British actor/singer/songwriter Will Young, seen most recently in the States playing Ryan McAllister in the UK supernatural series Bedlam (which aired in 2011 on BBC America), has released a new single, "Losing Myself." Check it out below.
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February 2012
02/17/2012
02/16/2012
This Week on Merlin (Syfy US) - 02 - 17 - 12
Gaius (Richard Wilson) and Merlin (Colin Morgan) in "The Secret Sharer." Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
The secret of Emrys’ identity may be revealed, and Camelot’s future may be doomed, when Morgana turns her determined focus to court physician Gaius in The Secret Sharer, an all-new episode of Merlin.
Inthe episode, Agravaine (Nathaniel Parker) stirs the pot of discontent and casts suspicion on Gaius (Richard Wilson) as a traitor – leading King Arthur (Braldey James) to order his arrest. It’s a bold gamble to isolate Gaius, who Morgana (Katie McGrath) believes may be the only one who knows the true identity of her most powerful enemy: Emrys (Colin Morgan). Morgana enlists the powerful wizard Alator (Gary Lewis) to kidnap and force the secret from Gaius. The faithful Merlin (Colin Morgan) knows Gaius to be innocent of the crimes, and sets forth to save his mentor and protect the secret.
Colin Morgan takes his performance as Merlin to new level of drama and emotion in The Secret Sharer,a feat not lost on series co-creator and executive producer Johnny Capps. “Colin has always been a fantastic actor, and when we auditioned him we saw that he had a huge range – which we knew would be essential for the role,” says Capps. “What’s amazing about Colin as an actor is that you’re constantly refining his lines because he has such a powerful presence on screen.
Merlin (Colin Morgan). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“He can do so much with just a look now. Because of that, with the way we write the dialogue and conceive stories, we can be far more filmic in Merlin’s journey – because Colin doesn’t have to constantly communicate what he’s feeling and thinking through dialogue. He communicates those things so well with just his face that we’re able to push the emotional content of stories a lot more.”
Gary Lewis is the latest acclaimed star of stage and screen to make a guest appearance in Merlin. The Scottish actor is best known to American audiences for his international breakthrough role as the father in Billy Elliot, and for memorable appearances in Gangs of New York, Eragon and Goal! The Dream Begins.
“Gary Lewis is fantastic,” Capps says. He’s an actor we’ve all really liked, and he plays this very mysterious character that comes into the story working for Morgana. Gary brings a sort of intrigue to the part – a quiet, refined performance that keeps you guessing. And Gary is another amazing addition to a really stellar guest cast for Season 4. We have a huge list of actors we’d love to work with, and we’ve always gotten the first actor we wanted, so we’ve been very lucky.” The Secret Sharer (Season 4 - Episode 7) airs Friday, February 17th @ 10:00 p.m. EST/PST on Syfy.
As noted above, photos copyright of Shine Ltd. and FremantleMedia Enteprises, so please no unauthorized copying or duplicating of any kind. Thanks!
Grant Wilson To Depart From Syfy's Ghost Hunters
Ghost Hunters' Grant Wilson. Photo copyright of Syfy.
As announced on last night’s episode, Grant Wilson, co-lead investigator of Syfy’s hit reality series Ghost Hunters, will be departing the show. His last episode will air Wednesday, May 16 @ 9pm, and he will wrap production at some point next month.
Of the departure, Wilson said, “It is with mixed emotion that I am announcing my departure from the cast of Ghost Hunters. While paranormal investigating has always been and will remain a passion for me, after enjoying nearly eight successful seasons on television, I have made the decision to leave the series in order to focus on other aspects of my personal life.
I will deeply miss working with Jason and the rest of the dedicated investigators and crew that have become like family, and I wish them all the best as they continue to follow their passion and realize the vision of TAPS. I will also miss interacting with our wonderful fans worldwide. You are all at the heart of what we do on Ghost Hunters, and I’m grateful to have gotten to know many of you over the years.
Thank you toSyfy and Pilgrim Studios for giving me the opportunity to do what I love for nearly eight years, and for supporting this difficult decision.”
Statement from Jason Hawes, TAPS Co-Founder & Co-Lead Investigator, Ghost Hunters:
“When Grant and I founded TAPS nearly 20 years ago, we never imagined that we would be able to make such an impact just by doing what we enjoy every day. I will miss working with Grant on a daily basis, and am indebted to the level of dedication and expertise he has brought to our field.
I can’t imagine having a better partner through it all – both on the show and off. Grant and I, along with our spouses and children, are all like one big family. While I fully support his decision to move on from the series, this longtime friendship - as well as our business partnership - will continue off-camera for years to come."
Statement from Mark Stern, President, Syfy Original Content and Co-Head, Universal Cable Productions:
“Grant has been an integral part of a show that has become the standard-bearer for paranormal investigation. The fact that Ghost Hunters is still going strong in its eighth season is a testament to Grant’s amazing partnership with Jason and their clear connection to the audience. We respect and support this difficult decision that Grant has made, and wish him all the best in his new endeavors. The hard work, integrity, and compassion that he has consistently brought to his work won’t be easily replaced, but this successful series will find a way to reshape itself as it moves forward.”
Statement from Craig Piligian, Executive Producer, Pilgrim Studios:
“It’s been a great eight seasons so far for Ghost Hunters, and a terrific partnership between Pilgrim Studios and TAPS. We wish our good friend Grant Wilson all the best.”
On Wednesday nights at 9pm for over seven years, Ghost Hunters has featured spine-tingling cases from the files of TAPS (The Atlantic Paranormal Society) - led by Rhode Island plumbers Jason Hawes and Grant Wilson. Since its 2004 premiere, the show has spawned two spin-offs (with over 200 episodes among the three series), cementing its place as the #1 paranormal franchise in cable. Ghost Hunters and Ghost Hunters International are produced in association with Craig Piligian's Pilgrim Studios (Dirty Jobs, The Ultimate Fighter, Top Shot). Piligian and Thomas Thayer, along with Mike Nichols and Alan David, serve as executive producers.
