Showing posts with label Entertainment Weekly. Show all posts
Showing posts with label Entertainment Weekly. Show all posts

Wednesday, October 07, 2015

Family ties 2015-10-07 EW Entertainment weekly, Inside the Keatons' picture perfect Family Ties reunion for EW

http://www.ew.com/article/2015/10/07/family-ties-reunion-ew

Inside the Keatons' picture perfect
Family Ties reunion for EW



(ALEXEI HAY for EW)

Family Ties


Posted October 7 2015 — 8:26 AM EDT

There’s nothing that gives Michael J. Fox more joy than meeting an ardent fan of Alex P. Keaton.

Though its been years since Family Ties finished its memorable run on NBC from 1982 to 1989, fans still want to engage Fox about the comedy that featured a pair of hippie parents (Meredith Baxter, Michael Gross) and the very different kids (Fox, Justine Bateman, Tina Yothers) who loved them.

“People grew up with Family Ties,” Fox tells EW. “That’s a very special relationship I enjoy with people. I was there for a lot of big things in their lives. I wasn’t physically there but I was a friend in their lives. It’s really a blessing to be able to have people associate you with something pleasant and positive in their lives.”



So when EW asked the Keatons to reunite for the magazine’s Reunion issue, the cast was overjoyed to see their “other” family – not that anyone really lost that connection when the show went off the air.

“We definitely stayed in touch,” says Yothers, now a California-based stay-at-home mom with a husband and two kids. “It’s probably more so than any normal job when you leave an office or workplace. And now with social media, Michael Gross for instance is all over Facebook. He is the Facebook king! My dad passed away 10 years ago and Michael reached out. He’s been my dad. It’s like we’ve never been apart.”

Looking back, the castmembers are particularly proud at the stories – not just the jokes – they told on the multi-camera comedy.

“The show was more focused on getting Humanitas Awards than Emmys,” said Justine Bateman, who is studying computer science and management full-time at UCLA. “Think about All in the Family, The Jeffersons, the topics they tackled. That’s what was going before us, you know what I mean? We were in the early ’80s, so we were all of that mind. There was an episode where Mallory’s uncle makes a pass at her. I don’t know if there was anything the [writers] wanted to do that the network said no to.”


Image Credit: NBC/NBCU Photo Bank via Getty Images

To continue reading more from the cast reunions of Family Ties,as well as those of Misery, Felicity, Rocky Horror Picture Show, Bring It On, and Muriel’s Wedding,, pick up the new issue celebrating Entertainment Weekly’s 25th anniversary, on newsstands Friday, or buy it here.

Monday, December 01, 2014

The Walking Dead, 2014-12-01 - EW, Emily Kinney gives the inside scoop on that 'Walking Dead' shocker

http://insidetv.ew.com/2014/12/01/walking-dead-emily-kinney-beth-coda-midseason-finale/

Emily Kinney gives the inside scoop on that 'Walking Dead' shocker

Beth.jpg
Image Credit: AMC

[SPOILER ALERT: Read on only if you have already watched Sunday’s midseason finale of The Walking Dead.]

The Walking Dead midseason finale ended with a bang on Sunday night. Unfortunately, that bang was the sound of Officer Dawn Lerner’s gun blasting into Beth’s head after Beth stabbed with her some scissors to protest the Grady Memorial Hospital leader insisting on forcing Noah to stay in exchange for Beth. In the past we may not have seen Beth be so bold, but this was Beth Greene 2.0, who showed herself to be a much more outspoken and daring version of her former self. Of course, that daring is what ultimately led to her demise. We spoke to a still very emotional Emily Kinney — who will now turn her attention to her music career with a new single and video titled “Rock Star” due Dec. 9 and a new album in 2015 — to get her thoughts on Beth’s evolution and end game. She also tells us about Norman Reedus getting a bit handsy, talks what she will miss most about working on the show, and reveals that she has yet to even watch her final episode. (Also make sure to check out our deep dive with Andrew Lincoln, midseason finale Q&A with Norman Reedus, and burning questions with showrunner Scott M. Gimple.)

