Laugh, Meryl Streep. Laugh!

When all the dust had cleared, all that was left were fake smiles of the losers and P.R. people promoting why you should see nominated films yet again. Nevertheless, there were awards that should’ve been handed out for only the best of reasons.

1. Best actress in a bout with gravity – Jennifer Lawrence. She could beat out a dozen teens trying to kill her for food in the “Hunger Games,” but she couldn’t walk in a dress without eating Oscar stairs. She got the last laugh taking home Best Actress for “Silver Linings Playbook,” but I guess being hot and coordinated was too much to ask.

2. Best Actress who left her headlights on – Anne Hathaway. Anne made an impression that only Mr. Skin could truly love. The only thing perkier than her upper chest region was the 9 year-old in the audience who probably asked her parents “Was she good enough to be the main actress likes me?

3. Best Host who was damned no matter what – Seth MacFarlane. Word is the senior members in the audience thought he was crude and unfunny. Of course, he got to be clowned by the 81 year-old William Shatner and made out with 66 year-old Sally Field. You’d think he’d get free AARP membership just for that alone. Check out the reaction shots from his “We saw your boobs” song and you’ll see why he needed an escort to his car.

4. Actor who will be referred to as “Mr. Meryl Streep” – Daniel Day Lewis. Winning an Oscar is great. Winning twice is exceptional, but winning three is just showing off. The uber-method actor is the Phil Jackson of acting right now. He’s one superhero role away from making people hating him for just being that good.

5. And the Who can get fired on Oscar night goes to…. – The Onion employee who tweeted a highly offensive comment about Quvenzhane Wallis. Quvenzhane is 9, cute and was nominated for Best Actress. The twittersphere unleashed their fury at the Onion and they rightfully suspended/reprimanded the employee in question. He or she is anonymous now, but people are already calling for their identity to get an additional pound of flesh (with dipping sauce and a biscuit).

God bless you, Hollywood.

He’s a god among geeks (and more specifically, “Star Trek” fans), but William Shatner hasn’t always returned that affection when it comes to talking about his career-defining work as Capt. James T. Kirk on the “Star Trek” TV series and movies. Shatner has even gone on record as saying that he doesn’t “get” Trekkies and sometimes comes across as if the iconic role was more of a burden than a blessing. But it sounds like he’s finally starting to appreciate what the show did for his career, and even said as much in his recent interview with Bullz-Eye:

No, I knew from the very beginning – or at least when it made me popular – what a profound effect it had, but to bring yourself to understand it again, to have another insight, is helpful about everything, whether it’s the love you have for the people around you or your work or…eating an apple. (Laughs) As long as you live in the moment and appreciate it, that’s really what makes you happy.

Check out the interview for more about Shatner’s new documentary, “The Captains,” as well as some of his other past and future projects.

Mike & Molly (Mon., Sept. 20 @ 9:30 PM, CBS)

* The competition: “Dancing with the Stars” (ABC), “The Event” (NBC), “Lonestar” (Fox), “Gossip Girl” (The CW)

Starring: Billy Gardell, Melissa McCarthy, Reno Wilson, Katy Mixon, Nyambi Nyambi, Swoosie Kurtz

Producers: Chuck Lorre and Mark Roberts (“Two and a Half Men,” “The Big Bang Theory”)

Network’s Description: a comedy about a working class Chicago couple who find love at an Overeaters Anonymous meeting. Officer Mike Biggs is a good-hearted cop who sincerely wants to lose weight. Mike’s partner, Officer Carl McMillan, is a thin, fast-talking wise-guy who, despite his teasing, encourages Mike on his road to slimness and romance. While speaking at an O.A. meeting, Mike meets Molly Flynn, an instantly likeable fourth-grade teacher with a good sense of humor about her curves. For Molly, focusing on smart choices isn’t easy while living with her sexy older sister, Victoria, and their mother, Joyce, both of whom flaunt their effortless figures while indulging their healthy appetites right in front of her. Mike also faces temptation at the diner he and Carl frequent, where they’ve become friends with a Senegalese waiter, Samuel, to whom dieting is a foreign concept. Mike and Molly found each other in the most unexpected of places. Now, they’re about to find out where their quest for companionship will take them.

The Buzz: Even the people who hate the show’s abundance of fat jokes…I’m one of them, and I’m pretty sure I’d still be one of them even if I wasn’t overweight…aren’t arguing with the odds of a Chuck Lorre show becoming a success, especially not on the night of the week that’s spawned his biggest hits.

