Tag: PBS (Page 2 of 3)

TCA Tour, Jan. 2009: “American Masters: Hollywood Chinese”

As a profoundly white male, I watched the trailer for “American Masters: Hollywood Chinese” and listened to the actors on the panels discuss their respective careers, I couldn’t help but cringe at the treatment that the Chinese have received on television and in the movies.

Look at James Hong, for instance. The man has been a working actor since the 1950s, but when you check out his resume, the number of cliched and stereotypical roles is highly disconcerting. He played Charlie Chan’s son on TV, turned up as Hop-Sing’s cousin on “Bonanza,” has portrayed more waiters than you can imagine, and although it’s not technically a bad thing to play a wise old Asian, it’s a rarity for those sorts of roles to be particularly meaty.

Memorable, yes. But definitely not meaty. Hong worked on the pilot for “Kung Fu,” and he recalled the mindset of the industry at the time, which necessitated that a white guy – David Carradine, of course – play the Chinese lead character.

“As I recall, back in those days and even now, the producers would say the Chinese leads are not marketable, so that is the key sentence,” said Hong. “That means that there would not be enough audience watching the TV that will tune in on a Chinese playing the lead. They were just not accustomed to that. In a sense, they said, ‘Well, what should we do?’ I think what they did, and correct me if I’m wrong, they made the role sort of like a Euro-Asian person so that would bring David in to play the role. In that sense, I find it very pathetic that the producers were shortsighted not to cast one of the Asians to play that role because, like you saw, it is an Asian lead. That is only back during those periods, but it’s still being carried nowadays, because you don’t find many Chinese or Asian Americans playing any leads in TV series, a few in movies and so forth, but very far and few between, just a handful. I find that, after 55 years in this business, this still exists.”

Nancy Kwan, best known for her roles in “Flower Drum Song” and “The World of Suzie Wong,” had her own “Kung Fu” story, though it was in connection with the actor who was originally considering a role on the series.

“Bruce (Lee) and I were in Hong Kong at the time,” she said, “and we were having lunch, and Bruce said, ‘Nancy, I want to do this series called ‘Kung Fu.’” I said, ‘You are?’ He said, ‘Yeah. Yeah. I’m waiting to hear.’ I said, ‘I don’t know, Bruce. I don’t know the timing.’ David was actually a friend of mine at the time. We had worked together on another film. He said, ‘No. No. I’m going to do this.’ So I looked at him and I said, ‘Bet.’ He said, ‘Okay. How much?’ I said, ’10 bucks.’ All right. And I had to collect my 10 bucks.”

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TCA Tour, Jan. 2009: “Masterpiece Classic: The Incomplete Dickens”

Charles Dickens is one of those authors whose works manage to be both a part of popular culture while still proving highly threatening to students everywhere. You could probably reel off a list of the man’s works with precious little effort, but – and maybe this is just me here – I still get a chill and a nasty flashback when someone asks me, “Have you read ‘David Copperfield’?” That’s probably why, even at the age of 38, I’d still prefer to watch an adaptation of one of Dickens’ novels rather than actually read one of them. (I know. I’m a philistine. But I’m comfortable with it.)

PBS, of course, has never been afraid to take the work of Dickens and transform it into a major production, so it’s no surprise to find that they’re to be airing three such adaptations – “Oliver Twist,” “Little Dorrit,” and “The Old Curiosity Shop” – as part of what’s being called “The Incomplete Dickens.”

When you look at Timothy Spall, known to “Harry Potter” fans around the world as the man who plays Peter Pettigrew, you have to admit: the guy was born to play Fagin in “Oliver Twist.” And when you see his performance, you’ll be hard pressed to avoid using the word “creepy” when describing him.

That might sound like an insult, but let’s call it more of a left-handed compliment, shall we? Besides, it’s not like Spall isn’t aware of a recurring thread amongst many of the characters he has played.

“They’re sort of all repulsive,” he admitted. “They are somewhat divine, and they are repulsive, aren’t they? Looking at what I do and standing the way I stand and acting the way I do, I’ve always thought it’s part of my job to give people who are undesirable a really good crack at the game. And then I laugh at trying to turn the tables on characters that are perceived as being pariahs or outcasts or repulsive or repugnant in some way and make you realize that even the most reprehensible and undesirables of characters are human beings. If I get a chance, I try to give it a go and make you feel bad about hating them as well.”

