Joss Whedon: The Genius Behind Buffy (10 page)

BOOK: Joss Whedon: The Genius Behind Buffy
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The core of the show was built around the four main characters. While Buffy is the main character, the three other leads in season one are strong, nuanced characters. Giles, the stuffy watcher, is brave, loving and with a mysterious past of his own. Willow is her geeky best friend who grows increasingly less geeky and more powerful over the course of the series. Xander (Nicholas Brendan) is equally complex, equal parts brave and buffoonish, wise and foolish.
Jesse, Xander’s best friend, is introduced as one of the original gang. When the vampires attack, Jesse is captured and held hostage as bait for the others. This is the normal convention in television action shows. The main characters can’t die, so the villains find some excuse not to kill them (this sort of thing drives Joss crazy; “kill them already” he cries). But Joss was just pretending; the vampires have killed Jesse (they’ve made him into a vampire) and ultimately Xander will have to stake, if accidentally, his best friend. Joss wanted to include Jesse in the opening credits to increase the shock factor, but he didn’t have the budget to produce two opening scenes.
 
The season one
Buffy
cast, from the days when all they had to worry about were vampires and bug ladies.
The next nine episodes, while continuing the story arc launched in the two-parter, were designed as self-contained episodes. Each presented a stand-alone plot, complete with its own villain and tidy resolution at the conclusion. Buffy fought and defeated witches, demon robots, bug ladies, hyena spirits and invisible girls. The first season, while not always holding to the quality level of the pilot episodes, was strong and began to build enthusiasm among both critics and fans.
Joss didn’t direct any of these first eleven episodes. He probably would have liked to but his miserable experience creating the pilot convinced him he still had a lot to learn. And he was determined to learn it, despite the fact that Hollywood doesn’t particularly support writers who aspire to direct. “Part of the reason I made the TV show
Buffy
is because as a writer—even a successful one—in Hollywood, when you say you want to direct movies, they’re appalled. They look like, ‘Do you kill babies?’ I mean, they’re just shocked. ‘What? You want to what?’ ‘I’m a storyteller. I want to tell stories. I want to direct.’ ‘Uh, I don’t get it. You want to what?’ And people actually said to me, ‘Well, if you’d directed a video.’ I’m like, just once, somebody please say to a video director, ‘Well, if you’d written a script. If you just knew how to tell a story’ Not that all writers can direct, or should, or want to. I’m sure a lot of writers want to direct because they’re bitter, which is not a reason to direct. I want to speak visually, and writing is just a way of communicating visually. That’s what it’s all about. But nobody would even consider me to direct. So I said, ‘I’ll create a television show, and I’ll use it as a film school, and I’ll teach myself to direct on TV.’”
By episode twelve Joss was ready and he wrote and directed
Prophecy Girl,
the season one finale. From this point on Joss would direct every episode he wrote (excepting a few episodes he co-wrote with David Greenwalt).
Prophecy Girl
was an important episode for the new program. The first eleven episodes were, as a whole, excellent television. But
Prophecy Girl
was a masterpiece, wonderfully written and tightly constructed. It’s easy to forget how much Whedon packed into this 40-odd minutes of television: the resolution of Xander’s season long infatuation with Buffy, the elevating of Willow to a new level of pathos after she discovers the student corpses, the shifting of Cordelia from bitch-goddess to semi-Scooby, and, of course, Buffy’s death and the defeat of the Master.
But
Prophecy Girl
is most notable for the emotional intensity of the script and of Sarah Michelle Gellar’s Buffy. After eleven episodes of heroism, defeating witches and bug ladies, demon robots and invisible girls, Joss took Buffy to a new place. He created a situation in which Buffy, genuinely courageous, is overwhelmed with fear. This is a place few action writers have gone. Can you imagine Batman hysterical with fear? But Whedon did this quite deliberately, because he wanted the audience to remember that Buffy is a sixteen-year-old girl who happens to have superpowers, not a superhero that happens to reside in a sixteen-year-old girl. We admire Superman and enjoy the action, but our hearts don’t break over him, and we can’t relate to him.
when you say you want to direct movies, they’re appalled. They look like, ‘Do you kill babies?’—Joss
 
The critical scene is Buffy’s confrontation with Giles and Angel after she discovers that the prophecy guarantees her death in the confrontation with the Master:
BUFFY: So that’s it, huh? I remember the drill. One Slayer dies, next one’s called! Wonder who she is. (to Giles) Will you train her? Or will they send someone else?
GILES: Buffy, I . . .
BUFFY: They say how he’s gonna kill me? Do you think it’ll hurt?
Tears are flowing freely from her eyes. Angel tries to hug her, but she puts up her hands and quickly steps away.
BUFFY: Don’t touch me! (to Giles) Were you even gonna tell me?
GILES: I was hoping that I wouldn’t have to. That there was ... some way around it. I ...
BUFFY: I’ve got a way around it. I quit!
ANGEL: It’s not that simple.
BUFFY: I’m making it that simple! I quit! I resign, I’m fired, you can find someone else to stop the Master from taking over!
GILES: I’m not sure that anyone else can. All the signs indicate . . .
BUFFY: The signs? (throws a book at him) Read me the signs! (throws another one) Tell me my fortune! You’re so useful sitting here with all your books. You’re really a lotta help!
GILES: No, I don’t suppose I am.
ANGEL: I know this is hard.
BUFFY: What do you know about this? You’re never gonna die!
ANGEL: You think I want anything to happen to you? Do you think I could stand it? We just gotta figure out a way...
BUFFY: I already did. I quit, remember? Pay attention!
GILES: Buffy, if the Master rises . . .
BUFFY: (yanks the cross from her neck) I don’t care! (calms down) I don’t care. Giles, I’m sixteen years old. I don’t wanna die.
 
