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 Joss Whedon

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Date d'inscription : 29/08/2008


MessageSujet: Re: Joss Whedon   Lun 30 Mar 2009, 12:55

Un grand merci Nephilie pour la traduction, quel blageur ce Joss ce serait bien que Buffy revoit Spike et Angel mais ça m'étonnerait que ça puisse se faire, à moins que...
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MessageSujet: Re: Joss Whedon   Sam 26 Sep 2009, 16:47

ITW de Joss assez importante, il parle de pas mal de truc :

Citation :
Big Joss news: Dollhouse, Dr. Horrible and Cabin updates


We caught up with new Emmy winner Joss Whedon on Monday night at a
party for Fox's upcoming fall season, and he gave us the exclusive
scoop on a possible Dr. Horrible sequel, the new season of Dollhouse and his upcoming horror movie Cabin in the Woods.

Over the summer, SCI FI Wire reported that Kevin Reilly, president
of entertainment for the Fox network, said he would leave Whedon alone
after Dollhouse's rocky first season. It turns out stand-alone
episodes did not make the show more accessible, and once Whedon started
exploring the story, the fans clamored for more. (Possible spoilers
ahead!)


In
the second-season premiere, Whedon furthers the mythology of Echo
(Eliza Dushku) and the Dollhouse by showing her cycle through different
imprints over the course of an engagement. In the climax, Paul Ballard
(Tahmoh Penikett) hits Echo to trigger an imprint that will give her
the fighting skills to escape a desperate situation. Later this season,
Whedon regulars Alexis Denisof and Summer Glau will join the cast.

Two days after his Emmy win for Dr. Horrible's Sing-Along Blog, Whedon attended Fox's annual Fall eco-party to support Dollhouse. The following Q&A features edited excerpts of our exclusive interview with Whedon in West Hollywood, Calif. Dollhouse returns Sept. 25 and will air on Fridays at 9 p.m. ET/PT.

Congratulations on your Emmy win for Dr. Horrible.

Whedon: Thank you very much.

Does this affect anything for getting a sequel going?

Whedon: Well, I would like to think that it does, but
actually we've been working on one. We've been working on writing. The
writers, we all have jobs, I'm happy to say.

Last we talked, you were considering doing the sequel as a feature film. Does becoming "The Emmy-winning Dr. Horrible" change things?

Whedon: Well, the Emmy-winning Dr. Horrible was never
on TV. If we were on TV, maybe we would've won an Oscar. If we're in
theaters, we can win a Tony. It's very confusing. We don't understand.



Is all forgiven for the "Once More With Feeling" snub [the musical episode of Whedon's Buffy the Vampire Slayer]?

Whedon: You know, I didn't realize that was a snub. Awards
are what they are. It's extraordinary to have won it, and we're very
grateful, but it's not like we were trolling for it.

How does it feel to be left alone on Dollhouse?

Whedon: I'm afraid and I want Kevin to come back and hold me.
The fact is, we definitely feel more centered about what we're doing.
That doesn't mean that we're doing it completely in a vacuum. We still
get notes, and sometimes they're enormously helpful, because that's
what a collaboration is supposed to be like. The problem with last year
was there was a question about what the show was. That doesn't exist
anymore.

Now we go episode by episode, but what are we trying to accomplish?
So it's still a collaboration, but in terms of "Oh, let's try and mold
this show to what we thought it was going to be," that's over. So in
that sense, yes, they have left us alone.

Paul
(Tahmoh Penikett, right) and Echo (Eliza Dushku) fight over her new
husband (guest star Jamie Bamber, left) in the season premiere "Vows,"
airing Sept. 25.


Did you have reservations about doing a scene where Paul really hits Echo?

Whedon: Well, I didn't really have reservations about it,
because it very quickly becomes clear that he hits her in order that
she can beat the thundering s--t out of him and everybody else in the
room. He's basically igniting a bomb, so it's shocking and sort of
awful, but then when you see why he's doing it, there is that moment,
which is my favorite, as she comes at him where he just sort of goes
[makes the "bring it on" gesture], "Do it, take me, give me what I
deserve."

What kind of character does Alexis Denisof play for you this time?

Whedon: Alexis is a politician who is actually sniffing
around Rossum [the corporation that runs the Dollhouse], and so he's
definitely more suave than Wesley was in his early incarnation. Right
now he's an earnest guy trying to do the right thing, but he's coming
up against the Dollhouse, and we know how well that went for Paul
Ballard.

