Category: TV (Page 65 of 595)

A roundtable chat with Kevin Pollak of “Middle Men”

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A highly entertaining character actor, stand-up comic, and now also a screenwriter and Internet talk show host, Kevin Pollak will nevertheless remain forever in the shadow of three men. One is wise-guy crook Todd Hockney from Christopher McQuarrie and Bryan Singer’s slambam 1995 debut, “The Usual Suspects” (currently at #24 of all-time most popular films on IMDb); the other two are, of course, William Shatner and Christopher Walken. So powerful are the Pollak impressions of these two men, I’d venture that when most of us attempt to impersonate either actor, we’re really not doing Shatner or Walken, we’re doing Pollak doing Shatner or Walken. (Though, personally, my extremely bad Christoper Walken is really a very bad impression of Kevin Spacey‘s Walken but, for all I know, Spacey got his from Pollak while shooting “Suspects.”). Indeed, I can remember a time when it seemed like nobody did Shatner and I’m pretty sure it was Pollak who kind of opened to door for all the other impressionists into the voice and mannerisms of the man Pollak calls “the Shat.”

Among the nearly 90 or more productions he’s been involved with as an actor, Kevin Pollak’s latest release is “Middle Men,” a black comedy-laced drama owing more than a little bit to Martin Scorsese. The film stars Luke Wilson as straight-arrow businessman Jack Harris who falls in with a pair of highly inventive cokeheads (Gabriel Macht and Giovanni Ribisi) and would be Internet porn kings during the late 1990s. The pair have developed the first really viable method for collecting money over the ‘net in a reasonable amount of time. Of course, things get massively complicated from there and Pollak turns up later in the film as an FBI agent who comes to Harris and his porn star girlfriend (Laura Ramsay) with a startling new reality. The film, co-written and directed by George Gallo, best known as the screenwriter of “Midnight Run,” is actually just part of an ongoing collaboration between the director and the actor-comic and now screenwriter.

As is often the case, I was one of a number of scribblers who were participating in a roundtable with Pollak during the “Middle Men” press day at L.A.’s Four Season’s hotel. Pollak arrived in a friendly but highly subdued mood. He was a late addition to the press day and obviously has been keeping very busy. Among many other projects, he had a new stand-up special ready premiering, and an increasingly popular podcast, Kevin Pollak’s Chat Show, with recent guests including Neal Patrick Harris and John Slattery of “Mad Men.”  Pollak frankly seemed a little tired at first, though going out of his way to be funny — because that’s what you expect from Pollak. Things perked up as it went.

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Bullz-Eye’s TCA 2010 Summer Press Tour Wrap-Up: From the Big Bang to the Jersey Shore

He’s back.

That’s right, the summer 2010 press tour of the Television Critics Association – that’s TCA to you, see? – has come and gone, leaving in its wake a piece that I love to compile but hate to finish. It’s just that kind of experience: there’s always something else to write about.

I know I say this every time, so you’d think my mindset on the tour would’ve changed by now, but I still continue to get excited when I fly to California and spend the better part of two weeks ensconced in a hotel, watching and listening as closely as possible (which, admittedly, isn’t often as closely as I’d like) to various stars, directors, producers, and writers as they do a dog and pony show to promote their program. I know they get sick of it sometimes, but for my part, I still haven’t. I spend the better part of 48 weeks of the year in Chesapeake, VA, a place where I do not regularly cross paths with the people that you see on your TV screen. As such, I remain excited about the opportunity to participate in these ridiculously cool opportunities, and I still feel like I have to share the experience with you, the reader, lest they begin to seem normal to me.

It’s not normal.

It’s the TCA press tour.

And trust me, unless you’re actually in show business, life doesn’t get much less normal than this.

Most entertaining panel by a broadcast network: “Circus,” PBS. Given the subject matter of the series – yes, it really is about the circus, specifically what it’s like to be part of a traveling circus in 2010 – it wasn’t entirely surprising that the panel kicked off with acrobat Christian Stoinev demonstrating some of his gymnastic abilities, but that didn’t make his performance any less impressive.

Plus, he earned bonus points for incorporating a cute little dog named Scooby into the act, who jumped onto Stoinev’s butt, strolled down his back, sat on his feet, and looked as calm as possible as Stoinev balanced semi-precariously on his parallel bars.