He’s amused, however, by how much one of the smallest parts he’s ever played – Peter Pettigrew – is the one that has become one of his signature roles.

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TCA Tour, Jan. 2009: “Masterpiece Mystery!: Wallander”

The last time Kenneth Branagh turned up at a TCA event, he was promoting HBO’s “As You Like It,” a project that he directed and for which he provided the script adaptation from the original Shakespeare play. This time, however, he’s in front of the camera, starring as the titular character in “Wallander,” the “Masterpiece Mystery!” production based on Henning Mankell’s novels about Swedish police inspector Kurt Wallander.

There have been plenty of “Wallander” films made in Sweden, but this is the first time the books have received an adaptation for an English-language audience, and given how many Wallander adventures there are (eight novels, several short stories), this has the potential to be a lengthy gig for Branagh.

But does he want such a gig?

“I’d certainly be very, very happy to make some more of them,” he said. “I get rather superstitious about assuming the audiences may want to watch it for years to come. I think that when we approached it, we were very aware of how many excellent detective stories there have been on television and that we had to really earn our right to be there. There are another seven books that could potentially be adapted. And I think we would very much like to and are very much looking forward to planning another three. But when we all met as a creative team just before Christmas and had a chance to sort of debrief after the screening of the three films in the UK, I think we were very thrilled with the reaction, which had been very positive, and very excited about that, but we did feel there was an enormous amount of work still do, excitingly to do, in terms of developing the character. So I think we’ll just…if we’re lucky and, as my mother would say, if God spares us, we’ll take the next three, if we can, and do them and hopefully learn from some of the things that we wanted to develop on this time. Whether that then develops into years to come remains to be seen.”

Branagh’s “Wallander” co-star, Tom Hiddleston (who plays Martinsson), showed his age when discussing how the two had worked together briefly in the 2001 TV production, “Conspiracy.”

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TCA Tour, Jan. 2009: “Make ‘Em Laugh: The Funny Business of America”

Dying is easy, and comedy is hard, but if you really want hard, try putting together a six-hour documentary about comedy in motion pictures and on television without having someone complain about what’s been left out. Can’t be done…and hasn’t been done, if I’m to be perfectly honest. There’s just too much comedy out there. But with that said, PBS’s effort, “Make ‘Em Laugh: The Funny Business of Comedy,” is a damned good attempt at accomplishing the feat, and more importantly, the show’s executive producer, Michael Kantor, is fully willing to concede the impossibility of covering everything.

“Max Welk, who was one of our consultants, is maybe 90 years old, kept saying the two funniest people he ever saw were Jack Benny, who could walk on stage and say nothing and an audience would laugh, and Wheeler and Woosley,” said Kantor. “Jeff Abraham lobbied for the Ritz Brothers. So it was very difficult. Rather than tell the kind of…not standard story, but natural story of, okay, here were the different studios that sprang up and we’ll march chronologically through the silent film era, we decided that a comedy series needs to be surprising and the audience, the viewer, would enjoy it more if they were a little taken aback by the next story, perhaps Paul Lynde following Redd Foxx. It’s surprising, ‘Well, where are we going?’ So we tried to hue to the framework that way rather than comparing, you know, Charley Chase with Harold Lloyd with Buster Keaton. I almost interviewed Rudy Ray Moore, who lived — just died, actually — lived in Vegas. He created Dolemite. And I kept thinking, ‘God, this is an amazing story. It deserves its own AMERICAN MASTER special.’ But it kind of didn’t fit into the six different episodes we created.”

As for the narrator of “Make ‘Em Laugh,” Amy Sedaris made a point of noting that Buddy Hackett didn’t end up making the final cut, either. (There is, however, a quick cut to a shot of Jerri Blank, from “Strangers with Candy,” which made her happy.) Kantor seemed apologetic about the omission, but he explained, “The goal was, once, with a team of consultants, we’d figured out that these six categories or archetypes or – call them what you want — genres that reflected different aspects of American culture were the ones we were sticking with, we wanted to tell the best story we could. And that’s why poor Buddy Hackett didn’t make it.”

Kantor said it was also an issue when it came to trying to figure out what classic clips would fit into the proceedings without feeling shoehorned in.

