Author: Will Harris (Page 31 of 261)

Will is a member of the Television Critics Association and has written for Decider.com, the Onion A.V. Club, The Dissolve, Indiewire, Rhino.com, TV Week Magazine, The Virginian-Pilot, Popdose.com, and EW.com along with writing for Bullz-Eye.com and Premium Hollywood.

Already seen all of this year’s Oscar-nominated performances? Consider some of the actors’ earlier work.

Jeff Bridges, “The Last American Hero” (1973): Even though Bridges’ character is named Junior Jackson, this flick does indeed tell the tale of NASCAR driver Junior Johnson. Based on the story of the same name in Tom Wolfe’s essay collection, The Kandy-Kolored Tangerine-Flake Streamline Baby, those who go in expecting a straightforward racing story will be impressed by the way the film explores its characters.

Morgan Freeman, “Death of a Prophet” (1981): Everyone remembers Denzel Washington’s titular performance in Spike Lee’s “Malcolm X,” but the man formerly known as Malcolm Little had already been portrayed by several other actors by that point, including James Earl Jones (“The Greatest”), Dick Anthony Williams (“King”), and Al Freeman, Jr. (“Roots: The Next Generations”). For these purposes, however, we’re exploring the TV movie which bore the subtitle “The Last Days of Malcolm X.” In truth, you’ll get a heck of a lot more insight into Malcolm X’s life and times by way of Lee’s film, but you can’t say this isn’t an interesting trip back in time.

Colin Firth, “A Month in the Country” (1987): Based on the novel by J. L. Carr, Firth – who plays Tom Birkin, an artist who has been employed to carry out restoration work on a Medieval mural discovered in a church in Yorkshire – offers the kind of performance that no doubt left those who saw the film wondering for many years why the man hadn’t yet become a household name. Here’s hoping that the film will finally get a proper DVD release one of these days.

George Clooney, “Red Surf” (1990): It’s kind of hard not to make a “Point Break” comparison when you look at this verrrrrrry early Clooney film, wherein he and Doug Savant (Tom Scavo on “Desperate Housewives”) play a couple of surfers with a penchant for crime, but the big difference between the two motion pictures is that most people tend consider “Point Break” to be a cult classic of sorts, whereas “Red Surf” often ranks even below “The Facts of Life” amongst Clooney aficionados. It does have at least one thing going for it, though, and that’s Gene Simmons. If you loved him in “Runaway” and “Wanted: Dead or Alive,” you’ll love his work here, too.

Jeremy Renner, “Dahmer” (2002): There are a lot of better films in Renner’s back catalog, and there are certainly a lot worse (four words: “National Lampoon’s Senior Trip”), but this is one which, while certainly not for all tastes, is better than you might expect. Renner plays Dahmer, and it’s the kind of performance that, had this been a ’70s TV movie, could’ve done for him what “Helter Skelter” did for Steve Railsback. Actually, come to think of it, maybe it’s better than it wasn’t made in the ’70s. (When was the last time you saw Railsback in anything?)

A Chat with Rob Riggle

Given how long Rob Riggle has been doing stand-up, it’s actually kind of funny to think that there are lot of folks who don’t even know that he does stand-up. Then again, given that he’s been on “Saturday Night Live” and “The Daily Show,” as well as in “Talledega Nights” and “The Hangover,” it’s not like you can’t understand why some people only know him for his TV and movie work. On March 5th, however, Riggle will be taking the stage once more for an episode of “Comedy Central Presents,” where he’ll be giving viewers 22 solid minutes of stand-up. I had a chance to chat with him about the special, as well as his work on “SNL,” his two and a half year stint as John Oliver’s officemate, and some of his upcoming film projects.

Bullz-Eye: Hey, Rob!

Rob Riggle: Hey, Will! How are you doing?

BE: Pretty good. Well, welcome back to the stand-up scene on Comedy Central!

RR: I know! I’m excited! Very excited…and I haven’t even seen it yet!

BE: It’s very good. I caught it on the online screening room.

RR: Oh, well, thank you. I’m glad to hear that. I’ve literally only seen a couple of clips, so that’s good. You never know how those things go, because I think I did, like, 34 minutes, and they cut it down to 22, so you’re, like, “Uh, okay, I hope it’s good.” I’ll be very interested to see what they cut!

BE: I can only presume that the 10 minutes they cut were the slowest minutes. (Laughs) So how often do you even get to do stand-up? Because you’ve certainly got plenty of acting keeping you busy.