As noted above, photo copyright of Syfy, so please no unauthorized copying or duplicating of any kind. Thanks!
02/14/2012
Tim Daly Returns As Superman For Justice League: Doom
Superman (as voiced by Tim Daly) and Martian Manhunter in Justice League: Doom. Photo copyright of Warner Home Video.
The quintessential voice of the Man of Steel – primetime television star Tim Daly – once again returns to his original animated role of Superman in Justice League: Doom, the next entry in the popular, ongoing series of DC Universe Animated Original PG-13 Movies.
Daly set the standard as the voice behind the world’s ultimate super hero for Superman: The Animated Series as well as in several animated movies and video games. While fanboys hail his vocal performance as their point of recognition, the Emmy nominated actor is known well throughout the world for his primetime television series roles, including eight seasons on Wings, an intense recurring role on The Sopranos, a memorable turn on HBO’s landmark mini-series From The Earth To The Moon, and his current ABC hit series, Private Practice.
Daly joins the festivities surrounding the West Coast Premiere of Justice League: Doom on Thursday, February 16 at The Paley Center for Media in Beverly Hills. The actor will appear for red carpet interviews and take part in the panel discussion following the film – alongside his co-stars Phil Morris (Seinfeld, Smallville), Paul Blackthorne (The River), Oliva d'Abo (The Wonder Years) and Susan Eisenberg (Justice League, Justice League Unlimited). Also confirmed to attend is director Lauren Montgomery and dialogue/casting director Andrea Romano. Warner Home Video will distribute Justice League: Doomon Blu-Ray, DVD and for Download on February 28, 2012.
Daly took a few minutes to offer answers to some questions that haven’t been posed to him – lately. Here’s what the actor had to offer …
What’s the crux of Justice League: Doom from Superman’s perspective?
Tim Daly: Well, as usual, it’s all about saving the planet. But first, the Justice League has to save the Justice League. Batman disappoints his colleagues in the Justice League by having a plan to stop any rogue Justice League member, and by allowing those plans to be stolen. Superman understands Batman, though – he really has created these contingency plans for a pretty noble reason. He's trying to protect the world by inserting some checks and balances into this system, realizing that the Justice League has an incredible amount of power, and he wants to make sure that they always use that power in a way that's not destructive.
Are you able to turn on and off the Superman voice without hesitation, or is there some sort of warm-up involved – mentally or vocally?
TD: There’s just a lot of technical things to keep in mind. You get warmed up like you do with anything and, after a little rehearsing, it’s all second nature. That doesn’t mean I didn’t want to go back and do a few lines over again – you want these things to be just right. But you don’t necessarily jump straight back in. I mean, it's not like I walk around being Superman in real life. But when you read the script and put yourself in the position that Superman is in – I mean, he's always saving the planet, for God's sake. When you realize that, it's not difficult to take the gravitas of the situation and make your voice do what it needs to do.
As well as you know this character after all of these years, are you ever shy to offer suggestions about how certain dialogue might be presented or altered?
TD: Usually the writing is pretty great, but then again, I can't keep my mouth shut. If I think something can be better, I'll speak up and say so. But I will explain why I’m making the suggestion. I actually find that writers respond very well to being asked questions. “Why would Superman say that?” “Would it be better if I said it this way?” You don’t just want to be critical – that doesn't benefit anyone. The best creative work usually comes from a collaboration.
Have you ever found yourself using the Superman attitude or voice in real life?
TD: I did a little bit when my kids were young. And I found that it worked much better on my daughter than my son. I would say to her, (beefs up his voice), “Stop that right now.” And she would be suitably taken aback. But my son, he didn't really care.
Has providing the voice of Superman helped you learn anything about yourself or changed you in any way?
TD: Maybe a little bit. Maybe some of what gets you through your walks in the world is attitude. Certainly Superman has a lot of power and he doesn't have to be showy, rather he carries that confidence quietly. He knows what he can do. I certainly am not capable of pulling that off in my own life. But knowing that, I can fake that attitude to help me out now and then.
What Superman memorabilia have you collected over the years?
TD: I have a beautiful wooden Superman statue with a removable cape – I really love that piece. I have a cel from the original Superman series cartoons. And I have a gold Superman “S” pin. And then there’s my tights, uh, but don’t tell anymore.
TV and film is usually a one-way experience for you. You don't really get to see the final product with an audience very often. But you’re coming back to the Paley Center in Los Angeles for the premiere of Justice league: Doom – and this will be your second time seeing one of the DC Universe animated movies alongside the fans. What was your experience like watching Superman/Batman: Apocalypse last time?
TD: It was really great because the fans were so into it. Fan reaction is really wonderful to experience in person, especially fans of this genre. They’re so passionate. And it was also fun because it was just my voice and Superman's image. Usually when I see myself in a film or on television, there's about a six-month period where I can't look at it because all I’ll see are the mistakes. I'm just appalled by the person that I see. The camera sees me from angles that I've never seen myself, so I never think it's me. I look at that and I think, “My God, that's me.” But with these films, I can look up and it is Superman on the screen. So I don't have to go through all that. He has no flaws.
What's the magic of working with dialogue director Andrea Romano?
TD: The great thing about working with Andrea is that she loves it so much, and she's so positive about it. You can't fake that. Even after all this time, doing 41 shows at a time, all the series and films, she’s right there with the same enthusiasm and love for the material. I don’t know how she keeps it all straight. Plus, she really loves actors – you always feel like she’s rooting for you. And that makes it very easy.
As noted above, photo copyright of Warner Home Video, so please no unauthorized copying or duplicating of any kind. Thanks!
