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!
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.
I know that any good porn director will tell you that you shouldn’t start a feature off with the money shot, but I just couldn’t find a way to ease that statement in.
In “Ravensword: Shadowlands,” (freshly available for Android) you have the ability, nay the privilege, to hit a dinosaur square in the face with a weapon of your choosing (mine being the sword).
Oh, and the game itself is an open world RPG that heavily resembles the famed “Elder Scrolls” series in several important and thankful ways. That open world also happens to be beautifully rendered with some of the best technical graphics a mobile system can offer, which are used to accentuate some particularly inspired visual artistic design, all leading to a thematically strong and diverse world that loads every inch with pure content.
“Ravensword: Shadowlands,” definitely cribs heavily from the book of fantasy RPG design, as you’ll level up, complete quests, take on an incredible variety of enemies with multiple weapons, and even dabble in some magical combat enhancements from time to time. There is no getting around the fact you’ve been down this dirt road before, and ventured these same adventures.
It’s very likely, though, you’ve never experienced an RPG of this quality on a mobile system, and that is the difference. Whereas “Shadowlands” would just feel like an “Elder Scrolls” knockoff on a console, albeit an exceptionally well made one, on a mobile device, it is a constant wonder. Games of this high production value and depth usually don’t happen on a mobile platform, and even if they do, they rarely play so well, or come off as polished and executed, as “Shadowlands” does.
Thus every towering structure, open vista, inspired quest, and intense battle with an impossible creature is just that much greater, because by all rights something of this high quality shouldn’t exist in this format.
All of that quality does come at a couple of costs. The first is a heavy amount of glitches and bugs throughout (though the developers are working on ironing these out), while the other is the cost of the app itself. $7 is no doubt more than you spend on the usual app, but considering the horror show that is the world of in-app purchases, paying one flat rate to unlock an entire (and gargantuan) game is actually not a huge burden when you consider this isn’t “Doodle Jump,” but an actual video game, for which $7 would normally be considered a steal.
“Shadowlands” is one of the best games I’ve played this year, on a mobile device or otherwise. What it lacks in originality, it makes up for in every single other aspect possible. This isn’t a mobile game you’ll play until something new comes along, or while bored and about, but something you’ll find yourself going back to no matter where you are or what the circumstances.
Of course when you put all of that aside, you can still hit dinosaurs in the face with a sword. Epic mobile experience or not, that’s going to net you my app of the week.
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.
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.]
