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Highligthing Anna’s interview parts. You can read the full article on TheHollywoodReporter.com. There are also several videos from the Round Table, you can view them at THR Website or clicking read more below.

One’s returning to TV, another is switching shows and they all have a lot to say about fight scenes, Twitter and going incognito at the annual convention.

That’s one of many revelations to come out of our June 24 conversation with Gellar (the CW’s suspense thriller Ringer), Jennifer Morrison (ABC’s fairy tale drama Once Upon a Time), Britt Robertson (the CW’s supernatural series The Secret Circle), Yvonne Strahovski (NBC’s Chuck), Maggie Q (the CW’s Nikita) and Anna Torv (Fox’s Fringe).

THR: Did you put on a costume and go in?
ANNA TORV: I went and had a look around the first year that I went down there. The show wasn’t on the air yet and everybody was at our panel to hear J.J. [Abrams] speak, so I was quite fine to go and have a look. And then, you know, it changes bit by bit. It’s one of the few opportunities that you actually get to sit and talk to people who watch your show and have an interaction with them.

THR: What is the best or craziest fan encounter you’ve ever had?

YVONNE STRAHOVSKI: I was at New York Comic-Con. I was the only castmember with our two creators, and somebody came up and gave me a teddy bear, and then it sort of started this whole thing where people wanted to gift me things at the table.

GELLAR: I’m a size 6-1/2 shoe …

Q: I love jewelry!

MORRISON: If you bring me jewelry, I will tweet you back.

ROBERTSON: I just started [tweeting] two days ago. It’s scary.

TORV: I did it on our showrunner’s account. I can’t believe how the world changes.

THR: Do you have to tweet on behalf of your shows?

TORV: I think genre shows are really the only place where it is so beneficial. I know that our writers, producers and showrunners sit and read Twitter and check out all of the boards, and it becomes this intellectual dance with the fans.

GELLAR: But it’s also like, “He who speaks loudest gets heard.”

TORV: You have always gotten feedback, but it’s just so instantaneous now. I think that the filter they use is still the same filter that they would have used before. It’s like everyone had such a big issue with reality TV when it first happened. It was like, “Oh my God, reality TV.” But you look at it, and here we are. It means that scripted drama has to get better.

Q: It has to be more reality-based than it ever has been …

TORV: Well, no, I think it means that it could be heightened. I think what it means is because there is a lot of that reality stuff, you don’t want to watch shows where people just stare at each other and say, “Yeah, then he dumped me.” You want to watch stuff that’s emotionally uplifting, heightened, fantastical or sci-fi.

THR: If you could do a superhero show, which would you do?

GELLAR: Don’t feel pressure to say Buffy, guys.

THR: They tried to do a Wonder Woman pilot, and it failed.

GELLAR: Don’t say failed. That’s not fair to all the people who worked hard on it.

THR: It didn’t get picked up. But is there a way to make Wonder Woman work in the 21st century?

TORV: Oh gosh, that’s what I used to play when I was little. I would run to the end of the street.

THR: For many of you, these are new or recently renewed shows. Take us back to the moments before you got the official word. What were you feeling?

GELLAR: Oh, it’s cruel. It’s cruel. It’s the worst process. You are literally standing by a phone and they really don’t tell you until the night before, unless you are in New York. You are literally waiting, and you don’t want to pack a suitcase. I think what they do is secretly have all of the flights reserved under all of the actors’ names who they might pick up. I remember having to give all of our information ahead of time

ROBERTSON: It’s so funny that they do it so late in the process.

Q: The CW, especially!

TORV: The casting as well. You get cast two, three days before you’re about to shoot. And establishing a character at that point that you don’t realize you could play for four years, it’s like, my goodness!

THR: What is the biggest challenge or frustration of working in the TV business, for you?

MORRISON: The hours on a drama are just nasty.

Q: I worked for a producer on my show who Sarah worked with on Buffy. It was like six months in, and I wanted to kill myself …

GELLAR: Ah, Buffy the Weekend Slayer. … The thing I’m grateful for is that I don’t have to do the stunts anymore. In the Ringer pilot, I was the one who got knocked down. My entire stunt was getting knocked around. The producers and directors were so nervous; they wanted to use the stunt double and use pads.

Q: The physicality is so hard. It is the hardest thing you can do. Then you also get a 60-page script every nine days, and you’re the lead and you’re doing action. It’s almost impossible. I nearly had a meltdown in the first season.

TORV: You can surely get hit in the head and go into a coma, can’t you?

THR: Comic-Con, in particular, seems to have played an important role for certain shows that have struggled in the ratings. Anna and Yvonne, what has the event meant for your series?

TORV: We have such loyal and vocal fans, and that’s why we’re going again. Comic-Con is such a fantastic forum for that because you get to meet them and talk to them.


Round Table Part 1



Round Table Part 2

Round Table Part 3

Round Table Part 4

Round Table Part 5

Round Table Part 6

Round Table Part 7

Round Table Part 8