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Ekta

@HaymurS

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Posted: 11 years ago

WELCOME TO SUPERNATURAL INTERVIEWS N NEWS CORNER

kindly post all interviews of the cast and few crew of supernatural here😳

links of previous interviews:

- MishaCollins Talks Castiel's
Humanity,Sexual Prowess And
Season 9Journal
https://www.indiaforums.com/forum/supernatural/3794464/mishacollins-talks-castiels-humanity-sexual-prowess-and-season-9journ

- Felicia Day talksCharlie's return, a
new spin onDorothy of Oz
https://www.indiaforums.com/forum/supernatural/3793044/felicia-day-talkscharlies-return-a-new-spin-ondorothy-of-oz-and-a-t

- Being Guy NormanBee - All
StarDirector
https://www.indiaforums.com/forum/supernatural/3786506/being-guy-normanbee-all-stardirector

- Interview : Zabrina Matiru SPN
Makeup artist
https://www.indiaforums.com/forum/supernatural/3783728/interview-zabrina-matiru-spn-makeup-artist

- Denver born actress Shannon
Lucio shares stories from the set
of Supernatural
https://www.indiaforums.com/forum/supernatural/3782454/denver-born-actress-shannon-lucioshares-stories-from-the-set-ofsupe

- Osric Chau interview by
supernaturalwiki
https://www.indiaforums.com/forum/supernatural/3778318/osric-chau-interview-by-supernaturalwiki

- Article: misha on the money!!
https://www.indiaforums.com/forum/supernatural/3778269/article-misha-on-the-money

- HT-BRUNCH J2 will love to come to
India..
https://www.indiaforums.com/forum/supernatural/3772875/ht-brunch-j2-will-love-to-come-to-india-d

Edited by devilish-grin - 11 years ago

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Ekta

@HaymurS

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Posted: 11 years ago

link:
http://canadianfilmreview.com/interview-amanda-tapping-talks-random-acts-of-romance/

INTERVIEW: AMANDA TAPPING(Naomi) Talks
RANDOM ACTS OF ROMANCE

Amanda Tapping ends our interview
with "I just feel like I have called up
a friend and had a chat," which is
high praise indeed. As a journalist it
is one of my chief goals to make a
Q&A feel like a conversation between
two people. The scrutinizing
questions can be left to political
journalists but sometimes those
chats do produce great fruit and
speaking with Actress and Director
Amanda Tapping about her new anti-
rom-com film Random Acts of
Romance , her thoughts on female
directors and on why she embraces
the name her fans have adopted for
her as the Grand Empress of Sci-Fi
ends up being both a good chat and
thoughtful discussion.
RANDOM ACTS OF ROMANCE:
Tapping comes across as stoic,
smart, and as insightful as her strong
characters in Stargate and Sanctuary
in our phone conversation. She is
currently directing an episode of
Arctic Air and tells me how she
enjoys being behind the camera as
much as she enjoys being in front of
it. Yet, I hear something else in her
voice - she seems delightfully
friendly and amiable, although her
new role in Director Katrin Bowen's
film Random Acts of Romance as
Dianne, a woman stuck in a spiraling
downward marriage to a younger man
doesn't have much of Tapping in the
character, you can see clearly that a
vulnerability peeks through in her
performance and on the phone that
does not necessarily belie her
"Grand Empress of Sci-Fi" moniker.
So, how did Tapping go from sci-fi to
an anti-rom-com? She tells me " once
I knew Katrin Bowen was attached to
the film I said I'm in.' I've known
Katrin for about fifteen years. She
was my stand-in for awhile on
Stargate and photo-doubled me. I
always thought she was a really
interesting, smart and funny woman.
She is just such a go-getter and has
an infectious energy. It was kind of a
no-brainer and then I read the script
and it is a terrific script. "
Katrin Bowen previously directed
Amazon Falls and in her second film
tackles a multi-layered, multi-
character driven story about
relationships and love.
Although this was not Bowen and
Tapping's first collaborative effort,
this was the first time in a Director
and Actor capacity. Is Bowen a big
picture Director or a details driven
Director? Amanda says "I think Katrin
is a bigger picture type director. It's
not that she misses the smaller
details, but when she gets to set she
has it all come together. Her energy
is infectious and when we were doing
the comedy moments, she is
laughing so loud behind the monitor,
it might ruin the take but as an actor
it is like doing your work in front of a
live audience and getting that instant
feedback. Sometimes the whole set
was laughing because Katrin was. I
think that is a gift of joy on set ."
Random Acts of Romance is a timely
film and no couple reflects that more
so then Dianne, played by Tapping,
and her husband Matt, played by Zak
Santiago. Dianne met Matt when he
was at College and she was his
Professor. Dianne is removed from
the college and not allowed to teach
elsewhere when the scandal breaks
out. Dianne and Matt, still in love, get
married and a few years later Matt
idols away his days while Dianne is
working at a job she hates to
ultimately be the primary source of
income for the family. Random Acts
of Romance seems incredibly timely
as you read all over the newspapers
these days women have been dubbed
the new family breadwinners,
essentially switching gender roles,
much like Dianne and Matt and what
we see in RAOR is the constant
negotiations of this new dynamic.
I asked Amanda to weigh in " Dianne
started out as Matt's authority figure
and still treats him like that. Their
relationship has come from a very
awkward place and has grown into
an even more awkward place
because although she is no longer
that authority figure, teacher and
mentor, she still puts herself in that
position. She plays a real duality
between mothering Matt and just
passionately wanting to be loved by
someone and constantly trying to
reignite that shared passion. "
She also sees the other side of the
coin in Matt's struggle " I wouldn't
say Matt is lazy, he is directionless.
He is a ship without a rudder. He is
still in that same place that he was
in college, which frustrates Dianne to
no end and she had to take on a job
she hates to support them and he
doesn't step up. I think Matt wants to
step up, he just doesn't know how. I
think there are a lot of people out
there like that. "
Considering how insightful Tapping is
about Matt and Dianne, she really
doesn't have much to pull on in her
own life but she does understand
their desire to grow together "I
approached this as someone who
has been happily married for
nineteen years in my real life, so it
was interesting to come into a
project like this. My husband and I
have grown up together so I
understood that journey of
commitment. "

