tv echo June 16 Share June 16 (edited) Behind-The-Scenes with Emily Bett Rickards | MyTime Movie Network MyTime Movie Network Jun 14, 2024 -- When asked how she prepared for Calamity Jane, EBR: "It's rehearsal, it's references to films, it's talking with people about the character... We watched a lot of Western films, read a lot about her life. Um, it's my first time playing a human who was in our real world. And though we're sort of doing a - a story that is, um, fictionalized of her life, it is sort of an estimate of, you know, potentially what could have been part of her life and her legend is - we're not really sure what's true and what's recorded in history because her legend was sort of bigger than she was. And so we have - we have a part of that here and a chance to sort of maybe give her, um, the respect and honoring that she deserves." -- When asked how she's similar to Calamity Jane, EBR: "She's definitely bringing out things in me that I enjoy, sort of this - like she has this like really grounded presence. And so I find myself like standing more equal and strongly in - in like coffee shops. (Laughs) Just like - like she's in your nervous system... for as long as you allow here to be. I mean, she's very driven by a very specific thing. If you haven't seen it, I won't say what that is. But, um, we can always just be more present and I feel like she's helping me do that." -- When asked for the most challenging element of filming Calamity Jane, EBR: "Well, the first week we did a lot of gun work and because we didn't have a lot of rehearsal, my thumbs were so sore, because we're using like real guns of the time and they're really heavy when you go like this (Stretches out arms and mimes holding guns in both hands). So that's my most challenging - is like staying in that and wanting to be there for that and then also wanting to do it correctly with, um, such little training. But I think we're - I have a lot of good guidance, so I hope - I hope to do her proud." -- When asked to describe Calamity Jane in three words, EBR: "Powerful. Driven. Firestorm." Edited June 16 by tv echo 1 Link to comment
tv echo June 17 Share June 17 (edited) How the rise of the ‘showrunner’ role is changing British TV BY MANORI RAVINDRAN12 JUNE 2024 https://www.screendaily.com/features/how-the-rise-of-the-showrunner-role-is-changing-british-tv/5194444.article Quote As it turns out, they were right to think as much. US showrunner Marc Guggenheim, co-creator of The CW’s Arrow and its spin-offs that became known as The Arrowverse, tells Screen International that anyone attending a pre-strike WGA meeting would have heard a lot of people fretting that the “studios are trying to turn [US showrunning] into the British model”. “I don’t think it would be a stretch to say that we struck in large part to keep from turning the American model into the British model,” Guggenheim says. That statement, he notes, is based on the belief there are not big writing staffs on UK shows, but rather freelance writers supporting a single writer and writing individual episodes with very little job security. * * * Guggenheim points out the UK model — which, when it does use a group of writers, effectively uses “mini rooms” — erodes the number of jobs available for writers, and stifles the sustainability of the profession, particularly for new entrants and candidates from diverse backgrounds. * * * “When you’re only writing freelance episodes, by definition you are not involved in the production of those episodes, and you’re not involved in prep, in shooting, in post-production,” says Guggenheim. “As a result, you’re not getting critical experience that would enable you to run your own show someday. “I’ll be honest,” adds Guggenheim. “I don’t know how the writers in Britain do it — the ones who are not showrunners, the ones who are just freelancing. How are they putting together enough work in any given year to [cover themselves]?” Edited June 18 by tv echo Link to comment
tv echo June 17 Share June 17 (edited) What's Wrong With Hollywood? Boundary Issues May 31, 2024 https://podcasts.apple.com/us/podcast/whats-wrong-with-hollywood/id1728944623?i=1000657448998 Quote Ayelet and Paul are joined by showrunner, screenwriter, comic book writer, and novelist Marc Guggenheim, the man behind shows including Arrow, DC's Legends of Tomorrow, and Tales of Arcadia, to talk about why Hollywood is going down the tubes and everything is terrible for writers! Edited June 17 by tv echo Link to comment
tv echo June 17 Share June 17 Trailer for action-thriller Jade starring Shaina West, Mickey Rourke, Mark Dacascos and Katherine McNamara JUNE 15, 2024 BY GARY COLLINSON https://www.flickeringmyth.com/trailer-for-action-thriller-jade-starring-shaina-west-mickey-rourke-mark-dacascos-and-katherine-mcnamara/ Link to comment
tv echo June 17 Share June 17 Brandon Routh panel at Duke City Comic Con on 6/15/24 in Albuquerque, NM starstruckjb posted Jun 16, 2024 Link to comment
tv echo June 18 Share June 18 ACE Comic Con/Superhero Comic Con, June 20-23, 2024 (San Antonio, TX) Stephen Amell, David Ramsey, Caity Lotz and Brandon Routh https://pmxevents.com/celebrities/category/2024/ Link to comment