Most entertaining panel by a cable network: “Kids in the Hall: Death Comes to Town,” IFC. When I walked into the ballroom and found that we’d all received autographed DVDs of the Kids’ latest endeavor, I thought, “Can it get any better than this?” (I’m a sucker for anything autographed.) Indeed, it could, as the Kids – minus Mark McKinney, who’d been called back to Canada because of a family emergency – held court and kept us in stitches.

Some of my favorite moments:

QUESTION: How long had it been since you had cross-dressed professionally before (“Death Comes to Town”), and was that sort of a difficult readjustment for any of you?
SCOTT THOMPSON: Define “professionally.”
QUESTION: With a large crew.
SCOTT THOMPSON: Oh.
DAVE FOLEY: Not just any exchange of money.
BRUCE McCULLOCH: So if you shoot porn with a small crew, that wouldn’t count…?
KEVIN McDONALD: That’s not cross-dressing professionally.
DAVE FOLEY: Yeah. If you put on a nice shirt and give a handjob at the bus station, that still is professional.
SCOTT THOMPSON: Yes, it is.
BRUCE McCULLOCH: And by “handjob,” we mean “Bible reading,” as we like The Bible.

* Dave Foley on the audience response to Scott Thompson’s cancer being in remission: “I’m getting a sense that a lot of these people are on the cancer side. Well, I hope you are proud of yourselves. ‘Oh, dammit, not another one beating cancer. Poor cancer. When will people learn to love cancer?'”

* Scott Thompson: “I had a much easier time making (‘Death Comes to Town’), even though I was fighting cancer, than I did with ‘Brain Candy,’ honestly. It was tougher to fight Paramount. Because, at least with cancer, you can win.”

QUESTION: Do you find that people, when they see you, wanted to just squash your head? Because, like, I’m sitting here, like, resisting.
DAVE FOLEY: Yeah, a lot of time it has no reference to that gesture. It’s people actually want to crush our heads.
KEVIN McDONALD: The first apartment I ever moved to in Los Angeles, 1996, I was in bed the first night, and a couple were having a fight in the floor above me. And he was crying, “I’m going to crush your head,” and I thought they were fans, but it turned out they weren’t.
DAVE FOLEY: Yeah, it was a bloody homicide.
KEVIN McDONALD: It was a bloody homicide, yes.
DAVE FOLEY: But still, you felt flattered.
KEVIN McDONALD: But still, I felt flattered.

* When asked about their current relationship with Lorne Michaels, who introduced them to the U.S., McCulloch said, “I watch him get a haircut once a year when I go to ‘Saturday Night Live,'” while Foley claimed, “I chill his Amstel Light.” (“And drink it,” added McDonald.)

* Kevin McDonald made the bold choice of using the word “guff” at one point, receiving no end of ridicule from his fellow Kids. “It’s a tough word,” said McCulloch,”I know it’s tough to hear.” Thompson gasped and shrieked, “You said ‘guff‘!” Foley, however, offered a practical solution to the assembled journalists. “You can put asterisks in that. Just G-asterisk-asterisk-asterisk for your print,” he said, adding, “Of course, you online media people can just change it to ‘fuck.’”

* “Death Comes to Town” was filmed in North Bay, ON, but Foley said that it was a rarity for locals to come up and acknowledge their recognition of the Kids. “Canadians don’t do that,” explained Thompson. “Yeah,” agreed Foley. “They’d just come up and start talking to you like they knew you. You know, you would be in the grocery store, and somebody would just come up behind you and say, ‘Special K is marked down today. I’m getting the Special K as well. What are you doing later, Dave?’ And that was how you knew they recognized you.”

* The miniseries features Foley playing “the kindly old town abortionist,” which made it a bit difficult to scout for locations. Foley said that they had to keep making up stuff to tell the people of North Bay, saying things like, “Yeah, this scene, it’s a gynecologist’s office,” or “Oh, it’s an obstetrician’s office.” Or, as Scott Thompson claimed, “It’s a very bad day care.” At this, the crowd of critics erupted with a mixture of boos and laughs. “That was good,” Thompson assured us. “That was bad,” Foley assured him. At this, Thompson nodded, grinned, and admitted, “Very bad.”

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Mad Men 4.4 – “I’m going to need a new secretary.”

