AMBER BENSON | |||||
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Cut Interview with Amber Benson Dec 7, 2003, Offenbach |
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4. "Chance", Sex and Power 1. Magic, Multitasking and Motivation 2. Movies, television and the family 3. Being in control 5. The Technicalities of Being Inspired 6. Reading, Collaborating, Watching & Listening Theres more "Buffy" in there the club was the Bronze, right? Yes, and Joss gave us a song the opening song "Burn it down", Grant wrote the other song. David Solomon let us use his technology to edit. This was during the summer, after the "Buffy"-season was done, so the editing came after, but we shot during "Buffy". Actually, the time when my brain got sucked out by Glory, that was the time we filmed. So thats why Simon has Spikes hair. We couldnt do anything about the hair, we took him as is. We were talking about it, the hair isnt Simon. It also isnt James, cause he has very dark hair, its funny when you see him what his normal hair colour is. Its like when you meet him for the first time and he speaks in an American accent like Tony [Head] putting on his Rocky Horror regalia and singing. Its beautiful and wonderful put youre thrown for a moment. Reality makes a difference. And Simon, hes so different from Spike. James is so good at comedy its utilized a little on "Buffy", but not really. Hes so funny, I had no idea. You see the humour in Spike, but its very dry, dark humour whereas this is very broad humour. Anyway, back to the story -everyone was very supportive, helped us, gave us breaks, gave us deals during the sound stuff And there are cameos, "Buffy"-people pop up. David Fury is there Yes, and Nick Brendons wife, Tressa Di Figlia. Shes the dead girl. I kept joking with him: I kissed your wi-hife . Alright, the sex question: hows Hollywood homophobia? Are we better off since the day Ellen DeGeneres came out? Its a tough question. With her it was suddenly: hey, here I am, I m doing what Im doing and I dont care what you think. But it destroyed her career in some respects, for television, for middle America. Not for doing standup or what shes doing now, but There are whole regions of the US where they dont play Jill Sobules "I kissed a girl" on the radio, arent there? The place I m from, Birmingham, Alabama, wouldnt show "Ellen"s coming out episode. It did not get played. I mean, if someone missed the jump there all of a sudden, shes gay or what? Whos that? Whats going on? To me its such an odd thing. I was never bothered by "the problem". I always felt kind of blessed that I got to play that character, kick that door down. But its not about sensationalism: two people, that was the big thing that Joss and Alyson and me and the whole group talked about making sure that it wasn t about sensationalism, or a gimmick, it was about a relationship that two people are having, it could be any gender, any colour, any religion. Two people that love each other, and I really do think that it was the strongest, the best relationship on "Buffy". I mean, they took care of Dawn! The two lesbians raised the kid. And Dawn was so happy for them when they got back together. Even Spike is affected by that, when he says: The birds are flying again. It gets to everyone, hes cracking a joke but But theres a truth to every joke. Its interesting in retrospect I look back and it kind of did hurt me as an actor. Not that they type-cast me per se, but it hurts you when people want to cast you for other things and then they say: Oh, gosh, we cant show middle America this person anymore because, you know Its very pavlovian. They associate you with being a gay character, all of a sudden that is what you are. And you cant be pitched to middle America, all they associate you with is Buffy and being a lesbian. A lesbian witch, even. Yeah. On top of that. But on the other hand, its better than it ever was. And I m going to continue to do what I need to do. So back to the control thing: when you watch the career of directors, it seems that artistic progress lies in the direction of more and more creative control. The later Kubrick could do anything: replace Tom Cruise with a broomstick, if he felt like it. And then spend three years getting the broomstick to do what he wanted it to do. Is that something you aspire to, more control? Yeah, definitely. Well, lets see: Woody Allen. He doesnt have to kow-tow to to anybody. He can do what he wants: you need me, I dont need you. But on the other hand, sometimes that breeds complacency. Its like you dont have to work anymore. Woody Allens work, its hit-and-miss, some things are wonderful, some things are just terrible. And you notice, its because no ones telling him: this is sucky, you shouldnt do this. I want to maintain that, I think Bergman has the right idea: he has this group of people that he works with, and he goes back and forth between theatre and film and Id like to do something like that, where I have control but its not close-minded. The minute you have a figurehead, the minute one person is too powerful and they dont know how to be co-operative, the creative process dies on the vine. To me its like I have these people not just family, my friends- people that I like to work with, some "Buffy"-people. You just collect people as you go, you find people that click with you and you work with them again and again, because they get what you do. Its very difficult to maintain openness sometimes though, when youre a writer, especially when youre writing comedy. Because comedy is a specific thing: you have to say things a specific way in order to push the joke. If you dont deliver a line correctly it falls flat, theres no joke anymore. So for me watching "Chance" being performed, really the only time I was adamant that a thing had to be said a particular way was when there was a joke involved. It needed the delivery. Other than that, its really: let the actors do their thing. Sometimes thats tough, because youre like: Oh, gosh, thats not how I imagined it. It sounds different, but ever so often you find that it was better. If I tried to force what I thought, that wouldnt help. > back to top > Part 5 |
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