FEMALE DIRECTORS:
Considering Random Acts of
Romance was Directed by a woman
and Tapping is taking on that
profession herself, we discussed how
far female directors have come in
Canada and whether being directed
by a woman differed in any way from
their male counterparts. " For the
most part I have been directed by
men, but I have been directed by a
handful of women and I think just by
their nature, women bring a different
sensibility to directing. As a woman,
playing this vulnerable character
[Dianne], Katrin made it safe. She
made it safe in the broad comedy
moments and in the moments that
were outside of my comfort zone but,
as a whole, she made it very safe on
the set. I trusted her implicitly. "
Tapping sets high expectations on
herself as a Director and on the
Canadian film industry to help
improve conditions for not just
female directors but all professions
behind the camera " I still see the
struggle of female directors, writers
and producers for films that are
green-lit. Even though I know there is
a lot of us out there and we are more
in the forefront then we have been
before but we are still woefully
underrepresented. The other day
when I was on set directing an
episode of Arctic Air, about fifteen
women of cast and crew had
congregated behind the monitor with
me and it was a sight to be seen. I
spoke with a woman many years ago
who had her entire crew be women
and she said it was a beautifully
collaborative effort. That archaic
1980s perception that women can't
work together doesn't apply. I have
enjoyed my experiences with male
directors but as a woman going onto
a new set I feel I have a lot to prove
- whether that be because I am an
actress proving I can direct, or a
woman who can direct, or maybe
those are just my own expectations.
It is certainly something I think
about. "
THE GRAND EMPRESS OF SCI-FI
We also talk about Tapping's sci-fi
work and frankly, I may have met a
number of kings and queens in my
time, but this may very well be my
first Grand Empress...self-titled or
otherwise..." someone once
interviewed me and said I was the
Queen of Sci-Fi and I jokingly
answered back that I preferred the
term Grand Empress' which has
stuck like velcro and now I have
come to embrace it. "
I ask if sci-fi came to Tapping or if
she was drawn to it - or better yet -
is it a case that strong women are
often portrayed in science fiction and
those were roles she wanted to play?
"I think the latter is the situation. I
am not comfortable playing super
sexy or bimbo, but I like playing
vulnerable as I did with Dianne, as
any actor does, but I gravitate
towards roles where women have
strength and that certainly put be in
the science fiction sphere. Stargate
was something I never, ever thought I
would get. When I did get the role I
was shocked and thrilled in equal
measure. It was totally in my wheel-
house to play that kind of character. "
It seems like an enormous stretch to
go from an in-control character like
Dr. Helen Magnus or Samantha
Charter to the angry and unsure
Dianne in RAOR watching her world
unravel around her. I asked Tapping
if this was a change of pace to take
on such a polar opposite "It was a
refreshing change of pace for me.
Very liberating to play a character like
Dianne and in a completely different
genre. She is really a messy mucked
up woman. The last scene for Dianne
I found absolutely heartbreaking. "
RANDOM ACTS COMEDY TROUPE &
SPONTANEOUS UNIVERSAL SYNERGY
Years ago, Tapping had a comedy
troupe called "Random Acts" and
although the film is called Random
Acts Of Romance it surprisingly has
no affiliation with the troupe. Simply
a random act of the universe one
might say, or at least that is what
Amanda and I would dub this type of
situation where the universe
connects the dots and we see the
bigger picture afterwards. Amanda
can recall other times this
spontaneous universal synergy
played a part in her life, she tells me
about how her father wanted to call
her "Samantha" and her Mother won
instead and so she was called
Amanda', but her Father has always
called her Sam, and her role on
Stargate ended up being a character
named Samantha. She has three
brothers named Richard, Christopher,
Steven and a half brother called
Michael, when she got to Stargate
she was working with a Richard,
Christopher and Michael. "I love
those moments ," says Amanda.
ON BEING BRITISH...SOMETIMES
Amanda and I both have British
parents and were raised partially in
England and mostly in Canada
(Tapping was three when she moved
to Canada). We joke about sounding
a lot like Osbourne children and I
start talking about the Canadian'isms
and British'isms that people call me
out on regularly, which I think is bad
enough but for the first time I hear of
something more inane she must deal
with, Amanda tells me of performing
on Stargate playing an American and
getting feedback that she read her
lines "too Canadian" or "too British."
That when she was on Sanctuary
playing her role with a British accent
the Brits embraced her accent and
the Americans would complain it
wasn't British enough. As I have
learned, and Amanda too, you can
immigrate, migrate, change, adapt
and act, but sometimes your accent
peeks through and sometimes others
think you not British or Canadian
enough, or mostly, Australian.
I get the sense that Tapping likes her
multi-accents though, as much as
she likes stretching her legs in
different roles and stepping behind
the camera at times too. Nothing
seems truly random about Tapping's
career or her life, she seems truly
situated where she should be and
happy to follow the road where it
takes her.
Random Acts of Romance comes out
on November 8th at the Carlton in
Toronto.

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Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

link:
http://www.digitalspy.com/tv/news/a529339/missi-pyle-kurt-fuller-to-appear-in-the-crazy-ones.html

Missi Pyle, Kurt Fuller(Zacharich)to appear in
'The Crazy Ones'

Missi Pyle and Kurt Fuller will appear
in upcoming episodes of The Crazy
Ones .
The Crazy Ones has previously
featured guest stars Kelly Clarkson
and Josh Groban in its comic
portrayal of a top advertising agency
run by a father and daughter (Robin
Williams, Sarah Michelle Gellar).

Kurt Fuller
Pyle has been cast as the daughter
of one of Simon's (Williams) closest
friends, while Fuller will play an
executive who tries to make Simon's
life miserable.
Their guest appearances are
expected to air in the winter,
according to Entertainment Weekly .

