Category: Interviews (Page 34 of 69)

TCA Tour, Day 2: “The InBetweeners”

If your name is Will, you wear glasses, and you occasionally had a rough time of it in high school when it came to fitting in, then you will likely find that it’s quite easy to enjoy the new BBC America sitcom, “The InBetweeners.”

Actually, I guess that’s a pretty tiny demographic, so let’s try this: if the idea of an amalgam of “Freaks and Geeks” and “American Pie” delivered in a British accent fills you with joy, then, boy, do Iain Morris and Damon Beesley have a show for you.

Their best-known American credits…okay, fair enough, it’s really their only one…are as the writers of a couple of “Flight of the Conchords” episodes, but with “The InBetweeners,” they’ve put together a raunchy look at teenage life that, at least based on the episodes I’ve seen, is a bit like “Skins” without all the depressing bits…which is to say that the teenagers here are committing the sort of debauchery that you’d like to think that your own teenagers wouldn’t indulge in, even if you’re pretty sure they do, anyway.

“It’s not in any way, I think, really heavy,” said Joe Thomas, who plays Simon on the show. “I suppose it’s heavy in the sense that it’s sort of about inadequacy and expectations not being met and teenager years being sort of perpetually disappointing to a degree you wouldn’t even have thought possible given the last disappointment. But ‘Skins’ has, like, death in it and big themes, whereas we have…”

At this, Morris interrupted his star. “The best example is probably that, in the first series, you might see Joe’s naked bottom. In the second, you’ll see his penis in a wet sock. That’s how we moved it on. That’s how we’ve tried to develop the show and try and just get those themes going through. Of humiliating Joe Thomas.”

“Yeah,” confirmed Thomas, “that’s one of the themes.”

Regarding comparisons to the work of Judd Apatow, Morris is more than happy to consider his work part of the tradition of comedy humiliation. “It’s those things like ‘American Pie’ and ‘Animal House’ and ‘Swingers’ and things that were sort of character stays of men in a way that had humorous content. And in one of the episodes, the last episode, there’s a sort of homage to ‘Freaks and Geeks,’ by which I mean a joke we stole wholeheartedly. Do mention it to Judd if you see him.”

Now, there’s one thing for Americans to keep in mind (as if we’d ever forget): our television standards are more stringent than those of the Brits. This necessitates certain changes in various episodes that air on BBC America, and you can bet that “The InBetweeners” is a series which will require a bit of tweaking.

“We actually do bleep certain words,” said Garth Ancier, President of BBC Worldwide America, then backpedaled slightly and clarified, “We don’t bleep them. We do audio deletes, which is actually a different way of dealing with it. But we do do audio deletes on certain words that start with ‘F,’ and we do pixilate occasional nudity and things like that. Look, we have to live within the U.S. system. These are shows that are airing on free over-the-air television in the UK on E4 and Channel 4, but the U.S. audience is a little tamer, and so we have to calibrate where it should be, and we do. We do it with ‘Skins,’ too.”

“Sounds like bad news for Joe Thomas bottom fans,” said Morris.

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TCA Tour, Day 2: “Being Human”

Be honest: if someone told you about a new TV series about a werewolf, a vampire, and a ghost who share an apartment, wouldn’t you think it was a cartoon? Or, at best, a wacky tweener sitcom, a la “The Munsters”? Given that I grew up on such Saturday morning series as “Drac Pak” and “The Monster Squad,” I could actually get behind either of those things, but “Being Human,” the new TV series in question, is actually an hour-long drama, one which made its Stateside premiere on BBC America on July 25th.

I could hear a lot of you suddenly exhaling with relief after reading where the show was airing, and it’s understandable. The concept sounds positively ridiculous, but there’s something about the knowledge that it’s airing on BBC America that lends credibility to even the most ludicrous of premises, simply because you know they’re going to treat it seriously. You might not know how, but you know they will. And, of course, it adds immeasurably to the show’s credibility to know that it was created by Toby Whithouse, who’s written for “Doctor Who” and “Torchwood.”

Still, it’s comforting to know that the cast of “Being Human” – Russell Tovey (the werewolf), Aidan Turner (the vampire), and Lenora Crichlow (the ghost) – were equally uncertain when they were pitched the idea of the series.

“We’ve been asked the question quite a bit about how we felt when we first heard it,” said Crichlow, “and even when I explain now to people what the show is about, I see them…”

“Glaze over,” chimed in Tovey.

