The Light from the TV Shows: A Chat with Pam Grier (TV One’s ‘Unsung Hollywood’)
Fans of TV One’s documentary program Unsung, which shines the spotlight on performers whose mainstream profiles aren’t as substantial as they perhaps out to be, will be pleased to learn that the network is branching out with the series, expanding its coverage beyond the world of music and into the field of acting. Tonight marks the premiere episode of Unsung Hollywood, which kicks off with a look at the life and career of Pam Grier, and Bullz-Eye was fortunate enough to be able to sit down with Grier and discuss the episode and how it came about while also chatting a bit about her career…but without giving away too much about the program, of course.
Bullz-Eye: How did you find your way to Unsung Hollywood? Did they pitch you on the idea?
Pam Grier: I had turned them down several times, because I wasn’t interested, but then I saw one of their episodes. My mom was so enthralled by one of the shows they had done on musicians – they did an excellent job – and she said, “I didn’t know that!” And, of course, no one knows what inspired the music and the tenacity of people to get their music played and all that except for the musicians. So we talked, and they said what they were going to do, and I said, “Okay, but you know it’s very difficult to get photographs.” Because as I learned from doing my book (Foxy: My Life in Three Acts), you have to have the rights if someone owns the photographs, and if someone else is in it, you have to get the rights from those people.
I said, “I don’t know if I can do that, because you’re going to get maybe five pictures, because a lot of people do not want to participate.” So I said, “I don’t want to marginalize it, but I can only give you so much, and I don’t know when I can do it.” But they kind of gave me an outline, and I said, “Oh, I think we can do this…so I just have to find the time!” And I did. And I think they did an excellent job.
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Posted in: Entertainment, Interviews, Movies, News, Television
Tags: Jennifer Beals, Jerry Offsay, Jim Brown, Kelly Lynch, Mars Attacks!, Michael Keaton, Pam Grier, Richard Roundtree, Smallville, The L Word, The Light from the TV Shows, The Love Boat, Tim Burton, Tom Welling, TV One, Unsung, Unsung Hollywood, Will Harris
Movie Review: “RoboCop”
Joel Kinnaman, Gary Oldman, Michael Keaton, Abbie Cornish, Jackie Earle Haley, Samuel L. Jackson
At the rate that Hollywood is plowing its way through Paul Verhoeven’s sci-fi catalog, you’d expect Vegas bookies to start slashing the odds on an eventual “Starship Troopers” remake. Though it’s only been two years since fanboys got their panties in a bunch over Len Wiseman’s “Total Recall” reboot, many of those same fans have been dreading the release of the new “RoboCop.” It will probably come as a surprise, then, that the film isn’t nearly as bad as people feared it would be. In fact, it boasts a better cast, better effects and a better story, even if the 1987 original – which is admittedly pretty cheesy by today’s standards – is still the better movie. So why bother with this remake? For starters, because it’s not really a remake at all, instead taking the basic premise and carving its own path that falls more in line with current politics.
The year is 2028, and with the exception of the United States, the rest of the world is now policed by a robot military force operated by technology giant OmniCorp. The government has blocked the use of robots in the U.S. due to the belief that they can’t be held accountable for killing, so OmniCorp CEO Raymond Sellars (Michael Keaton) decides to give the American public someone they can identify with by putting a man in a machine. And it’s not long before they find the perfect subject when Detroit cop Alex Murphy (Joel Kinnaman) is critically injured in a car bombing after he’s targeted by a local drug kingpin. With the help of Dr. Dennett Norton (Gary Oldman), a pioneer in robotic prosthetics, Sellars convinces Alex’s wife, Clara (Abbie Cornish), that the procedure is the only way to keep him alive. But the very thing that makes Alex unique (his emotions) also affects his performance in the field, and when Norton tries to counteract that by programming his brain to act more like a machine, Alex’s human side begins to fight back as he investigates his own murder.
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