ENTERTAINMENT WEEKLY: Tell me how and when you got the bad news.
EMILY KINNEY: The season finale was episode 508 and I found out during 507. So I found out a few hours before they released the script to everyone.

Showrunner Scott Gimple gave you the call?
I actually talked to him in person.

So did you go then tell your castmates or did they find out on their own?
All I know is how I found out, which is that day a few hours before the script came out. So different people from the cast reached out to me after that and that was really nice.

Tell me about that. What was it like when the reactions from cast started coming in?
They seemed surprised too. It’s always really hard. We’ve worked together for years now. So, it’s really sad.

I remember Scott Wilson told me he tried to talk them out of it at first for a minute when Gimple told him he was being killed off. Was there any of that on your end trying to plead your case?
No, I didn’t really think of that. I was more having a million things running through my head. I was like, oh, I have this apartment here. It was like a million things. I don’t know if I was worried about trying to…I don’t know. I was just really upset. I don’t know what I was thinking. I wasn’t trying to pitch anything to the writers at that point.

It’s interesting what you’re saying because that’s not something we think about a lot — all the simple logistics involved in uprooting or changing your life. I remember talking to you a few months ago and you talking about being on this show and always wondering about things like “Should I buy this table for my Atlanta apartment or will I not be around to enjoy it?”
Yeah, I think as actors we are a little conditioned to think like, okay, you do a job and the job ends — it’s like freelance. You go to the next job. But I have been working on this show now for years and it definitely has been an anchor in my life. I schedule other things around the shooting schedule and all these people have become really good friends and so of course I am sad to leave the character behind and then there’s another part of me that is excited that I can play some new characters, and that’s exciting. But there’s also the life stuff, like, Oh, I have to get rid of my apartment. I have to figure out what to do with my cable! What does this mean for me and my schedule? And oh, but there are all these people and I want to see them because it’s my last chance. And then also it’s my last chance to give a really kick-ass performance so I really want to work on my scenes. I really want to dig in. So there’s a lot going on in your head any time that you lose a job but are also trying to give a great performance.

Tell me about your last day of filming.
We didn’t shoot it in order so some of those scenes with everyone where Beth gets shot in the hall and then going outside — those was shot before some of the more intimate scenes or more 1-on-1 scenes with me and Dawn. That was later. But those scenes with the big group, those are long days because you’re getting coverage of so many different people. And of course, there is fight choreography with the gunshots and stuff. So they are long days. I was happy to have those days with my friends. I’m glad I didn’t die in episode 4 and have it be Beth isolated. So it was fun to have those days back shooting with the whole group and being able to hang out with everyone on set even though it was so sad. And then honestly, I was thankful to kind of end that journey working on really good scene work. I loved working with Christine Woods [who played Dawn]. Sometimes the big moments like that last scene where I get shot — as exciting as those moments are, I really love just coming to set and working on a scene and having a conversation with someone and making it feel real. I was thankful I was able to not end on days where I was just laying around bloody. I got to work, you know?

Beth was a character whose strength was always being questioned, so as hard as it is to be ripped away from the show, you have to feel pretty good, I imagine, about this final arc you got for her in which we really did get to see the fighter within her.
Yeah, totally. I really do love the writing on this show and I do think it’s really smart and cool and I love how Scott incorporates things and little sparks of things in other seasons and then you see them come back, like the “I don’t cry anymore” thing coming back in this episode. It’s really special, and I was really thankful that this season that you did get to see so much of Beth and you did get to see her without her group and what kind of person she could be and how she could change in different circumstances. It’s fun to work on and I was really thankful. Although I’m sad it ended so soon and wasn’t expecting it to end so soon, I was happy that you really got to know her before she left.

I spoke to Norman Reedus, and that scene where he’s carrying your body — he said he thinks he may had inadvertently grabbed your boob on one of those takes. Can you confirm or deny that?
Inadvertently?!

