Last time, I gave a recap of Joss Whedon and Mark Harris’s thoughts on where the media industry is going, but much of our time at the Shasha Seminar was spent talking about the nuts and bolts of actually getting work produced.
Photo Credit: Malenkov in Exile
Whedon talked about his own career, and how he got his stories up on screen. He started with Buffy, who he described like so: “This is my voice. This is my avatar. This is my girl.” Buffy, the story of a “bimbo” getting her revenge on big scary monsters, was the story he needed to tell. Being a script doctor was not enough for him – because it didn’t involve creating anything. Lucky for him, as he creates, he sees the title, the trailer, the one sheet and the marketing campaign all in his head. That probably goes a long way to explain why Whedon’s incredibly off-beat concepts worm their way into the pop culture landscape – he understands that media doesn’t just live up on screen, it lives in advertising, it lives in conversations online and in person. He claims it’s not cynical to think of these things as you’re doing creative work – because “It’s going to be a dialog between the audience and us.” In other words, he’s reaching out to his audience any way he can.
For Buffy, reaching out to the audience also meant a huge amount of multi-platform content – some of which he controlled creatively, and some of which he didn’t. In the case of the books, Whedon said, “Please don’t have Buffy deny the Holocaust in any of them, I’ll be over here.” In the case of the video game, he voiced an avatar of himself. Whedon put a lot of creative effort into the comic book series, because that platform interested him. However, he also addressed the announcement that Fran Rubel Kuzui, producer of the original (and failed) Buffy the Vampire Slayer film, intends to revive the series without Whedon’s creative input. Whedon said that Buffy “would not have happened” without Kuzui, and that the party who would have legal difficulty creating a new Buffy TV series is, in fact, him. When someone asked if he regretted not telling more television stories in the Buffy universe, he said “I’m not long on regret.”
Whedon’s shows are widely given credit as some of the first to have massive (and well-organized) online followings, Firefly was one of the first shows without a fully aired season to come out on DVD, and now his show Dollhouse is being renewed in part due to a strong web-based viewing audience. As I noted in my last post, Whedon started shooting the second season of Dollhouse on Monday. Budgets have been cut, and he’ll be shooting in HD video instead of film. Whedon actually seemed pleased about this, saying that “When they take money away from me – I get better.” (Fox executives, if you’re reading this, please don’t take it to heart). Whedon talked about the challenge of writing a show with six act breaks instead of four (which I understand is at Fox’s request, since there are more ad breaks online than on TV). He said it was challenging not to take the audience “out of the story” with so many cuts.
When you watch Joss Whedon speak in person, what comes across most readily is that he genuinely loves his job, and believes in his own work. Much of the weekend (which I’ll get to in a third, and possibly final post) was very tied up in justifying the artistic compromises that everyone makes in order to get art to make money. Whedon still believes that storytelling can, should, and must stand for something – even when it’s happening in a staunchly commercial enterprise. Whether regular folks can do what he does – create their own Dr. Horribles without the backing of experience, prestige and lots of famous friends – remains to be seen. But it’s nice to know that there are powerful people who are still in our corner.