jump to navigation

A Ninth Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment.
Tags: , , ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

Presenting the 18th Annual PGA Awards
If you are thinking golf, stop right now!

For we are not discussing awards for golf here, although I think the golf tournament is televised, whereas the Producers Guild of America awards are not. And often when I mention doing something through the PGA, many minds go straight to their golf game.

As part of the television and motion picture awards season, Saturday night at the Century Plaza Hotel, the Producers Guild of America held their annual awards banquet to honor the producers who bring us the television shows and motion pictures that we watch.

Through televised shows like the Golden Globes and Academy Awards, we know of the valuable contributions made by writers, actors, and directors to our best series and motion pictures, but none of those projects could be made without the contributions of the producers who put the projects together, see that they are budgeted, hire the crews, and keep the wheels of the juggernaut moving forward. The job is so big that there is usually more than one producer involved in bringing a production to life. So it falls to the producers to honor their own.

That isn’t to say that there aren’t familiar faces on stage. Presenters included from the movie world: Tom Hanks, Tom Cruise, Harrison Ford and Jake Gyllenhaal. Presenters from the TV world included: Marg Helgenberger, Patrick Dempsey, Calista Flockhart, Hugh Laurie, Salma Hayek, and Tyra Banks. And even the music industry was represented by Melissa Etheridge.

For the most part, award shows are all the same. Presenters read the nominees, then the winner. The winner gets up and gives a heartfelt thank you speech. Rarely does something take you completely by surprise.

Saturday night had one of those events. Ken Ehrlich was being given the Visionary Award. A man with a longtime love affair with music and musicians, he brought many non-traditional innovations to the productions of events like the Emmys, Grammys, Blockbuster Awards, and the MTV Movie Awards. He created the award-winning PBS Soundstage series which was the forerunner of shows like Unplugged. More than that, he has created dozens of single artist specials, showcasing artists like Elton John, Celine Dion, Eric Clapton, Faith Hill, The Backstreet Boys and NSYNC.

He is known for teaming artists of divergent musical styles to sing successful duets together, when no one else would even imagine pairing them. So much so that when artists from different musical genres come together to perform once-in-a-lifetime duets, they are said to be doing “Ken Ehrlich duets.”

Melissa Etheridge was the presenter for this award and she shared her affection for Ken Ehrlich by telling us that when she was a newcomer straight off the bus from Kansas, she auditioned for Fame. Through several callbacks, it came down to her and… Janet Jackson. Of course they went for Janet, but Ken Ehrlich took the time to tell her not to give up because she was good.

Melissa wouldn’t give Ken his award right away because she said someone wanted to show gratitude to him. Bonnie Raitt took the stage and sang a song. She was wonderful. When she was done, Melissa told Ken to stay in his seat and out came Paul Simon to sing “The Boxer.” When he was done, she told Ken to still stay in his seat, and Stevie Wonder was led out onto the stage. When Stevie started on “Superstition”, the audience rose to their feet to give him a standing ovation, and seconds later, everyone was rocking to his heavy beat. Men in tuxedos and women in long gowns, swaying and grooving and singing to the beat like they were hippies at a rock concert. It was great fun. There was even a woman holding up a cell phone to record it, and the beat got to her, and she put it away, and just rocked.

Definitely the highlight of our evening, and all because these singers were grateful for what Ken Ehrlich’s love and relentless championship of music has done for them.

Another interesting award was the Stanley Kramer award which is given to recognize achievements that illuminate provocative social issues. This year’s award went to producers Laurie David, Lawrence Bender, & Scott Burns for their documentary on global warming, An Inconvenient Truth. In today’s harsh reality, it takes courage to spend much of your own personal capital on a theatrical release of a documentary starring a former Vice President and presidential contender talking about a global threat which might bring no financial return or public approval. After the producers accepted the award, they introduced Al Gore, who commented on how skeptical he was when they approached him to turn his slide show on global warming, which he had been traveling with on speaking engagements, into a movie. He was skeptical that people would go see a film about global warming with a ‘recovering politician as a sideshow.’ He was very proud that it stood up very well ‘without his presence.’

Jerry Bruckheimer was honored for his achievements in television. He is said to be well on his way to becoming the most successful producer in television history, an honor he already has for film.

“Little Miss Sunshine” took the producing award in motion pictures, while “Cars” took it in the newly added animated motion picture category. “Grey’s Anatomy” took the producing award in drama TV and “The Office” in comedy TV. “Elizabeth I” from HBO took longform television and “Real Time with Bill Maher” took the honors for Variety Television.

Perhaps the most unusual win of a category was for the producers of “60 Minutes” who won for Non-Fiction television. Not an unusual outcome for such a prestigious, excellent show, but the other nominees were all what’s erroneously called reality TV: American Idol, Dancing with the Stars, The Amazing Race 9 and Project Runway. Somehow, it seems like they shouldn’t be sharing the same category.

The Milestone Award was given to President and CEO of NBC Universal Studios, Ron Meyer and the Vanguard Award for new media and technology went to Will Wright, who created the game Sim City.

This year’s achievement award in motion pictures went to the husband and wife longtime producing partnership of Doug Wick and Lucy Fisher who gave us such movies as “Working Girl,” “Gladiator,” “Stuart Little,” and “Memoirs of a Geisha.”

And now the producers of winners and nominees look forward to the other awards events of the season to see which actors, directors, and writers of their beloved projects will also be recognized.

An Eighth Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Star Wars.
Tags: ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

George Lucas Admits He Prefers TV
This astonishing admission came at a tribute to him put on by the Museum of Television and Radio as part of their annual William S. Paley Television Festival, which is in full swing for the first two weeks of March in Los Angeles.

PaleyFest is one of my favorite times of the year and I try to go to as many events as time and work commitments will allow. The museum was founded in New York in 1975 by William S. Paley, the man behind CBS who took a group of local stations and created a network empire, which allowed them to collectively pay for better talent and programming than individual stations could afford. Starting in radio, Paley was one of major pioneers in the brand new television medium. With his love of entertainment and advertising, he wished to see the best of radio and television preserved and celebrated. If you go to the Museum in New York or Los Angeles, you can watch episodes of shows from the early years of TV all the way to today.

So in conjunction with that mission of preservation and celebration, the museum has, for the last 24 years, been hosting a two-week celebration of the best and most innovative series of the current year as well as a peek back into yesterday. They bring together in a theater the cast and creative teams of these selected series with the audience who watches their shows. It’s always an interesting mix of fans, many from the entertainment industry itself and the rest from the general public. In previous years, I’ve gotten to meet and hear the creative teams and casts of Boston Legal, Desperate Housewives, Lost, Supernatural, Star Trek, MacGyver, New York Undercover, The Practice, and too many more to name. And I was able to be there when a show I worked on, Joan of Arcadia, was honored.

In addition, they set aside an evening or two to honor the individuals who have made lasting contributions to entertainment. In previous years, people like William Shatner, Garry Shandling, and Carol Burnett sat on that hot seat. This year was a special treat to be honoring George Lucas, who came dressed casually in black jacket, plaid shirt, and jeans.

First, your appetite is whetted by an excerpt in the same or similar genre, taken from the museum’s archives. Tonight’s offering was from Saturday Night Live: a spoof of the 20-year anniversary of the original Star Wars screen tests/auditions. Anyone who has seen this segment on SNL knows how hilarious it is. You have Kevin Spacey pretending to be Christopher Walken auditioning for Han Solo, Walter Matthau auditioning for Obi Wan and Jack Lemmon auditioning for Chewbacca. You have Darrell Hammond pretending to be Richard Dreyfus screen-testing for C3P0, Norm MacDonald as Burt Reynolds for Darth Vader, and Ana Gasteyer as Barbra Streisand for Leia. My favorite line was Walken’s Lemmon as Chewbacca, “You had me come all the way from Beverly Hills to play a f’king space ape?”

The Museum’s president, Pat Mitchell, introduced George Lucas to a standing ovation. Then came what shouldn’t have been the biggest surprise of the night to me, but was: she said that since they were the Museum of Television and Radio, they were going to discuss The Young Indiana Jones Chronicles. This made a lot of sense, but it isn’t what I think of when I think of George Lucas.

The next part of the program is usually screening an episode. However, in this case, we watched excerpts from 11 of the 44 episodes of this Emmy-award winning series (12 Emmys in total). Lucas described his series as “fanciful encounters with historical figures”, where the hero, Indy, “could not be a key player” for that would affect history. He could become friends with the historical figures and have conversations, but ultimately he had to be the proverbial “fly on the wall” when the significant events happened. Still, Lucas took pride in making the historical encounters as accurate as possible.

Through the eyes of Indy, we got to know such notables as TH Lawrence, Gertrude Bell, Woodrow Wilson, Prince Faisal, George Gershwin, and Lenin. It reminded me of the brilliant 1977 TV series, Meeting of Minds, done by the late Steve Allen and his wife Jayne Meadows, except that instead of sitting around the table talking, we’re taken to exotic locations with lots of special effects. My favorite excerpt was the one on the Mexican revolution. Indy tries to explain to a peasant who has had his chickens taken by the army for food that the army is there to help him, to free him, to make his life better. But all the peasant can see is that the soldiers stole his chickens, as every army before them have done. The more Indy tries to defend the army he’s traveling with, the less the peasant buys it, saying, “They all steal your chickens. Only the name of the man who steals your chickens changes.”

Because Lucas chose to represent two time periods in young Indiana’s life — 10 years old and the 16-20 years — he felt it filled in the blanks for film Indy’s background. He is planning to put the series out on DVD with two episodes combined together for 90-minute specials which will have added documentary commentaries about the real historical people portrayed in the episodes. To this end, he admits that he is spending more money on enhancing the original 16mm film than he did on producing the series.

