Dollhouse’s second season hits the airwaves this Friday, and to get you ready we’ve got the transcript from last week’s Joss Whedon conference-call interview. Check it out below to find out Joss’ tentative plans for the “Epitaph One” timeline, how Eliza Dushku helped create the concept for her character and the show, and how The Attic resembles an episode of Small Wonder.
How will Echo, and of course the many other characters she is flashing to, come into her own this season?
Basically, through force of will. She did have all those personalities dumped into her at once, and as we pick up, we’re going to find out that that’s starting to affect her. Rather than be at sea in between engagements, she’s much more directed and driven, and even in her Doll state is growing and learning and starting to try to access these personalities to see what they can help her with, because she has a mission that she understands now, which is to get back to her personality and get everybody back to theirs.
How many seasons do you see Dollhouse going for?
Dollhouse, the premise is limited, and I think by season 17, you’re really going to see us repeating ourselves.
Last season you began with a number of restating pilot episodes where you wanted to make sure that you could bring in new viewers. This season doesn’t begin with that sort of episode. Could you talk about how you approached the idea of new viewers following the show?
Well, we always try to make, especially in the first episode of the season, we try and make the premise clear enough so that if you haven’t been watching it, you don’t have to do a huge amount of math. There’s a lot of exposition in the first pilot, in the first episode of the season, to help that. But at the end of the day, you do have to go, “Well, if they don’t get the premise…” We’ve even rejiggered the opening credits to make it clearer. They’ll either become involved in these peoples’ stories or they won’t. You have to move slow enough so people can grab a hold and jump on with you, but you have to keep moving.
Do you have a pitch to new viewers on how to reintegrate themselves, or is the answer as simple as, “Watch the DVD?”
No, I think the answer would be more like, “Buy the DVD, and buy some for your friends.” Then have discussion groups where you buy more. Was there too much integrity in that response?
Can you tell us what Ray Wise is going to be playing and when we might see him first?
Ray Wise, I believe, will be appearing in episode six, and he’s going to be playing the head of another house, so he’s going to interact with young Olivia [Williams], and it should be very exciting.
My follow-up is actually for Dr. Horrible. That started as a homegrown effort for you guys, and has it stayed that way moving forward with all of the acclaim and success you’ve had?
The acclaim and success is not a problem for us. We’re totally comfortable with it. We are working on a follow-up. The question of whether it stays homegrown or whether it outgrows that is one that we ask ourselves. It doesn’t affect the storytelling. The story we want to tell is about the people, whether we do that on a shoestring, the way we did it for before, whether we do something bigger and invite other people into the process.
Is there a difference between having Tara Butters and Michele Fazekas [Both former writers for The CW’s Reaper – Ed.] on this season, as opposed to Sarah Fain and Elizabeth Craft?
There is enough of a difference in sensibilities to make it interesting, but not so much of a difference in quality as to make it problematic. They really are similar in that they are rock solid, very story driven, really good producers, and delightful to be around. But then, they have different obsessions, and they come up with things differently. I love and miss Liz and Sarah, but Tara and Michele have really brought a fresh eye to it.
How arced is the show going to be this season?
The show is going to be pretty arc-y. Clearly, what people responded to was the workings of the Dollhouse and the progression of the characters in it, and we’re going to honor that. At the same time, I’m very much of the mind that you do need to resolve something in an episode. You can’t just create a series of twists and turns. You need an episode to have a sense of completion, so there will still be engagements, or at least problems that need to be dealt with, but they will feed into the main arc as well.
Obviously, you can’t give too much away, but is any of [the storyline from unaired episode “Epitaph One”] going to factor in to Dollhouse, or are you just totally throwing it out?
