Chris Tucker Gets Super Positive in ‘Silver Linings Playbook’

Chris Tucker in Silver Linings Playbook

WRITER’S NOTE: This article was written back in 2012.

We should no longer be surprised at how it’s been several years since Chris Tucker appeared in a movie. Tucker has taken a number of years off between doing those “Rush Hour” movies, and he has made enough money to where he can actually afford to be choosy on which projects he does. Instead, what really should surprise us is how effectively he drops his manic, motor-mouth persona he became famous for in David O. Russell’s critically acclaimed “Silver Linings Playbook.” It’s a more serious role for Tucker compared to what he’s done in the past, and yet he still gets to add some of his own infectious wit to it.

In “Silver Linings Playbook” Tucker plays Danny, a friend of Pat Solitano (Bradley Cooper) whom he spent some time with in a Baltimore mental health facility. Tucker makes Danny into an endearingly likable individual who is full of positive energy even as he eventually discovers he’s leaving the mental facility a little too soon. With this description, you might think this would be the perfect movie for him to perform his fast-talking shtick, but what’s great about his performance is how he underplays the role and never tries to be the least bit bombastic in his portrayal.

The first question everyone has for Tucker is why he took so long to do another movie. While talking with Marlow Stern of The Daily Beast, Tucker explained he went back to doing stand-up comedy for a while and that a film he was planning to do with director Brett Ratner called “Mr. S: My Life with Frank Sinatra” fell through unexpectedly. But for Tucker, there was a little more to it.

“Well, the break wasn’t planned – it just happened that way,” Tucker told Stern. “I waited a long time and the right things weren’t coming to me – the roles I was offered weren’t that challenging-so I started trying to develop a bunch of projects for myself. I was always looking and hoping the right thing would come. I knew stepping back a bit and going back to my stand-up roots would help me gain perspective.”

When it came to doing “Silver Linings Playbook,” Tucker told Scott Huver of NBC New York he liked how his character Danny would just “come out of nowhere.” In essence you could say this about a lot of the characters in this movie as they go in all sorts of directions you don’t expect them to, and this must have made it a fun project for everyone involved including Tucker. The other thing which attracted him to playing Danny was that he would be working with writer/director David O. Russell, and he’s a filmmaker who is known for keeping all the actors he works with fully energized from take to take.

“We knew that he (Russell) would probably do something, make it even a little bit more special because that’s how he works, because he’s so creative,” Tucker said to Huver. “David is such a great writer, and the rhythm and the way that he writes, it’s just really helpful. Then he’s like that with creating and changing stuff, and so I like that it frees you up to not worry about knowing your lines exactly. He just makes sure you feel like you can just be good, get into character.”

In talking with Wilson Morales of Black Film, Tucker said he also liked how the role had a lot of depth and that it was more serious than what people are used to seeing him do. But he also pointed out how a lot of comedy comes out of the emotionally fraught situations the characters endure throughout which is true. “Silver Linings Playbook” is one of those movies where you laugh with the characters instead of at them, and this is what makes it as joyous and positive as Danny is.

When it came to doing research, Tucker admitted he did a little bit but not a whole lot. It turned out what was already on the page was enough for him to work with.

“I just talked to the director (Russell) a lot because he knew the character,” Tucker told Morales. “He wrote the script so that was a good thing working with a writer/director because they have an idea of the character. I talked to him a lot and I didn’t read the book (by Matthew Quick, which the movie is based on) because I felt like Russell made the character even better in the movie. I basically took the director’s lead on it.”

Next up for Chris Tucker is a stand-up comedy movie he made which is coming out next year, and there are rumors he just might be up for another “Rush Hour” sequel. Many people are eager to see Tucker get back to doing the kind of comedy he’s famous for, but I hope he gets more opportunities to do films like “Silver Linings Playbook” because I think it brings out the best in him. It’s another one of those performances which proves comedians can do drama as well as they do comedy, and this is something no one should have to prove to anyone anymore.

SOURCES:

Marlow Stern, “Chris Tucker’s Journey from Tax Problems to ‘Silver Linings Playbook,'” The Daily Beast, November 14, 2012.

Scott Huver, “Chris Tucker: Quietly Comic For ‘Silver Linings Playbook,'” NBC New York, November 20, 2012.

Wilson Morales, “Chris Tucker talks ‘Silver Linings Playbook,’ his absence from films, and why he won’t do another ‘Friday’ film,” Black Film, November 16, 2012.

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Jessica Chastain on Portraying an Infinitely Determined CIA Agent in ‘Zero Dark Thirty’

Jessica Chastain in Zero Dark Thirty

WRITER’S NOTE: This article was originally written back in 2012.

It’s utterly fascinating to watch Jessica Chastain go from playing the embodiment of grace in “The Tree of Life” to portraying a willfully determined CIA agent in “Zero Dark Thirty.” The role of Maya represents a huge change of pace for her as she gives this character a razor-sharp focus as she relentlessly pursues Osama Bin Laden and bring him to justice, and she is riveting to watch throughout the movie’s two and a half hour running time. After watching Chastain in Kathryn Bigelow’s critically acclaimed film, I am convinced she can play any role given to her.

I was lucky enough to go the “Zero Dark Thirty” press conference which was held at the Beverly Wilshire Hotel. Chastain said she had three months to prepare for this role, and she went through the screenplay with its writer Mark Boal throughout the production. She ended up nicknaming Boal “the professor” as he had spent several years doing research on the Bin Laden manhunt, and he clearly knows as much as anyone should on the subject. But the real challenge Chastain faced in playing Maya was the fact this character was based on a woman she could not meet, and this forced her to get especially creative.

“Because I was never able to meet the real woman my character’s based on because she’s an undercover agent, I had to use my imagination to fill in the blanks where the research couldn’t answer the questions,” Chastain said. “I tried to answer things like why she was recruited out of school. There’s a child’s drawing in Pakistan and other certain things which would be reminders of the life she was becoming a stranger to. I had to create on my own but still stay faithful to the woman I am portraying.”

One of the most talked about elements of “Zero Dark Thirty” are the torture scenes which have given some the impression that Bigelow has made a pro-torture movie (she has not). Acting in those scenes could not have been much fun, and Chastain acknowledged this in an interview with Christine Kearney of Reuters. In talking about her experience, Chastain makes it clear nobody was about glamourize this part of the story and how it made her fully aware of the differences between her and Maya.

