Emotional Resonance

8/7/2019 Emotional Resonance

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EmotionalResonanceandRocketLaunchers:

JossWhedonsCommentariesontheBuffytheVampireSlayerDVDs

I th ink everybody whomakes mov ies should be forced to do te lev i s ion . . . . Because you have to f in i sh . You have to get i t done, and there a re

a lot of dec i s ions made just for the sake of mak ing dec i s ions . You do

someth ing because i t s e f f i c ient and because i t gets the story to ld and

i t connects to the aud ience.

Joss Whedon, Interv iew in The Watcher s Gu ide , Vol . 2 (323)

The twoth ings that matter the most to me: emot iona l resonance and

rocket l aunchers . Party of F ive, a br i l l i ant show, and of ten mademe

c ry uncontro l l ab ly , suf fered u l t imate ly f roma l ack of rocket l aunchers .

Joss Whedon, Audio Commentary for Innocence

(1 ) Accord ing to an o ld w i t t i c i sm(c red i ted to , o f a l l people , Otto von

B i smarck) , Lawsare l i ke sausages , i t i s better not to see thembe ing made. Perhaps

te lev i s ion showsand mov ies should be addedto the l i s t . The

magic weso of ten exper ience as members of the aud ience of

both media may wel l not be v i s ib le on the product ion set . Wi th

the advent of the DVD, however , we are nowoften g iven the

opportun i ty to peek beh ind the curta in and see the wizard for

what he i s , espec ia l l y whenthe wizard does the aud io

commentary . On the DVDre leases of Buffy the Vampi re S layer s

f i r s t and secondseasons , the great and powerfu l Joss Whedonspeaks over the two

part p i lot , Welcometo the He l lmouth and The Harvest (1001 and 1002; hereaf ter

Hel lmouth and Harvest respect i ve ly ) and Innocence (2014) , and in the process

weare g i ven the opportun i ty to see throughh i s eyes howBuffy wasmade.1

1Other key Buffy players a l so prov ide commentary on the secondseason

DVDs. Dav id Greenwal t makes Rept i le Boy (2005) muchmore interest ing than i t


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The Col lected Works of David Lavery 2

(2 ) The Season OneDVD i s not the f i r s t t imeWhedonhas emerged f rom

behind the curta in . Prev ious ly re leased VHSboxedsets Buffy theVampireS layer ,2

TheBuffy andAngel Chronicles ,3and TheS layer Chronicles

4each conta ined

interv iews (p laced e i ther before or a f ter the ep i sode in quest ion) in which Whedon

of fered beh indthescenes ins ights into the shows c reat ion , and he has granted

numerous on l ine and pr int interv iewsas wel l ( see the b ib l iography) . But on the DVDs

Whedonta lks in rea l t imeaccompany ing the p i lot , and in the process we learn a

great dea l about the rea l i t i estechnica l and economic l imi ta t ions , onset ex igenc ies ,

ambi t ions and f rustra t ions , ac tor proc l i v i t iesof te lev i s ion product ion . Whedonwas

mak ing te lev i s ion for the f i r s t t imeand had much to learn about the process , and

thanks to the mag ic of DVDwe learn a long wi th h im.

(3 ) A th i rd generat ion te lev i s ion wr i ter , Whedonreca l l s in a recent interv iew

wi th James Longworth that h i s ch i ldhoodwas f i l l ed wi th humorous d ia logue.

