Спойлер (от англ. spoil — портить) — в кино, компьютерных играх, литературе — преждевременно раскрытая важная информация, которая портит впечатление от игры/книги/фильма и разрушает их интригу, а также лишает читателя некоторой части удовольствия от сюжета. Также, реже, — лицо, которое эту информацию преждевременно раскрыло. (Wikipedia) ВНИМАНИЕ!
Если вы выкладываете в тему какую-то инфу на английском, то не забывайте, пожалуйста, сопроводить ее переводом или кратким пересказом.
В данной теме могут выкладываться ТОЛЬКО собственно спойлеры (промофото, проморолики, официальные и неофициальные новости), обсуждение не допускается! Все обсуждение ведется в этой теме. Все посты, не содержащие спойлеров, будут перенесены или удалены.
Spoiler Chat Daily Verónica: Will we see Jesse Spencer in the last two episodes of House? Or was Monday's his last episode? Not saying a word about the finale, but he isn't in next week's episode of House. But you know who is? Olivia Wilde, whose character Thirteen plays a huge role in helping House (Hugh Laurie) deal with Wilson's (Robert Sean Leonard) treatment decision. It's a very moving scene—one of our favorite of the episode. And that's saying something because next week's episode packs a bone-crushing emotional punch. Cause we were never being boring, We were never being bored
As we've mentioned in the past couple Spoiler Chats, next week's House is a real doozy and will wreak absolute havoc on your emotions. But since we learned that Wilson (Robert Sean Leonard) has cancer, we've all gotten used to the pain and the tears, right?
Today, creator David Shore spoke to reporters about House's final episodes and final moments, and he dropped a sound bite that fills us with some dread about how this Wilson-House storyline will wrap up. Plus, he talked at length about his somewhat controversial (at least in the eyes of fans) handling of House and Cuddy's relationship. But first, let's talk about the quote that set our alarm bells off:
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PlayPhillip Phillips Wows With "Volcanoes" "It's definitely an ending," Shore says about the series finale. "I don't want to say more than that. We never do happy endings. But we also try not to simply do miserable endings. Bittersweet is the most you can hope for us."
Bittersweet as in Wilson and House (Hugh Laurie) ride off into the sunset together to be bros forever? Sure, that's not what bittersweet means, but maybe the definition will change before the series finale.
When pressed for more details, Shore says that the final moments of next week's episode, "Holding On," are a jumping-off point for the events in the finale. "House is put into a very difficult position, and it's about him assessing his future. We developed this idea months and months ago, the idea for this final episode, which when you see it it'll sort of become clear. There were many things I liked about this idea. It allowed us to explore who he was and the nature of this character and take a look at who he is as a human being and his values as a human being. It also allowed us to naturally bring back other people, so I started making phone calls."
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Adam Taylor/FOX And those phone calls brought back House alums Jennifer Morrison, Amber Tamblyn, Kal Penn, Olivia Wilde and more for the finale. Even Jesse Spencer, whose character Dr. Chase just left, is set to pop back in for the last episode. "He was asked to go do a pilot. It happened right at a time where we were considering a storyline that happened in the last episode where he decides to move on. So it worked nicely," Shore says about Spencer's recent absence. "To a great extent, we were looking for ways to wrap up the stories—primarily the House-Wilson thing was the focus—but we were aware that the supporting characters needed some element of closure in the broadest sense. And we didn't want to throw it all in the final episode. And Jesse's been with us since the beginning so we decided to give him his own little ending story. I thought he was great."
And finally, the rambling answer all you Huddy fans have been waiting for: Does Shore have any regrets on how he handled the House-Cuddy (Lisa Edelstein) relationship? "I'm not big on regrets. That's not to say it was perfect," he says. "I do fundamentally believe that we had to do it. I know a lot of people think we could've done it better, a lot of people think we shouldn't have done it, a lot of people think once we did do it we should have kept them together. I think it was going to be a lightning rod no matter what we did. You can't have sexual tension go on and on and on and on. It was there from the beginning and I enjoyed working with it from the beginning, but at a certain point we had to put them together."
