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Felicia Day: Appearances

22 January 2012 Leave a comment

Felica Day – APPEARANCES

2012:

17-20 May: Fedcon 

Felicia Day Gives io9 an Exclusive Preview of the Next Guild Comic

16 December 2011 Leave a comment


Felicia Day and Sandeep Parikh give us an exclusive preview of the next Guild comic!

io9 recently had the opportunity to catch up with Felicia Day and Sandeep Parikh, the stars of the long-running fantasy gaming web series The Guild. This duo also co-wroteThe Guild: Zaboo, the next Guild tie-in comic book to hit the stands.

Check out an exclusive sneak peek of the comic’s first six pages and learn what’s up with The Guild‘s sixth season.

First off, here’s a preview and plot synopsis of The Guild: Zaboo one-shot comic, courtesy of Dark Horse Comics. This issue’s in stores Wednesday, December 28:

Writer: Felicia Day, Sandeep Parikh
Artist: Becky Cloonan
Colorist: Dave Stewart
Cover Artist: Evan Dorkin

Zaboo has loved Cyd’s game avatar Codex from afar since the two first met playing The Game. Just what he’ll do for love comes to the fore as he senses Cyd is in trouble and embarks on a real-life quest to escape his mother and become Cyd’s knight in shining armor.







And here’s our conversation with Sandeep and Felicia about all things Guild-related…


Sandeep, how did you get involved co-writing the Zaboo comic?

Sandeep Parikh: I think Felicia wanted a different perspective. We’ve been collaborating for years, long before The Guild and Legend of Neil. We did improv together, and we cowrote the Bollywood Guild song. In writing, I took everything from my experience as a director and tried to be as visual as possible. We have a page per plot point, and it was great to have Felicia help me through the process.

Season Five of The Guild recently wrapped up this October. What’s coming up next for the show?

Felicia Day: We’re still actually waiting on the pick-up for next season. The show is owned by me, so it’s determined by the best opportunity for it, but I fully intend on doing future seasons, particularly with the cliffhanger for Season Five. It’s really exciting where we can go with the characters and that story. In the next couple months, we’ll see where the series goes.

And what can we expect from future Guild comics?

FD: I have a couple more things on the horizon coming for next year. I can’t talk about them right at this second, but I’m definitely doing comics. The Guild really lends itself to the format, so depending on what happens with future seasons, I really want to integrate comics into the future of The Guild.

SP: The Zaboo comic leads up to first frame of The Guild web series. All of the comic one-shots have been before the webseries takes place.

FD: We added a lot of game aspects to this comic, and this issue brings us up to the timeline of Season 1, Episode 1. The origin story of Codex and the arc of all five seasons of The Guild are filled in with this comic.

SP: If you’re a gamer and you look real close, you’ll see a few shout outs to your favorite games. Zaboo’s perspective on the world is through video games, so page by page sends you to a new world. I like that you can actually play the comic. If you read the margins on the pages, you can learn how to gain XP while reading it.

In Season Five, we saw a flip-flopping of Codex and Zaboo’s romantic dynamic. How did that come about?

SP: I really love what Felicia did with the characters. The best part of playing Zaboo is that he has some of most interesting arcs of the entire show. He really grows and evolves more every season. Our relationship is the same thing. How she handled our relationship this season felt really believable and honest.

Any sort of crazy behind-the-scenes stuff happen while filming Season Five?

FD: In the DVD that’s coming out later this month through Amazon, there’s a behind-the-scenes there that you will not believe. There are two characters who were supposed to be identical twins. So we hired identical twins, but they never made it to set. We have a very awesome, behind-the-scenes piece on how we were waiting for these twins, and we ended up choosing an extra, a Guild volunteer from the Twitter account to become two different roles this season. She had never been an actor before!

SP: She had to level up pretty fast!

FD: It’s an awesome story because she was a fan, and now she’s canon!

What other projects do the two of you have coming up?

