I had so many questions that I didn’t ask in the Much Ado About Nothing Q&A. “Who worked on the stunt choreography for some of the pratfalls because they looked pretty dangerous?” or “the lighting and photography in the comedic scenes seemed a bit sharper than some of the more dramatic or romantic moments, was that a deliberate choice, or just a by-product of the environment?” or “Mr. Whedon, do you like the Wonder Woman t-shirt my friend made for me?”
Alas I did not ask any of these as I was too busy freaking the frak out after seeing one of the most hilarious and – in my humble opinion as a former English major – entertaining adaptations of one of Shakespeare’s work for film.
One of the things that surprised me the most was that my favourite performance was that of Clark Gregg, who is a newcomer to the Whedonverse. His Leonato stole every single scene he was in – and his ability to shift from Polonius-esque comic relief to full on rage and recrimination was truly impressive. I always felt something about his character, regardless of what was happening in the moment.
In terms of tone this was like the opposite of Coriolanus, not just because of the subject matter, but also because of the cinematography, the obvious charisma of the cast and the intimate space. By using his home as the backdrop, not only did he likely save a crap ton of money, but you could feel the ease in the performances and the way they interacted with their environment.
Once again he rocked it #likeajoss.