This week’s “Mad Men” blog starts off in much the same way as this week’s “True Blood” blog: with a thank-you to the gentleman who so capably filled my shoes while I was at the TCA press tour. Kudos to Bob Westal, who – unlike the Beverly Hilton – actually gets AMC, thereby putting him in a far better position than myself to write up last week’s episode. Fortunately, I had the chance to watch the episode when I got home, but I also read Bob’s blog, which should ostensibly mean that I’m doubly prepared this week.

Rarely does a basic cable program which opens with the words “the following program contains brief nudity” ever disappoint me, so I was glad to see that particular phrase gracing the beginning of tonight’s episode. Based on Bryan Cranston’s comments about how he hates to direct episodes of “Breaking Bad” without having as much lead time to prepare for them as possible (to date, he’s only helmed season openers), I presumed that seeing John Slattery’s name in the directorial slot meant that we’d see little in the way of Roger Sterling, but damned if he wasn’t the second person to show onscreen. John, don’t work yourself so hard!

Mad Men - Roger Sterling in his office on the phone

The national crackdown on smoking advertisements would seem to be cutting into what SCD&P can accomplish, but, of course, Roger’s telling everyone that “Don doesn’t think there’s a problem.” Meanwhile, there’s clearly a problem with Don, who picks up an empty bottle of Scotch, only to be informed that the reason it’s empty is because he drank it all. The “ladies” are looking for him to make business decisions, but he’s just looking for ice. The poor bastard: with everything going on in his personal life, he’s clearly hovering in the vicinity of a nervous breakdown, but he’s stuck having to be the big man on campus with the new firm. The moment he pulled out the photo out of the letter, there was no question in my mind that it would, by episode’s end, prove to be the straw that broke the camel’s back, and it was only cemented by the bug-eyed look Don gave Allison when she saw the photo and asked if it was from the letter from California.

Mad Men - Pete Campbell in his office

Pete’s in a grouchy mood from the moment he turns up this week, bitching about not being included in the Lucky Strike call, and things only get worse when Roger tells him that SCD&P is going to have to kick Clearasil to the curb. Lane attempts his version of putting salve on the wound by explaining the mathematics behind the decision, leaving Pete even more upset, but Roger tells him to throw himself on the grenade, as it were, for the good of the company. “This evening, if you can,” adds Lane. What a guy. “I hate this office,” says Pete, as he storms into his office, where he finds…Harry Crane? Yep, dude’s just hanging out, having a snack, and waiting to cheer down Pete even more with the news that his old nemesis, Ken Cosgrove, is marrying the daughter of the CFO of Corning. When Harry says that he’s going to the opera with Ken because they’re friends, Pete sneers, “Friends? Why are you always looking for a job?” Oh, Pete, you’re such an unlikeable little shit. If we’re supposed to feel sorry for him…well, sorry, but I don’t. With an attitude like that, you reap what you sow. But with that said, I did have to smile at his excitement at learning that he was going to be a father, and the scene with him and Trudy was genuinely touching.

After Lane battled back from being a British Businessman to offer Pete legitimate congratulations on his impending child, it seemed as though all was right in Pete’s world, so much so that he even agreed to join Harry for a lunch with Ken. Still, I sensed that something would go wrong at the luncheon. I just didn’t expect that, as soon as Harry went to take a phone call, Ken would be the one who came roaring out of the gate, pissed off at Pete. Not a surprise: Pete flailing to avoid being seen as guilty. Less expected: offering an apology that sounded at least 10% sincere. (I was only expecting 3% sincerity, tops.) Fast forward to Pete’s dinner with the in-laws. The kid’s clearly gotten his second wind with this kid coming, giving Trudy’s dad the smackdown. Calling him a son of a bitch was probably more polite than I would’ve been.

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Entourage 7.7 – Tequila and Coke

Anyone who thought that Vince’s thrill-seeking would eventually catch up to him was right, although not in the way most people probably expected. It seems that the back injury he sustained on the Nick Cassavetes movie has resulted in a pretty serious addiction to Vicodin, which has in turn resulted in Vince doing cocaine at one of his infamous look-at-all-the-naked-women parties. Of course, when Vince gets up for his meeting with Randall Wallace the next morning, he’s a complete wreck, and whether it’s from the coke the night before, the coffee he chugged before he left, or just plain nerves, he’s jittery all throughout the meeting. That sets off warning bells in Wallace’s head, and now the studio isn’t sure if they want to work with him on the upcoming “Airwalker” movie. Vince tells Eric that he didn’t do any coke, but of course he’s lying, and Billy Walsh knows it.

