Category: TV Dramas (Page 71 of 235)

TCA Tour – You Asked For It: Ira Steven Behr’s opening remarks

I guess one person’s request doesn’t necessarily qualify as “clamoring,” but since it’s been requested, I thought I’d go ahead and offer up Mr. Behr’s opening remarks from the TCA Press Tour panel for Season 2 of “Crash.” Truth be told, it’s as educational a lesson about what to expect from the show’s sophomore season as one could possibly have hoped for…and if he’d just sent this off in an E-mail or letter to all of the writers in attendance rather than delivered it orally, he probably would’ve found a lot more people saying, “Say, I am curious to check out this show!”

Okay, here we go…

“Crash,” Season 2.

L.A.

Los Angeles.

Okay, we’re in Pasadena, but pretend.

Los Angeles is paradise, but paradise comes at a price and everybody pays, and that’s the new season of “Crash.” So I’d like to introduce some of the new characters who will be paying that price this year along with the wonderful Dennis Hopper as Ben Cendars, Ross McCall as Kenny Battaglia, and Jocko Sims as Anthony.

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TCA Tour, Day 2: “Occupation”

I knew less about “Occupation” than any of the four series that were being spotlighted during the course of BBC America’s time at the TCA tour, but I certainly recognized the actor who was in attendance to promote the show. James Nesbitt’s been working steadily since he turned up at the 2007 TCA tour to sing us a song or two and tell us about “Jekyll,” having played both a tabloid journalist (“Midnight Man”) and Pontius Pilate (“The Passion”), but this time he’s part of the ensemble of “Occupation,” a series which takes a look into the lives of three soldiers who all return to Iraq for the wrong reasons: one for love, one for money, and one for duty.

We do see at least one American within the context of “Occupation,” but for the most part, we’re offered the British perspective of the war in Iraq. It’s a side of the story that we haven’t really gotten to see before, but creator Peter Bowker (“Viva Blackpool”) believes that the themes of his series are fairly universal.

“I think it’s about love, about what it is to be a man, and it’s about doing the right things for the wrong reasons and the wrong things for the right reasons,” said Bowker.

He is not, however, going to hazard a guess as to how Americans will respond to the series. “I think fairly typical things happen in any wars that are engaged in,” he said, “and I think that in this particular war, although it took awhile longer in Basra for the local population to become alienated from the Brits, I think it did happen. I think maybe the surprise will be that it’s not a war drama in that the whole thing isn’t set actually in the war. One of the starting points for this for me was ‘The Deer Hunter’ and noticing in ‘The Deer Hunter’ how little screen time, relatively speaking, is spent in Vietnam. As a writer, ultimately, for me what happens afterward is a far more interesting dramatic field than actually what happens during wartime.”

In order to acclimate himself to the material of “Occupation” as much as possible, Bowker worked with the charity Combat Stress, which counsels traumatized ex-servicemen.

“What the counselors said there was that the mind-set of soldiers who were seeking help was very similar to the mind-set of soldiers coming back from Northern Ireland, in that it didn’t seem entirely clear what the aims of the war were, and going in to ostensibly help a civilian population, which then became hostile…and with good reason, in lots of cases,” said Bowker. “That seemed to be the mind-set. The thing they said that was most significant was the speed with which ex-servicemen were seeking help from the Iraq war. They had never seen that before. They thought of a new intensity, but they said that was partly because young soldiers were no longer seeking solace in alcohol, they were seeking solace in drugs…and we do touch on that in the piece.”

If you’ve never been a situation such as this, then it may strike you as a bit unlikely that a soldier would make a concerted effort to return to the country where he once fought a war. Nesbitt has a theory about that.

“In the arena of war there is, sort of bizarrely, a sense of security for soldiers, because they’re more comfortable in their uniforms, I think, than they are in their civis,” he said. “I think the rhythm that war gives them with the camaraderie, which we discovered, was so important to them – that they can confide in each other, that they are completely together – is in stark contrast to them coming away from that situation losing the uniform, going back into a family life where they feel terribly displaced because of what they’ve seen and what they’ve gone through. They can’t really share that with their partners and their families. I was struck very much by how they’ve lost the rhythm of how to behave physically and emotionally at home. In our piece quite early on, you see when my character comes home he just doesn’t know how to be with his family. They don’t know who turns the kettle on. They don’t know how to react. It was something about the human element of the impact of war that it has on the families that struck me as something that I think is and will hopefully be universal.”

“Occupation” premieres on BBC America in October.

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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True Blood 2.7 – Her Lips Are Warm (While Yours Are Cold)

There are no two ways around it: last night was a very strange night.

I’ll post more details about it later, but in a nutshell, the Television Critics Association Awards took place on Saturday, Aug. 1st, where “True Blood” was named Outstanding New Program. As with all good awards shows, there was a pre-show party and a post-show party, and although neither Anna Paquin nor Stephen Moyer were available to stand with executive producer Alan Ball as he accepted the award, several of their fellow cast members were in attendance, including Sam Trammell, Nelsan Ellis, Rutina Wesley, and Michelle Forbes. Actually, Alexander Skarsgard and Deborah Ann Woll were there for awhile, too, but Mr. Skarsgard disappeared moments after the ceremony was over, and although Ms. Woll stuck around for a bit longer, she managed to slip out before I ever had the chance to speak with her. I hope you’ll enjoy the photos of the folks I did manage to chat with, though. They’re scattered throughout this week’s entry.

Speaking of that, I should probably offer one small warning: I’m out in L.A. for the TCA press tour, and although I had an advance copy of tonight’s episode to watch, I’ll be the first to admit that my mind was going a dozen other places while I was watching it. So if I missed out on anything or perhaps misinterpreted something, let me go ahead and apologize right now.

And, now, on with the show…

Well, obviously, we knew Sam was going to find a way to escape from his captivity, but they managed to wring the suspense out of it nonetheless; we even saw him manage to transform into something other than a dog – a significant accomplishment, I dare say – and fly away to safety. From there, Sammy got his gun and made it quite clear that he wasn’t afraid to use it, but…am I the only one who thought he was heading off to find Maryann? Not that it didn’t make sense that he’d go after Daphne, given that she’d committed such a personal betrayal, but I was still figuring that he was heading to take down the big dog. Daphne managed to stay pretty cool for somebody who was having a gun waved in her face, but Sam was plenty emotional for the both of them. How could you not feel bad for the guy? He thought he’d found his soulmate. Instead, he got stabbed in the back…which is why there was a certain temptation to cheer a short while later, when Daphne got stabbed in the front. Not that you didn’t know it was coming. I think we can all agree that there has rarely been a scene featuring the line “thank you for your service” which has ever ended well for the person being thanked. As far as Maryann, she’s clearly not God, but…what is she? A maenad? Well, I can’t say as I expected Greek mythology to tie into this storyline, but it’s certainly getting more intriguing all the time, that’s for sure.

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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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