Category: News (Page 182 of 401)

TCA Tour: CBS Executive Session

Nina Tassler, President of CBS Entertainment, has honored us with her presence this morning at CBS’s TCA day, and during her executive session, she provided us with the following tidbits:

* When word leaked out – that’s hardly the right phrase, since it was actually included in a network-provided schedule, but we’ll go with it, anyway – that there would be a “Mystery Panel” today, hopeful (perhaps overly optimistic) critics began theorizing that it would be for “The Late Show with David Letterman.” As it turns out, it’s actually for CBS’s upcoming revival of “Let’s Make A Deal,” which Nina briefly detailed for us. It’ll be hosted by Wayne Brady and will premiere on October 5th. And, yes, Monty Hall is involved, but only as an executive producer. Come on, though: an old pro like that surely won’t be able to resist rearing his head onscreen once in awhile. I think we can count on him to show up during Sweeps Week, at the very least.

* Of NBC’s great Jay Leno experiment, she says, “Whatever ratings they get, they’re going to declare victory, so it really doesn’t matter.” As far as CBS goes, however, they’re going to stick with the successes of their 10 PM dramas. (Good plan.) She also got a laugh when she admitted that she thought that NBC’s announcement that Conan O’Brien was the new king of late night “seemed premature.”

* Rocky Carroll will be a recurring character on the new “NCIS: Los Angeles,” but Pauley Perrette will be guesting in the show’s second episode.

* There are nine more “Flashpoint” episodes yet to be aired, and they’re still happy with the way the arrangement of airing a Canadian-produced series on American TV. As such, “The Bridge” will be turning up on CBS in the near future as well. But there are no plans yet to produce any further “Flashpoint” episode, although she says they reserve the right to do so.

* As far as “Harper’s Island” goes, it had some online traction and appealed to a niche audience. “The challenge is to find something that can appeal to niche but that has a broader appeal as well,” she said. She was happy with the series, but “it just didn’t grab on to a bigger audience.”

* Apparently, “CSI” fans’ biggest issue with Laurence Fishburne was that he needed to look “more comfortable in his clothes.” You will be pleased to learn that this is being taken care of.

* No plans for any more “Million Dollar Password” at the moment.

* Her one-liner about Ben Silverman’s departure from NBC: “”I’m really just a D girl, so I wouldn’t comment.”

Seth Rogen gets snubbed by Megan Fox

And this is pre-“Transformers,” and post-“The 40-Year-Old Virgin” (and possibly post-“Knocked Up”), so it’s pretty bad…fast forward to the 1:40 mark…

Great find by THE WORLD OF ISAAC.

TCA Tour, Day 2: “Doctor Who”

There are no two ways about it: it’s a great time to be a fan of the “Who”-niverse. Not only did the awesome “Torchwood: Children of Earth” miniseries blow away BBC America ratings records, thereby almost certainly insuring that we will see more of Captain Jack and company in the future, but we’ve just been witness to another great “Doctor Who” saga (“Planet of the Dead”) and will have two more coming up in the next few months, with “The Waters of Mars” premiering in the fall and the inevitable Christmas episode arriving…well, you know, somewhere around Christmas, probably. In fact, there’s really only one thing to be sad about: the imminent departure of The Tenth Doctor, otherwise known as David Tennant.

Oh, dear, I’m already starting to get sad about it. Let’s switch gears, then, and talk about how Tennant came to be The Doctor in the first place.

“I first met David when we did ‘Casanova’ together for the BBC,” said “Who” reinvigorator Russell T. Davies. “I remember doing rehearsals, and we used to make ‘Doctor Who’ jokes, which amused us. So he was already there in a way. When you work with these great actors, when you find a great actor, you just cling to them. They’re just so limitless and inspiring. So when it came to putting it together and writing it, we talked surprisingly little about it, really, didn’t we?”

“You just wrote it,” confirmed Tennant. “That was it, really. I just got the script and did it.”

So what was Tennant doing that was different from the other actors who were under consideration?