The Crazy Ones
Upcoming episodes will also feature
Adriana Lima and the Harlem
Globetrotters.
The Crazy Ones airs on Thursdays at
9pm ET.

Quote

Ekta

@HaymurS

Achiever

+ 3

Posted: 11 years ago

The Life and Deaths of Julian Richings

An interview

For years, I wondered when we would see Julian Richings onSupernatural.

A fine actor with a very distinctive, almost cadaverous visage, Richings became an iconic figure of Canadian film, with breakout roles in Hard Core Logo, Cube, and The Claim (a Canada / UK / France coproduction). Meanwhile, he continued his career in theatre, the line of work that brought him to Canada (he was with a touring UK theatre group when he met the Toronto woman who would become his wife), and built a portfolio of mainstream movie work in everything from the Eliza Dushku slasher horror Wrong Turn to superhero movies X-Men: The Last Stand and Man of Steel.

When Supernatural finally cast Richings, they weren't fooling around: they cast him as Death, arguably the most powerful -- certainly the most enduring figure in its universe. (In "Two Minutes to Midnight," Death tells Dean that at some point God will die, and "at the end, I'll reap him, too.")

Richings's new-found fame has brought him onto the convention circuit, which gave me the opportunity to speak to him before his appearance at the Edmonton Entertainment and Comic Expo on September 28 and 29, 2013. (My tweets from his panel are on Storify.)

Our phone conversation took place a few weeks before Supernatural's Season 9 opening episode aired. Besides the show, we spoke about how he called upon his training in the European theatre tradition for his role in Man of Steel, current theatre projects, and a trio of new films that may turn B-movies into the new cottage industry of Ontario's cottage country.

Sequential Tart: I am very much looking forward to your return on Supernatural.

Julian Richings: Now everybody knows, right?

ST: Yeah, everybody knows! Is it a problem to keep something like that secret?

JR: Well, there is such as huge and loyal fan base. I see a lot of people on the street every day. People know me and recognize me, and they are always asking, "Are you coming back? When is Death going to be back?" And so it's kind of nice to be able to tell them something specific. With a show like Supernatural you also don't want to do any spoilers. You're very careful to keep the whole excitement of the show going, so you don't want to give too much away. So now that it's out there and in the open it's okay. We can talk about it a little bit.

ST: I was thrilled when they announced your casting because the other thing I thought was there's got to be some job security around be cast as Death, because who is going to kill Death?

JR: That's right, yeah! I seem I keep coming back to it too, like my agent would sometimes say, "You know what? This is another grim reaper role for you," or it's a version of Death, you know, it's not actually called Death, but it's somebody very similar with similar properties. [Richings played the Ferryman in Percy Jackson and the Lightning Thief.]

ST: I just saw that there is a little film that you did called Dave vs. Death.

JR: That was so weird! Yes, it was such a strange coincidence!

ST: When did that happen?

JR: We shot it three years ago. The weird thing is the guy that wrote and directed the film is an AD [assistant director Patrick Hagarty] that I knew in Toronto films for many years. He always said, "Oh, you know, I've got a couple of ideas for a short film. Would you be interested in helping me out?" Sure!

The strange thing was I went to do Supernatural, I did Supernatural, and there's always a fallow time between when you actually shoot the episode and when it comes out, and in that time he said, "The film's come. We've got the money. We've got to shoot it by the end of the month." And I shot it, and I went wow! This is weird. I'm shooting, like, this is Death!

Anyway, so he had no knowledge of the Supernatural role. I think I shot the first episode of Supernatural that I ever did and this short within weeks of each other. It's just one of those very weird things that happen. I guess I was meant to play Death.

ST: I actually was very kind of curious about how you would go about playing Death because there's a huge history of Death being fictional -- Dave vs. Death very specifically referenced The Seventh Seal. So how do you prepare to play Death, and how much of it do you like to bring in and how much needs to match with the notes that you get?

JR: I am always sensitive to the director and the writer and what they want because I mean that's what it comes down to. I mean, you and I have our notions of who Death is culturally, what the origins of his character are and the traditions -- Death is an important figure. But because he's so iconic, he's actually used in a very different way in pretty well every different project, even in Dave vs. Death, even though superficially -- I mean they [Dave vs. Death andSupernatural] were shot within a month of each other, so I am going to look the same, and the guy came up with the same idea that oh, it would be great if you look very neat and tidy. That's one of those weird coincidences, but the actual function and the style of the pieces are very, very different.

So, really, I go in, and don't go, "Oh, well I can't play Death this way." I go in with what's there and what's required of me. I think withSupernatural, right away I read the script and it is so great and they introduced so many interesting elements like the junk food element, and the closeness of the relationship with Dean -- there's almost like a paternal thing going on there, or a kindly uncle, or a stern uncle, I guess. I took those qualities and of course, knowing that I am playing Death and I have ultimate authority, but those were the important qualities for that show, for Supernatural. Those were the ones that I played with, and I played with the idea that I didn't have to take myself too seriously. The script was written in a way that there was a nice kind of a lightness to everything: he'd stopped talking about the Universe and killing God and then take a sip of a Coke.

I just took that as my inspiration, but I obviously come in with ideas of who Death is and what he is, but I basically used the Supernaturalscript and thought, "Well, you know, this guy is the most powerful guy around. He doesn't have to prove himself. He might as well just relax and enjoy himself and play with Dean and talk to him."

ST: Are you able to say whether your relationship with Sam has a different quality?

JR: Well, I can't say too much, all I can really say is that, and I think it's pretty clear with the teasers and everything is that I am kind of there on Sam's terms. I'm there as a part of Sam's thoughts, so therefore, it's going to be slightly different. It's not got the same quality as the narrative of the earlier episodes in season 7, season 8. There's a different twist to it, but same character, same function. When Death is in the room, you've got to be careful.