“We filmed in a real Jordanian prison, in the middle of nowhere. The environment wasn’t great, especially as a woman,” Chastain told Kearney. “They had a lot of trust between the actors, nothing was dangerous or unsafe. There was a lot of discussion to make sure that we weren’t doing something that was going to be salacious. They just wanted it to be accurate.”

“I know I am playing a character who has trained to be unemotional. But I have spent my entire life allowing myself to be emotional, and allowing myself to feel everything,” Chastain continued. “There was actually one day that we were doing a scene, and I said, ‘I am sorry’ and I just had to walk away, and I just started crying … it was a very intense experience.”

Chastain is a classically trained actress who earned a Bachelor of Fine Arts degree from Julliard, one of the most prestigious performing arts conservatories in the United States. Now I have heard people say how actors can get trained too much at schools like this one to where they can’t appear natural in film and television. I am always annoyed to hear someone, let alone anyone, say this, so it’s great to see Chastain prove them wrong with her Oscar worthy performance. While at the press conference, she explained how being a student at Julliard prepared her for a movie like “Zero Dark Thirty.”

“I spent four years studying Shakespeare and iambic pentameter and all that, and to be honest this text was more difficult than that,” Chastain said of the screenplay. “Not only has Mark taken the facts of what happened, but he’s also created a subtle character arc within it, and you find the humanity within what he’s created. So Julliard absolutely helped me when preparing to speak very complex language and it gave me the tools for the research I would need to do in order to be believable as a CIA agent.”

What’s beautiful about Chastain’s performance is not just how she takes Maya from being out of her element to becoming an obsessed CIA agent, but also how she imbues the character with such a strong humanity. Chastain also makes us respect not just Maya, but all those who worked diligently alongside her behind the scenes to bring down Bin Laden and continue to fight against terrorists both foreign and domestic. In talking with George Pennacchio of ABC News, Chastain sees her performance as a tribute to the real-life person her character is based on.

“She worked for a decade; she gave up so much. She basically became a servant to her work,” Chastain told Pennacchio. “In a way, making this movie is like acknowledging the sacrifices she’s made and thanking her for what she’s done.”

SOURCES:

Ben Kenber, “Interview with Jessica Chastain, Mark Boal and Kathryn Bigelow On Zero Dark Thirty,” We Got This Covered, December 18, 2012.

Christine Kearney, “A Minute With: Jessica Chastain on ‘Zero Dark Thirty,’” Reuters, December 19, 2012.

George Pennacchio, “Jessica Chastain compares herself to ‘Zero Dark Thirty’ character,” ABC, December 19, 2012.

Bradley Cooper Shows How Far His Acting Range Goes in ‘Silver Linings Playbook’

Bradley Cooper in Silver Linings Playbook

WRITER’S NOTE: This article was originally written back in 2012.

We remember him best from “The Hangover” movies and for being one of People Magazine’s Sexiest Men Alive, but you will get to see actor Bradley Cooper in a whole new light after watching him in David O. Russell’s “Silver Linings Playbook.” In the movie he plays Pat Solitano, a former school teacher who has just been released from a mental institution after eight months. Pat was sentenced there after beating up a man who was having an affair with his wife. Having lost his wife, job, home and been diagnosed with bipolar disorder, Pat moves back in with his parents (played by Robert De Niro and Jacki Weaver) in an attempt to put his life back together. In the process, he meets the mysterious Tiffany (Jennifer Lawrence) with whom he instantly forms a strong connection.

In talking with Jen Chaney of the Washington Post, Cooper said he researched his role by watching documentaries and interviews with people who suffer from bipolar disorder. However, he found what really helped him was looking at what specific problems the character of Pat had. This is what makes Cooper’s performance so good because he is not simply out to play your average bipolar patient, but instead an individual with problems which are not necessarily like everyone else’s. Cooper told Chaney, “bipolar is like snowflakes – no two are the same. It’s not like there’s a general thing where, oh, I’m going to play bipolar now.”

“There are very specific things like, for example, he really goes off the rails when he’s triggered by something that reminds him of a traumatic event that stunted him in some way emotionally. And one of those events we see is when he walks in on his wife sleeping with another man in his bathroom,” Cooper said. “And then that Stevie Wonder song ignites that and sends him into a manic state. We pretty much blocked out what specifically it was with him, and then it was just modulating it on the day, on set, in front of the camera.”

The trick, however, of playing a character like Pat is to make him relatable to where the audience will want to follow him despite his psychological problems. Some actors make the mistake of focusing too much on playing the ailments afflicting their character than they do on just playing the character, and people can get easily turned off watching someone do that. Cooper went on to tell Chaney of how both he and Russell wanted to make certain they didn’t alienate audiences with Pat’s actions.

“Pat is the foil through which we learn about all the other characters and their stories, so if he’s too extreme the audience is never going to come onboard,” Cooper said. “So it was really about modulating him, which I thought was a really smart thing that we did. Otherwise we could have been in trouble.”

Jessica Winter of Time Magazine remarked how Pat has “so much passion and energy and exuberance that it’s almost enviable.” For actors, there is always something very appealing about playing a character who throws caution to wind as we all develop inhibitions over time to where we feel we can never fully express ourselves and constantly worry about what others will think of us. We all want to find ourselves living life to the fullest, so despite the problems Pat is going through, part of us wants to be like him as nothing seems to be holding him back. Cooper shared the daily excitement he had playing Pat with Winter.

“I felt that every day when I showed up as Pat. I was happy that he had such a zest for life. It was intoxicating,” Cooper said. “It’s almost as if every moment that he exists is somehow fueled with more energy than anyone else. Sometimes people who are dealing with those issues, the minute they enter the room you feel it, and it changes the energy in the room. It’s like a vibration.”

Cooper also got an opportunity many actors always dreamed of: to work with Robert De Niro. Granted, he had already worked with De Niro previously on “Limitless,” but that one had them playing each other’s adversary. In “Silver Linings Playbook,” they are cast as father and son, and their characters have a fractured relationship they both are trying to work on. In talking with Rob Lowman of Press-Telegram, Copper explained how working with De Niro previously really helped him in playing Pat.

“It was a real blessing coming into this film knowing that I was going to play Bob’s son because I love him,” Cooper says. “So it was very easy for me to say the word dad and have it resonate within my body as I said it and make myself believe it. It helped me anchor the character in the same way it was to have a Philadelphia Eagles jersey on.”

Bradley Cooper has always been a really good actor, but in “Silver Linings Playbook” he gets to show a range we haven’t seen him portray previously. The film proves to be one of the best and most entertaining movies to come out in 2012, and here’s hoping he scores some major wins this awards season for his work. Next up for Cooper is “The Hangover Part III.”