An all-new episode of House airs next Monday night on Fox.
Ready for the end of House? How do you feel about how House and Cuddy's relationship was handled?
Ramon: Faith is not a disease. House: No, of course not. On the other hand, it is communicable, and it kills a lot of people.
Exclusive House Video: Hugh Laurie Previews Thirteen's Big 'Intervention' by Vlada Gelman Get More: Exclusive, Previews, Video
House welcomes back an old friend next Monday (Fox, 9/8c) when Olivia Wilde returns as Thirteen. And according to Hugh Laurie, she’s a woman on a mission.
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“Thirteen reappears really in the form an intervention almost,” reveals Laurie in the following exclusive sneak peek. The former Princeton-Plainsboro MD shares scenes not only with Dr. Grumpmeister, but his ailing better half, Wilson, as well. Knowing a thing or two about impending death, perhaps she can “heal” his spirits?
Offscreen, the reunion was a little… uncomfortable. “There’s fun and camaraderie [among the cast], but really that came out when [Wilde] had left,” deadpans Peter Jacobson. “Now that she’s back, it makes things a little bit awkward.”
Даже не знаю правда это или вымысел Но парень утверждает, что знал заранее содержание финальных серий Лоста, События и других сериалов и кажись опубликовывал их в своём блоге. Пишет, что мы можем удостовериться в правдивости его слов через 2 недели, после официального эфира. Ссылка на оригинал: http://lotgk.wordpress.com/2012....ne-dies
Welcome you lucky bastards to those who regularly read my blog or have somehow stumbled upon this page by pure chance. It is your lucky day. For I am revealing three weeks in advance the ending of the FOX network series, House. As I have done so accurately previously with ABC Lost, NBC Persons Unknown, and NBC The Event, I offer this finale outline script detailing the end game of this popular series. Be warned, spoilers are ahead at the very first paragraph in this post. For those dying to know, read on and enjoy.
House series finale episode titled, Everyone Dies.
The episode opens with House attending a funeral. Doctor Wilson’s funeral. The radical procedure Wilson went through with House’s assistance to shrink the tumor failed. In fact, it accelerated the process and burst killing Wilson. House is alone at Wilson’s casket and stares at him lying in the coffin, and calls Wilson an idiot one last time. Doctor Taub is precariously absent from the funeral. The rest of the team returns to the hospital to take on a new case.
Meanwhile, across town, Doctor Taub wakes up in a hotel room next to a sexy 21-year-old blonde nurse. She speaks softly into Taub’s ear, “Good morning sleepy head.” Taub smiles up at her when the hotel room bursts open. A man with a gun comes toward both Taub and the blonde nurse. He is ranting something to the effect that he warned her what would happen if he ever caught her cheating on him again.
As House sends his team out to perform several tests on the new patient, Doctor Remy Hadley (13) visits House in his office. She does not look well. Her disease has progressed rapidly and 13 asks House for a favor. She reminds him of a conversation they both had several years back when House promised to take her life when the time came when she was to far gone in her disease. House sighs and calls 13 an idiot but complies.
That evening as the team is busy running more tests House leaves the hospital and goes to 13′s apartment. Hadley lets him in and House unpacks his medical bag and tells 13 to change into something she feels comfortable in. House than hooks 13 up to a morphine drip and turns his phone off so he and 13 will not be interrupted.
While House is assisting 13, the patient the team is working on goes berserk. He jumps from his bed and stabs Doctor Adams in the throat and she crumples to the floor. Doctor Chase attempts to subdue the patient and gets his throat cut and is spewing blood. He then unceremoniously throws Doctor Chi Park out the picture window. Doctor Foreman rushes in with a security team and moves toward Chase to tend his wounds. The crazed patient charges the guards and a security officer pulls his gun in panic and fires. His aim was not true. Foreman is hit and lies on the ground dying. Moments later, the patient is subdued but Adams, Chase, Foreman, and Park lay dead on the hospital floor.
Back at the hotel room, Taub attempts to reason with the crazed man but to no avail. Three shots are fired. Taub lay dead on the bed. The blonde nurse dead on the floor beside Taub. And the crazed husband, dead on the hotel room doorway.
