Category: TCA Blog 2008 (Page 5 of 11)

TCA Press Tour, Day 6: PBS, Pt. 1

“NOVA: The Bible’s Buried Secrets”: It might’ve been appropriate to open the Sunday sessions with a Bible story, but it was pretty heady stuff for us to absorb so early in the morning. Paula Apsell, producer of “NOVA,” introduced “The Bible’s Buried Secrets” thusly: “Shot in Israel, Egypt, Syria, and the U.S., the film challenges viewers to think about the Bible in an entirely new way, one that exams the message and the meaning even as it looks for a historical core. What emerges is provocative new evidence surrounding the origins of monotheism and the ethical code that accompanies it, ideas that change the world and resonate for us today as it did then.” Fascinating stuff, sure, but way too much to take in at 9:00 AM. But there was at least one portion of the discussion that captured my attention: the question about whether God had a wife.

Professor William G. Dever responds: “The reason why God is so bad-tempered in the Old Testament is mostly he was lonely. And if he had listened to his wife, he wouldn’t have done those bad things. We know that in the minds of many ordinary Israelites, there was a pair of deities. Why shouldn’t there be? There was everywhere else in the ancient world. You have to remember monotheism is a difficult consideration. The development of monotheism is late, in some cases arbitrary and even artificial. A much more natural system is to have a plethora of gods, one for each need. And that’s what most peoples in the ancient world thought, and so did they in Israel. The very fact that the prophets and reformers condemned the worship of other gods means it was going on all over the place. Otherwise, why talk about it? So it’s clear that while those who wrote the Bible and edited it and passed it down were rigid monotheists, so to speak, all men, in the minds of many, God, of course, had a consort. And why not? If women had written the Bible, the portrait of God would be different.”

How would it have been different? Too…many…jokes. Must…move…on…to…next…panel…

“NOVA: Parallel Worlds, Parallel Lives”: This one was actually even more headspinning than its predecessor, since it was about the late physicist Hugh Everett and his Many Worlds interpretation of quantum mechanics, which predicts that every time we make a decision, a parallel universe splits off from our everyday reality (ow, my head just exploded!), but what made it stand out was the fact that it views Everett’s work through the eyes of his decidedly non-mathematical son, Mark…who you may know better as E, the heavily-bearded frontman for The Eels.

The key to the show is the relationship between E and his father…or, more specifically, the lack thereof. Hugh Everett died in 1982, so he never saw his son become a famous musician (at least from a cult standpoint), but…you’ll pardon the unintentional pun…they really were living in two different worlds. “I think it is a common thread with a lot of families that fathers and sons have their issues and maybe don’t always connect,” said E, “but we didn’t connect at all. I mean, it was sort of shocking the degree of how isolated he seemed to me, growing up in the same house with him all those years. But how do you relate to the rest of the world when that’s what’s going on in your mind, you know?”

E did have some fond memories of his father, despite their lack of a connection. “I remember him delighting in things like ‘Star Trek’ and ‘The Twilight Zone’ and science fiction books. We’d have neighbors come running over and…they’d be sitting in a hammock one summer day, reading a science fiction book, and it would have a reference to my father, and they’d come running over and knock on the door, all excited.”

There’s a scene in the film when the producers find some tapes of E with his dad, and for all his enthusiasm about working on this project (he calls it “an extraordinary process” and “probably the single-most life-changing thing I’ve been through”), there was clearly still a certain amount of annoyance about the way he found his way to hearing these tapes. “I didn’t want to listen to the tapes,” he admitted. “It was a really awkward moment for me when I walked into the room. The filmmakers had already listened to some of the tapes, and they were all kind of looking at me like…it was like they set a trap for me. I was scared. It was just the weirdest thing was hearing his voice for the first time in, whatever, 25 years or something. I couldn’t even remember his voice, but then as soon as I heard it, I remembered it really well.”

E’s comments make it pretty clear that the gene for physics skipped a gene, but he’s resigned to it. “I’m not bitter about not being a mathematics genius at all,” he assured us. “I’d much rather be a rock star. The groupies are a lot better.

