Category: Interviews (Page 25 of 46)

The Light from the TV Shows: A Chat with Danny Masterston (“Men at Work”)

After 200 episodes of “That ’70s Show,” Danny Masterson would be well within his rights to stay away from sitcom work for the rest of his life, reasonably claiming, “I’ve done my time,” but to hear him talk about the experience of doing TBS’s “Men at Work,” which returns for its second season tomorrow night at 10pm, there’s no question that he’s doing something that makes him very happy, indeed. Bullz-Eye talked to Masterson in conjunction with the start of the show’s new season, and he chatted about how his character, Milo, has changed a bit, which guest stars he’s most enjoyed, and why he prefers sitcom gigs over hour-long dramas.

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Bullz-Eye: Just the fact that “Men at Work” has gotten a second season, period, has got to be pretty thrilling in and of itself, but how was it to go back to work for season two?

Danny Masterson: You know, it’s funny: we actually only took about six weeks off, so we didn’t feel like we had a whole summer hiatus. We just took six weeks, and then we kept going with the same director and same crew, so it just feels like a really long first season that we’ve shot. We just had a lot of excellent new guest stars, I guess.

BE: Yeah, the list is pretty impressive.

DM: Thanks! I think it’s sort of a benefit of having both Breckin (Meyer) and I both working since we were little kids. We’ve worked with a lot of people who are known actors, so it’s fun to sort of bring those friends in to work with you for a bit.

BE: When you guys came onto the series, how well-defined were the characters on the page versus what they became once they were actually cast?

DM: You know, I think they were pretty well defined. Breckin sort of based them off…well, he based my character, Milo, off himself. [Laughs.] And the three friends are based off of his three best friends. So pretty much everybody knew exactly who they were in the beginning. And then, obviously, as you’re going through the episodes, you sort of change your characters a little bit to make them suited towards you a little bit, just in terms of everyone’s own personalities. But I’d say 95% is exactly how Breckin wrote it to begin with.

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BE: Did the cast bond pretty quickly?

DM: Yeah, I’d say so. I’ve known James Lesure for…I dunno, maybe 10 years. I hadn’t met Adam (Busch) or (Michael) Cassidy before, but, y’know, right from the table read everyone was really excited to have a really cool job, so… I get along with everybody, and they’re all really great people. Three totally different personalities, but we’ve never had a single fight. I mean, it’s only been two years, obviously, so we’ll probably wrestle at some point. [Laughs.] But they’re really fun. Everyone’s really stoked to have a good job, we all enjoy it, and as long as the writing stays good – and the writing’s been really good – I think we’ll all stay really happy.

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Travis Rice on Why Red Bull’s Ultra Natural is the True Progression of Snowboard Competition

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Travis Rice is a name that has been tattooed onto the timeline of snowboarding, and not with the shaky haste surrounding that ungodly shoulder portrait of your ex-girlfriend, but rather a progressive focus that continues to grab the sport by the horns and steer down previously uncharted terrain.

Rice’s incredible talent has not gone under the radar, and over the years, he has won countless accolades, from Snowboarder of the Year, to X Games gold, to even #13 on Snowboarder Magazine’s list of most influential riders of all time. This sort of notoriety is something that a budding athlete in any sport could only dream of, but it is what Rice has done beyond his fame to shape the sport that is uniquely compelling and powerful.

After successfully competing against the highest echelon of snowboarding’s elite, Travis Rice took his massively inventive style and spearheaded filmmaking, starring in and creating some of the most widely acclaimed, bestselling videos in the sport’s history. Positive feedback surged around films such as 2008’s “That’s It, That’s All” and 2011’s “The Art of Flight,” yet he continued to expand in ambition, eventually setting his sights on creating a new kind of competition – one that would wholly enlist his vision of what competitive snowboarding has been progressing towards all along.

Following a one-off appetizer with Quicksilver called Natural Selection, Rice’s competitive concept was eventually adopted by the bright minds at Red Bull, and in their traditional spirit of working with athletes and making big ideas a reality, Supernatural was born in 2012 as part of their signature series.