SOURCES:

Jen Chaney, “Bradley Cooper: On ‘Silver Linings Playbook,’ football and reading falsehoods about his love life,” The Washington Post, November 14, 2012.

Jessica Winter, “Q&A: Silver Linings Playbook’s Bradley Cooper and David O. Russell,” Time, November 15, 2012.

Rob Lowman, “Bradley Cooper, Jennifer Lawrence expand their range with ‘Silver Linings Playbook,'” Press-Telegram, November 15, 2012.

Matthew Goode on Portraying Such an Evil Character in ‘Stoker’

Matthew Goode in Stoker

WRITER’S NOTE: This article was written back in 2013.

Matthew Goode’s performance as the enigmatic Uncle Charlie in “Stoker” brings to mind the one Joseph Cotton gave as Charlie Oakley in Alfred Hitchcock’s “Shadow of a Doubt.” Both men show a pleasant and courteous exterior, but there’s something in their eyes which tells you they are really twisted. Goode has delivered many strong performances in movies like “Match Point,” “Watchmen” and “A Single Man,” but it’s going to be impossible to forget him after seeing him playing a very frightening sociopath in this one.

Now playing a character as evil as Uncle Charlie has got to be a lot of fun for actors, but at the same time they really can’t judge a character like this too much. Once they do, they fail to portray them in a truthful way and their performance eventually rings false. Goode, in an interview with Nigel M. Smith of Indiewire, however, made it clear he was not about to fall into the same trap.

“I’m not a method actor; I think that would be rather exhausting on this sort of a project. But I don’t judge the character; I think that’s safe to say,” Goode told Smith. “You’re conning yourself between action and take. I don’t think about it too much, I just do what you have to do. You know there’s a camera in your face, and there are times when you can just get completely lost in it and the take is over. Then sometimes it’s very choreographed and you have to get your head in there to match with someone’s eye line, and I love that. I love the technique.”

“So with a darker character like this, it’s quite fun,” Goode continued. “It’s something that’s very different to who I am. I’m not a sociopath and I don’t go around strangling people. It’s just like kids playing. That’s really what our job is. We haven’t grown up.”

The other important thing to remember with a role like this is not to play it as evil. Yes, Uncle Charlie is evil as can be, but to portray just that one side of him would make for a very boring performance. You have to look at this character like you would any other and examine their wants, needs and motivations. In doing so, you will give yourself different areas to explore, and your performance will be all the better for it. In talking with Katie Calautti of Spinoff Online, Goode explained how he went about preparing to play Uncle Charlie.

“You can’t just play bad,” Goode told Calautti. “I wouldn’t even know how to start playing bad, or what that even means – it’s so two-dimensional. So you have to find some sense, despite his despicable acts, some kind of psychological truth of why. And director Park (Chan-wook) talked about bad blood and the idea that there was a predisposition within the family bloodline to want or need to commit these acts, and where does evil come from, is it nature or nurture? And for me they’re all very lonely, isolated characters. So I felt like, as much as this is a coming-of-age story for Mia (Wasikowska’s) character, Charlie’s kind of trapped in the past.”

The best scene in “Stoker” comes when Goode joins Wasikowska on the piano, and the two engage in a duet which can be best described as beautifully intense. Watching these two actors duel with one another while pounding away at those black and white keys was exhilarating, and it was the one scene from this film I wanted to know the most about. Karen Benardello of We Got This Covered was at the film’s press conference and asked Goode what it was like shooting this particular scene.

“It became liberating in the end,” Goode said. “I hadn’t played the piano in 20-odd years. So coming back into the fold of the piano, it was unbelievably daunting. Luckily, I don’t have a bad-sized hand, so I didn’t have to leap or anything like that. But it was hard work, but it was great working with Mia. We learned about three quarters of it, because some of it was just too hard, and too much going on with both hands. But we were able to fake some of that, and he was able to shoot the whole thing from whatever angle he wanted. We kind of recognized that in the vocabulary of filmmaking. When someone starts playing, you think, is he actually playing that? (laughs) He was able to dip down, and you go, they are! It’s not a trick on the audience, so it was nice.”

Hopefully Matthew Goode’s performance in “Stoker” will help burn his name into our collective consciousness because every moment he is onscreen is filled with a rising tension which never lets up. While he doesn’t let you in on all his character’s secrets, you know he is like a snake waiting to strike. He has already worked with a number of well-known directors such as Woody Allen, Tom Ford and Zack Snyder, but Goode makes it clear how a lot of the opportunities which have come his way so far have been the result of sheer luck.

“I’m not the person who’s able to pick and choose their roles,” Goode said. “But I know that Nicole [Kidman], for example, has said that she’s interested now – there might be a film in the studio system, but she loves independent film and she thinks that’s much more where her desires are, and the films she kind of likes. And so I think she is able to say to herself, ‘I like to choose projects not only based on the material but also the filmmaker,’ which is wonderful for her. And I think I just happen to have been quite lucky in the fact that the material that I gravitate towards or the people that have thought I am going to be better suited to it – because it’s not my choice, they’ve picked me. I’ve been lucky as hell, and the parts have been quite varied.”

 

SOURCES:

Nigel M. Smith, “‘Stoker’ Star Matthew Goode On the Joys of Playing a Sociopath and Working for Park Chan-Wook,” Indiewire, March 5, 2013.

Katie Calautti, “‘Stoker’ Star Matthew Goode on Evil, Parenting and, Yes, Belts,” Spinoff Online, March 1, 2013.

Karen Benardello, “Interview with Mia Wasikowska, Matthew Goode And Chan-wook Park On ‘Stoker,'” We Got This Covered, March 8, 2013.

Jennifer Lawrence on Her Oscar-Winning Role in ‘Silver Linings Playbook’

Jennifer Lawrence in Silver Linings Playbook

WRITER’S NOTE: This article was originally written in 2012.

She played a hard-bitten young woman in “Winter’s Bone” and portrayed the heroic Katniss Everdeen in “The Hunger Games,” but now actress Jennifer Lawrence gets her most challenging role yet in David O. Russell’s “Silver Linings Playbook.” Starring opposite Bradley Cooper, she plays Tiffany who has been recently widowed and speaks bluntly about what’s on her mind without a single apology. The eccentricities and quirkiness of the character required an actress who is wise beyond her years, and Lawrence proved to be the one who could pull it off.