ST: Was the role of Death presented to you as a one-off, or was it always going to be a multiple appearance?

JR: The way it worked was that I was pretty busy at the time and they got me for the one episode, the one in the pizza parlour, and then they asked me back to do a couple of more episodes, so I think it went down well and we'll see. It works both ways. We haven't got any sort of contracts with each other. We rock 'n' roll with it.

And that's very much my thing. I am a very specific actor. I don't follow the usual career path. I am very busy all the time, but it tends to be very specific work, and it's a double-edged sword. Sometimes I lust after being in one place for a sustained period of time, but a lot of the time, I am very happy to go and do projects that I really enjoy and parachute in and do something, and go out and go do something else.

ST: Speaking of rock 'n' roll, I was wondering what it's like to come back to a character that you might have thought was one-shot. I guess I am thinking of Bucky Haight [in Hard Core Logo, where there's quite a bit of lag time between projects. How do you get back to that?

JR: Well, you grow and you age. Bruce [McDonald] was in the same situation as the filmmaker [McDonald plays "Bruce D," the fictional filmmaker of real Hard Core Logo], and the film itself had gone through several different incarnations. He'd been trying to get it going for 15 years basically, so each period of time that he tried to get it greenlit, it represented a different phase in his life. There were still people interested out there, and he still wanted to do this film, so that was where he was. With Hard Core Logo 2, one of the most prominent factors is his wedding and his daughter Charlie, and that comes out. He's still into rock 'n' roll in a big way, but he's a more reflective filmmaker looking back on the art of filmmaking, his responsibility as a director of how he treats actors and music and rock 'n' roll, and how he treats his family.

At the same time, I've grown those 15 years, too, with him and we both of us said we weren't ever going to try and repeat the first Hard Core Logo 2 because it was such a cult film. It was so important that you can't just do a sort of a shadow of it or an imitation of it. It has to just go completely in a different direction. Even though it's a sister film -- in some ways it's a little misleading to call it Hard Core Logo 2because it really does have its own life and its own style -- it looks at the success of Hard Core Logo, so I think it's valid, but it creates a bit of an expectation that some people were disappointed by. But I felt Bruce was very brave as a filmmaker to just take it in his own way.

As an actor I just play Bucky a few years older, 15 years more seasoned, more, I guess a little more corporate, a lithe more cynical, and a little wiser, and certainly off some of his addictions.

ST: That's interesting because you can do that because of the independent scene: you know Bruce, and you've grown together, but that's in contrast to something like Man of Steel (he played Lor-Em), where you're brought into, not only a big movie, but part of a very large franchise.

JR: Absolutely! And it's very carefully choreographed.

ST: In what way?

JR: It is a very different exercise, as you point out, when you go onto a set like Man of Steel, quite rightly it is tight. It has to be tight because there are so many factors, and it's such a huge film with so many effects. When I went in -- I was only there a few days -- but there was an enormous arena of green screen -- I have never seen so much in my life. In the foreground there was an incredibly complex set of marks and kind of reference points for special effects that would later on put in some of the characters -- you know, make them 10 foot tall -- and so it was kind of weird because you're acting against Russell Crowe, Michael Shannon, and then a guy wearing a cape with a tennis ball on a rod off the top of his head. You have to give each one their own, individual attention, but it's a very technical exercise.

But [director] Zack Snyder is a master at this stuff and he runs a very tight ship. Not that it's disciplinarian or anything, but it's just very clear and very focused: the parameters are clear. That's kind of fun too. I don't have a problem with that kind of filmmaking. It's actually quite pleasant for me as an actor. It's like fitting into a dance, with very clear music and very clear steps. You join in and you go for it.

ST: I saw an interview that you did with Inner Space on SPACE, and you mentioned your training is actually in the more European theater tradition. Do you call on that for your film and television?

JR: Absolutely! I act with my body. I absolutely do. My impulse comes from the center of my body always rather than my head. I grew up and trained in Britain. There is a great British tradition of a very narrative, talking, you know, very well-spoken tradition of British actors, and they are great, right? But my timing is much more physical. I went to Poland. I studied with Jerzy Grotowski, and it's almost like a dance, the way you use the body. So even in the film where I am quite constrained -- obviously my movements aren't going to be as huge as they are in the theatre -- I am really using my body very specifically.

ST: What attracted you to go to the movement tradition when you were younger and you were making your choices?

JR: As a kid I was inspired by film noir, movies, especially German expressionist movies from the 20s and 30s, Metropolis is an obvious one. I thought they were incredible. Zro de conduite [by Jean Vigo]. These were great films from Europe in the early days of movies where the human body, the human form moving across space was very, very important and told a story. I was fascinated by that, and I tended to find a lot of the talky theatre a little bit dead. I mean I went to theatre school in the 70s, when that tradition of weekly repertory was dying in Britain. There was a change. Either people were moving on to new, alternative spaces like schools, and youth clubs, outdoor arenas to try and mix it up, or they were going back to different roots like to the East, to different traditions of theater. I went in that direction and I as part of my training, went to Europe, went back to the Japanese No theatre, back to those influences.

ST: In recent years there's a change in things outside of the profession in itself, I'm thinking of the fan engagement with social media and conventions. I gather you've been to Supernaturalconventions and other fan conventions. Have they made a difference or how do you factor that as part of your work now or your career or your outlook on your performing?

JR: It's taken me a year or so to get used to it. I must admit, I went in at first thinking, "Well, that's not real work, you know, that's weird, only weird people." I always think of the funny movie Galaxy Quest. You remember that?

ST: I love that!

JR: There's Alan Rickman's character, moaning and going, "To think I played Hamlet once," and signing autographs.

I kind of went in with that attitude where, "Well, this isn't proper. This isn't what real actors do." But I've never been in a show likeSupernatural and I suddenly realized the interconnect between fan and show is a whole different thing and with social media, I mean there's that direct connection, and it was amazing. Ever since I have been in Supernatural, my whole approach to fans and to our audience demographics has changed and I recognized that they are actually kind of really fascinating places, the whole convention circuit.