Yeah, exactly — in quotes. But what was it like playing dead in take after take there? Could you feel his arms giving out a little bit?
Yeah, I feel bad because at first before they were even rolling tape we would be all sad and he’d be holding on to me. And then after take after take after take it was getting more and more difficult to keep holding me. Because I’m just dead weight too! At least when he had to carry me last season it was piggyback and I was holding on to him and could jump up and help out at least — but this I was completely dead and limp, and then he’s trying to walk and cry and all of this and hold onto me. And there were a couple of times where I felt like I was definitely slipping towards the ground. [Laughs]

What was it like watching the episode?
I didn’t really watch it. I didn’t completely avoid it because there were moments like when I was waiting to go on Talking Dead where they were showing it and I wasn’t like “Oh, guard my eyes!” But I didn’t really watch it. Something happened this season — it started happening last season too, where I feel like I had a certain experience filming it, and while it’s nice to see the final product come out, it’s not so enjoyable. It’s not as though I’ve been like “Oh, I’m never watching it.” But I actually have not watched the episode. I haven’t sat down and watched it. I feel it’s sort of out of my hands at a certain point and I’m very proud of the work I’ve done with The Walking Dead. I don’t feel like it would be fun to watch myself. It feels a little painful.

What will you miss most about working on this show?
Probably the people. Because I feel like we’ve all become such good friends and they’ve made me a better actor. Not just the other actors, but all the people I’ve gotten to work with. They’re all really passionate people and really inspire me. I feel like Scott Gimple and Robert Kirkman and Gale Anne Hurd and all these people are really great artists and being around them doesn’t just infuse my work on The Walking Dead, but as a songwriter as well. Being around them makes me excited.

Gotcha with Emily Kinney

The Walking Dead, 2014-12-01 - EW, 'The Walking Dead' star Norman Reedus on that 'devastating' midseason finale and Daryl's sexual orientation

http://insidetv.ew.com/2014/12/01/the-walking-dead-norman-reedus-coda-midseason-finale/

'The Walking Dead' star Norman Reedus on that 'devastating' midseason finale and Daryl's sexual orientation

Norman-Reedus.jpg
Image Credit: Gene Page/AMC

[SPOILER ALERT: Read on only if you have already watched Sunday’s midseason finale of The Walking Dead.]

It was an emotional midseason finale episode of The Walking Dead on Sunday night, especially for star Norman Reedus who woke up “sad” and “depressed” this morning after watching the episode last night and reliving the death of Emily Kinney’s Beth all over again. Reedus called into Entertainment Weekly Radio (SiriusXM, channel 105) this morning to talk all about Daryl Dixon and the big installment, copping an inadvertent feel on Kinney, what to expect coming up, and his reaction to Walking Dead creator Robert Kirkman’s clarification on last night’s Talking Dead as to Daryl’s sexual orientation. (Also make sure to check out our deep dive with Andrew Lincoln, midseason finale Q&A with Emily Kinney, and burning questions with showrunner Scott M. Gimple.)

ENTERTAINMENT WEEKLY: I know how super emotional it is for you guys when you have to say goodbye to a cast member. What was it like having to film these last scenes with Emily Kinney, who played Beth?
NORMAN REEDUS: It was rough. I won’t lie, it was rough. She’s such an amazing girl and such a great actress and what her character meant to our characters was a big deal, so to lose that was a very emotional day for everyone. It felt like you actually lost a friend.

And I know you do take things very hard and you had some trouble before filming this scene, didn’t you?
I think all the characters are sort of hanging on a thread, not in terms of being killed off the show but their emotional state. All of us are walking that fine line between completely savage and broken and I really wanted to play out that scene as devastated. And it means as much to Daryl as it meant to all of us. I really wanted to be completely devastated by that and taken off guard by that. Daryl’s one of those guys — he’s tough but he doesn’t puff out his chest and have to be tough. He’s just tough. And you can’t really have one without the other. You can’t just be one-note tough. You have to show reasons as to why he fights and you have to show the world that we’re living in. So he had to be devastated by that.

