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 Jane Espenson [scénariste, productrice]

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 25 Juil - 16:36

Citation :
Buffy Vet Jane Espenson Teases Torchwood Sexxxiness, Once Upon a Time's VIP Guest


Genre-TV vet Jane Espenson is a bit of a rock star at events like the San Diego Comic-Con, given that her extensive writer-producer resume includes tours with Buffy the Vampire Slayer, Tru Calling, Battlestar Galactica and Dollhouse. As such, the scribe was warmly welcomed to hold court in TVLine’s SDCC interview suite, where she looked back on Buffy‘s enduring legacy as well as dished on her latest projects, including an especially sexy coming episode of Torchwood: Miracle Day, Game of Thrones, a wild new web series, and ABC’s fall debut Once Upon a Time, where, the co-executive producer told us, a real “princess” of a guest might soon turn up.

Vous avez une interview vidéo d'elle ici (à la suite de l'article) : http://www.tvline.com/2011/07/comic-con-jane-espenson-torchwood-once-upon-time/

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 1 Aoû - 16:09

Jane Espenson parle de sa nouvelle série :

Citation :
Jane Espenson discusses her new online series “Husbands”

The prolific Jane Espenson took time out of her busy Comic-Con schedule to talk with Whedonverse about her upcoming online series, Husbands, along with her latest television work. Husbands is a first on many levels: a new web venture for Espenson, and “first marriage equality comedy.” The idea for the project got its start with her friend Brad “Cheeks” Bell who co-wrote the script with Espenson.

According to Cheeks, he approached Espenson with a comedy pilot that was initially a Will & Grace type of story, which over discussions evolved into a classic sit-com scenario ala I Love Lucy, but with a twist: a romantic comedy that’s “Mad About You with two guys.”

Together, they polished the script, including holding table-readings with sit-com writers, until Epsenson says, they ended up with a “script that is so sharp… [that] is so ready for television, but television is not ready for it.”

In addition to Cheeks, the cast is rounded out by actors Sean Hemeon and Caprica-star Alessandra Torresani.

The production will be self-producing and financed for the web, spanning eleven two-minute episodes, which when complete, will be available as a standard 22-minute pilot. By putting it online, says Cheeks, they can prove “this works… there’s a demand for this.” According to the site’s blog, the first footage was in the can as of July 30.

Espenson notes that the final version will launch during the same period as when TV series premiere, and be ready by September.

To catch the series as it develops, check out: HusbandsTheSeries.com

See our full interview below — and Espenson’s discussion of how she got advice from Joss Whedon and Felicia Day on producing for the Web:





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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 6 Sep - 9:18

Trailer de la nouvelle série de Jane, "Husbands" :


Citation :
Husbands Preview: Jane Espenson's Webseries Is A Newlywed Comedy

As a Jane Espenson fan, I’m always on the lookout for her work and coming soon, that’ll come in the form of a webseries called Husbands. Penned by Espenson and Brad “Cheeks” Bell, the story involves two recently married men, and based on this clip, we should probably be prepared to laugh.

Husbands stars Brad “Cheeks” Bell (also a producer/writer on the webseries), and Sean Hemeon who play husband and husband. Also among the cast is Allessandra Torresani, whom Caprica fans will recognize from her role as Zoe Graystone in the BSG prequel series. Espenson commented briefly on the project at Comic-Con back in July, describing Husbands as, “a newlywed comedy in which both the newlyweds are guys.”

I’m eager to see what Espenson and Bell do with this new webseries. I consider Espenson to be the among the elite of today’s TV writers. She understands the importance of comedy in drama and knows how to write real, human scenarios and dialogue that viewers can connect with. (See her work in shows like Buffy the Vampire Slayer, Battlestar Galactica and just about everything else she’s written for.) I’m less familiar with Brad Bell’s work, but given the company he’s in, I’m expecting something really special in Husbands.

Below is the clip, which was released last week. It doesn’t give much away, other than that the couple is newly married and a bit anxious about the situation, and that Torresani’s Haley seems to be embracing the art of chat-speak.


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 20 Sep - 18:02

Voici les trois premiers épisodes de "Husbands" ! ^^ (ça dure que quelques minutes en fait !)


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 20 Sep - 20:19

hihi c'est sympa comme tout^^ Et ya Nathan Fillon dedans !!
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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Dim 2 Oct - 16:52

Jane sera présente à une convention, "GeekGirlCon" :


Citation :

Announcing Jane Espenson as a GeekGirlCon Special Guest!

GeekGirlCon adds television writer and producer Jane Espenson as a special guest. Espenson will appear at GeekGirlCon on Saturday, October 8th at the EMP Museum’s Oral History Live!, GeekGirlCon’s “Whenodnistas” panel, and to greet fans at the convention. Espenson has worked on such renowned programs a Buffy: the Vampire Slayer, Angel, Firefly, Battlestar Galactica, Caprica, The O.C., Dollhouse, Game of Thrones, and Torchwood: Miracle Day. She currently writes for ABC’s Once Upon a Time and is a co-writer and the producer of the original web-series, Husbands. She is also a co-creator of Syfy’s Warehouse 13.

Espenson joins curator of Battlestar Galactica: The Exhibition, Brooks Peck, for an intimate 90-minute interview at 1:00 PM at EMP Museum’s JBL Theater. Tickets are required for this event and available for $10.00 through Brown Paper Tickets (http://www.brownpapertickets.com/event/192821). GeekGirlCon pass holders can receive a code for 50% off discounted tickets to this event by emailing info@geekgirlcon.com. Visit empmuseum.org for more information on the museum’s Oral History Live! program.

Espenson, who did a special interview with the book’s editors for Whedonistas: A Celebration of the Worlds of Joss Whedon by the Women Who Love Them, will also appear at GeekGirlCon’s “Whendonistas” panel on October 8th at 5:30 PM at the EMP Museum’s JBL Theater. In addition to Espenson, the panelists include Whedonistas contributors Nancy Holder (October Rain, The Watchers Guide), Teresa Jusino (Tor.com), and Mariah Huehner (IDW Comics). Hear these women talk about their essays, examine Whedon’s work, and read excerpts from the book. A pass to GeekGirlCon is required for entry.

Espenson grew up in Ames, Iowa where she watched too much television, and at age 13, she attempted to write an episode of M*A*S*H. She studied linguistics at UC Berkeley. While still in graduate school, Espenson submitted spec episodes of Star Trek: The Next Generation, thereby wedging her tiny foot into the last open door of show business.

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Ven 16 Déc - 17:18

Un petit mot de Jane Espenson sur le site Huffingtonpost :


Citation :
Is TV Writing the Best Job Ever?

Hello, Gentle Readers. Who's up for a good blogging? I know I am!

I used to blog on my own site, expounding on the art and craft of television writing. But I stopped one day when I realized that I had expounded myself into the ground. There was nothing left for me to teach. That was a few years ago, though, and since then I've learned new things and refined my thinking on a lot of the old things. Right now, I'm writing for the network hit Once Upon a Time (ABC), and for my own web series Husbands, so I'm topped off to overflowing with knowledge.

When I get a chance, now and then, to contribute to these pages, I can explain how storytelling has to change as audiences get better at anticipating twists, and how to write compelling stage directions, and how to deal with the fact that you can't goddamn swear on the TV, but right now I'd like to start out by addressing the fundamental question: IS TV WRITING THE BEST JOB EVER?

