All language subtitles for Dollhouse S01EX6 Designing The Perfect Dollhouse_EN

Here's your official tour of the Dollhouse.
It's given by me,

the master behind the maestro, behind
the mistress who made the Dollhouse.

Stuart Blatt, our production designer,
David Koneff, our set decorator,

both did an amazing job
taking my vision, that's my vision,

so vision mine,
so clearly the most important,

and turning it into this wonderland tour.

When I started going
through it with Stuart,

I had books from Hennessey and Ingalls

of spas and different kinds of
futuristic spaces, but mostly

retreats and spas and
kind of an Eastern feel,

and that's something we went for.

Our whole idea was to create
something that was beautiful,

that was lovely to be in
and had good flow.

Not just in the sense of a space that
actors need to move through every week,

in a different and interesting
and natural fashion, but also just

flow for the eye, so that everything
leads to something else.

And it gives you a sense of tranquility,
but also a sense

that there is something in it
that you can't quite see.

Not shut down, not cubicles,
not completely cut off,

just obscured, and that's sort of about
how the minds of the people in it work.

Dr. Saunders' office is the most
cut off portion of the Dollhouse.

This represents, really, my brain.

Dr. Saunders, being hideously scarred,

and of course Amy Acker
quite homely in the first place,

we wanted to keep the Doctor in a sort of
Phantom of the Opera - like space,

where she would lurk
and not say too much.

And be able to see out,
but you can't really see in.

You can't really see her.
This is the only place

that's completely private, except,
occasionally, the imprint room.

At the same time,
it has a very lovely texture to it.

It's a very comforting space, the brown,
and it's very much about her

and how she's a good, deep,
decent person.

But actually she's twisted.

The massage area. Why?
To increase the nudity.

It's very important that people have
a good, relaxed,

I'm-Iooking-at-nude-people feel

when they watch the show, and
nothing does that better than a massage.

The gym. This makes me a little nervous.

It's a bunch of stuff
that I don't know how to use.

This is not part of the gym. This is...
I don't know what this is.

But, again,
trying for nature elements that are

both beautiful,
but a little stark and a little strange,

a little bit,
"Hey, we are actually in a cave."

And then, you know, very good over here.
I like this detail, the...

That little sculpture there,
recessed lighting.

It's a little bit '70s, it's a little bit 2008.
You know, we're bringing it.

We're standing on what was
the last element of the Dollhouse

that we decided to have

to make our poor line producer, Kelly,
insane, which is the...

We call it the Koi Pond. The Koi are
terribly coy. They do not, in fact, exist.

It's actually a pond
with a bunch of pebbles in it.

But it was expensive
and difficult and heavy.

We had a pit here, and
we didn't know what to do with it,

so we thought that a water element
would help the sort of

natural feeling of the Dollhouse,
which was the most important thing.

And then, of course, the arts area, where
we ended up having a lot of stuff go on.

Including some cutting,
which is always hilarious.

But this was always meant to be
a sort of meditation/art.

Working on bonsai trees,
working on paintings,

just sort of feeling all natural
and wonderful and peaceful and Zen.

Stay with me now.

Too many stairs, in my opinion.

Unfortunately, the construction was
going so fast

that I came in to look at it
and they had built all of this.

And you can see where Topher's lab,
on the side here, goes slightly down.

That's the level
I actually wanted it to be at.

But because it had already been built,

all I said was,
"Well, let's bring down Topher's lab,"

because I wanted the two spaces
to interact as much as they could.

So I didn't get these balcony levels
to interact with the lower spaces

as much as I wanted,

but I did get an awesome two-level effect
in Topher's lab,

which makes it a lot more fun to shoot

than if it was just one big room,
'cause people can climb over things.

And as it turns out, people really like
watching people climb over things.

I don't know why.

The chair!

We had a lot of problems with this chair.
This is the second generation chair.

First generation chair was ugly
and didn't work.

But this one is very attractive and lowers,
and the lights turn on, just like it should.

This is our science.
This is the science in our fiction.

So, spend a lot of time looking at it
because that's all we got.

That's all the science
that we figured out for this...

(WHISPERING) There's blood,
there's blood! What does it mean?

It happens in a later episode.

This is Topher's lab.
Obviously, the beating heart of everything.

Topher creates them, he...

We use this, which lowers down.
Sometimes he does it at his computer.

He sticks a wedge in there.
He creates these personalities.

He plays with a lot of toys,
he takes a lot of phone calls,

and generally panics a lot
when things are going wrong.

He's a great guy. He reminds me of me!

And the Whac-A-Mole,
which is a great sort of...

Not only a great detail,
but how I think of Topher.

They pop their heads up,
he knocks them down again.

So, I think that says everything
we need to know about him.

And coming through,
we have the upper area.

We were gonna have the gym
and some other things up here,

and then they told us what it would cost
to put a platform in for all that equipment,

and we decided that was a terrible idea.

And finally, the other stairs.

Very beautiful, very dark-woody,
very comforting.

You can see through them,

which gives you
another place to shoot through.

Actually, this came all the way down.
We added this after we shot the pilot

because we needed to be able to get in
there, otherwise we had to circle back.

And there was no flow,
which was a big problem.

So what you're looking at
is an entire soundstage...

And that is
the main body of the Dollhouse.