He talked extensively about the writing and the producing of the series, but for space restraints here, I’ll save that for my more industry-related blog, CAT Scratchings, which you can access at http://www.dannygirlpaceyjack.blogspot.com/ if you wish. The post should be up shortly.

“It’s never how good you are,” Lucas reminded us, “it’s how good you are under circumstances. There are always circumstances.” Because he shot on locations throughout the world, those circumstances included shooting through earthquakes, around a car blowing up, and under the protection of the Turkish army. They had a boat capsize in a river with alligators and had to deal with the frightful moments of having their star, Sean Patrick Flannery, surrounded by alligators. They also could hear the near-by bombing of the Gulf War. But perseverance is the key to everything.

And now for the answer you’ve been waiting for… why George Lucas said he likes doing TV more than films. There’s enormous stress in doing movies… only 10% break even and only 1% of them make money, he said. “You are staking everything on it – three years of your life. Whereas in television, if one show doesn’t work, you go on to the next one – it’s a week later.”

Of course, he also acknowledged that he loves doing TV under the conditions he has: which is no interference. That is something most of us would point out only comes to a man of his stature.

On the horizon is bringing Star Wars to TV. He is working on an animated series on the Clone Wars, the viability of which he tested in five-minute segments on the Cartoon Network. He said the best thing about doing episodic animation is that he doesn’t need to do the Skywalker story – there were many other things going on during the Clone Wars. For example, he has one episode that only has storm troopers in it.

Lucas also has a live action series planned, but it is still a few years away. He was vague on the details, saying that a show would split into four stories – one for each character, but he doesn’t know yet which characters that would be.

It was a great evening which ended in fans rushing the stage to get their programs autographed. The DGA theater is not really set up for that, so people were crushing each other in the small space between stage and first seats, but George was gracious enough to sign as many items as he could reach. At events where the whole cast and creative team are present, fans often get a moment to talk to their favorites, but with only George there, the best he could do was sign as many programs as he could. This, of course, is not part of the event, so it is an added treat when the guest is willing to do it.

My next PaleyFest adventure will be the Heroes panel on March 10th. I wish I could do all of them, but my work commitments won’t allow it this year. I’m hoping that this write-up will inspire others to share their experiences with the other series panels because they are all worthwhile shows and I watch many of them.

A Seventh Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Heroes.
Tags: ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

HEROES: The Fluke of the Wrong Guy Walking In Can Change Everything
This startling revelation was made by Tim Kring, Creator and Executive Producer, at the Paley Festival tribute to his NBC hit show Heroes last Saturday night, March 10, 2007. It was a packed, sold-out house at the DGA, with something I’ve never seen before at one of these events: a standby line. The shows being honored usually acquire a block of seats so that their crew and creative staff not on stage can huddle together and share in the festivities. For some reason (maybe late filming or weekend exhaustion), a number of these seats were unoccupied by the time the panel started. Hence, a group of lucky standbys were able to get primo seats in the front for what turned out to be a fun and laughter-filled event.

“The fluke of the wrong guy walking in” was Tim’s response to Sendhil Ramamurthy describing his audition for Mohinder Suresh. Sendhil explained that as soon as he saw the character was supposed to be 55-60, he thought he was wrong for the role. Tim nodded at this, interjecting that that character later became his father. Sendhil said he thought they were bringing him in for a giggle, but he went anyway.

At that point, Tim picked up the conversation and elaborated, “That’s what happens sometimes. Fascinating casting comes in and changes the whole dynamic of the role.” He immediately saw the potential for the father-son story, the search for his father’s killer, and the whole mythology that now surrounds that story. Sendhil’s audition sparked in Tim the idea to explore the relationship between the son and the dead father and added a hitherto unforeseen storyline that may have never seen the light of day if Sendhil had not braved that ‘giggle’.

Sendhil was not the only one who had had that ‘wrong for the role’ feeling. Leonard Roberts admitted that the description written for Hawkins was: big, big, big. But he really got into the emotion of the character and felt for his situation with his kid. That he was all wrong for the role was accentuated when he walked into the holding area and all the others were physically big guys. Still, he just did his interpretation and obviously Tim liked it better than what he had originally imagined.

Greg Grunberg did them one better – he lobbied for the wrong role. He had done a pilot for NBC, which didn’t work out. The role of Matt Parkman didn’t exist at the time, but the script captivated him. “I’d known director David Semel from before and called him up and told him I’d be the perfect Peter.” Semel told him that not only wasn’t he the perfect Peter, but he couldn’t be more wrong for the role. Tim jumped in at this point and explained that neither of them knew he was writing this other role, which turned out to be perfect for Greg. When Tim said this, Greg turned to him and joked, “You were thinking of Matt Dillon and said, why not go better-looking?”

Ali Larter said the original description fit her perfectly: an Internet surfer with a heart. Except the role changed on her. In the pilot, there was just one complicated woman, Niki, not two characters and she loved the idea of playing a different kind of woman than she had up until then. How different it became was a surprise to her. When asked how hard it was to play two characters, Ali said she felt she could really put herself out there because the writers protect her. “It’s freeing to know that if it doesn’t work, it won’t end up on the air.”

When they wanted somebody for Hiro who could speak fluent Japanese, was humorous, and who had experience in American TV, Masi Oka thought this was such a minor niche that if not this role, what role would there be for him? So he did his audition in Japanese, saying anything he could think of.

To add to the milieu of unexpected casting, Milo Ventimiglia then claimed he was the last person they had seen and teased that they had run out of options by the time they came to him. Tim explained that both Milo and Adrian Pasdar auditioned late in the process because the brother dynamic was extremely important. To which Milo added that he had been tied up at another studio at the time, so by the time he became free, he was the last actor to be seen. “Nobody else to go to,” he teased.

Many creators/executive producers talk about being open-minded in terms of casting and open to what actors bring to the roles, but here is actual proof that Tim Kring lives this way. That when he talks of character interaction being an organic process, of how the chemistry between characters has to be fluid, and the wisdom of going with what the actors give you even if it plays differently than you originally were looking for, you know he speaks with sincerity. That he really is open to seeing things differently when opportunities for better choices arise.

There’s a more traditional way to unexpected series regular status and that’s the route Jack Coleman found himself on: he just did a great job with his guest role. When Jack said there was less pressure and less procedure in his audition because he was only up for a guest role, Tim made sure that everyone understood that the results were a testament to Jack. Tim elaborated that this sometimes happens when “you have an actor who shows up really big on screen and gives you possibilities to write for.” To which Jack humbly replied he was grateful that the writers started writing for him.

As you can see from this one small discussion point, there were far more actors than you usually have on stage for a panel discussion. One of the things I like about the Paley Festival is that you usually get a mixture of actors and creative team. You usually get to hear from the guys who are rarely in the limelight but who are the most responsible for what you see on the show. But with eleven actors and Tim fielding questions, it was understandably impossible to hear from anyone else. And I missed that.

So that this doesn’t get to be too unwieldy, I’ll mention only one more cool question and save the rest for CAT Scratchings, which is a blog of some of my adventures in the Industry when I have time to write them (http://dannygirlpaceyjack.blogspot.com/). Tim was asked if he was familiar with comic books and if he had modeled his characters’ powers after those found in comic books.

Tim’s answer was enlightening. He said that he came at the powers from the character’s needs. In other words, he thought of the character first, then stumbled around until he found a power that suited that character. An example of how he backed into the powers choice is Niki. For her, he wanted a character of a single mom, stretched very thin, who was trying to be in two places at the same time… from this beginning, he got the doppelganger idea. On the other hand, Hiro is trapped in a life not of his own desire. Not only trapped, but confined in a small space – his cubicle. Hence, Tim thought a neat power for Hiro would be to transport himself out of that. Thus, each character’s power comes from what the character needs or wants.

As you can imagine, there were a lot of chuckles and the panel segment flew by very fast. I think some people were able to get autographs and pictures afterwards, but a couple of the writers on the show are old acquaintances and I stopped to chat with them. Hence, the above photo is just a quick flash from where I was to remind myself I was there.

For those of you who are wondering what episode they showed before the panel, it was episode 9 — “Homecoming” with a teaser scene from episode 19. Five new episodes start airing April 23rd.

And now I have a question for those of you who are far more familiar with the series than I am. Someone asked a question about a college drinking game, which the panelists said was started by their prop guys. Something about how often Peter moves his hair behind his ear, how often Hiro pushes up his glasses, and how often Suresh says ‘my father’s research’. Can anybody tell me what that’s all about?

A Sixth Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Boston Legal, Entertainment.
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

Boston Legal Does Everything Right
I have a pet peeve: cliffhangers at the end of season finales. Not only do I find them completely unnecessary, I find them very annoying. How many people start watching a show they don’t like just because it has a great cliffhanger? I suspect the last time that happened was with Who Shot JR? And that was most likely because of the novelty of killing a main character at a time when American shows didn’t, especially when they had already announced the actor was signed for the next season.

If I watch a show all the way to the end of the season, I don’t need a cliffhanger to propel me to watching the show the next season — I’ll watch the new season because I like the show enough to watch every week. And chances are, I won’t remember what happened in the last act anyway over the months without a refresher. The only time I can think of being consumed by a cliffhanger was when Pacey and Joey sailed into the sunset on Dawson’s Creek (the sunset that mysterious appeared off the coast of New England). And that was mainly because I had a friend who constantly pondered over the summer about whether the two friends were having sex or not. Still, I would have watched the next season even without that consuming question.

On the opposite side, if I don’t like the show, I’m not going to tune into it just because they have a good cliffhanger. I didn’t care who killed JR and I never had a problem hearing it was all a dream without seeing it.