I th ink my fa ther ' s best work was probably donea t our d inner tab le . . . . I t

was great to l i ve a rounda wr i ter , and my mother a l so wrote in her spare

t ime, so the soundof typewr i ters was probably the most comfort ing sound in

the wor ld to me. I l oved that . And whi le I rea l l y en joyed a l l o f the funny

th ings my dad was work ing on, i t was rea l l y just be ing a roundsomeonewho

was that funny . Anda l l o f h i s f r iends were comedy wr i ters . So the house was

constant ly f i l l ed wi th these very sweet , erud i te , in te l l i gent guys just t ry ing to

c rack jokesmyfa ther ' s f r iends , my mother ' s f r iends , teachers , drama

people . I t just had a great a i r to i t , and what you wanted to do i s to go into

that roomandmake those guys l augh. (199)

(4 ) Watch ing Buffy DVDsaccompanied by Joss Whedonwebecomethe

rec ip ients of th i s impul se . Wi th se l f deprecat ing humorat the very beg inn ing of h i s

commentary on Welcometo the He l lmouth, sett ing the tone for what w i l l fo l low,

he promises to of fer hundreds of . . . we l l . . . l i ke . . . four fasc inat ing ins ights into

ever seemedbefore , and Mart i Noxonta lks us throughWhat s My L ine , Parts One

and Two (2009 , 2010) . 2 Welcometo the He l lmouth, The Harvest , The Wi tch (1003) , Never K i l l

a Boy on the F i rs t Date (1005) , Ange l (1007) , and The Puppet Show (1009) . 3 Surpr i se (2013) , Innocence (2014) , Pass ion (2017) , Becoming , Part I

(2021) , and Becoming , Part I I (2022) . 4BadG i r l s (3014) , Consequences (3015) , Enemies (3017) , Earshot

(3018) , Graduat ion Day , Part One (3021) , and Graduat ion Day , Part Two (3022) .


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the c reat i ve process beh ind BuffyWhedonmakes us l augh, constant ly , but weget

sweetness , erud i t ion , and inte l l i gence as wel l , and weunderstand better howBuffy

happens.

I couldntaffordthepony.I onlyhadthedog:TheAmbitions,

Limitations,andFrustrationsofMakingTelevision

(5 ) The dog and pony showof ser ies te lev i s ion product ion apparent ly

prov ided a rap id educat ion for Joss Whedon, who, except for wr i t ing ear l ier shows

l i ke Roseanne andParenthood, hadno pr ior handson exper ience wi th mak ing TV. As

he acknowledges a t the outset of h i s commentary on Innocence, every

asp i r ing te lev i s ion auteur th inks of h i s work , however , minor i t may be ,

as equa l in weight and importance to Ci t i zen Kane .5In rea l i ty , the s t r i c t

parameters imposedon c reat i ve inc l inat ions by sma l l budget and t ime

constra ints force nov ice and veteran a l i ke to f ind less expens ive and

more expedi t ious paths to qua l i ty . Whedons commentar ies have much

to say about th i s process .

(6 ) The skateboard on which Xander makes h i s f i r s t appearance on the

show(c rash ing into a ra i l ing on h i s f i r s t s i ght of Buf fy ) was qu ick ly je t t i soned

because l i ght ing such a mov ing f i gure was too compl i ca ted and expens ive

(Hel lmouth) .

(7 ) The set on which scenes in Sunnyda le H igh School were f i lmed in

the f i r s t season was , in fac t , a s ing le ha l lway , shot f romd i f ferent ang les ,

recast , and rehung as neededto g i ve the impress ion that i t was much la rger

( Hel lmouth) .

(8 ) The dreamsequence which fo l lows the opening c red i ts in

Welcomewas supposed to be e laborate and or ig ina l . To save t imeand

money i t was in the end constructed out of imagery f romfuture ep i sodes of

season one (Hel lmouth) .

(9 ) In The Harvest Xander asks i f vampi res can f l y . The poss ib i l i ty of

f l y ing vampi res had to be re jec ted because of the spec ia l e f fec ts cost , as d id

other vampi re mot i f s (e .g . vampi res turn ing into bats ) .6

5Cit izenKane, Whedonreminds us , should wenot know, i s a b lack and whi te

f i lmabout a ba ld guy . 6 In Buf fy vs . Dracu la (5001) , o f course , Buffy does of fer us bat

t ransformat ions .