Now, they are wildly different. There's a whole different series of them. The ones with Supernatural I have really enjoyed, and I think they have been very well managed, and I really do think that it's an opportunity to directly meet your fan base, and that's incredible.

It's not come easy to me. I am a bit of a technophobe, so social media is a bit weird. My wife and my daughter [help]. "You've opened this for me, what the hell do I do here?" I don't find it easy. I tried to tweet a little bit. I tried to be like really current, like Misha [Collins] on Supernatural who has a million followers. I tried to do it and I probably got six and gave up, not because of the number of people, but because I was so boring and I couldn't keep it up. It's just, it's not in my DNA to do this stuff, but I really appreciate it. I guess the convention circuit is the closest I come to that genuine interaction. I really enjoy them, and I feel that I've got better at it, too. I feel that I come with right approach. I'm not like Alan Rickman, believe me!

ST: You still do theatre in Toronto. Do you ever tour with it? I'm being kind of selfish because Edmonton is a huge theatre town.

JR: Well, it's great. It's got the Citadel, of course.

ST: And the Fringe.

JR: Yeah, and the Fringe. I am not averse to it. It just gets a little harder as you get older. Your decisions get tempered by family, by commitments and stuff. I do, I just did a really great Sam Shepard play [Geography of a Horse Dreamer. It was a 50-minute play. It was part of a series here [The Playwright Project]. Seven Sam Sheppard shorts, all in seven days, in seven different locations. We went to non-traditional venues like pizza parlours, coffee shops, basements and stuff, the idea being that in your neighborhood you could go to this place like a coffee shop, and you could see seven different shows would come to your space, night after night. So you would see seven shows by the same author, or by different theatre companies. I thought that was a really cool idea. So I did it. It was like the origins of the Fringe, and that's the kind of thing that had it had an opportunity to go to Edmonton, I would have said, "Sure, guys, let's go for it." Let's be true to the spirit of this thing because it's really rough and ready and exciting and energized.

I did a show a couple of years back that was a collaboration [I Send You This Cadmium Red with an ensemble called The Art of Time Ensemble. They are a music-based company, and I read letters by John Berger, the famous British artist. He had a lot of correspondences with people, and this is a reading of his letters with music in the background, live, played by chamber orchestra, written and commissioned by Gavin Bryars, who is one of the very avant-garde musicians of the UK, so I mean that was fantastic. Now we actually are going to do another showing and it might tour. It's the kind of show that could tour to New York. It could come out West. It could, you know, it could. It's got legs.

I am really open to it [touring], but it's, with the commitment you have to give to that kind of project, it has to be the right one, and you know, they don't come along very often.

ST: I may actually have to come out to Toronto to see you.

JR: It's a really good show, actually. It's coming up in April [show details at the Harbourfront Centre website].

ST: Are there any other projects you want to let people know about?

JR: One thing that doesn't get a lot of attention, but I am really proud of this work, I just did three back-to-back features with Foresight Features (more about them at Maclean'smagazine). There are three guys [Jesse T. Cook, John Geddes, and Matt Wiele] that went to school together in Collingwood, Ontario, a small town north of Toronto. They've turned out three B-movies [Hellmouth, Ejecta andSceptic Man].

Basically they are unabashedly B-movies genre pieces. Each one of them has directed a piece, and they've all supported each other, and each film has been written by Tony Burgess who wrote Pontypool for Bruce [MacDonald]. Tony is a great novelist. He's a great eclectic writer who lives near these guys. They are part of a kind of rural Ontario network that's trying to build up a film industry out of Toronto. I did three incredible projects back-to-back. They've attracted some really interesting actors. Molly Dunsworth from Hobo with a Shotgun and then Stephen McHattie, who was in Pontypool, and who does a ton of stuff, is in two of them. I am in all three, and Stephen's wife, Lisa [Houle], is in one of them.

It's kind of an attempt to just hit the ground running, doing the basics and real, hands-on gore and effects, but going for genre, so that it would be directed DVD. Actually, one of them has just gone to a festival, Fantastic Fest. It's called Septic Man. It's got this really dark humor in it, in that it's a septic man trying to clear out the city's sewers that have been clogged, and the whole place -- shit happens, and it really happens in this town. And what we find ... well I won't spoil it. There was a murderous reason for this. So our poor, old septic man is up to his neck in shit, both symbolically and literally.

It's kind of cool. They are kind of mischievous and dark. I have done these three movies with these guys and I am very proud of them. Probably the craft service budget for Man of Steel for one day was more than all three of these movies put together, but it doesn't matter. They're fine things.

ST: I was very happy that you were cast on Supernatural. Being a fan of you in your indie career, I feel like you're being introduced to a whole new set of people. I don't know if you've felt that?

JR: I do! You're absolutely right, and it's interesting because it's also where we all are in our careers, too. I think as also I've got a bit older, I think people are more comfortable with me being weird. When you're weird in your 50s, you're sort of a little less harmful. I don't know. I am kind of threatening in a different way now. So it's kind of nice, seriously. And [so is] being considered for different kinds of roles, too: a little more clean-cut, a little more aristocratic maybe, but they still have a sort of outlaw edge to them, and I am enjoying that.

link:

http://www.sequentialtart.com/article.php?id=2498

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Posted: 11 years ago

Jake Abel weds fashion blogger Allie Wood

http://www.contactmusic.com/story/jake-abel-weds_3946850

The Lovely Bones star Jake Abel has wed fashion blogger Allie Wood.

The 25-year-old actor exchanged vows with his fiancee on Saturday (09Nov13) in New Orleans, Louisiana.

Abel's Percy Jackson co-star Alexandra Daddario served as one of Wood's bridesmaids, and actor Kyle Gallner and model Cassandra Jean were among the guests in attendance.

Abel proposed to his new bride in Times Square on New Year's Eve (31Dec12) - he got down on one knee as the clock struck midnight and ushered in 2013 in New York City.

