|Date of Birth||23 June 1964 , New York City, New York, USA|
|Birth Name||Joseph Hill Whedon|
|Height||5' 10" (1.78 m)|
Mini Bio (1)
After relocating to Los Angeles, Whedon landed his first TV writing job on "Roseanne", and moved on to script a season of "Parenthood". He then developed a film script which went on to become Buffy the Vampire Slayer (1992). Whedon was very unhappy with the final film - his original script was extensively re-written and made lighter in tone. After this he earned screenwriting credits on such high profile productions as Alien: Resurrection (1997) and Toy Story (1995), for which he was Oscar nominated. He also worked as a 'script doctor' on various features, notably Speed (1994).
In 1997, Whedon had the opportunity to resurrect his character Buffy in a television series on The WB Network. This time, as showrunner and executive producer, he retained full artistic control. The series, "Buffy the Vampire Slayer" was a popular and critical hit, which ran for several seasons, the last two on UPN. Whedon also produced a spin-off series, "Angel", which was also successful. A foray in to sci-fi television followed with "Firefly", which developed a cult following, but did not stay on air long. It did find an audience on DVD and through re-runs, and a spin-off feature film Serenity (2005) was released in 2005.
Other projects have included comic book writing, the sci-fi drama "Dollhouse" and the screenplay for Marvel blockbuster The Avengers (2012).
- IMDb Mini Biography By: Anonymous
|Kai Cole||(? - present) (2 children)|
Trade Mark (9)
Personal Quotes (82)
You also think about the actors. What will challenge them? What will jazz them? What haven't I seen from them? It's just all part of the same equation. The audience includes the people making it. Actually, I think the people making it and me might make up about half of the audience. -- on if he considers (potential) fan reactions while writing
... I'd had a few drinks by the end of that memo and I'm not allowed to tell you anything. What happens in Vancouver is nobody's business. -- on what was the first thing he did when he found out "Dollhouse" was renewed for a second season
... The disconnect between movie behavior and normal human behavior starts to strain. It starts with, 'I'll drop the knife now, because it's a really good time to be unarmed while I have my back to the thing,' and goes further into, 'I'm an unbelievable asshole and also I'm doing drugs and crime and sex all at the same time, so not only might I die but I deserve to.' Punishment for youth-y behavior is bizarre to me, and unsettling.
... It's sort of an inoculation. It's 'Oh, things are so horrible' and then you get out and you're like "Oh, actually no, things are not as horrible as it was for those people and so I can go about my day.' But there's also a joy in it. It's a release, but it's not just something you get through. It's not just therapy. There's a genuine joy in being frightened that is giddy.
It was a stupid business move on their part and the network died soon after.
Had I not been so exhausted by the year of "Firefly" and "Angel" that had come before, maybe I could've fought - though fighting with the head of a network is much like not fighting, cause they just do what they do.
They pay no attention to what you say, ever.
We seem to be rebooting things that haven't been debooted yet. It's part of the culture but it's not my favorite part, I don't concern myself with it.
I think about the things that I can control and the things I'd like to do and say and I don't think about somebody coming along and having a go at it.
Look, either they do it poorly, and people will say they've done it poorly.
Or they're do it well and good for them.
Either way, I don't think it's going to make the work we did disappear.
I am unable to write about people that I don't care about and that goes for everybody. That goes for Mordecai... I love that guy! I don't necessarily want to have dinner with him, I'm just saying I love him. The point of this movie to a larger extent is these are textured interesting humans who love each other and they are being force to devolve into horror movie clichés and it's the one cliché that I'm not interested in, which is: 'Oh look it's okay, they are expendable.' They smoke pot, they have sex, so it's okay to kill them. I'm like 'When did that come into the equation?'
... It was always that everybody in this movie is doing what they think is right, including the terrifying Buckners, because they have a belief system, which writing that diary... Drew was like 'Hey, do you want to write a 14 year old girl's turn of the century diary about worshiping pain?' I'm like 'Yeah, I can do that.' 'Okay.'
You know, that was one of the great things about this. He's like 'Okay, I'm going to write a girl making out with a wolf's head! I'll catch up with you.'
Absolutely, you have to have sympathy for all of the characters. You have to understand both sides of the conflict, otherwise it's not a conflict, it's just a fight. Sometimes it's fine to just say 'Okay, bad guys are bad and we've got to get out of this situation,' but it's much more interesting, especially in a situation like this where you are going to spend a lot of time with both sides of this weird filmic equation to understand that everybody is doing what they think is best.
... You can absolutely go 'Wow, some very bad decision making went on' and we're not just talking about the pot and the sex. [laughs] At the same time, that sort of dehumanizing of people is what we were reacting to and the movie has a very sort of humanistic message in the sense of 'I will stand by my friend.' That's how humanity is supposed to work and if it doesn't work that way, then what else have we got?
The hardest was always Angel. How to make a decent, handsome, stalwart hero interesting -- tough. Angelus, on the other hand...