Daniel Day Lewis as Abraham Lincoln

Steven Spielberg’s “Lincoln” starring Daniel Day Lewis as Abraham Lincoln has the potential to be a great film about a great man.

  

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A Chat with Jon Bernthal (“The Walking Dead”)

ALSO: Check out our Season Two preview, as well as interviews with actor Norman Reedus and executive producer Robert Kirkman.

BE: I’ve seen the Season 2 premiere, and from what I can tell, it seems like you guys are still playing at the same level that you were in the first season.

Jon Bernthal: Aw, thanks, man, I appreciate you saying so.

BE: So you guys got to play the love triangle in Season 1, and it’s obviously still ongoing in Season 2. Is it a challenge to play something like that in the middle of a zombie thriller?

JB: I don’t really look at it so much as a love triangle. I look at it more as a family that…these horrible circumstances, this disease that’s turned the world into this apocalyptic state, I look at it more as a family that’s been severely fractured by it. I think that it’s not as simple as two guys in love with the same girl. I think Shane is very much in love with Lori, but I think he loves his best friend, too, as well as their little boy, Carl. I think these are relationships that are immensely important to him, and unfortunately, they’re forever tainted and they’ll never quite be the same. In this world that we’re trying to create, all of these characters have lost so many people. I think what’s very interesting for Shane is that the people in the world who mean the most to him are still alive. It’s just that their relationships will never be the same because of what’s gone down.

BE: Shane is a pretty complex character because of his situation. Do you find it hard to find that balance of personality when you’re playing the part?

JB: No, man, I love it. As an actor, it’s the kind of part you look for. When I first talked with Frank (Darabont) about this, our goal was to not just make him sort of this one-dimensional villain straight out of the comic. We wanted him to be a layered, nuanced character that wasn’t a good guy, wasn’t a bad guy, but was a real guy. I think he’s just operating from a place of being a loyal friend and trying to do what’s best, trying to protect these people that he loves so much. I think he’s always coming from a place of trying to do the right thing, but it’s fractured. It’s just such a different, cold, brutal world now. Also, what’s very interesting about the character is that he’s the first one in the series, I think, to just sort of recognize the lawlessness of this world they’re living in now. He does it when he beats down Ed by the water in Season 1, and also when he trains the gun on Rick in Season 1. I think he recognizes that there are no real circumstances for your actions in this world, and I think Season 2 is very much about Rick and Shane splitting on how they feel the best way to go forward in this world is. I think Shane feels that, to survive, you have to make very brutal, very harsh decisions, and you really have to abandon emotion and morality and just do what’s best for survival, whereas Rick, I think, is kind of plagued by trying to do the right thing. They really become at odds with each other over those philosophies.

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King of the world, again? Catching up with the inaugural class of Bullz-Eye’s Directors Hall of Fame

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In March 2007, Bullz-Eye inducted its first class into the Bullz-Eye Directors Hall of Fame. It’s an unconventional list, to be sure, and that was the idea. With all due respect to Howard Hawks, David Lean, Charlie Chaplin, Cecil B. DeMille, Akira Kurosawa, et al., they will just have to wait their turn.

So what has our illustrious founding class of directors been up to since their induction? As it turns out, they’ve been rather quiet, though one of them finally decided to make his first movie in 12 years, and would you look at that, he’s completely changed the game for a second time. Let’s take a look and our directors’ newest credits. And, in some cases, debits.

Alfred Hitchcock

Mr. Hitchcock has not been terribly productive lately – for anyone who just snorted that he’s dead, don’t say that; he’s just…unavailable – so his legacy remains unblemished. And thankfully we’re past the point of anyone speaking of one M. Night Shyamalan as the next Hitchcock. Those were dark days, indeed.

Tim Burton

Burton’s been pretty quiet since his induction. He unleashed the bloody good musical “Sweeney Todd: The Demon Barber of Fleet Street” in late 2007, and produced “9,” the animated film about a group of puppets in a post-apocalyptic wasteland, last year. He does have two tantalizing projects on the horizon, the first of which is the much-anticipated “Alice in Wonderland,” a live action 3D affair that has Burton teaming up with Johnny Depp for the seventh time and boasts one of the creepiest trailers we’ve seen in years (two words: Cheshire cat). Then, in 2011, Burton brings one of his very first creations to life on the big screen. Yep, “Frankenweenie.” And they damn well better not change that title.

Steven Spielberg

As director and/or producer, our resident manchild has racked up some monster hits since his induction…but at a cost. His lone directorial effort is “Indiana Jones and the Kingdom of the Crystal Skull,” which made $317 million but also coined the term “nuke the fridge,” which some view as the modern-day equivalent of “jump the shark.” He served as executive producer for both of Michael Bay’s “Transformers” movies (insert your own explosion porn joke here), and God help him, he even executive produced “Eagle Eye.” There is hope on the horizon, though, as Spielberg is elbows deep into the production of “The Adventures of Tintin: The Secret of the Unicorn,” a motion capture adaptation of the Belgian comic book series starring Daniel Craig, Simon Pegg, Andy Serkis, and Nick Frost. After that, Spielberg is scheduled to direct “Interstellar,” a wormhole and gravity-centric film co-written by Christopher Nolan’s brother Jonathan, and he is producing or executive producing eight (!) other projects, including the awesomely titled, Jon Favreau-directed “Cowboys and Aliens.”

Martin Scorsese

He finally got his Oscar. About damn time.

It was actually one of the funniest set-ups in recent Academy Awards memory; the award for Best Director during the 2007 Oscars was given out by Scorsese’s longtime friends Steven Spielberg, Francis Ford Coppola, and George Lucas, all of whom were looking at Marty as if to say, “Hey buddy, do you think they picked us to hand out this award for a reason?” The theater, of course, went nuts when they read his name, and as he made his long-overdue walk to the podium, it reminded us of when Michael J. Fox received an Emmy for his work on “Family Ties,” and said, “I feel four feet tall!”

Marty has only released one movie since 2006’s “The Departed,” the Rolling Stones concert film “Shine a Light,” but he directed a short Hitchcock tribute called “The Key to Reserva” as well as the pilot episode of the show “Boardwalk Empire,” the story of Atlantic City man about town Nucky Thompson. His upcoming thriller “Shutter Island,” starring Leonardo DiCaprio, was originally scheduled for last fall, but was abruptly bumped to spring. Usually that is an ominous sign; we’re hoping that is not the case here, but February is generally more hospitable to horror movies than it is to period-piece thrillers. Good thing “Shutter” has a supernatural element to it as well.

And just this Sunday, Scorsese was just awarded the Cecil B. DeMille Award by the Hollywood Foreign Press at this year’s Golden Globe Awards. Everything’s coming up Marty. As we said before, about damn time.

James Cameron

So there’s this movie, you might have heard about it…

Love him or hate him, James Cameron does nothing by half, and once again, he swings for the fences, and once again he hits one that lands over the fence on the other side of the highway from the ballpark. “Avatar” only needed four weeks to become the second biggest worldwide box office hit of all time. This despite the fact that Cameron released his movie in the face of rampant speculation that he had finally bitten off more than he could chew, and the movie could not possibly live up to the 12-year hype. Whoops.

Is it finally time to give the man the benefit of the doubt? He now owns the #1 and #2 spots on the all-time box office charts – and yes, we readily acknowledge that 3D and IMAX upcharges have played a large role in “Avatar’s” performance – and has done so without pandering or playing it safe. He could use some assistance on writing dialogue, but we’re none of us perfect, and Cameron’s good points as a director far, far outweight his drawbacks as a writer. Let’s just hope he doesn’t take another 12 years to make his next movie.