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TCA Press Tour, Day 5: PBS, Pt. 2

Once I reached lunchtime and realized how long I’d been going on, I realized that it was just going to make good sense to split the first day of PBS into two parts (I’ll do the same for Day 2 as well), so we now rejoin PBS Day 1 immediately post-lunch, as we loosen our belts and are introduced to…

“American Masters: You Must Remember This – The Warner Brothers Story”: This is one of those panels that started out with a ho-hum line-up, and then – BAM! – it suddenly became awesome. I was always interested in seeing it, since I’m a film buff, but two days before it took place, we suddenly got an E-mail from PBS saying, “Oh, by the way, that Warner Brothers panel? We just added Frank Darabont (director of ‘The Shawshank Redemption,’ ‘The Green Mile,’ and ‘The Mist’), Richard Donner (director of ‘Superman,’ ‘Lethal Weapon,’ and ‘The Goonies’) and Jon Voight (star of ‘Midnight Cowboy,’ ‘Deliverance,’ and ‘Coming Home’) to it.”

WHAT? Oh, HELL, yes, I’m gonna be there!

And in addition to those names, also in attendance were actress Joan Leslie (‘Yankee Doodle Dandy,’ ‘Sergeant York,’ and ‘High Sierra’), Lauren Shuler Donner (producer of ‘Dave,’ ‘You’ve Got Mail,’ and ‘Free Willy’), Greg Orr (grandson of Jack Warner), and Richard Schickel, the film critic of Time Magazine since 1972 and the creative mind behind this historical retrospective.

Oh, yeah, I was excited.

Ultimately, precious little about the program itself ended up being revealed, aside from Schickel’s confirmation that the animation of Warner Brothers will be covered in a four or five minute segment. Most of it was the various actors and directors recollecting about their experiences for the company, plus a bit of reminscining from Orr about his grandfather and his reputation. Not that I’m complaining, mind you. It was still pretty damned awesome.

Here are some highlights…

* Frank Darabont revealed that, whenever he makes a film, he’s always checking to see what other films have been made on that lot. “When we were shooting The Green Mile, for example, we were shooting on the Formosa lot, which was Warner Hollywood at the time, and it was the same sound stages where they shot ‘The Black Swan,’ going back to the silent days,” said Darabont. “If you love movies, you go in, and it’s not just a place where you are showing up. You start looking around the nooks and crannies of these places and asking questions, and I actually had some of my staff sneak into their offices and talk to their people and pull their files out, and we would start getting lists together of what had been shot on that sound stage. We started lobbying for them to start, you know, putting up plaques in the sound stages with the titles with some of the great movies. That’s now true at Warner Brothers. I like to think that me bitching about it had a little something to do with it. Maybe they were planning it anyway and I’m just humoring myself.”

* Joan Leslie spoke of how different the studio system was in her day than it is now. “I was signed in 1939 when I was 15 years old,” she revealed, “and they said, ‘We’ll groom you.’ In two weeks I was testing for ‘High Sierra,’ and I got the part, and I did five more pictures that year while I was 15. And I was going to school and doing publicity. Quiet wonder was like how I felt about the studio. These enormous stages, and glamorous people. The makeup department in the morning was busy and fun and talking, charming. And on the set, great feeling of teamwork. I think everybody on the set felt good when we made a good take. It wasn’t just it’s a take. We all felt like, ‘Gee, we did good.’ But I think that some of that has changed. And that doesn’t mean they’re not making great pictures, but it’s changed a lot. And I’m glad I was there then. I’m glad they did that purposely for me. I’m grateful to Warner’s for what they did. They took care of me. They gave me my identity.”