RR: Yeah, well, actually, I’ve been very lucky with the acting, but I try to get out as often as I can…which, in my humble opinion, is not often enough. But I book gigs whenever I can, and to answer your question directly…I dunno, I’d say probably two times a month. At least right now. There was a time where I was a lot more consistent. It just depends on the work schedule, y’know? If there’s a gap, I’ll get out there and pound it out three or four times a week, but it just depends on my work schedule, that’s all.

BE: So are you forever honing material, just in case you might have a free night for a gig?

RR: Yeah, that’s the constant work, I guess. I’m constantly waking up in the middle of the night and jotting down notes, and I have a stack of notes and thoughts and premises that I am dying to explore… (Laughs) …and I hope to have the time work them out, but I just haven’t been able to get to them yet. But one of these days I will, and hopefully I’ll be able to develop a new set. That’s what everybody’s got to do.

BE: So what was the case with this Comedy Central special? Was it planned out well in advance, or did you just get a last-second phone call saying, “Hey, Rob, come on back to the family”?

RR: No, y’know, I was just very fortunate that they came and saw me do stand-up at…I think it was right there in New York, at Comics Comedy Club. I was doing a weekend there and they came down, saw me, liked what they saw, and asked if I wanted to do it. And I was flattered. I was, like, “Yeah! Count me in!” So that’s how it all came about. And, y’know, I love Comedy Central. The people over there are awesome, and I have a good relationship with them, so…it’s all good.

BE: Well, in particular, the routine during the special that hit home for me was the bit about men’s rooms in stadiums.

RR: (Laughs) Oh, how true is it, my friend?

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A Chat with John Walsh (“America’s Most Wanted”)

And, now, for today’s “this’ll make you feel old” moment: on Saturday night, “America’s Most Wanted” will be celebrating the airing of its 1,000th episode. The series has been on the air for an astonishing 23 years, and when you consider the number of criminals that host John Walsh has – with the assistance of the show’s viewers – helped put behind bars in that amount of time, you have to hope that it will continue to run for at least as many more. I had the chance to chat with Mr. Walsh when he made an appearance at the January TCA Press Tour, and I quizzed him about the show’s origins, its longevity, and its ties to the TV movie based on his own real-life events (“Adam”), but given the heavy topics at hand, it seemed appropriate to ease into things with a slightly lighter topic.

Bullz-Eye: I wanted to start off by asking you about a couple of your pop-culture appearances outside of “America’s Most Wanted,” the first being your turn as a character in DC Comics’ “The Outsiders.”

John Walsh: It was a real honor. It actually was a real honor, and when I talked to the guys who draw and write “The Outsiders,” they went, “You know, we’d like to incorporate you into this, because you are the real-life Batman.” And I went, “What a compliment!” And they said, “Well, you were a successful businessman, and you’re kind of not a vigilante. You really want to try and change things.” I considered that a real compliment. I have a 15-year-old son who’s a terrific artist and a big fan of comic books. I had had the distinct pleasure of being the only guy ever written into the “Dick Tracy” comic strip, too, so I’d experienced it years before, but “The Outsiders” is kind of a cool comic book, and for an old guy like me… (Laughs) You know, it’s so funny, but of all the things…I mean, I’ve been honored in the White House Rose Garden by four different presidents, and that’s something that really touches your heart, but my son said to me, “Dad, you’ve been on ‘South Park’ and now you’re on the cover of ‘The Outsiders.’ Now you’re cool.”

BE: Did you manage to score any of the original artwork from your “Outsiders” appearance?

JW: I did! And I treasure it, because they really did it with some dignity. The segments were about the exploitation of runaways, of how bad guys use teenage runaways that may be running away from a terrible abusive home or sexual abuse, and they hit the streets and get exploited. And, you know, a lot of the Outsiders are kids who’ve been through Hell themselves and are trying to make a difference. So, yes, I have some of the original artwork, and I treasure it. It’s really kind of a gratifying thing.

BE: So how about that “South Park” appearance? (Laughs)

JW: “South Park” I loved. I loved the “South Park” guys, was a fan of the show, and didn’t know I was going to be on… (Laughs) …and was on the road somewhere and….I have another son who’d just graduated from college, and he said, “Dad, everybody at my college is talking about you being on ‘South Park.’ It’s all over school.” I thought it was funny. It’s really an irreverent look at society, and it was very cool. I’m a fan of that show.

BE: Did you send them a thank-you note?

JW: Oh, gosh. You know, I should. I actually should, because it was very funny. Very satirical, but very funny.

BE: Have you turned up anywhere else that’s really stuck out for you?

