|Joss Whedon at the Glasgow Film Festival|
|To the audience|
|Working without colour|
|Playing the jokers|
AQ - Having read the play before, I think one of the things that strikes me about adaptations of it is that it has a lot of ideas about love and marriage that are a bit weird for modern audiences, and I think it came across really well in this one, but I just wanted to hear your opinions on how you approached that.
JW - What would you define as one of the main problems?
AQ - Claudio’s a bit of an arse, isn’t he? When I read it, that’s what I thought, but I actually had a lot of sympathy for him in this.
JW - Well, you know, Fran was dedicated to being a dick. “How can I be stupider?” But he is an enormously sympathetic actor. He’s got those big old eyes that have us all man-crushing on him. But you look at Claudio, and he’s always [makes wishy washy swanning around in love noises], but the guy just won a war. He’s a jock, he’s a frat boy, he’s a soldier, he believes everything he hears and gets really, really angry about it right away. And so went with that, and by the end of the film we’re going to redeem him. He’s romantic, in the way that we’re supposed to be romantic, and it’s a flaw, and that’s one of the things that I love about the play, in that it takes everything we assume to be a romantic comedy and says “this is idiocy, you do know that?”
AQ - I just wanted to know, of everything that you’ve ever written and had aired, what your favourite line was?
JW - My favourite line I’ve ever written? Wow, that’s hard. That’s so mean. I don’t know. What’s your favourite?
AQ - Well, I’ve got “I am a leaf on the wind” on my bracelet, but… I’ve got pages.
JW - You know, I love all my children, and it would be hard for me to say. I think one of my problems I have as a writer is that I tend to over-articulate. I tend to want everyone to step forth and say “This is why I am who I am and why I am the best version of what I am that I could possibly be, and I‘m a garbage man or I’m a vampire or I’m whatever it is, I‘m so good at this, and here‘s exactly what I think,” and so I don’t have a best line, because my best lines are the ones where I explain exactly what’s going on, and those aren’t the best lines. The best ones are the throwaways that show someone who clearly doesn’t understand who they are and what they‘re doing, so I think whatever my favourite line is, I’m wrong.
AQ - You think it would be possible to make a good Hulk film?
JW - Yes. But it would be very, very hard. Hulk is a tricky son of a bitch. He’s the Claudio of superheroes. Because the problem is it’s a very popular character, but it’s not a superhero. Half of it’s a superhero, half of it’s a werewolf. And you can’t structure it like a superhero movie, you can’t light it like a superhero movie. How do you develop that? It would be extremely difficult. The one thing you would have in your favour would be Mark Ruffalo. But right now I don’t know if they have plans to do that or not, because he works so well as part of a greater whole, but by himself, it’s tough. I don’t envy the guys who went before.
AH - Thank you all for your questions.
Much Ado About Nothing is released in the UK on June 14th by Kaleidoscope and is reviewed here