FD: I’m launching a new YouTube channel right now called Geek and Sundry. We’re producing a slate of three or four shows right now. Not a very restful holiday, but an interesting next year to come out with some more projects!

SP: I’m actually in a writers’ session right now for a brand new web series that I’m going to create with My Damn Channel. I can’t really say too much, but it’s going to be awesome. It’s right up the alley of fans of The Guild and The Legend of Neil.

Original Interview at io9

Felicia Day Talks About The Guild FCBD Comic & Dragon Age: Redemption with TFAW

14 December 2011 Leave a comment

Felicia Day Talks About The Guild DCBD Comic & Dragon Age: Redemption

Written by Elisabeth&TFAW

Dec 5 2011

Dark Horse Month was too big and exciting to contain in just one month, so we’re closing it down with a “visit” from the one and only Felicia Day, creator/writer/producer/star of The Guild, her wildly popular web series focusing on a misfit group of gamers. We chatted with her about the upcoming The Guild: Zaboo one-shot, her Free Comic Book Day comic (a flip-book paired with Buffy the Vampire Slayer!), her latest web series, Dragon Age: Redemption, and more.

We’ve also got an exclusive six-page preview of The Guild: Zaboo–enjoy!

TFAW.com: Now that you’ve completed both The Guild miniseries and several one-shots, how are you enjoying the process of making comics?

Felicia Day: I feel like I’ve really hit a personal stride, that I actually look forward to working with the format and thinking more visually. The process is a lot more fun now that I’ve gotten my own methodology down.

TFAW.com: Can you give us any hints about what we’ll discover about Zaboo in The Guild: Zabooone-shot?

FD: Sandeep [Parikh, her co-star and co-writer of the one-shot] is a director, so I think this issue is much more visual, similar to the Bladezz issue (which I did with Guild director Sean Becker). The cool thing is that Sandeep is a big gamer as well, so we tried to infuse a lot of gamer ideas into the script and the visuals. There are homages to everything from FPSs to Mario Kart. I’m excited for people to read it.

TFAW.com: Does this take place before or after Season 5?

FD: As are all the one shots of the core characters I’ve done this year, this one is pre-season 1, with the timeline catching up to the web series by the end of the issue.

TFAW.com: Dark Horse just announced there will be a Guild comic for Free Comic Book Day–as a flip book with Buffy the Vampire Slayer. How do you feel about that pairing?

FD: SUPER PSYCHED. Ahem, sorry about the caps. I didn’t know they were going to do that, and to be paired with such a great title is an honor for sure. I was excited to be able to get word about the series out and support such a great event.

TFAW.com: What can you tell us about the storyline for the FCBD comic? Will it tie into Season 6 of the web series at all?

FD: It’s a stand-alone for people who might not be familiar with the show and it’s sort of out of time with the series, but canon.

TFAW.com: Have you considered expanding your comics work–writing a Buffy story, or a superhero book?

FD: I would love to fit in other comic projects, but I am really stretched thin right now. Next year is going to bring some big changes though, and I hope to fit in more writing alongside with all the web series I’ll be doing. The idea of creating something new is really appealing to me though.

TFAW.com: Cyd and Zaboo’s relationship has been through several twists and turns: she took a second look at him romantically in Season 5, but that fizzled after a brief experiment. Where will they be in Season 6?

FD: I can’t tell, and if I could I wouldn’t anyway :) . The show is still not picked up, so we have a lot of options with what we can do with the show, actually. I might be interested in doing something different with the format. We’ll see what the new year brings!

TFAW.com: A lot of characters made a quantum leap in Season 5: Tinkerballa (ahem, April Lou) opened up to Cyd, Vork fell in love, kind of, and most importantly, it looks like Cyd has an actual job–with The Game! Are we going to see a more “functional” Guild in Season 6?

FD: Of course not, functional is boring! I am having fun bringing the characters out of their shells a bit, though. Their friendship is making them better people, which is the central story of The Guild, really.