Pilot Highlight: when Mike speaks to Molly’s class and reveals the origins of his career in law enforcement…or, really, anytime Mike and Molly are together. They’re a ridiculously cute couple.

Bottom Line: If the writers don’t put the show on a low-fat-jokes diet immediately – there are, no weight pun intended, a ton of them – in favor of embracing the great chemistry between Gardell and McCarthy, viewers’ romance with the show will be short-lived, but Lorre’s track record is such that we’re willing to give him the benefit of the doubt that he’ll get “Mike & Molly” into shape sooner than later.

Hawaii Five-0 (Mon., Sept. 20 @ 10:00 PM, CBS)

* The competition: “Castle” (ABC), “Chase” (NBC)

Starring: Alex O’Loughlin, Scott Caan, Daniel Dae Kim, Grace Park, Karyn Manning

Producers: Peter Lenkov (“24,” “CSI: NY”), Alex Kurtzman and Robert Orci (“Alias,” “Fringe”)

Network’s Description: a contemporary take on the classic series about a new elite federalized task force whose mission is to wipe out the crime that washes up on the Islands’ sun-drenched beaches. Detective Steve McGarrett, a decorated Naval officer-turned-cop, returns to Oahu to investigate his father’s murder and stays after Hawaii’s Governor persuades him to head up the new team: his rules, her backing, no red tape and full blanket authority to hunt down the biggest “game” in town. Joining McGarrett is Detective Danny “Danno” Williams, a newly relocated ex-New Jersey cop – a working man in paradise who prefers skyscrapers to the coastline – but who’s committed to keeping the Islands safe for his 8-year-old daughter; and Chin Ho Kelly, an ex-Honolulu Police Detective, and former protégé of McGarrett’s father, wrongly accused of corruption and relegated to a federal security patrol. Chin’s cousin, Kono, is a beautiful and fearless native, fresh out of the academy and eager to establish herself among the department’s elite. McGarrett, repairing his relationship with his estranged sister Mary Ann, vows to bring closure to their father’s case, while the state’s brash new FIVE-0 unit, who may spar and jest among themselves, is determined to eliminate the seedy elements from the 50th state.

The Buzz: If it’s not the strongest of the season, it’s pretty close. CBS is waging a seriously impressive tightrope-walk of an ad campaign, playing up as many of the familiar elements as possible – you’d better believe the theme song remains the same – while also underlining that this is a modernized reboot rather than a continuation of the old show. And how about that cast, huh? Well, I suppose you’ve got to have pretty people to fit in with the gorgeous landscape…

Pilot Highlight: The opening sequence sets up the series – and McGarrett’s tortured past – in seriously kick-ass fashion, confirming that this is not your (grand)parent’s “Hawaii Five-0,” but the more sentimental viewers will giggle with glee when McGarrett finally gets to deliver his signature line, “Book him, Danno.”

Bottom Line: The combination of a familiar title, a solid ensemble, the beautiful backdrop, and O’Laughlin crossing his fingers and putting his faith in the power of the “third time’s the charm” rule should make this into a hit.

WEDNESDAY

The Defenders (Wed., Sept. 22 @ 9:00 PM, CBS)

* The competition: “The Whole Truth” (ABC), “Law & Order: Los Angeles” (NBC)

Starring: Jim Belushi, Jerry O’Connell, Jurnee Smollett, Tanya Fischer

Producers: Carol Mendelsohn (“CSI: NY”), Kevin Kennedy and Niels Mueller (“The Assassination of Richard Nixon”), Joe Gantz and Harry Gantz (“Taxicab Confessions”), Greg Walker (“Three Rivers,” “Without A Trace”)

Network’s Description: a drama about two colorful Las Vegas defense attorneys who go all-in when it comes to representing their clients. Nick and Pete are the local go-to guys with an eclectic client list who are still looking to hit their own jackpot. Leading the law firm of Morelli & Kaczmarek are Nick Morelli, an earnest, hard-charging attorney who represents his clients to the best of his ability, no matter how big or small the case; and his partner, Pete Kaczmarek, whose passion for the law is matched only by his love of fast cars, beautiful women and expensive clothes. Joining them in their growing law practice is new associate Lisa Tyler, an enthusiastic young attorney looking to put her exotic dancing days behind her; and their young assistant, Sophie, a spunky and sweet ingénue who is eager to please her bosses. While Lady Luck shines on their legal careers, the partners have their hands full when it comes to their personal lives. With Pete busy cruising the Vegas Strip for his latest romantic conquest, Nick is focused on repairing a fractured marriage to his estranged wife and remaining present in the life of their young son. No matter the offense, Nick and Pete aim to prove that when the stakes are high, they’re willing to bet the house on the clients they defend in Sin City.

