love to read, I think that there should be no problem if
people come in a little late.
J. Reardon Thank you.
Moderator Next we have Kurt Anthony Krug with The Oakland Press.
K. Krug Hello, Joss. Thank you for doing this. Itís a great honor, sir.
J. Whedon Thank you.
K. Krug I just wanted to ask you, how did this idea for Dollhouse come
about? I know you mentioned the famous lunch with Eliza, but did you
have this percolating in your brain for a couple of decades, or did you
just hammer it out with Eliza?
J. Whedon No. As I said earlier in the call, and I explained this more
fully, not on this call, but on another, but basically, Iíve been
fascinated by the questions of identity and identity manipulation, both
self-imposed and otherwise, and the idea of avatars and the idea of
fantasy and the little insular world that weíve been able to create for
ourselves with our computers and with our extraordinarily specific
medications. And I think itís something thatís become a part of the
world really just in the last ten years, so itís fairly new means to ask
very old questions about who am I and what am I as I get older, and
whatís really sticking? Whatís the part I can point to and say this is
me and what is just coming and going and what has been imposed upon me,
and who the hell am I, and why arenít I prettier?
K. Krug Just very quickly, who would win if Faith fought Echo? I just
had to ask that stupid question, but I had to do it.
J. Whedon Faith would win, unless of course Echo had been imprinted with
Faithís personality, which is Iím going to call it a tie.
K. Krug Thank you so much, sir. I appreciate it.
J. Whedon Thank you.
Moderator Next is Rick Porter with Zap2It.com.
R. Porter Hello, Joss. Thanks again. There seem to be a couple of
different mystery threads between Echo trying to figure out who she is
and the FBI agentís search and the big creepy naked guy at the end of
the first episode. How connected are those, and, if they are connected,
how long might it be before we see them start to intertwine?
J. Whedon We definitely start entwining things this season. Thereís a
lot of payoff in this season. There are some things that we draw out and
then some things that we payoff fairly heavily, so that people donít get
the feeling that theyíre just going to tease me every week.
Paul Ballard is going to be hunting the Dollhouse, and obviously, heís
going to be one step behind them for awhile, but then every now and
then, heís going to come up against them in a rather abrupt fashion, and
heís not going to be the reporter in The Hulk, always five feet behind,
and this creepy naked guy will be explained.
Echoís progression is a constant in the show, her search for herself, so
thatís something that is being spun out episode by episode. Itís just
different little aspects. Itís like she takes a little memento away from
every engagement, so that will be a constant.
But weíre definitely laying in some threads, and there are definitely
things that we are not explaining, but we kind of took some of the
things we were going to hold for a few years and said hey, letís just
hit them in the head with a frying pan, because that will keep them
excited, and itís not like we lack for places to go.
R. Porter Thank you.
J. Whedon Thank you.
Moderator Your next question is from Charlie Jane Anders with 109.com.
C. Anders Hello, Joss. Thank you for doing this. My question is, is
there a limiting factor with this technology? Could you kidnap 100
people, plug them into the machine, and have an army of super ninjas an
hour later? And are there tons of people just walking around with
pre-programmed personalities that donít know it that are permanent?
J. Whedon Both of those things will probably happen in later seasons,
because that would be cool, and what you can accomplish and what you can
destroy with this technology is something that weíre going to be asking
increasing towards the end of the season. But for the first season, we
did keep the premise fairly simple, and the Dollhouse is fairly strict
about what they will use this technology for, so no ninja armies just
yet, but keep watching the skies.
C. Anders Thank you.
Moderator Your next is Matt Goldberg with Collider.com.
M. Goldberg Hello, Joss. Itís very cool to be talking with you today.
You have a film coming out next year called Cabin in the Woods, and I
was curious, you call it a game changer, and I was curious why youíre
calling it that.
J. Whedon And you sadly will remain curious until you see it.
Ultimately, itís my take on the classic horror movie, which means that
it is a classic horror movie, but we also have something specific to say
about it, and we have a different way of saying it than weíve seen
I think after it, everyone will love it so much that there will be no
more need for movies. Thatís how itís going to be.
M. Goldberg That will be frightening.
J. Whedon People will just want to watch that movie over and over again,
and they wonít make other ones.
M. Goldberg Fantastic. Thank you very much, sir.
Moderator Thank you. Next we have Elise Wax with Fearnet.com.
A. Wax Hello, Joss. I was just wondering: I know you already touched on
not doing anything for a comic series for Dollhouse, but you seem to
have so much success with them, at least amongst fans. Do you have any
others in the works? Are you going to do a Buffy season nine maybe?
J. Whedon We definitely have a season nine in mind. Weíre slogging our
way through season eight. Weíve talked about doing more Serenity comics,
and weíve even talked to Dark Horse about a potential for some Cabin
Dollhouse is very simply the least visually oriented of all of these in
a genre way, and therefore, lends itself the least to being a comic, but
comics are in my blood as much as any other medium.
A. Wax Also, I know rumors have been circulating for what seems like
decades on the possibility of a Buffy movie based on the TV series. Any
updates on that?
J. Whedon Yes. There is not going to be one.
A. Wax Okay.
J. Whedon I think thatís pretty much it. Nobody has ever broached the
subject from the studio side. I think everybody is busy working, so I
think that it probably wonít happen. Thatís my guess.