We’ve talked before how Daryl is such a tough guy, but he has some very tender and childlike qualities as well, especially when confronted with tragedy. We saw it when Merle was a zombie and we saw it again here when he watches Beth get shot. All that tough stuff just evaporates.
Yeah, he’s never been a showboat, and I think as an adult he’s taken a lot of the trauma that he had growing up and he’s taken it with him and you don’t fully became one or the other. I think in a tragic situation it’s fight or flight, and he’s always been a fighter, but at the end of the fight, I don’t think he ever feels proud of himself, you know what I mean?

He does not hesitate. He puts a bullet right through Dawn’s skull. Is that just a natural gut reaction?
I think so. That’s just animal instinct kicking in, and he’s kind of a wild animal in a lot of ways. He wouldn’t flinch at that. He would just do that.

So did Emily Kinney’s lifeless body get a little heavy after multiple takes of carrying her out of the hospital?
[Laughs] You know, she’s not a heavy girl. I wouldn’t say that. But it’s this defeated posture. I couldn’t walk her out like a fireman saving a baby. It couldn’t be like that. Everything had to hang. It wasn’t the most comfortable position to carry someone. You kind of have to be sobbing and hang as you carry her. It can’t be a heroic thing, it has to be a devastating thing. I think I grabbed her boob once by accident. After like, six takes and you’re walking really slow and sobbing, I thought maybe I would drop her at least once, but I didn’t.

What does the loss of Beth do to Daryl and to the group moving forward?
She was such a beacon of hope, that girl. She sang and she had a positive outlook and she was hopeful. All these little slivers of hope are being taken from this group one by one. It just gets worse and worse and worse. Humanity and the goodness in people is slowly being evaporated from their world. I think she was a big beacon of hope for us, and to watch her go is just devastating.

How is Daryl feeling about Rick’s decision making? We saw last week he actually sided with Tyreese’s plan instead of Rick just wanting to go into the hospital guns blazing. Is part of his job to keep Rick 2.0 in check a little from time to time?
One of the joys of watching the show is you see these little gifts that we give each other. And Rick’s done it to me quite a bit of times, and if you watch the episode with Carol, we see the little kids behind the glass and Daryl says “You don’t have to do it,” and then Daryl is going to go burn those bodies while she’s asleep. It’s just these little things where we have each other’s backs and that moment with Tyreese, Tyreese is really shaken-up and he’s had a hard time killing people, and Daryl is looking at Tyreese and thinking, you can’t fail. You have to be at 10. You can’t be at 3 and go in there. So while Rick is down there on the ground and drawing a map, he’s not really looking at Tyreese. Daryl is looking at Tyreese, and he realizes that he may screw this up, so Daryl sides with Tyreese and Rick doesn’t really know why because Rick didn’t see Tyreese flinching like that. So it’s little gift that Daryl gave Tyreese. But Rick listens to Daryl now. So that was between me and Tyreese, and Rick’s done that for Daryl numerous times, and Carol has done that for Daryl, and Glenn has done that for him. It’s these little gifts you give each other to show solidarity and friendship and that you have each other’s backs and that’s what that was. The same thing when I beat the guy over the head with the skull and Rick is ready to shoot him — Daryl wants to play the smart move. Four aces is better than three aces. He just wants to get the girls back, which is why it is so devastating for him in the end. He’s just playing good poker there.

We’ve had some seasons with tons of action and others with tons of character development, but this is I would argue the best one at really marrying both of those things. We got through both the Terminus threat and the hospital threat in only 8 episodes yet we also had a lot of character study in there. Would you agree that this season has excelled in that way?
Oh, man, you ain’t seen nothing yet. It just gets more so. It’s very well thought out this season, and a really strong combination of both of those things — character and action. And with both of those things comes a lot of sorrow and even mini-victories here and there. But it’s gonna become even more complicated in the back eight episodes.