The Buzz: Better than you might think, given Belushi’s critical street cred after eight years of “Life with Jim.” Combining the bright lights of Vegas with a we’ll-defend-anyone law firm and plugging two rather dissimilar actors into the project has, if nothing else, made critics curious about what the result might be.

Pilot Highlight: The look on Nick’s face as he strolls triumphantly away from questioning a witness. After so many years on that trifle of a sitcom, you have to wonder if we’re seeing a little bit of Belushi shining through, proudly reminding viewers that, yes, he actually is a pretty good dramatic actor.

Bottom Line: There’s a lot of potential, but with three shows involving the legal profession (or 2.5 if you don’t count the “Order” in “Law & Order: Los Angeles”), figuring out which one will win the ratings race in advance is – appropriately enough, given the setting – a total crap shoot.

THURSDAY

$#*! My Dad Says (Thurs., Sept. 23 @ 8:30 PM, CBS)

* The competition: “My Generation” (ABC), “Community” and “30 Rock” (NBC), “Bones” (Fox), “The Vampire Diaries” (The CW)

Starring: William Shatner, Jonathan Sadowski, Nicole Sullivan, Will Sasso

Producers: David Kohan and Max Mutchnick (“Will & Grace”)

Network’s Description: based on the popular Twitter feed by Justin Halpern, Ed Goodson is a forthright and opinionated dad who relishes expressing his unsolicited and often wildly politically incorrect observations to anyone within earshot. Nobody is safe from Ed’s rants, including his sons, Henry, a struggling writer-turned-unpaid blogger; and Vince, the meek half of a husband/wife real estate duo with domineering Kathleen. When Henry finds he can no longer afford to pay rent to Sam, his pretty roommate (and secret admirer), Ed reveals a soft spot and invites Henry to move in with him. Henry agrees, knowing that the verbal assault will not abate and now there will be no escape. Describing their father/son relationship is tricky, but Ed will easily come up with a few choice words.

The Buzz: Not good. Even the presence of The Shatman couldn’t keep the critics from complaining about how unfunny the pilot was. Many theorize that it’s because the funniest moments from the original Twitter feed can’t be reproduced on broadcast television, but the supporting cast needs some serious work, too. Granted, we haven’t seen Sadowski’s work yet – he was cast after the first pilot was filmed, and we haven’t seen the new version yet – but Nicole Sullivan has got to stop playing the character of Kathleen with her shrill knob turned up to 11.

Pilot Highlight: Oddly enough, it’s when Shatner’s playing it serious, realizing that his son really needs to talk. But insofar as the comedy goes, the highlight comes when Ed goes to the DMV, which is possibly why the actor who plays the clerk at the DMV, Tim Bagley, has been signed to appear in future episodes.

Bottom Line: On paper, you don’t get a much better comedic pairing than “The Big Bang Theory” and a sitcom starring the man who once played Captain James Tiberius Kirk, but this show can’t simply coast on Shatner being Shatner. At the moment, it’s sitting the spot marked Biggest Disappointment of the Season. It’d really suck $#*! if it has to stay there.

FRIDAY

Blue Bloods (Fri., Sept. 24 @ 10:00 PM, CBS)

* The competition: “20/20” (ABC), “Outlaw” (NBC)

Starring: Tom Selleck, Donnie Wahlberg, Bridget Moynahan, Will Estes, Len Cariou

Producers: Mitchell Burgess and Robin Green (“The Sopranos,” “Southland”), Fred Keller (“24,” “House”) Linda Gase (“Standoff,” “The District”) Leonard Goldberg (“T.J. Hooker”)

Network’s Description: a drama about a multi-generational family of cops dedicated to New York City law enforcement. Frank Reagan is the New York Chief of Police and heads both the police force and the Reagan brood. He runs his department as diplomatically as he runs his family, even when dealing with the politics that plagued his unapologetically bold father, Henry, during his stint as Chief. A source of pride and concern for Frank is his eldest son Danny, a seasoned detective, family man, and Iraqi War vet who on occasion uses dubious tactics to solve cases. The sole Reagan woman in the family, Erin, is a N.Y. Assistant D.A. and newly single parent, who also serves as the legal compass for her siblings and father. Jamie is the youngest Reagan, fresh out of Harvard Law and the family’s “golden boy;” however, unable to deny the family tradition, Jamie decided to give up a lucrative future in law and is now a newly minted cop. Jamie’s life takes an abrupt turn when he’s asked to become part of a clandestine police investigation even his father knows nothing about, and one that could impact the family’s legacy.