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(10) The graveyard sett ing which f i gures so prominent ly in Hel lmouth

and Harvest was a rea l cemetery , which would be used for f i lming on ly

ra re ly thereaf ter . Future graveyardsBtVS s pr ima l scenewould ac tua l l y be

redressed port ions of the Buffy set park ing lot ( Harvest ) .

(11) WhenWhedon f i r s t env i s ioned the Sunnyda le H igh School L ibrary ,

Rupert G i les propr ietor , he had in mind someth ing dark and labyr inth ine , but

a t the t imehe had not g i ven any thought to howsuch a des ign might be l i t .

The idea was jet t i soned, and the l ibrary becomemore modern and br ight

( Hel lmouth) .

RabidAnimals:WorkingwithActors

(12 ) Wi th tongue f i rmly p lanted in cheek , Whedonatt r ibutes to

co l league Dav id Greenwal t [p i c tured] the H i tchcock ian be l ie f that ac tors a re rab id an ima l s and should be put down, but in the DVD

commentar ies he shows t remendous respect for themandaga in and

aga in heaps on h i s cast h igh pra i se (Hel lmouth) .

(13) Whedonspeaks of the sex iness and wi t Tony Headbrought

to the ro le of G i les , qua l i t i es none of the others t ry ing out for the part

exh ib i ted . As a resu l t , G i les becamemuchmore than bor ing expos i t ion guy

(Hel lmouth) . (Wea l so learn , in a recurr ing joke , that onset Head

apparent ly does not wear pants [ Innocence] . )

(14) Whedonpra i ses the t remendous spec i f i c i ty and great profess iona l i smof

Sarah Miche l le Ge l la r as an ac tress ( Hel lmouth) .

(15) The WBhad prob lemswi th the cast ing of A lyson

Hannigan as Wi l low. Whedonwanted a t ru ly ensemble cast

exh ib i t ing a w ide range of looks and types; the network

wanted a supermodel in horn r ims to p lay Wi l low

(Hel lmouth) . Obv ious ly , Whedonwonthe batt le . Ear l y

on , Whedonnotes , he learned that Hannigan was

espec ia l l y master fu l a t exh ib i t ing pa in and fear , and

putt ing her in danger becamea s tap le of the show. ( In an as ide , he reassures

us that , desp i te the pers i s tent concern of fans , he wi l l never , ever k i l l Wi l low

[ Innocence] . )

(16) We learn about h i s in i t i a l re luc tance to cast Dav id Boreanaz as Ange l and

h i s great admirat ion for h im la ter ( Hel lmouth) . In the Innocence


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commentary , Whedonreca l l s worry ing , needless l y , whether he would be up to

the t ransformat ion into Ange lus . Boreanaz , Whedonqu ick ly d i scovered, p lays

a bastard wi th extraord inary ap lomb ( Innocence) .

(17) Comment ing on a scene f romThe Harvest in which Buf fy and Xander

f lee through the sewer , Whedonpays t r ibute to the great profess iona l i smof

the ra t ac tor .

InsideBaseball

(18) A l thoughhe caut ions v iewers a t the beg inn ing of Innocence that he wi l l

have no h i l a r ious anecdotes about the s i l l y h i j inks of Buf fy s cast because they a re

fa r too hard work ing and profess iona l , Whedondoes of fer us scores of ins ide

baseba l l t idb i ts f rombehind the scenes . We learn that :

(19) BtVS creators use pet names. The Sunnyda le H igh School L ibrary was knownas the Bat Cave (Hel lmouth) . The myst i ca l mumbo jumbothat

underp ins demonbehav ior was knownas F l ibott inum ( the term i s Dav id

Greenwal t sthespe l l ing mine) ( Harvest ) .

(20) The idea of the He l lmouth, and the or ig in myth of the show in genera l ,

contr ibuted might i l y to se l l ing the showto the WB. La ter , Whedonadmi ts , i t

becamea handy shortcut way of exp la in ing the inexp l i cab le .

