‘Full House’ Cast Is Still A Family 30 Years Later

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Ahead of “Fuller House” Season 3, the actors look back with humor over three decades.

Time and time again, we hear casts of TV and film describe themselves as family. Not everyone in Hollywood can get along, but we nod and smile at the claims anyway because, well, they’re easier to accept than calling b.s. on every red carpet or awards show stage.

And yet when the cast of “Fuller House” says they’re family, we know they really mean it. Nobody films eight seasons of a hugely popular sitcom only to return decades later for a revival if they don’t genuinely enjoy being with one another. That sentiment is more than evident in the third season of the sequel series, which hits Netflix exactly 30 years after the pilot premiered. Yes, three decades have passed since we welcomed the Tanner family into our homes and hearts and, have mercy, we’re getting nostalgic.

“It’s like getting all of your crazy family together,” Jodi Sweetin told HuffPost during a Build Series interview. “We speak in this language that we’ve known for 30 years of ridiculous inside jokes, silliness, laughter and love.”

“There’s something that stands the test of time,” she continued. “To be able to do this 30 years later and have ‘Fuller House’ be such a success and do it with people we love. And to really have so much fun with it and create a whole new generation of fans has really been a huge compliment and a huge testament to the show.”

The revival hasn’t exactly been a critical darling ― the original series was never well-received, either ― but the franchise continues to have an undeniable resonance with audiences around the world. Netflix is famously secretive when it comes to viewership, but it’s rumored that “Fuller House” is one of the most watched programs on streaming services and traditional TV networks.

Fan service alone cannot sustain a series for more than a season, so “Fuller House” has taken a cue from its Netflix brothers and sisters and committed to more serialized storytelling, setting it apart from the original series. Whereas “Full House” centered around Danny, Joey and Jesse, the revival showcases the female-perspective on stories of love, family and raising kids, which cast members Candice Cameron Bure, Jodi Sweetin and Andrea Barber agreed was “refreshing.” The third season picks up where the finale left off, after D.J. (Bure) witnessed her childhood sweetheart Steve propose to another woman (unfortunately named C.J.), while she recommitted to boyfriend Matt.

Steve’s wedding eventually takes the family to Japan in the back half of the season, premiering in December, but expect plenty of love triangle-related hijinks before then. Stephanie (Sweetin) is still trying to get her life together, now with a broken leg from a real-life accident, while growing closer to boyfriend Jimmy, who happens to be the brother to everyone’s favorite Gibbler, Kimmy (Barber).

Other exciting tidbits from the season include an inventive opening musical number we can’t stop humming along to and, of course, guest appearances by “Full House” favorites Bob Saget, Dave Coulier and John Stamos, who show up for a handful of episodes each season.

The real draw of a series like “Fuller House” is what exists between the lines. Whenever original cast members share a scene together there’s an unspoken connection that the audience is also privy to ― the three leads wear matching friendship rings on and off camera ― and that “true love,” as Saget puts it, is why people keep coming back for more.

“It was just like they were our kids. We were very protective and we were together for a long time and we went through a lot together,” Dave Coulier said during the same Build Series interview. “When you do 192 episodes of any show, you’re together with the people you work with a lot more than your own family … I still feel that way.”

“The show mirrored [my life],” Saget added. “I have three daughters. My oldest was one when the show started and I didn’t know I was going to have three.”

The same kind of mentorship has been passed down to a new generation of “Fuller House” child actors, who now populate the famous Tanner household, including Michael Campion, Elias Harger and twins Dashiell and Fox Messitt, taking the baton from Mary Kate and Ashley Olsen.

“We give them more advice as moms than actors,” Bure said of her TV children. “They don’t need that many acting tips from us, but there’s a lot of value in the fact that we experienced that. We have probably more compassion and understanding than people on set or people that haven’t worked with kids because we went through that. Juggling school full time and then your work schedule full time … it’s a lot.”

Like most families, not every member of the clan is keen on coming to the reunions or showing up for the holiday card. Mary Kate and Ashley Olsen, who both played the third Tanner daughter, Michelle, have famously abstained from appearing on the revival series. Don’t expect them to change their minds anytime soon.

“They have their life. They don’t want to act.” Saget explained. “They have love for everybody and it is what is. People go on and do what they want with their lives.”

With or without the Olsen twins, something special still happens when the cast convenes in the same room, be it on set or the times they’ve spent supporting one another after the cameras stopped rolling all those years ago.

“We’ve been friends for 30 years. When we started ‘Fuller House,’ it wasn’t like we all saw each other for the first time after 20 years,” Bure said. “We’ve remained friends and the spark has always been there, because when you love someone in real life, you always want to be with them, feel joyful and hang out with them. And that’s how we’ve always felt.”

Presented by E.Cowan

Written by huffingtonpost.com

 

Tom Cruise Blamed In Part For Plane Crash

Categories: Top Stories

A 2015 plane crash in Colombia claimed the lives of two pilots during filming of the upcoming Tom Cruise vehicle “American Made.” According to new court documents obtained by People, the action movie’s star is partially to blame.

Three men were involved in the accident: cinematographer Jimmy Lee Garland, who was left without feeling in half of his body, longtime Hollywood stunt pilot Alan Purwin and co-pilot Carlos Berl, who both died. The crash left the twin-engine plane smoldering in a mountainous region as locals scrambled to help.

The families of Purwin and Berl are suing producers of the film ― Imagine Entertainment, Vendian Entertainment and Cross Creek Pictures ― alleging in the new documents that Cruise and director Doug Liman contributed to the tragedy with excessive flight demands.

“The demands of filming in Colombia, together with Cruise’s and director Doug Liman’s enthusiasm for multiple takes of lavish flying sequences, added hours to every filming day and added days to the schedule,” the documents read, according to People. The news was first reported by gossip site The Blast.

Cruise and Liman aren’t named in the suit, but it still deems them “negligent,” per People.

“American Made,” set for release Sept. 29, stars Cruise as a CIA hire and drug smuggler during the ’80s.