I know you just wrapped production on season 5 last week. What’s that like in terms of bring excited about making it through another campaign but also saying goodbye to this on-set family for a good five months or whatever?
I feel like I’m still in it to be honest. I feel like I’m just visiting my apartment in New York and I’m about to go back. It takes you a while to decompress from it, and all of us are emailing each other on group emails already. All of us are doing that. It’s weird to be home for a minute. Even watching last night’s episode I woke up this morning feeling really down.

In what sense?
Just sad. I woke up sad. You put a lot of time and effort into all of this and you don’t just snap out of it sometimes. So I woke up pretty depressed.

What can you tell us about what we’re going to see coming up when the show returns?
It’s a very different show, the back eight. It’s still the same show, but it’s very different circumstances. Personalities really come to a boil and a lot of unexpected things are going to happen because it’s in a very different vein. You see us in a very different circumstance and it becomes very desperate. And there’s a false level of security that really messes with everyone.

I don’t know if you watched The Talking Dead last night, but Walking Dead creator Robert Kirkman went out of his way to explain that Daryl is straight because of all that hubbub where he mentioned in the letters section of the comics that there had been talk of having the character be gay at one point. Does it amuse and confuse you as to why people are so invested in Daryl Dixon’s sexual orientation?
[Laughs] It’s funny that you brought that up because he caught of a lot of grief for even mentioning anything. Sometimes stories just get blown out of proportion. Whatever they gave me to do, I would happily do it and I don’t think it matters one way or another his sexual orientation. He’s an honest, badass dude and he has a lot of heart to him and it doesn’t really matter. It’s so funny when you meet people and their reaction to this and to that — and believe me they go from all the way far left to all the way far right. I didn’t really address that when it came out because it doesn’t matter. And whatever they give me to do, I would have done. But it’s kind of funny watching him cover his tracks a bit. A lot of times stories do get blown way out of proportion.

Gotcha with Emily Kinney

Sunday, November 02, 2014

The Walking Dead, 2014-11-02 - EW, The Walking Dead recap: 'Slabtown'

http://tvrecaps.ew.com/recap/the-walking-dead-season-5-episode-4/

The Walking Dead recap: 'Slabtown'

Beth wakes up in an Atlanta hospital, but her rescuers aren't who they seem.
Ep. 04 | Aired Nov 2, 2014

BETH'S BACK But she's not loving her new crew.
Gene Page/AMC

Could there be a less enticing, ominously evocative episode title than "Slabtown"? Ending up on a slab means dying, and anything called Slabtown should almost certainly be avoided. (That said, Portland's Slabtown Bar earns solid marks on Yelp.) The title of the fourth episode of The Walking Dead's fifth season is never explicitly linked to what happens in the episode—there’s no "Forget it, Beth: It’s Slabtown"—but we’ll presumably learn it soon.

Anyone hoping to learn who was with Daryl in the woods was probably disappointed not to have last week’s cliffhanger answered, but we can remove a few candidates from Dalton Ross’ list: Beth, the people who took Beth, and Carol. More on her in a bit.

Beth has traditionally been one of The Walking Dead’s less compelling supporting characters, so it’s nice watching her take on more narrative responsibility lately, beginning back with last season’s "Tempus Fugit." Back on her dad’s farm, Beth seemed content to let Maggie and Hershel be the grown-ups. Even in the prison she stuck to more domestic duties. That made her ill-prepared for a life on her own—as one of her new guardians notes—but times have changed. Beth may still look young and weak, but people underestimate her at their own peril. And they underestimate her repeatedly in "Slabtown."

When Beth disappeared last season in a speeding car with a white cross on the back, my money was on a group of religious fanatics taking her. Surely this world has its share of zealots who have used the zombie plague as justification for bizarre behavior. Where is the Guilty Remnant of The Walking Dead?

Well, it isn’t at the Atlanta hospital where Beth wakes up at the beginning of "Slabtown." But we quickly learn that a different, tidy fanaticism rules Grady Memorial Hospital, as personified by police officer Dawn Lerner (Christine Woods, best known for Go On and Hello Ladies): Order at all costs, down to clothing on their backs.