(21) The scene in which G i les and Buf fy have i t out about her re luc tance to

assumeher s layer dut ies was ac tua l l y shot e ight months a f ter the rest of the

ep i sode.7 In the vers ion as or ig ina l l y shot Ge l la r had comeacross as fa r too

angry (Hel lmouth) .

7The d ia logue f romthe scene I amreferr ing to i s as fo l lows:

Buf fy : Oh, why can ' t you people just l eave mea lone?

G i les : Because you are the S layer . ( comes downthe sta i rs ) Into each

generat ion a S layer i s born , one g i r l i n a l l the wor ld , a Chosen One, one

born wi th the st rength and sk i l l to hunt the vampi res . . .

Buf fy : ( in terrupts and jo ins in ) . . .w i th the st rength and sk i l l to hunt the

vampi res , to s top the spread of the i r ev i l b lah , b lah , b lah . . . I ' ve heard i t ,

okay?

G i les : I rea l l y don ' t understand th i s a t t i tude. You, you 've accepted your duty ,

you, you 've s la in vampi res before . . .

Buf fy : Yeah, and I ' ve both been there and done that , and I 'mmov ing on.

G i les : What do you knowabout th i s town? (goes into h i s o f f i ce)

Buf fy : I t ' s twohours on the f reeway f romNeimanMarcus?

G i les : D ig a b i t in the h i s tory of th i s p lace . You ' l l f ind a , a s teady st reamof

fa i r l y odd occurrences . Now, I be l ieve th i s whole a rea i s a center of

myst i ca l energy , ( comesback wi th four books) that th ings grav i ta te


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(22) Ange lus s c rue l d i smissa l o f Buf fy s concern for h imthe f i r s t t imethey

meet a f ter hav ing sex , a scene which t ransp i res in h i s bedroomwi th Ange lus

sh i r t less , had beena l ready f i lmedtono ones sa t i s fac t ionouts ide of

Buf fy s house ( Innocence) .

(23) Whedonhad toyed wi th the idea of p lac ing Er i c Ba l four ( Jesse in the f i r s t

twoep i sodes) in the opening c red i t sequence, thereby lead ing v iewers to

conc lude that he would be a regu lar , on ly to k i l l h imof f in The Harvest

( Hel lmouth) . La ter , o f course , Whedonwould deve lop a fondness for k i l l i ng

of f essent ia l charac ters : Jenny Ca lender , Magg ie Walsh , Joyce Summers , and

Tara in Buffy ; Doy le in Ange l .

(24) The dec i s ion was madeear l y on to tone downthe Ca l i forn ia speak

prominent ly d i sp layed in the p i lot ( He lmouth) .

(25) Joss was concernedabout the degree to which G i les appeared to be in

the face of Buf fy in Sunnyda le H igh scenes in Hel lmouth. He imposed that

o ld s tandard of nunenforced Cathol i c school d i sc ip l ine : the 6 inch ru le .

(26) WhenBuf fy , dress ing for her f i r s t t r ip to the Bronze and t ry ing on

outf i t s , verba l i zes her look before a mi rror , announc ing , Hi . I man enormous

s lut , the phras ing caused a b i t o f consternat ion for the network

(Hel lmouth) .

(27) The f i r s t twoseasons of BtVS were f i lmedby Michae l

Gershman, d i rec tor of photography , on 16 mm, thoughno one

knew. Whedonpra i ses Gershmans beaut i fu l and eer ie l i ght ing

of the ser ies and the superb pa lette he exh ib i ts as a DP

(Hel lmouth) .

(28) Corde l ia s re jec t ion of Jesse in The Bronze in Welcometo theHel lmouth

i s word for word f romJoss s own l i fe .

(29) The WBwas uneasy wi th the shows sch i zophren ic combinat ion of

horror , drama, and comedy (exempl i f i ed in the t i t l e ) , not because they were

towards i t that , that , that you might not f ind e l sewhere . ( sets themon

the tab le)

Buf fy : L i ke vampi res .

He puts the vo lumes into Buf fy ' s a rmsone by one as he l i s ts o f f var ious

monsters and demons.