Well, it is stressful. Parts of it can be awful, just awful. You will make mistakes that will be broadcast to millions of people. You will be kept away from your bed by work, and kept awake in your bed by worry. You will almost certainly be made fun of by people with cruelly fast wits. You'll be rewritten. You will have to say "thank you" when complimented for lines you didn't write. You will have to bite your tongue when criticized for choices you didn't make. You'll be asked to make decisions about costumes and hairstyles. You will have to compromise your vision because an actor or set or special effect or executive isn't cooperating. You will be punched in the self-esteem. You will cry.

The answer is YES.

It's the best job ever, because as down as that downside is, the upside is so much upper. The up is so up even the down is up. You are handsomely paid to sit around with intelligent people, talking about a TV show. You laugh all day long. And if you're writing for a comedy, you get to stay late and laugh all night, too. You quite probably drive through the big gates of a Hollywood studio on your way to work, just like Lassie did. And sometimes you get to put computer to paper and put words in the mouths of talented actors who then, get this, act out your story for you. That part is crazy. Even after 20 years, it still seems nuts to me that these gorgeous talented people breathe life into words I wrote. And if that weren't enough, another talented person points a camera at it and shows it to everyone you went to high school with. It's frakkin' amazing.

It does suffer a bit from being hard to attain. People talk a lot about how hard it is to get into TV writing. And that's true. But there are new TV writers every season. I see them showing up, shiny and scared, every year. Also, there is the new and amazing world of web series, which meets almost all of the goals except the part about the handsome pay. I recently entered that world with Husbands The Series, and found that not only did it provide most of the upside, it also avoided a lot of the downside. You get to hear the words you wrote all the more clearly when you're listening just to satisfy yourself, not several layers of bosses.

TV writing (and web writing) is the best job ever. I feel lucky every day. I learn every day. And they pay for lunch every day. Score. Hang around and I'll tell you what I know.

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 5 Mar - 20:47

Source : welcome-to-sunnydale


Et voilà, tout le Whedonverse en une phrase lol!

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 6 Mar - 0:57

Haha, je l'adore ^^

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Sam 17 Mar - 14:51

"Husbands" va avoir une seconde saison !


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Jeu 22 Mar - 17:38

Deux vidéos de Jane pour "Husbands" (SPOILERS !), elle parle également de "Once Upon A Time" :

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Jeu 22 Mar - 17:38

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Sam 24 Mar - 10:51

Nouvelle vidéo interview de Jane Espenson :


Elle y parle notamment un peu de son implication dans la saison 9 en comics de Buffy et elle dit qu'il y a deux nouveaux personnages que les fans de Buffy & Husbands vont aimer ^^
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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 23 Avr - 10:49

Une nouvelle interview de Jane, en 3 parties, avec la version audio sur le site :


Citation :
Raphael Sbarge (Jiminy/Archie, Once Upon a Time) chats with writer Jane Espenson (Once Upon a Time; Husbands; Buffy the Vampire Slayer and so much more), in his latest audioblog conversation. In part one, they discuss how Jane became a writer.

Raphael: Jane, it’s Raphael.

Jane:
Hey, Raphael.

Raphael: Hey there. So, thank you for agreeing to do this. How fun, to get a chance to talk to you about kind of what you’re doing. In the full disclosure of how this is, essentially, you and I are working together, obviously, on Once Upon a Time, but I know that you are working in other venues. I’m particularly interested in talking about what you think about what you’re doing with your Web series.

But I thought, to kind of just use … I wrote up some questions, almost like a blind interview in a certain sense – knowing some of the answers? But for other people who might not know some of the answers, sort of them getting a chance to discover you. If you’re game, then I can sort of jump in from that.

Jane:
I think that sounds marvelous. I’m more than game; that sounds wonderful.

Raphael: OK, great. So then, let’s get started: For anyone who’s not aware of, from whence you come. I mean, I love this story – how you started writing, or how you came to it?

Jane:
Yeah. I grew up in the Midwest, a professor’s daughter in the middle of Iowa – Ames, Iowa. And I knew I wanted to write for TV, but it didn’t seem doable.

I grew up watching a lot of TV; it was in some ways, a golden age. There was a lot of, sort of … The Odd Couple, and M*A*S*H and Mary Tyler Moore, and like, Barney Miller – these amazing shows. There was also a lot of Welcome Back, Kotter and The Love Boat, and other shows that I loved equally well, and other shows that I loved equally well, and without distinction. And I just, I knew I wanted to write for TV. And I read an interview with one of the writers from M*A*S*H – a woman writer – talking about people sending in spec scripts. And I realized that’s what I wanted to do.

I didn’t really get a chance to try it — because it wasn’t clear how you did that important step of actually sending something in – until I was well into grad school. I discovered that you could submit scripts to Star Trek: The Next Generation totally without an agent: You just had to send it into Paramount, and they would read it.

Raphael: That’s amazing. Is there anyone who still does that?

Jane:
No – and nobody did it then! It was weird, then. Star Trek is, as far as I know, the only show that ever did it. The Star Trek shows always had that policy, and nobody else ever did. And right now, there doesn’t happen to be a Star Trek show on the air. So that door’s not there; but in fact, in a way, that step was kind of skippable.

Because what that program got me … I mean, I eventually got a sale. I sold the premise to them, which was $1,000, which at the time was like, some massive amount for me. But what it really got me was someone told me about the Disney writers’ fellowship. And so I technically could have done everything else the same in my career, without Star Trek, as long as there had been someone along the way to tell me about the Disney writers’ fellowship, because that’s what really allowed me to move to town and start doing this as a career.

Raphael: And what’s that, I guess? How does that work?

Jane:
That still exists. It’s the ABC/Disney writers’ fellowship. If you just search ABC Disney writers or talent development, words like that, you’ll find it. It’s gotten a little harder to get in, because now they require some industry experience. But if you have that, if you have some industry experience, it’s become a much smaller pool, so it’s easier to get in. So that’s good.

But it’s a program that Disney runs here in Burbank, where they bring in young, aspiring writers, and you get a year’s training with them. They pay you, which is amazing. And you work with executives; you meet showrunners; you write scripts; and they place you – they do their very best, and they do a very good job at it, of placing you on one of their shows. … It’s to the benefit of the show-runner, because they get a writer whom they’re not paying – the fellowship pays for them – and it’s to your benefit, because you’re sitting there, in a professional writers’ room, just like the paid writers, and if the show goes and they like you, you will undoubtedly be hired, for realsies.

Raphael: That’s incredible – that’s incredible.

Jane:
Yeah, it’s fantastic! It’s absolutely fantastic. And it’s made applying – or, it’s made getting into TV writing a little more like an ordinary job. It used to be that essentially you would get into a program – Disney has one, NBC has one – there’s a few, like Disney. You’d get into that program, and it was like you won the lottery. And it was about as easy – and, you know, it made about as much sense. It was just, the odds were so high, that of the thousands of scripts submitted, yours would be picked and you’d get to do this.

Now, it’s a little more like applying for a job; there’s steps to it. Generally, you move to L.A. You’d get some kind of job on the fringes of the business: You’re an agent’s assistant, you’re a set P.A. You’re something like that. You meet a couple people, you get a letter of recommendation, you can say you’ve got industry experience. You apply to the program; you’re applying against a smaller group of people. It’s a little more like trade school, now, where there’s actual steps that you do to get this job. So, in a way, it’s made it a little more logical.