The nuptials took place nine days before Abel's 26th birthday.

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Posted: 11 years ago

Interview with Supernatural' guest
actor David Milchard(Dylan in dean dog afternoon )

http://www.examiner.com/article/interview-with-supernatural-guest-actor-david-milchard

David Milchard charmed viewers with
his part of the hippy duo from PETA-
Like group called SNART' in last
week's Supernatural' episode Dog
Dean Afternoon.' Actor, Writer,
Producer, and musician, Milchard is
known for White Noise 2: The Light'
as well as an impressively long
filmography of guest roles in TV
shows. His second time on the CW's
hit show, he shares about his
experience with the cast and crew.
Q. What can you share about your
character of Dylan Camrose on this
season's episode of Supernatural'?
A. Dylan is a modern day hippy-
hipster who means well. He wants to
help people live right, eat right and
just "be" right. Olivia is his perfect
partner with the same passions,
beliefs, and propensity to get in
trouble trying to do the right thing.
Q. You had a guest role in the
Supernatural' episode It's a Terrible
Life.' How did the cast and crew
welcome you back to the set?
A. The Supernatural crew and cast
are amazing! It's like a big family.
Jensen and Jared are super talented,
fun and easy to work with. They are
generous performers that make you
feel very welcome.On this episode
Jensen had to work with a dog which
is always challenging. I think Jensen
may be related to Cesar Millan
because he was a natural handling
the dog.
Q. Tell your fans about the projects
that are you currently working on
including Convos with My 2-Year
Old.' Honestly I'm kind of afraid to
ask!
A. Currently, I'm working on the web
series Convos with My 2-Year-Old ,'
which is super fun. My creative
partner, Matt Clarke and I get to
direct, act, write, edit and produce
the series which is great! I just
finished a script called Help Needed'
and hope to shoot that next year!
Another movie I co-produced and
starred in called, AfterParty,' a
Sociable Films Production, is
premiering at the Whistler
International Film Festival on
December 5th 2013. I also have a
comedy tour coming up in 2014
called the Comic Strippers.'
Q. Do you have any hidden talents
such as singing, music, painting?
A. I am singer song writer and also
play guitar. I have an improvised
comedy rock band called Mirage'.
It's a fantastic show as we interact
with the audience the entire time,
making up songs and making fun! I
also perform with my wife Christina
Sicoli doing Stand up and Improv. Be
sure to look for Tight White Jeans'
on YouTube in 2014 as I'll be
wearing some and my wife will be
singing about them. If you're in
Vancouver, B.C. come check out
some Improv at the Vancouver
TheatreSports League.' How's that
for shameless self promotion!
Q. I'm going to end with what's
become my signature question. If
you were a baseball player, what
would your walk up song be? What
song pumps you up and inspires
you?
A. No one probably knows it but it's
by Oasis' and it's called Bag It Up'.

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Posted: 11 years ago

Sequential Tart's Interview with
Supernatural Locations Manager,
Russ Hamilton

http://www.sequentialtart.com/article.php?id=2501

Supernatural is about two brothers
driving across America, but it is
filmed entirely in the Lower Mainland
of British Columbia. While some
scenes are shot in a Burnaby, B.C.
studio, and on the backlot originally
built for Zach Snyder's Watchmen ,
the show's signature look is due in
part to the real-world locations where
Supernatural pitches its tent to film.
Now that the show is in its ninth
season, that's a lot of location work.
Coordinating that is location manager
Russ Hamilton, who joined the
production during season 2. It's
Hamilton's job to ensure the
Winchesters get to where they're
supposed to be going, and to be able
to do their work there -- on budget.
Like me, Hamilton is from Edmonton,
Alberta. He paid a visit to his
hometown to check out the
Edmonton Comic and Entertainment
Expo on September 28 and 29. I
caught with him on Sunday.

Sequential Tart: With Supernatural ,
what are the main criteria for a
location? There's the script,
obviously, but when you actually
approach an actual site, how do you
tell yourself if it's going to work?
Russell Hamilton: There's lots of
parameters for what makes it work.
The most important thing is the look
of it. We get scripts very far in
advance for Supernatural, which is
fortunate, much more so than some
other TV shows.
ST: What's far in advance [for
television]?
RH: Right now, probably like two or
three weeks, often that far, whereas
other shows I've worked, on you get
a working script a couple of days in
advance. We can like therefore break
through a location breakdown, which
is what we do if the script called for
a mansion, a house, a warehouse, a
street, whatever. We can do a page
count: we estimate that we would do
about seven pages of script per day.
So if you know that there are two
mansions, we can do a location
breakdown in the budget and know
that potentially this is too many
locations for an episode. That won't
work for us, so we'll have to tell the
writers they should rewrite something
because budget it always a big
concern for TV.
Even if you find the perfect location
-- several times we've walked away
from a perfect location because
there's no place to park the truck, so
if you have this amazing location but
your trucks are four miles away, you
can't service your set to actually
shoot what you need to shoot. So
there are so many different
parameters. It's budget. It's look. It's
availability for parking. It's just
location availability because
sometimes the location isn't available
within our eight-day schedule.
And there are many locations that
actually have script approval, so
sometimes you'll have a perfect
location that won't allow you to film
there because of the content of the
script. It doesn't mean that it's bad, it
just means that their specific
location just doesn't allow certain
content there for their own personal
beliefs, it's nothing else, but there's
just so many different parameters to
what it takes to make it work.
For me personally, because of my
location job, I'm more about the
budget. I want the best look the
show can have. I also have to be
conscious of, as I said, if there are
three different mansions in one
script, I know it's going to be too
expensive for us.
ST: Is there are hard rule about how
far you can go?
RH: There is. It's what's called a
prescribed studio zone. Once you go
outside the prescribed studio zone,
you now are. Let's say it's Sherwood
Park if you are filming a movie in this
town. [The distance between
downtown Edmonton and Sherwood
Park is about 20 kilometers or just
under 25 minutes.] Once you leave
that boundary, let's say you're 25
minutes out of the studio zone, you
now lose 25 minutes of shooting
time, and by round trip that's now 50
minutes of shooting time. So you
have an area that you scout in, and if
you pick locations out of this
prescribed zone, which we do
sometimes, the director has to accept
that he's now losing, however far out
zone it is, you are losing that much
shooting time. The crew goes on the
clock as soon as they leave the
zone, whereas they go on the clock
when they report to set.
ST: As a location manager, do you
ever go out on spec or do you have
time to do that? Or are you mostly
waiting for the scripts to go and look
for a place?
RH: Well, when we have downtime.
We have full-time locations scouts
whose only job is to go and take
pictures. All day long all they do is
scout locations, and while they're
scouting specifically for the scripts,
we have probably a database of by
now probably 15,000 more locations.
We have two two-terabyte hard
drives. We try to do everything
digitally because we have to have
photo files as well for us to
reference. So we've got 12 filing
cabinets full of photo files that we've
done just for our show.
As long as we've all been in the
business -- I've been in film now
since I left Alberta 20 years ago --
you know where everything is. You
just know. We always say on
Supernatural whenever they say, a
diner in the middle of nowhere, a gas
station in the middle of nowhere, or a
motel, they don't exist, but we know
where all of them are. There's not a
barn or an abandoned building or a
gas station, motel -- we have the
scouting report, so we know where
every single one is in the entire
Lower Mainland.

