Am Twitter heißt's:

We love you for crashing the site, we really do. In the meantime, you can go to itunes. Or just wait a few hours, we'll be back up.

Wer nicht zu itunes will...

Edit: ... muss wohl doch zu drhorrible.com.

Ein Video über Dollhouse, und worauf sie sich freut. Besonders schön: "I've got mad skills!" und die Rolle die sie wirklich gern in einer Dollhouse-Folge mal machen würde: Grandmaster Chessplayer. Think about that!


(Direkteliza)

Keine Sorge, ist vom Februar, also sehr alt, aber hab jetzt erst nen Scan gefunden. Also hier bitte klicken für das doppelseitige Interview im SFX-Magazine.

Oh, wie süß:

How did you choose the cast? Does Nathan Fillion have pictures of you, or–

You know, you’re not the first person to ask that so I’m beginning to wonder. After I passed out, what happened…?

You know, who wouldn’t cast Nathan Fillion in absolutely everything. I mean, he can play the hero, he can play the idiot, he can play the ingénue, he can play the ficus and be the most interesting thing in the room. He’s amazing. And you know he’s a dear, smart, centered guy, so that’s a no-brainer. And he’s so great as that character, you know. It very much reflects some of his own humor that the moment he signed on Zack and I were writing a bunch of his scenes, we raced to our typewriters. No, we use computers, we’re not that old.

But you know, Neil was… I wasn’t as sure Neil would be interested in it and he said yes faster than I had the question out. But he’s, you know. Just incre.. I’ve seen him do everything, including, you know, sing on Broadway, so I knew he had the chops. He still brought more to it than I even imagined he could. And Felicia, you know, has been a friend since she was on “Buffy.” Her show “The Guild” has been kind of an inspiration for this and I suspected she had some singing pipes as well and she also blew me away. The first time she and Neil sang together, I may have cried a little.

Auch wunderbarst:

Are you ready for the entire Internet to land on you?

You know, if we don’t crash it, we’ve failed.

No, we only have the bandwidth to support 17 viewers at a time.

No, none of those things are true, we do hope that a lot of people will show up, ‘cause we think it’s kind of an event. But we’re also prepared for the numbers to be even smaller than anybody thought, for everyone to go “awwww.” Because, you know, you have to be prepared for that and the great thing about it is I don’t have anybody worrying about it. We don’t have anybody we’re beholden to, to be like “You failed us! We loved the musical.” We think the people who see it will love it as well, and how many people see it, well, that’s not really up to us.

You have a knack for attracting obsessive fans. What do you think they see in your work?

An obsessive fan…

Und zum Abschluss:

If everything came true the way you wanted it to be, what would you like to see happen because of “Dr. Horrible”?

I would like to be a gagillionaire.

I would like to see more of this kind of content, I would like to make, but even if I can’t I’d like to see more people sort of stepping up between the home-made and the studio-made and putting things on the Internet that are truly strange and personal and yet accessible to as many people as possible. I’d like the Internet to be a viable economic framework for a sort of, a world of “B” pictures. A new, strange, surreal “B” studio, the kind they don’t have anymore. That’s what I’d like to see.

And I’d like to run it.

(Mir gehen die Headlines aus, ich weiß.) Teil 1:

How did knowing that Dr. Horrible was going to be on the Internet change the way you approached the making of it? What kinds of stylistic or narrative elements might work on the Internet that might not on TV or film?

The first answer is obviously freedom: not just creative but structural, in terms of running time, number of episodes, presentation and (fingers crossed) monetization. Nothing is set in stone. I'm a very traditional storyteller, and I'm in no way Internet savvy, but I did appreciate the elasticity of the medium. The story was also geared toward the Internet audience -- and not just by putting "blog" in the title. The fact that Dr. Horrible does blog is part of his character, which is the guy alone in his room ranting about the world not being the way it should. We're long past the age of "everybody on the Internet watches 'Star Trek' and lives in their parents' basement," but there is a modern societal truth about the kind of guy who needs to tell the world his troubles and show off his talents. And I relate to that guy. Neil's blogs wouldn't work in the same way if they weren't coming from your computer screen. Correction: They will work brilliantly on DVD. Or at a midnight screening in your local city! Other difference in doing it without major backing: I become a whore.

Most importantly, there is the silly. The things that have hit on the Internet have almost all had that quality, from "Star Wars" kid, to "The Landlord," to 1,500 prisoners doing "Thriller." Not just the I-made-it-myself aesthetic, but the truly, transcendently goofy. The absurd (which is important to me, as an Absurdist) is part of the Internet's identity. Maybe it's just a stage, but it's an awesome one. On TV, Dr. Horrible would be greeted with a lot more skepticism than on the Internet. We knew as writers that we could bare our ridiculous souls to the point where people would suddenly, sincerely burst into song -- it took six years to achieve that kind of audience trust on "Buffy."

