Their dreams are all pretty wild, exploring fears and fantasies Willow dreams that her "costume" is ripped off to reveal the true freshman-year nerd underneath; Xander dreams of Willow and Tara dressed rather like hookers and inviting him to Buffy, a hero even in dreams, puts a stop to the primeval Slayer's antics, but is left with some thoughts about what Tara said to her in her dream. For the full, detailed synopsis, click here. Back to Top. Riley about the Initiative : "Having the inside scoop on the administration's own Bay of Mutated Pigs is definitely an advantage.
Xander: "And I'm putting in a preemptive bid for Apocalypse Now , heh? Willow: "This isn't Madame Butterfly , is it? Giles: " I know this will be the best production of Death of a Salesman we've ever done. Joyce: "I made some lemonade, and I'm learning how to play Mahjong. New Moon Rising and Primeval Riley's issues with the Initiative the reason he hopes to get an honorable discharge are mainly due to his having helped Oz escape in "New Moon Rising," as well as due to his involvement with Buffy.
Graduation Day, Part 2 Xander's reference to Principal Snyder about being eaten by a snake the Mayor, after his ascension happened in this episode. Now listen carefully. Your life may depend on what I am about to tell you. You need to get to -- switch to French the house where we're all sleeping. All your friends are there having a wonderful time and getting on with their lives. The creature can't hurt you there.
Go Where? I don't understand. Anya rushes to them, worried. And dubbed. You have to come with us now! Everybody's waiting for you! Anya grabs his arm, starts dragging him. I'll take you there. Where are we going? Music and lyrics written by Joss Whedon. See Notes above for more info. Jeremy : Wow! Did you catch all those hidden metaphors and meanings? I did. You know, like in the one part of everybody's dreams with the cheese guy, Giles eating an apple you know, an apple!
Despite my utter lack of understanding of this episode, it was enjoyable to watch. I've had a few theories about certain things that Jamie was able to shoot down immediately. Joss, I think you've been reading too many "How to Analyze your Dreams" books. And I thought my mind was twisted. The cinematography of this episode was fantastic, especially the green tinted portion of Xander's dream, Miss Kitty Fantastico walking towards the camera, and Buffy walking onto the desert.
As far as this being a season finale though, I think it opened up too many questions rather than letting some things be wrapped up. New posts. Search forums. Log in. Install the app. Thank you for visiting Buffy-Boards. You obviously have exceptional taste. We just want you to know that: 1. You really should register so you can chat with us!
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Giles and Anya speaking french in restless. This Year's Girl Grateful grapefruit. So 2 questions: 1. When Giles and Anya are speaking french in restless, what are they saying? Are they still speaking french in the french dubbed version of btvs? Cheese Slices I think you're in the wrong section btw ;. Cheese Slices A Bidet of Evil. Joined Dec 31, Messages Location France. I should rewatch it, because I don't remember exactly what they say, but in a nutshell: they ask him to follow them so the creature couldn't catch him, and since he's reluctant in a wtf way they tell him to stop playing foolish games.
I have to say, it's not a very fluent french, the syntax and pronunciation are pretty weird, I actually don't get why they'd have the actors dubbed maybe to make it even more strange? Hope that helped. Aw, yay, I like that they replaced the french to arabic! Thank you for helping!
If you get the chance to watch it it would be fun to know the exact words! As a result, this is the first season finale in which they do not appear. Joss Whedon stated that the maze of red curtains on the stage in Willow's dream are not a direct homage to Twin Peaks , as some have posited, but rather represent the safety and comfort of being with her girlfriend Tara, and are a sexual metaphor as well. Some special effects shots came about by accident; in his commentary Joss Whedon explains that when Buffy smeared the mud all over her face, it looked as though she was giving herself a facial.
He therefore dissolved the shot into a negative image, creating intense colors that made the shot more interesting. Dynamic editing contributed to the surrealistic nature of the episode. Abrupt cuts from close-up to extreme wide angles and sudden shifts from normal speed to super slow-motion are used in Buffy's dream: several sequences become slow-motion partway through them, then revert to normal speed as they continue.
Xander's dream features mismatches between sound and image: characters are sometimes shown not speaking even as their voices are heard. Additionally, silence is used frequently, to both reflect the characters' disorientation and to unsettle the audience.