When will we see Summer Glau?

Whedon: You will see Summer around episode five or six.
She'll be working for the team. I believe that's already out there.
She'll be working for the Dollhouse team.

Kicking some ass?

Whedon: She will not be terminating, nor will she have a
trigger that turns her into a living weapon a la River, or Mellie.
Knowing it was going to be Summer, or hoping it was going to be Summer,
I wanted to do something that was different and plays to her strengths,
but at the same time is a different character and kind of lovely.
There'll be a little romance involved as well.

How is post going on Cabin in the Woods?

Whedon: Really well. Cabin's coming along. [Director] Drew [Goddard] and I are getting very excited.

What might you show for a trailer when the whole thing is so secretive?

Whedon: We're talking about what they're going to show, and
they'll start giving up some information to get people into the
theaters. We're working on that now; should be soon.

What about Goners?

Whedon: I wish I could say something about Goners. Universal, release Goners into the wild so it can be free again.
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MessageSujet: Re: Joss Whedon   Sam 26 Sep 2009, 23:59

Je comprend pas pleure

Si quelqu'un a le temps il ou elle pourrait me traduire le principal s'il vous plais flowers
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MessageSujet: Re: Joss Whedon   Dim 15 Avr 2012, 15:24

ITW de Joss sur Avengers, Cabin in the woods et Dr Horrible 2 !

We have exclusive interviews coming up with the cast of The Cabin in the Woods and Drew Goddard at SXSW. Joss Whedon was very busy giving a talk and going to screenings of Wonder Women: The Untold Story of American Superheroines so we sat in on a roundtable with him and Goddard. We got a bunch of questions in too but we hung on every word Whedon said, so here they are.

We ask, as a great lover of genre, how much of The Cabin in the Woods is things he always wished you’d see in these kinds of movies and they never went there before?
Joss Whedon: I think everything we write is an element of that. We only write the things that we want to see and haven’t seen yet. And occasionally we write the things that we have seen and really liked but I don’t remember as a kid going, “You know what I wish is that there would be this whole structure around a horror movie.” I just remember going, “I’m really scared, it’s awesome.”

Joss Whedon on his reputation for killing major characters and transitioning that into actual horror movies.
I think we like killing characters. I think we’re ready to step it up and kill actual people. Sort of a Leopold and Loeb thing. Should I be saying that into tape recorders? No, I do not love for to kill people. I love the people. The point of this movie I think to a large extent - - no I don’t love actual people, I mean the people that we write. I don’t love drifters so it’s going to be okay. I’m not going to freak out at the last minute. Part of this movie was definitely about the idea that people are not expendable and that as a culture, for our own entertainment we tend to assume that they are. Although I absolutely love horror movies and always have, I love them most when I really, really care about the people who are in dire trouble, with the exception of Alien I think. It’s not that I don’t care about them. It’s that I was very frightened by that movie because they didn’t care about each other. I didn’t think they were going to band together and fight back. I thought these guys will sell each other down the river in a heartbeat. It actually freaked me out almost more than the Giger stuff.

Joss Whedon on the concept of a cabin in the woods.
It was always going to be The Cabin because it was iconic to us. And not just because of Evil Dead but not not because of Evil Dead. The story in itself really just popped out. I was like one of those people who doesn’t know they’re pregnant. “Oh, that’s why my stomach hurt.” One of those sad, sad people. Prom bathroom, the sequel. Then because it’s so clearly the kind of thing that we love which is true horror with a cold eye towards well, what is that about, at the same time as we’re in the thick of it. Then once the idea just came, it was years before we actually sat down and did it. But that was sort of what made it so easy to do when we finally did because we bandied back and forth, “You know what would be hilarious? You know what would be fun? Oh, I wish we could.” This is an entire movie of “I wish we could.” It’s two raging ids just enjoying themselves for 90 minutes.

We ask if female empowerment was important in the Jules and Dana characters?
That’s really his [Goddard’s] thing. I don’t get that whole women’s rights, those feminazis as I call them. You know, it was important for the characters to have integrity and to pretty much leave it at that. This is not a movie about gender. Oddly enough, I’ve seen the movie several times, there is no adolescent girl with super powers. It’s weird for me but I’m dealing with it. No, it is not a text about that. It is just making sure that everybody is a human being with integrity across the board.