Raphael: That’s great. And I’m sure you get asked all the time, “How do you become a writer?” I mean, I know I get that as an actor, like: “How do you/What do you do,” and it’s always a bit overwhelming because there’s no obvious road. It’s so zig-zaggy, in a way.

Jane:
Absolutely. It’s much like what I’m sure you’re asked about: “OK, I know I’m good! How do I become a professional, Hollywood paid working actor?”

Raphael: Right! And of course, I wanna say, “Don’t! Just run for the hills!”

Jane:
You know, a lot of writers give that advice. They talk about, “This job will make you cry. Only do this job if you can not sleep at night without writing. If you can do anything else, do it.” But I would tend to disagree and say that writing is the best job in the world. I have loved almost every minute of it. You’re paid very well, you’re working with exciting people. What’s the downside? You’d be crying at any job, you know? All jobs make you cry at some point.

Raphael: That’s really true! That’s really true. What was your first big break, I guess, in terms of moving up that ladder?

Jane:
The first big break was that they liked my script enough at Star Trek to bring me in to pitch. Then that they bought something, then that I got into the Disney fellowship – that was a huge one.

But after that, I guess it probably was that a very nice showrunner at a show called Dinosaurs allowed this young Disney fellow to come clutter up his writers’ room at a point where they were essentially wrapping things up. They were pretty much putting the covers on the furniture. They knew the show was ending; they had to do the last eight episodes, or whatever, and they let a new person, this kid who didn’t know anything about the business – I mean, I just sort of came in, making every mistake in the book. And they let me come in, and sit in their room for that last month and get some room experience. And it was amazing, and I got a produced script, and there’s just nothing like that to help your resume start to look shiny. That was a big break.



Raphael: Now, in terms of the kind of writing you’ve done, I mean: You’ve been prolific. I mean, obviously, more recently, The Game of Thrones, and Buffy, Deep Space Nine, Torchwood, Gilmore Girls – obviously, you’re currently still working on Once Upon a Time.

In terms of the style of the writing, or where you feel most comfortable, it seems to vacillate between sort of sci-fi and comedy. Is that a fair assessment? … We all hate to be slotted, but in terms of where you feel your strength is, is that where you feel it is?

Jane:
Well, it’s certainly where I’ve been employed. There’s a certain truth to your impressions, I guess. Yeah, I’ve been employed in genre and comedy, and I love them both – and genre comedy is the best of all. And to a certain extent, in TV writing, you end up in a combination of where you got established and what you like to write. And they’re not always the same thing.

I worked with a comedy writer early in my career, who’s a veteran writer. He’d been writing for 18 seasons of TV, and had never once worked on a show that he would watch. And that probably happens more than you’d like to think. You can be a working comedy writer who writes shows for kids, and it’s not a show you’d ever watch. Maybe you respect it for what it is, but it’s not something you’d enjoy watching. That can easily happen. I’ve been really lucky, that the stuff I’ve been hired on is the stuff I like to watch. I actually think that’s a good recipe for a happy and prosperous career, because you can only know if you’re writing it well if it’s something where you can taste the dish as you’re cooking it, and go, “Yeah, that’s delicious. I’d watch that.” But a lot of people don’t get to do that, so I guess sci-fi and comedy are both good fits for me, and I’ve been lucky to be able to do both. But I’ve done other stuff.

Raphael: You’ve done short stories, too, right? I mean, you’ve done that, right? And you’ve edited other books as well, I guess?

Jane:
Yeah. I’ve edited books of essays about shows I’ve worked on, pretty much, and I’ve written short stories – usually tied to a show I’ve worked on. And that’s all been good. Written a lot of comic books. But TV writing is really my real love. I always enjoy writing a TV script better than doing those things. Although I know someday I want to write a how-to-write-for-TV book, and I think that will be a blast.

But yeah, generally, if you’re an aspiring writer, I recommend: Write what you want to watch. If you’re trying to think of an idea for a pilot, ask yourself, “What show am I missing in my viewing lineup? What do I wish I could turn on the TV and see right now?” And write that. And the interesting thing is, I started in comedy. Spent a lot of years in comedy, and I went to hour drama. And Buffy‘s as comedic as any comedy. There’s as many jokes per page in Buffy as a comedy.



But then I worked on a show called The Inside, that was very procedural, and I worked on Battlestar, that’s quite dark. And eventually people stop thinking of you as a joke writer. I had a meeting at a very light hour, a very comedic hour, and they asked me, “So, why do you want to try comedy?” And it’s like, “I’m not just trying comedy, dudes. I’ve been doing comedy.”

But very quickly, your reputation moves to the last thing you did. So that’s a thing that veteran writers I think sometimes have to look out for, is keep your reputation fresh. I’m really happy that Husbands is a comedy, because it sort of reminds people that, like, oh, I’m not just a drama writer. I’m a trained joke writer, too.

Raphael: Right. Right. I want to get to Husbands, definitely. I had a couple more things which I wanted to hit on before we get there, which is just, for anyone who follows you on Twitter: You’re a prolific Tweeter, and …what is a “writing sprint”?

Jane:
This is a little thing …

Raphael: Because I see you, like, “I’m going into a writing sprint!” And I always think, “What is that?” I guess I want a visual.

Jane:
Yeah. It’s so silly. It’s the silliest thing in the world. It’s just a way for me to say, “Hey, I really need to write now. But I’m finding it hard to get started. I’m having too much fun here on Twitter. So what I’m going to do, is I’m going to announce on Twitter that I’m going to go write for an hour. And I won’t be tweeting. And you all know that I promised, right? So you’ll keep me honest.”

Raphael: That’s great! It’s like reverse-engineering the way Twitter actually, oftentimes kind of sucks your day away. In this case, you’re actually using it almost like a timer, right?

Jane:
Yeah, exactly.

Raphael: That’s great.

Jane:
So I need to do an hour’s worth of work. I think it really helps to do assignments by the time, not by the task. You get more done if you say, “I’m going to work with tremendous focus for an hour,” than you do if you say, “I’ll work until the scene is done.” Because then the scene will take an hour, where if you just say, “I’ll work for an hour,” you may get three scenes done.

But the innovative part of the sprint is that I say, “You guys at home, do the same thing. If you’ve got an hour right now, sit down with me. You’ll get that feeling of community, that feeling that you get when you’re sitting in the reference room at the library, working, and everyone around you is working, too. It’s like, “I’m not alone. There’s someone else out there working, too.” And so people work along at the same time I do, and people have started hosting their own sprints, so it’s them and their followers sprinting.

And I get people every day, saying, “I finished my dissertation.” “I wrote my screenplay.” “I finished my novel because of your sprints.” And it’s made me realize how rare it is these days for anyone to work for an hour without checking their email, sending a tweet, getting a text, getting a call. That an hour of focus has become something people haven’t had in years, and they’re getting huge amounts done. If there’s any spike in productivity this year, and the American economy, I think it will be because of the amazing people who have adopted my little Twitter trick to make myself work, because people are out there working. And I’m so thrilled to see people getting stuff done.

Raphael: That’s so great! That’s just thrilling.



Raphael: Well, let’s talk about then, Husbands. What was your inspiration for this? How did you come upon this?