G i les : L i ke zombies , werewolves , incub i , succubi , everyth ing you 've ever

dreadedwas under your bed, but to ld yourse l f cou ldn ' t be by the l i ght of

day . They ' re a l l rea l !


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opposed to i t but because they were uncerta in howto market i t

( He l lmouth) .

(30) Nerf Herder s or ig ina l record ing of the Buffy theme for the p i lot was

f l awedthebeat i s not i ceab ly lost a t one po intandhad to be re recorded

(Harvest ) . (31) Joss feared that the shows mythologyin part i cu la r the idea that

demons were the pr imord ia l inhab i tants of the earth and that there was no

or ig ina l parad i sewould be more of fens ive than i t turned out to be

(Harvest ) .

(32) Joss and a l l the d i rec tors cameto f ind shoot ing the ob l i gatory l ibrary

expos i t ion scenes a rea l cha l lenge. Howto make themunique and v i sua l l y

interest ing becamea week ly cha l lenge (Hel lmouth) .

(33) Computers cameto funct ion as a shameless a l l purpose p lot

mechani sm. Wi l low i s ab le to hack into just about any webs i te or database

and acqui re any in format ion the narrat i ve might requ i re (Hel lmouth) . (Buffy

i s fu l l o f such fac tors , inc lud ing the tunnel s of Sunnyda le , which prov ide a

handy t ransportat ion systemfor vampi res , and the of t consu l ted Book of

Thoth , which serves as the a l l purpose b ib le of demonknowledge

[Harvest] . )

(34) The ac tors whop layed vampi res , espec ia l l y Dav id Boreanaz , had some

d i f f i cu l t ta l k ing w i th fangs (Harvest ) .

(35) In an un intent iona l l y provocat i ve shot in The Harvest in which Luke

p ledges h i s a l l eg iance , the miseenscene appears to suggest that the d i sc ip le

i s per forming fe l l a t io on The Master .

(36) The decap i ta t ion of a vampi re ( in the f ina l showdownwi th Luke and h i s

min ions in The Bronze) by a cymba l thrownby Buf fy was ed i ted out whenthe

ep i sode a i red in Br i ta in ( Hel lmouth) .


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(37) Part of the insp i ra t ion beh ind the appearance of Sp ike and Drus i l l a (and

la ter Ange lus) in Season Twowas to introduce younger v i l l a ins , whocou ld

ac tua l l y funct ion in the rea l l i ves of the Scoobies , a fa r c ry f romthe d i s tant

and remote Master of Season One ( Innocence) .

(38) Joss admi ts that N icholas Brendon i s way too hunky to ac tua l l y p lay a

sch lemie l l i ke Xander , but he speaks admir ing ly about the ac tor s ab i l i ty to

br ing on the Shemp (Hel lmouth) .8

(39) Whedonadmi ts that the idea of a Gypsy curse may be "hokey but

exp la ins that he went w i th i t because he re jec ted the a l ternat i ves ( Dani sh

curse) and loves the c lass i c s ( Innocence) .

(40) As a sc r ipt doctor of ten ca l led uponto f inds the means to reconc i le the

unreconc i l ab le , Whedon i s espec ia l l y proudof the not ion , a r t i cu la ted by

Unc le Enyos in Innocence, that vengeance has a l i fe of i t s ownandmust be

served, which enabled h imto exp la in the escape c lause of Ange l s curse

( Innocence) .

8Presumably a re ference to ShempHoward, one of The Three Stooges . To

learn more about h im, go here : ht tp ://www.3stooges .com/text/shemp.html


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(41) Speak ing admir ing ly ( Innocence) of the performance of Robia La Morte

as Jenny Ca lendar , Whedoncomments . Andwhat d id wedo to thank her? We

k i l l ed her (by Ange lus in Pass ion [2017] )

(42) The pour ing ra in that g i ves a tmosphere to Xander s v i s i t to a mi l i ta ry

base to s tea l a rocket l auncher was not in the sc r ipt ( Innocence) but ra ther

a happy acc ident .

