Jump to content

Shows without a bad episode


grawk

Recommended Posts

Yes. "bad acting" "bad writing" -- he's like the opposite of those things (well, technically he's not the opposite of bad acting, but you get my meaning). I mean, I realize it's all just opinion, but there's a general consensus of what bad acting is. I mean, even fucking Sara Michelle Gellar -- of whom I'm not the hugest fan -- played at least three different parts in the show (Buffy, Buffy-bot, and, in the final season, The First). At no point does anyone wonder which part she is playing when she appears.

And you're making it sound like the entire second half of Dollhouse was badly written, which I know for a fact that you did not feel that way at the time. (Yes, that episode -- the one you said was the best written -- was second season.)

And don't even get me started on Firefly/Serenity. Who are you, and what have you done with Dan?

Link to comment
Share on other sites

That's what you said, that she wrote the best one.

Or rather, the best written one.

And also: would a "hack" director go through great pains to make a set life-size? That's what Firefly was. It was one set, in two pieces, so that there would be no inconsistencies in terms of multiple levels &c.

So yeah, I stand by 'cranky'.

Sure, directing isn't about set building, it's about getting your actors to act.

That's why George Lucas is a terrible director despite how awesome the sets for Star Wars were.

You hire a script girl to watch for continuity errors.

Dollhouse did have great sets too tho. Maybe even the best part of that show, too.

Link to comment
Share on other sites

I stand by, 'cranky'. The set was just an example, but I stand by that it was a good example -- he made sure the set was the way it was, because not only did he want continuity, but he wanted the actors to sincerely feel and convey the sense of claustrophobia, lived-in-ness, home-y-ness, AND ETC. that having a life-size set would give.

And speaking of continuity -- the reason Whedon's shows were so swarming with continuity was BECAUSE OF HIM -- he's the one who made sure that incidents that happened in season one of Buffy were echoed in season 7. And that contradictions occurred when it was appropriate due to the growth of the character (sleeping with Spike...oops, sorry, SPOILER).

One of my absolute favourite moments when it comes to acting (of all time, television or movie) happened towards the end of the episode, "Fool for Love" (of Buffy), right after Buffy tells spike, "it'll never be you. You're beneath me." Spike transitions from shocked, to sad, to angry, in one fell swoop. I can't imagine how many takes it took to get that right, but if Whedon were a hack, he wouldn't have gone through the trouble (and even if he didn't direct the episode, he still oversaw it) to get that performance out of Marsters.

Wrong wrong wrong wrong wrong.

Link to comment
Share on other sites

I will grant that Joss Whedon is a particularly skilled Producer/Executive Producer/Story Consultant. He has great ideas. I've just never personally experienced a situation where I'm aware he was directing that resulted in a particularly well acted and cohesive performance from a cast. It's certainly possible that that episode of Buffy was his American Graffiti, and then he later spun into obsessing about details rather than about crafting a great story and getting terrific performances from his cast.

Link to comment
Share on other sites

  • 4 weeks later...

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.