So this brings me to what Boston Legal does right. Boston Legal didn’t end last night on a cliffhanger, any more than it did in its last two season finales. Instead, it ended on the balcony with its two main stars reconfirming the love, caring, and loyalty they have for each other with a toast of hope to the next season and what it might bring them. That ending makes me smile, warms me, and stays with me far more than any cliffhanger ending I’ve seen on TV.

Yes, Boston Legal does season enders right. Of course, it also does every episode right, for one of the biggest attractions to the series is the weekly episode endings with Alan and Denny on the balcony sharing their unabashed, unapologetic, unafraid, honest and just wonderful friendship. I can even forgive Denny for being a Republican flag-waver.

That unwavering friendship and loyalty between two so divergent friends that permeates almost every scene of the show is the best part of the series. It’s such an attraction that while I might not be able to see it always as it is aired, I never go to bed without seeing it on its airdate, no matter how late I come home or how tired I am.

And this isn’t the only thing Boston Legal does right. It can have the weirdest cases — ones that make my eyes roll… in the beginning. But there is always solid legal reasons behind them… solid social or ethical questions that end up leaving me thinking. Can’t say that happens all the time with the more traditional caseloads of other legal shows. And it can also deal with some of the most important issues of our times, which David Kelley excels in making both sides legit, even if they have quirky turns.

And finally the show has a remarkable cast of fine actors. Not only are James Spader as Alan Shore and William Shatner as Denny Crane outstanding but so are Candice Bergen as Shirley Schmidt, Rene Auberjonois as Paul Lewiston, Christian Clemenson as Jerry Espenson, and newcomer Gary Anthony Williams as Clarence/Clarisse.

No, Boston Legal doesn’t have to have a phony cliffhanger that will be resolved in the first five minutes of the new season. It doesn’t have to shoot somebody or put somebody in dire straits. It has me coming back by just being the wonderful show it is every week, from start to finish.


A Fifth Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Star Trek, TV production.
Tags: , , , ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

NO STUDIO, NO NETWORK, NO PROBLEM: Star Trek Fans & Hollywood Work Together
A full Hollywood-type premiere is being planned for a new Star Trek Internet episode at the Fine Arts Theater in Beverly Hills on August 23, 2007.

“World Enough and Time,” which stars well-loved Star Trek actor, George Takei, is the fourth episode created by a group of fans for www.startreknewvoyages.com, a site dedicated by actor James Cawley (Kirk) to fulfilling the 5-year mission of the original Star Trek series, and showcasing new actors in the beloved roles of Kirk, Spock and McCoy.

Nevertheless, “World Enough and Time” stands out as a unique episode in that Cawley’s team has been joined by many Hollywood TV and Film professionals, like me, who were brought aboard by our friend and colleague, Marc Scott Zicree, who co-wrote, directed and executive-produced the episode. With all of our talents combined, we’ve created a spectacular product for the Internet, the likes of which have never been seen before.

Most of us professionals who got involved in making “World Enough and Time” have been Star Trek fans for a long time. Some in our group were fortunate enough to work on some of the Paramount-made series but for many of us, original Trek was long gone before we got into the business. For me, in particular, I grew up on Star Trek, but back then, all we could do was watch reruns, write fan-fic, draw artwork, and make models. With the explosion of new technology today, fans are able to make their own live-action episodes and show them to audiences around the world on the Internet without needing studio or network backing. Supported in a large part by James Cawley’s successful career as an Elvis impersonator and the generosity of participants, www.startreknewvoyages.com is an impressive endeavor.

Participation in the creation of “World Enough and Time” episode became a must for me when Marc showed us a clip of the episode made prior to ours. I was blown away by how good the special effects were – they were as good as any I had ever seen on my television screen. “That’s because the effects on New Voyages were done by Doug Drexler who did the effects for Enterprise and then went on to do the effects for Battlestar Galactica,” Marc Scott Zicree informed me when I sat down to talk to him about the upcoming premiere. “He’s one of the top guys, if not the top guy in the industry. He’s an Oscar winner. In fact, he was working on Enterprise while he was doing the earlier episodes of New Voyages, so he had to work under a pseudonym — the pseudonym was Max Rem on the previous episodes. I assume he chose the name Max Rem because he wasn’t getting much REM sleep. I should ask him about that, but I’m sure that’s the reason.”

With this premiere being essentially the first of its kind, I asked Marc what fans can expect to happen on August 23rd at the Fine Arts Theater in Beverly Hills. “There is going to be a 3pm screening for cast and crew, a 7pm screening for cast and crew and VIPs, showrunners, celebrities, etc.,” he explained, “and possibly a 9:30 pm screening for the public but we don’t know that yet, that’s not been confirmed. Then it’s going to be followed by a three-day Star Trek festival showing all ten movies in order. That’s a paid event. The screening of the Star Trek New Voyages episode isn’t. In addition, anyone anywhere in the world can go online at www.startreknewvoyages.com and register in advance and be able to watch not only the episode streaming August 23rd when it premieres, but in real time, the real event with George getting out of the limo and walking the red carpet, all the celebrities, the interviews with the celebrities, the panel after the screening. So it will be literally like they have a front row seat at the premiere.”

If that’s not enough, fans can go online at www.startreknewvoyages.com and register for a contest, where on Aug. 15th there will be drawing and one lucky winner will be flown to LA, put up in a hotel and have dinner with Marc and George before going to the premiere.

With all this going on, I wanted to know what Marc thought made this a ‘must see’ episode for anybody who loves the original characters. “For those who know the original series, there are only 79 episodes,” he explained. “But the people who have been seeing it who are fans of the original show have been calling it the 80th episode, which I consider high praise. In fact, that’s what we were trying to do, because if you loved the original show, this not only captures the feel, the look, the style, the energy and the emotion of the original show, it also brings the modern, cutting-edge special effects plus a level of acting, I think, beyond anything you ever saw in the original Star Trek. George Takei is just brilliant in this. It features him and focuses on him, plus we introduce a new character, his daughter Alana, played by Christina Moses.”

The daughter whom Sulu gains when he’s marooned for thirty years on an alien planet is such a tour-de-force for Christina Moses that the Oscar-winning producer of “Ordinary People” and showrunner on Medium, Ron Schwary, said upon seeing her performance, “That’s a star. She’s a star right there.” Marc testified further that, “It’s an amazing performance, a phenomenal performance, and the audience is moved to tears every time we show it. And I am, too.”

I told Marc that his co-writer, Michael Reaves had described this episode as a “City on the Edge of Forever” for Sulu. “Yes, I think that is very accurate,” Marc agreed. “That is certainly the high watermark we were aiming for. “City on the Edge of Forever” is my favorite Star Trek episode. It’s the only episode where you believe Kirk is actually in love with someone. It’s an episode where the stakes are very real and very high. It isn’t just a hook to save the day and go merrily on our way. It has an emotional cost and I think all good drama should. And so yes, I think that is exactly right and when we were crafting it, Michael and I were looking for ways to really find an emotional truth and really have it be powerfully moving to an audience. And it was. And it is. And I think we succeeded in our aim.”

For a veteran writer/producer with hundreds of television credits (including Sliders, Deep Space Nine, ST:TNG, and Babylon 5) to get involved in a project like this is unusual, so I asked him how it came about – and why, since there were other Internet projects — why this one? “I’ve never worked on a fan project of any kind in any medium because I’m a professional and my goal is to reach hundreds of thousands or millions of people with my work and have it be of as high a level as possible. So normally I’d never consider doing what would be considered a fan project, but in this case, Walter Koenig told me that he was about to star in an episode and DC Fontana, who had written and story-edited the original Star Trek, was about to write it.” This prompted him, he said, to go online and watch the second episode of New Voyages, which was a sequel to an original Star Trek episode called “Doomsday Machine.”

“I was thrilled,” Marc said about seeing “In Harm’s Way”. “I thought the sets were great, the costumes were great, the effects were great, the writing was very fun. I really liked the enthusiasm and the vigor and the intelligence of what they were doing and I saw ways to bring the level of production up in every department so it would be on a par with a network show. And that’s what I set about doing.”

Realizing that Star Trek: New Voyages had an audience of millions, Marc also knew that the timing was good. “I had always wanted to work with George Takei and had never found a role that was right for him in anything I had written on the various shows I’ve been on. And thirty years ago, my friend, Michael Reaves, had pitched a story to Star Trek Phase II, which was a series that Paramount spent a year developing that actually never got made. It was going to be a new Star Trek series with all the original cast except for Leonard Nimoy. This was around 1976-77, and they ended up making the movies instead. But back then, Michael Reaves went on to be an Emmy winner and sold 400 scripts and write for Star Trek: The Next Generation.”

The idea Michael pitched was one where Sulu gets marooned for thirty years all in the wink of an eye on the Enterprise and has a family on this alien planet. “It never got made, but now it’s thirty years later and it seems like this would be a great way to do this terrific story and save on makeup because George would be thirty years older and we wouldn’t have to age him.”

Though Paramount had pulled the plug on the series before Michael’s story had gone to outline, let alone script, Marc knew it to be a terrific story to introduce to the millions tuning in to New Voyages. “I knew I’d be working with a brilliant actor in George Takei and it would give me an opportunity, for the first time, to direct an hour television episode, which I had wanted to do, because I had written and produced many hundreds of hours of television, but never directed.”

So how did he manage to fulfill his desires and get George aboard this project, which our co-producer Winston Engle had aptly dubbed, “no studio, no network, no problem”? Once Marc was convinced of New Voyages’s quality and the possibilities inherent in what they were doing, he asked Michael if he wanted to collaborate. “The moment I saw Star Trek New Voyages, I realized that the world of fan films and world of network television had totally merged and you could reach an audience equivalent or superior to a network show without a studio or network being involved.”