As House and 13 wait for the morphine drip to take effect, small talk ensues as the medicine drips into 13′s veins. Remy, (13) admits to House that she always had a thing for him and would have “So done him” alone and with several of her girlfriends if only he would have asked. House smacks his head and calls himself an idiot. 13 smiles as House injects a syringe of medicine into her veins and she slowly loses consciousness.
House checks her pulse, unplugs her from the morphine drip, packs his equipment up, adjusts her blanket, kisses her forehead and softly says goodbye.
Final scene: House returns home, clicks on the lights, goes to his secret stash of pain killers, downs three or four vicodin pills and swigs down some whiskey. He curls up in bed and closes his eyes. He is awoken by movement in his apartment. He opens his eyes to see Doctor Cutner standing at his bed side.
House realizes he is dreaming and engages Cutner in conversation. House asks him why he killed himself, and why is he here now. Cutner replies, “I’m here for you House. You were always curious of what was beyond death. I’m here to guide you to your biggest puzzle ever. Are you up to it?” House nods yes. Cutner replies, “Let the journey begin. Get out of bed and follow me through your front door.” House gets up and puts pressure on his bad leg. There is no pain at all. He rolls his pant leg up to see a perfectly healthy leg. He looks at Cutner in a funny sort of way, and follows him. The door opens and both walk through.
The door closes. Lights fade. Cue the House ending credit music.
But wait. Less than ten seconds into the ending credits, Dominika Petrova, House’s wife, unlocks the apartment door and walks in. She flicks on the lights and announces to House that she has returned. She has some wonderful good news. She announces that not only does she love House and wants to continue to be his wife, but she is pregnant with his child.
She calls out to House again. She walks toward the bedroom and spies House in bed, the sheets rumpled. She bends down and kisses house on the cheek and becomes startled. Dominika realizes House is dead. She clutches her belly and cries.
WHY THE PENULTIMATE EPISODE OF ‘HOUSE’ IS A TEAR-JERKER For the longest time, I refused to accept that the end is near, but I’m slowly coming to peace with it. That’s, oddly, the theme I took away from the penultimate episode of House, which I checked out this week. While I’d largely like to preserve the integrity of the episode (after all, it’s one of only TWO left!), here are a few teasers for you: - THIRTEEN is back and takes a meeting with Wilson and House separately that are both everything I could have wanted from their respective reunions. Her interaction with House is particularly poignant. (And her one-line assessment of their relationship made me laugh out loud.) - HOUSE DOES… something for Wilson that will make you cry. But as always, everything is not as it seems. Just remember his heart is always in the right place. - THERE’S a cliffhanger. A huge, juicy, “OMG” cliffhanger that sneaks up on you. Well, it snuck up on me anyway. All I can say is pay very close attention to everything going on in the episode. http://insidetv.ew.com/2012....+Reader
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Сообщение отредактировал Ginger82 - Пятница, 11.05.2012, 20:56
House creator David Shore shares his cryptic scoop on the series’ finale: “Bittersweet is the most you can hope for from us.”
David Shore spoke to journalists this week to talk about the most anticipated season 8 series’ finale of House that will air on Monday, May 21st. The interview also gave Shore the opportunity to reflect upon eight years of House and share his vision of what most defines his cranky character’s philosophy.
As the show will soon conclude its eight-year run with a final episode, entitled “Everybody Dies,” fans are indeed eager to find out what’s in store for the cantankerous doctor, and most of all, what kind of legacy the show will leave behind. Here are some of Shore’s most significant answers on that burning topic.
When asked about what he would want the fans to most remember about the show years from now, Shore’s answer stayed true to what he has consistently acknowledged as his number one goal: House is about seeking truth. What kind of truth is that? Shore doesn’t say, but the pursuit of it is definitely what motivated his writing the most: “The message I hope to be saying basically every week was this was who this guy is and what he stands for. So it’s really about the character and what the character stands for, which is really the pursuit of truth, the not just blindly following things, really asking yourself what is reality here and what is the right thing to do. That search for an objective truth is the thing that I fundamentally found the most interesting throughout the life of the show.”
