All language subtitles for Dollhouse S01EX4 Coming Home_EN

The requirements of all our
script supervisors is the ability to do this.

See, if they can't tap dance,
we don't want them, okay?

This is professional show business.

I'm just saying.

The process of making the show is

ultimately your life
as much as the show is.

And if it's arduous and insane,
it ain't worth it.

I think that this is a horrible place.

This is a horrible place?
What show are you working on?

(ALL CHUCKLING)

Seeing all those girls in the showers.

WHEDON: Putting together the staff,

I didn't know
who was going to be available.

And, as it turned out,
I had an embarrassment of riches.

TIM MINEAR: These are
the kinds of quandaries

that we face in the writers' room
every day.

When the opportunity came up to come
work with Joss again on Dollhouse,

it could've been anything,
I immediately said, "Yes."

Being there on the ground floor of
a new Joss Whedon mythology

is just an incredible feeling.

- Great day.
- Nice.

There definitely is
a difference between television

where the show runner

is a genius with a vision
and television where they're not.

WHEDON: Working with people
that you know you can turn your back on

and they're gonna get it done
is really important.

It's totally different working with Joss
'cause we were staff writers then.

And now we've, you know,
climbed the ladder.

I mean, we were so intimidated by Joss

- and by Tim.
- Yes.

CRAFT: So, in that sense,
it's just way, way better.

Now we enjoy Joss.

I mean, we enjoyed it before, but in terror.

It was sort of, yeah, excruciating.

- Yeah.
- Yeah.

DUSHKU: Liz and Sarah way back
from my Angel days and it's awesome.

We have such a team of like...

Just everyone coming back,
like a high school reunion.

And how do you want me to
flip it to the back of him?

You step back, bring his arm around
a half-circle, like this. It opens him up.

MIKE MASSA: I came to this town
about 12 years ago.

And one of the first shows I ever worked
on was Buffy the Vampire Slayer.

Where I started out doubling Spike
for a couple of days,

then I started doubling David Boreanaz.

So, Joss is family.

Are you thinking
this whatever-you-call-it, this...

Romantically story-bookish?

I haven't been, but I can.

With Joss, idea-wise, sky's the limit.

Here we're building anything from
an enormous spa to sewers

to a lair underneath
the Department of Water and Power.

So, it's great because
it really stretches everybody.

And his ideas raise the bar for us.

Joss has an incredible mind,

and it's fun to tap into that creativity.

I think I'm looking for
something a little more housewife-y.

(EX CLAIMS)

But he also encourages and allows
a lot of input on our part,

and he's really open to where we're going
as long as we have a story behind it.

KELL YA. MANNERS:
Joss, he writes big scripts,

and they're always a challenge
to get made,

and we give it our best shot.
And I think we kept up with him

- this time.
- Yes, we did.

MINEAR: Some of the people
like Stuart and Kelly Manners,

who I hadn't really worked with
since Angel,

it was great to see them again.

It was so much fun.
It was just like no time had passed.

Except that, I got more handsome
and they got older.

I don't know what that's about.

- That'll be the cut.
- MAN: And cut.

Brenda Kalosh, great A.D.,
has quit all of my shows.

Get that thing off of me.

She has failed to quit Dollhouse,
therefore I've lost all respect for her.

(INDISTINCT CHATTERING)

The heart wants what it wants,
and the heart wants Scott Wolf, First A.D.

There are some guys on this crew
that I worked with

on True Lies, when I was 12 years old.

There are guys that, they're like,
"Oh, I worked on Bye Bye Love

"when you were 13.
I worked on this when you were 15. "

And then a lot of them
from Buffy and Angel.

This is what Eliza looks like
after a long day or when she's really mad.

Are you ready?

It's like having been away on
a big holiday,

and coming back,
and fitting right into the groove.

Sometimes we actually settle down
and do a bit of work.

- (LAUGHING) Yeah, between the jokes.
- Between the gags.

WHEDON: Half the fun of this is
working with people that you know

and love and love working with,
and the other half is really discovering

new people that you love
and love working with.

Doing Battlestar for five years,
we were very much a family.

A lot of that crew was with us
from the very beginning.

And I found a sense of that here,

because a lot of people have worked
together, so there's that camaraderie,

and that familiar feeling amongst people,
and that comfort.

(SIGHS)

The actors need to feel safe,
'cause I'm gonna ask them

to do a lot of things
that they don't feel safe doing.

They need to know that
we're going to do our best

to make them look their best.

I can't work if I feel that
there's a bad atmosphere or bad blood,

and this crowd are the warmest,
funniest group of people,

and they make it possible to fly,
in terms of drama, to take risks

and not to feel self-conscious.

Excuse me.

It didn't feel like "new" people.

Like they completely folded in
and fit into everything

that I've been doing with Joss
since back during Angel.

Be back to pick you up later.

It was a lot of fun.

(CREW LAUGHING)

Whenever Fran is on the screen,
if I have to do a scene with him,

I have to gear up to not laugh
for 15 minutes before.

WHEDON: To have people
that I trust and respect

and know what to expect from is great.

Even more fun is to have those people,
and then to tweak them

and get something from them
that we've never had before.

That's always gonna be fun.

Did you always wanna be a doctor?

Being a guest star...

My chair here..."Guest Cast."

Actually I said "guest star,"
it's "Guest Cast."

I've given myself a raise to stardom.

This is, it feels like, you know,
this is Joss' show.

You know, this is the...
I feel more at home here.

WHEDON: It's always fun to take somebody
that the audience thinks they know

and say, "Oh, but they also do this."

You guys just cross straight out
where Mag just came from.

This is like one of the funnest roles
I've ever done

because I get to do all this boy stuff
I never got trained to do as a kid.

I learned how to use a gun,
so the whole thing

- was like an entirely new experience.
- MAN: One more time!

The difference between Whedon
and other people that I've worked with

is that he's very quick
to give you the credit for what you did.

He wants people to know the
achievements of the people around him,

and he wants them to achieve.

So, that really fosters your best work
and your hardest work.

You know, when you're actually allowed
to be prolific,

you'll be prolific.

Let's do it like a bird.

(LAUGHS)

- Wheat.
- You've got to be here.

- You gotta get him right here. Wheat.
- Yeah, wheat.

- All is darkness and wheat.
- Wheat.

Fields of rippling wheat.

Everybody's drunk.

We just drank at noon,
and then the whole afternoon,

people are just hugging
and some people are in the pods.

I don't know what's going on there.

Leave me alone, I've been chilling
for 13 days and I'm cranky.

When you get past his mood swings,
he can be a nightmare.

(LAUGHS)

He does funny monkey dances,

and he makes everyone on the set feel,
you know, valuable and important.

Including the man
who's worked for me the most.

We do have a pretty good atmosphere
on the set.

As I've worked more,
I've worked more to foster that.

Because, again, the process of
making the thing is your life.

The fun being in the room,
talking to the actors,

stuff like that is a real joy.

But, man, it's hard work.