“There were a couple of sitcoms that we really wanted to include, but we just didn’t have time for,” he said. “One was ‘The Odd Couple.’ We reference it in passing. You see someone talk about it and yet it seemed to so clearly speak to a moment in time where divorces were happening in America and yet we couldn’t give it as much weight, as maybe if we had 72 minutes in an hour, we would have wanted. And Richard Pryor had the ill-fated ‘Richard Pryor Show,’ he only did four of five episodes, and he does this great speech where he’s a black President,” said Kantor. “And it felt like, ‘Boy, wouldn’t that be interesting to sneak in?’ Robin Williams is standing in the back. But that wasn’t for cost or any other reason. It was just the arc of the Richard Pryor story; it didn’t hold. My job as a documentary filmmaker is how to tell the best overall story. Maybe like a baseball manager: you might have a great hitter, but he doesn’t fit in perfectly, so you’ve got to trade him.”

Despite Buddy’s omission, Sedaris enjoyed working on the special and acknowledged that it proved to be an educational experience for her.

“I was never a big Charlie Chaplin fan – I liked Buster Keaton – and it made me appreciate him a little bit more,” she said. “Phyllis Diller, I loved. She made her own clothes, dragged her kids along with her. She really magnified the fact she was unattractive, and I love that. And Mae West. I was never a big fan of Mae West, but I didn’t realize she wrote all that stuff, and I didn’t know about all the problems that she had. And that made me appreciate her. And Jonathan Winters, I love that whole section because he…it seemed like he had a mental disorder and yet embraced it, because his humor came from his characters, and that’s what I always find funny: the characters.”

“Make ‘Em Laugh: The Funny Business of America” begins airing on January 14th and continues on Jan. 21 and 28.

TCA Tour, Jan. 2009: “George Carlin: The Mark Twain Prize”

There were an obscene number of celebrity deaths in 2008, but very few of them hit quite as hard as the loss of George Carlin. He’s one of those guys who I just kind of figured would be around forever, secretly suspecting that he couldn’t die until he had nothing left to grouse about. So much for that theory. It’s particularly bittersweet that, only four days before his death, the Kennedy Center for the Performing Arts announced that Carlin would be the 2008 honoree of the Mark Twain Prize for American Humor. The good news, however, is that the decision was made to give him the prize posthumously, the first time such a thing had been done.

As you can imagine, it didn’t take much effort to accumulate a star-studded list of names to pay tribute to Carlin, and the PBS panel to promote “George Carlin: The Mark Twain Prize” included two of them: Richard Belzer and Lewis Black.

The first question posed was one that should’ve been expected by anyone familiar with Carlin’s work: how can PBS properly pay tribute to a man whose most famous routine involved the seven words you can’t say on television?

“I learned a long time ago that if you’re in a church, you don’t do certain things, and if you’re in someone’s home, you don’t do certain things,” said Belzer. “If the philosophy of the network is not to offend people who they think might be offended, I don’t think this hurts this show. George Carlin is so brilliant, his use of language is vast and compelling, that a few bleeps might even be enticing. I don’t think it diminishes how great George is, how important the show is, and the function that PBS serves over time. I mean, civility in manners are defined in different ways. If it were up to me, we’d have all the words you’d want, but I am not a network.”

Executive producer Peter Kaminsky followed up on Belzer’s comments, clarifying, “It goes beyond the
network. It’s the law. The Supreme Court will come down on you heavy. This case is…I mean, I think one of the legacies of George is he started something in the Supreme Court and 40 years later, or whatever, 30 years later, we’re still arguing about it. It’s very much front burner, and we hope to see that change in a new administration.”

Black, unsurprisingly, chimed in on the matter as well. “What will happen if the words were actually said?” he asked. “Children would panic? They don’t hear the words at home? I think what Richard
said is absolutely true, and I think it’s bullshit.”

For her part, Kelly Carlin McCall – George’s daughter – finds the whole matter hilarious. “My dad’s view on this was that if you actually bleep the words, they become dirtier, so it’s a beautiful irony for me,” she said. “I just find it very strange.”

She also acknowledged that her father was extremely happy when he got the news about the Twain prize, which is impressive, given that he didn’t tend to take awards very seriously. “He saw the game of it all,” she said. “It was a bunch of bullshit. But there was something about this prize that meant something to him. He did call me when he found out about it; he was very excited. I think in the last five years he really started to take in that he was the elder statesman of this genre, of these people. He took that seriously. I think he was really getting that, wow, these people really want to honor him in that way. I don’t know how he would have sat there and taken it all in. I would love to have known.”

The best series of comments from the panel…?

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