In their joint suit, the families of Purwin and Berl claim Purwin once called the movie “the most dangerous project I’ve ever encountered.” They also assert that a formal complaint against Cruise and Liman was brought to the production’s insurance company. “DL [Director Liman] and TC [Cruise] [are] adding entire scenes and aerial shots on the fly,” an executive producer allegedly wrote.

The entire incident has resulted in a legal tangle. Purwin’s and Garland’s families are also suing each other, while producers filed a suit earlier this month against the aviation company involved in the film. Its insurance company has also filed its own suit.

Presented by E.Cowan

Written by huffingtonpost.com

Howard Stern Bans Staff From Helping Jackie Martling

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DJ’s underlings told ‘stay away’ from former show writer’s revealing new tell-all.

RadarOnline.com can exclusively reveal Howard Stern has gotten so power-mad, he has forbid anyone on his show to write the forward to Jackie “The Joke Man” Martling’s upcoming memoir, The Joke Man: Bow To Stern.

When Martling, 69, was writing the book, which details his beginnings as a working comic and climb to the top on The Howard Stern Show, he initially reached out to Robin Quivers.

She politely declined the honor before Fred Norris and Gary Dell’Abate followed suit.

“Howard made it known, let’s put it that way,” a source told Radar of the shock jock insisting his subordinates “stay way from [the book].”

“He didn’t want anybody even remotely associated with the show doing Jackie any favors, especially when the book doesn’t always portray Howard in a good light.”

Martling, who was Stern’s head writer from 1983 to 2001, eventually settled on Artie Lange to do the honors.

However, Lange didn’t exactly write the book’s introduction, since the forward, claimed the source, is just a bunch of gracious compliments that Lange paid Martling on his podcast in 2016.

Martling, continued the insider, eventually wrote the forward, which snubs Stern, but attributed the finished product to Lange.

The Joke Man: Bow To Stern hits bookstores on Oct. 24.

Presented by E.Cowan

Written by radaronline.com

Craig Ferguson’s New TV Series Is Also A Modern-Day Commercial

Categories: Top Stories

Craig Ferguson is taking over the helm of a new talk show that has an intriguing feature – no commercial breaks. That’s because the series is a commercial itself.

U.S. TV viewers will likely recall Ferguson from his tenure on CBS’ “Late Late Show,” where he set himself apart from the pack with a distinctly cerebral monologue. Now he and his wife, Megan Ferguson, will work their brains by seeking out thought leaders such as astrophysicist Neil deGrasse Tyson and molecular scientist Daisy Robinton to ask them questions about topics that often spur them into debate – including sustainability, success, and other high-minded matters.

They are doing it on behalf of Gant, the Swedish clothes retailer, and how the pair are going to inspire viewers to run out and pick up dress shirts or a sacker-ribbed polo sweater remains to be seen. According to the company’s chief marketing officer, however, Gant won’t achieve its goal by running traditional TV commercials.

“We want to do content that people think is interesting, instead of a commercial that is interrupting what is interesting,” said Eleonore Säll, the company’s global marketing officer, in an interview. “We think our audience will thank us.”

The series, “Couple Thinkers,” will appear in 70 countries via YouTube and other digital venues, with the first episode debuting Monday, October 9.  The six-episode cycle is meant to burnish Gant’s brand credo, “Never Stop Learning.”

Gant’s efforts emulate those of other advertisers, many of who are fast discovering the need for new kinds of promotional programming in an era when viewers are more accustomed to seeing fewer ads accompanying their content.  Nike produced a documentary for National Geographic set to air this week that touts its footwear as it depicts runners trying to finish a marathon in under two hours. Other companies like Apple and AT&T are crafting longer commercials with greater flair and A-list celebrities and then distributing the vignettes online.

The opportunity proved interesting for Ferguson because it offered “the unique opportunity to go straight to the experts in any particular topic we were curious, or, let’s be honest, arguing about,” he said in a statement. “Something I would imagine most couples would be grateful for.”

Gant considered trying to get the series on a traditional TV network, said Säll, but felt it would have to give up control over timing and how the content itself. Talks are already underway, she said, for a second season.

Presented by E.Cowan

Written by variety.com

Randy Newman: My Life In 15 Songs

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Here’s how a comic genius built one of American music’s greatest catalogs

“It’s almost always something I play on the piano,” singer-songwriter Randy Newman tells Rolling Stone of the genesis moment in his craft, the first step he takes into a new tune and story. “It inspires a code of some kind – maybe dummy lyrics, something I can get rid of. But after a couple of lines, it will become what it’s going to become.

“It’s always been a job,” says Newman, 73, one of American pop’s greatest and most acclaimed songwriters for more than a half-century and an Academy Award-winning composer for animated films. “I go to the piano, and I’m supposed to think of something. It’s always been that way – maybe because of the way I grew up.”

Born in Los Angeles and raised for a time in New Orleans, Newman – who has just released Dark Matter, his first studio album in nine years – was fated to go into his family’s business. His uncles Alfred, Lionel and Emil Newman were famous Hollywood composers with ten Oscars and more than 50 nominations between them. Randy’s father was a doctor. But “as a kid, studying music,” Newman says, “that’s where I hoped I was headed.”

He took the long road, starting in the early Sixties as a songwriter for other singers. Many of his early, classic songs were first recorded by or successes for artists such as Gene Pitney, Dusty Springfield and Three Dog Night. Newman’s only major hit under his own name was the jaunty 1977 satire “Short People.” But his six Grammys and 2013 induction into the Rock and Roll Hall of Fame reflect the greater, enduring impact of Newman’s slippery storytelling, pointed, social observation and rapturous melodies, delivered in a singular, deadpan-Everyman voice.

Newman’s only problem as he looked back through this list: He couldn’t always remember when he wrote what, if it was “1967 rather than ’65 or ’66. Lenny [Waronker, Newman’s longtime producer] would know. I should have asked him before I did this.”

“I Love L.A.”

