Category: TCA Blog 2010 (Page 4 of 9)

TCA Tour: A Chat with Temple Grandin

Temple Grandin is a Doctor of Animal Science at Colorado State University, a consultant to the livestock industry in animal behavior, and a best-selling author. She’s also autistic, a fact which you may have already known if you happen to have a connection to someone with autism, be it first-hand or indirectly. For instance, I came to know about her, as you’ll soon read, through my wife, who works with autistic students and is the proud owner of a copy of one of Grandin’s books, The Way I See It: A Personal Look at Autism and Asperger’s.

When an advance screener of the new HBO movie based on her life – entitled, appropriately enough, “Temple Grandin” – landed on our doorstep in advance of the TCA press tour, you can imagine that we popped it into the player post-haste, and I’ll tell you right now, I was blown away: Claire Danes gives a phenomenal performance as Grandin, but director Mick Jackson ties for MVP with his visual presentation of how Grandin’s mind works. I immediately went about trying to set up interviews in connection with the tour, and although Danes was unavailable, when HBO asked if I’d like to chat with Grandin herself, you’d better believe that I didn’t hesitate for a moment before saying, “You bet!”

Bullz-Eye: I just wanted to start off by telling you that my wife works with autistic children.

Temple Grandin: Oh, okay.

BE: She hadn’t actually trained in the field, but she ended up stepping into a job as a substitute teacher in a special education classroom, and she had such aptitude that the teacher gave her a gift: a copy of your book. She basically said, “Not everyone has the heart and the temperament to work with children who need a little extra effort, but I really think you do, and I think you’d get a lot out of reading this.”

TG: Which book was it?

BE: “The Way I See it.”

TG: All right.

BE: So as soon as she found out that I was going to be speaking with you, she immediately passed it on to me and said, “You’ll be wanting to read this.” (Laughs) But we also watched the movie together, and I thought it was fantastic. How did that first come about? Did someone read your book, then come to you and pitch the idea of making it into a movie?

TG: Well, that’s actually been going on for a good long time. Emily Gerson Saines started working on this about nine years ago and went to, like, two different directors and writers. Then, finally, it came together with the right people.

BE: Did you get final say about who would play you in the film?

TG: Well, that was just decided. Claire Danes did an absolutely brilliant job. Absolutely brilliant. I met with her for about six hours, and I gave her the oldest VHS tapes I could find of me, where I’d be more autistic-acting. Like, in old programs from the late ‘80s, where I was on a TV show, and some lectures from the early ‘90s. We dubbed those over onto DVDs, and she had those to practice with. I didn’t have any video older than that. Or movies. We didn’t do movies as a family, so I didn’t have that.

BE: I thought the visual aspects of the film, which try to give the viewer an understanding of how your mind works, were outstanding. I guess that was Mick’s idea…?

TG: I thought that was absolutely brilliant, the way Mick showed all of that. Wonderful. Like, the scene where it shows all of the shoes coming up…? That’s exactly how I think. Mick was absolutely brilliant with that.

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Bullz-Eye’s TCA 2010 Winter Press Tour Wrap-Up: Simon Signs, Conan Conquers, and Patrick Stewart Just Plain Rules

The 2010 winter press tour of the Television Critics Association took place at the Langham Huntington Hotel and Spa from January 8th – 18th, which you probably already know from the various postings which were done during and have continued since my attendance at the event. It’s a regular tradition, however, that I do a wrap-up piece which summarizes my experiences during the tour, and since I invariably seem to get a positive response from those pieces, I always try to make it as entertaining a read as possible. Here’s hoping I’ve succeeded as well this time as I have in the past…but if I haven’t, I feel certain you’ll let me know.

Most enjoyable panel by a broadcast network: “Great Performances: Macbeth,” PBS.

I’ll freely admit that I was predisposed to enjoy the panel due to the fact that it featured the newly-knighted Sir Patrick Stewart, but I spoke to others afterwards who declared it to have been the best panel of the tour up to that point. Partial credit for the success goes to the critics in the audience, who consistently offered up intelligent questions about the subject matter at hand…and let me assure you that this is not always the case. Even on an occasion when an attempt at going in a unique direction fell flat, such as when one writer asked Stewart if he was familiar with FX’s “Sons of Anarchy” (it’s been called a Shakespearean saga on motorcycles), it led to the revelation that Ron Perlman has played an interesting place in Stewart’s life. “I was having dinner with Ron Perlman the day that I was offered Jean-Luc Picard in ‘Star Trek: The Next Generation,’” he said, ‘so I have always looked on Ron as being a lucky omen. So you mentioning his name today, I hope, means that the rest of the day is going to be brighter than it begin.” At the very least, Sir Patrick’s remarks during the panel brightened mine.

