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THE NEW SEASON / 'DOLLHOUSE'

Q & A with Joss Whedon, writer, producer and director

Joss Whedon, Dollhouse

Annie Wells / Los Angeles Times

Joss Whedon, creator of the new series "Dollhouse," poses behind the set at Fox Studios.

The idea for the new 'Dollhouse' series was inspired by actress Eliza Dushku, who'll star in the Fox TV drama that begins airing midseason.
By Maria Elena Fernandez, Los Angeles Times Staff Writer
May 15, 2008
Joss Whedon, the scribe who birthed "Buffy the Vampire Slayer” and “Angel" and swore off the small screen after “Firefly” was canceled, is part of the Fox family again.

Whedon's "Dollhouse" will be unveiled today as part of Fox's lineup at a presentation in Manhattan. The drama is about an illegal house of men and women whose memories and personalities have been wiped out so that they can be hired to be anyone and do anything. It stars Eliza Dushku (Faith from "Buffy"), who unintentionally served as the inspiration. It will air in midseason.

Describing their initial meetings with Whedon, Fox President of Entertainment Kevin Reilly and Gary Newman, chairman of 20th Century Fox Television, used terms not often heard from powerful executives regarding pitches.

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"He had me at 'hello,' " Reilly said, admitting that the first time Whedon visited the network, "I was kinda drunk with the surprise of it all. He laid out the whole concept, but I think it was one of those things where I heard every other word of it."

"I don't quite know what to liken it to," Newman said. "He pitches as if he's thinking of it for the first time. There's an extemporaneous nature to it, which keeps you kind of riveted. You have to listen really carefully because the wicked and clever asides are nonstop."

Listen for yourself:

Is it true that this idea came to you over lunch with Eliza Dushku?

Eliza had made the deal at Fox and we got together to talk about her ambition, her management, her opportunities, because I've always felt that she's a huge star. Plus, she's a friend.

But I was trying to get a movie off the ground, "Goners." "Wonder Woman" had already crashed and burned. "Goners" they had already lost control of the instruments, but who knows? So things were not that auspicious, but I was working it. Not shunning television but not intending to come back. But as we discussed Eliza's predicament, I started giving her some ideas about what I thought she would need: a genre show so she could be political without being partisan; an ensemble show so she didn't have to be in every scene. And I thought about it for a bit and then literally went, oh, curse word, I just came up with the show and the title. And it was the title that I knew I was doomed. Because if you have the title, you know it's right. And that's just bad.

When we really discussed the whole thing, she said, "You're talking about my life. In my life, everybody tells me who they want me to be while I try and figure out who I am." And that spoke to me. I agreed that I'll write and maybe oversee the pilot. So I went home and said, "Honey, I'm sorry, I accidentally agreed to a Fox show at lunch."

That was some lunch. What did you eat?

The Gouda pizza with shrimp at the Ivy [at] the Shore. Eliza still looks around the set and goes, "That's all the Gouda pizza." Back then, I was all hopeful about it. Now I'm exhausted about it. That pizza's ruined my life.

Recently you had decided to become more of an independent filmmaker. Why?

I was lucky for a while. I got a lot of breaks, including the brief existence of the WB and UPN. So I got to do things my way, which is a rare privilege in television. Then I had ["Firefly"], and, for the first time, I was not under the radar anymore, which meant they would give me everything I wanted. Except a full order. So it was a heartbreaking experience, and the only way to resurrect the show was to make a movie ["Serenity"] out of it.

And your fans loved it.

People loved it but not so many people that they asked me to make another. I had scripts and offers, and three years later I seemed to be running in place. It was harder for me to write, and partially because I was adjusting to having a family. But it was also the movie-making process. In movies, they really will question everything. Sometimes that makes it better and sometimes that makes it die in development hell or filled with notes. And notes that you can practically see floating around the screen.

How long after your lunch with Eliza did Fox offer you the opportunity to make a guaranteed seven episodes?

One week. This just felt right. Fox understood the show, and they've continued to prove that that is the case. I've pitched shows to people who didn't and they made them anyway, and that didn't go so well.

Then I went into a state of blank panic. Oh, wait, all of my writers have jobs. So I went upstairs and I laid out seven notebooks, and every night I'd go up and put my seven notebooks all in a row, and I'd look and see what do we need to get from here to here. I even had to take them to New York. I thought, oh, I'd just rip off the page. 'No, you can't rip off the page. You'd kill the magic.' So I brought them to Kevin Reilly and I laid them out on his coffee table, and he said, "This is great. I love all of them." I said, "Great. Now if you'll excuse me, I'm on strike." And for the entire strike, I did not think about "Dollhouse." Occasionally, I would get a feeling.

How could you stop yourself from thinking?




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