With Michael in agreement, Marc approached the New Voyages producers and James Cawley, who plays Kirk as well as executive produces New Voyages. With their blessing, he typed up a three-page synopsis. “I reworked the story somewhat because subsequently, Star Trek Next Generation had done an episode called “The Inner Light” which had Picard marooned and raising a family. It wasn’t the same story, but there were similarities where I had to restructure it to keep it entirely on the Enterprise so it wouldn’t be the same story.” Once Michael Reaves signed off on the changes, he took the storyline to George Takei’s house.

“I arranged a meeting and I sat down with George and I said, ‘I’ve seen you act in Star Trek and all these other things you’ve done and you’re a brilliant actor, but you never got to do the Sulu episode you deserved.’ Because they only gave him little bits of business here and there. I gave him the synopsis and said, ‘I need you to read this now and tell me if you’ll do it.’ He read it right there and he said yes. And we were good to go.”

Good to go meant spending the better part of the next year building a production machine, to augment what was already on New Voyages. Marc brought in his friends from television shows like Battlestar Galactica, Lost, and Heroes, and movies like Spiderman III and the Star Wars films — basically going after “the A-team of people I would want to work with as a director, in terms of special effects, in terms of storyboard, in terms of actors, in terms of every department.” But these weren’t the only people Marc tapped for his vision. “I run a roundtable in LA of writers, directors, actors, producers, composers, editors, novelists. My wife and I have run that for 15 years, building a community of 500 people. There was a lot of good will stored up from all those years of mentoring people and helping people and all of us helping each other and so, a lot of those people rose to the occasion. Also, James Cawley had made three episodes of New Voyages up to that point, so there were a number of people who had worked on that side of the equation.”

With all that talent behind the scenes and a great script (when I read it, I couldn’t believe how moving it was and how much they nailed the voices), it was fitting to work with a consummate actor like George Takei. “He was wonderful, he was absolutely wonderful,” Marc enthused. “He was beyond my wildest hopes and dreams of how terrific he’d be. First of all, he spent months losing… he lost 15 lbs. He lifted weights for months to get in shape for this role because there’s a big swordfight and he’s in leather. He looks spectacular. You’d never guess his age, given how he comes across in this episode. He looks fabulous. My god, I look older than George Takei does.”

But more than how good he looked, Marc said George was spectacular to work with. “He was a dream. We had these incredibly long, grueling, harrowing days of shooting, because again, I knew that as a novice director, I would have a very hard time getting the pace up. I also knew that with half of our crew being nonprofessionals that again would slow us down. And it did. I was there a week and a half early for prep, just to make sure stuff would be ready, and there were still snafus, of course. But he (George) never had temper, never pulled any attitude. He was always part of the team. He was always looking to make it better. He was never part of the problem. He was always part of the solution.”

Shot in a small town in upstate New York, on a small budget that didn’t allow for anything beyond the necessities, the project faced conditions that were less than ideal. Nevertheless, Marc has nothing but admiration for George’s contributions. “He turned in a brilliant performance, I mean, the last take of the last day we shot in New York, he’s on the transporter, it’s the climatic scene, the climatic moment in the entire episode for his character, and he has this one take and this tear rolls down his cheek and it’s absolutely perfect. And it was after… we had started that day with a table read at 10 in the morning, and we were finished that day at 5:30 am and he was perfect. I’d never see anything like that.”

Nevertheless, the episode did not rest entirely on the shoulders of George Takei. The rest of the cast were playing iconic characters, which not only had to be a weighty challenge for them, but for the director as well. “In terms of the standing cast,” Marc told me, “we worked with them for many months to get their acting chops up as high as we possibly could. And they knew they were going to be working with George Takei and they were going to be working with really polished actors. No one was sloughing it off, no one was just trying to phone it in. Everyone was doing their best possible job. My wife, fortunately, having been an actor and having been a director off Broadway, she was constantly working with the actors between takes to get them into the moment.”

Marc went on to explain that he did two things going in to help the New Voyages regular cast. “I wrote the strongest acting demands on Sulu and Sulu’s daughter, Alana, because they were professional actors and I knew that I could get those performances from them. I demanded less of the other actors and I wrote to their strengths as much as I possibly could. Now, Jeff Quinn, who plays Spock, is a pretty terrific actor. Very subtle. Very very good and so I’m just enormously pleased with his performance. James Cawley, I think, does a very good job (as Kirk). John Kelly who plays Dr. McCoy, his day job is as an actual doctor. He’s a urologist. So we worked with him to draw upon his emotional responses in his real life and so ironically, as McCoy, I think he has a bedside manner and a kind of gentleness… he’s not as irascible as DeForest Kelly, but I think he brings his own strength to the role. Charles Root who plays Scotty is a lot of fun. And Uhura, Julienne (Irons), is a wonderful actress. We had Improv and scene study first, and discovered she’s a terrific actress. So I actually wrote a scene between her and George Takei, as Uhura, just to show what she could do as an actor. And she was wonderful.”

Marc can enthuse about “World Enough and Time” for hours, but I think he best summed it up thus. “I think all of us who made World Enough and Time – we’ve created a story that is, I think, one of those powerful Star Trek stories ever done in any medium. I think people will see it and be blown away. I think we’ve changed how television is made, how television is delivered, how television is perceived.”

Not only that, but it is my belief that Paramount is doing this new prequel movie with a new, younger cast, partially because Star Trek New Voyages has taught them that there is a significant audience out there who is hungry for good original Star Trek episodes, and they are willing to accept other actors in these iconic roles. After all, many different actors do Shakespeare.

So mark your calendar for August 23rd and make a date to see “World Enough and Time,” either in person in LA or on the Internet in streaming video. Spread the word to all your friends and become part of the history you’ve help make. I promise that you won’t be disappointed. This was a labor of love on our part and I’d love to reach every Trek fan that ever was and ever will be.

A Fourth Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Star Trek.
Tags: ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

A MOMENT TO REMEMBER: Filming “World Enough and Time”
In preparation for the upcoming premiere of the Star Trek New Voyages episode: “World Enough and Time” starring George Takei that I mentioned in my last post, I asked the director Marc Scott Zicree to reveal his favorite moment from filming. Like most directors, the first word out of his mouth was “Finishing.”

Since I wouldn’t let him get away with that, Marc went on to say, “Actually, my favorite moment was… there’s a very climatic scene between Sulu and his daughter near the end of the episode and it is an astonishingly emotional, wrenching, powerful scene and the writing on it… I was very proud and pleased of how it read on the page. People would just burst into tears when they read it.

“And we were up shooting that scene, I insisted on everything being quiet. I even didn’t allow people to yell quiet on the set and we had everybody whispering throughout the building to be quiet while we were shooting. I got very insistent about that… The actress, Christina Moses, did the scene and she was dressed in this spectacular costume that Iain McCaig had created. She did this amazing, amazing scene where she was in tears and all of us were in tears, and it was just phenomenal. It was transcendent and profound. It was one of the most moving moments I think in all of film and television history.”

For more insights on the episode “World Enough and Time,” including Marc’s favorite blooper from the filming, see my article at:
http://gollysunshine.wordpress.com/

I purposely used as much new material as possible, because I myself hate to read multiple articles by the same author saying the same thing. But, because I was writing in a new venue, I did have to use some crossover stuff, to explain what the project is all about. So bear with me there.

And if you bear with me through my interviews with some of the amazing actors on this project, I might be persuaded to reveal my own favorite blooper moment… that is, if anyone is interested.

A Third Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Star Trek.
Tags: , , , ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

STEPPING INTO THE HELMSMAN’S SHOES: John Lim is New Voyages’ Sulu
When John Lim stumbled onto the Star Trek New Voyages Internet site, he was impressed with their production values, their sets, and the authenticity of what they had recreated, but he noticed there was one vital element missing: “the episodes that I had seen didn’t have a Sulu character on board,” he told me when we got together in Los Angeles to discuss the upcoming premiere of the newest episode of Star Trek New Voyages: “World Enough and Time,” in which George Takei reprises his world-renowned role of Sulu. So Asian-American John set about rectifying that omission.

A lawyer by trade, he had started acting at the same time that he started pursuing his law degree. “In preparing for law school,” John explained, “I had read that acting classes were a great way to prepare to be a trial court litigator and I thought I was going to spend my days in a courtroom. So I took some acting classes. My first one was at the University of Virginia drama program. I just fell in love with it and thought ‘wow, this is great.’” This new interest wasn’t something that he had explored before and it led to him wrestling with whether or not he should change majors and pursue a Fine Arts degree.

“I decided to stick with the law and see how that played out.” Still, the acting bug wouldn’t be denied, for in law school, he gravitated toward the classes that required presentation skills. He found himself taking classes such as trial advocacy and negotiations – the type of classes, which in his words were classes “where you really need to perform.” And so he had to admit, the bug that bit him wouldn’t let go.

Although he did go into legal practice, the acting bug was still there. “It wasn’t until maybe three years ago that I decided that okay, I still have this interest and I really want to do something with it. So I started pursuing it back East and that culminated into a lot of different things and ultimately led me out here to the West Coast.” Where he’s been residing for the last month, actively pursuing his acting career.

According to John, there is no dearth of projects filming in the DC area, although many of them are docudramas. Thus, he did a docudrama for the History Channel and one for National Geographic. “In Baltimore, which is actually the city I grew up in, HBO films The Wire,” he told me, “so I got cast in an episode of The Wire, which was actually the season finale of season 3.”

Thus the discovery of the missing helmsman came at a fortuitous time, because John Lim was exploring acting again. “I contacted a couple of the producers and whoever was in charge of casting at the time and just expressed my interest. I didn’t expect to hear anything back. I didn’t know what to expect, but maybe it was the same day I got an email response. I traded emails with someone who, I guess, was working on New Voyages in their PR team and then it was maybe a couple of months later that I actually got a call out of the blue from James Cawley (the man behind New Voyages, the actor who plays James T Kirk).”

