Category: Actresses (Page 73 of 258)

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?

24 8.10: See my vest

Or, Weekend at Jason’s.

I’m not sure about the rest of you, but I’m pretty sure that if I’ve just escaped from the clutches of terrorists that will surely kill me if they find me, I do not hole up and call CTU to bail me out, especially if I’ve got a head start. Find a way out, get a cab, and go, man. And, if I do hole up, I don’t wait until he’s on top of me before making a break for it. This guy knifed one of his own security men in the neck just a few hours ago; he’s not lacking the killer instinct.

But if Jason Schwartzman gets captured alive, “24” becomes “12,” so die he must, sigh. In the writers’ defense, the plan Jack devised after his death is a pretty good one, certainly better than, say, having Kim Bauer pretend to be a brunette librarian. I laughed out loud at Marcos emptying his clip into Jason’s lifeless body, only to see…nothing happen. But the way they set up that scene, you just knew that Marcos would dive out the window – especially after they showed that scene in the previews last week – and you had to think that Jack considered that a possibility, too. Why, then, didn’t he aim for Marcos’ legs the second Marcos broke for the windows? This is, after all, the man that whipped a bread knife across a room and pierced a guy’s throat. Jack should be able to shoot a guy in the leg blindfolded. While getting strangled. And eaten by dogs.

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“I’m helping you hide the body of your convicted felon of an ex-boyfriend, and you’re asking me about ‘us’? Neither the time nor the place, honey.”

So Princess Jasmine has run off with her secret love, and I can’t see any reason why it matters. Outside of the obvious risk of her getting taken out by the dirty bomb, this plot thread means nothing to me. She’s lovely to look at, but when she talks, all I hear is “Blah blah blah blah Ginger blah blah blah Ginger.” (Stop me before I sub-reference again. Hell, even that was a sub-reference.) She just doesn’t matter to me. Heaven help us if this subplot grows to Starbuck/redneck proportions.

Speaking of which…just when we thought we had seen the end of this thread – though I figured it would last for at least one more hour, since they were looking at returning to CTU wet, and smelling of swamp water – it appears that it’s not going away anytime soon, and for those of you who refuse to watch the scenes for the next episode, I will say no more. With regard to tonight’s actions, I don’t know; I would think that burying bodies together would be one of those bonding moments. But then again, I’ve always buried my bodies alone, so I can’t really speak from experience.

My beloved Jacqueline Bauer spent this week recovering in CTU, but her brief conversation with Jack proves beyond a shadow of a doubt that she will die before the final clock tick. I understand it, but that doesn’t mean I have to like it. I’m trying to set up another interview with Annie Wersching, so I can ask her about how exhilarating it is to play Crazy Jackie. Wish me luck.

Bubba finally grew a pair and told Weiss that he wasn’t prosecuting Jackie. It was a cool moment, but it left me wondering: why is Weiss so hell-bent on sending Jackie down the river, to the point that, as the ever-astute John Paulsen pointed out, he would send someone from the Justice department to CTU at midnight in order to expedite the process? In the real world, that one can wait, for days if need be. And despite the fact that CTU had another lead in the absence of Vladimir Guerrero’s death, Weiss still seemed upset about the fact that Jackie was not going to get thrown under the bus. Do those two have a history? God help them if Weiss turns out to be some Starbuck-type baddie that Jackie wronged when undercover, and he’s out for revenge. If that happens, this blog ends with that episode.

Lastly, we must mention the face-off that Presidents Madame and Slumdog had with regard to the potential fallout, both literally and figuratively, if his countrymen’s plans to detonate a dirty bomb in the city are successful. I liked seeing that Taylor, once again, was unafraid to make the hard choice, and you could tell that Slumdog knew that Allison wasn’t fucking around. Girl power, indeed.

Which brings us to this blog’s title. For some reason that I can’t dispute, since I don’t know how to disarm a detonator by remote, Chloe just had to see the wiring of Marcos’ suicide bomb, thus forcing Red Shirt Owen to take a stand in front of the security cameras and force Marcos to give up the goods. And after a quick brainstorming session on what to name this week’s blog, my lovely, brilliant wife came up with a “Simpsons” reference before I could. I hang my head in shame. Which, for the record, is a “Simpsons” reference. Oh, the irony.