Jane:
Well, there I was, on Twitter – I was actually on YouTube, and I found these very funny comedy videos that were done by a young man named Brad Bell, who created this YouTube persona of Cheeks. So it was sort of, you know, “Watch Cheeks express an opinion! Live his life. Do a funny thing.” And I thought these videos were so funny, so I found him on Twitter, and reached out to him, and we became friends. We write with a very similar joke voice, and we started talking about what could we do together? And he had an idea for an Internet show that he was playing with. And I just felt like, that is so close to being brilliant. What could you do to that to make that feel like, absolutely, of the moment, there’s a reason to tell this story, which is something that comes out of the Joss writers’ room: There’s a reason to tell the story. And he said, “Well, what if this is about a young, gay, married couple?” And I was like, “Yes. That’s fresh, it’s new. TV will be doing that show in five years; let’s get there first and do it right.”

And so we created the show Husbands, that we then wrote and shot, and put online, and it got this huge, this tremendous response, way beyond what we expected. So now we’re gonna do season two. So this is, I adore Once Upon a Time. During the season, Once Upon a Time has my full heart and focus. And then, during the hiatus I go and I work on this other show, called Husbands, where I’m the showrunner. Cheeks and I run it together, and we’re the creators and co-writers and showrunners of this little show. And it’s very, very fulfilling. It’s fun to have a thing where you’re the boss.

Raphael: I bet, I bet! It’s so hands on. It’s so, where you’re literally in every little nook and cranny of what you’re making, aren’t you?

Jane:
Absolutely! And I’ve got a feeling that your work at the Begley show is very similar, and perhaps even more so. I’ve got a line producer doing a lot of stuff for me; I’ve got a feeling you may be even more hands on than I am.

Raphael: You know, we’re working sort of from a reality format? And then really finding stories as we go, against the building of this house. But it makes me think sometimes, with new media, what it must have been like when people got off at the end of the train line and came to Hollywood. You know, and said, “Oh yeah, it’s pretty here. Let’s set up shop here. Let’s put on a show, essentially. I got a barn.” And that it sort of began from there. It really … it is as big as your imagination. Clearly, it keeps changing – the ground under your feet changes as you go. That’s sort of what I find so, a little thrilling, and at times makes you gasp.

Jane:
Absolutely! Just a week will go by, and suddenly the rules are different. Yeah, I think that analogy to early Hollywood is very apt, that there was no system in place. They had to figure out what they were doing, and how it was going to work. And then, “Oh, suddenly, sound’s coming in! Well now all of the soundstages have to be soundproof. What are we going to do? OK, staple mattresses to the walls! Look, it’s a soundstage, not just a stage!” I feel like we spend a lot of our time stapling mattresses to the wall. “OK, this is how it works now!”

Raphael: Do you find that it’s overwhelming at times, in terms of trying to keep all the bits together, in terms of launching a show and also producing the show, being as that you’re essentially network, and also showrunner/producer/creator?

Jane:
Yes, it is hard keeping it all straight, but I actually find it’s a lot easier than being the showrunner on a broadcast TV show. I ran Caprica and found it incredibly difficult. There was no way to see the whole monster; all you could see was the little bit of the monster that was biting you that day. With Husbands, there’s that same sense that, “There’s no way to delegate this. I’m going to have to figure this out. And I have no idea what the answer is. I have no idea how to start figuring this out.” That same awful sense when you go to bed at night, with all of the problems unsolved. But at least, I really actually grasp the problem. On big TV, so often I was dealing with things that I had no experience with. And I couldn’t tell what the implications were going to be of any decision. Here, I feel like I understand the implications of the decision: “If I decide this wrong, it’ll cost this much, and here’s why.” Whereas, on TV, I was like, “If I decide this wrong, what will that look like? How will I know it was wrong?” There was something I love about the size of being on – piloting a speedboat, versus piloting a cruise ship.

Raphael: That’s a great analogy. That’s really great. You’re preparing the launch for season two. Have you begun shooting season two? Where are you in that process now?

Jane:
Our Kickstarter is actually still up. We’re still raising money for season two. So we don’t even know how much …

Raphael: Yes, and you’ve done so well. You’re at 117% or something, so you’ve done …

Jane:
It’s more like 104! But yeah, we are very pleased with how the Kickstarter is going. And we won’t know until that’s done how much money we have in our budget. A certain amount right off the top goes to the lovely people at Kickstarter. And then we’ve got to send all the great incentives – we’ve got great swag that we’re offering. So if there’s people who still want some goodies, we may be putting up some new, fresh goodies, should go – Google Kickstarter Husbands, you should find it. And so that’s still up, so we are still figuring out what we have to spend.

But we are writing the script, sort of with our dream budget in mind. And going after, we’re starting to think guest stars, we’re starting to think locations. We’re still actively scouting. We haven’t found our home base yet: If anyone out there has a furnished mansion in the greater Los Angeles area that’s available for about, I don’t know, about a week in May? We’re going to be shooting in May, and then we will be editing with the notion of having it ready to premiere along about July-ish? Along about maybe Comic-Con time?

Raphael: Very exciting! Very exciting. And no rest for the wicked, I guess, obviously?

Jane:
No, every stage is a process. There is something that means you can’t sleep. Yeah, Brad and I – Cheeks and I – were awake in the middle of the night last night, reading and re-reading a particular email that we needed to send out, and was just like, “Is it ready to go? Should we send it? What about this? Have we thought about that? Wait! Double check this! Should we say this?”

Like, the duties of a producer – and I think Felicia Day would second this – it is, it’s a heck of a big job, and there’s a lot of moving parts you don’t even think about when it comes down to, like, just styling, seating, cameras. Stuff that one is not used to thinking of when you’ve spent a lot of years as a writer, where the machine is surrounding you and you can sort of count on certain things to happen. When it’s an online show, you have to make those things happen.

Raphael: It’s all you! Right, exactly. There’s no one to blame but yourself, right!

Jane:
Yeah! If there is no food, there are no chairs on the set, or whatever. It’s like, oh, well! Chairs! Right! Chairs.

Raphael: That’s awesome. Well, just for those people who follow your other hat, essentially, and that’s where you are also, sort of a supervising producer, as well on Once Upon a Time. The season is done, do you have any, as far as the writing is concerned, obviously, I guess there’s the last four episodes have yet to premiere. Are there any impressions or the highlights of the year? What an enormous wave we’ve been on. What do you make of it?

Jane:
Oh, my goodness. Could you just plotz? That we’ve got a network hit on our hands is crazy. People point at this career I’ve had. This lovely, amazing happenstance, where I’ve sort of had a lot of luck with my projects. But I haven’t really had a network hit. I mean, it’s not my hit. I’m just along to enjoy this glorious ride, and write as many episodes as they’ll let me write. But network hit? That’s something quite new for me, and to sort of see the big, glorious Disney machine so happy and so supportive, and to get to play with these amazing Disney characters. I mean, I get to write lines for Jiminy Cricket. You get to be Jiminy Cricket. Who gets to do that?



Raphael: What’s so incredible, is, I mean, yes, of course. It’s a funny thing to be a part of a hit show – it’s what everyone wants, right? But the thing that I keep sort of pinching myself about is, it’s such a good show!

Jane:
Yeah!

Raphael: I mean, I’m such a … I’m a fan of the show. Like, the episode that was on last week? God! What a great episode! And I find myself thinking about it, and thinking about the characters. And they’re in me, living in me, breathing in me. As an audience member! I’ve never been on a show that I’ve actually so looked forward to watching, as much as, obviously, also working on it. It’s a funny thing. It’s sort of lightning in a bottle, isn’t it?