But, in light of the show’s recent, dramatic events, and Wilson revealing he has cancer, what obsesses House fans the most is certainly about finding out what this last, unexpected, emotional turn of events will portend for the show’s end.
While Hugh Laurie recently described the series’ final episode as “uplifting,” Shore shared his own qualifying term, which should encourage the fans who still believe in greater goods to slightly tone down their expectations: “It’s definitely an ending.” Shore says, “I don’t want to say more than that. We never do happy endings, but we also try not to simply do miserable endings. Bittersweet is the most you can hope for from us.”
Shore later adds: “At the end of this Monday’s episode [penultimate episode of the series, “Holding On”] House is put into a very difficult position, and it’s about him assessing his future.” All I can say, after seeing the screener – which will have many fans awestruck by one last shocking twist, as House (Hugh Laurie) and Wilson (Robert Sean Leonard) both struggle to find the best fitting way to fight Wilson’s cancer – is that the emotional rollercoaster is, indeed, far from being over and, from the look of it, won’t stop haunting the fans until after the last second of the show only, if ever…
But, whether it fulfills the fans’ expectations or not doesn’t seem to be Shore’s primary concern: “I think you have to do the stories that interest you and hope an audience likes it rather than doing stories that you think the audience will like whether you like them or not,” he says.
There seems to be a constant in Shore’s vision of the show that advocates a sort of no-remorse philosophy. Whenever asked if he considers that some of the choices he’s made throughout the years have gone too far, Shore remains unapologetic: “No, not really. The saying within the writer’s room, my words of wisdom if you will, was the punishment doesn’t have to fit the crime, but there has to be a crime (…) We made no mistakes. No, I’m sure we made mistakes. It’s one of those things, though, where you keep going and you can’t really assess it because there’s no point in that; you can’t do it over again.”
Same goes with the House/ Cuddy (Lisa Edelstein) relationship, which, may it be controversial or not, is something that Shore doesn’t regret to have explored: “I’m not big on regrets. That’s not to say it was perfect. I do fundamentally believe that we had to do it, and I know a lot of people think we could have done it better, a lot of people think we shouldn’t have done it, a lot of people think once we do it we should have kept them together. (…) But fundamentally, we had to do it. You can’t have people just go on; you can’t have sexual tension go on and on and on and on. And it was there from the beginning and I enjoyed working with it from the beginning, but at a certain point we had to put them together.”
Finally, Shore also came bearing some good news that, I’m sure, will surely rejoice the many Jesse Spencer’s fans out there, as Chase, the character he plays on the show left at the end of last week’s episode: “He [Jesse Spencer] was asked to go do a pilot, and it happened right at a time where we were considering this storyline that happened in the last episode where he decides to move on. So we let him out to go do a pilot, which I understand has now been picked up so you’ll see him on TV in the fall hopefully, I believe.”
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Сообщение отредактировал Ginger82 - Суббота, 12.05.2012, 21:54
Can you talk about the decision to have Wilson get sick?
D. Shore: Yes. It’s one of those things, every year, a couple times a year, we sit down and go, “What do we do to these people? What situations do we throw them into?” And it’s all about which type of situation can give rise to opportunities to explore the character of House and to explore the characters around him. So a lot of ideas are bandied about every year, and one of the ideas that was bandied about, as we were pretty sure we were heading towards the end of the show, was this idea, and it all fell into the category of challenging and exploring the House/Wilson friendship.
I think that’s one of the things that we’ve done very well on this show, if I do say so, is the House/Wilson relationship. There are a lot of explorations on TV of romantic relationships, and some are good and some are bad. I think there are very few explorations of male friendship; not just a wingman type friendship, not just an opportunity for humor, to really explore two friends and their relationship. I think it’s something we’ve done and done well that isn’t done that often. I’m proud of it. So it felt like a natural way to—it felt like the right idea to explore as we headed towards the end of the series.
Looking back, when people look back, what do you want them to most remember about the show years from now?