A Chat with Megyn Price (“Rules of Engagement”)

If you’re a sitcom aficionado, then there are a trio of shows from which you’ll be familiar with Megyn Price. Her first big claim to fame was starring alongside Al Franken, Miguel Ferrer, and Robert Foxworth in the short-lived NBC series “LateLine,” which was followed by the decidedly longer-lived “Grounded for Life,” which ambled along hilariously for five seasons. Currently, however, she can be found playing the wife to Patrick Warburton on CBS’s “Rules of Engagement,” which returns to the network tonight, March 1st, for its new season. I had a chance to chat with the lovely Ms. Price about all three of these series, but I didn’t let her get away before I needled her briefly about her appearance in “Larry the Cable Guy: Health Inspector.” Most importantly, though, I finally got to thank her for providing me with my favorite anecdote of the summer 2009 TCA Press Tour. What was it? To find out, you’ll have to join us for…

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“Shutter Island,” “Cop Out,” and “The Crazies” mine money from mayhem for an R-rated weekend

Pretty much everything happened this weekend the way it was supposed to. As discussed here late Thursday (or very early Friday if you’re on the East Coast), Martin Scorsese‘s cop-psychological thriller starring Leonardo DiCaprio, “Shutter Island,” was expected to come in at the #1 spot after having a drop of something in the 50% range. Meanwhile, the new Kevin Smith-directed Bruce Willis/Tracy Morgan buddy-cop comedy, “Cop Out,” and the quasi-zombie horror remake, “The Crazies,” were supposed to fight it out for the #2 spot and do reasonably well. That’s precisely what happened.

As per the filmic bean coutners of Box Office Mojo,  “Shutter Island” suffered only a lower-than-usual 45.9% drop. It therefore stayed on-top with a healthy estimated $22.2 million for Paramount, which won’t hurt the Scorsese/DiCaprio brand any.

Tracey Morgan and Bruce Willis I thought “Cop Out” was, at heart, a moderately lousy movie but also had to admit to almost kind of enjoying a lot of it. That was a rave compared to most critics. Still, as I suspected, the movie delivered the cop comedy goods just enough to keep audiences coming  and it netted Warners a perfectly acceptable estimated $18.5 million in the #2 spot for a modestly budgeted ($30 miillion) comedy.

“The Crazies,” which actually got its share of decent reviews, scored a solid estimate of $16.5 for the weekend for Overture. That’s actually a bit better than it sounds for the George A. Romero remake, because it was in nearly 500 fewer theaters than “Cop Out” and its per screen was average was nearly $700 higher than the comedy. Also, with stars Timothy Olyphant and Radha Mitchell presumably asking less upfront than Morgan and Willis, it’s budget was $10 million cheaper.

The highest per screen average this week was, as usual, for a limited release film. Still, considering that it expanded this week from four to 43 theaters this weekend and managed a really good $20,233 per screen, Roman Polanski’s political thiller, “The Ghost Writer” did very well for itself.

As for poor little “Avatar” it made only a measly $14 million estimated this week in the #4 spot. But do not cry for the Na’vi, it’s still on top in the international box office sweepstakes. Nor should you shed tears for Hollywood overall. As Nikki Finke points out, revenue is up, even if attendance is just a tad down.

http://www.bullz-eye.com/mguide/reviews_2009/avatar.htm

Another Winter Olympics movie moment…with “Suspense”!

1946’s “Suspense” is, without a doubt, one of the weirdest classic-era Hollywood films ever made. It attempted to blend the appeal of  tough-as-nails post-war film noir thrillers with, yes, ice skating.

An Olympic skater for her native England at age 12, Belita “the Ice Maiden” (not sure how long that moniker lasted) had been best known in the movie world as a competitor to Norwegian Sonja Henie, the hugely well-paid skating star of a series of successful light musical comedies for Fox. Working with “Poverty Row” studio Monogram, Belita understandably wanted to get out from Henie’s shadow and become more of a dramatic actress. “Suspense” must have seemed like a natural transition: a fairly lavish crime drama with an ice-show setting…a noirish one. Here, Belita skates — suspensefully  — as Barry Sullivan and the great Eugene Pallette look on.

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