Jane:
I agree, and I think what you’re saying is very powerful, and potent. I think sometimes we fall into the trap of thinking that commercial is schlocky, or something. That you’re either on a network hit, or you’re on a critical hit. Who likes it: Is it the audience, or the critics? We’ve got a show that’s getting both. Which is remarkable. That it’s quality, at the same time that it’s popular. I mean, when you think about it, those things should go together.

Raphael: They should, but they almost never do. They almost never do.

Jane:
Human beings should like good things. So, yeah, I could not be more delighted that we are making a thing that is a crowd pleaser, but also something that the critics enjoy, that we all enjoy, that gets in your head. I agree, I also find these characters to be very alive, even when they’re not onscreen. Yeah, and thank you so much for your work as Archie, and as Jiminy. You know! Excellent, excellent cricket work.

Raphael: Oh, and thank you, for everything you do. I mean, just the breadth, and the range, and the depth and the emotion, and the surprise and the intelligence is just searing. Searing. So, anyway, Jane, thank you so much for spending this time, and I’m sure everyone will be so excited to hear you talk about what you’re doing, in your own words, and all the things you said for aspiring writers, as well as also fans of both Once Upon a Time, and then Husbands, and all your other work. So, thank you for all you do, and looking forward to both of our next writing sprints.

Jane:
That’s right! And anyone who’s curious about Husbands should go to husbandstheseries.com, and they can watch all of season one. And might as well fasten your seatbelts now and just sit there and wait for season two.

Raphael: Fantastic. Fantastic. Well, well done. Well done. We’ll be talking soon. We’ll revisit again, around the premiere.

Jane:
All right, thank you Raphael.

Raphael: Perfect, thank you.

Both: Bye.



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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 23 Avr - 19:26

Nouvelle vidéo incluant Jane Espenson :

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Sam 12 Mai - 23:08

Vidéo interview de Jane Espenson et Stan Lee :

Jane Espenson - Cocktails With Stan - Ep1

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Lun 4 Juin - 0:43

Andrew Chambliss (scénariste de la saison 9 de Buffy en comics, mais aussi de Dollhouse, ou encore The Vampire Diaries), a parlé de Jane Espenson dans une de ses interviews, c'est adorable ce qu'il dit d'elle :

Citation :
I have to ask what working with Jane Espenson has been like on both "Buffy" and on "Once Upon a Time."

Jane is absolutely fantastic to work with. I'm always impressed at how good her writing is and she's such a fast writer too, but on top of that, she's just the loveliest woman. I worked with her a bit on the first season of "Dollhouse." She came in for half the season so I knew her from back then and just knew her socially. It was about the time we both got staffed on "Once," right before the season started up, that we were doing the summit at Joss' house for "Buffy." It's also great being able to go into the office and see her every day, since she is such a big part of Buffy, she's someone I can go to and bounce something off.

http://www.comicbookresources.com/?page=article&id=38979

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 26 Juin - 18:53

Nouvelle interview de Jane :


Citation :
Don’t let the ambiguous first name fool you; I’m a lady. Always have been. And, despite the beaten path previous generations of women have carved for me, being a lady has had its ups and down. The positive role models are sparse, the pay gap is insulting, and the fashion is humiliating (skinny jeans are good for no one. NO ONE.) As a child, it was easier. While the other girls braided their hair, or whatever the hell they did, I ran with the boys. We hollered into sewer grates for Ninja Turtles, built rocket ships out of cardboard boxes, and argued over who got to be Egon in a healthy round of Ghostbusters. We were nerds, or at least we would be eventually. In all of these imaginary scenarios, I never got to play a main character (with the exception of Voltron); as the only girl, my roles in the imaginary games were general limited. Of course I didn’t get to play Egon; my options were the helpless Sigourney Weaver role, or Slimer. I generally opted for Slimer (more opportunities to spit). I know this experience is not unique to my childhood. There are countless other ladies out there, children of the eighties, whose playtime was diminished by a lack of viable, heroic, female characters to emulate.

As time has gone by, and my childhood has turned to agonizing adulthood, the roles of women in nerdery have changed. We’re no longer resigned to be the boobly and helpless damsel. There’s still sooooo far to go, but we’re making headway. We, at NerdBastards, think it’s time more light was shined on the women who are transforming the role of women in science fiction. The women who are breaking stereotypes and creating science-fiction gold.

We’re kicking off our first edition of Great Women in Nerdery with one of the most notable contributors to the modern cannon of science fiction, Jane Espenson. Had my childhood contained a Jane Espenson, my games of make believe would have been rife with characters to play. From writng and producing Buffy the Vampire Slayer and Battlestar Galactica, to penning episodes of Firefly, Star Trek: Deep Space Nine, and Torchwood, Espenson has a hand in some of the most pivotal and memorable shows in modern nerdom. Her current projects, Once Upon a Time and Husbands (one of the only web series worth watching), are both one season in, and set to return for a second. We had a chance to talk with Jane and ask her about her experiences as a women in a male dominated industry. It’s not all serious faces and social politics, though. We’d be remiss if we didnt touch on the hot topics of speaking Klingon, Starbuck, and her contribution to Game of Thrones.



A large portion of your writing and producing is within the fantastical realm of science fiction. Is there something in particular about sci-fi that you gravitate towards (pun intended)? Have you had the chance to turn your childhood fantasies into “reality”?

JE:
I dearly love science fiction – I read a lot of sci-fi as a kid and loved Ray Bradbury particularly. I think I always really responded to the way that people behave as people, no matter what the setting – it’s like, if you really capture something human, it stands out all the more against a fantastic background. And I think writing with the lens of a different time or place or culture… it helps you write more honestly about our own times, because it gives you a little objective distance. Hmm… my childhood fantasies… Writing does allow you to put yourself in lots of different shoes – makes you think about how you would react if the stakes where high. I think it’s made me more grateful that I don’t live somewhere where the fate of the world is on my shoulders.

Your contribution to Game of Thrones was great! When can we expect more episodes from you? Is it more fun to write fantasy or science fiction?

I wrote an episode of Game of Thrones for season one. I’m working on Once Upon a Time now, so I don’t expect to write more for GoT, although that was an amazing experience and I love that whole team very much. I don’t really distinguish fantasy from science fiction when I’m writing them. They’re slightly different lenses, but from the emotional point of view of the character in trouble, a monster is a monster, whether it’s a unicorn, a space-based threat, or even a real-world serial killer, come to think of it. Writing is about what the characters feel as much as it is about anything, so the genre matters less, I think, than people imagine it does.

In both Game of Thrones and Once Upon a Time, you are working within the confines of existing storylines. Is this stifling to your creative process, or is it more fun to tweak the original blue print, and create something fresh?

We don’t really stick very close to the existing fairy tale storylines on Once, which is what’s so great about it – you recognize the story, but we have fun in the “here’s what you never knew” area. I’d say that GoT is the only experience I’ve had where an existing narrative determined the beats of what I was writing, and I loved it. It felt like writing from a really well-developed outline, only you also had a really good dialogue writer at the keyboard with you. I love all the little fiddly work that you do with a scene once you know what it’s about. I love that a lot more than determining which scene goes where in the grand scheme. So I found that that kind of writing was a really great fit with my style.