No, no, we’re absolutely not throwing it out. It had originally been my intention to start in that era and then come back, but I just had too much information in my first episode. What we’re talking about doing is perhaps revisiting that timeline towards the end of the 13 in a similar fashion, but we’re also looking at the show through the lens of that episode and saying, “Well, this is taking us to a more global concept of how this power is used and abused.” That’s a lot of what informs the season. You don’t have to have seen it to understand that, but it helps if you do. I think it adds a layer.
Every television show should have an episode like that.
I think so. I want to know what post-apocalyptic future was caused by Two and a Half Men.
There were a lot of people who were worried that you might be cancelled after your first season. What do you think it was that convinced FOX to sign you on for another round, and hopefully longer?
I think it’s the nature of the business and the nature of the fan base. The nature of the fan base is, they’re in it for the long haul, and they’re nurturing, and they’re intense about it, and they will see it through. They will stick with it, and that means years after it’s cancelled. Firefly still sells, Buffy still sells, and that’s also a business thing for the studio. They’re in it for the long haul, because they know the long haul is how my work pays off. I don’t make hit shows. I make shows that stick around, that people come to long after they would have stopped generating revenue in the old system.
With the advent of DVD and the eventual monetization of online, there’s a market there that exists beyond your Nielsen numbers, and the fans showing up and DVRing, and buying a DVD, and proving on all my other projects that they don’t do these things lightly, that it runs deep in them, means that the base doesn’t have to be as broad for the studio to think it’s worth it to try and eke out another season.
I have read a couple of interviews with Eliza Dushku in which she talks about how she had a hand in developing her character. I was wondering if you could talk a little bit about some of the ways in which she helped shape who Echo has become and will become.
Well, she really wants to dance burlesque. We keep forgetting to put that in. Eliza has specific things she’s interested in, specific things she feels comfortable with. Sometimes I like to go to that place, because I know that she can knock it out of the park, and sometimes I like to go in the opposite direction to take her out of her comfort zone, because that’s the best thing you can do with an actor.
The fact is, she shapes it because she is very specific as a person. She’s very specific in the way she presents, and even though there are many different aspects to that, people don’t usually get to see how funny she can be, how elegant. She doesn’t always have to play the tough girl, but she really just presents. It was a conversation about all of the different things she was supposed to be, or had been, or was trying to be, or trying to get away from that led to the creation of the show. It made me think, “Wait a minute. That’s what the show should be about.” So it wasn’t so much that she said, “I’d like to be the following things,” although we talked about what the characters are, it’s just that she is so many people that we pluck from them. She did go bow hunting. I understand, however, that she herself was not hunted.
Dollhouse deals with people manipulating emotions, and your upcoming film, Cabin in the Woods, it deals with people that deal with fears. Is there something about these themes that really sparks you?
The two pieces were written, or conceived, very far apart and then they ended up at the same time, which is awkward for me because it does seem like, “Well, he does like to do that.” But the fact of the matter is, I am obsessed with it. People are constantly being manipulated, and controlled, and conditioned, and lied to. I feel like it’s a valid thing to discuss and to use. “There is an evil corporation that is controlling your every thought as a concept,” [that] is something that is so not that far removed from how we live our lives in terms of socialization, and advertising, and our society. I can’t seem to get past it, because it does fascinate me. How do we create ourselves when society is telling us who to be?
Do you think there will be another one-off episode that will be exclusive to the season-two DVD of Dollhouse?
I don’t think we’ll have a DVD exclusive, because I don’t think anybody’s going to pony up the dough for it. But I do think we will be revisiting the world of “Epitaph One.”
You guys haven’t even probably thought far enough for the DVD, but what kinds of things can we expect as far as visiting the “Epitaph One” world?
We’re so fascinated by that world and really in love with the actors in it, and we also want to answer some of the questions we asked about. Where is everybody, come the future? Who’s doing fine and who didn’t make it? So, we keep trying to go back to the future and then realizing, no, it’s not time yet. It’s going to be towards the end of the season that we’ll be able to do that.
I’d like to know a little bit more about the relationships that are coming up this season – what it’s going to be like with Echo and Paul, and even among the Dolls this year?