Lerner quickly makes that clear after explaining to Beth how she ended up there: They rescued her from "rotters" on the side of the road, "so you owe us." That debt informs the rest of "Slabtown," though the terms of it are never made clear. Beth owes them something for saving her, for her food, and presumably her shelter. She works off that debt as a nurse/assistant to Dr. Steven Edwards (Eric Jensen), the good cop to Lerner’s bad cop (and Cullen Moss' worse cop, who would like to repaid sexually).

Rarely is the passage of time clear on The Walking Dead, so it looks like Beth goes from groggily waking up to seeing the plug pulled on another patient in a matter of minutes. As Edwards explains, if patients don’t improve, the hospital euthanizes them—which is an exceedingly polite way of saying he takes them off life support and dumps their bodies down an elevator shaft to be eaten by walkers.

It may seem cruel, but limited resources mean Lerner and Edwards—the hospital’s only doctor—have to be ruthlessly realistic. Except when they don’t: Not long after Beth learns the rules, Lerner and another cop wheel in a new patient, who’d fallen from a building. The guy’s in bad shape; Edwards assesses him as hopeless on first sight: "This one’s a loser. You said you didn’t want me wasting resources." Lerner insists Edwards treat him, so the doctor relieves pressure caused by his collapsed lung, but beyond that he can’t do anything. Bruising on the man’s abdomen indicates internal bleeding, and they don’t have the equipment to diagnose the cause. Edwards again remarks that it’s a waste of resources, so Lerner takes the logical next step of slapping Beth. "Steve, try to grasp the stakes here," she says while Beth looks baffled.

The red flags continue. When officers drag in another "ward" who has been bitten during an apparent escape attempt, Lerner insists on amputating the woman’s arm to save her life, even though she wants to die. "You can’t control them!" the woman, Joan, yells. "I will!" Lerner responds. And because we’ve gone literally minutes without gore, we’re treated to the woman’s arm being amputated with a wire saw. Lerner, it’s clear, only understands force. By the sheer force of clinging to the previous rules of order, she’s going to save the world. Or so she thinks.

Dalton mentioned Tyler James Williams in his post last Monday, and now we have seen Noah (so no, that’s probably not him in the bushes, either). Noah has been working off his debt for a year since he was saved, and he seems to have no idea how much is left on his tab. In fact, he’s never seen someone pay off their debt and walk out the door. Whether that’s because they never finish paying or because they decide to stay at the hospital instead of facing the outside world alone remains to be seen. He has no illusions about his hosts: Lerner can barely keep control of her officers, and her grip is slipping; they left Noah’s injured father when they rescued him, ostensibly because they didn’t have the resources to care for Noah’s dad, but Noah suspects it was really because his dad was bigger, stronger, and unlikely to be pushed around.

"They think I’m weak," Noah tells Beth. "They don’t know shit about me, about what I am. About what you are."

Where men at this hospital see Beth and see a willowy blonde they’d like to bang—you’re no exception, Dr. Edwards—Noah is the only person, man or woman, to see a person who can unload a string of headshots on a group of walkers with icy precision. Well, maybe he doesn’t see that, but he at least grasps her toughness—and she has a chance to show off her gun skills later.

Lerner, rightly sensing she didn’t make the best impression on Beth, tries a softer approach with her later. She brings food and tries to make her case. "You shouldn’t see this as a sentence. I’m giving you food, clothes, protection. When have those things ever been free?" she asks. Then she makes plain the denial feeding her manic devotion to order: When they’re rescued, their sacrifice will have been worth it.

That includes mistreatment of wards by officers of the law sworn to protect them. Lerner clings mightily to the order of the world before the fall, but she’s the only one. Her staff, epitomized by the rapey Gorman (Moss), maintains the minimal amount of peace to keep her satisfied, though it’s unclear why they couldn’t simply pull a coup. "She can control them," Joan tells Beth later, "but she doesn’t because it’s easier. Because she’s a coward."