Lucy. Australia. Pluviophile. Melon Lord. Loves animals, television, movies, musical theatre, books, and things that can elicit lols in real life.
I'm deeply committed to all of my celebrity husbands. We share a polygamous love.
“I know no matter what I say he’s going to make a face that will change the context of whatever I say. There was never a moment from the time we met that I did not think he was the captain. And anybody who knows the history of what happened since, up to a party three weeks ago, Nathan is the captain. He makes sure everybody is having the best time and doing their best work — it’s a responsibility for the star of the show that most actors aren’t up to or ignore. When he looks at you and he’s not happy with you — we had a visiting actor who was very disrespectful to the females of the cast. And he got a little taste of what Nathan is like when his loved ones are threatened.” - Joss Whedon on Nathan Fillion, SDCC 2012 (x)
The best thing that ever happened was definitely during “The Message”. I think for some reason it wasn’t on the gag reel. It was possibly the best piece of acting I’ve ever seen, which is the three-sixty [360 degree camera rotation] that Tim [as director] did while everyone was listening to the farewell message from Tracey [played by Jonathon Woodward]. And Nathan is standing with Zoe, looking kind of stricken - this is his old friend - and the camera pans around to Kaylee - and Nathan’s sitting next to Kaylee, looking kind of stricken in another way. And he managed to duck under the camera and get to every single member of the cast and just look really sad [laughs]. And some of them just could not keep it together and some of them did. But I’ve got to tell you - it’s hard to describe. And then when it finally panned down to the body in the coffin, Nathan was lying in [Woodward’s] arms, looking stricken. It was unbelievable - not only hilarious, but technically proficient. He really put some thought into it. But that’s Nathan.
— Joss Whedon, Firefly - The Official Companion. Volume Two