* There was mass praising of what a great studio Warner Brothers used to be, with discussions about how you’d meet after a film had done well and have the studio head throw you the keys to a brand new car. Once, according to Richard Donner, Christopher Reeve had rented a car on the studio’s dime, and when he asked if he could keep it a few extra days so that he could see the sights, studio head John Calley asked, “What’s his favorite color?” And the next thing you knew, Reeve had his own car to see the sights with. This trick backfired on them at least once, though, according to Richard Donner. ” When ‘Lethal Weapon’ hit, I don’t know, whatever mark, a lot of money, Bob Daley and Terry Semel asked us to have a little lunch in their office to celebrate,” said Donner. “And he said, ‘Would you come, and (Joel Silver) and Mel?’ I said, ‘Of course. And you’ve got to have Danny (Glover).’ He said, ‘Oh, yeah, sure, Danny.’ And then I said, ‘You’ve got to have Jeff Boam.’ And Bob Daley said, ‘You know, this is just a little lunch.” I said, ‘Well, you’ve got to have them.’ He said, ‘Okay.’ By the time we were done, we had Rene Russo, Joey Pesci…every time I called Bob to add a name, he was very curt about it. So lunch was going on, and I said, ‘You know, in the old days, before you, after lunch they would have thrown some keys on the table, and everyone would have gone outside and got a Ferrari or a…’ Bob Daley looked at me and threw some keys on the table, and they were all brand-new Range Rovers…but he only started with three. Every time (I added a name)…well, the last two had to come down from San Francisco in a truck!”

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TCA Press Tour, Day 5: PBS, Pt. 1

PBS?!?

Oh, don’t look so shocked: my wife and I are PBS contributors, and if it wasn’t for the beautiful, beautiful entity that is PBS Sprout, our 2-year-old daughter wouldn’t be half the kid she is today. I won’t be spending a tremendous amount of time on each show, but since we had two days’ worth of presentations, it would be thoroughly unfair if I didn’t offer up at least a little bit of a look at them all.

“The Electric Company”: It’s back! Sort of. It’s not really ‘The Electric Company’ you remember…or, at least, most of it isn’t. There’ll be certain elements from the original series which will return, such as Paul the Gorilla, the silhouettes who each say half of a word and then put the two halves together (“Ch.” “Ange.” “Change!“), and – after the epilogue of each episode – animation clips from the old days. But for the most part, the phrase “this is not your father’s ‘Electric Company'” will be apropos. We saw a few segments which looked pretty funny and will no doubt have the same effect on kids today that the original did for my generation, and there will be guest stars popping up to aid in the learning process (we saw Jack McBrayer in one of the clips, and other names cited were Mos Def, Lyn Manuel Miranda, Sean Kingston, Mark Linn-Baker, Mark Ecko, Cory Booker, Jacky Woodson, and Wyclef Jean, who’s doing the music for the series), but I have to admit that I was disheartened by the total lack of confirmation that any of the folks from the original “Electric Company” will be making appearances. Maybe they just don’t have that confirmation yet and they’re waiting to get it, but it would’ve been nice if they could’ve at least said, “We’re trying.”

Executive Session: We received several interesting announcements, including a documentary series entitled “Latin Music USA,” a new kids series about a chatty canine named Martha (“Martha Speaks”), and the new Ken Burns documentary (honest to God, it’s called “The National Parks: America’s Best Idea”), but the greatest controversy during this session came from PBS President Paula Kerger hemming and hawing about the upcoming production of Royal Shakespeare Company’s staging of “King Lear” and whether or not it would feature the notorious nude scene by the gentleman playing its title character, Sir Ian McKellen. Again, I’ve been trying desperately not to offer too many back-and-forths this year, but this one’s a must-include, I think…

Q: How are you going to deal with that on the screen?
Paula: The film is just being…it’s just been shot and…I haven’t actually seen the final version yet, and it will be broadcast next year. We’re actually going to bring it to press tour in January, so you’ll have a chance to see it then.
Q: That’s a pretty talked-about moment in the stage production where he’s fully nude. How do you feel about showing that in its entirety?
Paula: Well, again, I haven’t seen the taped version yet, so I can’t tell you…
Q: But would you be okay with that?
Paula: About the full-frontal nudity?
Q: Yes.
Paula: Let’s talk about this in January, okay?
Q: Oh, come on. You’re familiar with the scene, though, right?
Paula: I saw the production, yes.
Q: And what do you think about showing that on PBS?
Paula: Well, it’s not…it’s what I think about it and also what the FCC will allow. So we’ll cross that bridge…we’ll bring it to you in January. Ask me the question again, and I promise you…
Q: My readers can’t wait that long.
Paula: Oh, yes, they can.