Trouble in Paradise, 1983

I wrote “I Love L.A.” because Don Henley said to me, “Everybody’s writing L.A. songs, people not from here. You’re from here. Why don’t you write one?” There is an aggressive ignorance to the song – ignorant and proud of it. There’s nothing wrong with the Beach Boys and open-top cars. But the guy talks about the bum [“Look at that bum over there, man/He’s down on his knees”] and is still shouting “We love it”. My cousin, Tim Newman, did the video [a tour of L.A. beaches and hot spots with Newman driving a Buick convertible]. He did the ones for … what the hell’s the name of those blues guys with the long beards? [Long pause] ZZ Top! This was a cheerful shoot. Those people [singing the chorus] are pretty happy.

“I Think It’s Going to Rain Today”

Randy Newman, 1968

This might have been 1964 or ’63. I may have had the first two chords of the tune, where the voice starts. I have always loved those vanilla-kind of chords, straight-ahead Stephen Foster. And once I had a style, I crystallized it: The music is emotional – even beautiful – and the lyrics are not. The honest truth is the song bothered me because of the darkness – it felt sophomoric, too maudlin. But Judy Collins did a great version [in 1966]. UB40’s [1980 cover] was interesting. And I played piano for Barbara Streisand when she recorded it [in 1970]. Boy, it’s real good. She has a hell of a voice.

It’s sung by a con man who is telling these parents that he is going to take care of their son, who is a freak – in the carnival sense of the word. There might be something to do with my own self worth, but I didn’t think there was when I wrote it. The narrator – it’s hard to have any sympathy for him. Most of my narrators have more to like about ’em. But not this one – he is not a good guy. I made mistakes with the orchestra, arranging it too slow. Then I had to record the vocals, and it was like building a mountain you can’t climb. It was brutal.

“Have You Seen My Baby”

12 Songs, 1970

I arranged the horns for Fats Domino when he recorded this in 1969. I wrote it for me. But when he did it, it was like him imitating me imitating him. He’s one of my Top Five artists of all time. Maybe the reason I love Fats so much is because I heard people talk that way in New Orleans. And it’s easy music to like. My natural mode of expression is the shuffle. Dr. John can play my stuff great.

I arranged the horns for Fats Domino when he recorded this in 1969. I wrote it for me. But when he did it, it was like him imitating me imitating him. He’s one of my Top Five artists of all time. Maybe the reason I love Fats so much is because I heard people talk that way in New Orleans. And it’s easy music to like. My natural mode of expression is the shuffle. Dr. John can play my stuff great.

“Mama Told Me Not to Come”

12 Songs, 1970

Eric Burdon [of the Animals] recorded this in 1966. It’s a guy going to a party, and he’s a little scared. The first line [“Will you have whiskey with your water/Or sugar with your tea”] was a vague connection to acid. I don’t remember being thrown off by that stuff then. If I was that unsophisticated – which is possible – I wouldn’t admit it. The piano lick is what kicked it off. Three Dog Night made the song a hit [in 1971], but I didn’t make a lot of money. Maybe I was behind [on publishing advances]. I remember getting a check for $6000. I said, “Where’s the rest?” They said, “Well, you know…”

“Sail Away”

Sail Away, 1972

There was a producer, the husband of [actress] Leslie Caron. He wanted to make a movie where he would give ten minutes to these artists – people like Van Morrison, Jimi Hendrix, me – to do anything we wanted. It never got made. But I had this idea of a slave ship and a sea shanty – this guy standing in a clearing, singing to a crowd of natives. These people in my songs don’t know they’re bad. They think they’re fine. I didn’t just want to say, “Slavery is awful.” It’s too easy. I wasn’t doing Roots. I knew Bobby Darin pretty well. He covered this [in 1972], but he was such a musical guy that he missed the point. He was like, “Little one, come to America.” Etta James did it, and I guarantee she knew what it was about, absolutely.

“Lonely at the Top”

Sail Away, 1972

I wrote it for Frank Sinatra. There was a massive drive at Warner Bros. Records to get Frank a hit. I thought – maybe stupidly – that he would be ready to make fun of that leaning-against-the-lamp-post shit: “Oh, I’m so lonely and miserable and the biggest singer in the world.” I never bought that part of him. I thought he’d appreciate that. I played it for him, at his office on the Warner Bros. lot. His reaction? Nothing. He said, “Next.” I also played “I Think It’s Going to Rain Today.” He said, “I like that one.” But he couldn’t hide his bitterness at young people’s music.

“Louisiana 1927”

Good Old Boys, 1974

I remember my aunt talking about that flood [the Great Mississippi Flood of 1927]. She worked for [Governor] Huey Long at some point, in New Orleans. Good Old Boys was meant to be a concept record. I wrote “Rednecks,” then felt I had to do more for the guy, explain why he was that way with “Birmingham,” “Whirlwind,” and “Louisiana 1927.” The chorus [“They’re tryin’ to wash us away”] – That’s the North. It’s the feeling that the rest of the country would like them to disappear. It’s much more relevant now. The whole country feels as if it’s a swamp.

“Short People”

Little Criminals, 1977

I needed an “up” song for that record, and that just popped out: “Short people got no reason…” I was bouncing off that [hums the piano line]. I was surprised by the reaction. Because it was a hit [peaking at Number Two], the song reached people who aren’t looking for irony. For them, the words mean exactly what they say. I can imagine being a short kid in junior high school. I thought about it before I let the record get out. But I thought, “What the hell?” I know what I meant – the guy in that song is crazy. He was not to be believed.

“One More Hour”

Ragtime soundtrack, 1981

I came into movies the back way, from songwriting instead of doing film first. In scoring, everything is for the picture. If it isn’t up there on the screen, you don’t do it. You do your best for the picture on any and every occasion. With this song [the first of Newman’s 20 Academy Award nominations], I already had the theme for the film. I added a counter-line so it would be a tune of some kind. It’s over the credits [sung by Jennifer Warnes], but it has to be of a piece with the rest of the picture. I wouldn’t have written that song for myself. But the songs for movies are a chance for me to walk right down the middle of the road with lyrics. I get to write things that are simpler.

