Das Set
Von all den Set-Besuchen der letzten Zeit ist der hier der spannendste:
Usually sets are built on the floor level, but this set — which is the office of Adelle DeWitt (Olivia Williams), the manager of the "Dollhouse" — is elevated so that they can shoot a floor-to-ceiling skyline through the windows. The dollhouse itself, which is a sort of dormitory/office complex for the "actives" — including Eliza Dushku's Echo — is all underground, and Adelle's office is the only part of it that is above the ground.
Zu Adelles Office:
Interestingly, Adelle's desk is facing away from the door and toward the windows, so that her back is to the door. "I didn't want to do the standard, come-before-me- and-my-desk thing," Joss said. "I found it interesting that she would be the kind of person who wanted to look at the world rather than into her own space. Also, it means that if you enter the room, she doesn't have to look at you, which is a power play."
But though you can see Adelle's computer screen when you enter her office, you cannot see the widescreen monitor in a niche to the left of her desk, on which she can observe everyone in the dollhouse. "Adelle is — she's not ruthless; she's ruth-deficient," Whedon quipped about the character. "She could use a little more ruth. She's pretty tough, but luckily she's British, so … somehow everything she says is nice."
Robots? Zombie-Slaves? Oh yeah.
Next, we visited the coed showers that all the actives use, prompting Eliza Dushku to do an impromptu stroll through so that we could see just how much of her we could see through the shower walls (answer: not much).
Although Whedon and the reporters joked about the titillation factor, the showers do have a metaphorical raison d'etre. "The whole point about this environment is that it's completely innocent, as somebody said, 'a garden of Eden,'" Whedon said.
He continued: "Actually, amazingly enough, we were just going to build them for the pilot, and they keep turning up in episode after episode. Those wacky writers! Sometimes for a very good reason, because as innocence starts to fall away, other things start to become noticeable. The more they interact on that very childlike level, the more we can then corrupt them." He added jokingly, "And America!"
We visited the actives' dormitory next. It's a circular room with five sleeping pods sunken into a slate ground, and the Zen-like decor softens the creepiness of the coffin-like sleeping arrangements. Each one slides shut with a plexiglass cover so that when the actives are asleep, they're basically put away — like dolls, of course.
Whedon said that he wanted to create "something that was a little womb-like, a little coffin-like, and a little bit like no matter how free they feel coming and going into the dollhouse, in essence they are completely trapped."
Usually sets are built on the floor level, but this set — which is the office of Adelle DeWitt (Olivia Williams), the manager of the "Dollhouse" — is elevated so that they can shoot a floor-to-ceiling skyline through the windows. The dollhouse itself, which is a sort of dormitory/office complex for the "actives" — including Eliza Dushku's Echo — is all underground, and Adelle's office is the only part of it that is above the ground.
Zu Adelles Office:
Interestingly, Adelle's desk is facing away from the door and toward the windows, so that her back is to the door. "I didn't want to do the standard, come-before-me- and-my-desk thing," Joss said. "I found it interesting that she would be the kind of person who wanted to look at the world rather than into her own space. Also, it means that if you enter the room, she doesn't have to look at you, which is a power play."
But though you can see Adelle's computer screen when you enter her office, you cannot see the widescreen monitor in a niche to the left of her desk, on which she can observe everyone in the dollhouse. "Adelle is — she's not ruthless; she's ruth-deficient," Whedon quipped about the character. "She could use a little more ruth. She's pretty tough, but luckily she's British, so … somehow everything she says is nice."
Robots? Zombie-Slaves? Oh yeah.
Next, we visited the coed showers that all the actives use, prompting Eliza Dushku to do an impromptu stroll through so that we could see just how much of her we could see through the shower walls (answer: not much).
Although Whedon and the reporters joked about the titillation factor, the showers do have a metaphorical raison d'etre. "The whole point about this environment is that it's completely innocent, as somebody said, 'a garden of Eden,'" Whedon said.
He continued: "Actually, amazingly enough, we were just going to build them for the pilot, and they keep turning up in episode after episode. Those wacky writers! Sometimes for a very good reason, because as innocence starts to fall away, other things start to become noticeable. The more they interact on that very childlike level, the more we can then corrupt them." He added jokingly, "And America!"
We visited the actives' dormitory next. It's a circular room with five sleeping pods sunken into a slate ground, and the Zen-like decor softens the creepiness of the coffin-like sleeping arrangements. Each one slides shut with a plexiglass cover so that when the actives are asleep, they're basically put away — like dolls, of course.
Whedon said that he wanted to create "something that was a little womb-like, a little coffin-like, and a little bit like no matter how free they feel coming and going into the dollhouse, in essence they are completely trapped."
wiesengrund - 29. Juli, 23:27