Most interactive panel by a cable network: “The Choir,” BBC America.

Gareth Malone is a man on a mission to bring music to those who may not think that they have an interest in it, creating choirs in various schools in England and helping the youth of today raise their voices in song. We soon discovered that this extended to television critics as well. “In England, everyone knows that when I enter a room, everyone’s going to sing,” Malone began ominously, “so I would like to invite you to leave your Apples and come up onto stage, and we’re going to have a little singsong.” The immediate reaction was less than enthusiastic, with at least one person piping up, “It’s against the bylaws!” Malone would not be denied, however. “It will be very brief,” he assured us. “I’ll be very, very, kind. I promise not to do opera. Honestly, it’s going to be very, very gentle. I promise. Risk it. There won’t be very much. Typists, abandon your typing!” In the end, he managed to get a couple of dozen of us up there…yes, I was among the huddled masses…to perform a not-as-bad-as-it-could’ve-been chorus of “Barbara Ann.” As there is neither an audio recording nor a YouTube clip to prove otherwise, you may feel free to believe that I personally sounded fantastic.

Best intro to a panel from a cable network: “Dance Your Ass Off,” Oxygen.

All I know about this show is what I’ve learned from watching clips on “The Soup,” but when a panel starts off by having its panelists literally dancing their way down the aisles and onto the stage, at the very least, it gets your attention.

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TCA Tour: Spartacus: Blood and Sand

Although the new Starz series, “Spartacus: Blood and Sand,” may involve a lot of guys and gals running around and committing all sorts of swordplay, you should in no way take the fact that it’s executive produced by Robert G. Tapert to indicate that it will in any way resemble earlier Tapert productions like, say, “Hercules” or “Xena.” I mean, heck, if the warrior princess herself doesn’t see any similarities, then anything you think you’ve spotted is strictly a case of looking too hard to find something that isn’t there.

“It’s totally different to me,” said Lucy Lawless, who plays Lucretia on the show. “Completely different, tonally. The fighting, the technology, everything has changed so much. I don’t recognize the fights at all. The way they do them is foreign to me.”

At the very least, there’s one element inherent to Lawless’s new gig that, for better or worse, her former series did not possess: lots and lots of sex. Despite the incredibly graphic nature of the intercourse, Stephen K. DeKnight – creator of “Spartacus: Blood and Sand” – does not seem to be overly concerned about how audiences will react.

“Well, who doesn’t like sex?” he asks, quite rhetorically. “I mean, seriously, I think we’re all sexual beings, and back in the Roman times, it was a completely different idea about sex. It was much more open and free, and it was pre-Christian constraints. So we wanted to explore all that, quite frankly. It was very common to have sex with your slaves. It was extremely common. So we wanted to explore that, too. And part and parcel is the sensuality of the human experience, and we certainly didn’t want to shy away from that. Is it graphic? I personally don’t think it’s that graphic, but that’s me. I think it’s beautifully shot. There are some very steamy things. You know, it’s not pornographic in any way, and the sex scenes almost always come from a place of character. There’s always something going on. It’s not just ‘cue the funky music,’ and they start having sex. It’s not that. Somebody is always angling. It’s always about power. It’s always about love. It’s always about loss. Every sex scene has a purpose. It’s not just sex for sex’s sake.”

DeKnight described the series’ two distinct sides – one sexual, one violent – as going together like chocolate and peanut butter, and while he may have been kidding a bit with his Reese’s-inspired comparison, there’s a certain logic to his position. “It’s a violent time,” he said of the show’s era. “Much like their views on sex, the Roman views at the time on violence was you did not shy away from blood. Blood and death, it was part of being Roman. You embraced it. You liked to watch it. And also, just the sex and violence is part of the show, but if you’ve seen the first four or five, the plot lines become incredibly intricate. We really play with the idea that everybody wants something, everybody is after something, and everybody is against everybody else. Everyone is maneuvering, and it becomes very complicated and messy, and out of that comes blood…and often sex.”

Well, fair enough, then.

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TCA Tour: Caprica

Although Syfy’s “Caprica” is a prequel to “Battlestar Galactica,” the fact that the series are separated by 58 years and an apocalypse (give or take) doesn’t mean that the two don’t share similar elements. Indeed, writer / executive producer Jane Espenson immediately offered up two words that link the shows: moral complexity.

“There’s no stark bad guys and good guys,” she explained. “This is a world that is perceived by some of its residents as sort of sliding over the edge, there’s a whole bunch of people who think they’ve got the answer, and it’s not at all clear that any of them have the answer. The guy who believes in technology thinks that’s the answer. The person who believes in religion thinks that’s the answer. And if everybody has moral shadings, we can tell very complex stories as a result.