“Feels Like Home”

Randy Newman’s Faust, 1995

I read the original, Goethe’s Faust Part One. It’s like bumping into a great mind, someone who wants to learn everything in the world. Something in me wanted to take the exaltation out. I made it about a freshman at Notre Dame who doesn’t know what he wants. I had a script and showed it to [film director] Mike Nichols. He said, “The kid doesn’t have any arc. Nothing happens to him.” But I liked that. It makes for a gruesome evening of theater [laughs]. I had Henley, Elton John and Linda Ronstadt sing the songs. I wrote this one for Bonnie Raitt to sing to the Devil, to trick him. Bonnie’s great in it. But something is wrong with me – that’s how convoluted it has to be for me to write a fucking love song.

“You’ve Got a Friend in Me”

Toy Story soundtrack, 1995

Toy Story was my first big, animated movie. It’s different from doing a regular feature. When Tom Hanks falls down in a movie, you don’t necessarily go [mimics the rhythm of someone tumbling down a flight of stairs]. But when [the toy cowboy] Woody falls down, it doesn’t look right if you don’t have that sound. The song [Newman’s first Oscar winner] is about the friendship of Woody and the boy, Andy. I asked for adjectives; they gave me “friendly,” “comforting.” I took them seriously. Cartoon figures have adult emotions, just like a character in Dunkirk. I have definitely found a place in animation. But I got typecast. I don’t get offered things like Out of Africa. I’d do them. They’re easier. You never stop in animated pictures. In a drama, they’re not skipping around all the time.

“A Few Words in Defense of Our Country”

Harps and Angels, 2008

This was in the New York Times [the lyrics were published as an editorial in 2007]. I wrote it because I thought the [second] Bush adminstration would be one of the worst of my lifetime, maybe the worst we’d ever have. Little did I know [Donald Trump] would make him look like Winston Churchill. The comparisons in the song are ridiculous, saying Bush is not as bad as the Caesars. He’s not as bad as [the Roman emperor] Tiberius, because he didn’t kill little boys. He’s not Hitler or Stalin. But I do that song now, and it gets a bigger reaction. Who could have prepared for this?

“Putin”

Dark Matter, 2017

I started it two and a half years ago. It was seeing [Russian leader] Vladimir Putin in those pictures with his shirt off. Like what the hell does he want? He’s the most powerful man in the world – and he wants to be Tom Cruise, Brad Pitt. The song is less critical than I thought it would be, although the tone gets menacing at the end. If it’s just a joke, it’s worth something to me. It’s worth less unless there’s something else. But I can’t tell people what to get from a song. When I’m doing “Rednecks” for a crowd and they’re like “We’re rednecks, yeah!”, that bothers me. It’s closer to home.

“She Chose Me”

Dark Matter, 2017

I wrote it a long time ago for a TV show, Cop Rock [a bizarre 1990 hybrid of police drama and musical numbers], about a guy who was relatively ugly and had a beautiful wife. One of the best things I do is assignments. I do it easily, and I do it well. People say, “Isn’t it a sellout?” No, it’s who I am. If you want me to write a song about an Albanian gardener who moves to Bulgaria, I’ll do it. I’m a professional songwriter. And that’s fine with me.

Presented by E.Cowan

Written by rollingstone.com

Harry Dean Stanton Passes Away At 91

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Harry Dean Stanton, the actor with a gaunt, bedraggled look who labored in virtual obscurity for decades until a series of roles increased his visibility, including his breakthrough in Wim Wenders’ “Paris, Texas,” died of natural causes Friday in Los Angeles. He was 91.

The actor was also known for his roles in “Twin Peaks,” “Big Love,” “Pretty in Pink,” and “Repo Man.”

He had a high-profile role as manipulative cult leader Roman Grant on HBO polygamy drama “Big Love,” which ran from 2006-11, and recently appeared as Carl Rodd in the “Twin Peaks” revival on Showtime.

His most recent film, “Lucky,” about an atheist who comes to terms with his own mortality, is set to be released by Magnolia on Sept. 29.

In 1984, when he turned 58, he not only starred in the Wenders’ “Paris, Texas” — his first role ever as leading man — but in Alex Cox’s popular cult film “Repo Man.” (That year he also had a small role in John Milius’ “Red Dawn,” shouting “Avenge me! Avenge me!” to his sons, played by Charlie Sheen and Patrick Swayze, after being captured by Soviet troops invading America.)

“Paris, Texas,” penned by Sam Shepard, was the darling of the Cannes Film Festival, capturing not only the Palme d’Or, but other juried awards as well. Stanton played Travis, who reconnects with his brother, played by Dean Stockwell, after being lost for four years. Stanton’s performance in the film was not so much powerful as it was intriguingly, sometimes hauntingly, absent.

Roger Ebert said, “Stanton has long inhabited the darker corners of American noir, with his lean face and hungry eyes, and here he creates a sad poetry.”

In the cheerfully bizarre “Repo Man,” he played the boozy repo-biz veteran who takes young punk Emilio Estevez under his wing but provides at-best nebulous guidance: “The life of a repo man is always intense.”

In 1986, Stanton hit the mainstream when he played Molly Ringwald’s unemployed father in “Pretty in Pink.” Later in the 1980s he played a fiery Paul/Saul in Martin Scorsese’s controversial 1988 effort “The Last Temptation of Christ,” but the actor was among those in the film criticized by many as miscast.

Later film roles included a pair of David Lynch films in the early 1990s, “Wild at Heart” and “Twin Peaks: Fire Walk With Me”; Bob Rafelson’s “Man Trouble,” with Jack Nicholson; “The Mighty,” with Gena Rowlands and Sharon Stone; “The Green Mile”; Sean Penn’s “The Pledge”; Nick Cassavetes’ “Alpha Dog”; and Lynch’s “Inland Empire.”

Stanton was close friends with Nicholson — Stanton was best man at Nicholson’s 1962 wedding, and they lived together for more than two years after Nicholson’s divorce — and the character actor’s first step in emerging from obscurity was a part written by Nicholson for him in the 1966 Western “Ride the Whirlwind.” Stanton played the leader of an outlaw gang; Nicholson told him to “let the wardrobe do the acting and just play yourself.” “After Jack said that, my whole approach to acting opened up,” Stanton told Entertainment Weekly.