The Buzz: The mere fact that Tom Selleck would deign to do another series – something he refused to do unless he could also continue to do regular “Jesse Stone” telefilms at his leisure – is enough to get an older audience excited. Granted, things started looking a little sketchy when executive producer Ken Sanzel, late of “Numb3rs,” departed from the staff, reportedly due to a disagreement with Selleck over the direction of the show, but now that Keller and Gase have been added to the mix, most folks are back to being optimistic about the series.

Pilot Highlight: As you’re watching, you may think it’s going to be when Danny uses some of the aforementioned “dubious tactics” to coerce a suspect into giving up crucial information, but there’s a twist at the end of the pilot – which is hinted at in the above description – that ups the intrigue level of the series in a big way.

Bottom Line: There’s a correlation between Selleck’s most devout fans and people who’ve given up on going out on Friday nights…and that includes me…but even if I did still go out drinking with the boys on a weekly basis, you could bet I’d be setting the TiVo. I’m reserving complete judgment ’til I see how things go with the new production team line-up, but right now “Blue Bloods” is sitting right behind “Lonestar” as one of my favorite new series of the season.

* In case you haven’t heard, the epic speculation about just who will play the Pippi Longstocking-via-the-Velvet-Underground Lisbeth Salender of “The Girl With the Dragon Tattoo” (American style) is over. The part has gone to 25 year-old Rooney Mara. Anne Thompson has the inside dope on this relative unknown.

Still, I find the comparisons with the legendary battle to cast the role of Scarlett O’Hara in “Gone With the Wind” to be slightly much. It’s more like casting Daniel Radcliffe as Harry Potter or Sean Connery as James Bond.

The obvious differences aside, Connery was, by the way, very much like Mara. He was actually the second person to play the role. The first was Gene Barry in a nationality flipped 1954 TV version of “Casino Royale” in which “Jimmy Bond” was American and “Clarence Leiter” was British.

* As if we Angelenos don’t have enough problems with aliens invading our town and the ensuing legal battles therein. The President’s in L.A. raising money from the godless sodomites of H-wood with help from communist money hating writer-producer-director-moguls John Wells and J.J. Abrams. And we know what this means — a new round of liberal criticism of the Obama Administration for, yes, the traffic. Even Hef was bothered.

* I once transcribed and informally partially edited an “as told to” book by the son of the entrepreneurial founder of a major multinational with huge ties to the film industry through his son. Nikki Finke today reminds me of a quip the second-generation captain of industry quoted: “There’s nothing wrong with nepotism, as long as you keep it in the family.”

* It sounds like he’ll be okay, but think good thoughts for Michael Douglas anyway.

* Because of my recent roundtable piece with Kevin Pollak, I’ve been giving his interview program a listen. Ironically, Christopher Walken, like William “the Shat” Shatner before him, is jumping into the interview game, perhaps inspired by Pollak for all anyone knows. Imitation is the sincerest form of flattery, I’ve heard.

* Some of my best friends have post-graduate degrees in psychology but, Lord amighty, headline grabbing psychologists and their journalistic/PR enablers can really produce a special kind of stupid and shallow when they go all pop-cultural on us. Get this:

“In today’s media, superheroes and slackers are the only two options boys have,” said Lamb. “Boys are told, if you can’t be a superhero, you can always be a slacker.”

They were writing the same thing when I was kid, only the terms were different. I’d give you a more detailed case on why I consider this complete idiocy, but since I’m clearly not a superhero, I must be a slacker. (H/t Anne Thompson.)

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.

How did Pollak get involved with the film?

“George Gallo called me and said ‘I’ve got this script, I’m gonna direct and I’d like you to read it and be in it.’ And I said, ‘Who’s this?’ And then, here we are…I’ve known [George] a long time.”

Had he heard anything about the factually-inspired story before?

“No, I hadn’t heard the story before. Had you? I don’t think anyone did. I don’t think they went terribly public with it, these two idiots [played by Gabriel Macht and Giovanni Ribisi] in question. ‘Nutty geniuses’ may be more flattering. Maybe the story did come out briefly. Seems to me if you help create a way to change commerce forever, you would want your story told, but I’m not the one to ask as to why this is the first time we’re hearing this.”