02/13/2012
Making Magic: Interview with Merlin's Julian Murphy and Johnny Capps
Merlin's Julian Murphy and Johnny Capps. Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
In a land of myth and a time of magic, the destiny of a great kingdom rests on the shoulders of a young boy, his name…Merlin. Every week, fans of the hit BBC fantasy TV series Merlin look forward to hearing those opening words and the start of a new episode. Using the Arthurian legends as a jumping-off point, the show is based on Prince Arthur’s friendship with the wizard Merlin and eventual succession to the throne of Camelot following the death of his father, King Uther Pendragon. From the very beginning, series co-creators and current executive producers Johnny Capps and Julian Murphy knew the story they wanted to tell and how they wanted to do it.
“We’ve always enjoyed making high-concept shows,” notes Capps. “Before Merlin we worked on a show called Hex, and one of the problems we had with that is that we created the mythology ourselves. So when we began work on our next project, we thought instead of creating an entire mythology, let’s find one, and at the time, Merlin was ripe for reinvention. We felt that the Arthurian legend and the story of Merlin were fascinating as well as a rich pot in which to explore.
Adds Murphy, “I think the main thing for us is that if we were going to do this, we wanted to do it our way and, I guess, a slightly different way rather than just telling a straightforward version of the story, albeit a terrific one. We’ve always been fascinated by coming of age stories and I think that type of drama and the established legends met in our minds and the result is the take on the Arthur/Merlin legend that we’ve come up with.”
Merlin (Colin Morgan). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
Longtime Merlin watchers have no doubt noted just how well-cast each of the show’s characters are, from the noble and compassionate Arthur (Bradley James), to the loyal and self-sacrificing Merlin (Colin Morgan), the strong and caring Guinevere (Angel Coulby), the wise and gifted sorcerer Gaius (Richard Wilson) and the beautiful as well as duplicitous Morgana (Katie McGrath). The key, however, to the program’s initial success, or potential failure, depended on the casting of one role, in particular.
“The part of Merlin was the one that scared us the most,” admits Capps. “We’ve cast a number of shows in our careers, and with this one it was important that we find an actor who not only had an extraordinary playing range, but at the same time was also incredibly likeable. Because Merlin is a young character, we were looking for an actor who wasn’t a [big] name or had much experience.
“That was quite a daunting prospect, especially because we knew that if we didn’t find the right actor, the show wouldn’t work, no matter how good the special effects and the scripts were. If you didn’t care about the actor playing the role of Merlin, then the whole thing would fail. It was a pretty stressful time and there was plenty of heated debate about who was right, who was wrong and exactly what we were looking for. We saw lots and lots of actors for the role, and we auditioned poor old Colin Morgan more than once. Fortunately, our instincts were right and he turned out to be an amazing actor and absolutely perfect for the role, so we were thrilled.”
Guinevere (Angel Coulby) and Arthur (Bradley James). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
Morgan and his fellow castmates made their Merlin debut in the series opener, The Dragon’s Call. Written by series co-creator Julian Jones and directed by James Hawes, it finds a teenage Merlin being sent by his mother to Camelot in the hopes of finding a better life. Once there, he becomes Prince Arthur’s personal servant as well as a page to Gaius, who teaches Merlin not only medicine but also how to hone his magical abilities. Unfortunately, King Uther (Anthony Head) has forbidden the use of magic in his kingdom, which causes all kinds of complications for Merlin as he secretly uses his powers to protect Arthur from harm. Not surprisingly, the episode was a big undertaking for all those concerned.
“That was the first time we tried to create Camelot, and I won’t pretend it was easy, because it wasn’t,” recalls Murphy with a chuckle. “We went to a big chateau in France, and it was our plan to create that world there, but I think you enter these things without realizing the true extent of what it means to create a fantasy world on television, with a television budget and on a television schedule. It’s a very tough thing to do, and I think now we tackle similar such tasks with far more experience and knowledge than we did back then.
Says Capps, “I think the other thing that was really hard about The Dragon’s Call was judging the tone of the performance and, like Julian said, making that fantasy world believable while at the same time getting the acting tone right so that you believed in that world. American actors are much better in high-concept shows than British actors, and by that I mean British actors tend to be quite sort of naturalistic in the way in which they perform. So we needed to find British actors as well as a British director that could take our characters and put them in this fantasy world where they would inhabit that world in a real way. I think tonally shifting the performances was really hard and quite stressful during those first few weeks.”
Katie McGrath (Morgana) in-between takes on the Merlin set. Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
Continues Murphy, “I think we were very pleased with how the show’s humor worked. That was a vital part of our story, especially the humor between the two central characters, Arthur and Merlin. They had rather a difficult relationship in the beginning, but that has since become a genuine odd couple friendship, which is, for us, the heart of the show. If we didn’t get the chemistry and feel of that right, and if the viewers didn’t want to be with that odd couple, then, once again, the program wasn’t going to work. The confidence that slowly grew into that relationship along with the strength and emotion that Colin and Bradley both brought to it was a real highlight for us. We knew we had this strong buddy story at the heart of everything and it made writing the show easier.
Adds Capps, “I also think that our confidence grew very quickly when we started making Merlin, so by the time we reached season two we were more ambitious about what we could do story wise and tell even more epic stories with more sort of life and death situations. That was really pleasing for us as storytellers. At the end of the second season we had the big dragon attack [in the season finale The Last Dragonlord], which was hugely ambitious. At the time we didn’t know how we were going to do it, but, again, there was sort of a confidence that we had built over the two seasons to have that kind of climatic end to season two, and at the same time tell a really, really emotional story.
“I guess the thrill about the storytelling was that the format was so tight that we could have the humor that Julian was talking about, but also explore epic stories and big emotional themes between characters.”
Gaius (Richard Wilson) and Emrys (Colin Morgan as the elder Merlin). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
In season two’s penultimate story The Fires of Idirsholas, Morgana joins forces with her half-sister Morgause (Emlia Fox) in an attempt to end King Uther’s reign. Thanks to Merlin’s intervention, they fail and are forced to retreat, albeit temporarily. In the show’s third year, their hated of Uther and Camelot intensifies, and Morgana becomes an even greater threat to the kingdom. What were some of the initial creative challenges for the show’s producers and writers when deciding to take Morgana down such a dark and destructive path?