D. Shore: The message I hope to be saying basically every week was this was who this guy is and what he stands for. So it’s really about the character and what the character stands for, which is really the pursuit of truth, the not just blindly following things, really asking yourself what is reality here and what is the right thing to do. That search for an objective truth is the thing that I fundamentally found the most interesting throughout the life of the show.
You had mentioned the relationship between House and Wilson. Why do you think Wilson has remained friends with House despite all those sometimes malicious mind games he’s played on him over the years?
D. Shore: I think there’s something clearly wrong with Wilson as well. It kind of goes back to, I’m not sure how good an answer this is but I think it’s an interesting story, when we were casting Wilson. Robert Sean Leonard was reading for the network and he came in and did a great job, and the network wanted him to be a little kinder, a little nicer. They wanted him to be the nice guy, just the nice guy opposite House, and just to soften him. There was a bit of an edge to the way he was reading it.
Bryan Singer, who was directing it, went off to give him the note outside the room, and I’m sitting there in the room thinking about it going, “I think that’s a bad idea. I think he can’t be too soft; there has to be something about this guy, something that would make him be friends with House. There has to be a bit of an edge to him.” And I ran out of the room to tell Bryan I don’t agree with that note, and tell Robert. And I tell them that, and as soon as I get it out of my mouth Bryan goes, “Oh it’s a terrible note. It’s a terrible note. We’ll have him read it that way, we’ll get him the part, and then we’ll do it our way later.” So we’ve always been aware of the fact that there has to be something about this character that’s a little broken, and I think there is.
With a finale entitled “Everybody Dies” I’m assuming not everyone will get a happy ending, but what kind of closure can we expect for the series?
D. Shore: It’s definitely an ending. It’s definitely an ending. I don’t want to say more than that. I don’t want to say more than that. We never do happy endings, but we also try not to simply do miserable endings. Bittersweet is the most you can hope for from us.
The show lasted for years and years. Kind of give us an example of what it takes when you realize boy I’m really going to have a lot of episodes to do, because you’ve done the wild things with the shifting of the staff and creating new problems and so forth. Just kind of tell us how things happen when you decide you kind of have a long, long ways to go here.
D. Shore: Well it was unexpected success. It remains unexpected success somehow. We’ve always been driven by the idea of what interests us, and maybe the fact that it was unexpected success, maybe the fact that we succeeded beyond what we hoped for freed us up to just go, “You know what this is what I want to do now. If it fails miserably that’s okay.” But I think that’s the right way to do a show; I think you have to do the stories that interest you and hope an audience likes it rather than doing stories that you think the audience will like whether you like them or not. I think there has to be something that you find compelling and interesting, and then hopefully an audience will agree with you.
So I was never looking 80 episodes down the road. At most I was looking 10 episodes to 15 episodes down the road. You just sort of put your head down and try and find new situations and new stories.
Now that you’ve had a chance to do the retrospective and to have House do some thinking in the last episode when you look, having to do all the stuff with your head down so fast, when you look back at the show now what surprises you about what the show has become and about what House has become?
D. Shore: The fact that I’ve got 24 people on the phone right now listening to my answers to these questions surprises me. The most fundamental surprise to me is that it has wound up being more than a niche audience, although in this day and age you can have very large niche audiences. Right from the beginning, from the time we cast Hugh, I knew it was going to be a show that I would like. I thought maybe some people who were a little like me would like it. I never imagined it would get the following it has gotten, and the international following. And just, yes, that’s kind of reassuring on many levels.
House has done some pretty reprehensible things. Was there anything that kind of gave you pause even as you or your writing staff was coming up with it that something you thought might have gone a little too far?
D. Shore: No, not really. The saying within the writer’s room, my words of wisdom if you will, was the punishment doesn’t have to fit the crime, but there has to be a crime. As long as there was a motivation, as long as there was a House-like motivation, which means not just self-aggrandizement or self-enrichment, as long as it was ultimately about solving that puzzle, which in turn meant getting somebody better, pretty much anything went.
