James Marsters
Marsters was definitely one of the show's highlights, not only because of his role in the Buffey-verse, but because he has played in a lot of roles and, quite frankly, he was a great speaker. From the moment he walked onto the podium, crawled over the table and sat atop it to talk with his audience to the time he left the room, he was both interesting to hear talk and fun to watch interact with the questioners.Surprisingly enough, his first question was not about his role as Spike. Instead, it was about reading for the Dresden Files audio books written by Jim Butcher. He explained that it is a very draining, but rewarding experience. While acting with other people ends up being a well of energy for you to draw on, recording for an audio book is the opposite. You are alone in a dark room and reading. He said the best part of the job was going home and crashing because he was so drained by the work.
Marsters was also asked about his work on Caprica where he talked about the unusual manner in which the series if filmed. Instead of having one or two cameras rolling and having to do the same take multiple times in order to get different angles, Caprica will have all the angles rolling at once (which amazed Marsters), and once the take is done, all the angles are obtained. As a result, the follow-up takes would be with different emotions. In the end, how the character comes out is all about which set of takes the editor decides to use.
It wasn't long though before the Spike questions started. One of the more interesting ones involved the overall evolution of Spike as a character. Marsters explained that Joss Whedon didn't want his vampires to last at all. He reported Whedon as saying "I'm not Anne Rice, I don't want anyone to understand my vampires." Much to Whedon's chagrin, he was talked into the character of Angel (David Boreanaz) as "the pretty boy vampire." While most vamps are supposed to be ugly and die quickly, Angel became a staple to the series, and this hurt what Whedon felt the theme of his show was about.
Then comes Spike. Originally, Spike was supposed to die after five episodes, but once makeup and wardrobe got a hold of Marsters, Whedon once again begrudgedly realized he liked this character. The problem was, according to Marsters, Whedon didn't really know what to do with him. Season after season, Spike's story arc was only a side note and Marsters felt like the episodes really didn't need him to convey the story. When he was brought into the final season of Angel though, everything changed.
Spike's role in the spin-off series was a doppelganger to Angel. This means that he was thematically the same as the main character, but viewed from a different angle. And as that last season reveals, Angel and Spike actually have a lot in common and the two characters playing off of each other like they were made Marsters feel like Spike was a truly central character.
Marsters also discussed the molding of the character at the beginning. Whedon explained that he wanted Spike to be the "Sid Vicious of the vampire world" to which Marsters believed he actually wanted someone more like Johnny Rocket. As a result, Marsters played the role with his own twist instead of the mostly brain-dead rocker that Whedon originally asked for.
The discussion of Spike eventually turned to the character's relationship with Buffy, and while Marsters thought it was a great idea for Spike to fall in love with her, the idea of Buffy ever noticing, much less reciprocating wasn't something he thought should have happened. He felt like the idea of Spike constantly trying to do good, but failing, and Buffy never even noticing was a concept that could have gone on for many years, and when the bathroom scene happens where Spike attempts to force himself on Buffy, he was cursing the writers. It put him in a bad place and in a mentality that he said he will have to live with and for which he hasn't yet forgiven himself. He went up to one of the writers and asked them what they were doing, since the writers just have to write the stuff, but the actors had to live it. In the end though, he believes that the actors are a vessel for getting the story out there and they had to do what they had to do.