ST: How do you work with or around
other shows that film [in the Lower
Mainland]? Is there a competition for
places?
RH: There is. Specifically there is one
location that's used a lot for a lot of
shows. It's called Riverview Hospital.
It's a health institution, it's mostly
shut down, and it's used by a lot of
shows because it's very affordable to
be there, so from low budget shows
to features are there, so that's the
hardest one, and so you schedule-
wise work around that.
Every municipality has a film
coordinator, so if we're downtown
Vancouver, and we want to be there
on a Wednesday and they say, "Well,
Fallen Skies is two blocks away on
that day, so you can't be there," we
have to change our schedule.
Wherever we're at municipality-wise,
we go in and do what's called pre-
book, so if I know that next Tuesday,
I want to be in downtown, I call the
City of Vancouver and the film office
and say, "Look, on Tuesday I want to
be downtown is there anyone else in
that area?" So I'll schedule it that
way.
Every single thing is scheduled in
this. Every single second of every day
is scheduled. There's nothing that
isn't scheduled. We have a prep
schedule. Our ADs, the assistant
directors, are amazing, so we know
that Scene 20, for instance, in the
script, will take four hours to shoot,
we know that we have four hours and
by then we should be moving on
because if you go over on that
scene, you have less time in the next
scene, so every single thing has to fit
every day as scheduled. There's
nothing at all that isn't scheduled.
ST: How, do you work weather into
this?
RH: No, in TV you go. Feature films
there's always weather days, but in
TV you don't have that luxury, so you
just go. One example, in season 3,
on day one of our schedule we were
in a neighborhood, and then by day
nine, which was a second unit day --
the second unit day is the day that
you pick up extras shot that you've
missed; it doesn't involve your main
cast normally -- about two weeks
later, they had snow in that
neighborhood. Overnight, I had to
have about two dozen people with
Tagger torches and snow blowers
and shovels and backhoes and
everything, cleaning the snow off
these streets, so we can shoot them
the next morning to make it look like
it had to be the same place. So it's
kind of funny. It doesn't snow a lot in
Vancouver, but when it does, it
snows heavily. So we're driving to
this neighborhood, and it was like a
foot and a half of snow, and then for
two blocks there wasn't a speck of
snow anywhere to be seen. It was
kind of anomaly, but pretty
interesting.
And the other one, we were filming at
a place called Bordertown, and the
road into Bordertown flooded. We
had to be there the next day, so me
and my assistant were walking down
this road for a mile in a water up to
our waist in hip-waders, trying to find
this road coming off the back side
that we heard about. We get there
overnight and do some road repairs
with the construction crew to get our
crew on the set the next day.
The show just goes on. In TV you
rarely have the chance to be
dependent on weather. You just have
to go.