tv echo June 20 Share June 20 (edited) New Western Movie Reuniting Arrow Stars Now Streaming for Free By Nnamdi Ezekwe Published 6 days ago https://www.cbr.com/calamity-jane-western-streaming-tubi/ Quote Calamity Jane has premiered on Tubi and is now streaming for free. The new Western reunites CW's Arrow co-stars Emily Bett Rickards and Stephen Amell. Here's the Tubi link to watch Calamity Jane (free, don't need to sign up): https://tubitv.com/movies/100008875/calamity-jane ETA: So I just watched Calamity Jane. I thought EBR did a fine acting job. Her Calamity Jane character is very, very different from Felicity Smoak. Dramatically different, but still believable (imo). However, I would have liked more contrast between her personality before the triggering event and her personality after the triggering event. Also, the movie itself was a bit too slow-moving at times. EBR's reunion with SA was only for a few scenes. Unfortunately, another bad wig for SA, but their on-screen chemistry remains intact. The ending was not what I expected. Edited June 20 by tv echo 1 Link to comment
tv echo June 23 Share June 23 (edited) Check out MG's initial notes about Oliver's "love interest"... EMBRYONIC NOTES LegalDispatch 102 MARC GUGGENHEIM JUN 21, 2024 https://marcguggenheim.substack.com/p/embryonic-notes Quote Pulling out my original notes for In Any Lifetime had me thinking about the notes I took from my first (or one of my first) meeting with Greg Berlanti to discuss what would eventually become Arrow. Check ‘em out: Edited June 23 by tv echo 1 Link to comment
tv echo June 24 Share June 24 (edited) From ACE Superhero Comic Con in San Antonio, TX, this past weekend... -- On the brotherhood chemistry between Oliver and Diggle, DR: "I remember talking to Greg about the Lantern of it all, right, and having a conversation in his office and I, like, well, you know, I don't - I don't know if you guys want to write to that because, you know, there's a lot going on between Stephen and Emily's characters. This is exactly what he told me. He said, you know, that's - that's great. We love writing toward that, he said, but believe it or not, what we see in - in - in our - and by the way, there's a statistic for everything, right? There's a - there's a stat for every sort of measurement that these guys do. He said, the relationship between you and Stephen is kind of what we see happening on - on the show, say, similar to what happens between the guys of Supernatural. And I'm like, really? Because, you know, you - you're on set and there's - there's kind of so much that's happening between the Olicity of it all - which is - which is fantastic. But he was like, no, there's - there's a lot we have to pay attention to between you and Stephen's relationship. I'm like, that's - that's great. So there's a reason why there was, uh, there was a lot of chemistry. They wrote to it." -- On who's most likely to laugh during the dramatic scenes, DR: "Stephen." -- On who's the hardest person to make laugh from the cast, DR: "Katie Cassidy... Yeah, she was tough, man... I mean, we did everything to crack her. The crack? No." David Ramsey Discusses Arrowverse, Dexter, and More | Superhero Comic Con San Antonio 2024 Q&A Tales From The Collection: Autographs & Fan Mail Jun 21, 2024 Brandon Routh Talks Superman and Legends of Tomorrow | Superhero Comic Con San Antonio 2024 Q&A Tales From The Collection: Autographs & Fan Mail Jun 22, 2024 Edited June 26 by tv echo 1 Link to comment
tv echo June 26 Share June 26 From ACE Superhero Comic Con (San Antonio, TX) on June 22... Caity Lotz Discusses Arrowverse and Acting Career | Superhero Comic Con San Antonio 2024 Q&A Tales From The Collection: Autographs & Fan Mail posted Jun 24, 2024 Link to comment
tv echo June 29 Share June 29 Arrow's David Ramsey Praises Marvel's X-Men 97 | Superhero ComicCon Interview Agents of Fandom posted Jun 27, 2024 Link to comment
tv echo July 4 Share July 4 (edited) This interview was recorded "a few months ago." This video only includes part 1 (part 2 will be posted on Jul. 17)... MARC GUGGENHEIM (Arrow, DC's Legends of Tomorrow) | The Showrunner Whisperer Episode 08 Multiverse Of Color Jul 3, 2024 Quote 0:00 - Introduction 6:30 - Welcome, Marc! 15:00 - Marc's Origin Story 24:30 - Enter Arrow 41:03 - Multiverse of Color Ad 42:10 - Expanding The Arrowverse 1:10:30 - Wrap-Up/Credits -- MG: "In so many ways that show [Arrow], you know, changed my life, um, and I was not expecting that. I wasn't expecting that at all. In fact, you know, the show's - it's very strange, you know, before that, the only show that I had been involved with from jump that was a hit was Brothers and Sisters, um, and that was a show that - that neither Greg nor I created. Greg had come on to basically fix the show because it had some development problems at the beginning. Um, Greg brought me on shortly thereafter. It was like, oh, you're - you know, you're growing, uh, grapes, uh, in a vineyard that you didn't originate. Uh, you're trying to make wine off of grapes that you didn't grow... Arrow was really like the first one true success, like the - the first true hit for me... It was such a challenging show to do particularly in the first year that I was kind of like a horse with blinders... I don't think I truly understood and appreciated what it is we were doing. I was so busy just doing it. Um, and it wasn't, you know, I - I wouldn't say it wasn't... until