In the early ’70s Stanton appeared in films including “Kelly’s Heroes” and “Two Lane Blacktop”; he also had a small role in “The Godfather: Part II.”

On the shoot for 1976’s “The Missouri Breaks,” starring Marlon Brando and Nicholson, Stanton made a long-term friend in Brando when he courageously dissuaded the increasingly eccentric actor from making a foolish choice in his performance.

The actor played one of the doomed crewmen in Ridley Scott’s “Alien” and a crooked preacher in John Huston’s “Wise Blood,” and he had a fairly significant role in John Carpenter’s “Escape From New York” as Brain, who keeps the machines running in the high-security prison Manhattan has become.

In 1983, Shepard got to talking with Stanton at a bar in Sante Fe, N.M., and later offered him the lead role in “Paris, Texas.” “I was telling him I was sick of the roles I was playing,” Stanton told the New York Times. “I told him I wanted to play something of some beauty or sensitivity. I had no inkling he was considering me for the lead in his movie.” He also worked with Shepard in the 1985 “Fool for Love.”

In a 2011 review of Paolo Sorrentino’s “This Must Be the Place,” Variety said, “Like all great directors who make a road movie, Sorrentino captures the physical location as well as the inner transformation, and in keeping with the genre, he also knows Harry Dean Stanton has to be included.”

Stanton did voice work for the Johnny Depp animated film “Rango” in 2011. In a 2010 episode of NBC’s “Chuck,” Stanton reprised his “Repo Man” character.

Stanton was born in West Irvine, Ky. After serving in the Navy during WWII, he attended the University of Kentucky, studying journalism and radio, and performing in “Pygmalion.” He then pursued an interest in acting by heading to California to study at the Pasadena Playhouse.

He made his small-screen debut in 1954 in an episode of the NBC show “Inner Sanctum.” In another early TV role, he was directed by Alfred Hitchcock in an episode of “Suspicion” called “Four O’Clock.” (The actor was credited as Dean Stanton in most of his early roles to avoid confusion with the actor Harry Stanton, who died in 1978.)

On the big screen, Stanton’s earliest, mostly uncredited work was in Westerns and war pics, debuting in 1957’s “Tomahawk Trail” and appearing in 1959 Gregory Peck-starrer “Pork Chop Hill.” (He also guested on many TV Westerns, including “The Rifleman,” “Have Gun — Will Travel,” “Bonanza,” and “Gunsmoke”).

Stanton also led his own band, first known as Harry Dean Stanton and the Repo Men and later simply as the Harry Dean Stanton Band, and would play pickup gigs in L.A. area clubs. Bob Dylan, with whom he worked on Sam Peckinpah’s 1973 film “Pat Garrett and Billy the Kid,” was a friend. Another friend was Hunter S. Thompson, and Stanton sang at his funeral.

The character actor was the subject of two documentaries: 2011’s “Harry Dean Stanton: Crossing Mulholland” and Sophie Huber’s 2013 “Harry Dean Stanton: Partly Fiction,” which featured interviews with Wenders, Shepard, Kris Kristofferson, and Lynch.

He never married, though he has said he has “one or two children.”

Presented by E.Cowan

Written by variety.com

Artie Lange Admits To Using After Hospitalization

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‘Sometimes I have to use. I have to get to the point where I don’t have withdrawals,’ he explains to Radar.

After Artie Lange was caught bleeding from his nose in a shocking new video, the troubled comedian is finally coming clean about his current drug use.

“Sometimes I use. But not every day,” he told RadarOnline.com in an exclusive interview. “I have to get to the point where I don’t have withdrawals.”

The former Stern Show sidekick, 49, was hospitalized with heart problems in July after years of admitted cocaine and heroin abuse. Lange collapsed on stage in Chicago, and underwent emergency surgery to repair his heart.

Though he vowed to stay on the straight and narrow after his hospital stint, it appears the pressures of taping the second season of HBO’s hit Crashing, completing his third book, a rigorous stand-up schedule and the new podcast he co-hosts with Anthony Cumia have taken their toll.

Despite his setbacks, Lange remains hopeful and optimistic about his recovery.

“I have too much to live for. My career and life will end the way it wants. I’m going to keep waking up in the morning, afternoon or evening and see what’s up. That’s all I can do,” he said.

Podcast cohost Cumia continues to stand behind Lange.

“I love Artie and back him 100%,” he told. “He’s an amazing comic and a great guy. Whatever he’s gotta do to get through the day isn’t my business. We all have our demons and I’m no one to be judging anybody else.”

Presented by E.Cowan

Written by radaronline.com

TIFF, Towers And Taylor

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TIFF –Toronto International Film Festival – 911 – Remembered

As this is the 16th anniversary of the horrific events of 911, I find it hard not to remember that morning for 2 main reasons: one devastating and one joyous.

I had been hired as I had for several years as an audio person to participate in Interviews for ‘press’ junkets involving Actors and Directors for various movies being showcased at the Toronto International Film Festival. I always liked this gig because you were surrounded by the movers and shakers…high rollers…the famous…and always good food. Now the work was the same as anything else but the surrounding players is what made this more enjoyable. I had worked the Festival for many years and stories relating to it I have and will continue to include in these articles however, September 11, 2001 was obviously different.

Usually the job I was hired to do would be for maybe 2-3+ days. Interviews all day which started at around 9:00am so therefore we would all need to be on site at around 7:00am. This day was no different. I arrived at the Four Seasons Hotel which was our location, entered the Suite we had converted to a mini studio and checked all my equipment which had been set-up by others (another nice perk of this particular job) and really just talked to my colleagues and waited for the day to begin.