JW: You know, someone told me the other day that there’s a punk rock band called John Walsh, and that they’re not kind of the alternative punk. Their music is pretty edgy, and they’re kind of on the side of the right. Their punk music says, “Hey, there are heroes out there, and there are guys who are making a difference, but you can still be an alternative type of person and a punk rocker.” I never cease to be amazed by the younger culture in this country.

BE: How thrilled are you that the show has continued to thrive for as long as it has?

JW: I’m amazed, because we…now I’ve been told that we’re the 3rd longest running show in prime time history, behind “60 Minutes” and “48 Hours.” That’s a real compliment to the fans. And we’re still #1 in the most important demographics. I mean, I don’t kind myself: you’ve still got to be #1 in the 18-49 demo. It’s such a rewarding experience, because we’ve caught over 1,000 guys, and last week we caught the guy who murdered a 6-year-old girl and shot three other people on Thanksgiving. He’d been out there 5 weeks. I went down to south Florida to do the show, and he got caught 10 minutes after the show aired. It was fantastic. I’ve walked in those people’s shoes. I’m the father of a murdered child. I’m amazed that we’ve been able to stay on this long and that we’re so popular, but I thank the public. Now we’re worldwide, we’ve caught people in 35 countries, our website is huge and usually the second most popular TV website next to “American Idol”…usually, depending on the week. (Laughs) It’s such a gratifying experience, and I think it’s the public saying, “We don’t want to be vigilantes. We watch the show because we want to make a difference. Maybe we’ll see one of those creeps, or we’ll learn something, or we can help society.” Last year, we caught someone in China, we caught someone in India. Both countries extradited those creeps immediately. We’ve kind of been woven into the global culture now, and it’s a pretty gratifying thing, it really is. Especially for the father of a murdered child.

BE: That actually leads me to a question I’ve been curious about. When they made the movie “Adam,” about your son, were you very involved, or was it just something that came about because they were aware of your experience and wanted to bring it to the public consciousness?

JW: It was a wonderful woman named Linda Otto, who is now deceased, who brought the idea. She was an award-winning documentary film producer, and she’s the one who brought it to NBC. At that time, Grant Tinker was the president of NBC, and they were the #1 network. I’ve been told it was the most-watched TV movie of all time. It aired three times. She said to Grant Tinker, “We’re going to do it with dignity and integrity, and I’m going to involve the Walshes. I want to try and stay as close to what happened with the Walshes as possible.” And I thought they did a really good job, but the most incredible thing is that, with those three airings of “Adam,” it was the first TV show ever to show pictures of missing children…and they found sixty kids from those three airings! Most of them were non-custodial parental abductions, but they were kids that were missing for years, so I sort of learned the power of television from watching and being part of the movie “Adam.” I think NBC did a very dignified job of doing it, and Linda Otto sort of changed the way this country looks at missing children with a TV movie.

BE: To bring it full circle, was it “Adam” that led you – either directly or indirectly – to “America’s Most Wanted”?

JW: No, you know, it really was people internally at Fox. Rupert Murdoch had seen “Crimewatch UK” in England, which is done by the BBC and has been on for 40 years. When they approached me in 1987, I said “no” for six months. I didn’t know what Fox was… (Laughs) …and I didn’t know who Rupert Murdoch was, and I didn’t know who Barry Diller was. I didn’t want to be on television. I was trying to change laws, trying to recover from Adam’s terrible abduction, and…I was a businessman. I built deluxe hotels before Adam was murdered. So when they approached me…it wasn’t my idea…they said, “You know, you’ve spent so long trying to change laws and change the way this country looks at missing and exploited children. How would you like to host the first reality television program?” My first question – other than “who’s Rupert Murdoch?” and “what’s Fox?” – was, “What’s reality television?” Because America didn’t have reality television. So we were Fox’s first show. I did it because the first guy was a child killer that escaped from prison. He was our first capture. Three days after the show had aired, he was caught in Staten Island, New York. Guess what he was doing? He was running a shelter for the homeless. An escaped killer and rapist. (Shakes head) It’s been an incredible experience…but it was really Fox’s idea. They pursued me, and it’s been a wonderful partnership for 23 years.

A Chat with Christy Karacas and Stephen Warbrick (“Superjail!”)

Trying to pin down the strangest series amongst Cartoon Network’s Adult Swim line-up is a fool’s errand. This, after all, is where a show about a crime-fighting Happy Meal can thrive for seven seasons, so it’s clear that anything goes, and then some. But absurdist comedy about talking food and drink is one thing. “Superjail!” is quite another. When Bullz-Eye was offered the opportunity to chat with two of the show’s executive producers, Christy Karacas and Stephen Warbrick, we couldn’t resist taking them up on their offer, if only so we could get at least a small hint of what kind of guys would create a show as insane as this one.

