Category Archives: Interviews

Interview: Lana Parrilla talks ‘Once Upon a Time’ Season 6 preview for D23

ABCTim Lammers recently talked with “Once Upon a Time” star Lana Parrilla for D23.com about the upcoming sixth season of the hit ABC series. Here’s a preview …

Move over, Regina Mills: The Evil Queen has separated from her Storybrooke, Maine, alter-ego and is returning with a vengeance in the sixth season of ABC’s hit series Once Upon a Time. Needless to say, series star Lana Parrilla, who, with delectable deviousness, has brought her evil highness to life since the fantasy romance drama kicked off in 2011, couldn’t be more delighted.

Energized by her foreboding proclamation, the Dragon’s heart in hand, during the thrilling conclusion of Season 5 (“This is a war, and it’s just begun. The Queen … is back”), Parrilla is currently in production on the series in Vancouver, Canada. She recently took time out of her busy schedule to talk with D23 and give the legions of Once Upon a Time fans an idea of what to expect when Season 6 premieres on September 25.

D23: Congratulations on Season 6. When you first started, was it the goal of the cast and crew to mainly concentrate on the work of the first season in hopes that the show would find an audience, or did you have your sights set on Season 2, 3 and so on?

Lana Parrilla (LP): I have to say, I had a really good feeling at the start that we were going to go six seasons. I don’t know how far we’re going to go beyond this, but I had a good feeling early on about six. I think it was when I was saying goodbyes to family and friends in L.A. (getting ready to return for Season 2). Ginny Goodwin and I had a going-away party before we left to go to the set in Vancouver, and I just remember my goodbyes being longer and more emotional than other goodbyes. I looked at Ginny and said, “I think we’re going to be up here in Vancouver for awhile,” and she said, “Let’s hope so,” because we loved the show and wanted it to be successful. I would say to [creators] Adam Horowitz and Eddie Kitsis all the time, “We’re going to make it to six seasons,” and they were like, “Come on, don’t jinx it!” I said, “I’m not jinxing it. I’m just really confident!”

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D23: Judging by the awesome trailer for Season 6 that debuted at San Diego Comic-Con in July, you can’t help but come away with the feeling that this is going to be a big season for the Evil Queen.

LP: Yes it is. There’s a lot happening with the Evil Queen and Regina—and their face-off—which is fun to do. I can say that the Evil Queen is the real opposition for the heroes this season, and she has her hands in everything right now. She’s really creating turmoil in everyone’s lives, which is fun for me to play.

Read Tim’s complete interview with Lana Parrilla on D23.com.

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Movie review: ‘The Magnificent Seven’ remake lives up to title

denzel-washington-in-the-magnificent-seven“The Magnificent Seven” (PG-13)

Director Antoine Fuqua’s homage to the American Western lives up to its title with “The Magnificent Seven,” a magnificent update of Akira Kurosawa’s iconic “Seven Samurai” from 1954, which spawned the Yul Brynner/Steve McQueen classic “The Magnificent Seven” in 1960. Fuqua clearly was a fan of Westerns growing up, and he nails the spirit and tone of the great American film genre from start to finish in this highly entertaining remake headed up by his Oscar-winning “Training Day” star Denzel Washington.

Maintaining the core of the original story about a village under siege by ruthless bandits (led by a vicious land baron expertly realized by Peter Sarsgaard), “The Magnificent Seven” plays like a classic shoot-’em-up that is punctuated by a high body count.

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The new “Seven” promises a twist on the original films, but truth be told, the major difference is a racially diverse cast, made up of a brilliant ensemble including Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Manuel Garcia-Rulfo, Martin Sensmeier and Byung-hun Lee. Haley Bennett also plays a pivotal role as vengeful widow who hires the seven after her husband is gunned down in cold blood by the bandits.

Apart from a different spin on the casting, Fuqua incorporates all the vital elements of the Western – sprawling vistas, classic heroes and a sniveling villain, a triumphant score and stylistic echoes of John Ford and Sergio Leone – reminding viewers of how great the genre once was and still could be. If “The Magnificent Seven” doesn’t revive interest in Westerns on the big screen, nothing will.

Lammometer rating: 8 (out of 10)


Hear Tim review “The Magnificent Seven” on “The KQ Morning Show” with Tom Barnard and Michele Tafoya, starting 8 minutes in.