TFAW.com: I just rewatched Dragon Age: Redemption and really enjoyed it. How did you prepare for such a physical role?

FD: It was monumental will power that got me out of bed at 6 am every day for three months, doing two hours of working out, then going to work for eight hours and working on the script and The Guildand everything else I have to do, then training again before I went to bed. I think I almost broke myself, but it was 100% worth it. It definitely made me respect big action heroes more, who literally make that process their life. I don’t think I’ll ever be in that good shape again, to be honest. :)

TFAW.com: The end of the web series left a lot of room for a sequel–is anything currently in the works?

FD: Nothing planned now, but Tallis is, awesomely, a part of the Dragon Age universe. I could only hope she appears again!

TFAW.com: What were the biggest differences (besides budget) between producing The Guild andDragon Age: Redemption?

FD: I think scale was the biggest, we had so many more crew on Dragon Age, it was hard to even look at it like a web series; it was TV-sized. Also Dragon Age had a huge post-production process with special effects and color timing and transcoding, etc. etc. That was a huge learning lesson, how complicated post-production can be when you do a lot of special effects and involve so many people on that end of production.

I think the biggest lesson I took was that I kind of enjoy shooting things with three people more, haha.

TFAW.com: You’ve acted in projects by others, and those you produce yourself. When you’re creating your own material, do you think you make fewer compromises, or just different ones?

FD: Filmmaking is, by definition, a compromise art form, I think, whatever the scale. You never quite realize exactly what is in your head–sometimes you fall short, sometimes other people’s input and talent help you exceed it. That’s the beauty and the frustration of making films.

I certainly have a bit more control over what I produce personally, but wearing so many hats tends to round out the perfectionist corners because it’s simply a lot to take on, especially when we have such low budgets. So really, the challenges always vary from project to project, which is why I love what I do. Variety I what I live for.

TFAW.com: What do you think is the key to creating realistic female characters, both in comics or for web or TV series?

FD: I think creating a character, not a type. We all read characters that jump out as, “MOM,” “GIRLFRIEND,” “GEEK GIRL”–they start from cliches and never overcome them. Moms aren’t always kind, teen daughters aren’t always rebellious. Start creating a character with a unique perspective, interesting past experiences, and then make her female. Then something awesome will hopefully happen.

Our thanks to Felicia for taking the time to answer all of our questions. Make sure to order The Guildcomics and graphic novels here at TFAW.com.

Original Interview at TFAW

 

Nathan Fillion in Another Episode of the Thrilling Adventure Hour

20 November 2011 Leave a comment

Nathan Fillion has appeared in another episode of The Thrilling Adventure Hour: Sparks Nevada, Marshal on Mars. This episode was recorded in front of a live audience on 7th May and you can listen to it at Nerdist

Neil Patrick Harris to Co-Host Live with Kelly

14 November 2011 Leave a comment

Neil Patrick Harris will co-host Live with Kelly for a 5 shows commencing 28th November 2011.

Source: Entertainment Weekly

Nathan Fillion is a Pop Culture King with The L.A. Times

13 November 2011 Leave a comment

Nathan Fillion, a pop culture king beyond ‘Castle’

Nov 8, 2011

If you settle for 20th century definitions, Nathan Fillion is a prime-time television star – after all, his Monday night series “Castle” is cruising through its fourth sly season on ABC with more than 13 million viewers a week. But in this pop-culture era of digital tribes it’s really not fair to limit his celebrity with that sort of remote-control thinking.

These are the days of compartmentalized fame and there are few better examples than Fillion, who is able to able to anchor a popular network series even as he puts together a dynamic resume of cult-audience projects, be they beautiful misfires (Joss Whedon’s “Firefly”), bold misfits (James Gunn’s “Super”), experimental farce (Whedon’s “Dr. Horrible’s Sing-a-Long Blog”) or cosmic cartoons (he returns to the role of Green Lantern in the upcoming animated movie “Justice League: Doom”).