A. Wax Oh, itís just a guess though?
J. Whedon What am I, in charge? I never know. The landscape changes
constantly, but until somebody who has millions and billions of dollars
asks me that question, the answer is pretty much the same.
A. Wax Okay, and any more Dr. Horribles in the works?
J. Whedon Weíre working on the works. Thatís another case of everybody
being very busy, but we are definitely committed to the idea of Dr.
Horrible reappearing somehow.
A. Wax Okay, great. Thank you so much.
J. Whedon Thank you.
Moderator Thank you. We only have time for two more questions, so weíll
go next to Melissa Lowery with NiceGirlsTV.com.
M. Lowery Hello, Joss. Itís great to talk to you today.
J. Whedon Thank you.
M. Lowery My question is, weíve heard a lot about Echo so far. What can
you tell us about the other dolls that are in the Dollhouse, and how
much real character development are we going to get from them between
J. Whedon The other dolls, obviously we start out focusing on Echo, but
the friends that she makes, in particular, Sierra, all have their own
stories, their own reasons for being there, and their own reaction to
things. As her friendships are formed more, we get to spend more time
with the other dolls, and we get real tastes of how easy they have it,
and how hard they do, how controlled their lives are, and then how out
of control they can get, because they have no skills for dealing with
I canít really go into specifics, but we pretty much get to start
putting everybody through the ringer long about halfway through. It
starts to get complicated for all of them.
M. Lowery That sounds intriguing.
J. Whedon Yes.
M. Lowery Great. Thank you.
Moderator Your final question will come from Lisa Fary with
L. Fary Hello, Joss. My 60 year old war vet dad wanted me to tell you
that youíre awesome, so I did my daughterly duty.
The Fox promo site call the Echo chamber, it features Eliza Dushku,
sheís nude, looking very sexually available in the tagline get to know
Echo intimately. Our readers at Pinkraygun are interested to know if
this is a standard hot babe come-on, or a sexual objectification show
being set up for subversion. Do you fully support this type of promo,
and could you explain a little either way?
J. Whedon Nice. Finally something thatís slightly more awful than me
saying wake up and smell the ďAckerĒ. I absolutely think that the
question is valid and my answer is a little bit vague. I do support it.
I saw the photo shoot, and I mostly support it because Eliza was very
comfortable with it and very pleased with the photos. Sheís very
comfortable with her body.
The premise of the show involves these men and women being hired and
obviously, some of that has to do with sex. This is something that was
in the premise from the start. It came from my conversation with Eliza.
We wanted to talk about it, she mentioned herself, wanted to talk about
sexuality in whatever show she was doing, not just by virtue of her
being all hot, but by really examining human sexuality and how it drives
us and why itís important to us.
And the idea of objectification versus identification, these are all
things that Iíve been working on all the time. I didnít actually know
that tagline was in there. I just heard oh, they released those photos,
so I didnít know that, and it brings up what is ultimately the touchiest
issue of this show, which is are we actually making a comment about the
way people use each other that is useful and interesting and textured,
or are we just putting her in a series of hot outfits and paying lip
service to the idea of asking the questions.
And I think there are going to be things that people react to different.
I think some things will offend some people, some things will not. There
are things in it that Iím not positive I support, and some of the things
that bother me donít bother any of the other writers, and thatís
something that Iíve been a little bit afraid of, but I havenít shied
away from, because part of the point is to look at these gray areas and
to see what of this is unique in us, what is it we need from each other,
how much do we objectify each other, how much do we use each other, both
men and women, and what is actually virtuous.
One of the problems I ran into early on, and this was the only real
dissonance between me and the network was they didnít really want to
deal with those issues having bought the show. They didnít want to deal
with the idea of what they are now clearly marketing, but the sexy side
of it. Itís a classic network problem. You want to evoke this, but then
they donít want to say anything. They donít want to be specific about
it, so weíve struggled with that. Weíve struggled with making sure that
the show doesnít, by virtue of playing it safe, become offensive,
because the idea of this show was never to play it safe. The idea of
this show was always to be in your face about it.
So the answer to your question is kind of both. It is just a standard
scantily clad babe come-on, and it is ultimately a deconstruction of
same, but not so much that I would say itís just done ironically and
therefore, I am blameless for it. We are absolutely saying Eliza is a
sexual creature, and people desire her for that reason.
The idea is to get the audience to look at their own desire, and to
figure out what of it is acceptable, and what of it is kind of creepy.
In order to do that, we go to a creepy place sometimes, and I will be
very interested to see if people find it empowering or the other things.
I may have crossed the line. Letís find out.
L. Fary Thank you so much, Joss. Iím looking forward to the show, and so
is my dad.
J. Whedon Thank you.
Moderator Thank you. Do you have any closing remarks?
J. Whedon I think that one was it, so thank you all very much. I hope
you like it, I hope you stick with it, and ultimately, Iím really proud
of it, however confused I may sound. It all falls together very
beautifully for me and I canít wait for people to see it.
T. Adair Thank you again, Joss. Thank you everyone who was on the call
today that asked questions or just listened in. If you need any further
information on the show, you can feel free to call me, Todd Adair, at
310-369-3945, or you can email me at firstname.lastname@example.org.
As a reminder, Dollhouse premieres on Friday, February 13th, 9:00 to
10:00 p.m. Eastern Pacific Time. Thank you again everyone for joining
Moderator Thank you. Ladies and gentlemen, that does conclude our
conference for today.
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