Can you describe some of the challenges you’ve faced as a woman in a male dominated profession, and wouldn’t it be grand if that question wasn’t necessary? Any advice for aspiring female writers?

I definitely felt that there were obstacles early in my career, but those have gone away somewhat as I’ve established myself – part of it is that I’ve surrounded myself with great writers who are inclusive and welcoming. No surprise, the best writers tend to be like that – they know they’d be fools to ignore half the talent pool. Aspiring females, don’t limit yourself to certain kinds of writing – do whatever it is you love — and remember that you’re a good writer, not just a good woman writer. Seek out programs that actively look to develop women writers, and don’t let setbacks throw you. All of this focus on underrepresentation and obstacles may make you feel like this is a hopeless quest, but as my friend Brad Bell says, it only gets better when you get in there and make better happen.

For decades, science fiction and fantasy have hyper-sexualized women, but there seems to have been a move away from this recently. Admittedly, this website sometimes relies on those old tricks to turn heads and grab attention, as do a lot of other (it’s okay as long as everyone’s does it, right?) How do you combat issues like these? Have you made a conscious move to continue this evolution in the characters you create? Sub-question: Why can’t there be a Kara Thrace in everything?

Isn’t Kara the most wonderful character? I heard a female colleague of mine recently, talking about a pilot script in which a male writer wrote very two-dimensional female characters – her theory was that it because he tried to write female characters, instead of just writing characters. I think all these decades of “women are different than us” stand-up comedy has led to male writers thinking of women as a different species with totally different psychologies and motivations. Nonsense! Just write people and all the other problems that you’re talking about go away. Starbuck is a real person – with all the same complex and frakked-up motivations as anyone. That’s why she’s so great.

You and Joss Whedon work magic together, creating some of the most noteworthy story lines and concepts in television; do you plan to continue working together? Are you going to be in Avengers 2? Can we get your word that there will be NO Buffy reboots? Pinky swear?

I do still work with Joss at times – I write some of the continuing Buffy comics, and there are other things. Of course! I’m there whenever he needs me.

What is your holy grail? What show, if any, do you wish you could write an episode for? Personally, I’d love to see you write an episode or two, or twelve, of Doctor Who. If you’re willing to nerd out for a moment, what show from your past do you wish you could have written for?

I’m so happy at Once Upon a Time and with my online show Husbands, that it’s hard to think beyond that to other current shows. But past shows… wow… Lou Grant, MASH, Star Trek, The Odd Couple, Barney Miller… too many to list!

How did the science fiction of your childhood change the trajectory of your life? What did you want to be when you grew up? Now, what do you want to be when you grow up?

I entertained other options, but TV writer was definitely something I really wanted to be when I grew up. I still pinch myself. And I still think it’s the perfect job for me. I like the idea of teaching, and I would love to be a zookeeper, but tv writing is the best gig in the world. I don’t think it was the science fiction that pushed me in that direction, though. When I thought of sci-fi, I imagined myself writing stories and novels. It was TV comedy, mostly, that made me want to write for TV.

How has your background in linguistics contributed to your career and creativity as a writer? How many languages do you speak, out of nerdy-curiosity? Side question, is it just me or do the Dothraki from Game of Thrones sound exactly like the Klingons? Of course, I’m assuming you’re fluent in both of these languages.

I only speak English, but can bluff my way through some French and less German. Linguistics, at least the variety I studied, was more about language than it was about languages, if that makes sense. I learned about structure and semantics and phonology and morphology and I recommend it as a field of study. Totally fascinating. I specialized in metaphor, which is about how language reveals the structure of how we conceptualize the world. I don’t speak Dothraki or Klingon, but my guess is that you’re just noticing similar phonemes. I’m sure they sound very different to those who speak them.

Husbands is one of the first web series to grab my full attention. It’s terrific. What are the advantages of having the Internet as a medium? Also, the world has changed a little, not nearly enough, since we last saw Brady and Cheeks. How has President Obama’s intellectual evolution on the matter of marriage equality and New York’s allowance of equal rights for same sex couples altered the tone and world of the show?

Thank you! I’m so proud of what Brad Bell and I have created with Husbands. Along with Jeff Greenstein, we’ve come up with an online show that really can meet the quality of television. Hell, it can surpass it! We are getting ready to premiere season two. It will live at the same place: HusbandsTheSeries.com, and it’s going to go up later this summer. I think people are going to be shocked at how good it is – or maybe they’ll just be shocked (!). We improved the production values, got some amazing guest stars, and the story that we’re telling this time really makes me happy. It’s a relationship story, but we’ve also got a point to make that I think people will find surprising and interesting. And yes, it totally reflects what’s going on in the world right now – there are currents in current events that we are riding like white water rapids.

Special thanks to Jason Tabrys

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Jeu 28 Juin - 11:54

Citation :
Jane Espenson's 'Husbands' To Feature Whedonverse Favorites



by Tami Katzoff

Quiz question: Who’s the most geek-friendly writer/producer working in television today? The answer is pretty obvious – it’s Jane Espenson. She’s at least partially responsible for “Torchwood,” “Caprica,” “Battlestar Galactica” and one episode of “Game Of Thrones.” Oh yeah – she’s also contributed to every Joss Whedon TV project since “Buffy The Vampire Slayer.”

For one of her current projects, Espenson called in the Whedonverse troops. Felicia Day, Amber Benson, Emma Caulfield and Dichen Lachman will all guest-star in the second season of the web series “Husbands.”

Getting the actors to participate was remarkably easy, Espenson says. “People were so eager to be involved that I definitely could have had twice the number of people that we got. We just simply stopped calling when we had the roles filled,” she tells MTV news.


Espenson credits Whedon, and the loyalty he inspires, for the unexpected turnout. “The wonderful thing about Whedonverse people – writers, actors, everybody – is that you call them and they’re there,” she says. “Every one of them was like, tell me where and when and I will be there.”

“Husbands” is a joint creation of Espenson and Brad “Cheeks” Bell, whom Espenson met after seeing his very popular (and very funny) video clips on YouTube. Inspiration for the series came out of a discussion about the classic sitcom “I Love Lucy,” which was quite groundbreaking in its day for portraying an interracial marriage and a pregnancy (TV characters couldn’t even utter the word “pregnant” back then).

“We were having a conversation about what is that today - can you even recreate that? What is the story that has yet to be told,” Bell recalls. “We sort of looked at each other at the same time and we were like, oh my God – a gay married couple!”

Espenson thought that it was “a show that deserved to exist” – a very modern take on the newlywed comedy genre. “So we decided to just go ahead and make it, so we could make it the way we wanted to do it.”

“Husbands” stars Bell and Sean Hemeon as Cheeks and Brady, a celebrity couple who wake up married after a wild night in Vegas, and Alessandra Torresani as Cheeks’ BFF, Haley. The first season, which featured a cameo by Nathan Fillion, consisted of eleven two- or three-minute episodes; season two, premiering in August, will be broken up into three eight-minute acts, similar to a traditional sitcom format.

Watching Bell on set and in post-production, Espenson was reminded of Whedon. “Brad really has the showrunner gene,” she says. She also sees Whedon’s influence on Adam Horowitz and Edward Kitsis, executive producers of Espenson’s other current project, “Once Upon A Time,” which is also headed into its second season. “I think they brought me in because they were ‘Buffy’ fans.”