On the two-year delay between MGM’s bankruptcy and Lionsgate releasing the film.
For me the advantage is simply that you’re not busy trying to just dial in the last bits of it. You’re not looking at it fresh and going, “Wait!” Because the pain of childbirth is somewhat forgotten, all this is just a big gift.

On the challenge to other horror filmmakers to think outside the box.
You know what, we just wanted to make a horror movie that people would really, really enjoy. I don’t see this as a watershed movie. I just see it as if people have a great time, it’s not going to make them go, “Well, now I think differently about loving horror but I still love it.” Other filmmakers are going to do something that we could never have thought of and didn’t expect and that’s what I’m waiting for. It’s not an answer to this, it’s a new question.

We ask Whedon how he applies his distinct dialogue to different genres, including The Avengers.
I talk, other people like to talk us, I talk, we talking is normals. It’s a blessing and a curse to have your style recognized. Part of the great thing about running a TV show is that you get a bunch of people together who both influence it and can echo it. So Drew and I when we write, we speak each other’s language. There’s no, “Oh, that’s clearly Drew, that’s clearly me.” There’s a couple things that I recognize as clearly coming from one of the other but it’s the same voice. Ultimately I don’t want people to hear my voice. I don’t want people to think about what we wrote. I want them to go, “Oh, what’s going to happen to Marty?” You don’t want the distance that that brings.

An actual Avengers status update.
We’re picture locked. We’re just doing the sound mix and finishing effects. In about a month I will actually just push it away from me and die of old age.

As he leaves, we ask if a Dr. Horrible 2 come after The Avengers.
That’s the plan. We plan to be working on it this summer.

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Date d'inscription : 29/08/2007


MessageSujet: Re: Joss Whedon   Lun 14 Mai 2012, 17:43

Voici une ITW très intéressante de Joss :




The Cabin in the Woods has been out in theaters for a few days now, which has given audiences a bit of a chance to see it, scream, sit up in shock or recognition — whatever they need to do to digest this teen slasher movie that redefines the horror genre, from the minds of Joss Whedon and Drew Goddard. The movie asks the viewer why we need to see horror in the first place — Why do we have these primal urges? Who is the audience? What is the benefit? — and serves up a startling scenario in which we realize we've all been manipulated. Whedon, who is a very busy man these days, took a moment to chat with Vulture about what lies in Cabin's basement [spoilers included],The Avengers, and having a breakdown.

How are you doing?
All right. A little bit crazed. I regret to say, five movies at a time is my limit.

Has it been tough for you, talking about this movie without giving away too much?
It's been tough. It's been tough for Lionsgate, who have been very mindful of spoilers while promoting the movie. Their marketing campaign contains a great deal of thought, because there's a fine line — you don't want to talk about too much, but you don't want to not sell the movie. Boy oh boy, it can be very dangerous. [Laughs.]

Do you think of it as a deconstruction of the genre? Or a satire? And why do you think we need horror in the first place, which is essentially what the movie is asking?
That is the eternal question: "What am I doing here? I'm terrified! I don't like being terrified. Why do I like it here?" A nod is fine, but a wink is not. You never want to be cutesy about it, when you're evoking classic horror, and you want it to feel classic, which is ultimately why it's called The Cabin in the Woods: It's really the first place in America that was ever terrifying, and remains so.

The teen slasher genre is often exploitative of women, which you address in the film, by having your own exploitation moment — when [SPOILER ALERT] the blonde bares her breasts and is then "punished," i.e., killed. What was the discussion like about this scene, given your feminist impulse that led you to empower the blonde girl in Buffy?
Cabin isn't overtly a feminist work necessarily, but it is built on the same question that built Buffy the Vampire Slayer: If you have a blonde who is perfectly nice and funny, why are you intent on her coming to a bad end? What is the purpose of the final girl, as she's called? All these people, all the characters behave a certain way, and there is a progression of what they have to do, to allow themselves to be written off as sex fiends or druggies or bullies or complete idiots in the face of true danger, and you just don't get in the way of that. It's about being stereotypes versus fleshed-out people. There was never a question — the nudity had to happen, because the movie is about objectification and identification and that's what horror is about. Drew and I were not unhappy if the hot blonde took off her shirt — hey, we thought it was a good decision! — but mixing titillation and mutilation started to become a very weird confluence. It's not the same kind of pleasure for us. Those are two separate things. But that's the foundation of what we knew was part of the film, and we were the most timid filmmakers ever about it.