And I think maybe that’s why we— I know there was a real hue and cry when he drove his car through Cuddy’s wall, which was never intended to cause her harm, it was meant to cause her home harm … he looked through the window. But I think that might have been—that was an irrational act. I thought it was a logical and motivated irrational act, but it was still an irrational act, an irrational act from a rational man, which was what we intended and why we had to pay a price the next year. But that may have been why that act got more of a reaction than any of the other, shall we say, reprehensible things he did.
Yes, because he came close to killing people, but he’s come closer than that.
D. Shore: Yes. The other times he has come closer in an effort to save lives. So there was no upside, I suppose, to driving that car except for a satisfaction of lashing out.
What do you think are the highlights of the series and what you think you did that you’re sorry you did now that was kind of a mistake?
D. Shore: Oh, I’m not going to answer the second part of that question. We made no mistakes. No, I’m sure we made mistakes. I know we made mistakes. It’s one of those things, though, where you keep going and you can’t really assess it because there’s no point in that; you can’t do it over again. You make decisions, you make choices, and they’re never going to be—well you’re never going to know if they’re the ideal choices, but you make choices and you make the most of them.
There are things we did that I’m quite proud of. There are episodes we did that I’m extremely proud of, and most of them, most of them. I think the House/Wilson relationship I think from day one has been a great one. I think constantly refreshing the show was a risky move, but I’m proud of it because it worked more often than it didn’t. I think the show, it’s a type of show which it’s basically a procedural show, but it has enough serialized elements that it could get tiresome, and I’m sure some people believe it did. It didn’t for me, so I think we kept it fresh enough in giving new situations, which is sort of against the instincts of a network show and I’m grateful to them for letting us do it.
Is there a particular character that’s been especially gratifying to see evolve over the past eight seasons?
D. Shore: Well first of all let me say I’m glad you asked that, because I think the character of Dr. House has gotten a lot of attention and Hugh has gotten a lot of attention, and I think rightfully so—he’s fantastic. I do think that that character doesn’t work unless you surround him with interesting and smart and complicated characters, and I think to some extent in the media, and perhaps among the award shows, they’ve gotten lost. I think they deserve a huge amount of the credit, every single one of them.
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Сообщение отредактировал Ginger82 - Суббота, 12.05.2012, 21:50
It’s been interesting to watch all our actors, particularly the younger ones, Jesse and Jennifer came back at the end, to watch Jesse grow up really as an actor and as a human being. The others have just been a pleasure, well they’ve all been a pleasure to watch since the beginning, but Jesse and Jennifer are particularly young and then Olivia was young as well. So it’s been interesting watching them mature. So it sounds like they were immature before, but they were actually—we’ve been very lucky in that regard; we had a very grown up set of actors on our show.
Looking forward instead of back what’s next for you? Are you planning on diving back into TV or are you going to take some time off?
D. Shore: I will take the time to develop something new, so you won’t see something from me in the fall. But I will take a breath, I will go home a little earlier for a little while, but yes, I am planning on getting back into the TV business.
What can you say about the decision to kind of take Chase out of the equation a little bit for the last couple of episodes? I know you said he’s coming back, but at the end of last week’s episode he did leave.
D. Shore: Yes. He was asked to go do a pilot, and it happened right at a time where we were considering this storyline that happened in the last episode where he decides to move on. So it sort of worked nicely where we were able to give him— We weren’t sure what we were going to do, we were on the fence about that storyline, and then we went, “Oh that storyline seems really good now.” So we let him out to go do a pilot, which I understand has now been picked up so you’ll see him on TV in the fall hopefully, I believe. Not with me, I’ll have nothing to do with it, but you’ll see Jesse still.
So it was all, to a great extent, we were moving towards the ending, we were looking for ways to wrap up our stories, primarily the House/Wilson thing was the focus, but we were aware that the supporting characters also needed some element of closure in the broadest sense. And we didn’t want to throw it all into the final episode; it felt a little convenient to have everything happen in the final episode. And Jesse’s been with us since the beginning so we decided to give him his own little ending story, and I thought he was great.
You said that you would be getting back into TV shows, can you tell us more about what kind of shows you would like to do in the future?