Though she’s worked on dozens of TV shows, Espenson notes that “Once Upon A Time” is the first one where her bosses are substantially younger than herself. And in Horowitz and Kitsis, as well as Bell, Espenson is happy to see the impact of Joss Whedon on a new generation of showrunners. “At the same time as I, as a grown-up, was in the writers’ room with Joss, getting that lesson,” she says, “they were at home on their living room carpet, watching the TV and learning that same lesson.”

http://splashpage.mtv.com/2012/06/27/jane-espenson-husbands-whedon/?mobile=true

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Ven 29 Juin - 12:48

Nouvelle interview SPOILERS pour Husbands :


Citation :
'Husbands': EP and star on season 2 of their gay-marriage web series -- EXCLUSIVE PHOTOS

by Adam B. Vary

It’s a familiar tabloid story: Out of nowhere two celebs get married, and the media explodes with speculation and judgment. But what if one of them was an out-and-proud TV star and the other played for the L.A. Dodgers — the first openly gay pro baseball player ever?

That’s the premise of Husbands, the web series from Once Upon a Time, Battlestar Galactica, and Buffy the Vampire Slayer writer Jane Espenson and actor and YouTube star Brad “Cheeks” Bell. The first 11 episodes premiered last fall to wide acclaim — that’s no exaggeration, it got a rave from The New Yorker — and the response helped convince Espenson and Bell to try for a second season. Check out the first episode below:


“I’m not sure that we would have gone forward [with the show] other than that great response,” says Espenson. She and Bell turned to Kickstarter to gauge fan interest, and wound up raising $60,000. “Omigod, people have seen it, and they like it — they’re willing to go in their pockets for it,” says Espenson of her reaction to the windfall. “That’s an enormous gift from the fans.”

Fans weren’t the only ones eager to contribute to the show. EW can reveal exclusively that Tricia Helfer (Battlestar Galactica), Sasha Roiz (Grimm), Magda Apanowicz (Caprica), Aasha Davis (Pariah), and Clare Grant (Blake Snake Moan) will guest star on the second season, which premieres Aug. 15 on HusbandsTheSeries.com. Whedonverse luminaries Felicia Day (Dr. Horrible’s Sing-Along Blog), Amber Benson (Buffy the Vampire Slayer), Emma Caulfield (Buffy the Vampire Slayer), and Dichen Lachman (Dollhouse) also jumped at the chance to appear on the show, which Espenson says speaks for the quality of the material.

“My expectation was that it was going to be calling in favors, so I reached out to people I’d worked with and loved and knew were fantastic,” she says. “Every one of them was eager to do it, but not just as a favor. They actually wrote back and said, ‘Read the script, want to be involved.’”

So what’s in store for the newlyweds in season 2? First, it will be three episodes roughly eight minutes long, instead of 11 episodes spread out in small two-minute chunks like the first season. And second, expect the media to get some healthy ribbing.

“We realized there are two different kinds of stories we can tell in our show,” says Espenson. “We can tell the stories that you could tell on any show about newlyweds, which is really powerful because that sends a strong message that these stories are universal. And we can also tell stories that are more attuned to the issues of the day and play more off the fact that this is such a public couple. I’d say season 2 has to do much more with that, much more with them grappling with their role as people who are visible in society.”

Adds Bell, “A large part of season 2 is a commentary on television and what is considered entertainment and the double standard of certain groups of people.”

Click through for an exclusive first look from season 2, including an eyebrow-raising shot.

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Dim 15 Juil - 20:47

La websérie de Jane, "Husbands", accueillera Joss Whedon pour pas moins de trois épisodes en saison 2 !!! Ca va faire trop plaisir de le voir à l'écran !


Citation :
Comic-Con 2012: Joss Whedon Starring in Jane Espenson Series 'Husbands'



TV-creating icon and "Avengers" director, Whedon will step in front of the camera in all three episodes of his longtime collaborator's show.

Hot off an all-time box office smash and a god-like reception at Comic-Con, Joss Whedon can do whatever he wants right now. And so, never one to rest on his laurels, the writer-director-producer is taking his career in a new direction: acting.

Whedon will appear in his longtime friend and collaborator Jane Espenson's online sitcom, Husbands, featuring each of the series' three new, eight minute episodes, as the agent of recently-out and married baseball star Brady (Sean Hemeon). Brady, a Los Angeles Dodgers player, is the first openly gay active Major League Baseball player, and finds himself married to Cheeks (co-creator Brad Bell) after a drunken night in Las Vegas. It will be, as Whedon himself says, his biggest acting role yet.

"Husbands is full of the kind of whip-smart remarks you wish you'd written yourself," Whedon said earlier this month when the show was renewed. The series will premiere its second season on August 15.

It makes sense that the show is just his style; Espenson was a co-executive producer on Whedon's cult hit Buffy the Vampire Slayer, and a consulting producer on his Fox sci-fi series, Dollhouse.

The series dovetails nicely with three of Whedon's main interests: re-teaming with frequent friends and collaborators; advocating marriage equality; and producing award-winning internet series. His Dr. Horrible's Sing-Along Blog, which will be aired on television this fall by the CW, won an Emmy in 2009 and is one of the most successful pieces of web-originated content of all time.

In fact, one of his Dr. Horrible and Buffy stars, Felicia Day, will also appear this season. Last season, another Dr. Horrible and Buffy alum, Nathan Fillion (who also worked with Whedon as star of the beloved sci-fi western Firefly) appeared as a guest star.

Whedon teased a Dr. Horrible sequel this past week at Comic-Con, and joined Fillion and the rest of the cast of Firefly for a raucous and tear-filled panel discussion in honor of the show's 10th anniversary.


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Ven 10 Aoû - 16:39

Dans les coulisses de l'écriture d'Husbands, avec inclus une vidéo de Jane :


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Jeu 23 Aoû - 17:50

Nouvelle interview de Jane :


Citation :
Interview: Jane Espenson and Brad Bell talk ‘Husbands’ Season 2

Jane Espenson and Brad Bell come from different segments of the entertainment industry. She is a known and lauded producer and writer from the land of network and cable television and he is a YouTube sensation.

Apart they have conquered their own unique set of obstacles with Jane dominating Y chromosome heavy writers rooms and Brad making a bold statement about the guts, creativity, and skill it takes to excel and rise above the interweb pack. Together? Well, Espenson and Bell are re-writing the rule book and drawing the bunny-fingers around the phrase television with their web series Husbands — a hilarious, take no prisoners gay marriage rom-com that is splendidly frustrating homophobes and positively delighting those with a brain and a sense of humor.

I’ve spoken to Jane and Brad before and as always they deliver in this exclusive interview about Geek cred, raising the bar, the joys of controversy, and the shows unbelievable guest stars like Nathan Fillion last season (who wrote his own cue cards) and this season’s cameos by Joss Whedon (who brought his own wardrobe), Tricia Helfer, Jon Cryer and others.

Read on, enjoy, and share…


You took Comic-Con by storm and yet this is a romantic comedy not a “genre” show. How do you explain your “geek” following and street cred?

Jane Espenson:
Some of it comes out of my resume. I’ve written for a lot of science fiction and fantasy shows: Buffy, Angel, Firefly, Dollhouse, Battlestar Galactica, Torchwood, Game of Thrones, etc, so the Comic-Con crowd knows my name. But I think my name is just a billboard of sorts. It catches interest among those fans. The real reason Husbands has earned fan loyalty is that, just like with Sci Fi, the emotions are universal. The circumstance might look like they’re unrelatable — another planet, an alien race, gay people! — but the experience is universal. The journey is compelling. Husbands is the same way.