Lawrence ended up auditioning for Russell via Skype from her father’s home in Louisville, Kentucky. In talking with Rebecca Ford of The Hollywood Reporter, she said what attracted her to the role was that she didn’t understand who Tiffany was. I think this is what made her performance in “Silver Linings Playbook” especially good because this lack of understanding forced her to make some important discoveries along with the character. A lot of times actors are expected to know their characters inside and out, but here is a case where an actor can grow along with who they are playing.

“I was very confused by her,” Lawrence told Ford. “She was just kind of this mysterious enigma to me because she didn’t really fit any basic kind of character profile. Somebody who is very forceful and bullheaded is normally very insecure, but she isn’t. I was driven to her to kind of discover that personality a little bit more.”

“Silver Linings Playbook” is based on the book of the same name by Matthew Quick, and in the book, Tiffany is described as being a goth chick. Lawrence told Ramin Setoodeh of The Daily Beast how in addition to getting her hair dyed black, she was also going to get her tongue, and possibly other parts of her body, pierced. But Lawrence later came to see how Tiffany needed to be made less intense of a character because, just like with Cooper’s character of Pat Solitano, she needed to be made relatable enough for the audience to want to follow her.

But unlike Cooper’s character who is diagnosed with bipolar disorder, Lawrence did not try to discover what Tiffany’s psychological diagnosis was. In the film we learn Tiffany’s husband was a cop who was killed in the line of duty three years ago, and she still hasn’t gotten past his death. Both she and Cooper benefitted greatly from focusing on what their characters’ personal problems were as opposed to what a doctor may have described their problems as being.

“I didn’t ever feel like Tiffany had a condition. I felt like Tiffany did something and made no apologies,” Lawrence told Setoodeh. “She’s like, ‘Yeah, I fucked everyone in my office. I was mourning the death of my husband.’ For me, I gained weight and lay around.”

Yes, Lawrence had to gain weight to play Tiffany in “Silver Linings Playbook.” However, Lawrence ended up telling Melena Ryzik of the New York Times she was actually thrilled to put on the pounds as “that never happens in a movie.” There is something really refreshing about hearing an actor, any actor, get excited about putting on weight as there are far too many svelte individuals in Hollywood. Actresses are especially held up to a ridiculous physical standard which can be far from healthy, so seeing Lawrence defy such standards makes her seem both refreshingly intelligent and down to earth.

Ironically, the thing which almost kept Lawrence from being cast was she was much younger than her character. On top of that, she is also 15 years younger than her co-star Cooper which complicated matters even further. Russell, however, told Ford of The Hollywood Reporter how he was won over by Lawrence because she is “wise beyond her years.”

“She plays kind of ageless. She can be 30 or 40 or 20,” Russell told Ford.

Russell also told Ryzik that Lawrence is one of the “least neurotic people” he has ever met in his life. The more he talked about the actress’ confidence and vulnerability, the more it seems like Lawrence was the only logical choice to play Tiffany in “Silver Linings Playbook.”

“She (Lawrence) always offers her opinion,” Russell said to Ryzik. “She’s not afraid to talk to anybody about anything, and yet she can also turn around and have an 18-year-old’s ‘nevermind.’ That’s their version of being vulnerable.”

Jennifer Lawrence’s quick ascent to becoming one of Hollywood’s biggest stars today was no mistake. After her breakthrough turn in “Winter’s Bone,” she has continued to impress audiences with her talent in films like “The Beaver,” “The Hunger Games” and “X-Men: First Class.” But “Silver Linings Playbook” shows us all just how far her range as an actress goes. It looks like another Oscar nomination is in store for her in the near future.

SOURCES:

Rebecca Ford, “‘Silver Linings Playbook’: Jennifer Lawrence Wins Her Role via Skype, Learns to Dance Like an Amateur,” The Hollywood Reporter, November 21, 2012.

Ramin Setoodeh, “Jennifer Lawrence on ‘Silver Linings Playbook,’ ‘Hunger Games’ & More,” The Daily Beast, November 19, 2012.

Melena Ryzik, “Shooting the Sass Easily as an Arrow,” New York Times, November 9, 2012.

Emmanuelle Riva Faces the Subject of Death Head On in ‘Amour’

Emmanuelle Riva in Amour

WRITER’S NOTE: This article was written back in 2013.

French actress Emmanuelle Riva has given us astonishing performances in movies like “Hiroshima mon amour,” “Thérèse Desqueyroux” and Krzysztof Kieślowski’s “Blue,” but now she has received the greatest acclaim of her career at age 85 in Michael Haneke’s “Amour.” In the movie she plays Anne Laurent, a retired music teacher who suffers a debilitating stroke, and we watch as her body and mind slowly deteriorate. The performance Riva gives is magnificent and not the least bit melodramatic, and she more than deserves to be among the nominees for Best Actress at the Academy Awards.

“Amour” actually marks the first movie Riva has headlined years as she tends to be picky about the projects she chooses. In talking with Scott Feinberg of The Hollywood Reporter, Riva said she only wanted to work on projects which were good, and she ended up doing more work in the theater than in film. However, she did not hesitate at the opportunity to be in Haneke’s movie as she responded strongly to the screenplay and found that the role came to her at the right time.

“I’m sure you know that roles for older women in cinema are not that numerous. And when you’re 84 years old? It’s not very often that you find a role that matches you. I felt that since I am really in the last stage of my life, this was a tremendous gift that was given to me,” Riva told Feinberg.

“Fortunately for me, my own age corresponded exactly to the age of the character that was going to be portrayed in the film. It was really a very miraculous kind of thing that this role should come to me when it did,” Riva continued. “I thought that the script was very, very strong. The writing was very powerful, and it was very authentic, and it was the authenticity that touched me very much.”

Considering how “Amour” does deal with the theme of mortality and is an emotionally draining movie to sit through (many said they cried during the movie and after it had ended), this must have made it seem like the kind of project actors would be quick to shy away from doing. No matter how good the screenplay is, this movies deals with questions many of us don’t want to know the answers to for a long, long time. While humans can suffer from a stroke at just about any age these days, most people still believe they only happen to the elderly. But in an interview with Sharon Waxman of The Wrap, Riva said she accepted this role without any hesitation.

“Afraid? No, not at all,” Riva told Waxman. “Why would I be afraid? This role presents the subject of the film that touches each of us, every human on the planet. As an actress, it’s so exciting to be engaged in a role like this. I would never have felt fear for this. If an actress is afraid, she should head for the door right away.”