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Interview: Ally Walker talks directorial debut ‘Sex, Death and Bowling’

Ally Walker

They’re three words that rarely exist in the same sentence, much less in a movie title — yet actor-turned-director Ally Walker has found a way for “Sex, Death and Bowling” to come together in perfect harmony.

Walker, whose numerous acting credits over her nearly-three decades-long career include such hit shows as “Santa Barbara,” “Profiler,” “Sons of Anarchy” and most recently, “Colony” and “Longmire,” also wrote the family comedy drama, which is new on Netflix, Amazon and iTunes.

“Sex, Death and Bowling” surrounds the answers about death an 11-year-old boy, Eli (Joshua Rush), seeks as his father, Iraq War veteran, Rick (Bailey Chase), fights cancer in hospice in his final days. With Rick’s death imminent, his estranged brother and famous fashion designer, Sean (Adrian Grenier) returns to their small home town. His welcome is met with resistance by the brothers’ father (Daniel Hugh Kelly), who has never been able to accept the fact that Sean is gay.

Looming throughout the film is an annual bowling tournament that, as it turns out, is about more than pride. “Sex, Death and Bowling” also stars Selma Blair, Melora Walters, Mary Lynn Rajskub, Drew Powell and Drea de Matteo.

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There’s no question Walker’s heart is behind the passion of her feature directorial debut, a soulful family drama that confronts some very difficult subjects, including terminal cancer, strife within families and the acceptance of family members for who they are – not the way you want them to be.

“It really is a film a hope. I lost quite a few people, mainly to cancer, all around the same time. I was helping people die, including my father, my best friend and my sister-in-law, ” Walker said in a recent phone conversation from Los Angeles. “The statistics of people getting cancer in this country are staggering, and I began thinking, ‘Nobody talks about it, everybody’s afraid of it, and people really run from other people with cancer many times.’ Except for family, nobody really wants to deal with it. It’s almost as if they’re afraid they’ll catch it.”

Much like Eli in the film — a boy obsessed with what happens to people after they die – Walker said it was her own three sons’ reactions to death around the crucial time in her life that helped inform the narrative of her film.

“My little boys were very young at the age this happened – 2007 through 2009 – and they asked me ‘Where’s Pa (Walker’s father) going?’ So I started watching how people reacted to death,” Walker recalled. “Children are very honest, so through Eli’s eyes in telling this story, we get to see how people react. Eli just wanted to know where they went and when he’d see them again. It was an amazing journey for me to write about everything I had seen.”

Ultimately, Walker said, “Sex, Death and Bowling” is a story that people will relate to because it’s about all of us.

“At the end of the day you have to love the people you love and be happy,” Walker observed. “It’s a very simple story, but these are very complex people. I just found that the movie was a love letter to all the people in my life that I had lost.”

Still very much a part of Walker’s life is the person she based Sean on — fashion designer-turned-filmmaker Tom Ford — and an encounter with him galvanized the idea of where Grenier’s character became a vital part of the narrative.

“I went to school with Tom Ford in Santa Fe, and that’s where that character played by Adrian, comes from,” said Walker, who grew up in New Mexico. “I ran into Tom around the time I was helping people die, and dealing with my children’s reaction to it, and I remembered Tom as a 14-year-old. A few of us girls knew he was gay. He was gorgeous and we were swooning over him, but we knew. I thought, ‘What must that be like to have that secret and be careful who you tell and not tell everybody?’

“Then I thought, ‘If you’re dying of cancer, you don’t really give a s— if he’s gay or not. If you’re dying, you’re probably wondering, ‘Why do I care if somebody’s gay or not? What does it matter who somebody loves?'” Walker, 55, added. “So I started looking at how petty everything was. I think that’s what gets me — we live in a very petty society now. It’s ‘Look at me! Look at me! Look at my selfie!’ Don’t we want to aspire to something like, ‘Let’s connect. Let’s be there for each other. Let’s do the right thing and love everybody.'”

Walker said she knows that viewpoint may come off as Pollyanna, but she’s very sincere in her beliefs.

“Honestly, I’ve held people’s hands when they were dying, and they didn’t really care that their boy was gay or they weren’t the most popular one, or they were a famous celebrity. It doesn’t matter,” Walker said. “It’s about that moment of who loves them and who they loved.”

Tim Burton Book 2
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Interview: Aaron Eckhart says he’s honored to co-pilot ‘Sully’

Warner Bros.Even though he’s trained to fly himself, acclaimed actor Aaron Eckhart said he developed an even greater respect for pilots after co-navigating the true-life drama “Sully.”

