Author: Will Harris (Page 11 of 41)

The Light from the TV Shows: A Chat with the Cast of BBC America’s “Orphan Black”

March 27, 2013 / Will Harris

Whenever I attend the Television Critics Association press tour, be it the summer event in Beverly Hills or the winter event in Pasadena, I invariably walk away from the proceedings with at least one interview—but generally several—done in conjunction with a series I barely know the slightest thing about, save for whatever’s been put in the press releases sent out by the network.

This, as you might have guessed, is precisely what I experienced when I went into the room at the Langham Huntington Hotel which served as a temporary home base for the publicists of BBC America and was introduced to the cast of “Orphan Black. “

Fortunately, the young trio awaiting my arrival—Tatiana Maslany, Jordan Gavaris, and Dylan Bruce—had already been dealing with this problem with the interviewers who’d preceded me, as I was their last chat of the day. As such, they had a sense of humor about the situation…which worked out quite well, as I’d decided to throw caution to the wind and have a bit of a laugh about it myself.

Bullz-Eye: Well, as you know, you have me—and everybody else here—at a tremendous disadvantage, since I haven’t been able to see the pilot of “Orphan Black” yet.”

Jordan Gavaris: Ugh, I know.

Tatiana Maslany: We haven’t even finished shooting the series yet!

Dylan Bruce: How often does that happen to you guys?

BE: It…happens. Maybe 10-20% of the time. It’s certainly not unheard of.

TM: Okay, ‘cause when we’re done here, we go back to shooting Episode 7…no, wait, 6!

JG: Episode 6, yeah.

TM: So we’re not even halfway through shooting yet!

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A Chat with Belinda Carlisle

March 26, 2013 / Will Harris

Sometimes an interview opportunity comes along that you simply can’t resist. This is one of those occasions.

Belinda Carlisle added a delightful infusion of cuteness to the early days of MTV as the frontwoman for the Go-Go’s, then succeeded in departing the ranks of the band a few years later and forging an impressive solo career. Alas, she’s spent more time on the road than in the studio in recent years, bouncing back and forth between Go-Go’s tours and solo shows, releasing records with decided infrequency. Indeed, she hasn’t released a new album since 2007’s Voila, and given that the record in question consists of covers of her favorite French songs, it’s not exactly what you’d call representative of her usual work.

2013, however, marks the release of a new best-of set, Icon, and while it might not ordinarily be a major event, given that it’s the fourth such compilation of her solo work to be released since 1992, fans will be thrilled to know that it actually includes a new single, “Sun.”

It’s such a momentous event, in fact, that Carlisle opted to do a bit of press for the collection’s release, and when the opportunity to chat with her was pitched to Bullz-Eye…well, like we said, sometimes an interview opportunity comes along that you simply can’t resist.

Bullz-Eye: Icon isn’t your first best-of collection, but how much input did you have in selecting the contents of this one?

Belinda Carlisle: Oh, I did a lot, actually. The contents of the different collections have been predicated on the different countries who’ve had different singles, so when Icon was first presented to me… A lot of it had to do with catalog and a lot of the different “this music group signed with that music group” stuff, what was available and what wasn’t, so the track list went through a few different changes, because I wanted to include some of the stuff that maybe they didn’t include originally. So I had a big part, a big hand in it, actually.

BE: You revisit your old material whenever you do a show, but how is the experience of going back through the records to consider which songs needed a bit more of a shot at the spotlight?

BC: Well, because I work all the time, and especially in Europe, with all of the solo stuff, it’s not, like, “Oh, wow, I remember this song,” because I probably just did the song a few months ago…or even a week ago! [Laughs.] It’s fun for me to go through the catalog, but there’s no real surprises or anything. But it was interesting doing different track listings for different countries, because…well, for instance, for Russia, the song “California,” which is totally obscure here, was a big hit there. So you kind of go through the territories and change things around a little bit.

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The Light from the TV Shows: Giving HBO’s “Phil Spector” a spin

March 21, 2013 / Will Harris

When it was announced that Al Pacino and David Mamet, who proved to be a formidable combination of actor and writer/director on 1992’s “Glengarry Glen Ross,” would be reteaming for HBO’s original movie about Phil Spector, reactions of giddiness and uncertainty seemed to be in equal measure. Sure, Mamet’s awesome, and he’s obviously proven that he can get a great performance out of Pacino, but surely there’s substantial chasm between the fiction of Ricky Roma and the reality of Phil Spector, isn’t there?

Actually, you might be surprised.

If you haven’t seen “Glengarry Glen Ross” recently, maybe you should see how Roma’s described on Wikipedia:

Although Roma seems to think of himself as a latter day cowboy and regards his ability to make a sale as a sign of his virility, he admits only to himself that it is all luck. He is ruthless, dishonest and immoral, but succeeds because he has a talent for figuring out a client’s weaknesses and crafting a pitch that will exploit those weaknesses. He is a smooth talker and often speaks in grand, poetic soliloquies.