“I was so happy in the work,” Riva continued. “Every day, every day. Two months of work. It was such happiness-a feeling of complete fullness. Of life, of death, of love. I never lost the excitement of the work. I was so infinitely happy during this shoot. So serious, but it wasn’t sad at all.”

It’s also easy to assume the mood on the set of “Amour” must have been very tense considering the grim subject matter. You might also think the cast and crew would approach each day with a stone faced serious as they dealt with characters who are at death’s door, and this especially seemed to be the case with Haneke directing. His films “Cache,” “Funny Games” and “The White Ribbon” have dealt with the darkest parts of the human existence, and on the surface “Amour” looks to be not much different. Riva, however, told Xan Brooks of The Guardian of how things on the set were not severely strict, and that the mood at times was actually quite playful.

“The subject matter is obviously intense. But we had a lot of fun along the way,” Riva told Brooks. “So much laughter, so many funny things. I remember once, when I was playing dead, I had to stay quite still. But when the crew went to look at the monitor, they came back laughing. I said, what’s so funny? And they told me that my toes were wiggling. My toes! I didn’t even know they could see them. So, I had to do the whole scene again and concentrate very carefully. I think my feet have a will of their own.”

Indeed, it’s movies like this one which test not just our emotions, but also how we see and treat diseases of any kind. Riva has spoken very highly of Haneke as a director and said he knows exactly what he wants and is not a bully about making his vision become a reality. And while this movie may seem infinitely sad, Riva never saw it as a scary one to be in or watch. She made this abundantly clear while talking with Tracy McNicoll of The Daily Beast.

“Because it is about a lady who becomes very sick, people believe it is difficult [to play]. But no, no. We incarnate a role and voilà,” Riva told McNicoll. “I knew people stricken like this. I knew, I saw; there are many. And performing that seemed fascinating. Sure, it wasn’t easy. But there is a rigor, there is a conductor in Haneke, a conductor who knows the right note to strike in things. He told me, ‘no sentimentality.’ So, I understood right away. No sentimentality. So that becomes really very interesting to perform. Because there is a restraint, a distance that is a pleasure to experience.”

While “Amour” remains the least watched of all the Best Picture nominees of the year, many are still rooting for Emmanuelle Riva to win the Best Actress Oscar. Right now, the front runners look to be Jennifer Lawrence for “Silver Linings Playbook” and Jessica Chastain for “Zero Dark Thirty,” but this is a year where anything could happen at the Oscars. It would certainly be a great cap to an extraordinary career for this French actress who has appeared in many classic movies throughout the years, but Riva right now is taking all the acclaim and potential job offers in stride.

“If by chance people would still offer me roles, I’d still like to do them. But if not, that’s OK. I love life,” Riva says. “I love life to death. If I don’t act in another film, who cares? I’m 85, it doesn’t matter. I’m still alive and that feels great.”

SOURCES:

Scott Feinberg, “‘Amour’ Star Emmanuelle Riva, on Brink of Making Oscar History, Looks Back at Career,” The Hollywood Reporter, February 17, 2013.

Sharon Waxman, “Oscar’s Oldest Nominee, Emmanuelle Riva, on ‘Amour’: It’s a Gift in the Last Stage of My Life,” The Wrap, February 13, 2013.

Xan Brooks, “Emmanuelle Riva: ‘You don’t say no to a film like Amour,'” The Guardian, November 8, 2012.

Tracy McNicoll, “Oscar’s 85-Year-Old Darling: A Talk with Emmanuelle Riva of ‘Amour,’” The Daily Beast, February 15, 2013.

Mia Wasikowska Fearlessly Dives Into the Dark Side in ‘Stoker’

Mia Wasikowska in Stoker

WRITER’S NOTE: This article was written in 2013.

After watching her in Tim Burton’s “Alice in Wonderland” and seeing her portray the highly intelligent daughter of Annette Bening and Julianne Moore in “The Kids are All Right,” Australian actress Mia Wasikowska goes from lightness to darkness in “Stoker.” In it she plays India, a mysterious, dark-haired teenager whose father has just been killed in a car accident on her 18th birthday. Throughout the movie we see India trying to deal with both her emotionally unstable mother Evelyn (Nicole Kidman) and her enigmatic uncle Charlie (Matthew Goode) who has arrived to stay with them. Thanks in large part to Wasikowska, India is one of the most original and haunting teenage characters to appear in movies in quite some time.

It’s fascinating to watch Wasikowska’s transformation in “Stoker” as there is very little trace of the good-natured characters she has portrayed previously. Even her work in “Jane Eyre” felt like a fairy tale compared to the creepy nature of this film. Going into it, I wondered if Wasikowska was really looking to distance herself from the roles she has played in the past. It turns out she was, but in an interview with Helen Brown of The Telegraph, she also said it was because she was drawn to the character’s ambiguity.

“You don’t know if India’s a hero or a villain, the hunter or the hunted,” Wasikowska told Brown. “The film toys with your perception. It’s a weird love triangle between a mother, an uncle and a daughter. That feels very modern and very classic, at the same time.”

“It’s less about evil being in the bloodline than an idea of evil as contagious,” Wasikowska continued. “I think violence is something that catches on. I was interested in something India’s father says: ‘Sometimes you have to do something bad to stop you from doing something worse.'”

I loved how Wasikowska avoided making India seem like the average sullen, anti-social or Goth-like teenager we’ve seen in so many movies and TV shows. There’s something about India which feels wholly original, and it is a wonderfully complex character you spend all of “Stoker” constantly trying to figure out. Wasikowska explained to Brown what she was aiming for when she decided to play India.

“Stereotypes are much more prominent in teen movies,” Wasikowska said. “As a teenager, it’s more attractive to watch something you don’t necessarily feel you are, to watch movies about pretty people in love. But it was always exciting for me to find roles that gave me an opportunity to express what I felt was the more realistic side of teenagers.”

The most memorable scene in “Stoker” comes when Uncle Charlie joins India on the piano for one of the most exhilarating duets ever filmed. The whole moment feels like a cross between the “Dueling Banjos” scene from “Deliverance” and David Helfgott playing Sergei Rachmaninoff’s blisteringly difficult Concerto No. 3 in “Shine;” it’s a moment of harmony combined with a psychological unraveling which reaches a fever pitch. This is a movie scene I will be studying for a long time, and while talking with The Hollywood Reporter’s Rebecca Ford, Wasikowska described what it was like filming it.