Espenson’s fellow writer / executive producer, David Eick, clarified another similarity: the two shows take their genre very seriously. “We really do try to involve depth of character, realism, grounded-terrestrial naturalism to a science fiction world,” he said. “That sort of came from what we always admired about the greats and the classics, from Asimov to Heinlein to Philip K. Dick, this idea that science fiction was not just fun and games. We wanted to go sort of the opposite direction of George Lucas, if you will. We wanted to make it less about escapism and more about moral complexity, as Jane was saying, and great characters.”

For those who have seen the pilot to the series, which will air again tonight on SyFy, you may be wondering if its tone and content will remain consistent when the series officially kicks off next week. Apparently, so were stars Eric Stoltz and Esai Morales. According to Eick, both actors wanted some reassurance that the pilot was not going to be a one-off, with the series going in a different direction altogether.

“I think, if anything, we go towards that even more rather than shying away from it,” said Stoltz, “because that’s what interests all of us as actors: playing these ambiguous, conflicted people living not in a black-and-white world and trying to find their way in it. We wanted to be exactly like that, so we’re all striving to make it as good as possible.”

“Also,” added Morales, “the naturalism in what I see from my fellow actors and their acting, it’s very unlike anything I’ve seen on television. The atmosphere of the show as well. The planet feels like it has a presence, a consciousness, in a sense, that I think is taken from the pilot, and it moves. It’s rooted in the pilot, but I think the show will evolve from what you saw in the pilot.”

Rest assured, however, that you don’t have to have to know “Battlestar Galactica” to appreciate “Caprica.” In fact, as Eick is quick to point out, the network’s marketing strategy for the series involves a notable lack of the words “Battlestar” or “Galactica” in the title of the show. Still, it’s not as though there’s a single article that’s been written about the show that doesn’t mention the connection, so why should newbies join in the fun?

“The same reason they come to any well-marketed and, hopefully, well-executed television show,” replied Eick. “That it’s compelling in its own right, that it has ideas embedded in it and a visual style that looks inviting and exciting. On that front, I’m not terribly concerned. From the standpoint of the execution within the show once you’re in, new viewers will find that there’s virtually no tether to ‘Battlestar Galactica’ from a storytelling standpoint whatsoever. There are the occasional Easter eggs and nods and acknowledgments for the faithful to enjoy or maybe deepen some of their appreciation for it, but I think legitimately the show stands on its own. Other than the fact that, if you happen to know ‘Battlestar Galactica,’ you know that that show had its roots in some of the stories we’re telling now, there really is no relationship between the two shows whatsoever.”

“Imagine you were watching a show that you knew nothing about and they were developing sentient robots,” added Espenson. “You might very well get a glimmer that these sentient robots are going to be trouble down the road. You don’t need ‘Battlestar Galactica’ to tell you that. In a storytelling sense, (‘Caprica’) tells you that.”

“I have a lot of friends who have never seen “Battlestar Galactica,” don’t like sci-fi, and they watch it because of me,” admitted Magda Apanowicz. “But when they actually end up watching it, they love it. Like, they’re shocked, and they’re, like, ‘There’s so much that you can take away from it. There’s so many different storylines that you can relate to.'”

“We just have fun, guys,” said Morales. “We hope you do, too.”

Bendis’s collaborator for FX’s “Powers” pilot revealed

Who says persistence doesn’t pay off?

On Sunday, I spoke with John Landgraf, FX’s President and General Manager, to get the latest update on the network’s attempts to transition Brian Michael Bendis’s “Powers” from comic book to the small screen. Not only did he confirm that the pilot was indeed still in the works, he also let slip that Bendis was now collaborating with an outside writer, describing this other individual as “a really, really good writer who got really excited about the project. The new writer and Brian have got a good take on it. They came in about two months ago and pitched what they were doing, and it was great.” What Landgraf did not tell me was the name of this writer, as he wasn’t sure if he was allowed to release the information yet, but he assured me that he would get in touch with me once he could.

Well, he just did…and, frankly, I couldn’t be much more excited about it. Bendis’s collaborator is none other than Kevin Falls, the man behind NBC’s late, great “Journeyman.” Given how well Falls kept the mythos and storylines of “Journeyman” weaving in and out, he seems like an excellent pick to work on such a complex series as “Powers” is likely to be. I’ve already dropped a line to Mr. Falls’ folks, in hopes of chatting with him about the gig, so keep your fingers crossed just as tightly this time as you did last time. (It worked pretty well, after all.)

What say you? Are you as jazzed as I am…?

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