這是 Joss 的部落格文章，跟大家說明 Dollhouse 的近況，
尤其是影迷對於製作暫停的憂心，他想解釋一下原因。
簡單說就是他跟福斯意見分歧吧，拍出來的東西根本不對，
所以像是 pilot 就大半重拍(搞不好可以收 DVD :p)。
只是整體狀況並沒有改變，目前暫定十三集的拍攝進度還是
很令人興奮。
有些角色砍掉了(但多數都換成其他角色= =)，然後幕後人
員會有些變動。
總之目前狀況不用太擔心吧。
(他文章好長…我是看其他文章的摘要才理解出上面這些XD)
http://whedonesque.com/comments/17945
October 26 2008
(SPOILER) What happened when the lights went out. Sadly,
this is not a naughty post. It's just Joss nattering on
again.
I thought it was time to check in with you once again,
gentle viewers. Or readers. Or pictures-looker-ats (that
might be viewers). Also listeners, sniffers, haberdashers,
Olympic hopefuls, the elderly, the youngerdly, and the
mighty state of Oregon (go Oregon-based sports franchise!)
Welcome all. Welcome... to me.
What's me up to? I'm glad me asked. Me've (I'm not doing
that any more) been working on a little show called
Dollhouse. Yes, perhaps you've read about how it's blazing
an untrammeled path to surefire success, with nary a hitch
or a hiccup, just pure blazing blazery, comet-like and
meteoresque. What's that, you say? You've read other
things? Dark, Yog-Sothothy rumors about shutdowns and
delays? Poppycock! They’re true. But I never pass up a
chance to say "poppycock". ("Balderdash" is so '07. Let it
go.) I know there's been a lot of concern, various fabulous
hues of panic alert readiness. So here's the skinny. Some
of the names have been changed.
The show was ruined by Flim Flinear. Okay, that's another
lie, and you're probably close to giving up on this blog,
so here we go. Yes, we've had to make adjustments. Yes,
it's been hard and I've been depressing to be around for
awhile. Basically, the Network and I had different ideas
about what the tone of the show would be. They bought
something somewhat different than what I was selling them,
which is not that uncommon in this business. Their desires
were not surprising: up the stakes, make the episodes more
stand-alone, stop talking about relationships and cut to
the chase. Oh, and add a chase. That you can cut to.
Nothing I hadn't heard before on my other shows (apparently
my learning curve has no bendy part) but frustrating as
hell given our circumstances - a pilot shot, scripts
written, everybody marching together/gainfully employed...
and then a shutdown. Glad I was for the breathing room, but
it's hardly auspicious. So back into the writer cave I
went, wondering why I put up with this when I can make
literally dozens of dollars making internet movies. Why I
do put up with this is divided into three parts.
One: They're not wrong. Oh, we don't see eye-to-eye on
everything, but wanting the first episodes to be exciting
and accessible is not exactly Satanic. Being Satan is, but
that's in their free time and hey, there's no judging in
the Dollhouse. This kind of back and forth has happened on
every show I've done, so if you liked those, chances are
that was a part of why. And the need to focus on the
essentials of what makes this universe tick - and which
wire to cut to make it stop - really does bring up our
game. So we as a staff have gone from blinking like
unhoused moles to delving in with the same relish we had
when we started. The show is really coming together now, in
a way that I believe excites us and satisfies the Network.
Of course, I have no idea if anybody else will like it, but
I have the same faith in the staff, the crew and the
remarkable cast that I always did. More, in fact. And
what's more crucial:
Two: Nothing essential has changed about the universe. The
ideas and relationships that intrigued me from the start
are all there (though some have shifted, more on that), and
the progression of the first thirteen eps has me massively
excited. The episode we're shooting now I wrote as fast as
anything I have before, not because I had to (although,
funny side-note: I had to) but because I couldn't stop the
words from coming. Because I can feel the show talking to
me; delighting, scaring and occasionally even offending me.
It's alive. Alive! Which is a far cry from how I felt a
month ago. It's been hilarious trying to keep up with
what's in, what's out, who's met whom and when - we've shot
all of the first seven episodes out of airing order - but
it's come together in a pretty thrilling way. My huge
gratitude to our cast for their precision and patience.
Which also includes...
Three: Eliza. Watching her on the monitors at two o'clock
this morning I was reminded forcibly how much I wished I
were in bed – but also how strong, radiant and
unmistakable her presence is. She's someone who could coast
on talent and never ever does. I love to watch her work. In
fact, I think I got myself into this mess for that very
reason, and though I have this fall occasionally sworn
never to eat lunch with an actor I like again, I’m pretty
pleased and crazy proud.
So here's me, slogging away on a show like days of old and
not hating life. Again, you guys will be the judge, jury
and execu... lawyer, but we do have something to show you.
Something, I'm chuffed to say, still pretty damn strange.
As for what's been changed, well, some things I obviously
can't tell you. Some I can, for the record: The original
pilot was in fact thrown out. Again, at my behest. Once it
became clear what paradigm the Network was shooting for, it
just didn't fit at all, even after I'd reshot more than
half of it (see above re: despair). To get a sense of how
completely turned around I was during this process, you
should know there was a scene with Eliza and the
astonishing Ashley Johnson that I wrote and shot completely
differently three different times, with different
characters in different places (actually I wrote it closer
to eight times), and none of it will ever see air. Which is
as it should be (though I'm determined to get Ms. Johnson
back in the future). The scene just didn't belong anymore.
Similarly, the character of November has fallen out of the
mix, because the show simply moves too fast now for me to
do what I wanted with her. Season three, anyone...?
Happily, Miracle Laurie is still with us in a new role,
playing against (and pining for) Tahmoh's character, Paul
Ballard. Their chemistry is deeply nifty. The only other
major cast shift is that the Dollhouse head of security,
Laurence Dominic (played by Reed Diamond), who was written
just for the now-defunct first ep, has stuck like
fly-paper, and Reed is very much in the family for the
present. (Most of my problems seem to involve my actors
making themselves indispensable. This is the good problem
kind.)
Apart from that, it's all hush-hush: some things I'd
intended to hold back are laid out much sooner, and some
are rolling out more slowly. We're still heading toward
Tim's intense two-part mind-blower - right before a
thirteenth ep that may actually just be insane.
And finally, young Steve DeKnight, after writing and
shooting an ep so cool it helped not only define the show
but save its ass, is ending his consulting duties, the
f#%&er. I will be crying on the shoulder of Jane Espenson
come Monday, so congratudolences are in order. Excited for
the Jane Flava.
And there you have it. I'll be writing more bulletins about
"Cabin" and a certain DVD in the very near future, but I
wanted to get you all some actual information for a change.
I can count on you guys not to tell anyone, right? What's a
blog?
Faithfully, -joss.
--
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