In this scene Gellar first demonstrated a powerful emotional intensity which would become a core strength of the series, particularly in season two.
Professor Basinger, talking about
Prophecy Girl
, relates, “I remember a moment, I think it was the first season where Buffy is in her prom dress with a leather jacket. She rises up and starts to walk with her crossbow down into the bowels of the earth to confront the evil. There’s something about it. Whenever someone asks, ‘Why is
Buffy
great?’ that comes to my mind. There is something so elegant, noble, mythic and astonishing that you are watching your TV set and you are seeing this. This is a high school girl, but she’s like a warrior woman. It’s funny that she’s in her prom dress at the same time it is masterfully frightening. That’s Joss.”
 
Sarah Michelle Gellar and Charisma Carpenter. Who gets your vote for homecoming queen?
In
Prophecy Girl,
Whedon demonstrated that, despite his origins as a writer, he makes a credible director, a demonstration that would become more impressive as the series wore on. Whedon would later go on to allow a number of his writers to direct, including Marti Noxon, Douglas Petrie and David Fury, further validating his view that excellent writers often have what it takes to become excellent directors.
This is a high school girl, but she’s like a warrior woman. It’s funny that she’s in her prom dress at the same time it is masterfully frightening. That’s Joss.
—Professor Basinger
 
Season two
 
In season two
Buffy
cemented its place in the hearts of both fans and critics. Whedon had hit his stride and the series succeeded at every level—wonderful comedy, genuine horror, fantastic action and, most of all, awesomely intense drama. Joss was fully immersed in the show, carefully reviewing every script and every scene. He wrote and directed five episodes in season two and co-wrote one as well.
In season two Whedon expanded and deepened the importance of the story arc. Unlike in season one, many season two episodes are fully devoted to the on-going story arc and character evolution. This shift played to the strengths of the series.
Joss wrote and directed the first episode of the season,
When She Was Bad.
This episode was a wonderful follow-up on
Prophecy Girl.
Joss again broke convention by showing the dark side of Buffy, which, as it emerges, is a reaction to the intensity of fear she experienced in facing the Master. This episode, in showing a victory that has consequences and a superhero with scars, is part of Whedon’s on-going efforts to remind the viewer that Buffy remains human and vulnerable, however strong she may be.
 
Alyson Hannigan (Willow)
 
One of Joss’ most critical insights in creating
Buffy
was his portrayal of Willow. It would have been easy to make Willow the mousy, brainy sidekick so frequently seen on TV and in the movies. But Joss’ Willow is as complex a character as Buffy—meek but courageous, smart but sensitive, intensely vulnerable but surprisingly tough. The role of Willow has turned out to be central to the series and it’s hard to imagine a better Willow than Alyson Hannigan. No character on Buffy has evolved as much as Willow, but Hannigan manages each transition—from shy virgin to werewolfdating Wicca to lesbian addict to ‘evil Willow’—with aplomb.
“There was a certain innocent strength about Alyson that came through when she was reading for the part,” Whedon says. “She seemed confident one minute and the next she was so vulnerable. Of course it took us a while to see how good she would be in the role. Much like Sarah we put Alyson through hell. The network had their pick and we had ours and it was a big push and pull kind of thing.”
 
 
Alyson Hannigan hangs out with boyfriend Alexis Denisof.
“I seriously thought there was no way I was going to get the role. We auditioned and auditioned,” says Hannigan. “It got down to just a few of us and I didn’t think I had a prayer. ”
A few weeks later she got the call that she had won the role.
“I know everyone says this, but I really was shocked,” Hannigan laughs. “I couldn’t wait to start work. I was just so excited.”
From the beginning Hannigan felt a kinship with the Willow character. “In some of those early shows Willow is afraid to speak out and I know just how she feels,” says Hannigan. “I’m better now, but there were times in my life when I just couldn’t speak because I was so afraid. Do I understand that whole not fitting into high school thing? Yes! ”
“We, Willow and I, have a great deal in common. I’m incredibly shy and worry about what others might think. That is so much of what Willow was about in those early days. I like that she was smart and sort of bookish. She’s also had a chance to experience life in a way that most people don’t, and as an actress I’ve had that same thing. So there’s a lot of me in her and vice versa.”
There’s something else the character and actress share. “You aren’t expecting anything and then all off the sudden Ally says something that makes you bend over laughing,” says Brendon. “Let’s just say for such a sweet woman she can say some pretty wild stuff.”
Like Gellar, Hannigan has been in the acting business since she was a toddler, when she began doing commercials for Oreos and McDonalds. When the Washington D.C. native was 11, her family moved from Atlanta to Los Angeles where she appeared in the films
My Stepmother is an Alien
and on the television shows
Almost Home, The Torkelsons
and
George.
On
Buffy
Hannigan has made the best of the skills she’d honed in her early acting career, and over the seasons she enlarged her character into a complex, multi-faceted individual. As a result, fans have watched Willow evolve from a mousy doormat to sexy powerful Wiccan.
“You know I’ve grown up too,” laughs Hannigan. “I used to worry all the time that I’d do or say the wrong thing. I was always putting my foot in my mouth. Now I’m used to the taste of feet. And, like my character, I’m a lot better about speaking my mind.”
Let’s just say for such a sweet woman she can say some pretty wild stuff.
—Nicholas Brendon
 
 
BOOK: Joss Whedon: The Genius Behind Buffy
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