As I and my colleagues were waiting for the Industry personnel to arrive in our room, you couldn’t help but hear commotion out in the hall. The sound of people rushing about which just didn’t sound right. We kind of looked at each other with a collective, what’s going on out there expression on our faces. I opened the door and saw people frantically passing around looking somewhat dazed, being out in the hall now, I could hear crying as well. I immediately went into the suite which was our control room and saw for myself on the television set the reason for this odd behavior, the 1st Tower was burning. The room filled as we all listened to what was going on and BOOM, the second plane hit the 2nd Tower. As you could imagine everyone was stunned, scared and in complete disbelief as to what we just witnessed. Being the Film Festival, there were many Americans involved and they instantly got on their phones and called friends, colleagues and loved ones in New York to see if they were alright. Shock and disbelief was the obvious reaction by all.

Despite the horrific events that were happening ‘live’ in front of or eyes, we had a job to do here, as superficial as it was, there were many Interviews scheduled. The question my bosses kept saying to each other was, “what do we do now?”

The organizers of the Festival felt, and rightly so, everything should come to a halt and these ‘junket’ Interviews would be cancelled. Once the word filtered to us, we began the process of tearing down and packing all the gear…my 2001 TIFF experience was now over before it really began.

At around 11:00 am when we were finished packing up still dazed and really feeling quite sad and mad over the events of the morning my telephone rang. It was my sister calling to inform me that my Niece Carly had just delivered a beautiful little baby girl. My Sister just became a Grandmother and I a Great Uncle.

Devastation and Joy

Let us remember those who lost their lives that day and happy sweet 16 Taylor.

Written by Elliott Cowan

‘Curb Your Enthusiasm,’ The Early Years

Categories: Top Stories

Seventeen years ago, Larry David almost accidentally created a comedy legend. Now David and the cast dish on the humble origins of the HBO hit, the lines that made them stars and discovering the science behind the awkwardness: “I had no idea I had that effect on people.”

Larry David’s Curb Your Enthusiasm returns to HBO for its ninth season on Oct. 1. Author James Andrew Miller (Powerhouse: The Untold Story of Hollywood’s Creative Artists Agency, Those Guys Have All the Fun: Inside the World of ESPN, Live From New York: An Uncensored History of Saturday Night Live) dove into the history of the hit HBO comedy for the first chapter of his new podcast, Origins, about beginnings in film, television, music, sports, tech, relationships and more. Miller talked with David, the show’s creator, and many of the its stars and crew and others who worked behind the scenes about how the show came to be, how it was cast and the blurring of art and real life. THR presents an excerpt from Origins’ five-episode look at Curb.

Larry David I finished Seinfeld, then I did a movie. My state of mind was fine. I started to focus on stand-up because I had not done it in 10 years, and I thought it was time that I should give it another shot. And Jeff Garlin was in the office next door, and I would go in there, and we would always talk. Jeff said, “What are you working on?” I said, “Well, I think I am going to do some stand-up.” And he said, “You should film it.” That idea did not really appeal very much to me. I did not really want cameras in there, following me around. He said, “You should do it as a documentary, and I will direct it.” I said, “No, I do not think so.”

Cheryl Hines The first I heard about Curb, it was actually just being called Larry David Special on HBO. So it started out as a one-hour special, and the idea was Larry returning to stand-up comedy, and they wanted to do sort of a mockumentary of his return to stand-up.

Bob Weide, director We saw a lot of actresses for that part. I remember Nia Vardolos came in; this was before My Big Fat Greek Wedding. I’m sure if I looked at the tape now I’d see a lot of other recognizable names. I got an invitation one night for an actors showcase. Lo and behold, one of the actresses was Cheryl Hines, who was unknown to all of us. But I remember the bit that she did to this day: It was some sort of employee training meeting, where they had some guy advising about what to do in a disaster at the workplace. He would say, “OK, so there’s been an earthquake and the water is cut off, there’s no running water in your office and you can’t escape. You’re thirsty, what do you do?” Cheryl pipes up, “Well, I suppose if push came to shove you could drink your own urine.” The room just goes real quiet, and everybody stares at her. And the guy stares at her and says, “Well, OK, I was thinking more about having water stored in the room or, you know, possibly detaching a hose from the back of the refrigerator and drinking the water that way.” Cheryl goes, “Oh, well, yeah.” And then I remember the line that really killed me: “Well, I did say if push came to shove.” I just said this girl’s really, really funny. And that line, “I did say if push came to shove,” gave Cheryl a career.

From season one: Mary Steenburgen, Cheryl Hines, Larry David and Ted Danson.

Hines I didn’t know what I was auditioning for, because it was all very vague. And I met Larry, and I really sparked with him. There were no sides. There have never been sides for actors to read, because there’s no script. So even when it started out, even the one-hour special, it was all improvised.

Chris Albrecht president, original programming and chairman, HBO, 2002-07 Originally Larry was going to do one-third the making of and half to two-thirds the stand-up act. As he started to get into it and started to shoot the making of, that was really the connection he made. What ended up happening was that the making of became the dominant thrust of it. Not surprisingly, the first part was funnier than the second part because what Larry really was was somebody who had learned to take his point of view and translate it through a dramatized version of characters. In this case, himself rather than a stand-up form.

Ted Danson My wife, Mary, and I met Larry on Martha’s Vineyard. They were renting a home there, and he had just shot the pilot. He showed a group of us in this little rental house. We were all crowded around this hot room and looked at the pilot. I’m overjoyed to tell you this: A couple of people fell asleep.

David You know, when people told me after the show started airing that they had to leave the room for some scenes because they were cringing and they couldn’t bear to watch — it was like a horror movie — I had no idea it was having that effect on people. That was a complete surprise to me, and I liked it. I liked that they couldn’t see it. But I never really gave it that much thought. I was just trying to do funny shows. I never felt I was going too far. I felt I was doing what I wanted to see.

Susie Essman It was this slap-dash operation. We had no budget, nothing. We didn’t have our own dressing-room trailers. We were all running around whatever house we were in finding a bathroom and changing and getting makeup done in the half dark. It was such a low-budget operation. And then finally, in season three or four, we got one trailer that we all shared. Cheryl, Larry, Jeff and me, we all shared the trailer together. We liked it when it was like that.