ST: Is there something from
Supernatural that you know, you're
really specifically proud of?
RH: Well, I think there's a lot of
episodes I am really proud of, and I
really can't pick one off specifically. I
think the bigger thing is some of the
stuff that I am disappointed in that I
know we'd do more of a budget, that
we weren't so constrained with it,
that we could have done a better
thing, Supernatural always looks
fantastic.
It looks absolutely amazing all the
time, which is a real hats-off to our
art department and our production
designer, and I'm proud of a lot of
the stuff that we've done. We've been
in some locations that are really hard
to shoot at, but we've done it. We've
always found a way to make it work.
We don't like being told "No." We will
always find a way to accommodate
no matter what it is. There's nothing
specifically that sticks out that I am
really proud of, I am just, I think
everything we do is.
I'm just more disappointed when
some locations aren't available to us
and you're like, "Oh." This one
location for this year that's coming,
which hasn't aired yet, so I can't talk
about it, but we've been trying to get
in this location for five years, and
they've always said, "No," and I'm
always, "Well, go back and talk to
them again," It's been five years
we've been trying and they finally
said, "Yes." That's coming up for an
episode in season 9 and we're totally
excited about it.
ST: Can you tell me the number of
the episode?
RH: 9.06, I believe.
ST: Have you worked on other
Canadian productions, or other
productions in Vancouver?
RH: You know, I've been in business
for a lot of years, for 20 years now,
and I do mostly TV. Canadian
production-wise, I think the most
noticeable Canadian TV series that
worked on was Nothing Too Good for
a Cowboy , which was a great CBC
show. It was a lot of fun.
ST: When was that?
RH: That was like probably 15 years
ago, with Yannick Bisson [now
starring in Murdoch Mysteries, Sarah
Chalke, who now made quite a name
for herself in American productions
[most notably on Scrubs . It was just
a really fun show. It was based on a
true story about some people in, out
in the Mission, Vancouver area, and
you talk to some people in the area
who knew the people who the show
was based upon. [The show was
based on the story of a New York
City stockbroker who moved to the
Northern British Columbia to become
a rancher during World War II.] This
one woman who was about 85 knew
one of the characters on the show in
real life. She was telling us a story
how he came to the bank where she
worked with a cheque to cash: it was
written on bark, and suddenly it was
like an old Western in the 1800s.
Stuff like that is fascinating to me. It
was really interesting doing stuff like
that.
I've worked on some of the low-
budget type of Canadian shows
because it's always important I think
to support the Canadian industry and
do the best we can. Of course with
Supernatural, I'm too busy to work on
other Canadian shows, but locations
people will often call us from other
Canadian shows and we're like,
"Yeah, whatever we can do to help."
We're always bending over
backwards, because I think that's
important for our industry, and when I
am done with Supernatural, I would
love to do more Canadian shows.
The money may not be there. It's
more about just supporting our local
artists.
ST: Yeah, so one last question. In
the last 20 years Vancouver has
become so identified with shows on
TV or movies. Do you feel that
changes the perception of Vancouver
or do you think that does anything
for audiences as far as what they
expect out of Vancouver as a city or
out of a show?
RH: We're called Hollywood North, I
mean everybody knows Vancouver
and we're in the same time zone of
Los Angeles -- that's helpful for us
just for the perspective of availability
for producers, actors and everything
else. I think if you watch the show
and a fan of the show, and you've not
been to Vancouver, you wouldn't
know a specific street, like Kerrisdale
-- we know the Kerrisdale streets, we
know what Yaletown looks like, so
while somebody who doesn't live
there wouldn't really know. They just
think it looks really nice and they
know it's shot in Vancouver. There
are some obviously iconic spots, like
everyone knows the Marine Building
where a lot of shows are shot, you
know? And the Marine Building was
my first day in the film business.
ST: What show was it?
RH: On a TV show called Time Cop.
RH: That was my very, very first day
in the film industry was at the Marine
Building on a Sunday. It's kind of a
cool place. On the last location trip
with Supernatural, I took people by it
just to show them that. We were
driving by anyways, so I pointed out
this was my very first day in the
business was there.
ST: You used it for an exterior in
Supernatural right?
RH: We did. We used the exterior [for
4.17 "It's a Terrible Life"]. There are
some great locations downtown and
all around Vancouver that people
recognize, but I think it's hats off to
art departments all around the
industry. For instance the backlot
which was the Watchmen set. The
number of times we've been there,
and it's really difficult to tell that it's
the same place with dressing and
different camera angles and getting
closer and just changing the faade.
It's amazing how many times we've
been there. You wouldn't know.
ST: How is the industry these days?
There was some talk during the
provincial election about tax credits.
RH: It's very political, but right now
we're very busy in town. A lot of us
believe that in the next couple of
months we'll have a major, major
slump again, because a lot of
productions will be finished for a
while. So it's a wait-and-see right
now. I mean I don't want to try to get
involved too much in the politics of
it. I mean I support our industry and I
want our government to support it as
well, and I wish that they would
more. I think that we're fortunate
right now that it's very busy in town
with a lot of very large productions. I
mean right now there's just a huge
George Clooney feature
[ Tomorrowland] in town that's
building some amazing sets, which
are just a joy. They are hiring
hundreds and hundreds of people in
the construction and the art
department.

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Posted: 11 years ago

Supernatural Star Misha Collins
Interviewed by Larry King (Video
Preview)
http://www.screenfad.com/supernatural/supernatural-misha-collins-interview-larry-king-video-8975.html

Collins chats about the Supernatural
fandom, his threesomes and the
craziest things he's ever done.

Supernatural star Misha Collins has
been interviewed by a TV legend:
Larry King. The venerable newsman
sat down with the actor,
philanthropist and world's largest
media scavenger hunt creator (it's a
fact - check it out in the Guinness
Book of World Records ) to talk about
the show, the Supernatural fandom
(it's "a cult"), his experience with
threesomes, the pranks on set, and
the "truth" about the cast
relationships (we're guessing they're
all pals).
To give fans a taste of what's to
come, OraTV, which broadcasts
"Larry King Now", has released a
teaser video from the interview
Misha Collins returns to the
show in the December 3rd episode.

p.s there are some video clips in the link..check them out for interview

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Posted: 11 years ago

Ty Olsson(Benny) quotes Shakespeare and
sings in the shower to promote his
movie 'Crockett'.

p. s visit this site for more info
http://www.winchesterbros.com/site/

Ty Olsson (Supernatural's Benny)
stars as Davy Crockett in the
independent movie, 'Crockett.' They
have been raising money to get the
movie made.

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Posted: 11 years ago

#10

Jared Padalecki Shares Cute New
Photos of Son Thomas!
http://m.justjared.com/pl/2013/11/27/jared-padalecki-shares-cute-new-photos-of-son-thomas/?utm_source=twitterfeed&utm_medium=twitter
Jared Padalecki shares some
adorable new photos of his 20-
month-old son Thomas on his
Twitter account on Tuesday
(November 26).
The 31-year-old actor was live
tweeting the new episode of his
show Supernatural that evening
when he shared the photos of his
little boy.
"look who's staying up WAY too
late to live tweet with his daddy :)
#Supernatural," Jared tweeted. "i
love this kid :)"
Jared has shared some other
photos of Thomas on his Twitter
account over the past month.
Check them out in the gallery
below.
We can be expecting some more
Padalecki adorableness soon as
Jared and his wife Genevieve
Cortese are expecting their
second child together!

Quote

1 2 3 4 5 ... 7

~|| SUPERNATURAL INTERVIEW AND NEWS CORNER ||~

The Life and Deaths of Julian Richings

An interview

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