Cawley’s crew had just finished filming the second episode, “In Harm’s Way,” and they weren’t quite sure what they were going to do for episode three, but he invited John to come and take a look at the sets. “I had no idea where this was filming, mind you.” When he was told New York, he told them that he loved New York City and would just hop on over on the Metro. “No, no, no,” they told him, “you’ve actually got to go a little farther north.” And the next thing John knew, he was on this ten-hour road trip, driving up to the middle of nowhere.

“I’m thinking, wait, this can’t be right, but lo and behold, I met James in way, way upstate New York where there is absolutely no cell phone reception and I’m not even sure they have electricity, no I’m just kidding.” (Note: for a flavor of the culture shock many of us went through filming in this beautiful, but rural area of upstate New York, see my personal account in the October 2006 archive of http://dannygirlpaceyjack.blogspot.com/)

Once Cawley took John on a tour of the set, John Lim, aka the new Sulu, was hooked. “I was blown away by the amount of detail and attention that they had put into the sets,” he admitted. “From that point on, I think I was just introduced as part of the cast and so, as the story goes, I like to say, I pretty much cast myself in this role.”

For which he has to thank a friend of his for alerting him to the fact that people were making Star Trek Internet films. Although he grew up watching the original Star Trek series and some of the movies, as well as Star Wars and other Sci Fi, he doesn’t consider himself a die-hard Star Trek fan. For him, it was just part of his childhood experience.

And yet, an incident in his college years seems to have been a harbinger of what was to come. “When I was in college, that was about the time that George had published his autobiography. I had actually read his autobiography and he was doing a book signing at the campus bookstore. I ran down with my copy of his autobiography to get him to sign it and he had just left. I could see him right off in the distance.” Disappointed, all John could think was, “Aw shoot, I just missed my chance to meet George Takei. Will I ever get a chance to meet the guy?”

A typical response for any thwarted fan, but John had confidence that some day he would get that chance again and would meet his hero. “Next thing you know I actually get to work with him on a Star Trek episode which is the most surreal, bizarre thing…. I never would have imagined it in a million years.”

I asked him what it was about Sulu that made him run across campus, chasing an autograph. “I loved the fact that Sulu was this patient hero on a show and he wasn’t a stereotype, he didn’t speak with a stereotypical accent. Sulu is a character that people admire, people look up to.” Reading the autobiography gave John an appreciation for what George contributed to the character. “There’s an episode where you see the swashbuckler in Sulu come out and he’s with a fencing sword. There’s a story where they originally wrote in the script that he would have a samurai sword, which is what typically you would have expected to see and maybe even today you would see on TV with an Asian character, but he insisted on doing something different and instead of a samurai sword, it’s a fencing foil. And that defines so much of the character, and he just continued to do that. He continued to build on his character and you see this progression of this calm, cool, collected helmsman who also has this kind of fire and that translates and evolves into the movies where we just see him naturally leading off to being a captain of his own ship.”

“World Enough and Time” was an idea award-winning writer Michael Reaves pitched to Paramount thirty years ago as a kind of “City on the Edge of Forever” for Sulu, meaning that Sulu is faced with the decision of whether to give up someone who means everything to him to make the universe right again. Had Star Trek Phase II gone to series, they would have aged George Takei thirty years for his role as “Warrior Sulu” in this. But instead, Paramount scrapped the idea of a second series and went movies instead. This decision made it possible for Takei to now, thirty years later, play the older Sulu who has to make the gut-wrenching, heart-moving decisions, while John Lim plays the Sulu of the Enterprise in its first five-year mission.

So of course I had to ask John how it was to play the iconic role with the man who had created it? Was it daunting? “Well, that’s an interesting question. When I initially started with New Voyages, I had no idea the scope of where this was going to go…. I thought it would be a great experience as an actor. Then shortly after I joined the cast – or maybe a couple of months — was when the announcement came that the next script was going to involve Walter Koenig as Chekov and they were going to cast a new Chekov and the script was being written by DC Fontana, and then all of a sudden everything changed. I think the stakes changed. I think the level of production changed.”

Being a part of that episode, which John doesn’t even like to call a fan film, because he thinks it takes away from its well-earned professionalism and quality (“To Serve All My Days” has garnered a nomination for a Sci Fi Genre award), taught him much which he applied to later working with Takei, even though Sulu didn’t have a huge role in the Chekov-featured episode. “When I found out that George was actually going to guest star in the next episode after “To Serve All My Days,” I guess there was definitely that ‘wow’ surreal aspect, that ‘I can’t believe this, I’m actually gonna be in an episode working with George,’ but having watched Andy (Bray, young Chekov) and how he performed with Walter, and just being a part of that, there’s a sense of professionalism that you come to respect in this production and yes, there are moments when you kinda get star-struck, but at the same time you realize there’s a lot of passion in this. And just having worked with Andy and Julienne (Irons, young Uhura) and some of the other cast members and seeing how much they put into this, you step outside of that star struck mode and you realize that we’re here to do a production. We’re gonna give our hundred and ten percent.”

As a result, Takei guest starring in an episode said to John, “Okay, here is my chance to really put in a hundred and twenty percent. So I… yes it was daunting, yes, in a sense, it was intimidating, but actually having watched Andy and how well he performed with Walter, I thought of it as an incredible opportunity. I saw it as an opportunity to take this to the next level, and see how far we can push it.”

The intimidation factor was further reduced by John meeting George a couple of months before shooting started. “I came out to LA and we did some makeup tests, we did some script reads, we auditioned actresses for one of the other roles and I got to read with George and actually do an improv exercise with him.”

Even better, John got to know George not only as an actor, but also as a human being. “He’s one of the kindest, gentlest, generous people I’ve ever met and just getting to know him as a person and getting to talk to him, you see more than this is a famous guy who played Sulu. I mean, this is someone who has had an incredible career, continues to have an incredible career and has had an amazing life in politics, doing so many different things, and you come to respect that. So when you step on the set, and, getting back to your question, and you are in costume and you see George and he’s the consummate professional, all you want to do is give your best and that’s all you do. Yes, there’s that moment of awe, but then, you get into character and give the best performance you can and hope that resonates with the audience.”

John fully acknowledges that he’s stepping into an iconic role. “We know it is a huge responsibility, but this is what we signed up to do and I think there is a sense of fearlessness and maybe even audacity in taking that on. We have detractors as well as fans, but that’s what it takes. This is a tough industry. It’s a tough business. And this is coming from someone who comes from another tough industry. Although I will say that acting is ten times harder than breaking into the legal profession. And working with these two (note: Andy Bray and Julienne Irons were also present during this interview) and working with the professionals, I’ve been nothing but inspired.”

Without a doubt, part of the drive people felt to get the job done and get it done right came from George Takei himself. “George definitely inspires everyone around him,” John informed me. The energy and positive attitude that radiated from Takei inspired them to be troopers. “’Cause he had to put up with it as much as we did, if not more. Late nights. Makeup for five hours. Very heavy costume. Shooting at 5am. It’s very easy to forget that he’s in his seventies. But he is there and he’s got the energy of a twenty-year old. He’s outpacing a lot of us who are in our twenties and thirties. So, he just inspires us all to put up with whatever we have to and just get the job done.”

No interview is complete without asking an actor to share with us his favorite moment and especially one that made him laugh from either during shooting or behind the scenes. John wasn’t sure if he had a funny moment to share. “I do have one of those, ‘wow, this is surreal’ moments. I have two actually. During “To Serve All My Days” I drove Andy and Walter to the set and Walter is sitting to my right in the passenger seat and Andy is sitting in the back, and I’m just thinking, ‘we’re in the middle of upstate New York in the middle of nowhere and there’s a Sulu driving two Chekovs to the set.’ And then about a year later, we were filming some scenes for “World Enough and Time” in Chatsworth (California) and they were filming George’s scene. I remember Andy and I had come out to visit. I had to shoot some stuff, but it was mostly George they were filming. And then during one of the breaks, it was Andy, myself, and George walking down the hall, and I’m thinking ‘now we have one Chekov and two Sulus.’ Bizarre stuff like that hits you in the moment.”

As for a favorite moment, John claims to have far too many. “In terms of acting, the final scene that I got to do was… draining, it was very emotional, it was a moment that I wasn’t sure I could pull off. We had actually gotten the script several months before, so that was probably the scene I had been looking at and preparing for the most. And I think it was probably ten minutes before we shot that I found the place I needed to go to do that scene.

“But I have so many favorite moments from the shoot. Even when we weren’t in front of the camera, just being able to hang out with George, being able to talk with him about acting and different things, spending time with Andy and Jules… In fact there’s one evening that we were all kind of exhausted and stressed out so we actually took a road trip and we went out to Vermont for hamburgers. It was a lot of fun because when you are shooting up in Port Henry, you are surrounded by nature and that part is beautiful, but you also have to adjust to the fact that there’s very little in terms of civilization and cell phone reception.

“We went on a whim – we weren’t shooting that evening – our characters weren’t shooting that evening so we took this road trip and drove to Vermont. It’s a beautiful state, nothing to take away from it. But our reaction when we crossed the state border, we were literally like, not to make a pun, we were like on another planet. Our cell phones started blowing up with messages and whoa, look at the bright lights, the buildings. And I think at the end of the day, those are a lot of the things you take away with you. Those family moments that you have. As actors, we all had wonderful moments. Like Julienne had a wonderful scene with George. Andy had some incredible moments with Walter in “To Serve All My Days.” So I mean, there are plenty of acting moments, but really a lot of the memories that we talk about, that we joke about, are the ones we shared off camera.”