David When I drove home every day, because we were improvising it, I’d think, “Would this scene be better if I’d written it?” And 98 percent of the time, I’d thought “No.” It was better improvised. You could just get to places that you couldn’t get to writing. But the editing is really hard. Compared to a written show, where you’re doing two to three takes and they’re all the same. For this show, every take is different.

J.B. Smoove Oh man, it’s such a crazy, crazy ride man. When I worked for Saturday Night Live, everybody loved the show. We would come in on write days and spend the first 15 minutes talking about Curb. I said to my wife, “Baby, I love this damn show so much. I love this dude Larry David. I would love to be on this show one day.” And my wife said, “You know what, you’re going to be on that show one day.” She said some of the craziest stuff. She said, “You’re going to be on that show one day.”

Weide J.B. was so funny. He came in with his character of Leon fully formed.

Smoove So I go in there as Leon. They said, “OK, J.B., you’re going to improv with Larry directly.” And I had no idea I was going to be improving with Larry directly. Larry is standing in the middle of the room. I thought I was going to go on tape, you know how they put you on tape, they review the tape. You know, you actually improved directly with Larry — I had no idea. So, Larry is standing in the middle of the room, and this is exactly what I said to Larry, verbatim: I walk up to Larry as Leon, I said, “OK, Larry, let’s do this, baby.” You know, this is improv, right? I said, “OK, let’s improv.” And since this is improv, I said, “I don’t know Larry, I might fuck around and slap you in the face.” And that’s exactly what I said to him, and Larry looked at everybody else like, “What the, who the hell is this guy?”

Essman The only scene that I think I ever preplanned what I was going to say, and there was a reason for that, was the restaurant opening. You know, where everybody is cursing, and Paul Sand plays the Tourette’s chef. And I walk in while they’re all in the middle of this crazy cursing, and Cheryl says something like, “God damn, son of a bitch.” And I think she’s talking to me. So I actually planned my response, which is one of my most famous quotes: “Fuck you, you car-wash cunt. I had a dental appointment.” When I first met my husband, he had never seen Curb, so I was very happy about that, you know? He got to know me before he ran the other way. But years ago, when I first put my website up, I had a contact thing on it. And I was getting these crazy S&M guys contacting me. You know, just really weird, sexually perverse, and wanting me to like tie them up and scream at them. So I got rid of the contact, because it was gross.

Bob Einstein My whole life I did this character called Super Dave, and it was all ad lib. I hate pontificating about how we create things. My relationship with Larry developed very differently from the other characters. I had some things happen to me that were amazing: My father dies. Larry opens the casket because he left his 5-wood [golf club] in there, and then my mother dies. The place where she was hit in her wheelchair became a monument there and they put flowers there, and Larry steals the flowers and gives them to his wife so he could fuck her. My daughter was a lesbian who went straight, and Larry turned her back into a lesbian. Jeff [Garlin] fucked my mentally ill sister. And this year something else happens, which I can’t tell you.

Richard Lewis I needed a colonoscopy a couple of years ago. I’m waiting for the car. Everything is valeted in L.A., you know, little stores, little delis, the whole thing is a joke. Well, this was a medical building. So I valet, and the guy says to me, “Are you going to have a colon fight with Larry?” [The pair fight over who has a cleaner colon in season six.] I go, “You know what? Just do me a favor. I could be dying. Let me get my colonoscopy.” So then I get the car, and some other guy is walking to his car, and he goes, “Richard, is your kidney OK?” I go, “What are you talking about?” He goes, “Well, you’ve got Larry’s kidney.” I go, “No, no.” I said, “Please, please.” And it gets to the point where, because we’re playing our own names and our own people, our own persons, people do believe it. And I sort of take pride in that because I guess it’s very real. I might be unraveling in some scenes, and Larry might be upset and angry but funny. But I felt it was like doing a Cassavettes movie, but as a comedy. Because it’s so real, and it gets really intense sometimes. Our fights are almost no different on the show except maybe in how loud they are in real life.

Albrecht The woman I’m married to now, I met 15 years ago, we became engaged. The first night I met her, she was extraordinarily beautiful, very, as the Jews would say, shiska woman, blonde. And we were talking, and I told her I work at HBO, trying to impress her, the CEO of HBO, and she said, “Oh, HBO.” She says, “My DVR is jammed with all the episodes of one of your shows. And I said, “Oh, Sex in the City. And she said, “No, Curb Your Enthusiasm. I live for Larry David.” And I thought, “OK, first of all, who looks like you that says, ‘I live for Larry David?’ ” But [it] also told me how broad and accessible Larry had become as a comic voice.

Presented by E.Cowan

Written by hollywoodreporter.com

Ringo Starr Keeps Going

Categories: Uncategorized

Where Ringo Starr the kind of guy to delve deep into the blues, he might well have taken a stab at Willie Dixon’s classic “I Can’t Quit You Baby,” on his forthcoming album, “Give More Love.”

Perhaps not in the original context of being unable to escape a toxic relationship with a romantic partner, but more a heartfelt expression of his attitude about continuing to play music at age 77.

“I decided at the end of November last year that I’m taking 2017 off,” Starr said from his perch in a regal-looking upholstered chair in the luxury suite of a Beverly Hills hotel where he’d just arrived to handle a few interviews about his new album, which arrives Sept. 15, and the fall tour that will follow close on its heels.

“On the 12th of January, I said ‘Yes’ to the October tour — so that didn’t last long,” he said with a hearty laugh. That new run of shows for Starr and his All-Starr Band opens with an eight-night residency at Planet Hollywood in Las Vegas and continues with nearly a dozen more dates into mid-November.

He won’t be stopping in Southern California this time out because, as he pointed out, “Last year we did a tour in May and June and finished at the Greek on the 2nd of July. After that I did an awesome tour in Japan and Korea — and Thousand Oaks,” he quipped, laughing.

That is yet another manifestation of the undiminished passion he has for writing, recording and performing.

“I only ever wanted to play — that was my aim from 13,” he said. “I worked in factories and on the railway, but I played at night and made decisions that got me where I was. I didn’t know I was going to get there [into the Beatles]. But I knew I wanted to play. So I got into a Liverpool band, then I got into Rory [Storm & the Hurricanes], then I got into the biggest band in the land.