The film, which opens in theaters and on IMAX theaters nationwide on Friday, chronicles Captain Chesley “Sully” Sullenberger’s and First Officer Jeff Skiles’ “Miracle on the Hudson” water landing, as well as the jarring aftermath as the pilots’ decision-making during the crisis comes into question.

The thing Eckhart was most impressed with after meeting and consulting with Sullenberger and Skiles — whom he plays in the film — is that despite the miraculous landing, the men look on the 2009 events that ended in the Hudson River in New York City as a responsibility of the job and not an act of heroism.

“Sully and Jeff said, ‘Hey, that’s what we do for our job. We were trained and have 20,000 hours in the air. This is why we have checklists and procedures,” Eckhart said in a recent phone conversation from Los Angeles. “They just think of it as part of their job and don’t look at themselves as heroes. Sully knew because of his work that a plane at this weight is going to glide this far at this air speed and he was looking out for that.”

Having spent time in the cockpit over the years, Eckhart said the pilots’ mindset resonated with him while making the film.

“I pilot a little bit myself, and I know that I need to be looking for alternate routes, highways or waterways in case I have a problem in the air. It’s second nature to these guys,” Eckhart, 48, said. “All the pilots I’ve talked to after making this movie, they all think it’s part of the procedure of being a pilot. It’s their job and they all could have done it.”

Directed by legendary filmmaker Clint Eastwood, “Sully” naturally presents the intense moments in the cockpit and cabin of United Airlines Flight 1549 on Jan. 15, 2009, and the blistering scrutiny Sullenberger (Tom Hanks) and Skiles (Eckhart) faced in front of the National Transportation Safety Board during the investigation into what went wrong with the plane.

From the vantage point of Sullenberger and Skiles, a bird strike took out both engines of the A320 aircraft they were piloting upon takeoff and their only option was a forced water landing on the Hudson River.

But to the NTSB, computer analyses and flight simulations suggested that they could flown the plane back to the point of departure at La Guardia Airport in New York City, or at the very least, could have landed at Teterboro Airport in New Jersey. Further complicating matters, the NTSB claimed during the investigation that at least part of the left engine on the plane was functional, which ultimately would provided the plane with enough thrust to land at either airport.

In addition to the title character, “Sully” shines a light on Skiles and several of the first responders that saved all 155 passengers and crew during the fateful, frigid day on the Hudson in 2009. The interesting thing is, most people associate the “Miracle on the Hudson” with Sullenberger, while the efforts of Skiles — who commandeered the takeoff of Flight 1549 — have largely been left in the background. As little known as Skiles is in comparison to Sullenberger, he is, after all, the person who knows the most about what happened on the flight, as the other pilot in the cockpit.

“Jeff and I talked about this, and he said he realized that there has to be a face to the story — that the media is going to pick out a hero and Sully was that guy,” Eckhart said. “Sully was the captain of the flight and Jeff came to terms with that and receded into the background. They were thrust into the spotlight so aggressively that one had to take that lead role. I don’t know what Jeff’s real feelings are about it, but he and Sully are still good friends today.”

No matter who took the lead, there’s no question, as audiences will discover, that Sullenberger and Skiles were both in the hot seat during the NTSB investigation and eventual hearing by the agency, which illustrated the viability of the alternate scenarios to landing in the Hudson.

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And while the treatment of the pilots will appear harsh to audience members — in stark contrast to the media adulation they received in the days and months after the landing — Eckhart said it’s the NTSB’s job to scrutinize, and the pilots, as well as he and Hanks, accept and respect the process as an absolute necessity.

“There was a lot on the line with what they did. You’re talking about a water landing, which in itself is an improbability, and then you’re talking about saving everybody’s lives,” Eckhart observed. “In the hearing, you find out that they could lose their commercial licenses, lose their pensions and lose their reputations. Everybody that has seen the film so far has been maddened by this NTSB hearing, but that’s what it’s there for. It’s the spine of the movie. It’s the drama. People think they know what they’re going to go see, but I think they are going to be pleasantly surprised that they’re going to see so much more.”

In the end, Eckhart added, “One hundred percent, Sully did not see the NTSB as adversarial. He said they’re doing their job. They’re a necessary part of keeping us safe.”

Tim Burton Book 2
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