(43) The b lossoming love betweenWi l lowandOz was s t rong ly opposed by the

fans , whowanted Wi l lowto be wi th Xander ( Innocence) .

(44) The words Ange lus sc ro l led in b lood on the wa l l a t the scene of h i s

murder of Unc le Enyos (Was i t good for you too?) prompt Whedonto speak

of h i s amazement a t what Buffy i s somet imes ab le to get away wi th

( Innocence) .

(45) We learn that the or ig ina l no weapon forged that was to be used to

defeat The Judge was to be a Tanktherocket l auncher was Dav id

Greenwal t s idea ( Innocence) . Though i t s cost seemedbeyondthe i r means,

they knewthey s imply had to have i t .

(46) Wi th mordant humor, Whedonexpresses h i s comic conv ic t ion that

K i l l i ng extras i s a lways funny . (He has in mind the scene in which The

Judge inc inerates h i s f i r s t v i c t im in the ma l l in the c l imact i c scene of

Innocence. )

(47) WhenBuf fy ho i sts

the rocket l auncher to

her shoulder , about to

ob l i terate The Judge

as he stares

uncomprehending a t

her f romacross the

ma l l ( What s that

do? he asks) , Whedon

acknowledges that

I ve never loved her

more ( Innocence) .

(48) Whedonadmi ts , w i th great tenderness and a double entendre , that the

f ina l , lowkey denouement of Innocence, in which Buf fy and her mother

watch an o ld mov ie on TV and ce lebrate her b i r thday wi th cupcakes and a


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The Collected Works of David Lavery 10

s ing le candle , madeh im just as happy as h i s b ig mantoy (h i s rocket

l auncher) .

MyincrediblylowbudgetattempttodoSamPeckinpah:

CinematicInfluences

(49) Not surpr i s ing ly for a f i lmstud ies graduate of Wes leyan Univers i ty , Joss

Whedonrevea l s in h i s aud io commentar ies h i s mov ie in f luences .

(50) The c lash in the opening thememusic , in which the drone of an organ, a

s tap le of horror mov ie mus ic , i s rep laced by rock and ro l l was intendedto

s i gna l that Buffy would not p lay by the ru les of the t rad i t iona l horror f i lm.

Th i s co l l i s ion i s echoed, as Whedona l so po ints out , in the f requent

a l tercat ions betweenG i les , whose gener i c roots a re in the von He l s ings of

Br i t i sh horror , and Buf fy .

(51) Descr ib ing the f ina l showdownwi th The Judge in the shopping ma l l in

Innocence, Whedonacknowledges that the s lowmot ion v io lence of the

scene i s h i s a t tempt to do Peck inpah.

(52) As Drus i l l a and Ange lus f lee f romthe oncoming rocket Buf fy uses to

destroy The Judge, Whedonadmi ts h i s indebtedness to a s imi la r l y

choreographedscene in Luc Bessons TheProfessional (1994)

( Innocence) .

(53) Wi th images f romBlue Ve lvet i n mind, Whedondescr ibes the

sex scene betweenBuf fy and Ange l in Innocence as Lynch ian .

Thebackward headbutt Buf fy uses in the showdownwi th Luke

in The Bronze ( in The Harvest ) was insp i red by Abe l Ferrara s

ChinaGir l ( Harvest ) .

(54) D i scuss ing h i s love of long takes (oneers , as they a re ca l led in TV

technospeak) , he c i tes the in f luence of French NewWaved i rec tor [Marce l ]

Ophul s and Amer i can auteur Woody A l len . Andhe seeks to d i s t ingu i sh h i s

intent ion in us ing themf romthe sty le of Br ian DePa lmaseehowfar I can

takemystead icambefore I runoutof f i lm ( Innocence) .