D. Shore: One of the great things about this business, one of the tragic things about this business, is you have to start over again, although then one of the great things is you get to start over again all the time. So I’m looking forward to exploring new characters, new show, new idea, new setting probably. But I am who I am; there are going to be elements of me in whatever I do, and one of the great things about this show was channeling some of my own subconscious. I suspect that will sneak into everything I do.
Do you ever have any regrets about pairing up House with Cuddy?
D. Shore: No, because I’m not big on regrets. That’s not to say it was perfect. I do fundamentally believe that we had to do it, and I know a lot of people think we could have done it better, a lot of people think we shouldn’t have done it, a lot of people think once we do it we should have kept them together. It’s been a bit of a lightening rod. I think it was going to be a lightening rod no matter what we did. I’m not saying we did everything perfect, I’m not saying we did things horribly either; I think we did a lot of stuff really well. I think it was a difficult thing to do at all. Well it’s an impossible thing to do without getting that sort of response.
But fundamentally, we had to do it. You can’t have people just go on; you can’t have sexual tension go on and on and on and on. And it was there from the beginning and I enjoyed working with it from the beginning, but at a certain point we had to put them together.
You talked about changing up the show a bit. Whenever you basically recast a lot of the show, and you did it twice, were you worried about how that would affect the fans and the ratings and everything?
D. Shore: I was, but not overly. I was aware that people would be disappointed with some things. You have to make changes before people are clamoring for changes, though. If people are asking for changes it’s too late. You have to have people a little bit upset. How you calculate that I don’t know. And I just think that’s the death of a show, too, is to be driven by those considerations. If your audience doesn’t like something you should think to yourself, “Well why don’t they like something? Is there something wrong here?” And if they like something you should think to yourself, “Why do they like it? What am I doing right here?” and deal with those issues. But you have to be driven by the stories that you want to tell, you can’t simply be responding or there won’t be any real heart to those stories anymore.
For the last episode that you directed is there anything, without giving it away, that you can kind of talk about that you’re most excited for the fans to see?
D. Shore: Well it’s about House assessing, at the end of this Monday’s episode House is put into a very difficult position, and it’s about him assessing his future. That’s all I’m saying.
What was it like for you directing the final episode of this series that you created and worked on for such a long time?
D. Shore: It’s very weird. It’s one of those things where my answer isn’t as satisfying as I’d like it to be, because directing is a very all-consuming job and what you want to do there as you’re coming down the final road is to just sit back and enjoy and let the wind flow through your hair. And you’re directing, and you’re sitting there going, “I need to make this shot, how many hours do we have left in the day, how many hours behind are we,” and you’re just constantly worried about doing the job. So 98% of the time was just doing the job, and then 2% of the time was our first AD would say, “Ladies and gentlemen, that’s a series wrap on Mr. Jesse Spencer,” and you would go, “Oh my God, where am I,” and you would react and you would take that moment. And then somebody would say, “We have to get back to work; we’re an hour behind.”
When the series first started did you have any sort of end game in mind?
D. Shore: No, in my mind that would have been incredibly pompous. The idea that this was going to last more than 12 episodes and that I could plan an ending is just way too arrogant. It’s American network TV; I fully expected it would just stay on the air and I would tell individual stories about this individual until they told me I couldn’t do that anymore.
Did the direction of House change when the players starting performing from the vision you conceptualized?
D. Shore: Not really. The great thing about Hugh Laurie, from my point-of-view, is that he and I have shared the same vision of this character from day one. We read a lot of people and we met with a lot of people and nobody seemed to get it, and then he came in and he was House. If you watch his audition tape, which you can from the, I think, season one DVD, he was doing the same thing then that’s doing now, and it was without any direction, without any coaching. He put himself on tape over in Africa and sent it into us, and he obviously was thinking the exact same ways that we were. It’s been a wonderful collaboration for me.
There have been some other characters where you go, “Oh that works or that doesn’t work, mainly that works,” but it’s difficult in TV to do too much of that, because you need to have your scripts ready and planned out well in advance of when you’re shooting.
What three components do you believe were most effective to endearing House to the audiences?