several years in that I even sort of realized, oh, this is - this is become like a whole thing. Um, I remember getting a set photo, um, from the Crisis on Earth-X crossover where, um, it was all of the, you know, all the superheroes across all the shows, um, in, you know, on the, you know, on the deck or the bridge of the Waverider. Um, and I just sent it to Greg with the caption, 'what have we wrought?' Um, I think honestly it wasn't until that photo where you saw everyone all together all at once that I realized, oh, wow, this is like - this is a whole thing, um, because, you know, I tend to be someone who just sort of, you know, really just puts their head down and - and does the work. And I don't, you know, much to my detriment, I think, I - I don't spend a lot of time thinking about what it means or, you know, what's been achieved or not achieved. Um, and, uh, I wish I - I wish I did that a little bit more because I certainly wish I did that more during the - the - the years of doing Arrow and Legends because, um, those were very special times, um, and they were special times for the industry. I think, you know, I don't think we could have done Arrow today, um, certainly not the way we had originally done it. We - I don't think we could have done it with the amount of, you know, leeway and - and creative freedom that we had, um, you know... It was a very, I think, special, unique time in the business, um, that, uh, you know, that - that may not come again." -- MG: "It was a unique circumstance. You know, I think the combination of Warner Brothers led by Peter Roth and CW led by Mark Pedowitz, um, that - that itself was unique. I think Mark and Peter are - they're - they are not typical network and studio presidents, um, and I mean that the best pos - you know, best possible way... I think it also helped a lot that, um, you know, Greg had produced, uh, Jack and Bobby and Everwood for Peter at Warner Brothers and, uh, Greg and I had both worked with Mark Pedowitz on Brothers and Sisters, No Ordinary Family and Eli Stone at - at ABC Studios... Um, so there was a lot of trust and the trust went both ways. Like, you know, if they had a note that we didn't necessarily agree with, um, we trusted them that the - they were right. And if we want to do something that seemed crazy, they trusted us to - to do it. Um, and just that level of, you know, creative collaboration between production, network and studio - that's pretty rare and I think it's especially rare these days. So, um, I - I think again it was part of that special sauce that, um, helped us, you know, make what we ended up making." -- On the challenges and hurdles of producing the first season of Arrow, MG: “Well, first of all, in terms of pressure, shortly after the pilot got ordered to series, Peter Roth took us out to lunch and basically laid out for us in - in incredible detail, uh, the reality that if Arrow wasn't to hit, there would be no more CW. So it was like, oh, so the pressure of having a show and keeping the show on the air, that's - that's one thing. But now we have the pressure of keeping the whole network on the air, uh, that's another thing. Uh, in terms of hurdles, I'd say - I'd say there were - there were two things... First of all, for me personally, um, I - I was running the show with Andrew Kreisberg, who we now know or has now been made public is not - not the greatest guy, and that was a - that was a personal challenge for me then. Then, there honestly was the - the fact that we were trying to do a superhero show in a way that had never been done before.... The closest comp, especially in terms of the time, uh, was Smallville. But Arrow was nothing like Smallville... It was much grittier. It was much darker. It had, um, you know, a lot more action, you know, and the type of action was very stunts-heavy. And it also had this, you know, what I would sort of describe as a Nolan-esque, uh, verisimilitude. That made it challenging. There was a lot of discussion about, wait a second, so like the Arrow is gonna have a secret identity, but he doesn't wear a mask? And what, there's grease paint on his face and a hood, and how's that going to work? ... Some of that stuff was coming to us from the studio network and some of it was - was us sort of learning on the job. Like, there - there was, you - you would not believe, the - the amount of discussions and attempts, um, just to get the - what we call the Arrow voice correct. You know, there's an episode - there's a scenes in episode 4 where - where Oliver as the Hood, as he's known at that point in the show, is on a rooftop with Katie Cassidy's character and they have to have a whole scene together. Um, and there was, you know, it's - it seems simple, right? Um, but at the time it was like, well, how do you do this where Laurel doesn't seem like an idiot for not recognizing that it's - it's her lifelong friend Oliver under that hood and doing that voice? Uh, so we actually had to like re-shoot that scene, um, and - and, you know, we - we made several attempts. I remember actually going up to Vancouver and actually recording Stephen doing a variety of different Arrow voices, un, on my iPhone, um, you know, and - and then taking that back to Burbank and meeting with the studio and the network, and basically playing