(55) In Whedons eyes , the three way standof f in Innocence betweenXander

and Jenny Ca l lendar , Ange lus (ho ld ing Wi l lowcapt ive) , and Buf fy ( the scene in

which Ange lus f i r s t revea l s h imse l f w i thout a sou l to the Scoobies) evokes the

sty le of a gunf ight in a western ( the f i lms of Spaghett i Western master Serg io

Leoneare a l luded to) . In the samescene, the shot of Ange lus in vampface


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standing in shadow, not qu i te v i s ib le , in the school doorway reca l l s for

Whedonthe Joker ' s f i r s t appearance before Boss Gr i ssom in T imBurton 's

Batman (1989) .

(56) Emphas i z ing h i s v iewthat a horror narra t i ve should ab ide by i t s own

ru les and exh ib i t in terna l cons i s tency , Whedonspeaks

sarcast i ca l l y of the scene in Blade (1998) in which vampi re

DeaconFrost i s ab le to wa lk in sun l i ght thanks to h i s use of a

spec ia l sunscreen (Harvest ) . (Wi th great embarrassment

Whedonpoints out a fewmomentsthescene in The Harvest ,

for example , in which Ange l i s c lear l y s tand ing in sun l i ghtin

which Buffy unintent iona l l y v io la tes i t s ownru les . )

(57 ) Freedom, Robert F rost once observed, i s swing ing easy in

harness . Thoughhe began as Mister I don t knowhowtomake

a te lev i s ionshow (Hel lmouth) , Joss Whedonhas mastered the

TV harness as wel l as any of h i s contemporar ies , and he concedes

that what he rea l l y love[s ] about my show i s the amount of cheese

that wecan sort of get away wi th , the amount of how l i t t le money

wehave and howwemake i t look a l i t t le more ep ic than i t i s

( Innocence) . But he cont inues to chafe a t the b i t . In an interv iew

in The Watchers s Gu ide, Vo l . 2 , he confesses that I mgett ing to the po int now

where I m l i ke , Okay , I ve to ld a lot of s tor ies . I ve churned i t out . I just fee l l i ke I

want to s tep back and do someth ing where I can t use the excuse of I on ly had a

week (323) . Whenhe does f ina l l y get the chance to make that b ig budget f i lm, we

wi l l anx ious ly awa i t i t s re lease on DVD. The d i rec tor s commentary , no doubt , w i l l

make i t worth the pr i ce .

Bibliography

The Creator Speaks : Joss Whedonon Sex , Death , Gap ing Holes and Horr ib le Th ings

Ahead.

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___ . Interv iewwi th BBC Onl ine

http ://www.bbc .co .uk/buf fy/rea l l i fe/ joss interv iew.shtml .


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___. Interv iewwi th Dav id B iancu l l i . Fresh A i r 9 May 2000 . Ava i l ab le on l ine a t

ht tp ://whyy .org/cg i b in/FAshowretr ieve .cg i?2876 .

___. Interv iewwi th ET Onl ine http ://www.thes layershow.com/chat8 .html .

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ht tp ://webs i tes .cab le .nt l . com/~frax i s/ the_ww/features/whedon.html .

___ . Interv iewwi th The Watcher s Web.

ht tp ://webs i tes .cab le .nt l . com/~frax i s/ the_ww/features/epk/ joss .html.

___ . Joss Whedon: Femin i st ( interv iewwi th James L . Longworth) . TVCreators :

Conversationswith Americas TopProducersof Telev is ionDrama . Vo lume2 .

The Te lev i s ion Ser ies . Syracuse: Syracuse U P , 2002: 197220 .

Golden, Chr i s topher and Nancy Holder . Buffy theVampireS layer: TheWatchers

Gu ide . NY: Pocket Books , 1998 .

___ , StephenR. B i ssette , and ThomasE . Sn iegosk i . Buffy theVampireS layer: The

Monster Book. NewYork : Pocket Books , 2000 .

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The Watcher s Gu ide . Vol . 2 . NewYork : Pocket Books , 2000 .

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Emotional Resonance

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