Category: TCA Press Tour (Page 8 of 56)

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.

Continue reading »

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…?

TCA Tour: Damages

I loved the first season of “Damages,” but time constraints kept me from following the second season of the series as closely as I would’ve liked. Still, my dedication to the show was such that, when I heard there was going to be a panel for its third season, I wanted to make sure that I’d checked out the screener of the season’s first two episodes before it took place, so that I’d be fully prepared for the event. What I hadn’t realized, though, was that I would be so caught up in those episodes that my first task upon returning home from the tour would be to immediately put Season 2 into the DVD player and watch it immediately. Yes, my love of “Damages” is back with a vengeance…which, given the theme of the series, is absolutely apropos.

There’s only one problem when it comes to discussing Season 3 of “Damages” and it’s this: a key event occurs in the season premiere that I can’t possibly give away. As such, I’m forced to dance around it…which sucks, because, man, I reeeeeeeally want to talk about it with someone.

What we can talk about, at least, is the general premise of the season, which revolves around a suspiciously-familiar concept: a high-profile financier who turns his wealth management business into a massive Ponzi scheme that defrauds thousands of investors of billions of dollars. But, c’mon, this panel took place before an audience of intelligent critics (and, no, that’s not a contradiction in terms, thank you very much), so no one was going to ask, “So, is it a coincidence that this resembles the whole Bernie Madoff situation?” The better question, obviously, was whether or not any other news stories were in competition for use as the thrust of Season 3.

“Well, I don’t know if I’d call it competition,” said executive producer Daniel Zelman, laughing. “But there were several stories we were looking at, not just the Madoff case. There was an attorney named Marc Dreier who fascinated us. You may have seen; he did an interview on “60 Minutes.” But he had perpetrated some $700 million con essentially. And also, a businessman named Allen Stanford had basically created a bank in Antigua that supposedly had billions of dollars in it, but had nothing in it. So we were really drawn to all of these stories, and we’re using elements of all these stories in the story that we’re telling, although coming through the front door, it’s sort of more around the Madoff scenario.”

Continue reading »

TCA Tour: The Deep End

Legal dramas come and legal dramas go, with some succeeding admirably (congrats to Julianna Marguiles for her Golden Globes win for her performance on CBS’s “The Good Wife”) and some failing miserably (stand up, please, TNT’s critically-berated “Raising the Bar”), but they’re a proven commodity, so it’s rarely a surprise to hear that another one’s being rolled out. Tonight brings the premiere of ABC’s latest contribution to the genre, “The Deep End,” and when the cast and producers of the series sat still for their panel during the TCA press tour, it was only to be expected that someone would ask them if they’re bringing anything new to the table.

“I kind of see this show as kind of the reboot of the legal show,” said executive prodcer David Hemingson. “I think if you go all the way back in television history, back to ‘Perry Mason’ and ‘The Defenders’ and certainly the incredible job that Steven Bochco did with ‘L.A. Law,’ and David E. Kelley, there’s a rich tradition. Like with medical shows, there’s a rich tradition of legal shows, but I think there’s never been a legal show that has taken it from the perspective of these newly minted lawyers, these newbees, these kids who’ve come out and they’re confronting the reality of their practice for the first time and they’re being dropped into this intensely political, highly charged environment and also, you know, having the partners kind of reflecting on how they’ve changed in relation to the kids. So I think the interpersonal aspects of the show, I think the comedy of the show, the sexiness of the show, the fun of the show is something we haven’t quite seen, especially from a 20-something perspective. And when you consider the fact that it’s also sort of conflated with some really realistic kind of ripped-from-the-headlines cases that we’re doing, I think it distinguishes itself from anything that’s been on thus far. At least, we hope it does.”

Hemingson also acknowledged that the timing couldn’t have been more perfect to get the series onto ABC. “I would say it was sort of like a confluence of circumstances or a wonderful moment,” he said, “because I actually started out as a lawyer coming from New York to L.A. some years ago, and it was a story that I always wanted to tell, a story very near and dear to my heart. And I felt like with a couple of decades I had some perspective and it just so happened that it coincided with ABC’s need for new drama, a new dramedy. And so the stars kind of aligned for us, and I just feel fortunate to be doing it this way with Jan and with this fantastic cast.”

Of that cast, the face that will likely leap out to most viewers is Billy Zane, who gets yet another opportunity to tear into a larger-than-life character as Cliff Huddle. Someone immediately made the observation that the actor’s name rhymes with another famous TV lawyer (Denny Crane), but it’s apparently complete coincidence.

“This character was based on someone that came directly out of David’s experience,” revealed Zane. “Now, obviously, we have the flesh and bone and the odd bit of spin on the free throw, but it’s all there. This is writing at its best, which is why we’re all here and, I think, is a testament to what hopefully will be the success of this show and what people will find endearing and identifiable about the characters. As repellent and attractive and inspired as they are, you cannot wait to see what they’re going to do next.”

Hemingson quickly clarified Zane’s statement about the source of his character’s inspiration. “I practiced basically as an attorney for three years, three months, two days…but who’s counting?” he asked, rhetorically. “It was definitely one of the transformative experiences of my life, and I got to know a lot of really supercharged personalities, (but) the lawyer’s answer would be that any resemblance to any character living today is purely coincidental.”

That’s probably the best possible tactic to take when discussing Cliff’s origins, given that the next person to question Zane about his character used the phrase “Prince of Darkness” to describe him. Zane clarifies, however, that Cliff isn’t the Devil nor even a devil.

Continue reading »

« Older posts Newer posts »

© 2026 Premium Hollywood

Theme by Anders NorenUp ↑