Did Pollak research his role as an FBI agent in any way?

“No, I’ve never done any research for any movie I’ve ever done. I started out in stand-up comedy, had no formal training as an actor. I found pretty early on that all I had to offer was to be believable and authentic in whatever role I was portraying. I had a sort of natural ability to be loose in front of a camera… For me, honestly, the research is always the script. Read the script 25 times — but, literally, read the script 25 times and hopefully the writer’s done all the research that’s necessary. Because, if I’m an FBI guy it’s never about how to be an FBI guy, it’s about a guy who is with the FBI. Unless I star in the movie ‘I Was an FBI Guy’ and I don’t see that happening, to be honest with you.”

Sure, that could happen, one of us said. Agent Curt Allmans could be spun off into his own film.

“You’re my favorite!” Pollak responded in a sort of Liberace-esque voice.

Then I noted that Pollak has a co-writing credit on an upcoming film to be directed by George Gallo and produced by Christopher Mallick, the producer of “Middle Men” and the source of its historically driven story.

“I wrote it with George Gallo and it’s called ‘Columbus Circle.’ I acted in it as well and it came out fairly terrific. It tested wonderfully, surprisingly well, and is now shopping for distribution.”

Could he explain what the movie is about?

“No. It seems wildly premature, other than to say it’s a twisting, turning Hitchcockian tale. Terrific cast, Giovanni Ribisi, Selma Blair, Amy Smart, Jason Lee, myself, Beau Bridges, Jason Antoon who plays the slimy director in ‘Middle Men.’ George did a great job, again, directing. We wrote it on the plane ride from Cannes with this movie and then landed and 20 days later started shooting. So that’s probably the best part of the story… It was born of necessity.”

“Chris Mallick, our producer here who flew us all to Cannes out of the bigness of his heart and wallet, had built these two sets on a sound stage at [CBS’s Burbank studios] to do this other movie. Then, he lost the rights — this other movie was a remake… had these sets built and spent a couple million dollars building them. [He] told me the situation when we were in Cannes, the day before we went on the jet to go home. The next morning I got on the jet and said, ‘Here’s a story that takes place 90% in these two loft apartments that you built on the sound stage.'”

“Then, I, Giovanni Ribisi, Brian Tyler (the composer of ‘Middle Men’), Jason Shuman (one of the producers), and Chris Mallick beat out all the bullet points and beats of the script. Then, George Gallo and I hit the ground running when we landed. We wrote the script and started sending it out eight days later and started shooting 20 days later.”

The next question was honestly under-informed, but Pollak didn’t mind one bit. Was he still doing stand-up and, if not, did he miss it?

“I don’t miss it because I still do it. In fact, a brand new, one-hour stand-up special just debuted on Showtime. It’ll be viewable all throughout August and then on DVD September 7th — glad you asked! It’s called ‘The Littlest Suspect.’

Pollak followed that with a bit of visual laughing-at-his-own-joke business. “‘Where does he come up with it? Right off the top, I suppose.’ That’s why I wear a hat.”

And that somehow led to the old, old, old, old question about where he finds his material.

“You know, I always did impersonations, it was what I was known for. But, over the years, I ended up working with a lot of these people that I’d been impersonating. I found that I had first-hand anecdotes of being around them, [like] meeting Christopher Walken the first time after impersonating him on TV.”

“Mostly the act is storytelling of these life experiences that actually happened with these people that I’ve been impersonating. So you have the real story, you have my perspective, and then you have, alright say it, my flawless impersonation of the person within the story. So, that’s the bulk of the act.”

Have any of the people Pollak impersonated not been in love with his rendition of their voice?

“Knock wood, not yet. But I did fear doing Jason Statham in this special. I did not want to get — and still don’t want to get that — if he should be reading or listening, however this comes out, Jason, I don’t want to get that phone call at four in the morning…”

Naturally, Pollak launched into a, yes, reasonably flawless and very funny impression of the imposing Englishman.

“‘Do you know who I am? Do you fucking know who I am? What did I tell you, mate? [I’m going to] rip your fucking heart out. Do you know what I mean? Do you fucking know what I mean?’ I don’t want that call.”

Christopher Walken, however, is a fan of his impression.

“He loves it. Me and Quentin Tarantino were the two speakers when Christopher Walken got his hands and feet and signature in cement in the [Chinese] Theater on Hollywood Blvd. Why I was chosen, having never met him prior, was because of the impersonation. So that couldn’t have been more [exciting] than that moment, and that’s one of the stories in the Showtime special,” Pollak added, working in another plug.