“He’s a great kisser,” replied Davies, before getting serious. “Actually, I’ll tell you what: it was the ‘Casanova’ audition, because that’s when I sort of thought, ‘Oh, my lord, that’s someone I want to spend many years working with.’ He had auditioned for ‘Casanova,’ and, you know, playing the world’s greatest lover, everyone came in and gave us very heavy and very serious would-be romantic portrayals. And David could just dance over dialogue like…”

At this point, Davies turned and addressed David directly. “I think you’re one of the few actors who understands that dialogue is sort of irrelevant,” he said. “You throw it away and you rattle across it with real speed, and it’s all going on underneath. You get the humor and the comedy, and there’s not many actors who do that. They take it very seriously. And I like stuff on the lighter end, no matter how dark the actual stuff is. It has that throw-away quality to it, and I love that.”

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Is the “Funny People” box office take half full or half empty?

Like so many things in life, the meaning of the weekend gross for the Judd Apatow/Adam Sandler “serious comedy,” “Funny People,” is a matter of perspective. On the more cheerful side, we have the trades, which typically enough are accentuating the positive, noting that the somewhat risky project, at least by modern mainstream film standards, was actually #1 at the box office, even if the amount it took the lead by was less than mega-spectacular.

The Hollywood Reporter (actually the AP as carried by THR) thinks that Judd Apatow is living in the best of all possible box office worlds:

Movie audiences have taken a liking to Adam Sandler’s more serious side…[“Funny People”] grabbed the top spot at the weekend boxoffice with a $23.4 million debut.

Variety takes a more measured, but still somewhat upbeat, tone:

Adam Sandler’s “Funny People” has topped a moderate weekend box office with $23.4 million at 3,008 playdates.

Nikki Finke, however, has a different way of seeing things. Here’s her headline:

‘Funny People’ No Laughing Matter; Opens To Lousy $8.6M Fri And Worse $7.4M Sat For Disappointing $23.4M Weekend

La Finke goes on to point out that Universal has been lowering expectations from Sandler’s usual $30-$40 million openers to a more modest $25 million, and fell a bit short of that.

Jonah Hill, Jason Schwartzman, and Adam Sandler kvetch over turkey It really does come down to your frame of reference. In my weekend preview post, I mentioned the Sally Field/Tom Hanks starring “Punchline,” which I think is a better point of comparison than any particular Apatow or Adam Sandler film, including 2002’s “Punch-Drunk Love,” simply because of the subject matter, the more-serious-than-you-might-expect approach, and the level of star power. That movie got similarly mixed reviews but was one of 1988’s lowest grossing films, despite the presence of two bankable stars. Two small differences: one had laughs, the other doesn’t, and Sally Field was not ever thought of as a great comedian, “The Flying Nun” notwithstanding.

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Movie Moments: Chita Rivera

Unlike the other arts recipient of the Presidential Medal of Freedom, Sidney Poitier, Broadway legend Chita Rivera hasn’t had an extensive career in movies. In 1960, she originated the role of Rosie in the first Broadway production of “Bye Bye Birdie.” When the time came to do the film version, however, Hollywood blew its shot at having a positive portrayal of a Latina actually be played by a Latina. Instead of using Ms. Rivera, a great dancer and singer, the part went to Janet Leigh, a “name” whose considerable talents were mainly in acting.

Still, a few years later, the great director-choreographer Bob Fosse choose to include Ms. Rivera in his first film, “Sweet Charity.” Unfortunately, 1969 was exactly the wrong year to release a more or less traditional musical. “Charity” bombed, forcing Fosse to completely rethink the musical form for the movies and Rivera to keep plugging away in New York. Fortunately, that means we have a couple of great movie-moments from this semi-forgotten classic featuring Chita Rivera as Nickie, a tough-talking taxi dancer. Here, along with friends Helene (Paula Kelley) and Charity Hope Valentine (Shirley MacLaine), she reconsiders her career choice.

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