Those who’ve read about Spector’s brusque, often downright crazed interactions with musicians in the studio, his turbulent relationship with ex-wife Ronnie Spector, and a notorious obsession with firearms which—no matter how you spin the story of the night a woman named Lana Clarkson ended up dead in his home—was directly responsible for his eventual incarceration will certainly see some immediate similarities between him and Roma. After seeing HBO’s “Phil Spector,” you will see even more of them. What you will not see, however, is a movie that matches “Glengarry Glen Ross.”

But, then, you probably didn’t expect that, anyway.

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The Light from the TV Shows: A Chat with Jack Davenport (“Smash”)

March 12, 2013 / Will Harris

Jack Davenport may not formally qualify for the descriptor “television staple” in the U.S, given that the majority of his Stateside series have lasted a single season or less, but between “Swingtown” in 2008 and “FlashForward” during the 2009-2010 season, he’s made enough headway on the airwaves that, when coupled with a U.K. success like “Coupling” and a recurring role in Disney’s “Pirates of the Caribbean” films, he’s at least in possession of a face that inspires people to wonder, “Wait, why do I know that guy?” Davenport creeps ever closer to a more immediate recognition level as he continues onward with the season season of NBC’s “Smash.” I was fortunate enough to chat with him for a bit during the January edition of the Television Critics Association press tour, and although we didn’t get into too much detail about his current work on “Smash” (mostly because the interview took place before I’d seen any of Season 2), we still ended up discussing a fair amount of his small-screen work, along with a few stops on his cinematic efforts.

Bullz-Eye: Your character on “Smash” is regularly described in reviews as “difficult but brilliant,” and even on the NBC website they sum him up in a single sentence by calling him “one of Broadway’s most brilliant, yet arrogant, director-choreographers.” Did you have to pay people off to get the word “brilliant” out there so prominently?

Jack Davenport: Probably, yeah. [Laughs.] You know, the way the character’s written is the way people generally refer to him, and you are to believe that the man has half a dozen Tonys, probably two musicals that are international franchises, but that also makes you cocky. Also, in the real world of show business, no one refers to anybody as talented or brilliant. But when you’re doing a show about show business, weirdly, you do have to point that out on occasion. Not too often, but it’s sort of… Otherwise, you’re not really setting the scene properly, I don’t think.

BE: True enough. A few adjectives can save the writers from having to come up with a complete back story right off the bat.

JD: Oh, yeah. And as for “difficult,” I think that one speaks for itself. [Laughs.]

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Alan Poul Buffy the Vampire Slayer Coupling David Goyer Derek Wills FlashForward Jack Davenport Joe Ahearne Joshua Safran Mike Kelley Miriam Shor Molly Parker NBC Nina Tassler Pirate Radio Pirates of the Caribbean Richard Curtis Smash Swingtown The Light from the TV Shows The West Wing Ultra Violet Will Harris

The Light from the TV Shows: The Prequelization Principle

March 7, 2013 / Will Harris

You know you’re a real fan of “Psycho,” Alfred Hitchcock’s 1960 film adaptation of Robert Bloch’s 1959 novel, if your first reaction to hearing about A&E’s new series, “Bates Motel,” which premieres on March 18, was to grumble, “They’ve already done a TV show called ‘Bates Motel.'”

True enough: in 1987, NBC aired a TV movie called “Bates Motel,” which starred Bud Cort as Alex West, a fellow with a few mental troubles who shared some quality time with Norman Bates in the state insane asylum and, as a result, finds himself the beneficiary of the Bates Motel in Norman’s will. The intent was to use the movie as a backdoor pilot for a weekly anthology series of sorts, following the lives of individuals passing through as guests of the motel, but when ratings for the movie proved disappointing, the plan for the series was abandoned.

But A&E’s “Bates Motel” isn’t a retread of that premise. Instead, it’s a prequel, revealing how Norman Bates became the kind of guy who’d grow obsessed with his mother that he’d take on her identity on occasion and kill anyone who looked at him sideways.

Oh, wait, you say that’s already been done, too?

Yep, it sure has: in 1990, Showtime produced “Psycho IV: The Beginning,” which pointedly ignored the aforementioned TV movie and showed a very-much-still-alive Norman (Anthony Perkins) calling into a radio talk show about – what are the odds? – matricide, using the conversation as a framing device to flash back to his youth and reveal the bond between Norma Bates (Olivia Hussey) and her son (played by Henry Thomas). It doesn’t exactly hew 100% to the continuity established by the preceding three films, but as a standalone film for casual fins, it holds up relatively well, thanks in no small part to Perkins’ performance.

Actually, A&E’s “Bates Motel” isn’t a retread of that premise, either. Not really, anyway. I mean, yes, it starts at approximately the same point in Norman’s life, and the general idea is the same, in that it’s looking into all the Oedipal-ness of the Norma/Norman relationship. This time, though, it isn’t a period piece. For better or worse, it takes place in present day, which means that it’s arguably not a prequel at all but, instead, more of a complete reboot of the franchise.

Don’t worry, though: the Bates Motel itself still looks just as decrepit and foreboding as ever.

But, of course, “Bates Motel” is far from the first occasion of an existing property has been turned into a prequel for TV. Heck, it’s not even the first time it’s happened in 2013!

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