How did Dean Stockwell come to reunite with his former Quantum Leap co-star, Scott Bakula, on tonight’s episode of NCIS: New Orleans? The answer is about as simple as they come: “They called my agent and I was available, so I said I’d do it.”
This time around, though, Bakula and Stockwell aren’t playing partners…or even close: Stockwell’s character, Tom Hamilton, is a fella who’s suspected of having been involved in a murder 40 years earlier. Plus, if you’ve been watching the series at all, then you’ve already met Tom’s son: Councilman Douglas Hamilton, played by Steven Weber.
“It’s not a big part,” acknowledged Stockwell. “But it’s a key part, and it was great to be able to work with Scott, to go in and feel that comfortable with someone.”
Let us not mince words: Isabella Rossellini is one of the most beautiful actresses in the business. This should come as no surprise to anyone who knows of her gene pool (she’s Ingrid Bergman’s daughter), but given that she seems to pop up all too infrequently in films and on television, perhaps a few more directors and directors need to be reminded. Fortunately for you and I, Rossellini can be found amongst the cast of the “The Phantom,” SyFy’s attempt to reinvigorate the franchise of the character often referred to as “The Ghost Who Walks,” which premieres on June 20th. This appearance was particularly fortunate for me, as it presented me with the opportunity to chat with Rossellini about her work not only in this production but also in “Blue Velvet,” “Friends,” “Alias,” “30 Rock,” and her infamous Sundance Channel short-film series, “Green Porno.”
Prepare for your heart to go pitter-pat as you read…
Isabella Rossellini: Hi!
Bullz-Eye: Hello! How are you?
IR: I’m fine, thanks. And you?
BE: I’m wonderful. It’s a pleasure to speak with you.
IR: It’s nice to talk to you. Thank you for interviewing me!
BE: (Laughs) Not a problem! Well, “The Phantom” is certainly not your first foray into the world of science fiction, but are you actually a fan of the genre?
IR: I’m not really a fan of the genre. You know, I do see some films, but I must say I don’t go see them religiously. I love working with the producer, Robert Halmi, with whom I’ve done several films, so when Halmi called me to play this small role in “The Phantom,” I had no hesitation. I’ve been with him for five or six productions in the last 25 years, among which are “Merlin,” “The Odyssey,” and “Don Quixote,” and they’ve always been wonderful. They’ve always been… (Hesitates) It’s been great to work with the group, he has a fantastic eye, and every time he hires a director, it’s always somebody young who…well, he just has an eye. He hires them, and they turn out to be fantastic and, a few years later, they’re top directors. That’s how it has been with Paulo (Barzman), the director of “The Phantom.” So the reason why I said “yes” to this small part was because of this history that I had with Bob Halmi, and…I was surprised, actually. I had a doubt. For me, the Phantom was so much that image that I had from the 1930s, and he kept on saying, “No, no, it has nothing to do with that. It’s not trying to be retro.” And that image of the original comic strip was so strong that I was amazed, actually, when I arrived and had seen how they had transformed it to be a contemporary, modern film.
BE: So what are the challenges of playing a part like this? Because I’d think it would be a challenge to play a live-action comic book character without taking it over the top.
IR: Well, actually, you know, to tell you the truth, there were no challenges. At the beginning, you search a little bit for the look, especially when you play a small part. Every beat counts, you know. Sometimes when you have the lead, if you think it, you maybe play a part too seriously. You think, “Maybe I should smile,” and you have other possibilities later in the film to add a smile or to add some softness to your character, for shading. But when you play a small role, in a way, you have to hit every note correctly, so I think that the way she looked also was very important. When I was told that they wanted me to be a blonde…because they told me on the phone: I live in New York, but the film was shot in Montreal…I said, “Oh, blonde, it wouldn’t work with me. I’ve tried it several times, but I can’t go with it. My hair is brown. I can become easily black-haired. I can even become red-haired. But blonde has never worked with me.” But when I arrived, inevitably, there were all these blonde wigs, so I said, “Okay, I’ll show you what I mean.” And, instead, it worked perfectly, because the character should be totally artificial. I had these metallic clothes that always tended to be on the silver side, so, actually, the look of this evil person was helped a lot…it helped me to imagine the character. But the challenge is not the words. It’s so much fun that I’m always amazed that I even get paid for it. (Laughs)