A lot of actresses were not comfortable with it, either. If we were doing a film about French ennui, no problem! But doing it in a horror film? We had to go all the way to New Zealand to find someone who was completely at ease with it. Anna Hutchison [who plays the blonde character Jules] was like, "I'm fine, I'm all good" — and thank God, because we were very tentative about the whole thing, even though it's a part of the movie. The thing is, once you call yourself a feminist, it can be damaging to only look through that prism. It can take away the full texture of what you're trying to create, if you have an agenda that you've proclaimed. That's not to say I don't have an agenda, but it works best if it's never mentioned. With Cabin, it's a bit of a departure, but you can't create fictions based on politics, otherwise you're speech writers, not storytellers.

Did you think of the Bradley Whitford and Richard Jenkins characters as substitutes for you and Drew? Because essentially, they perform the same function as the writers, in terms of killing off characters ...
I'm fine with that analogy. Here's my secret: I kill teenagers. I am the stuff in the basement. And this movie, and all these movies teach you, Don't go down in the basement. Because Drew and Joss are down there, having a meeting. We love horror. Clearly there's something wrong with us, and we celebrate that.

You've cast a lot of actors over the years who start out as unknowns with you, and then go on to be bigger names. You almost had that with Chris Hemsworth, since he was cast in Cabinbefore Thor.
I had that a little bit with the actors on Buffy and Angel, more so with Firefly, because it was canceled. Christina Hendricks and Vincent Kartheiser obviously now have roles on Mad Men that define them more than what I gave them [as Saffron on Firefly and Connor on Angel]. But there are plenty of people that I can't claim — I don't claim Jeremy Renner, just because I cast him on Angel. In Chris's case, it is a happy accident, same with Jesse Williams, who then went on to Grey's Anatomy. Richard Jenkins might break through at some point. [Laughs.] It's all been very useful in the marketing campaign: "Hey, Thor's in it!" By the way, that's a campaign that I pitched. That was me. [Laughs.]

Was it also your idea to have The Avengers at the Tribeca Film Festival? It is a New York movie, even though it shows the destruction of the city ...
Oh, I'm for it. [Laughs.] I like that both Cabin and Avengers get to do the film festivals, even though one is a true gory horror movie, and the other is a big summer tentpole action movie. And Marvel gave me a lot of creative freedom. Of course, I had to live by their parameters — the Avengers will assemble. How, why, and what happens after that, that was up for grabs. And once they were satisfied, I made the exact movie that I set out to. And the guys [the Avengers] always made New York their home when they weren't gallivanting around the universe. And yet I am a little nervous about showing it to New Yorkers, because the crux of the thing is that while you're honoring firemen and policemen, you're showing them the destruction of New York, going, "You like this, right?" I'm happy to say that the Chrysler Building undergoes slightly less damage than in other movies.

It took you so many years to get Cabin out, and now you've got everything hitting at once. What are you going to do when you're done with all five?
I'm going to have a break, or a breakdown, is the takeaway here. [Laughs.] Give me a few more days. I've had to juggle premieres for Comic Con Episode IV: A Fan's Hope, Cabin, Avengers, and postproduction for Much Ado and In Your Eyes. I really need the summer to myself, to think a little bit, do a little dance to celebrate. Possibly a tap number. Or some old-school break-dancing moves. Watch out!

Is there anyone you haven't worked with yet that you want to? And what would you want him or her to do?
Judy Greer. And I would want her to be awesome.

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MessageSujet: Re: Joss Whedon   Lun 14 Mai 2012, 19:22

Citation :
I don't claim Jeremy Renner, just because I cast him on Angel
Oh j'avais pas remarqué que le Faucon d'Avengers était le tueur imitateur d'Angelus de la saison 1 d'Angel. Il me plaît mieux en Faucon happy
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MessageSujet: Re: Joss Whedon   Mar 22 Mai 2012, 12:24

Une nouvelle ITW de Joss assez complète !!!

http://www.joeutichi.com/profile/joss-whedon-interview/

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MessageSujet: Re: Joss Whedon   Mer 18 Juil 2012, 20:10

Nouvelle ITW de Joss où il parle de la suite d'Avengers et des parallèles qui existent entre Buffy et X-men !!!