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This weekend marks the dawning of another killer installment in the Red Bull Signature Series: the Ultra Natural, bigger and better than anything previously seen, and broadcasting across the country, Saturday, March 30th at 1:30 PM ET on NBC.

The event is not only another one of Rice’s trademark creations, which blesses it with inherently mesmerizing watchability, but unique in the fact that it stands apart from conventional snowboarding contests.

In your mind’s eye, try to conjure up a few images regarding televised snowboard competition. Dew Tour? X-Games? Surely, this mental picture wouldn’t be complete without snippets of footage involving highly pre-meditated, rehearsed insanity, all bursting forth from the legendary superpipe, slopestyle and big air events that viewers have grown accustomed to since snowboarding hit the TV screen.

To get an idea of what NBC is broadcasting this weekend, you may want to wipe the aforementioned slate clean and transplant in a heavily powdered, 50-degree slope, peppered tirelessly with countless features that allow for an infinite number of line, trick and style variations. The concept of a singular path with rehearsed action points is out the window, and in its place steps the looming beast that is Bald Face, British Columbia. This is the arena that Rice handpicked to host this year’s Red Bull Ultra Natural, and on Saturday, you owe it to yourself to watch 16 of the world’s best snowboarders showcase their extreme talent and battle for gold.

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

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 interviewbut generally severaldone 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 arrivalTatiana Maslany, Jordan Gavaris, and Dylan Brucehad 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.

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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

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.

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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.

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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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A chat with Colin Farrell (“Dead Man Down”)

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Colin Farrell was first introduced to American audiences in Joel Schumacher’s “Tigerland” in 2000, and he’s managed to leave a lasting impression in each film he’s done. With leading man good looks and acting chops to match, the former bad boy’s onscreen intensity is sometimes enough to make up for some questionable script choices. Whether giving life to an underrated supervillain in “Daredevil,” or starring in the 2012 reboot of the iconic “Total Recall,” Farrell is as talented as he is fearless.

In almost an extension of “Total Recall,” where the main character Douglas Quaid is trying to remember his past, his latest role as Victor in “Dead Man Down” is about a man using revenge to come to grips with his. We recently had a chance to speak to Colin about his preparation for the role, working with co-star Noomi Rapace (“Girl with the Dragon Tattoo”), and his upcoming slate of films, including the animated film “Epic,” featuring the voices of Amanda Seyfried and Beyonce, and “Saving Mr. Banks,” where he plays the father of “Mary Poppins” author P.L. Travers.

BE: The film raises the interesting question of “How far would you go?” So how far would you go?

COLIN FARRELL: I have no idea. It’s never good to answer in “what ifs.” I think it’s horseshit. I don’t think any of us have an iota of how we’d really respond to most situations.

BE: Do you ever leave the set wondering what you would do in a character’s situation?

COLIN FARRELL: When you’re doing a film, once you start asking “What would I do?” you start getting the distance greater between yourself and the character or you’re bringing the character to you, which is self-serving in the wrong way. I think it seems that the idea is to bring yourself to the character.

BE: Were you able to relate to the character?

COLIN FARRELL: Well, you know, it’s fiction. I don’t even have to do that. It’s in you already. You just treat the fiction as reality, kind of. Ideally, you read a script so often and you think about the context of the scene so much that you begin to dream. You’re in pretty good shape if you begin to dream the character and certain conventions of the story. Noomi started having earlier dreams than I did. (laughs)

BE: How are you feeling, outside of the role?

COLIN FARRELL: I’m was doing good. I’m fairly healthy. Sometimes, you come home from work and you’re just tired and you wouldn’t want to see anyone and just be on your own. Consciously, you kind of look after yourself, whatever that may be. Whether you go out for a few drinks and dinner or just hit the couch and watch TV, or go to the gym or yoga class. Just be aware that there’s the potential for you to be in it and respecting wherever you find yourself, so I was fine.

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