“I just always wanted to play, and to play with good people,” he said. “I’m sitting here, at 77, still talking about it. And I’m still playing.”

His passion is immediately evident on “Give More Love,” which opens with high-energy rocker “We’re On the Road Again,” a song he wrote with Toto guitarist Steve Lukather. It expresses a sentiment similar to Willie Nelson’s longtime concert favorite with the similar title, but it’s sonically miles apart.

It allows the band to flex its muscles, and an audience to sing along. “Yes, that is Paul McCartney on bass, and on screams too,” Starr writes in notes accompanying the album. His former band mate also shows up on “Show Me the Way,” his ode to his wife of 37 years, Barbara Bach.

Among numerous other guests on the album are Starr’s brother-in law, guitarist Joe Walsh, and fellow Eagles singer-bassist Timothy B. Schmit, Heartbreakers keyboardist Benmont Tench, saxophonist Edgar Winter, guitarist-producer Jeff Lynne, guitarist Dave Stewart, bassists Nathan East and Don Was, and multi-instrumentalist Greg Leisz.

Although Starr insisted that “I’m not that political,” social and political issues do come to the fore in “Laughable” and “Standing Still.”

The former he wrote with another long-standing English rocker, Peter Frampton, about taking in turbulent events of the world on a daily basis and feeling that “It would be laughable if it wasn’t sad.”

He consciously avoided naming names.

“We all know what’s happening in the world, and we all know what’s happening in this country, because we are English boys who are living here,” Starr said. “Peter wanted to make it more direct, and I said no, because I think everyone understands the sentiment.

“I don’t need to mention [names of] people that may not even be there by the time the song comes out,” he said. “I’m not that political. I can always do it another way and everyone understands.”

“Standing Still,” which he wrote with Gary Burr, addresses the challenge of maintaining any sense of optimism in the face of what can seem like increasingly dour conditions in the world.

“Whoever I’m writing with, it’s directed by me,” he said. “I don’t have to write all the words, but usually the direction is peace and love. For ‘Standing Still,’ it was even when you’re at the bottom of the hill, you’ve got to get up and take that first step.”

The man born Richard Starkey radiates the same sparkle and boyish Liverpudlian charm that helped propel him, McCartney, John Lennon and George Harrison to unprecedented heights shortly after he signed on 55 years ago last month as the fourth pillar of the world’s most popular and influential rock band.

He attributes part of that glow to his vegetarian diet and part to getting sober more than three decades ago after years of alcohol and substance abuse that took the lives of many friends, including fellow drummer Keith Moon and singer Harry Nilsson.

“I have a meditation practice,” he says of his spiritual routine. “I pray to the god of my understanding, and I read spiritual books — day-at-a-time books, things like that that help you get through the day.”

Another major factor in his unflaggingly upbeat outlook is his marriage to Bach, the subject of the glistening rock ballad he also wrote with Lukather, “Show Me the Way.” “After all this time we’ve had to share/The better life I’ve had ’cause your still there/I need to show you just how much I care/There were times It wasn’t always easy, but we got through,” he sings.

One of the things that keeps him coming back to recording, even at a time when fewer and fewer people are buying recorded music, is the surprise factor. These days he serves as his own producer, doing most of the recording at his home studio in Los Angeles, assisted by engineer Bruce Sugar.

By way of illustration, he pointed to the track “King of the Kingdom,” which he wrote with another longtime friend, songwriter, singer, producer, arranger and multi-instrumentalist Van Dyke Parks.

“I had the [basic instrumental] track, and the first verse,” he said. “While we’re writing this song, we got into Haile Selassie, so we go to the Internet to read about Haile Selassie. All the rastas put him on a high pedestal, they consider him the King of the Rastas or the God of the Rastas, and he’s always said ‘No, I’m not.’

“Anyway, suddenly we’re writing the song, and we get the phrase ‘One love, Haile Selassie, ‘ and we put him in the song. So I said, ‘Let’s go all the way, and I sang ‘One love, one heart, Bob Marley always did it for me.’ That’s what’s great about writing. If it’s my record, it can go anywhere I’m open to.”

It also plays out in one of the bonus tracks on the CD edition of the album that doesn’t appear on the vinyl LP version — a reworked recording of his 1972 hit “Back Off Boogaloo,” one of three older songs he revisits. (The others being “Photograph,” his first solo No. 1 hit from 1973, and “Don’t Pass Me By,” the first song he’d written on his own that the Beatles chose to record — for “The Beatles,” a.k.a. “The White Album.”)

It grew out of the housecleaning and archiving process he and Bach have been engaged in for several years.

“We’ve taken a lot of things out of storage and we’re going through it a box at a time, and we found all these reel-to-reel tapes,” he said. “And on a quarter-[track] two-inch tape, we found this version of me singing ‘Back Off Boogaloo’ and it had a great echo on the [rhythm] guitar. I knew it’s me singing, but I couldn’t figure out who the hell is playing guitar? And it was me! So that’s on this record.

“We lifted the voice from the track that George (Harrison) produced, so it combines me then, and me now. I did it straight, not with the marching rhythm. Just a sideline for you: That rhythm pattern [on the original recording], George said ‘You should do this,’ ” at which point Starr vocalizes a complex syncopated rhythm. “I said, ‘I can’t do that.’ So I just did it with the snare, and it was great. But it was by accident. So that’s the magic of being in the studio: You don’t know what you’re going to get.”

As to any thoughts of retirement? Starr addressed that unequivocally 10 years ago at the one-year anniversary of Cirque du Soleil’s “The Beatles Love” show in Las Vegas, during an interview with veteran broadcaster Larry King for which he sat side by side with the other surviving Beatle, McCartney.

At one point, King suggested to them, “Neither of you has to keep on going — you don’t need it financially.” The man once known as “the funny Beatle” shot back, “Reverse that: You don’t need to do it either. This is what we do. I get asked all the time, ‘You’re still playing?’ Yeah, that’s what I do.”

Presented by E.Cowan

Written by latimes.com

 

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