“To be honest we had always planned to do that,” says Murphy. “We planned to start Morgana out as a character on the cusp who was conflicted and could do either way. So we always understood her motivation for taking the dark path that we knew she would, and it was just a matter of being patient.
“One of the lessons we’ve learnt from past TV series we’ve done is to always be patient with characters. Even though the audience might be clamoring for a character to become, in this case, the villainess they want, and even though your instincts might be to speed up that character’s development, just be patient and let the character grow.
King Uther (Anthony Head) falls victim to Morgana's scheming. Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“So by the time we got to the third season, we were right on the edge and could take Morgana down this path. It was actually a massive release for both us and the actress, Katie McGrath, to be able to explore all these new facets of the character. It was one of those factors that took the series as a whole to another level in many ways, but, again we had planned at the beginning of season three to take Morgana across to the other side, and viewers got the first hint of that at the end of season two.”
In Merlin’s two-part third season finale The Coming of Arthur, Morgana finally succeeds in ousting Uther from the throne and crowns herself as the new Queen of Camelot. Using the legendary Cup of Life, she and Morgause are able to summon forth a seemingly unstoppable army to fight against Arthur, Merlin and the recently-formed Knights of the Round Table.
“That was a very exciting episode to write,” says Capps. “We wanted to create a situation where we began the legend of the Round Table. At the same time, we’d learned a great deal technically during that season about using the massive program that generated the [CGI, computer-generated image] army. So there were big Arthurian legend story moments that we were excited about, and we also wanted to put all the technical knowledge that we’d learnt to good use with the season three finale.”
Sir Elyan (Adetomiwa Edun), Merlin (Colin Morgan) and Sir Lancelot (Santiago Cabrera) in season four's "The Darkest Hour." Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
Arthur and his faithful followers manage to thwart Morgana’s plans and banish her from Camelot, but her defeat only makes the witch all the more bitter and hungry for revenge. In the season four opener The Darkest Hour, Morgause sacrifices herself, allowing Morgana to unleash the spirits of the dead, the Dorocha, on Camelot. As with the aforementioned The Coming of Arthur, this episode had its own set of creative challenges as it went before the cameras.
“This two-parter was really tricky because it was something we’d never done before in that it was about creating tension and dread,” explains Capps. “So we filmed this episode in a slightly different way than we normally do and it was quite a tough shoot because, again, it was all about creating a sense of dread. We weren’t showing a monster and then the repercussions of it. Instead, we were creating a feeling of unease, and I think that was a real challenge for us as well as the director [Alice Troughton] and the actors.”
With Morgause gone, Morgana gains a new ally at the start of Merlin’s fourth season, Lord Agravaine, played by Nathaniel Parker (The Inspector Lynley Mysteries). The brother of Ygraine Pendragon (Alice Patten), Uther’s deceased wife and Arthur’s mother, Agravaine comes to Camelot to advise Arthur when he is crowned king after his father’s death. In fact, he blames Uther for his sister’s death and is eager to help Morgana bring about the downfall of Arthur and Camelot.
Lord Agravaine (Nathaniel Parker). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“The Agravaine character was ‘stolen’ from the Arthurian legends and then slightly changed for the purposes of our story,” says Murphy. “We were interested in Arthur’s motherless childhood along with the bonds that he made during that time, and his sort of blind trust of those bonds where his uncle, Agravaine, is now concerned. I think that works very well because it’s a part of Arthur’s character and who he is.
“Nat Parker was actually someone who we originally thought of for the role of Agravaine. We didn’t go looking or trawling for him – he was in our minds. Nat has done quite a bit of TV here in the UK, so he is a familiar face and you know what he can do acting-wise. Curiously enough, he has rarely played a villain, and he did it very well as Agravaine.
While the villainous ranks have grown in Merlin’s fourth season, so have those of the good guys with the increased presence of the Knights of the Round Table – Sir Leon (Rupert Young), Sir Percival (Tom Hopper), Sir Gwaine (Eoin Macken), Sir Lancelot (Santiago Cabrera) and Sir Elyan (Adetomiwa Edun).
(L-R): Sir Leon (Rupert Young), Sir Gwaine (Eoin Macken), Sir Lancelot (Santiago Cabrera), King Arthur (Bradley James), Sir Elyan (Adetomiwa Edun) and Sir Percival (Tom Hopper). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“We always imagined that when Arthur became king, the adventures of the knights would become a part of the series, and that’s what’s happened,” says Murphy. “They’ve turned out to be wonderful characters and the actors we’ve cast in the roles have worked out very, very well. What I like about them is that they’re becoming more and more convincing warriors and knights, which is lovely to see. Also, with the knights we have that many more ways to access stories as well as further explore the dynamics between the characters.”
Currently, Murphy and Capps are hard at work in post-production preparing for Merlin’s fifth season, which begins shooting next month. Are there any hints they can offer up as to what viewers might be able to expect?
“Well, season five is going to be good,” enthuses Capps. “We’ve got some great twists and turnings coming up and we’re bringing in a few more characters from the Arthurian legend.”
Steve Eramo
As noted above, all photos copyright of Shine Ltd. and FremantleMedia Enterprises, so please no unauthorized copying or duplicating of any kind. Thanks!
02/12/2012
Partner in Crime: Interview with Grimm's Russell Hornsby
Russell Hornsby as Police Homicide Detective Hank Griffin in Grimm. Photo copyright of NBC.
When it comes to playing TV cops, Russell Hornsby definitely has what it takes, and then some. In addition to his role of police officer Eddie Sutton in Lincoln Heights, he also starred opposite Matthew Fox as Officer Marcus Bradshaw in the 2002 short-lived UPN supernatural show Haunted. Nowadays, the actor is once again policing the streets, this time in Portland, Oregon, as Hank Griffin in the hit NBC fantasy drama Grimm. His character is partners with police homicide detective Nick Burkhardt, and together the two investigate crimes of a somewhat unusual nature.