Brad Bell: I’ve never understood why “genre” shows are defined that way. Everything falls into a genre. Husbands, for example, is a romantic comedy. Assuming Husbands would only appeal to romantic comedy fans or gay fans — or not appeal to the Comic Con crowd because those fans only like Sci Fi — that limits the depth of the show and all fans of everything, everywhere! But that aside, I think Husbands never underestimates the intelligence of the audience. We give our viewers the respect they deserve. People like that. Especially geeks.

Are there any current web series’ that inspire you and that push you to be better?

We adore Very Mary Kate. The quality of joke writing in that little show is so perfect, so beautifully timed… it’s a step above most popular entertainment. When we work and rework the scripts, we aim higher because of Elaine Carroll’s writing.

There are a few new comedies coming up on network TV with gay main characters and what appears to be a more diverse premise. Some will quickly lump Husbands in with those shows, but do you think they need to earn a place beside you with their content? Do they need to put up and earn that badge? A followup: do you think that Husbands is helping to re-draw the boundaries of where network television is willing to go from the outside?

Brad:
Earn a place beside us? No, not at all. I mean, if other people want to point out that we were first and still remain [at the] forefront of fresh, bold comedy for the 21st century… that certainly wouldn’t bother me. But to take some kind of ownership or expect others to acknowledge us, that just makes “us” more important than the result. I hope that result is a future with diverse and ample stories from all walks of life. That’s what’s important, not who made it happen.

Jane: I don’t mind Husbands being the bar against which those shows are measured. I don’t mind that one bit. Let’s make that happen. I guess all I have to say is that there should be room in the pool for everyone. If we end up pitting all the shows with gay content against each other, then it’s like accepting the premise that only one of the shows will gain relevance. In terms of re-drawing the boundaries – yes, I hope we are an active living demonstration that the audience is ready for more than is generally thought.

The group One Million Moms has called Ryan Murphy’s upcoming show, The New Normal, “Harmful to society” and they’re boycotting it sight unseen. Do you think the press gives these kinds of protests too much attention, and in light of the attention that they get, are you a little envious that they aren’t calling you harmful to society? I mean, who doesn’t want to be a little controversial?

Brad:
Controversy is an effective strategy, but I can’t say I have “kerfuffle envy.” What Husbands has, are fans motivated by a genuine love for the show. It’s great to see people counter-protesting the (considerably less than a million) Moms — they should! But our audience gives celebratory support, not defensive support. I feel very blessed that the visibility and enthusiasm for Husbands is because of the quality; people love the show because of the show. That’s the best case scenario, no matter how big the audience ultimately ends up being.

Jane: Oh, once they see us, they may find us a little harmful. I’m of two minds about the “too much coverage” thing. Yeah, not every crazy needs a camera put on them. On the other hand, when you put a camera on them, the crazy gets really clear.


Describe for me the challenge of trying to say something about our societies views on marriage equality while also being funny. It seems to me that when funny people get too political or value being important over being comical they sometimes forget how to be funny people. On the other hand, some thrive like Jon Stewart and Colbert. How do you toe the line?

Jane:
I don’t think either of us know how to talk for very long without attempting some humor. I think it’s how most people talk, and how most people listen. We rarely have to struggle to find the funny “spin” – human beings, even human prejudice, is funny because it’s so ridiculous. I’d say we more often have the other issue, where we have to decide when to hold back on some funny phrasing in order to let a point really land.

Brad: Exactly. The conservative views on marriage equality are already so absurd, it makes our job too easy, really. “Gay marriage will be the downfall of society!” Since there seems to be very little explanation for what exactly takes us from A (marriage equality) to B (the apocalypse) our only option is to imagine the most hilariously horrible doomsday scenario in between and flesh it out.

Obviously you want to evolve from season to season. Season one was fantastic, but in what ways do you think you’ve improved upon the show this season?

Brad:
Well, the Million Moms have played right into our game by protesting The New Normal, so that’ll really give some of-the-moment timeliness to this season’s story. This time around, we use a few classic sitcom devices that are normally employed just for laughs, but we were able to use them in such a way that highlights the social commentary, while keeping the relationship at the heart of the story. By the time all is said and done, it’s about this new marriage and the love therein.

Jane: A more ambitious story. Much better production values. We raised a lot of the money for season two through a Kickstarter campaign, so this was the money we got from the fans and we wanted to make sure it all ended up “on the screen.” Plus our big guest stars like Joss Whedon, Jon Cryer, Mekhi Phifer, Felicia Day, Tricia Helfer, Amber Benson, and a lot more.


I spoke with you both and Sean [Hemeon] at the beginning of season 1 and from my perspective it seems like the show has a bit more buzz surrounding it in the days before season 2. You had a meaty write up in Entertainment Weekly, as I said before, you dominated San Diego — when was the moment that you each thought “Okay, this is clicking”?

Jane:
I knew it would be huge the minute Brad had the idea, but the moment it really hit me was the review in The New Yorker. It was a breakthrough for online content and signified more than just good press. A few months before that, we’d drawn a shockingly huge crowd at New York Comic Con, so maybe it was already happening. And the build up to the season two roll-out is beyond gratifying. We were hosted at The Paley Center for our premiere event, another first for online programming, which was just amazing.

Brad: Yeah, there have been a series of clicks. The most personal one, I guess, was when my brother in Tennessee said how much his Army buddies were enjoying Husbands — straight, gun-carrying, Tennessee, army boys. I said, “Oh you showed them my stuff?” He replied, “They already knew who you were. They pulled it up one night like, ‘You have to see this, it’s hilarious’ and I was like, ‘Yeah that’s my brother’ and they were all, ‘Cheeks is your brother?! You’re lying!’” That was pretty surreal.

As you mentioned, the fans paid for this season through a very successful Kickstarter campaign. With that comes an obligation to give them their money’s worth but you have total freedom. If you had a chance to take this to TV and make it with someone else’s money — not fans’, but a network’s money — would you choose less exposure and more freedom or more exposure and less freedom? Also, are the priorities at all different for the two of you due to your chosen path as a performer Brad, and your more established “brand” Jane?

Jane:
Can I have more exposure AND more freedom? Because that, actually, is where I think we’re headed. Freedom has to come first, but I don’t see a ceiling on our exposure – we are accessible to all. Priorities: I think we are a Venn diagram with a lot of overlap, and the overlap part is labeled “Husbands”. We both want it to change the world.

Brad: If I opted for more exposure, but sacrificed freedom (and therefore quality) why would I want to expose that product to more people? Would it be for the money? Yay. So I win and the audience gains nothing. Worse, they lose a show they loved, which I gave them. “Here you go! Do you like it? Well tough, I’m selling it so I can be rich!” How would I be able to sleep on my 3,000 thread count sheets in my palatial Malibu estate knowing that I’d taken a beloved show from the people who believed in me? I couldn’t. The happiness of my audience is more important than whether or not I have a private jet. Of course, the ideal scenario is a private jet and audience happiness. I aim to make that happen.


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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Ven 7 Sep - 21:54


lol!

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MessageSujet: Re: Jane Espenson [scénariste, productrice]   Mar 2 Oct - 20:56


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