Then I asked about the age-old high-class problem that comedians find in more serious roles that audiences, myself definitely included, tend to laugh or at least smile when he comes on the screen, regardless of the content of the movie. Is this a problem in straight films?

“‘Straight films’ — instead of all the gay work I’ve been doing.”

I meant ‘non-comedy’ roles.

“‘Drama.’ ‘Drama’ is the word you were looking for. Let me you help. The ‘drama’ word.'”

Correct enough, I soldiered on, but what about that time it takes for an audience to figure out, depending on the nature of the role, that Pollak may not be making them laugh a huge amount in a given role. Does he feel somewhat pigeonholed by that expectation?

“I don’t, I tell ya. First of all, being a character actor I’ve had the freedom — the luxury and privilege — of doing a range of different characters, but however people discover you is how they know you. So, if you saw me first as a stand-up that’s what you think of. ‘A Few Good Men‘ was a giant leap for me. It was a welcome to the big leagues basically. Also, the character was written as sort of the conscience of the piece and I was the only actor, in a cast of giants, who the audience was [saying] ‘Who’s this guy?’ That’s how so many people discovered me. If you discovered me in that movie, then you’d think of me more in that way.”

Then it was someone else’s turn again. How much has show business changed for Pollak since he started out in the 80s?

“In every way possible.”

Is it harder or easier?

“It’s harder to make a living. It’s not harder, necessarily, to work with great people or…I mean opportunity comes and goes. There’s an ebb and flow of one’s career, if you have a career. So, as a character actor you come and go depending on the needs and desires of filmmakers as opposed to the studio. They don’t turn to me to sell tickets, so it’s kind of a luxury in that regard. But, in terms of making a living, that financial part of the business has changed, as it has in every other business.”

“So, fortunate for me, I have always been able to diversify so I’ve managed to make a comfortable living. Acting in movies is not the comfortable living it once was for a character actor. Other aspects of it, in terms of the fun to be had, in terms of the opportunities, in terms of the amazing filmmakers that I’ve been able to work with, that hasn’t changed.”

Then the topic turned to acting with Giovanni Ribisi. Though offhand I can’t remember any scenes in “Middle Men” with both the Ribisi and Pollak characters together, apparently they do work together in “Columbus Circle.” Were there any conflicts between Pollak’s intuitive style and Ribisi’s more intense approach that might have him tagged as a “method” actor. (If you read to the end of my Bullz-Eye interview with Ribisi, you’ll see a particularly vivid example of that.)

“I’ve worked with method actors before. I don’t know if he would be considered a strict method actor in the full sense of the word, the people who study the so-called [Stanislavsky] method. In the past, working with method actors, I’ve found that there’s very little fun to be had, which confused me. I didn’t understand why anyone would want to do this if they weren’t having fun. I was quite relieved with Giovanni… While his work ethic was one that made it very important to him to do good work, and he’s his own biggest critic, there is a tremendous amount of fun to be had and silliness between takes as opposed to a ‘don’t look me in the eye’ type of thing.”

The topic then turned to Pollak’s various audiences from various gigs and his best known role.

“The weird thing about ‘The Usual Suspects’ is that it regenerates a new audience because it’s one of these weird rights of passage in college. By the time you’re a sophomore, if you can’t speak ‘Suspects’ you’re a loser, like to this day. I thought [that] would fade and it’s now 15 years later and that’s still the case. So, that sort of helps to regenerate a new audience.”

“Even when I tour as a stand-up, the audience tends to be my similar to my age, who know me as a stand-up first. Then, a whole bunch of 20-somethings who know me from these other movies, or who have seen me do Christopher Walken who’s a hero of theirs and who just want more of that.”

“Now, I’ve just started doing this online talk show, ‘Kevin Pollak’s Chat Show,’ and now, almost a year and a half into it, I’m running into people who are just coming up and saying, ‘I love your podcast.’ It streams live video every Sunday afternoon. I check the audio download numbers — 1.2 million audio downloads in the last three months…because of that it’s starting to reach that critical mass and people are coming up and saying ‘I really dig the podcast, dude…'”

“I found early on, if you’re not creating, you’re waiting, and I don’t enjoy waiting. I never know when someone comes up and I see in their eyes that they’re about to recognize me, what they’re actually going to say. It can be a little annoying when they say, ‘What’s that thing I saw you in?’ Then we’re screwed because as much as I want to explain, I wasn’t with you when you saw it.”