Nick is especially well-suited for the task at hand, given that he is descended from the “Grimms,” a group of hunters who over the centuries have kept humans safe from supernatural creatures living amongst them. For Hornsby, it was the combination of the real and fantasy worlds that first attracted him to the show.
“I love procedurals and playing police officers,” notes the actor. “One of my favorite shows of all-time is Homicide: Life on the Street, and the idea of taking something like that and marrying it with a fairytale interested me. I wasn’t necessarily a Buffy the Vampire Slayer or Angel fan in their heyday, but I was always a fan of movies like The Wizard of Oz and books like Alice in Wonderland and just the whole idea of being young at heart. I also love the sheer imagination of the worlds that such movies and books create. Grimm is very much a fairytale and the magic really is in the storytelling.
Detectives Nick Burkhardt (David Giuntoli) and Hank Griffin (Russell Hornsby) investigate another mysterious crime scene in "Tarantella." Photo copyright of NBC.
“I had a few auditions for Grimm, and I like to think that [series co-creators/executive producers] David Greenwalt and Jim Kouf along with the executives at NBC were like, ‘We feel that Russell can bring something interesting to the role and his presence would be a nice addition to the cast.’
When I first had the chance to sit down with David and Jim and listen to their excitement about the show and the stories they wanted to tell, including what they had in store for my character, I thought, ‘This has the potential to be something quite special.’ The passion they and all the other creative minds involved had – and still have – about the series was and is infectious. Again, they told me about some of their ideas regarding Hank’s back story and I was like, ‘Yes, I can work with this.’ Then I began to add some of my own layers to the character and thought’ This is going to be a very enjoyable time,’ which it has.”
In Grimm’s two-hour pilot episode, Nick Burkhardt (David Giuntoli) discovers his unusual family history when his aunt, also a Grimm, comes to town on a hunt. While trying to deal with that revelation, he and his detective partner, Hank Griffin (Hornsby), are assigned a case involving a missing little girl, whose abduction Nick initially – and mistakenly – blames on a stranger, Monroe (Silas Weir Mitchell), who is, in fact a Blutbad (or wolf). Monroe ends up helping lead Nick to the real perpetrator, also a Blutbad. Despite the fantastical elements of the case, Hornsby had to keep Hank’s two feet firmly planted on the ground.
Hank Griffin (Russell Hornsby) in "Let Your Hair Down." Photo copyright of NBC.
“Again, we’re looking at two different worlds, the procedural and the fairytale worlds. My character represents the former, which is also our audience’s world, so I had to approach Hank as ‘real police,’ or as I like to say, real good police,” he says. “He’s a man with an interesting and cynical sense of humor. Hank also has a genuine flair for the romantic. You’re talking about a guy who has been married and divorced four times, so he is someone who’s quite passionate and in love with love. I think that’s a neat dynamic for a police officer, and he’s very compassionate, too. We’re going to see several of those levels start to come into play with him as the series continues to unfold.
“When we began filming the show, I immediately started thinking about what sides of my real self that I could use with this role. I’m from the theatre, so it was a matter of bringing my imagination to bear and creating a three-dimensional character and not just playing a cardboard or cookie-cutter approximation of a police officer. Again, I have to tip my hat to Jim Kouf and David Greenwalt, who said, ‘We want Hank to be real and for him to have depth along with peaks, valleys and levels.’ So I guess my challenge, and a fun one, was to help make him believable as well as compassionate and his reservoir deep. That’s something I continue to do with Hank.”
Although Hank is right by Nick’s side when solving all these bizarre cases, he is not able to see what Nick sees when it comes to identifying your average man, woman or child on the street as one of these supernatural beings. Is it at all difficult for Hornsby to play his character as being in the dark when he as an actor knows what’s what as far as the Grimm world is concerned?
Hank (Russell Hornsby) pays a visit to Ephram Geiger (Russell Hodgkinson) in "Danse Macabre." Photo copyright of NBC.
“Each week we’re handed jewels in these scripts, and we don’t know what’s going to happen until we read them,” explains the actor. “I think that’s the fun of it and what I enjoy most. The thing is, I can’t play what’s not there for me. Of course I understand the arc of the story, but I can’t assume anything story-wise. The story I’m telling is Hank’s story, and, again, it’s the real one. So I don’t worry about what Nick deals with, or who Monroe is and what his alter ego is. That’s not part of Hank’s story. I just have to be honest to my character and the story that I’m charged to help tell, do you know what I mean?
“As audience members we’re so sophisticated and see a lot of these types of shows, and we try to get ahead of the story. So I implore the viewer to follow along week-to-week and just enjoy what’s in front of you and don’t worry about, Oh, Hank has to find out. I actually think that the producers have done a terrific job of keeping Hank in the dark. It’s not the ‘Superman syndrome’ where Hank is Lois lane and Nick is Superman, and the glasses and hat are really disguising the fact that Clark Kent and Superman are one in the same. We’re not asking the audience to take that sort of leap. I think the stories on Grimm are unfolding in a very honest as well as logical way that says, wow, that was an interesting episode, and next week is next week. Again, I guess what I’m trying to say is just enjoy the moment.”
As far as their professional relationship, Hank and Nick are very much in-sync and well aware of what it takes to get the job done. Outside of work, though, they are hardly your two proverbial peas in a pod and typical buddy-buddy cops, which is just fine in Hornsby’s eyes.
Hank (Russell Hornsby) investigates the idyllic backyard of an all-too-perfect B&B in "Lonelyhearts." Photo copyright of NBC.