With so many memories and so much enthusiasm, I wondered if John has been able to keep in touch with George Takei since we shot the episode last fall. “Yeah, absolutely. Just getting to work with George was amazing enough, but… because I’m interested in acting, and pursuing it now much more aggressively, George has been fantastic, providing a lot of guidance. We do keep in touch. He’s extraordinarily busy, he’s just gotten this huge, huge revival of sorts, with Heroes and all his other work, but yeah, he still manages to keep in touch. We touch base every now and then, talk about what we’re working on and he gives me advice from time to time, so it’s fantastic.”

With “World Enough and Time” essentially behind him, except for walking the red carpet on Thursday, August 23, 2007, it was time to talk about the future and what we might see him in next. “Last thing I shot, a couple of months ago, was a commercial back East for Under Armour Sportswear – that’ll be airing next fall on ESPN. Andy and I just filmed a comical, musical video short, which is actually a tribute to one of our fellow castmates, but I’ll leave that as a surprise. I also just had a last minute audition last night for what might be a pilot for a Office-like comedy series.” He also admits to hoping to find a way to get to JJ Abrams to “see if there’s any way we can leverage what we’ve done in New Voyages into roles in the upcoming Star Trek film.” And finally there is the film, which he is working on with Julienne Irons and Andy Bray. “It’s a really funny project – I think it’s going to show a different side of us as actors. It’s something that the three of us collaborated on and really believe in.”

John’s final words were of thanks to the fans for their support: “Thank you for supporting us and remember our “World Enough and Time” premiere is on the 23rd so you can register at newvoyages.com. Also remember that “To Serve All My Days” has been nominated for a Sci Fi Genre Award, which is amazing, and you can keep voting until the 25th… you can vote once a day on their website until the 25th and we’re up against some really, really incredible competition.”

——–
Note: Keep your eyes open for the interview with Julienne Irons who plays Uhura. It will be appearing soon on “This Writer Wrote” at:
http://gollysunshine.wordpress.com/

Another Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment, Star Trek.
Tags: , ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

FROM “SPOCK’S BRAIN” TO “WEAT”: Andy Bray Evinces Why Koenig Picked Him
Andy Bray may have been a Star Trek fan, but he did not seek out Star Trek New Voyages to play Chekov. In fact, he may have had the most unusual introduction to the Internet series of everyone involved. The young actor moved to Los Angeles from Miami directly after graduating high school and started working his way into the business. “I had moderate success, some plays, some small shorts, some small independent movies, did a commercial for the Starz Movie Network,” Andy told me when we got together in LA mere days before the premiere of “World Enough and Time,” the newest episode of Star Trek New Voyages. “So I’d been getting stuff here and there.”

Then came the most unusual offer of all. He was hired to play Chekov in a stage production of the third-season episode of original Star Trek, “Spock’s Brain.” As Andy tells it, “Paramount Studios and The Improv Comedy Club cooked up an idea of doing an actual Star Trek episode word for word and just reenact on stage. We didn’t change it, we kept the music, we used the actual script, we just played it for laughs and we did “Spock’s Brain” which any Star Trek fan knows is the worst Star Trek episode, and so campy. Basically the crew is chasing a space bimbo who took Spock’s brain.” Laughing, he added, “And that’s why I got cast for it.”

When I informed Andy that “Spock’s Brain” did have one redeeming moment for many Star Trek female fans at the time: the macho Captain Kirk on his knees in front of a woman, he quipped, “Really great Shatner acting.”

Nevertheless, the Orange County Improv’s version of “Spock’s Brain” played to sold-out houses. “It was great. Fun show. We finished our run for that and we got an opportunity to take it to Vegas for the big Star Trek convention they do every year there.”

At first, the cast was disappointed because they had been asked to perform on Thursday, when the weekend is the big draw, but as it turned out, it was serendipitous. “Walter was there on Thursday,” Andy told me, “so we got him to come to the show. He was front row, watching the show and he loved it. And he thought I was a great Chekov. He came backstage and spoke with me for ten minutes. We got along great and I thought, ‘this is cool, I got to play Chekov in this show and now I get to meet the guy who invented the role – yeah, that’s pretty awesome. I can end it on a high note.’”

But that wasn’t the end of it. About a month or so later, Jack Marshall, producer for Star Trek New Voyages, contacted Andy and told him Walter Koenig had recommended him to be the new Chekov in New Voyages. “They were doing a new episode and they wanted me to be Chekov and not only that, Walter was going to be in the episode, playing Chekov, and I would be playing Chekov opposite him. So I thought, that’s amazing. Here I was, playing this role and getting to meet the guy, and now I was going to be playing Chekov opposite him. So I said yeah.”

With his involvement in New Voyages being the result of a personal recommendation from Walter Koenig, I asked if he had been able to keep in touch with the creator of Chekov off set. “Yeah,” Andy quickly assured me. “He’s really a great guy and we got to rehearse. He’d have me over to his house rehearsing with him once a week for a month leading up to the episode and I got to know him well. I’ve stayed in touch with him. He keeps me updated on what he’s doing and I keep him updated on what I’m doing.”

Andy admitted that becoming friends with Walter Koenig was a wonderful perk of making the Internet-bound episode. In fact, it was almost unbelievable to him that he would get to be friends with and get to work with the guy whose movies he grew up watching. “He was so gracious helping me with the character, helping me work out scenes with him that we were in together. If something wasn’t working, we’d work it out together, and figure out what worked and what didn’t and make the scene work. Really a great guy.”

Having already gotten Walter Koenig’s approval on his portrayal of Chekov before hitting the set with him, rehearsing with him, and developing a friendship with him – could it still be daunting to actually work with him? “Oh hell yes. When I first talked to him backstage at Vegas, I was plenty cool. I was like, ‘okay Andy, just act like he’s anybody, just be cool.’ And it was easy. I could talk to the guy like there was no problem. I watched the movies growing up, he was a hero of mine, but I could talk to him like a normal person, a normal schmo. Then when I got the part, ‘I can do this, this is not hard, I’m just an actor, I’m cool.’ Didn’t let him know I was a Star Trek fan. Didn’t want to freak him out. I was just an actor actor who got to rehearse with him. And as an actor actor, it was easy — we got along fine. Then we got to set, first day of shooting, walked on together, and there he is in uniform and there I am sitting across from him in uniform and it’s like oh no, this is real. I’m going to be acting… I’m going to be Chekov opposite Chekov.”

It was at that point that Andy got a little nervous. “He’s absolutely the real thing. He is such a generous guy. And he’s such a giving actor. He helped me every step of the way. He’s great to work off of. He gave me plenty to work off of. He’s very cool. He’s very relaxed. He likes to joke on set. We had a fun time joking.”

Andy pointed out that he wasn’t the only one nervous. “The entire crew was. This was the first bigwig Star Trek actor they worked with and the entire crew was incredibly nervous. Walter knew this and so he went out of his way to be fun and to crack jokes and relieve the tension that was there. And once we started doing it, we just kept doing it and it was easy.”

Not often does an actor get the opportunity to play with the creator of a role he inherits – especially when the character has become a cultural icon. I asked Andy what his thoughts were on why Chekov was and still remains so popular. “The character of Chekov kinda represents the era of the show, the 60s, he’s got the Monkees look, Davy Jones, very young. He appeals to a younger generation.” Much of this appeal Andy attributes to Koenig himself. “Walter brought a sense of humor to the character and the show and made it a fun character, made it an interesting character. Sparkle in his eyes, smile, the way he delivered his lines, he’s very, very good at playing Chekov.”

Andy is very insistent that Chekov is Walter’s character and Chekov’s always going to be his character, no matter who plays it. “Anyone who remembers the original show will remember him as Chekov. Me, and the new guy, we’re all just trying to fill his shoes and live up to what he created.”

Working on this project seemed to be important to Walter, for it gave him a chance to have moments for Chekov and to develop the character in ways that the actor was unable to do as a supporting character on the original Star Trek – so important to him that he worked with DC Fontana on the script. “As Walter put it,” Andy explained, “he never really got a chance to be a rounded character in the show or the movies, and this gave him a chance to put a period on the end of the sentence of his career as Chekov.”

Watching Andy work with the rest of the cast and the crew made it clear he was part of their family, even though he had not started with them in the beginning. So it must have been interesting for him to watch the dynamics play out when “World Enough and Time” saw an infusion of people from LA. Andy explained it thus: “The other ones were a set group of people. It was already kind of a family who had been together for three episodes. Some of them had professional credits, some of them are complete amateurs, but giving their best. This one was different because Marc brought his own team on, many of whom were professionals out here (meaning LA, where we both were). Designers who had designed for Star Wars. People who had done special effects for Battlestar Galactica and other shows. Marc and Michael had written previously in Hollywood. Marc had produced in Hollywood and he brought in a team of people who had done lights and camera in Hollywood. All very talented people.

“At first, it was a little rough mixing because we didn’t know these people, they weren’t our family, they hadn’t been shooting with us for the last three episodes. I was a newbie myself. I had only done one previous episode. But the crew, there was definitely a little bit of tension, didn’t want to get their toes stepped on, or anything like that. But I think Marc’s team understood that and they knew that they were coming into our arena and they wanted to make a good episode and they wanted to work with us to make a good episode, so once we got past that and realized we were making a really good episode, and we had a really good script and George was eager, and Marc was eager, and James and everyone was eager, we put our egos to the side and we banged out a really great episode.” Echoing everyone’s feelings, Andy concluded with, “George is so optimistic, you don’t want to let that guy down.”

When asked what his favorite scene was, Andy gave me two. “My favorite Chekov moment is my interaction with John about the Kobayashi Maru. John (Lim) got to take the captain’s chair, and I got to make a quip about the Kobayashi Maru being a no-win scenario.”