“When I go to a sci-fi convention, oh God, it’s the closest thing to being a rock star I will ever know in this life,” Fillion said over a coffee with an expression of rapturous deadpan. “I want to be a rock star, don’t you? It’s a good thing to be, a rock star.”

When you have won over cults as diverse as “Buffy the Vampire Slayer” and “Desperate Housewives” fans, for instance, you walk away with a special sort of celebrity. More than a million people follow Fillion on Twitter, and this past Valentine’s Day, readers of Entertainment Weekly voted his character, the charming boor Richard Castle, as the TV male they would most like to date.

It all adds up to a curious career odyssey for Fillion, who was raised by two English teachers in Canada and was himself on a path to become a high school teacher when his Edmonton theater work led in 1994 to a role on the soap opera “One Life to Live.” After a Daytime Emmy nomination, the soap job led to Los Angeles sitcom work on “Two Guys, a Girl and a Pizza Place” (which starred Ryan Reynolds, that other Canadian who wears a Green Lantern ring) and a brief but memorable role in Steven Spielberg’s “Saving Private Ryan” (playing a namesake for Matt Damon’s title character).

Fillion also landed the role of Caleb on the final season of “Buffy the Vampire Slayer,” a key early moment in his collaboration with Whedon. Fillion was Whedon’s leading man in the star-crossed sci-fi western series “Firefly” in 2002-03 and its feature-film sequel, “Serenity,” in 2005, and every few months there’s an industry rumor or a fan campaign calling for the franchise to saddle up again.

To the constituencies of Comic-Con International, Fillion feels like a homegrown superstar and he is acutely aware of his need to foster that part of his career. Last month, a “Castle” graphic novel (written by fan favorite Brian Michael Bendis) hit stores and also popped up as a carefully placed prop in a recent episode of the series. Fillion knows that “Castle” viewers who tune in to watch him and co-star Stana Katic solve murders represent a very different demographic than Comic-Con, but he says the line between mainstream sensibilities and genre tastes is narrowing.

“It’s so great in Hollywood now,” he said. “You have people past 40 sitting and talking about serious stuff, writing and making movies and TV, but there’s laser pistols and superheroes and alien monsters involved.  It’s viable and mainstream. There’s a treasure trove of story, and film and television are dying for story, and comic books are like storyboards, and with special effect what can’t you do now?”

The 40-year-old Fillion longs to be in a big-budget sci-fi or superhero feature film but by no means is he overlooking the value of “Castle,” which started off as a big-city send-up of “Murder, She Wrote” and has morphed into a “Moonlighting” informed by “Law & Order” and “Bones.” The show is enjoying its best numbers ever right now.

 

Like Hugh Laurie on “House,” Fillion clearly adores the cranky possibilities of playing a self-possessed scoundrel.

“I read him and immediately thought, ‘What a great time this would be to play him because he’s a kind of a jackass,’ ” Fillion said. “He’s doing his own thing, he’s selfish, he’s vain, he’s got all these character flaws. All of that I knew right away. What I didn’t know was how the mother and daughter relationship would humanize him. He’s not in control there, he doesn’t know how to be a dad and he gets humiliated a lot — that reduces him to something very basic that people can sympathize with.”

Fillion is never shy about mocking himself and that, according to Whedon, is the secret of his success.

“Nathan is a dork,” Whedon said. “He’s handsome, hilarious, a classic raconteur and a caring, considerate guy. But it’s his dorkiness, and his delight in it, that make it all more than charm. No one is more ready to poke fun at Nathan than Nathan. Except me.”

What’s next? Fillion is back with Whedon for the role of Dogberry in “Much Ado About Nothing,” a modern adaptation of the Shakespeare shot in black-and-white over 12 days in Santa Monica that earned cast members “hilariously miniature paychecks,” according to the press release. The film will be ready for the festival circuit on the other side of spring. It’s just another cult moment in a career oddly defined by fandom and fizzles.