Victor and Sierra just can’t keep their hands off each other. They’re like monkeys, and it’s something that we’re going to be treating, they’re going to be seeing through for a while. It makes some people very uncomfortable and sometimes it’s just extremely sweet. Sometimes it’s just funny.
But Echo is very much building herself, and she sees it as an indication that they’re ready to be pushed to a level like hers. She’s looking for allies, and Paul is the first person she’s going to turn to for that. A lot of the season is going to be her attempt to put together some kind of team, even though she has trouble articulating it at first. She’s looking for the sense of family that I think the audience was looking for last season. So, we’re going to be seeing who’s on her side and who, not so much.
I was really impressed with what Amy did in this premiere. Is Dr. Saunders going to factor in a little more in the season?
Dr. Saunders would factor in much more in the season had we not lost her to another show. She will factor in as much as we are allowed to factor her in, which is exactly three episodes worth. They will, however, be three extraordinarily memorable episodes.
Amy Acker is ridiculously talented, and the character’s dilemma is fascinating to us. We grit our teeth that we didn’t have the funds, or the support, or the success, to just make her a regular, and now we’re paying for it. It means that every time we have her on screen, we’ll squeeze every drop out of her that we can. We’re seizing the day. We just don’t get to seize as many of them as we’d like.
The guest-star lineup looks really impressive this season. You had Alan [Tudyk] on last season and Summer [Glau] this season. Are there plans to get the rest of Firefly on here at some point?
It’s a death match between Firefly and Battlestar and which of them is going to get all their people. The fact of the matter is, they’re people I admire and they’re people I know I love to work with, and this season I’m a lot less concerned with how the cast is perceived.
Last season, we felt like we wanted to make sure that this was new territory and that people didn’t think of it as just, “Oh, it’s just these faces and he’s doing his old thing.” Now I’m like, “I know these people can act,” and honestly, the people that are watching it are fans anyway. If they know who these people are, they’ll be thrilled. If they don’t, they’ll see good acting, so it doesn’t matter to me as much. So yes, I have no fear of throwing anybody that I have worked with or just want to work with in anytime I can.
What ways are you going to stretch the parameters of the tech this season?
We’re going to stretch the tech fairly heftily. I actually can’t answer the question directly, because a lot of it has to do with the different ways in which this tech can be manipulated, and we’re going to see that it’s not all the simple chair treatments. There’s more that can be done, and the excitement and the danger of that is a large part of this season.
Can you talk about the casting of Summer and also what’s in store for her character?
The casting of Summer was based on the knowledge that Summer existed, and the character was created with the hopes that she would play it, which she is right on stage right now doing. She’s playing the programmer of another Dollhouse. It’s a somewhat eccentric part, but hopefully different than what we’ve seen her do before. The most useful part of that is that the writers work twice as hard to make sure that the character really pops and pays off, because they know it’s going to be played by somebody extraordinary.
Is it safe to assume that Summer’s character works at the same Dollhouse that Ray Wise runs?
I think that would be safe.
And is it safe to assume that that makes it a super-cool Dollhouse?
I would say much cooler than this lame one that I’m in.
We’ve got some glimpses at the back-story of some of the other characters like Sierra and Victor, but still a lot to fill in. Will we be delving into that more as the season progresses?
Yes, we will. We know how extraordinary those two performers are, and we are very curious about their stories, as much as we are about Caroline’s. So yes, we will definitely be seeing some episodes that highlight them and their pasts and where they’re heading.
Lastly, can you hint at all, we know that November/Mellie will be returning, but how she will return, since for her, it would seem that her time with the Dollhouse is over?
It would, wouldn’t it? I can’t tell you exactly how. I can tell you that she’ll be back early on and that we’re definitely not done with the character, and that probably means there’s going to be some pain involved. More than that, you’re going to have to wait for it.