(dialogue being:
Chekov: “Isn’t the Kobayashi Maru supposed to be a no-win scenario?”
Sulu: “Let’s hope not.”)

“My favorite overall scene is probably John’s scene at the end where he’s in his quarters and he mindmelds with Spock. He gets to give one of those incredible performances which brings the house down and brings everyone to tears. So that’s probably my highlight of the episode.”

Prompted to talk about bloopers or scenes that made him laugh, Andy reminded that his most infamous blooper is already on the Web. “The ‘F U DeSalle’ blooper that most of the fans know about.”

With Port Henry so heavily wooded and rural, there are plenty of spiders and insects. In fact, flies bedeviled the filming and many times George in his leather and fur costume had to be sprayed down with bug spray to keep the flies off him. Otherwise, we’d be watching an episode with flies buzzing around the Enterprise, and that is certainly not… right. The cabins the actors stayed in were rife with spiders as well and Andy claimed that he woke up many times to feel a gigantic spider crawling on him.

But the spiders did lend themselves to an amusing story. “We were driving to dinner one day. I’m in the back seat, sitting next to Walter and he’s wearing a cap on his head, Yankees, I think. And there’s a spider crawling along the hat. Now this is a guy who’s had heart attacks before and he’s been in the hospital for heart surgery, so do I say, ‘hey Walter, there’s a spider on your hat?’ Would that freak him out? I was worried that I’d freak him out.” He decided not to say anything and hope the spider went away by itself. “I didn’t want to start swooshing at his head. That would be bad.”

Waiting seemed to work because the spider seemed to go away. “Then a couple of minutes later, suddenly Walter jumps up into the air. He goes vertical in the back of the car. I’m surprised he didn’t bump his head, screaming at the top of his lungs, “Jesus Christ” smacking at his hat, “Spider.”

Andy didn’t have the heart to tell him that he had seen the spider beforehand and hadn’t said anything. Instead, he agreed, “Yeah, yeah, that’s a close one. Spiders everywhere here, man.”

Sets are notorious for having people sit around for hours in between rushing around to get their individual jobs done as quickly as possible. People talk, read, write, sleep, watch TV, deal cards, or play computer games – anything to pass the time until they’re needed again to do their thing. Instead of wasting this down time, Andy decided to put it to good use, making a 30-minute vignette of his own, called “Pursuit,” which should be released next year. Whenever he and Julienne Irons (Uhura) weren’t needed for “WEAT,” they could found by the Enterprise’s shuttlecraft with camera and lights. There, Andy would be directing a bloodied and battered Uhura in between calls from the WEAT hot set to be quiet when WEAT’s cameras set to roll.

If New Voyages was squeezing every dollar of its tiny budget till it screamed, imagine what Andy was doing with his near non-existent one. “It forced me to be creative… and rely on acting rather than super cool costumes or super cool effects. I think it shot really well. I think it edited really well. Jules gave an amazing performance and Kurt (Carley) is really good in it. It’s going to be a good little short and right now, it’s in the process of getting the effects done. And then we move on to sound effects and scoring. Hopefully, it’ll be out next year.”

But that isn’t the only thing Andy has on his plate. He’s working on a script with John Lim and Julienne Irons and he is writing a pilot on his own. “A pilot I did last year, I didn’t write it, I just acted in, called Improv High, has gotten second life. We’re shooting a second pilot for it and there’s a good chance that, knock on wood, that it might get picked up by a website that is trying to become a TV channel on the Web with programming and stuff.” This would be a great opportunity, because as Andy said, there would actually be money involved in that venture.

“Otherwise, there’s a couple of projects that I’ve done in the past that are close to getting distributed,” Andy continued, “close to something happening, close to be made into movies. I shot another episode of New Voyages, that unfortunately, Jules and John weren’t able to make it out for, called “Blood and Fire” which is coming out next year.”

Still, the ever-busy Andy wanted to thank fans for watching and downloading their episodes. He leaves everybody with the words, “Keep on trekkin’.”

————

Note: Hopefully in the next few days, I’ll be able to get up a look at three friends demonstrating one of the most important facets of Star Trek: friendship. Look for that in “This Writer Wrote” on WordPress.com at
http://gollysunshine.wordpress.com/

Reposting from “Fireside Chats from Hollywood” blog at TVGuide.com January 16, 2009

Posted by gollysunshine in Entertainment.
Tags: ,
add a comment

It kills me that TVGuide.com eliminated their Community section without regard to what we posted there.  With the help of a friend, I’ve recovered some of mine that was posted in my Fireside Chats from Hollywood blog:

Kathy Lamkin Lays Down the Law on Boston Legal
When Boston Legal first came knocking, Kathy Lamkin had to tell them no. So it would not have been a good thing to tell them no the second time they asked for an audition, but unfortunately, she was in Texas at the time. Luckily for her, Boston Legal’s casting director was a fan of Lamkin’s work on Nip/Tuck and made sure the Boston Legal producers saw Lamkin’s demo reel. That reel convinced them that they needed Kathy to play Judge Marcia Fudge in the Tuesday, November 13 episode of Boston Legal, so they booked her off what they liked in her reel.

In this episode (4.07), called “Attack of the Xenophobes,” Judge Fudge presides over Alan Shore (James Spader) helping Denny Crane (William Shatner) defend himself for firing an associate for being fat – a position which Judge Fudge might not look too kindly on. This promises to be another one of David E. Kelley’s quirky and rollicking signature cases, especially as it seems to be, given Denny Crane’s portly stature, a bit like the pot calling the kettle black.

Led by brilliant, charismatic, and skillful actors in James Spader, William Shatner, and Candice Bergen, as well as the others, Boston Legal specializes in odd-ball, off-center, ridiculous-sounding cases. But Kelley always grounds them in solid law, which is the signature allure of the series. In fact, it’s one of the reasons Boston Legal draws Lamkin’s esteem. “I love the way he (Kelley) argues both sides. You go to this one and think, yeah that’s true. And then you hear the opposite side and think, yeah that’s true. I love my character and I shouldn’t say what she does.”

Nevertheless, while it’s gratifying for actors to be hired off their reels without auditions, it has its drawbacks. A successful demo reel will show the full range of an actor’s capabilities, and hence, Kathy had no idea which role had appealed to them enough to cinch the job for her or what they wanted her character to be. “Is it the child-like woman in Chainsaw, which a lot of people think of as threatening, or is it the no-nonsense nurse? Which role is it that they saw and liked?”

That was the first question she had for director, John Terlesky, when she came on set. She learned that the magic role was the no-nonsense nurse in “Three Wise Guys, which is a Movie of the Week, USA Network, with Eddie McClintock, Judd Nelson, Jodi Lyn O’Keefe.”

Apparently, Lamkin was not only convincing on the reel, but she was credible in real life as well. “I was in the Emergency Room because that was one we shot in Albuquerque,” Lamkin elaborated. “They had an emergency in the emergency room where we all had to stand back because it was a working emergency room. I was back out of the way. I was following the rules. And one of the nurses said, ‘you come here.’” To which Lamkin was shouting back, “No-o-o-oh. Actor, actor. No work emergency. Ac-TOR! I thought she was going to fire me right then and there.”

Probably, Lamkin is best known for her role as the tea drinking lady in the trailer in Texas Chainsaw Massacre, directed by Marcus Nispel and produced by Michael Bay. Not one to watch horror herself, she was nevertheless brought back to play in the prequel. “I’d never been violent in a film before,” she explained. “I’ve always just drank my tea while things go on around me, which always amazes me because when we did Chainsaw the first time, Marcus Nispel put up a request that I’d be in the film and as I understand it from one of the producers, depends on who tells the story, Marcus said that he called Michael Bay and he said, ‘if I can’t have her, then I just quit as a director, not filming anything.’ And then Michael said, ‘you can have both actresses.’”

Texas Chainsaw Massacre also brought Lamkin her first encounter with having fans, and she admitted to being scared the first time people recognized her on the street. As she told it, “I mean I don’t look like anybody. ‘Are you? Are you?’” she acted out in demonstration for me. “‘Maybe, who are you? What are you gonna do to me? I could be.’” In fact, she was amazed at how many of her fans were in junior high school, which as a mother herself, she questions whether they should even be seeing this movie.

Although Lamkin is on her way to the East Coast to start filming her first horror thriller in years, she made time a few weeks ago to talk about Boston Legal and her remarkable ‘dream’ career. Residing both in Texas where her husband works for NASA and in LA with the full support of her family when work necessitates, Lamkin is an inspiration to everyone who wants to live what she calls ‘the impossible dream.’ For she is not the blond, twenty-something, body-by-science-not-nature actress Hollywood tells us is the girl next door (haven’t we all grown up wondering why our girl/guy next door didn’t look like those we saw on television and in films?). She’s the actual mom you see on the street, the woman you shop next to in the grocery, the reality that lives down the street.

“I’ve been told many times that I would never do anything,” Lamkin admitted, “and then I got into theater. There were roles for me I discovered… I started to go against type – the ringer roles. Until I realized that maybe ‘they’ who make the rules don’t know it all.”

Lamkin also learned the hard way not to second-guess directors and producers. A director asked her to audition for him for a musical. Lamkin blew it off because the role was a lead character and had to sing, something she’s uncomfortable doing. When he later inquired why she didn’t show up, she told him that she doesn’t sing. “I do a little bit here and there, when I have to. But with a large lead like this, I just can’t do it.” And he said, ‘How dare you judge me as a director? You will never ever know what I had in mind for you. I had you cast. You just needed to show up.’ When she pointed out she couldn’t sing well enough, he fired back, ‘You could have sung well enough for me… for what I wanted you to do.’”