“To be honest with you, it’s in the scripts and in the characters,” Crichlow continued. “I mean, it just works. But it’s almost the most ridiculous idea in the world. I remember getting the call, and I didn’t know if it was comedy or drama or what the hell it was. But I was two or three pages in, and, ‘Oh, wow, I get it now.’ It’s the fact that these guys want to be human, that it’s steeped in this realism, and that makes it work so well. It’s a credit to Toby. He just made it very easy for us. This was a job that you couldn’t say ‘no’ to. First on, we knew it was something quite special and different and, dare I say, even kind of original in some ways.”

“Yeah, it’s an actor’s show,” agreed Tovey. “The characters go through so many emotions, and there’s so much you can do. I mean, I’m screaming one minute and naked the next minute. I’m crying. I’m laughing. Naked again, screaming again. It’s just such an amazing writing and a great concept and exactly what you want to do as an actor in your mid-20s.

“Oddly enough, I think we’re playing real people in this as opposed to playing supernatural,” said Turner. “That’s why it’s so interesting for us to play a vampire, to play a werewolf, and not the sort of typical way, if there is one, which wouldn’t be as interesting as playing these real characters with real afflictions and real problems and real issues. It’s just so much fun.”

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TCA Tour, Day 2: “Spartacus: Blood and Sand”

Back in January, I covered Starz’s panel on their upcoming series, “Spartacus,” and at that time, I freely acknowledged that I didn’t personally have much to say about the show because there wasn’t anything to see. I mean, nothing. All we had to work with were the assurances of the executive producers that it was going to be a hell of a show, which I responded to thusly:

Executive producer Rob Tapert describes it as “our reinterpretation of the famous Stanley Kubrick movie,” calling it “a hard-core, testosterone-driven action drama unlike anything on television right now” and “a totally R-rated, hard, hard show that still has all the things that you need in storylines but that delivers the action component that theatrical audiences expect from their entertainment.” Sounds great…but it would sound a lot more impressive if they actually had anything at all to show us or, indeed, had even cast Spartacus yet.

Well, it’s over six months later, and the premiere is “Spartacus” is still another six months away, but at least we’re finally making some headway. Hell, just hiring some actors would’ve been forward motion from where we were last time, but we actually got to see a clip from the show…and, better yet, it was a kick-ass, completely unedited version that had never been screened for anyone else. So suck it, Comic-Con!

First and foremost, Spartacus will be played by Andy Whitfield, an actor who’s virtually unknown outside of his native Australia (and, to look at his paltry list of credits, possibly isn’t even known very well when he’s at home), with Lucy Lawless and John Hannah playing the owners of a gladiator camp, and Peter Mensah serving as Doctore, a trainer of gladiators.

As you may already know, “Spartacus: Blood and Sand” is going to have a very unique look for television, though it’s similar in appearance and tone, not to mention subject matter, to a certain numerically-named film, a fact which executive producer Rob Tapert tackled headlong.

“Yes, ‘300’ had a particular look and style,” Tapert admitted. “Zack Snyder brought that hyper-realistic style to a period piece, you know. Certainly, ‘Sin City’ prior to that had been all digital backgrounds, and there’s other shows currently on television that have digital background, from ‘Blue’s Clues’ all the way through to ‘Sanctuary.’ So what ‘300’ did so well was make a great deal of money so everyone said, ‘Hey, the audience will accept that,’ and equally the drama played. So it was very easy to point to something and say, well, it worked in that style. Plus, having a digital environment and not having to have ultra-realistic backdrops and an arena like in ‘300,’ or in, like, ‘Gladiator,’ it allowed us to actually bring this to the screen. There was no way to do it without having the artifice, so to speak.”

As Tapert noted last year, this is a reinterpretation of the classic story presented within the 1960 Kubrick film, but there is most definitely a tribute to the man who played that version of Spartacus. At least, I think it’s a tribute.

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TCA Tour, Day 2: “Crash”

Hey, wanna see a panel come to a screeching halt before it even gets rolling? Just ask Ira Steven Behr to step up to the mike.

I’m a big fan of Behr’s work, particularly on “Star Trek: Deep Space Nine” and “The 4400,” but, holy cow, Starz main man Bill Hamm has got to still be kicking himself over his decision to say, “Before we open it up for questions, I want to ask Ira to give us some details about the direction of the second season and some of our exciting additions to the cast.” There’s no way I’m going to offer up everything Behr had to say, but I’ll tell you that, having copied and pasted the text of his comments into a Word document, it totals out at over 600 words, and his halting delivery made it seem as though it lasted forever. I’d actually been excited about the panel, which was to provide details about the upcoming second season of “Crash,” but I quickly found myself within an inch of standing up and yelling, “Geez louise, Ira, wrap it up, wouldja?”