them for the - the studio and network executives and saying, we've got to pick something and we've gotta stick with it, so everyone's got to be happy with whichever voice we go with, um, we all have to sign off on it because once we tell Stephen this is the voice you're doing, that's the voice he's doing, and we're not having him redo it. Um, so it was stuff like that. It was - you know, we had the flashbacks, which was really like producing - I - I used to say, like, you know the first five seasons of Arrow with the flashbacks, um, was - was really like producing one and a half shows. Um, you know, the flashbacks were their own mini show. They - they took place on completely different sets. Usually those sets were not on location. I mean, sorry, they were on location. They were not standing sets. Um, with a different cast for the most part. You know, completely different costumes. You know, it - it - that provided a very, very interesting challenge to us. Um, I - I realized in hindsight what I should have done was call up Damon Lindelöf and asked him how he did it on Lost. But it never occurred to me to do that. We just sort of, you know, like I said, there was a lot of [learning] on the job, um, so a lot of it was like figuring out really like - ... We always knew what the show was, but we never - like it took us a while to figure out how to make the show we were seeing in our heads... Apart from the pilot, which had no reshoots whatsoever, episodes 2 through 7 - sorry, 2 through 8 all had reshoots, some measure of reshoots. It wasn't until we got to episode 9, the mid-season finale, where I remember watching that particular cut in Greg's office with Greg, and we both turned to each other at the end of the episode and like just let out this huge sigh of relief, that we were like, there aren't going to be any reshoots on this episode. Um, and, you know, to be nearly halfway through a season to reach that quote unquote milestone, um, that just shows you just how hard the show was, um, and - and also I will say, like, how high our standards. We really wanted to make sure that - that this show was going to be as good as we could make it and - and part of that is because, you know, David Nutter, who directed the pilot, set the bar so very high. Um, part of it was, you know, Greg and I were still smarting from the experience of Green Lantern. You know, part of it was, we just love this character so much. We wanted to make sure that we were, you know, putting him out into the world in, you know, the best possible way and in the best possible light." -- On how his negative experiences working with Andrew Kreisberg affected him, MG: "You know, it was hard. I mean, look, uh, you know, I - I've written in my newsletter that, um, I was seeing a psychologist and a psychiatrist, uh, both of them once a week. I was, you know, I had suicidal ideation. Uh, I am fairly certain my marriage would've ended had one of not left - had Andrew or I not left the show when he did. The - the hardest year, honestly, was season 3 and that was - that was because, uh, Andrew had theoretically left to focus on Flash. Um, so, you know, one of the things Andrew was doing as a co-showrunner was helping me. Uh, we would each - you know, we - we divided up rewriting the episodes. Suddenly I had to put all 23 episodes through my pen. Um, so that - that like literally doubled my workload. Um, and yet Andrew still managed to find a way to like throw hand grenades, uh, into the Arrow writers' room. Um, so that - I was - that was definitely a struggle, um, and it was hard on the staff. I mean, the staff, you know, we kind of joke - not even joke - but like it - the - the - the writing staff had PTSD to the point where I think once Andrew left the franchise, which was in the middle of, uh, Arrow sixth season, the rest of the season, a lot of a - lot of our emotional energy was spent on just sort of processing everything that had happened in the previous five and a half years... You know, it took almost half a season for us to kind of get our mojo back and - and be able to move on. But, uh, I think, you know, television is hard. Making movies are hard. They're hard enough on their own... I think it's particularly bad, um, when you've got a - I wouldn't say an outside force - it's really like an inside force or like a third - you know, when you have someone who is - who is making the already difficult process miserable. You know, I will say, like, I think, you know, the Arrow writing staff - they are, you know, some of the best writers I've ever worked with. Um, you know, they made it all possible... They were the ones who like, you know, made the show what it was. You know, they - they had, I think, a - as much of an affection for the show as - as I did and they wanted it to succeed as much as I did. Um, and that's a really remarkable thing. And, truth be told, that's - it's - it's not just the writers. That was the cast, that was the crew we had... There were a lot of people - a lot of department heads who were with us on day one and were with us on the final day of shooting... We even, uh, had some people, uh, hire - you know, we brought on their kids. The show was on so long, uh, that we were able to, you know - so we - we were able to like really create, uh, I think, a wonderful