This story contains spoilers about “The Avengers.”
“The Avengers” passed the $1-billion mark in worldwide ticket sales this weekend, and a sequelis already in the works. Does that mean writer-director Joss Whedon will be back at the helm of the franchise that unites Marvel’s box-office heavyweights, including Iron Man, Captain America, Thor and the Hulk?
“You know, I’m very torn,” Whedon said in a sit-down interview in Beverly Hills before the film’s U.S. opening. “It’s an enormous amount of work telling what is ultimately somebody else’s story, even though I feel like I did get to put myself into it. But at the same time, I have a bunch of ideas, and they all seem really cool.”
Whether he gets his hands on the sequel, Whedon’s fingerprints are all over “The Avengers,” which echoes some tropes found in his other work in comics and television.
For one, Mark Ruffalo’s much-praised performance as Bruce Banner and his raging alter-ego the Hulk parallels Seth Green’s Oz, the werewolf character in Whedon’s “Buffy the Vampire Slayer.” Like Banner, Oz tries to run from the beast within, isolating himself in far-flung lands while he learns to master his inner monster. Ultimately, Oz learns to accept the wolf and displays Zen-like (though imperfect) mastery over his full-moon manifestations. Similarly, Banner learns to master the Hulk only by accepting and eventually embracing the anger that incites “the other guy.”

Seth Green as Oz in “Buffy the Vampire Slayer,” left, and Mark Ruffalo as Bruce Banner in “The Avengers.” (Fox / Marvel)
“I hadn’t really connected those,” Whedon said, when asked about the Oz-Hulk parallel. “But the Oz thing for me was kind of an intellectual exercise. And for Bruce, for me, it felt like a new truth — even though it really is similar and therefore isn’t new at all — because Mark and I had spent so much time talking about the way anger manifests. And I’ve even talked about the Hulk as a werewolf. As much as he’s a superhero, he’s that type of monster.”

Whedon’s “Astonishing X-Men” run featured young heroine Kitty Pryde. (Marvel)
Fans of Whedon’s work in comics also may have noticed similarities between Tony Stark’s “sacrifice play,” saving the world from a nuclear missile at the end of the film, and Kitty Pryde‘s act of self-sacrifice when she saved the world from a giant missile-bullet in “Astonishing X-Men.”
“I was afraid you were going to mention ‘Superman,’ the first movie,” Whedon said. “I had never thought about that, since she’s more inside [the bullet], but there is a little bit of that. But the ultimate sacrifice and the ultimate threat, when you mix ‘em up,usually somebody’s trying to divert a rocket.”
Whedon said any parallels between his previous work and the characters and plot in “The Avengers” are unintentional.
“I’m not going to do the same thing on purpose; I’m going to do the same thing because I’m creatively bereft, and I’ve run out of ideas,” he joked. “Awkward…”
But one trademark characteristic Whedon embraces in his work is his ability to unite groups of raggedy misfits against imminent evil. Led by anti-hero Capt. Malcolm Reynolds (Nathan Fillion), “Firefly’s” crew of lost space-wanderers exposed the misdoings of an interplanetary government that stepped out of line. A teenage girl and her “Scooby gang” of freaks and geeks saved Sunnydale and Earth from demons and demented gods in “Buffy the Vampire Slayer.” And now, in “The Avengers,” disparate superheroes worked through their egos and hangups, pulling together as a team to defend the planet against alien invaders.
So which misfit crew is Whedon’s favorite?
“You know, I love all my raggedy children,” he said. “But if I could be anywhere, I’d be on board Serenity.”
– Noelene Clark

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MessageSujet: Re: Joss Whedon   Lun 17 Sep 2012, 15:48


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MessageSujet: Re: Joss Whedon   Sam 06 Juin 2015, 17:55

je suis allé voir "Avenger 2" de joss weddon, waouh super film,mieux que le premier
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MessageSujet: Re: Joss Whedon   Dim 07 Juin 2015, 09:32

Moi c'est l'inverse, j'ai préféré le premier. L'ère d'Ultron est pas mal, mais y'a quelques petites choses qui m'ont déçu, comme l'humour que j'ai trouvé moins efficace que dans le premier, le méchant que j'ai trouvé bof et la romance Bruce/Natasha à laquelle j'ai pas du tout accroché.
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MessageSujet: Re: Joss Whedon   Aujourd'hui à 16:39

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