“There were so many projects that I just loved — and that a lot of people loved — but they didn’t fly,” Fillion said. “You’re doing so many projects and then one makes it. And then you sit back and look at it and try to figure out why. Was it the timing or the mood? Is this what people were ready for at that moment? So many projects I’ve done fell short that I didn’t even imagine what it would be like to have a show reach Season Four. I’ve had the greatest time with the failures but this is OK, too.”

– Geoff Boucher

Original Interview at The Los Angeles Times

Felicia Day Q & A from The L.A. Times

11 November 2011 Leave a comment

Q&A: Felicia Day, from ‘The Guild’ to ‘Dragon Age’

October 13, 2011

This week in Felicia Day news: Tuesday saw the premiere of “Dragon Age: Redemption,” a Web series the actress-writer created as an extension of the video game Dragon Age II, and Wednesday that of the downloadable Dragon Age II adventure Mark of the Assassin; both feature Day in the role of Tallis, an elf with killer skills — a skilled killer elf. On Thursday, the fifth-season finale of Day’s “The Guild,” the online comedy about online gaming that made her name, goes wide on the Web. (It has been an ambitious year for the series, with myriad celebrity cameos, a fully staged fan convention and a flying “dirigible boatmobile.”) I spoke to Day, who is also known for her work on “Buffy, the Vampire Slayer,” Joss Whedon’s Web musical “Dr. Horrible’s Sing-Along Blog” and the Syfy TV series “Eureka,” for a Times profile last month. Here is a Q&A cut of some of the rest of our conversation.

We began by talking about women and the Web.

Felicia Day: There was a really good blog the other day about the huge decrease in the number of women on staff and women show runners in TV. When I go to a Web video meeting and look around, at least half the show runners are women. And a lot are actors-cum-writers, who are frustrated with the situation of being a woman actor in Hollywood and have decided to create their own show. There’s definitely a higher proportion of women in Web series because, I guess the money’s not there. [Laughs.] I think it’s an outlet for people looking to create without waiting for someone to give them a permission slip.

You first wrote “The Guild” as a TV pilot.

FD: I did. I showed it around and got some compliments on my dialogue and my characters. People said, “You should write a spec script for whatever sitcom — you could get on staff.” I know a lot of writers and I knew that being a staff writer wasn’t really what I wanted to do. But [future “Guild” co-producer] Kim Evey, who was actually my first writing teacher — my only writing teacher, I did a sketch-writing class with her — had done a lot of Web video. She had a show called “Gorgeous Tiny Chicken Machine Show” that took off a little bit that she sold to Sony for distribution. And after she read “The Guild,” she said, “We should make this for the Web, because that’s where the people who you’re talking to are, not TV.”

You never felt that it was the lesser path?

FD: No, because it was so experimental at the time it was just like a challenge, like, “Let’s mount a play! Let’s make something!” We had all just been sitting around Hollywood waiting for someone to give us what we thought we wanted. I think that’s kind of inherent in this town; no matter where you are you always have this other higher goal you want to get to. It’s sort of an underlying dissatisfaction with life, and it creates a lot of bitter people. The idea of just taking the reins and doing something on our own was terrifying, but the decision to do it, with just what we had in our houses, was so exciting that it became a great creative focus. We were going to make it happen no matter what.

No matter what we needed we had to do it ourselves because we had no money to hire anyone. So I was the one who drove out to Sylmar because somebody on Freecycle wrote they had working electronics on their curb and I was, like, “Well, that would look cool in the background of this character.” And for the background of another character I was, like, “Well, I need a painting that’s iconic for her,” so I took a piece of wrapping paper and I used a Sharpie and I painted this vaguely graphic shape and hung it on the wall. Every single scene that first season was all found objects.

Were you worried about not making it too “insidery”? Of making it for a wider audience than just gamers?