I’m not sure how long Billy is going to wait to speak up, but if he truly is Vince’s friend, he would have said something by now. Maybe he was scared because Scotty Lavin (who also partook in the snorting festivities) was in the same room, but that’s no reason to wuss out like that. Still, just like last week’s subplot involving Turtle and Alex’s shaved bush, I simply don’t buy Vincent Chase as a cokehead. Maybe the writers think they need to drag his character through a drug addiction (and eventual drug rehab program) before he can finally win an Oscar in the much rumored “Entourage” movie (honestly, where else can it go?), but despite Vince’s shortcomings as a responsible adult, he just never struck me as the kind of guy who would experiment with drugs. Blame the porn star girlfriend or just lazy writing.

Speaking of Billy, it looks like he’s going to be hanging around for these last few episodes, and for once, I don’t mind. Though he was obviously more entertaining as a self-destructive prima donna, it’s nice to see him acting like a regular dude for once. Unfortunately, that also means that we have to endure this stupid storyline about him creating an animated series for Drama. Now, I’m no Hollywood agent, but how in the world could anyone think that “Johnny’s Bananas” – a cartoon about a “high-strung simian trying to make it in the human world” – is a good premise for a TV show? I always thought Eric had good taste, but if he’s truly intrigued by the idea of Drama voicing a cartoon gorilla, then well, I clearly didn’t know him as well as I thought. Then again, this was the second time in the same episode where one of the leads did something completely out of character, so maybe it can just be chalked up to lazy writing.

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True Blood 3.9 – Relax. It’s Not Like You Killed Someone.

First things first: bless you, John Paulsen, for stepping in and filling my shoes so capably while I was attending the TCA press tour in Beverly Hills. Although the Hilton did have HBO, trying to find the time to sit down on the Sunday nights that I was out there and watch “True Blood,” let alone blog about it, would’ve been a major pain in the neck…vampire-related joke totally intended, of course. Indeed, I’m particularly glad that you did such a good job, as I’ve spent so much time winding down and ramping back up again that I’m relying on your write-ups to fill me in on the pair of episodes that I missed while I was otherwise occupied.

Things kicked off tonight with Eric zipping into Fangtasia and, with an absolutely-warranted tinge of panic to his voice, informing Pam that he’s just staked the lover of the Vampire King of Mississippi. Nice one, sir. Immediately after blowing off Pam’s suggestion that they hide out at Sookie’s house, good ol’ Ginger strolls into the office. “Ginger, dear, where do you live?” he asks, casually. Good idea, bad timing: a battalion of V-Feds have already established a beachhead, with the dark and despicable (yet somehow still kinda hot) Ms. Flanagan glowering at Eric, thoroughly annoyed that his actions have taken her away from pursing the ratification of the Vampire Rights Amendment. After an apparently extreme search of Fangtasia’s basement which brings up nothing (“I’m a Virgo,” says Eric, “I like to be neat”), Ms. Flanagan sits down sexily and proceeds to take Eric’s formal statement, broadcasting it by webcam to the members of The Authority…which, for some reason, immediately brought to mind Springfield Republican Headquarters on “The Simpsons.”

Eric dives headlong into his back story, adding his comments about and thoughts on The King’s philosophies, including the highly contentious statement, “Fuck The Authority,” then wrapping up with a heartfelt explanation about how he wants The King’s death to be at his own hand. Ms. Flanagan isn’t buying what Eric’s selling, however, putting him and Pam on lockdown. Pam doesn’t understand why Eric’s never told her about the depths of his haunted past, but he basically says, “It’s not your problem,” instead changing subjects and telling her that it’s time for her to become a Maker. Woo-hoo! Promotion!

The King runs in to find the decidedly disgusting remains of Talbot, which he promptly smears himself with. Ew. Just…ew. Then he sees that Eric’s stolen not one but two of his most precious possessions, the other being the artifact which dates back to the King’s destruction of Eric’s family. Oh, yeah, he’s really pissed.

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