It was a valuable lesson to learn that she didn’t believe in herself enough. “I’ll never know what he had in mind, but there have been enough people like him, there have been enough Jack Westons in my life, that I don’t judge what a director can and can not do. Or a producer or anybody else.” Even with that life lesson behind her, she confessed, “I do still wonder.”

Another valuable lesson Lamkin learned was to not put her weight on her resume and to let those hiring figure out what she weighs. Because if they have a certain numerical limit in their head, she explained, they’ll automatically say they can’t use a person over that amount, without even seeing what the actor can do. To Lamkin, the criteria should be, “If I’m the best at what you want, yes, you can use me. The motivational speakers have said, there are people who get you and there are people who don’t. Those people who don’t get you will never get you and that’s their problem, so surround yourself with people who get you. There’s no use setting up roadblocks for yourself. You either want to do it or you don’t want to do it. It’s that simple. You figure out what you need to do to get what you want.”

Often, Lamkin encounters the opposite problem: she goes on auditions and she isn’t large enough for what they want. “They don’t realize that I’m not as large as all the characters that I play because I’m wearing a body suit.” In fact, she has gotten quite used to wearing a fat suit. “I think Chainsaw was the first time I did a fat suit… Heartbreak Kid I’m in a fat suit. And for Nip/Tuck, I’m in a fat suit… it was like 85 lbs for the birdseed body, 25 lbs for each arm, and each leg…” According to Lamkin, the fat suit added at least 185 pounds to her natural weight.

Since her role on Nip/Tuck was instrumental in getting the Boston Legal casting director on her side, it was logical to ask her how she got the role as Momma Boone in the episode named after her character, where she plays an obese woman who needs to be surgically separated from the couch she’s been on for the last three years. At the time, they had been looking for three months, reading everybody they could, but not finding the morbidly obese actor they wanted. “They wanted 850 pounds or something,” Lamkin recalled.

During this same interval, to keep her acting chops sharp, Lamkin was attending workshops with as many casting directors as possible and would repeat with them every three months until they began to know her work. On one such occasion, she and her scene partner impressed a casting director whom had never had any projects for her. The complimenting casting director said that she would have given Lamkin a callback on that scene, with just a few adjustments. To the casting director’s surprise, Lamkin asked what the adjustments were. “She said, ‘Did you listen to me? I said I would give you a callback.’ I said, ‘I heard you. But what I want to know is what are those adjustments and can I make those adjustments quickly for you.’ And she said okay. She gave me her adjustments and I made the adjustments. She said, ‘ballsy. It worked.’”

Although Lamkin’s intention was merely to learn (“I won’t learn if I don’t take a chance.”), her willingness and ability to make the adjustments so impressed the casting director that she facilitated a meeting with UDK Casting, which is a casting company in LA that is very hard to get into and casts Nip/Tuck. That casting director liked her audition and gave her a callback. “So I go to the producers’ session where all these women… usually there’s like three or four, but there must have been eight, nine, ten women out there, all of larger size. Most of them crying. I’m sitting there, telling myself, you made your choices, you got a callback on your choice, don’t change your choice now. Just because they’re crying doesn’t mean you have to cry and so I go in there, big table, people, and I read with the casting director that I had auditioned for. Afterwards, as they go around, they each say something and then we get down to the guy on the end. And he says, ‘What are you, Kathy, some kind of f*ck*ng acting genius?’ I’m like, uh, I’m me. He says, ‘You’re brilliant.’ I’m like, okay, I’m a f*ck*ng genius. By noon, I got my call that I booked the job. By one o’clock, they wanted me back in the Valley to do a body cast, so that they could start with that. Because they had ten days to get that done.” Later, while editing the episode in post, the director Elodie Keene called Lamkin and told her she was brilliant and thanked her for working on the project. “I had what they were looking for in the character,” Lamkin added, not wanting to sound egotistical. “All you can do is put it out there. Keep it real.”

Lamkin confessed that she doesn’t know what it is in her performances that people respond to. “Either you get me or you don’t. I just do what I do … if you like it, fine, if you don’t, that’s your problem.” Lamkin also believes they respond to different things, among which is her naturalness of delivery, something she’s often been complimented on. “I’m known now as the Queen of Deadpan since Boston Legal.” This tidbit was told to her by one of the producers sitting in the video booth, known on Boston Legal as Video Village. “I studied with an actress before who I admired very much,” Lamkin explained, “and she was neutral-faced. Neutral body. Let the audience read into what they want. Don’t give a definite answer. But a neutral voice, a neutral face, a neutral body.” That intrigued Lamkin because it was similar to working inside a mask. “So I try to do less is more in my acting. I try to keep to the real.”

Bringing the conversation back to Boston Legal, Lamkin admitted there was a surreal quality to working on the show. A few years earlier, she had been signing a script for a fan and noticed that James Spader had signed it before her, now she was actually on set with the man. “Here I am interacting with him but I’m in the judge’s bench. That difference seems like a football field. Like I’m sitting up here and they’re out there talking to me. We have eye contact, but there’s no physical contact with the judge.”

Asked if she got to talk with them in between scenes, Lamkin said, “I got to talk with Shatner a little bit. James had a long monologue day and I know when I’m like that… he came up in the beginning and introduced himself. We didn’t chitchat. He’s very focused and that’s what you want him to be.” And that was fine with Kathy as she was there to do her work and go home. “It’s not a big social – I talked to the director when I first got on set and he talked with me some and when I’m on set like that, I’m there to work so I don’t socialize much. I have memorable experiences but it’s not a social club for me.”

There’s more downtime on a movie set than a TV set because TV filming moves at such a fast pace. Hence, more time to get to know your movie co-stars when you don’t want to walk all the way back to the honeywagon and be isolated. And according to Lamkin, the David E. Kelley & Craig Turk-written Boston Legal episode went very smoothly, ran like clockwork. “Once, we changed the blocking after we had set it up and then we came back to do a rehearsal, and it was like, whoa, what happened here? That was an interesting moment. We had to adjust for the blocking we had rehearsed before the lights were set to the blocking we did afterwards.”

But nothing that delayed production like the hailstorm that came up while she was shooting No Country for Old Men in a trailer in New Mexico. “The power went off and there were all these lights and camera stuff and hail coming in hitting me in the back, since it’s a small trailer. I don’t know how many people you can fit in a trailer, but I think they reached capacity. And I was looking up at the ceiling starting to fill in with water. I’m looking up, figuring it can’t go much longer without bursting, and people are just walking around covering instruments. Meanwhile I’m watching: One here, one here, one big one here. And thinking: Why me? They weren’t concerned. I mean they kept a neutral face, which was good. My face was not neutral. I never knew that you could hold that much water in a ceiling and not have it burst down everywhere, but that whole roof leaked like a sieve.”

Still, there was one moment which Kathy would have rather not happened, where she inadvertently stepped on one of James Spader’s lines. “Sometimes when someone takes a long time, you think they forgot the line, but he was just taking a dramatic pause. He just politely reminded me that he had one more line. I only did it once.” And unlike theater, in television you can correct the mistake in the next take.

What she remembers most about her experience is how nice they were to her and what a great set it was to work on, from the director on down. How they gave her a dressing room just off the sound stage. “I didn’t have to go out to the honey wagon and hike it up the stairs.” And she was just steps away from the set. She fondly recalled the great and unexpected breakfast she had of egg whites, turkey bacon, fresh fruit, and all the stuff that she loves. And she remembers how “everybody was freezing to death” while she in her judge’s robes “was burning up from the lights.”

The biggest surprise for her was that the judge’s reaction shots are shot at the end. They go through the day and get everybody else’s coverage and then they turn around and get the judge’s coverage. “You’re the last shots of the day.”

Lamkin is often amazed that she is getting to live her impossible dream. “There’s times it just strikes me, I’m here doing what I love, with the support of my family behind me. It’s been the year of the brothers for me. The Polish brothers (Michael & Mark, The Astronaut Farmer), the Coen brothers (Ethan & Joel, No Country for Old Men), and the Farrelly brothers (Bobby & Peter, The Heartbreak Kid) in their films.” She seems to have made it to the level where she is getting scripts offered to her without having to go out after them, like was the case with Boston Legal.

Lamkin’s horror fans will be pleased to hear that she’s currently working on a horror thriller in Virginia called, Staunton Hill, with director Cameron Romero, whose father George Romero is known for horror films. Not only is it a starring role for Kathy, but they rewrote the script for her, putting in some of the Alfred Hitchcockian psycho thriller influence that she prefers to “slash and die.” “It has to have some intrigue in it, so they added that element into it,” she admitted.

It’s a long way from the girl whose dad told her, ‘you can go to college, but you have to be either a petroleum engineer or you need to be a secretary.’ But through her own talent and perseverance, Kathy Lamkin is living the dream many people told her was impossible.

Saying Goodbye to Stargate Atlantis January 13, 2009

Posted by gollysunshine in Uncategorized.
add a comment

I’ve never had time to explore all the things you can do on the net, but Joe Mallozzi put  up on his WordPress blog one of the takes of the final scene of the Stargate Atlantis series finale.  It makes me sad to see the series go and since this take epitomized what I loved about the series — the camarderie of the team, the interactions between the characters and the people who brought it to us, I wanted to be able to see it easily again. 

So I’ve done what I’ve never done before and learned to do now,  grab a video from the net 

(http://josephmallozzi.wordpress.com/2009/01/12/january-12-2009-on-basilisk-station-by-david-weber/)  

and embed it here.  Since I don’t have a lot of time to blog, it would be so much easier for me to find here, than try to find it on his again.  I would have just downloaded it to my computer, where it would be even easier to find, if I could figure out how to do that.  But that’s another lesson I’ll need to learn, on another day.

This Writer Wrote › Tools — WordPress.