FD: I made it for myself, basically. I never wondered “Is this too insidery?” Season One is probably the highest bar to entry as far as the gaming terminology. I think it started with hard-core people, and then people who knew the hard-core people told their other geeky friends, and then it broadened out to all Internet users. We released one episode a month, which is counterintuitive, but in fact was a huge advantage for the show because we built an audience between episodes. We started so far inside that it gave me the time to think about where my audience was.

Did you have any sort of public profile at the time?

FD: I’d been on “Buffy” — that is an amazing community, the Joss Whedon fans. So that was a little bit of a leg up. And then being able to target gaming blogs, and inevitably a couple featured it. And with Episode Three, I think, YouTube saw the traffic and featured us on their front page. After that we had a lot of offers from studios — there were some big studios jumping into the space in 2007 and 2008, but their traditional model is to own the show’s IP, and I looked at what they were doing with other Web properties, and was like, “Well,what exactly are you going to do that’s better than what I’m doing?” I kept turning down deals, even partial ownership deals with really impressive people, though I got close several times, because in my mind I was doing things slowly but surely, and I didn’t see that they were going to help me out either logistically or financially enough to justify giving up my show. And the week before we started shooting Season Two, Microsoft called and said: “We’re interested in doing this with you. It works with our demographic. We want to do original content, we don’t need to own the IP, and we have Sprint on board to do overall sponsorship.” It was absolutely a dream deal — they introduced us to millions of new people. That was the big lesson, in that with every platform you’re on you’ll find a new audience. We experienced another huge leap when we got on Netflix, which I didn’t expect; and continue to find new audience there as well as on Xbox Live. We just did a distribution deal with Hulu, and again, tons more people just discovered the show.

Do your actors work under union contracts?

Since our first season we’ve been AFTRA. SAG and AFTRA have been pretty aggressive in trying to sign Web series. I guess the challenging part for them is how do you treat a Web series people are making in their house differently from a big company doing a quote-unquote Web series that’s really a direct-to-DVD movie they just want to pay everybody less for. I’ve done a couple of pilots for real networks that have been made under a Web agreement and made, like, $100, yet they’re presenting it to a network to consider for pickup: That’s the company trying to get over the unions. I think more and more the unions are savvy to those plays.

Codex, your character in “The Guild,” is a bit of a shy flower. For “Dragon Age: Redemption” you’ve written yourself as an elf assassin.

FD: I saw all these superhero movies and I knew I would never be that; I could be the waitress that gets killed in one of those superhero movies. And so when the opportunity came to create a character for a world where I could wield daggers, I couldn’t pass it up.

How did it feel?

FD: It felt great. It was a monumental opportunity, but it was definitely taking “The Guild” and raising it ten-thousandfold. I mean, I wrote a $10-million movie on the page, and they were, like, “Well, you should not write a fight sequence for 14 people on a Web series budget, when you have no trailers.” I called in every favor from every person I could to make it more than what I had resource-wise. 

You were approached to make the series?

FD: I had been approached by a lot of people to do another Web series; it was almost intimidating how many people wanted me to do a project with them, and so I kind of put them all off. Because to me it’s all about, “Does it feel right?” Whenever I get out of my own way and make decisions based on my gut feeling I always do well. And when Electric Arts [makers of Dragon Age] called, that was the first call in years that was really like, “Oh!” They asked, “What would you like to do?” and I said, “What properties do you have?” And when Dragon Age came up I was, like, “Yes!” Because when am I ever going to be able to be in a medieval world as an actor? Probably never. So I’ll help create it myself.

This will be the first time that a video game property is a Web series; and the elf is an actual playable character. So my character will be a DLC [downloadable content] piece; if people own Dragon Age II, they’ll be able to purchase an extension pack and play with my character. It’s full motion capture with me, full facial capture, full vocal acting. It’s pretty much the coolest thing I could ever imagine: Not only am I in a game, but it’s as a character I created.

Have you noticed narrative ideas from video games working their way into movies and TV shows?

