Whedon shot the scene where she finds her mother as one long take, showing her move through the house and calling the paramedics, about seven times. The rest of the scenes in the act were shot in sequence. At the end, Giles arrives and also attempts to revive Joyce, but Buffy blurts, "We're not supposed to move the body!" Both Gellar and Trachtenberg (Dawn) were raised by single women, and Gellar later spoke about the experience of acting something that was very real and close to her, stating, "you try to separate it as best you can and at the same time it adds that extra layer". As soon as the scene was finished with Gellar "at a fever pitch", they restarted it where she comes in the door happily, which Whedon regretted for the emotional range Gellar was required to endure. Kristine Sutherland (Joyce) was informed during the third season that her character would be killed off, which she accepted because she intended to spend time in Europe. She is absent from most of the fourth season because she was traveling. She reported that the atmosphere on the set of "The Body" was strange and tense because she had been a regular character through the series and she was suddenly playing a corpse. She found the part difficult to play, not only for the stillness, but getting into the make-up, and lying on the morgue table with other bodies. The most difficult scene for Whedon to film was Willow panicking in her dormitory room. Her obsession about what to wear to visit Buffy was inspired by Whedon's own experiences when he was at a loss for what tie to wear for a friend's funeral. He praised Alyson Hannigan's acting, saying that she was able to be consistently emotional in every take and make him and the crew cry every time. Whedon acknowledged his difficulty speaking on the DVD commentary while watching Hannigan in the scene. Whedon's rejection of the "very special episode" format impelled him to address the physicality of Willow and Tara's relationship within "The Body". Before this episode, they had held hands and danced on screen, but they had not kissed. A genre of television specials dealing with female homosexuality developed as the "lesbian kiss episode" in the 1990s, where a female character kissed another female but no relationship is further explored. Whedon set out to acknowledge