“At one point I thought that Hank and Nick had a Han Solo and Luke Skywalker-type thing going on, but that was before we really even began shooting the show,” he says. “That was just me speculating on what the show might be, but what I’m starting to see now is that they’re partners who realize that it’s all about the work and solving crimes. Hank and Nick aren’t necessarily best buddies, but they do get along and are cool with each other. I think that’s what helps make the stories even more interesting, because it’s not about them sharing every little thing. My character isn’t interest in whatever Nick does on his free time, or what he gets up to with Monroe.
“So it’s not a bro-mance. If we tried to make it a bro-mance, then Hank would become jealous,” says the actor with a chuckle. “That’s not to say that the writers are simplifying Hank’s and Nick’s relationship. Quite the opposite, they’re making it very complex and adding various textures and layers to the relationship. There’s a deeply profound understanding that Hank has of himself and his partner, and then they add that wonderful layer of my character thinking, ‘Yes, I’m four-times divorced. I love women and I love life, but I haven’t solved the riddle of life yet. So I’m not going to try to negatively color your [Nick’s] experience with your girlfriend or fiancée because of my negative experiences. Have fun, young man, that’s what you should be doing. Enjoy and find love.’”
Among the Grimm creatures that Nick and, unknowingly, Hank have so far crossed paths with include a family of bears that hunt humans (Bears Will Be Bears), a strangely likeable B & B owner who preys on women (Lonelyhearts) and a free clinic doctor in the side business of harvesting organs from the homeless (Organ Grinder). In the first season episode Game Ogre, an escaped felon takes his revenge on those who put him in jail, including Hank. Nick enlists Monroe’s help to save his partner from this convict, who he recognizes as a Siegbarste, an ogre-like creature. Needless to say, Hornsby was delighted to receive this particular script.
Hank (Russell Hornsby) takes aim in "Game Ogre." Photo copyright of NBC.
“When I got that script, the first thing I thought was, ‘Jim and David, thank you,’” he recalls. “It said to me that they’re men of their word. They’ve told this cast in so many words that this is a team game, and all six of us [series regulars] are major players. This episode, which was early on in the first season and had a huge storyline for my character, said to me that Jim and David believe in my abilities and that not only am I important to the [creative] process, but that I also have something to offer. I really felt that.
“Of course you want to do a wonderful job because you don’t want to let the show down, you don’t want to let your cast mates down, and you don’t want to let your self down. I was really excited about having this great storyline and amazing back story for Hank. I believe it’s important that David [Giuntoli] is our lead, but I also think that all the players have their entrances and exits. I mean, there are going to be times when Monroe takes the lead. Silas Weir Mitchell is a very talented actor and fascinating guy, and that makes his character really interesting. Sasha Roiz [Captain Renard], Bitsie Tulloch [Juliette Silverton]. Reggie Lee [Sgt. Wu] – these are all incredibly talented actors who were chosen for a reason, so why shouldn’t the producers and writers explore their talents. That’s what Jim and David have done and will continue to do.”
What was it like for the actor filming the climatic fight scene in Game Ogre between Hank and the bid bad ogre? “It was cold and raining. I was all padded up – knee-pads, hip pads, elbow pads, etc, and the only thing left for me to do was dive in,” says Hornsby. “You learn the fight, practice it and then you’ve just got to do it. It harkened back to my younger days when I was in theatre school and doing stage combat, or when I was a kid playing cops and robbers in the backyard. It brings out the kid in you. What’s not to like about my job? I get paid to play and imagine.
Captain Renard (Sasha Roiz) and Hank Griffin (Russell Hornsby) in "Lonleyhearts." Photo copyright of NBC.
“That night I got to be the hero. I got to fight the ogre and be like, ‘Fee, fi, fo, fum. Come on, let’s go.’ I was David, with my slingshot in my pocket and taking on Goliath. I have to say, though, that I’m glad that Monroe came to Hank’s rescue, which in its own way was poetic At one point I texted David Greenwalt and told him, ‘I’m living the dream, man, I’m having a ball.’”
At the time of this interview (February 1st), Hornsby had just finished shooting a Grimm episode that should appeal to his fans and Hank Griffin fans alike. “It’s a nice love story for Hank, and just for the sake of argument I’ll call it Spell Number Seven,” reveals the actor. “I think it’ll be a fun one for the audience. Other than that, I honestly don’t know what else is in store for my character this season. I think the writers are still trying to figure out how to keep Hank in the game as well as interesting and, above all, believable. I look forward to seeing what they come up with,” enthuses Hornsby.
Steve Eramo
As noted above, photos copyright of NBC, so please no unauthorized copying or duplicating of any kind. Thanks!
02/10/2012
Moonbase Alpha Status Report - Space: 1999 Reboot In The Works
September 13th, 1999 - for fans of the award-winning 70s Sci-Fi series Space: 1999 that date holds special meaning. It was the day in which the Moon was blasted out of Earth’s orbit, taking Moonbase Alpha and its few hundred inhabitants on an epic TV journey. For the next two years, Commander John Koenig and his people encountered all manner of alien life forms as well as faced death and destruction on more than one occasion.
Despite its relatively short life, Space: 1999 managed to garner a large, loyal and vocal global fan base that, over 35 years later, remains just as passionate about the series and its characters. Recent comments by a certain U.S. politician pulled the show back into spotlight, and it appears to be more than just a proverbial flash in the pan. Plans are underway with ITV Studios America and HDFILMS to launch Space: 2099, a re-imagining of the icon British Sci-Fi series created by the legendary Gerry and Sylvia Anderson.