Bullz-Eye: Hey, guys!

Stephen Warbrick: Hi, Will.

Christy Karacas: Hi, Will!

SW: I don’t know if there’s too much differential between our voices.

BE: I think I’ll get the hang of it after I get talking to you guys.

SW: I’ll talk in a real Brooklyn-y accent, if that’ll help.

BE: Nice. That’ll definitely help. Well, I’m definitely a fan of the show…

SW: Oh, good!

BE: Now, I understand that “Superjail!” originated – indirectly, anyway – as a result of a short you guys did called “Barfight.” Is it true that it was just a case of one of your friends passing it on to someone at Cartoon Network?

CK: Pretty much.

SW: Yeah.

CK: It was funny. We made “Barfight,” we were going to enter it into film festivals, but it got rejected from every festival we were going to enter it into. So we were, like, “Fuck!” I mean, I stopped doing animation for awhile, and…Steve, I forgot what you were doing.

SW: I don’t even remember. (Laughs)

CK: But, yeah, for a couple of years, it was just floating around, and our buddy Dave Hughes, one of the editors on it, worked at Adult Swim and showed it to them, and they got in touch with us and were, like, “Hey, why don’t you try pitching a show here?” So that was pretty awesome.

SW: Yeah. (Laughs)

BE: Well, it’s definitely the kind of show where you just absolutely do not know what’s going to come next.

SW: Well, that’s good. We try to keep you on your toes. (Laughs)

BE: But how do you approach writing an episode of the show? I mean, do you just take a general premise and then go completely apeshit from there?

SW: Yeah, we’ll definitely have one general premise, and then try to build maybe one or two smaller subplots off of that, and then just go from there and keep adding and subtracting things until it feels right. And then you’ve got to get it approved, and that’s a whole different thing. (Laughs)

BE: Given what I’ve seen in there, I have to wonder what wasn’t approved at various times.

SW: Ah, it’s usually the weirdest things. Nothing violent ever gets kicked back. It’s usually weird little things.

CK: It’s usually weird copyright things, like, “Oh, that’s a name of something,” or stuff like that, which is really surprising. We thought we were going to get really censored, but they’ve actually been pretty cool about encouraging us to push it.

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Kelly Carlson talks about the end of Kimber Henry and “Nip/Tuck”

It’s happened many times in the past: a character is introduced to a television series as a one-off, but because of either fan interest of a burst of creativity from the show’s writers, they’re brought back. Sometimes they become a recurring character, but in some cases, they go on to become a full-fledged series regular. Such was the case with Kimber Henry, Kelly Carlson’s character on the long-running FX series “Nip/Tuck.” Kimber made her debut in the show’s pilot episode, but by Season 3, she was officially considered to be part of the main cast right up until the show’s final season, when she bowed out, so to speak. Now that “Nip/Tuck” is wrapping up, Bullz-Eye was able to chat with Carlson about her character’s legacy, including how Kimber grew in prominence, the way she came to her end, and, of course, all the sordid stuff that went on in between.

* On Kimber’s evolution from the pilot: “When you take a character like that, with not much background and history, it starts in the eyes, you know what I mean? And that’s simply what I just tried to do: to try and bring some depth to her, and some emotion, for the audience to connect with. Otherwise it’s boring. ‘Cute girl, yeah, who cares,’ you know? That’s not how you get your female fans. I wanted to bring some layers to her that everyone could relate to or understand.”

* On sex scenes: “Julian (McMahon), in the pilot, totally broke the ice with me the first day. The pilot was so graphic, and it was our first day working together…I mean, it was brutal. It was really an uncomfortable situation for both of us, and I had never done a love scene, but he is a funny, funny guy, and he broke the ice for us. After that, the recurring characters were much more nervous than I was. After awhile, it just became routine for me, like I was a broodmare or something!”

* On Kimber’s death: “I wouldn’t have wanted a happy sendoff for her, because it wouldn’t have fit her character at all. It just wouldn’t have. But I have mixed feelings about it. I don’t mind that she died at all. I think that’s absolutely appropriate. But I thought it was fairly quick. I don’t know. Visually, it wasn’t that stimulating for me to watch, so I’m lukewarm on that.”

You can check out the rest of the interview with the gorgeous Ms. Carlson by clicking on the above graphic. I mean, you could click right here, but, y’know, if you’ve got a chance to click Kelly Carlson directly, why wouldn’t you take it?

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