“That’s sort of one of the scenes that you’re always anticipating during the shoot,” Wasikowska told Ford. “It was almost my favorite one to film, because we had the music there, playing really loudly for us, and then, to a certain extent, I felt like I didn’t have to do anything because so much of the emotion and the feeling was in the music, and if I just sort of surrendered to that, it was all there.”

“Stoker” marks the English-language debut of South Korean filmmaker Park Chan-Wook who is best known for his “Vengeance Trilogy” of movies which includes “Sympathy for Mr. Vengeance,” “Oldboy” and “Sympathy for Lady Vengeance.” Both he and Wasikowska worked closely together on India to make sure they were on the same page throughout filming, and Wasikowska told Ford they kept sending each other pictures back and forth through email which helped to illustrate their thoughts on the character.

“Some of the images were from India’s perspective, so things that I thought would explain the way that she sees the world,” Wasikowska said. “And then the other images would be something that had an essence of her physicality or her emotionally, so that was really helpful.”

Now with a movie as dark and disturbing as “Stoker” is, you would think the atmosphere on set would be very serious as to not break the mood of the piece. But as we found out on this movie and many others before it, the dark nature of the script was counterbalanced by a lot of humor amongst the cast and crew. Wasikowska made this abundantly clear to contactmusic.com while at a press conference.

“I’ve often found on the films that have a more serious nature, the more light-hearted and silly and goofy it becomes in between the scenes out of necessity to counter the intensity of the scenes and material,” Wasikowska said. “I felt like we were pretty good at that!”

Watching Mia Wasikowska in “Stoker” gives you an idea of what great work lies ahead for her. Here she digs deep into a character she hasn’t previously portrayed, and she completely disappears into the part as a result. While India is still a hard character to figure out at the movie’s end, it is Wasikowska’s journey into the role which renders it all the more fascinating.

“The best way to explain it is when I’m filming, I have a definite story that I follow for her, but then when I finish and I let go of the project a bit, it’s sort of up to interpretation,” Wasikowska said. “So one of the interesting things has been seeing how people have interpreted her (India) and her character in the story. And the only thing that’s consistent is how different everybody’s opinion is of her.”

SOURCES:

Helen Brown, “Stoker’s Mia Wasikowska, interview: ‘It’s a weird love triangle between a mother, an uncle and a daughter…,'” The Telegraph, March 1, 2013.

Rebecca Ford, “‘Stoker’s’ Mia Wasikowska on Her Mysterious Character and Sexualized Piano Playing,” The Hollywood Reporter, February 28, 2013.

Mia Wasikowska: ‘Stoker’ shoot was fun,” contactmusic.com, February 28, 2013.

Juno Temple on Getting Seriously Greedy in ‘The Brass Teapot’

Juno Temple in The Brass Teapot

WRITER’S NOTE: This interview took place in 2013.

The wonderful Juno Temple has left an indelible impression in movies like “Atonement,” the controversial “Killer Joe,” and as Selina Kyle’s BFF in “The Dark Knight Rises.” Now she gets to move up to a starring role in Ramaa Mosley’s “The Brass Teapot” in which she plays the happily married Alice. She and her husband John (Michael Angarano) are madly in love with each other but also seriously broke, and she is desperately looking for a job but is constantly turned down for other applicants who have more experience, usually in the form of a master’s degree. But one day she discovers a beautiful brass teapot at an antiques store which ends up spewing out money whenever she hurts herself, and from there Alice does everything she can to generate all the money she and her husband could ever need.

I got to catch up with Temple during a roundtable interview at “The Brass Teapot’s” press conference which was held at the SLS Hotel in Beverly Hills. She described Alice as being a “confused creature” because while she is not doing well financially, she does have a wonderful husband to lean on during tough times. Temple talked about the similarities and differences between her and Alice and how they each came to inform the way she played this character.

Juno Temple: It’s interesting for me because she’s someone that I find myself very different from, but that’s the challenge isn’t it? That’s the joy of being an actress. At the beginning she can’t see what is in front of her. She just can’t open her eyes and see that actually, in the grand scheme of the universe, she’s bloody lucky. She’s very ambitious and she expects a lot more for herself, and she’s frustrated that she is not where she thinks she should be at. So, her ego is kind of hurt and she’s almost embarrassed to be who she is which I understand, but it’s almost like c’mon, look at this amazing husband you have! Look at this person who adores you, and people can only dream of people that look at you that way sometimes.

Now once the brass teapot, which Temple described as being “magical, mythical and a devil,” comes into the picture, Alice undergoes a major switch as she and her husband acquire a wealth which has long been denied to them. She becomes insatiably greedy as they stand to make so much money through the pain and misery they willfully inflict on themselves and each other. As Temple continued to talk, I really came to admire the objectivity she had about Alice and how the character fits into the overall story.

JT: It’s interesting because she almost kind of deserves to go through what you go through to open her eyes to reality a little bit because I think she’s being a bit lazy with the teapot. The whole joy of booking a job as an actress, auditioning and then coming back and maybe doing a screen test and then actually getting cast and then getting to shoot the same for real, is you earn it. You earn that moment and it’s joyous. With Alice, she’s getting in a muddle that she thinks that this money is hers, but actually it’s the teapot’s and it’s feeding off some really, really important emotional nasty shit that is inside of this couple and giving them money. But actually, it’s destroying these people and give them what they think is awesome and useful and makes life like a good thing like a big house, posh dresses, nice dresses, etc. In the end, she really takes it too far.

The other great thing about Alice as a character is she does have an arc. In acting classes, teachers tell their students to map out the journey the character they are playing has in a play or script. Each character starts off at a certain point and ends becoming a different kind of person at the conclusion, and as an actor you need understand where your character is going from start to finish. This way it becomes not about the end result but more about the journey you take when you finally come to play your character on stage or screen. Temple took the time to describe the journey Alice has in “The Brass Teapot” and of where it eventually leads her to.

JT: I like the arc that she has because she really does learn about herself. It’s almost like she grows up from being a child to a grown-up, and I think it’s ultimately a story about love and about someone really, really loving someone else and helping someone through this crazy addiction, and love kind of conquering everything, I guess.

Speaking of addiction, Temple did quite a bit of research into drug addiction as she felt Alice was essentially an addict herself. The teapot of the movie’s title is an object of greed as well as a narcotic of the most inviting kind. Once it has a grasp on Alice, it almost completely consumes her and her husband in the process.