FD: I would almost say the opposite: The storytelling in video games has gotten so much more sophisticated and well-thought-out — I mean, if you play Uncharted, it’s like you’re living an Indiana Jones movie. And [Dragon Age developer] BioWare games specifically have a depth of storytelling where you feel like you’re living a season of a really good hour drama. You’re able to form relationships with other characters, your dialogue choices influence the story. Just the number of lines that I had to record to satisfy all the player decisions in [“Dragon Age: Redemption”] is kind of staggering. So it’s a three-dimensional kind of storytelling that to me is almost more attractive than passively watching a narrative. I think that’ it’s going to be very interesting to see the long term of it — it’s almost like video games have an advantage over movies in being able to go beyond the traditional barriers of media.

Do you see Web series remaining entrepreneurial as more money flows to the Web?

FD: When someone asks me to help them with their Web series, I’m like, “Do you really want to do a Web series, or do you just want to to a short film? Because if you want to do a short film, make one.” Sustaining an audience with a Web series is an impossible task. You’re starting a company and the video is just one piece of your offering. You have to have a start-up mind, you have to think about the Web design, the trailers, your social networking sites; you need to make sure that you’re consistent, you need to have marketing materials at all times. The three-dimensional way that you have to build a Web series is unique. Some people upload a video and expect to get reviews overnight. “The Guild” didn’t have that. Maybe a couple of stars will have that kind of penetration, but big stars have done Web series that have gotten zero people to watch them. There’s no magic bullet; it’s just persistence and making content over and over again and knowing that you love doing it even if you might not get a million people to watch.

You have to hit harder in order to be able to be spread on the Internet, because you’re not going to hit 2 million people at once like you’re on television. You’re going to hit … whoever you can get access to. Distribution networks like YouTube and Twitter and Facebook, that’s your network. I tweet — I don’t think 100% of my Twitter followers see every tweet I do. It’s a scattered, I like to say, “info-collander”: You pour in the information and it’s going to catch just between the holes. So it’s all about consistence and consistency. It’s challenging for the traditional sort of marketing approach; we invent whatever we can to get our audience.

Do you watch other Web series?

FD: I do. I mean, I try. The last six months have been really challenging to me. But one of my best friends I found online because I admired their work. There was that steampunk series “Riese” and there was a sci-fi series, “The Mercury Men,” my friend did and then sold to Syfy for distribution. There’s a really sweet comedy called “Awkward Embraces.” Especially on the comedy side, there are some really good Web series, and they get more and more polished because the equipment gets cheaper and cheaper and people get savvier and savvier. The storytelling and production values are improving. Certainly Episode One of Season One of “The Guild” is completely different from Episode One of Season Five. We’ve improved exponentially. You’ve got to compete with that Hulu thumbnail of a professional TV show; so you’d better make your Web series pretty good, or who’s going to click on it?

Do you imagine creating series that you don’t star in?

FD: “Dragon Age” was the first step. I could go off into the wilderness and write fantasy novels for the rest of my life and probably be happy; but I always want to challenge myself. So my producing partner Kim and I have several projects in development; a couple of them might have me as an actor, or personality, and others have other people. My goal is to do a whole slate of programs, start small and then end up at those bigger-budget things I really want to do. I also know that as a woman [actor], my face has a shelf life, in a sense, I’m very aware of that. So I just have to be long term about it, and think, you know, that was the time for that and maybe in the future it’s more writing and producing. I tend to not to think too far ahead.

This will all be online?

 FD: Yes. I’m always interested in digital distribution — that’s where it’s all going to end up anyway. I never felt more fulfilled than when I uploaded that first “Guild” video and I saw comments starting to appear; and they were good and they were bad but they were there, and I saw that feedback and I saw people that started using our icons on their page because they liked the show. It’s that interactivity that keeps me interested in doing it; it’s intoxicating in a way. And I always wanted to be part of that community, and the community I’ve formed I’m loyal to. So I want to tell stories to them.

Original Interview at The L.A. Times

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