Eventually, of course, Ira did wrap it up, and things moved onto the most obvious new development about the new season of “Crash”: the addition of Eric Roberts to the cast.

This isn’t the first time that Eric Roberts and Dennis Hopper have worked together, but it’s the only time that Roberts is interested in talking about, even if Hopper seemed to enjoy needling his new co-star about it.

Dennis Hopper: We did a movie together, too.
Eric Roberts: We don’t want to talk about that, Dennis.
Dennis Hopper: Okay. It was the first…
Eric Roberts: We don’t talk about that, Dennis. Terrible movie. (Shrugs) I made a couple.
Dennis Hopper: I made more than a couple!

Actually, Roberts tried his best not to say anything at all during the panel, as was further evidenced when a writer asked him and Hopper about the differences between working on television versus working in motion pictures.

Dennis Hopper: Well, you don’t have as much time, but I’ve worked in a lot of independent films through the years, so it doesn’t get that much different. I’ve had a lot of dialogue in this series, so that’s been the most difficult part for me. Beyond that, we work 15, sometimes 17 hours, but we have a great crew. Never heard anyone complain, except me. But nobody listens to me, so it’s okay. But the crew and the cast are just wonderful. Yeah, I’m having a joyous time, even though it’s difficult. But since we’re shooting other episodes, we have our three days off and four days off, you know, every two weeks, whatever. So it’s a nice schedule.
Eric Roberts: What he said.

Now, here’s the big question: how many of you even watched “Crash”?

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TCA Tour, Day 2: “The Jeff Dunham Show”

I can still remember the complete wave of confusion that washed over me a year or two ago when a friend of mine asked me if I’d seen Jeff Dunham’s DVDs, “Arguing with Myself” and “Spark of Insanity.” Not because *I* didn’t know who the guy was, but because I couldn’t quite work out how the friend who was asking me knew about him. As far as I knew, he was just this comedian with a purple puppet named Peanut, a guy who’d been working the stand-up circuit for years. To this day, I have no idea exactly what changed and when he suddenly became so huge that my daughter’s sitter was enough of a fan to have his DVDs, but, hey, more power to him.

After the success of his most recent special, “A Very Special Christmas,” which earned more than 6.6 million viewers and was Comedy Central’s most watched telecast ever, it’s no surprise that the network decided to transition Dunham into a weekly series, and since he’s become a household name, why not go with the most obvious title?

Welcome, then, to “The Jeff Dunham Show.”

Give the guy credit: he knows the path he’s taken to get here, he’s thrilled that he’s made it, and he’s not afraid to mock how long it took.

“As I drove here today,” Dunham began, “I realized I was going past the comedy club here in Pasadena called The Ice House, and it was there at The Ice House in 1990 that I did my ninth audition for ‘The Tonight Show’ and was booked to do ‘The Tonight Show with Johnny Carson’ for the first of four times. And if I had known standing there in that parking lot in 1990 that I would be here at this time doing this for Comedy Central, I would have thought, ‘You know what? That just took too fucking long.'”

Of course, Dunham immediately broke out one of his little friends, and who better to present to a bunch of grumpy TV critics than Walter? I try desperately not to offer up actual transcripts of the panels, but given the necessary back-and-forth with a ventriloquist’s act, I’m guessing I’ll be allowed some leeway here…

Walter: Who the hell is the group?
Jeff Dunham: We talked about that earlier today, you know who it is.
Walter: No, I kind of forgot.
Jeff Dunham: Okay, I wrote it down for you.
Walter: Oh, good. Okay. Let’s see, the TV Critics Association Cable Press Tour. That’s it?
Jeff Dunham: That’s it.
Walter: I think our career has peaked. You know, I was thinking to myself just the other day, we’ve had specials on Comedy Central, we’ve opened for the President, but we’ve never done a show for the TV freakin critics. Are you being paid for this gig cash? It is none of that barter crap, is it? We’re not going to get like a year’s subscription to TV Guide for God sake, are we? This is just sad. Let me get this straight: so their job is to get up in the morning, turn on the TV, stuff their pie holes, and then trash the new shows.
Jeff Dunham: I guess.
Walter: This is genius. I want this job. “What’s your dad’s job?” “He tells the world that your dad’s show sucks.” Fantastic.

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