JT: What I learned about it was that you cannot control it. Your body becomes completely dependent on it that it almost hurts to get rid of it. So that was a really interesting thing for me of it almost being a painful process to sever the tie between her and the teapot. But the tie between her and her husband wasn’t as painful. Drug addiction destroys a lot of relationships, and sometimes it can create new relationships when people get it out of your lives. That was a major research thing for me and a major thought behind it.

But while “The Brass Teapot” deals with the dangers of an addiction, Temple is quick to stress the movie is really a comedy with a lot of humor. It’s a fable at its heart of how money can change you, but it can’t make you happy all the time. Temple is a joy to watch throughout as she takes Alice from being a frustrated and unemployed young woman to an endlessly greedy human being willing to do anything to keep those dollar bills flying in.

As the interview came to an end, she shared with us what keeps her going as an actress.

JT: We’re all in this business because we love it, because we’re passionate about it. If it’s a 20-hour day, tomorrow could be another one, but guess what? There’s a weekend coming. I think you’re in it for the right decisions if you’re willing to do a 20-hour day, and if you need a few extra tears are just going to ask them to wait for 15 minutes. I definitely want to be at giving actress and that’s something I really, really, really treasure.

CLICK HERE TO CHECK OUT THE EXCLUSIVE INTERVIEW I DID WITH THE DIRECTOR OF “THE BRASS TEAPOT,” RAMAA MOSLEY, WHICH I DID FOR WE GOT THIS COVERED.

Selena Gomez Reflects on ‘Spring Breakers’ and Ditching Her Good Girl Image

Spring Breakers Selena Gomez

WRITER’S NOTE: This article was originally written in 2013.

There comes a time in a young Disney star’s life when they are faced with the great challenge of transitioning from being a child actor to an adult one. Many are not able to make this switch because either their talent only goes so far, or their fans just don’t want to accept them as anything else. Anne Hathaway managed to go from playing a nerdy princess in “The Princess Diaries” to portraying a single mother forced into prostitution in “Les Miserables,” and she won an Oscar in the process. Now Selena Gomez gets to shed her good girl image in Harmony Korine’s controversial film “Spring Breakers.” After playing the outgoing Alex Russo on “Wizards of Waverly Place” for several years, she gets to join three other young actresses on a holiday of drunken debauchery.

Gomez plays Faith, an evangelical Christian who is encouraged by her three friends Brit (Ashley Benson), Candy (Vanessa Hudgens) and Cotty (Rachel Korine) to go with them to Florida for the spring break holiday. The fact her friends end up robbing a restaurant located near their college to get the money for this vacation doesn’t seem to faze Faith much as she looks forward to going wild and releasing all her inhibitions. Once there, the girls have the time of their lives as they party like there’s no tomorrow, and they never want the party to end.

It turns out it was Gomez’s mother, Amanda Dawn “Mandy” Cornett, who brought the script of “Spring Breakers” to her attention as she was already a big fan of Korine’s movies. From there, Gomez watched his movies “Gummo” and “Trash Humpers” as she traveled to Nashville to audition for him. In an interview with Justin Harp of Digital Spy, Gomez made it clear she had no reservations about working with the filmmaker who is known for shocking his audiences and pushing the envelope so to speak.

“I was excited and enticed to work with Harmony,” Gomez told Harp. “When I auditioned for Harmony, we talked about how he wanted to leave my lifestyle behind and have me go on this adventure with him. I knew it was going to be crazy, but I was comfortable with it. Harmony wanted an innocence because he thought it would be creepier. I agree with him.”

For any human being, be it an actor or otherwise, it is always scary to step outside of your comfort zone. One has to wonder what it was like for Gomez to step outside of entertainment geared towards children and to take on something far more risqué with “Spring Breakers.” But for an actress who started off her career with an episode of “Barney and Friends,” Gomez told Zorianna Kit of Yahoo! News she very much enjoyed the change of pace this role had to offer.

“It was completely liberating,” Gomez told Kit. “Up until this film, everything I’ve been a part of definitely has been a bit more processed, like how many pieces of jewelry I have on, what my hair looks like. With Harmony, I never wore makeup and he never cared about my hair.”

“I feel like I did grow up shooting this,” Gomez continued. “This was the first movie I shot by myself without my mom coming. It was the first time I got to improvise as much as I have.”

Korine ended up throwing Gomez and the other actresses into a real spring break holiday where everyone was getting obscenely drunk, going crazy and tearing up their hotel rooms without any remorse. This must have seemed incredibly terrifying for the cast and crew as they were dealing circumstances they could not easily control. But despite the majority of the participants being drunk beyond all repair, Gomez told Harp that things were actually pretty cool on set even as she wore little more than a bikini.

“When we did the spring break scenes, we were surrounded by hundreds of spring breakers in bikinis who wore even less, so that was okay,” Gomez said. “I was more uncomfortable in the scenes where I was getting arrested, in jail and in the pool hall with strangers. It added vulnerability and helped me feel grossed out, which was what my character is supposed to feel.”

But despite how crazy things got while filming “Spring Breakers,” Gomez still formed a very close-knit bond with her fellow co-stars. Now sometimes on a film like this, you would expect there to be a lot of catfights between actresses, but that was not the case on this one. Perhaps many just wish it was the case as it makes for press which generates a lot of page views, but Gomez made clear to Marlow Stern of The Daily Beast just how devoted she is to her fellow cast members.

“These girls have my back till death,” Gomez told Stern. “They’re so amazing, sweet, and protective. We did a lot of partying in the movie, so after we partied for 18 hours straight on set, we would like to go home, have great food, and watch movies. We’re not nearly as crazy as they are in the movie.”

Whether or not her role as Faith in “Spring Breakers” comes even close to gaining her any Oscar consideration, Selena Gomez has certainly picked the right project to make it known to the world she is in show business to stay. While she intends to spend more time in 2013 focusing on her music career, she is co-starring with Ethan Hawke in the upcoming action film “The Getaway.” The transition from child actor to adult actor may remain a very difficult one to make, but Gomez sounds intent on making it happen for her.

“The transition is a little weird, but I’m honored to be a part of things that allow me to grow,” she says. “I want to continue doing that, and if it works out and people like it, that’s awesome, and if not, I’m trying to do all I can. I’m just hoping for the best!”

SOURCES:

Justin Harp, “Selena Gomez on ‘Spring Breakers’: ‘I left my lifestyle behind,'” Digital Spy, March 25, 2013.

Zorianna Kit, “A Minute With: Selena Gomez about growing up with ‘Spring Breakers,'” Yahoo! News, March 20, 2013.