You have a number of interesting guest stars in the new edition of the season, in addition to Summer. Can you tell me a little bit about Jamie Bamber’s character and a little bit about Alexis [Denisof] as a senator? I think I read he’s trying to shut down the Dollhouse.
Yes, he’s got his own crusade going. He’s a very different person than Paul, but he’s in a similar position except that he’s gone public with it. How much the Dollhouse loves a senator who has gone public with an attack on them, we will find out in later episodes. But he’s not the Paul of the season, because he’s going to have a different set of problems thrown at him, but he has a similar vibe, in terms of he’s very tenacious and righteous. Then, I forget what the other part was?
Jamie Bamber, I read that Bamber marries Echo early on in the season.
If you were those two, wouldn’t you get married? They’re so cute. He came in as the guest star in the first episode, which was just – besides a geek dream for me – an extraordinary experience, because he’s not just very professional and precise and talented, but he fleshed out a character that could have been a little bit of a cardboard cutout. He has such sincerity and gravitas that you feel terrible. He makes you feel you’ve betrayed him, even if he’s completely in the wrong. It’s something that he shares with Adelle. Maybe it’s a British thing; I don’t know.
I read an interview with Eliza where she said that you’re shooting in HD this year. How is that affecting the style of the show, the shooting of the show? How the show is going to match up to how it appeared last year?
We’re keeping a lot of things basically the same, but we are trying to free up the camera and to create more depth and emotion with the lighting and the camera work. The HD packet is smaller. It takes less time to light. The lighting is more environmental. We get more time for the actors. We get more opportunities to do different angles. Something that still has some of the elegance of the first season but is also a little more visceral.
It also means that, occasionally, we finish our days extremely early, and nobody’s hating that. Our DP, Lisa Wiegand, has done a lot of independent features, and so she’s got some really interesting ideas and she can give us classical-looking television. It looks, I think, very beautiful, but at the same time we can tweak it a little bit more, or we can take it a little bit farther and do that faster.
In the EPK, you hinted that The Attic is heinous, and it’s an episode of Small Wonder that you can’t escape. I was wondering if you were being figurative or literal?
I’ve never even seen Small Wonder. I am a bully who picks on people who aren’t my type. It is going to be creepy, but I think, ultimately, what it’s going to be like, it’s going to be something that we’re going to hold onto pretty tightly. I don’t want to say, but it ain’t pretty.
Is the set a designer’s dream?
It depends on the set designer. It might be a dream where he’s screaming.
With Amy Acker gone, are we going to get a new doctor character to tend to the wounded?
We haven’t featured the doctor. We see somebody in the background. We will be seeing Dr. Saunders again, and the stories just haven’t lent themselves to bringing in another person in that capacity. So if we need to, yes, but not so far.
A big thing that people discussed in the first season is, “Who’s the Doll?” Who is secretly a Doll? But now that we know that people can be remotely programmed in a flash, without necessarily being dolls to begin with, is that still a meaningful question?
No, that’s the case in the far future. It’s not the case right now. I’ll tell you right now, everybody is not a Doll, because it would be very easy for us to pull that trick over and over and ultimately shoot ourselves in the foot, because you would find that nothing was at stake and that everybody would see the plot coming. We’ve actually grounded the show fairly heavily. People who are Dolls are Dolls, and the other people…every now and then, I’m not saying never. I’m not saying we won’t question reality every now and then, but basically, we’re taking the people we have and we’re pushing them around as much as possible.
We’re trying to keep it grounded so that people know that there is something at stake, and if somebody did have their personality altered or taken away, that that would be a huge deal. That’s like The Attic; that’s like death. That’s like the worst thing that can happen to a character, so we want to make sure that the characters are grounded enough that people feel those stakes. If we just make people Dolls willy-nilly, then it’s the rabbit hole and none of it really connects or means anything.
Dollhouse premieres Friday, September 25th at 9 p.m. ET on FOX.