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TCA Press Tour, Day 4: Lifetime

Sorry, but this won’t be as quick an entry as you might think.

First off, I have to announce the Lifetime news that made me legitimately happy: they’ve already committed to a third season of “Army Wives.” Yes, I really am a fan of the show, and I’m psyched to hear that Lifetime is going ahead with Season 3, though given the absolutely crazy ratings success of the early episodes of Season 2, it’s certainly one of the least surprising revelations of the tour. Still, it’s nice to have the confirmation. Stay tuned to Bullz-Eye for my Q&A with Sally Pressman, who plays Roxy LeBlanc on the show and was more than happy to answer my question, “Why should guys watch ‘Army Wives’?” (Unsurprisingly, though, the first words out of her mouth were to point out that there are four females leads and not a one of them is hard on the eyes.)

Okay, on to the three panels.

First panel: the second season of Carson Kressley’s series, “How to Look Good Naked.” Great concept, wonderful for helping women build their self-esteem, but ultimately not really something that I need to talk up but so much.

Second panel: “Rita Rocks,” the new sitcom from executive producers Stan Zimmerman and James Berg, last seen as consulting producers on “Gilmore Girls.”

Okay, with credits like that, we’ll give this panel a little bit more love. Nicole Sullivan (“Mad TV,” “The King of Queens”) stars as Rita, an overworked mother in the middle of a full-blown identity crisis. She’s happily married to Jay (Richard Ruccolo, a.k.a. the guy in “Two Guys, A Girl, and a Pizza Place” who wasn’t Ryan Reynolds), but while juggling her marriage, her job, and her maternal duties, Rita realizes that to reclaim her sanity, she has to carve out time for herself. At the encouragement of her nosy postal carrier, Patty, (Tisha Campbell-Martin), Rita forms…a garage band? Okay, c’mon, how are we defining “garage band” here? Because when I think “garage rock,” I think of Little Steven’s radio show, and what we see in the pilot – Rita kicking out a not-bad version of “Try A Little Tenderness” – only falls into the descriptor of “garage rock” because it’s actually performed in a garage.

“We’d love to do a lot of covers,” said Zimmerman, “and then maybe eventually she’ll put a song up maybe that she’s written when she was 17 and be real exciting.”

“We don’t want it to become kitschy in that it’s all ’80s music,” clarified Sullivan, “because that tends to lead to that sort of feeling. We don’t want it to all be silly. We want it to be emotional.”

At this point, a writer asked Sullivan what she listened to while growing up?

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TCA Press Tour, Day 4: Starz

It’s taken the Starz Network quite a while to get on its feet as one of the major movie networks. Okay, fair enough, some would argue that they’re still not there yet, but they’ve been doing some great work with their original documentaries about various film genres, and now that they’re making the move into producing their own original dramatic series as well, it’s clear that they have every intention of playing with the big boys.

The first series on the slate is an adaptation of the Oscar-winning film “Crash,” so you can imagine that there’s going to be a pretty sprawling ensemble cast involved, but there’s one actor’s name that handily stands out above the rest: Dennis Hopper, who plays Ben Cendars, a successful and respected record producer whose fight to remain relevant in the hip-hop world is made more difficult by his self-destructive tendencies. Most intriguing about this particular character, however, is that when placed against all of the total nutjobs on Hopper’s resume, he claims that this guy is “as crazy and probably crazier than any of them. He’s totally out of control. He’s a music mogul who wants to get one last big hit going, and he’s totally off the wall. He changes directions about 20 times in a minute. He seems to have a tremendous empathy and understanding of things, and at the same time, he has no limitations how he addresses other people or other races or other genders. He’s totally a loose cannon; he doesn’t have an edit button. It’s a great part, beautifully written, and we have no language barriers or sexual. It’s as free as television will ever be.”

The proof in that particular pudding would seem to come via a scene between Hopper’s character and, uh, John Thomas, if you take my meaning. And if you don’t…well, I’ll let Hopper describe the scene:

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