Marlow Stern, “Selena Gomez on Playing a Bikini-Clad Vigilante in ‘Spring Breakers,'” The Daily Beast, March 20, 2013.

Michael Chiklis Talks About His Acting Career and ‘Parker’

Michael Chiklis in Parker

WRITER’S NOTE: This article was written in 2013.

Michael Chiklis has been a very busy actor lately. Ever since the transformation his career took when he played Vic Mackey on “The Shield,” he has gone on to appear in two “Fantastic Four” movies as the Thing, and he now stars alongside Dennis Quaid on the CBS television show “Vegas.” But now he’s back on the silver screen in “Parker” which stars Jason Statham and is directed by Taylor Hackford, and in it he plays the vicious bank robber Melander. Chiklis has become one of the few actors working today who can go from television to film and from playing a hero to portraying a villain with relative ease. Many actors get typecast to where audiences won’t allow themselves to see them as anything else, and this is why we admire Chiklis because he appears to have completely bypassed that hurdle.

I got to catch up with Chiklis when he was at the press conference for “Parker” which was held at the Four Seasons Hotel in Beverly Hills, California. He told us he would soon be directing an episode of “Vegas,” but this is nothing new for him as he previously directed episodes of “The Shield.”

Michael Chiklis: I have fun with it. I deliberately boss everybody around… No, I’m kidding. I don’t make a big deal of it. It’s usually I take a lot of gut from my fellow actors because they want to give you a hard time. It’s to be expected and I just take it.

One of the reporters told Chiklis that Melander is “a real dick,” and he responded to this description with a big laugh. It was never lost on the actor how his character was a complete bastard, and he reveled in the opportunity to play a full out bad guy. While Vic Mackey from “The Shield” may have been an antihero, Melander has no redeeming qualities whatsoever.

MC: This guy’s a malevolent prick and great. I can just sort of unabashedly get to be a dick which is fun. When you get to do that in real life? You don’t unless you want to be a pariah. One of the wonderful things about being an actor is you get to walk a mile in another man’s shoes, and the other great thing is that you get to step out of them and not be in the shoes anymore. It was wonderful to sort of step into a pair of shoes of a guy who’s all about himself; a narcissistic, sociopathic douche bag and just let that be.

Since he’s become known for playing such hard boiled or douche bag-like characters, it is tempting to think Chiklis is not much different from the ones he played on “The Shield,” “Vegas” or “Parker.” But he didn’t need to convince us he isn’t because if he was like Melander in “Parker,” he would be in jail or even on death row. Chiklis does get a kick out of how people can mistake him for the characters he has played, but it’s clear he’s not out to live up to this image we have of him either.

MC: I think Vic Mackey in particular had an effect on people. I’ve had grown men shake my hand like this (and he showed their handshakes to be full of nervous energy), and I’m like, oh dude it’s all right, I’m not gonna hurt you. That’s happened, but as the father of daughters that’s not such a horrible thing. There are benefits to that. Sometimes it’s scary though because some people really don’t have a capacity to separate truth from fiction. It is a movie and we’re actors playing parts, and I’m not fucking Vic Mackey, I’m not. I’m not a malevolent prick, I’m just not, but I have fun playing one and I’m sure I’ll play others in the future. I like to mix it up and play all kinds of people.

Like I said, Chiklis is one of those actors who can go from playing a good guy to playing a bad one, and we never doubt he will give a strong performance as either kind of character. All of us at this roundtable interview couldn’t help but wonder if he likes playing bad guys more than good ones, or if he likes playing both types of characters equally. But like any other actor, famous or not, Chiklis is not looking to play the same type of person over and over again.

MC: The reason why that’s true is because I don’t prefer to do one or the other. I like to all of that. I’m terrified of complacency and I do not like to be boxed in. I’ve always wanted be diverse, and the more diverse you are, the more of an opportunity you’ll have to play a wide variety of roles. Some people thrive in an area that they have their note in and their terrific at it, and they just sing the note all the way to the bank and good for them. That’s just not my way. I can’t do that.

Chiklis compared his interest in acting roles to his iPod which he said has music by The Tubes and Sergei Rachmaninoff on it. What he ended up saying made perfect sense as none of us like to listen to the same type of music all the time. We need variety, and it’s this same type of variety which Chiklis demands as an actor. Now most actors don’t get to indulge in any kind of variety, but he admits many give him strange looks when it comes to his taste in things.

MC: I have eclectic taste in film and television and musicals. People freak out because I went to see “Glengarry Glen Ross” when I was just in New York, and then the next night I was at “Newsies and they were like, what the? And I dig both because that’s life. I’d hate like hell to look at the same flower every day no matter how beautiful it was. It just makes to me a more interesting life and career, and I’m just blessed that I’ve been able to afford the opportunity to play these characters.

Now Chiklis didn’t always have this diversity in his career as for years he was known for being on the comedy-drama TV series “The Commish” which had him playing a suburban police commissioner in upstate New York named Tony Scali who worked through various problems with humor and creativity. This led to Chiklis to being typecast as a nice guy in film and television, and to him playing the same type of character in many projects like the ill-received television series “Daddio.” It took someone very close to make him realize what he had to do to change his future as an actor.

MC: A lot of the diversity in my career which I always desired, but I didn’t necessarily know how to attain, I credit to my wife because she made the statement to me years ago: it’s not incumbent upon the studios to reinvent you, it’s incumbent upon you to reinvent yourself. And I just looked at her and went that’s right, that’s correct and that’s brilliant. Actors become puzzle pieces in that he fits there, she’s fits there, and you can understand that. So, I was fitting in the rolly polly affable guy place for a lot of these people, and I couldn’t just expect them in osmosis to go like, oh yeah, Chiklis, bad ass mother fucker because they’ve never seen that from me. So, she simply pointed out, you want them to see you that way? You’ve got to show them that and you’ve got to demand that.

Demanded it he did, and Michael Chiklis’ acting career is now stronger than it has ever been. He plays a remorseless bank robber in “Parker,” and at the same time he portrays a Chicago mobster on “Vegas.” It doesn’t look like this actor will ever lack for a variety of roles at this point in his life, and this says a lot about his talent as well as his perseverance in an industry as fiercely competitive as this one is. More power to him!

CLICK HERE TO CHECK OUT THE EXCLUSIVE INTERVIEW WHICH I DID WITH MICHAEL CHIKLIS FOR THE WEBSITE WE GOT THIS COVERED.