The announcement was made earlier this week by Paul Buccieri, Managing Director of ITV Studios International and President/CEO of ITV Studios America, and Jace Hall, President and Founder of HDFILMS, Inc. Hall, who recently served in a developmental as well as executive producer capacity on the recently re-imagined ABC Sci-FI series V, will once again lend his creative and producing talents to Space: 2099 in this effort to reboot the original 1999 series. Keep abreast of all the goings-on with the project at the Space: 2099 website - http://www.space2099theseries.com/and its official Facebook page - https://www.facebook.com/#!/Space2099TheSeries?sk=info
As if that is not enough to excite Space: 1999 fans, a group of 1999 fans who organized a number of amazing conventions for the show back in the 70s are once again hard at work organizing Alpha 2012 – A Space: 1999 Event to be held September 14th – 16th, 2012 in Burbank, California. In addition to Space: 2099’s Jace Hall, the convention’s guest list includes a stellar line-up of 1999 familiar faces - Nick Tate (Captain Alan Carter), Prentis Hancock (Main Mission Controller Paul Morrow), Judy Geeson (Regina Kesslan-Carter in Another Time, Another Place), and Roy Dotrice (Commissioner Gerald Simmonds in Breakaway and Earthbound). More guest announcements to come. For complete details, go to the con’s official website - http://alpha2012.net/
Stay tuned! SciFiAndTV Talk will post future updates as more news becomes available.
Steve Eramo
Susan Eisenberg Returns As Wonder Woman In Justice League: Doom
Wonder Woman as voiced by Susan Eisenberg in Justice League: Doom. Photo copyright of Warner Home Video.
Susan Eisenberg, the beloved voice of Wonder Woman in the popular Justice League and Justice League Unlimited television series, reprises her role for the next DC Universe Animated Original Movie, Justice League: Doom.
Eisenberg will join several of her voicecast colleagues for the West Coast Premiere of Justice League: Doomat the Paley Center for Media in Beverly Hills on February 16. The event is completely sold out. However, a very limited number of VIP seats are still available to fans through the Los Angeles Times/Hero Complex, as well as the Justice League: Doom Facebook page. Fans should keep their browser focused on those two pages for details of the giveaways.
The all-new, PG-13 rated Justice League: Doom will be available February 28 from Warner Home Video as a Blu-ray™ Combo Pack, DVD and for Download. Both the Blu-Ray™ Combo Pack and DVD will include an UltraViiolet™ Digital Copy.
Eisenberg has focused her career in voiceovers for animation, video games and commercial use. In addition to her work for the past 12-plus as Wonder Woman for Justice League and Justice Justice League Unlimited television series and the DCU films Superman/Batman: Apocalypse and Justice League: Doom, Eisenberg can also be heard in a variety of animates series, including Jackie Chan Adventures, Scooby-Doo! Mystery Incorporated and The Super Hero Squad Show, as well as video games like Star Wars: The Ford Unleashed – Ultimate Sith Edition and Command & Conquer 4: Tiberian Twilight. She is one of nine actors returning to the booth to record their original Justice League roles for the film, Justice League: Doom.
In anticipation of the West Coast Premiere, Eisenberg gladly offered some recollections and thoughts regarding her years of voicing Wonder Woman, including flirtations with Batman, her personal memorabilia collection, and the real reason Wonder Woman flies an invisible plane. Take a read …
What do you recall of earning the role of Wonder Woman some 13 years ago?
SUSAN EISENBERG: I can remember it vividly – because it was a big deal. It felt like a real life-changer, so it’s a huge memory for me. It was 1999, and I remember going to the call back and being with Andrea (Romano) and Bruce (Timm). Even the dialogue is still clear in my memory. And when I got the call that I got the role, it really had an impact on me.
Most jobs in voiceover don't make you feel like they're going to change your life, but this one did. And in many ways, it really did. I got to work for six years on a series, and I'd never done something that long term. And I was chosen to voice this wonderful, iconic character … and through these movies, I get to continue that role. It’s been fun and kind of surprising – people obviously know Wonder Woman, but it’s wonderful when they care that much that they actually recognize and acknowledge your work as the character. I walk into other jobs and people still say, “You're Wonder Woman, right?” That’s really a kick.
What's special to you about playing Wonder Woman?
SE: Wonder Woman is truly iconic. Everyone knows her. There's something wonderful about playing a character who is recognized throughout the world. And I love her strength. I love that she stands for something and that she believes in what she believes. She's very, very loyal and faithful and, in the beginning, I got to play her more vulnerable, and now I get to play her more adult and stronger. She's a wonderful character.
You don’t have the benefit of weekly recording sessions to keep the voice fresh in your mind. How do you jump back into this role without a hitch?
SE: Working with Andrea and Bruce is a great because they were there at the start – Andrea has always directed me in this role, so she knows what she’s looking for. Listening to her direction is the first trick. Reading the script a few times also helps, especially to find the attitude and the voice. And as a refresher, I like to go online, check out YouTube, and play some old clips, or watch some of my DVDs. That helps to get me back in that space – and then Wonder Woman is right there in my head. But honestly, it’s not a huge leap for me – she’s pretty much in there all the time, anyway.
How much of what you do with Wonder Woman is through a change in your voice, and how much is really acting and attitude?
SE: A lot of it’s attitude. That’s why, if I'm speaking just normally, it's not as if somebody next to me would ask, “Do you play Wonder Woman?” But then when I do the attitude and lower the register slightly, you will see this smile of recognition on the face of a little kid … or a true fan. And that’s always fun.
Who recognizes you more – kids who watch cartoon, or the adult devotees of the genre?
SE: Kind of both, and the reactions are different, but similar. It’s really nice to have people who are so passionate about these characters. So you get the 6-year-old child who has watched the cartoon and their eyes get big when they recognize that you're this person behind the voice. But then you get the 40-something-year-old who has been watching, and loves this world, and loves this universe, and reads the comic books, and cares deeply about the genre. That's fabulous, too. Just to have fans is a very cool thing. No one can complain about that. It's good.
Wonder Woman has some very long battles in Justice League: Doom with a lot of physicality required in the vocal performance. How’d you handle that?
SE: The initial recording session is pretty straight-forward – we save most of the impacts and grunts and physical action for the ADR session. But as I was reading the script, I just kept thinking of Dwayne (McDuffie) and thinking, “You really layered it on me, didn’t you!” I'm going to have to be electrocuted and hit over the head and punched over and over and punch back over and over. You often have to be physical to sound physical. So – that’s a truly exhausting day.