...und Teil 2:

Some brows have furrowed at the idea of putting it out for free for a week, but that was part of our mission statement from the first: to create an Internet event for the fans (and others) to enjoy because we enjoyed it so much. Whether that affects us negatively revenue-wise it'll be hard to determine, but it's part of the business model in that the statement is as much about the Internet as a medium as it is about our little epic. We're ringing the bell. It doesn't matter how many people gather: We just like the clangy noise.

Nach Fox über Whedon, jetzt umgekehrt:

"The understanding that I reached was with myself," Whedon explained about his change of heart. "That I had to be realistic about what the network expected of me and about what the chances for the show would be. Like, I fell in love with Firefly in a very blind and adolescent way. And I tried to meet the network halfway. But at the same time, you know, it was agony. Everything was agony for me. ... And now I come at it with a little distance. Not artistic distance. But just, you know, the grown-up attitude of, you go through certain steps. You do your best. You work with them. And you pick the people you're working with. You look for sanity and you look for intelligence. So far, I have found a great deal of both in the executives at Fox. If I had gone there and pitched to them, and they had not understood what I was telling them, I think I would have known."

Well, sehr gut, you know. Das Pacing ist etwas merkwürdig und gewöhnungsbedürftig, 13 Minuten ist ne strange Zeit für ... irgendwas, aber es ist ja nur ein Act und der ist sehr gut.

Der Inhalt ist ungefähr der, dass Dr. Horrible (großer Applaus für NPH) in die Evil League of Evil rein (geleitet von Bad Horse, der ungefähr so Bad wirkt wie sein Name) und dafür was heftig böses tun muss, z.B. seinen Freeze Ray fertigstellen, für den ihm eine Komponente fehlt. Der Freeze Ray soll die Zeit anhalten können, und zwar lang genug, dass Dr. Horrible im Waschsalon die richtigen Worte findet, um das Mädchen seiner Träume (Penny, gespielt von Felicia Day) anzusprechen. Es kommt natürlich alles anders, sie spricht nämlich ihn an, im ungünstigsten Zeitpunkt ever, nämlich just beim klauen der letzten Komponente, und wenn das nicht schlimm genug wäre, taucht genau da auch seine Nemesis Capt. Hammer (Nathan Fillion), behindert den Heist und rettet Penny. Cliffhanger: Dr. Horrible hat zwar die Komponente, aber Capt. Hammer und Penny hauchen sich monumentale Emotionen ins Gesicht.

Es ist basically genau das, was ich erwartet habe, ein kleines, feines Musical, mit wirklich Trademark-eingängigen Joss-Melodien, die wieder einmal das Kunststück vollbringen, eine Story zu erzählen. Man merkt zwar das Minimal-Budget, aber das ist voll okay und passt ja auch zu unserem Helden Dr. Horrible, der auch immer nur ein höchsten schaler Abklatsch von wirklichem Evil ist. Großes Plus dafür, dass hier in Non-USA das ganze auch (doch) streamable ist. Und jetzt heißts noch 40 Stunden warten, auf Act 2.

Drüben bei wired.com:

Wired.com: Although plenty of fans are going to want to own the DVD, which has extra features like musical commentary tracks, you have to anticipate others obtaining Dr. Horrible through file-sharing networks. Are you concerned about illegal torrenting at all?

Whedon: I think if you want [DVD sales], you have to expect [illegal downloading.] If you incite passion in your fans, you get both sides of that coin. But what else would you want? A note, though, to all you would-be pirates: Scurvy is a serious issue. Eat some limes.

Und dann nochmal bei newsarama:

“Writing lyrics is much harder than writing dialogue, not just because of the rhymes, but because you basically have a set space within which you have to fit something, and you’ve got to find a tune and a tempo which allow the lyrics to do more than explain something in a sing-song way,” Whedon says. “Building a song is its own little art, and while it exists inside a musical, it also has to flow within itself. It’s very, very labor intensive, and sometimes it does come quickly, and sometimes you can just kill yourself for weeks on a lyric.”

Und schließlich die Sequel-Frage bei dwscifi.com, mit großartigem Jed Whedon-Konter am Ende:

If the series is successful, would Whedon consider making a sequel? “What about a giant Broadway adaptation?” Whedon laughs. “Have I thought about a sequel? Yes. But the plans at present just consist of us going, ‘This would be awesome!’”

“That’s how this started…” Jed Whedon reminds his brother.

Ein weiteres Interview mit Produzent Michael Boretz (remember?) gibt's auch. Und das alles kulminiert in... 7 Stunden. Can't wait!

Firefly-Café? Thx to Heimo, der in Meknès, Marokko ein Pendant fand:

Ganz kurz, aber nett:

Reilly says he has seen "no skittishness" in Dollhouse creator Joss Whedon in the wake of his struggle with Fox on Firefly: "I thought, No way is that guy coming back." But he has really enjoyed working with him. "That is a guy who has earned his reputation."

Morgen früh geht's los!

Europe/Paris 9:01 AM