Joss Whedon cited films by Steven Soderbergh as his main inspirations for the odd editing, especially The Limey and The Underneath He also listed The Trial and Eyes Wide Shut as inspirations for many of his shooting and editing decisions. The outdoor scene in which Xander sees Buffy in the sandbox was intentionally overexposed, intensifying the foreground and blowing out the background, making the sky look white; flash frames were also used in the shot of Buffy in the desert.
When Xander is driving the ice cream truck with Anya, the backgrounds outside the car intentionally look fake, to give a sense of stillness where there should be motion. Joss Whedon originally wanted to use rear-screen projection for the driving scene, but had to utilize green screen instead, as rear-screen projection would be difficult to set up on their stages.
Joss Whedon used a variety of cinematographic techniques to achieve the dreamlike quality. He used tracking shots with a Steadicam to follow the characters from place to place, creating a flow in the way of real dreams, where there are no logical connections between places and things. In Giles' dream, he walks from a carnival grounds into Spike's crypt, then through a corridor and straight into The Bronze, three locations not related to one another. Whedon was able to do this by simply having Anthony Head walk through the sets as they were built; this effortlessly created a sense of dreamlike dislocation.
Another example of this occurs when, in Xander's dream, he walks from the front of the moving ice cream van towards the back, crawls up and over some boxes, through a window, and drops into his basement. In the theater scene during Willow's dream, a Frazier lens was used to provide a large depth of field, allowing both the foreground and background to be in focus at the same time, while in Xander's dream, as he moves from room to room in Buffy's house to the university dorm rooms, Whedon used a 17 mm lens to give a sense of motion as the camera passes by walls.
While talking about the writing of the episode, Joss Whedon said it had been like writing poetry, a process he found "liberating and strange".
Like the earlier Buffy the Vampire Slayer: Hush - an episode with almost no dialogue - he viewed the episode as an exercise in form and writing, and what it means to write. Dream Riley's use of the term killer in reference to Buffy hearkens back to "Bad Girls", in which Buffy tells Faith that "Being a Slayer is not the same as being a killer. I am the Slayer! Willow tells Tara that she has "others' homework to do". It's a reference to Buffy the Vampire Slayer: Doppelgangland , where she was supposed to help Percy West with his homework and uttered the very same sentence.
This is the first of only two episodes where the title-sequence is at the very beginning, the other being Buffy the Vampire Slayer: Once More, with Feeling Anya is the only character other than the Cheese Man and the First Slayer to appear in all four dreams; Tara appears in three dreams - Willow's, Xander's, and Buffy's; several other characters only appear in two dreams: Joyce appears in Buffy and Xander's; Riley appears only in the women's dreams and Spike in the men's.
While Xander, Willow and Giles dreams all contain the other three dreamers, Buffy's dream contains none of them other than a quick shot of the four in the living room still sleeping. This episode's script deviated from Joss Whedon's usual method of writing as everything he had previously written was constructed before starting the script.
The story unfolds coherently in four discrete acts, each act comprising one character's dream. Highly stylized lighting is used throughout Xander's dream. In the university hallway the scene is lit with green and orange gels, while the almost shot-for-shot re-creation of the Apocalypse Now section is lit with carefully controlled spotlights which allow the background to fall out to black. Joss Whedon cites The Underneath as an inspiration for the unnaturally colored university sequence, and had the scene from Apocalypse Now playing on tape during filming to ensure as close a match as possible for that sequence.
The desert in Buffy's dream is the same desert that appears in Firefly: War Stories , also created by Joss Whedon. There's another subtle plot clue to the arrival of Dawn in Season 5. As Buffy leaves, Tara says, "Be back before dawn. This is the last appearance of Seth Green as Oz.
Even though he left earlier in Season 4, he came back twice as a guest star. He was only mentioned twice by Xander here and there in little moments, throughout seasons five and seven. However, Oz does return in the canonical comic book continuation.
In Buffy's dream, when "Adam" tells her that the two of them come by aggression differently than humans, she exclaims that "we're not demons," presumably referring to herself and her fellow Slayers, to which "Adam" responds with "is that a fact? Giles remarks during the dream that "Spike is like a son to him". In "Tabula Rasa", Spike and Giles assume they are father and son.
This part of the dream also makes reference to a shark on land, which foreshadows the loan shark demon from "Tabula Rasa.
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