What’s it like to have the gang back together again?
SE: You know, it's thrilling because it's a grand reunion. I get to be reunited with Michael Rosenbaum and Kevin Conroy and Carl Lumbly and that's like having the League back together, if you will. I didn't that expect that to happen, and I could not be more thrilled. Driving to the recording session, I was just so excited that we'd be in a room together. It is just so comfortable coming back into this. It's the best gig in town. And anyone who does voiceovers would say that.
What are the scenes that appeal most to you in this film?
SE: I always like the quieter moments. So I like my scenes with J’onn, because those two characters really can relate to each other in so many ways, and I also liked my scenes with Batman. In both cases, those were some of the quieter moments with some emotional content. I enjoy the scenes where I have to kick some butt, too. But I truly enjoy the interplay with the other characters and the actors that play them.
I’ve never been shy about my feelings with Batman and Wonder Woman because, first of all, I love Kevin and I love working with Kevin. I think he's amazing as Batman. And I love Batman and Wonder Woman together, and I think the fans do, too. You can go on YouTube and find all these wonderful videos of the two of them – showing their romance, put to music – so you know the fans love them together.
Playing Diana gives you a lot of different angles and emotions to play. Diana is very serious – she’s not like Flash where she's funny and throwing out the one-liners. When she's funny, it's not necessarily intentional that she's funny. And so I love the other aspects of her, when she gets to be flirty with Batman or when she gets to be funny with Flash or more earnest with J'onn. I especially like to play the flirty and hint at that romance between the characters. That’s a lot of fun.
Has playing Wonder Woman changed you?
SE: In several ways. I think I've grown up with this part. I got this role 10 years ago, and just working alongside my fellow Justice League actors and with Andrea and Bruce has changed the way I work. And learning about this universe has changed me. You can't have a part like this and not feel changed by it, because it's enviable to have this job and play this character. There's humility attached to that. You know you're lucky. And that changes you, also.
What’s your attraction to voiceover work?
SE: I grew up doing radio commercials for my father's business in Woonsocket, Rhode Island, and I loved it. My father and my sister worked together – they would write the copy for me, and I would do the commercials for them. There's something just so freeing about being behind a microphone as opposed to in front of a camera. There’s no worry about your hair or lipstick – on camera you get so self-conscious. Sure, there’s a self-consciousness in a room recording with other actors, because you want to be good. That’s just performance anxiety. I'll take that any day over that camera and all those people staring at me. Some people are so natural with the camera – the can just pretend it's not there. I am so aware it's there.
What Wonder Woman memorabilia do you have at home?
SE: I have a lot of pictures and some beautiful cels – all gifts from the Justice League and Justice League, Unlimited. And some small things that people have sent me – mugs and little toys and notebooks with her on the cover. When we first started, we all ran out and bought our own action figures, so that’s right at the forefront of my bookshelf.
Best of all, I have all the scripts from the series. I keep them in a big bookshelf in my closet. I'm nostalgic about that stuff. It's very sentimental to me to. It was a big deal this job – it really does mean the world to me. So I kept all the scripts.
Wonder Woman can fly. Why does she need an invisible plane?
SE: Because she likes to go in style. And why should she always be flying when there is a plane that can do it for her? I mean, why not have the private jet if you can have the private jet? Right? You're going to begrudge her a private jet? I don't think so.
As noted above, photo copyright of Warner Home Video, so please no unauthorized copying or duplicating of any kind. Thanks!
02/09/2012
This Week On Merlin (Syfy US) - 02 - 10 - 12
Morgana (Katie McGrath) makes things uncomfortable for Merlin (Colin Morgan) in "A Servant of Two Masters." Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
SPOILER ALERT!! - Can murder and comedy go hand-in-hand? It can (and does) when your bewitched assassin is Merlin and his target is the King himself. That’s the unlikely plot of A Servant of Two Masters, an all-new episode Merlin.
While saving King Arthur’s (Bradley James) life, Merlin (Colin Morgan) is inadvertently captured by Morgana (Katie McGrath) – who delights in torturing the young warlock, then placing him under her control with the use of a Fomorroh, a multi-headed serpent with deadly powers. Armed with the king’s most trusted servant, Morgana sends Merlin away with one mission: kill Arthur.
Emrys (Colin Morgan) surrounded by the Knights. Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“That was always what we had in our minds,” said co-creator and executive producer Johnny Capps: “to let the series grow darker, but never lose sight of its warmth and humor.”
Indeed, A Servant of Two Masters vividly demonstrates the unique vision for Merlin of Capps and co-creator and executive producer Julian Murphy, established since the series’ inception, of balancing drama with comedy in a way all ages can enjoy – while always raising the stakes of the story and its outcome.
A helpless Merlin (Colin Morgan) takes aim on an unsuspecting Arthur (Bradley James). Photo copyright of Shine Ltd. and FremantleMedia Enterprises.
“Our strategy for the show has always been to create an action-adventure show that appeals to and entertains the entire family,” Capps says. “The other important thing about Merlin is that each season we refresh it and, as the characters get older and the stakes get higher, then the series gets darker, just like in the Harry Potter films.”
This week’s episode takes the vision a step further by combining intensely dramatic scenes of Morgana torturing and abusing Merlin with images of a bumbling Merlin attempting to kill Arthur – by poison, crossbow and sword – that find their laughs in an honest, genuine way.
“The darker we go, the funnier we go, too,” Capps explains. “That’s always been an important focus for us. No matter how dark the series gets, you never lose the emotional heart of it. A Servant of Two Masters (Season 4 - Episode 6) airs Friday, February 10th @ 10:00 p.m. EST/PST on Syfy.
As noted above, photos copyright of Shine Ltd. and FremantleMedia Enterprises, so please no unauthorized copying or duplicating of any kind. Thanks!
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