D. Shore: Well there’s an alchemy to these things, and I’m not sure you can single out any component. He is who he is and people responded, and I don’t know if you took away anything what it would be. It’s Hugh Laurie’s eyes, it’s the character’s sense of humor, and the fact that he’s a bit of a 15-year old boy, and a hundred other things.
Are the returning characters, like Thirteen and Masters and Kutner and Cameron, are they all being introduced kind of organically into the storyline or did you guys have to kind of mess with the storyline as you got confirmation that they were able to return?
D. Shore: We developed this idea months and months ago, the idea for this final episode, which when you see it it will start to become clear, and there were many things that I liked about this idea. It allowed us to explore who he was and the nature of his character and sort of take a look at who he is as a human value and his value as a human being. It also allowed us to naturally bring back other people, and so I started making phone calls.
After working on this show for so long what’s the thing that you’ve learned about yourself throughout the experience?
D. Shore: Oh boy. I should have learned a lot of stuff right? Nobody learns anything; you reach your emotional peak at age 18. I do know there are some things I’m better at than other things, and that they have become quite focused. I feel like if I were to say a positive thing about me that I learned it would sound nasty and I feel like if I said a negative thing about myself I just don’t want to do that. But there are probably negative things I’ve learned more than anything else.
I want to thank all of you. You have helped make this the success it was; you guys have helped bring an audience to us, you’ve supported us from very early on. If any of you didn’t support us early on then you can ignore this, but we had very good support from the media and the critics right from the beginning, and I’m very grateful to it because I really think that we grew slowly and I think your support really helped make that happen, along with American Idol’s support. But I think all those things allowed me to do what I’ve dreamt of doing.
House Scoop: Will Chase Reunite With Cameron In Series Finale?
It’s the question that House‘s “Chameron” fans been wondering ever since it was announced that Jennifer Morrison would return for the series finale airing May 21: Will Chase and Cameron reunite?
Speaking with TVLine at the red carpet for NBC’s Upfront event, where he was representing his new drama Chicago Fire, Jesse Spencer revealed that, yes, he and Once Upon a Time‘s leading lady do share a scene — “briefly,” he emphasized. (Note: The photo accompanying this story is from Season 6.)
“A lot of people came back, actually,” the Aussie added, alluding to the previously announced encores by Olivia Wilde (who first shows up in tonight’s episode), Amber Tamblyn (as Martha Masters) and Kal Penn (Kutner, R.I.P.)
Spencer would not elaborate on the nature of the Chase/Cameron scene, only saying that the finale as a whole “is not going to be the happiest thing in the world” yet does serve up “an appropriately satisfying ending for longtime viewers.” And specific to his alter ego — who quit in last week’s episode and is not seen tonight — he enthused, “Chase has a final moment which I’m very, very happy that they approached.”
Turning to NBC’s Chicago Fire, Spencer describes his Lt. Matthew Casey as “a natural-born leader” and “good soldier” who reports to the characters played by Eamonn Walker (Oz) and Merle Dandridge (Sons of Anarchy). But good soldier or not, “You can’t get away from egos completely in those situations,” he notes. “These guys are called heroes, but at the end of the day people are people and egos abound.”
HOUSE CALLS: I'm not sure what Fox's House has in store for next week's series finale, but it's going to have to go the extra mile to upstage tonight's penultimate episode (9/8c), a powerhouse showdown between Hugh Laurie's House and Robert Sean Leonard's Wilson (a performance that could earn this fine actor his first Emmy nomination). These two stubborn doctors square off over Wilson's plans (or lack thereof) for treatment of his cancer, an illness that's casting a pall over the entire hospital. House, as always, has an arsenal of manipulative tricks up his sleeve, but Wilson is adamant that for once, it's not all about House. "Does it ever stop being surreal?" Wilson asks Thirteen (Olivia Wilde returning for a meaningful visit) about living with a terminal illness.
It gets very real, though, in explosive scenes of catharsis for Laurie and Leonard, before a twist ending that reminds us how fleeting time really is for these doctors and this show. Even if you've drifted away from Princeton Plainsboro in recent seasons — this one in particular was a chore, up until the Wilson dilemma — you might want to check back in now.
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