family in spite of, you know, in spite of all the challenges. You know, a lot of us still keep in touch with each other. And we - we were trying to do something - I don't want to pat us too hard on the back here, but - but we were trying to do something that I don't think had been done. Um, no one had done a - obviously people had done superhero shows. But no one had done a superhero show quite the way Arrow was. Um, and I think, again, David Nutter set the bar very high. We were trying to, you know, sort of produce a little mini 42-minute movie, uh, every week. And there were plenty of weeks we did not succeed. But, um, I think there were plenty of weeks where we did. Uh, and that - that was because we had an amazing group of writers, group of actors, group of, you know, incredibly talented crafts people, directors, you name it, everyone. It really did take a village. Uh, sorry, I got - I got - well, I got very far afield from the question. But, uh, I - I think, you know, I think everyone was justifiably proud for the - the work - proud of the work they did. The show would not have been what it was, uh, but for the contributions of - of all these people." -- MG: "In many ways I'm more proud of the environment that we created on Arrow and Legends than I am of the shows themselves, to be honest with you. Um, particularly Legends - you know, Legends - Legends was - it was such a challenging show for completely different reasons than Arrow was. Um, in many ways, Legends was challenging partially from a production standpoint because it was the first team, you know, series we'd done. And it's like, you know, well, how do you - it's one thing like Flash, he runs fast and they - they've got a system in place for how to produce that. But we've got, you know, a character who turns to steel, we've got a character - we've got two characters who have wings on their back, we have, you know, uh, a character who - his head is literally on fire and he can transmute any material into any other material. Like, I mean, an insane - you know, cold guns, heat guns, you name it. And - and like, how do you - how do you produce all that, uh, with basically - how do you produce, you know, five different sets of superpowers at least, uh, on the same budget and the same schedule that you have for shows that have one superpower? I - I have to say, like, you know, and we also went straight from, you know, presentation plot to series, um, so that had its own challenges. Um, and I have to say, it took - you know, it took a little while, but once we sort of locked in the show creatively and - and locked in the show production-wise, that set was the most fun set to come to. Like, the actors just - they all loved each other. Not that that's not true on other shows, but they - they had a special bond, um, and it was a special bond that I think really showed up on screen. It was just like - it was so - just delightful to come visit that set. I can't, you know, put it any other way. You know, like I said, I think it's - it's all about, you know, it is a family type of - type of thing that you're always chasing, I think, as a showrunner. Like, you know, how - how do people feel like this is family? And we were - we were also very lucky, I have to say, that - that both shows had such longevity because in that longevity you have a lot of opportunities to grow people's careers. We had, you know, I mean, Beth Schwartz being sort of the - the - you know, the test case. Uh, she was our writer's assistant on, you know - she's the writer assistant, uh, on season 1 of Arrow and by the end of the show she was running the show. And - and she's not the only, you know, success story we had like that. We, you know, Emilio Aldrich - uh, you know, we had a lot of, you know, people who - who came to the show up through the assistant ranks... And that's also true, by the way, on the crew side. You had people who start off as, you know, assistants and - and move up, you know, the ranks of the crew. Like I said, we even had a couple people who were able to hire their kids and you only can do that if you're going for seven, eight years. ... You're able to provide those opportunities to people because you - you are - you're allowing people time to grow into the positions that they're ultimately going to go into." (Referencing discussion about how most streaming series are lucky if they last three seasons and about the reduction in network series' seasons) -- On the kinds of things that he had to fight or push for on Arrow, MG: "You know, believe it or not, the thing we probably had to fight for the most was - was what I will describe as 'masked character' ... There was occasionally a - a tension between the - the show's, like I said, sort of Nolan-esque fidelity and the desire on our part to sort of make this feel like a DC comic come to life. So you know there - there was - I can't honestly, though, think of anything where they said, no, and put their foot down in a way that - that - that we couldn't have a discussion about. Um, you know, one of the things that I really, uh, admire Peter and Mark for is, you could always get them on the phone and you could always talk something out and you could - more than that, you had the opportunity to plead your case. Um, you know, I'm a former lawyer and - and the opportunity for me to plead my case is - it's very important. You know, I don't like being just shut down as a matter of principle. Uh, there were times where we got the, okay, if that's what you want to do, we'll give you enough rope to hang yourself, um, but they never said, no, um, and we never had to be like, you know, put our foot down. We - it never got to that point where, you know, people are threatening to cancel the show or threatening to quit or threatening to be fired or anything like that. I think - I think sometimes the - the biggest challenge, honestly, was - was the crossovers... because again this was something that, you know, hadn't been done during this era of television and hadn't been done on the scale that we were attempting it. And that was again a very good example of us learning on the job. There - there was certainly, you know - there's certainly a struggle of like, how much money are we going to spend on these things? Un, you know, and - and they get expensive very, very fast because... for the production reasons, for scheduling reasons, time on location, actor, uh, fees, you name it. Um, they're - they're not cheap... But, like I said, we - we always got, you know, the support and encouragement we needed, even when it was like, okay, you know, you're - it's your funeral. Um, you know, there - there are plenty of 'it's your funeral' kind of moments, but, uh, the great thing about Peter and Mark and our relationship, uh, with them was the fact that we had - we'd known each other for so long and done so many shows cumulatively together that, um, like I said, there was just a lot of trust there." -- On whether working on the other crossovers helped prepare him for Crisis On Infinite Earths, MG: "It did... The great thing was, after very crossover, we would - we actually do a postmortem with the studio and the network. And we would basically be like, okay, well - well, what went wrong, what went right? Um, and every season, we basically sort of changed up the way we produced each crossover. That's something like no one really knows is that, like we would basically build in like - after - after the first crossover where we really didn't know what was going on, we - we were like, okay, like, we need to build in what we - what we called sort of overlap days or gap days where like - literally like one show would shut down so that the cast of that show could go to the other show... Yes, the 'dark days.' ... The initiation of those dark days was something we had to learn by experience in, you know, from the first crossover. And then the number of dark days we needed was indicated to us by the second crossover. And, you know, by the third crossover, I wanted to, uh, do what I called a show agnostic approach, where the third crossover was going to be - it was going to be Invasion, but it was - I'm sorry, that actually - it was Crisis On Earth-X, I think, when we first did this - where the fourth - for the fourth crossover, where it was going to be four shows, but it wouldn't be an episode of Supergirl, an episode of Flash, an episode of Legends. It was going to be Crisis On Earth-X part 1, Crisis on Earth-X part 2, Crisis on Earth-X part 3. And we were going to do, you know, different title cards and everything else... Yeah, it was just these like little things of like, okay, we've, you know, we - we've done this before. What did we learn? You know, what did we learn creatively? What did we learn logistically? Uh, I remember - like Elseworlds was - Elseworlds was an incredibly pleasant and easy crossover. It was easy to break - partially because the - the tone of it was lighter. It was, you know, Oliver and Barry doing the body swap thing. But also part of it was, Crisis On Earth-X was so difficult - that that was incredibly challenging. It was particularly challenging on the cast because the - the idea of evil doppelgangers sounds wonderful on paper, until you realize that, wait a second, all those actors have to basically play two roles. Now we've literally doubled the amount of screen time they're getting. If I thought scheduling across four shows was - was hard before, scheduling across four shows when a good chunk of that - that cast has to appear as two different characters, it's just - I mean - I mean, honestly, like in some ways Crisis on Earth-X was harder than Crisis On Infinite Earths, but only in some ways." -- On whether there were some things he would've done differently for Crisis On Infinite Earths now looking back at it, MG: "Oh, God, yes. Oh, my God, so many - I mean, truth be told, I - I don't think I've ever produced a single hour of television where I haven't wanted to get something back and try again... For Crisis, that's definitely true. It's funny... it's the fifth and final hour that - that I struggle with the most in my head, um, because we unfortunately - we - we had built in two days of shooting for, um, for the - the old - for the climax with, uh, you know, the Anti-Monitor. And unfortunately, you know, sometimes the Weather Gods cooperate with you and sometimes they really screw you over. And we got really screwed over by the weather. It rained - like poured on day one and it was clear on day two, so nothing matched, which basically meant that like day one was completely unusable. It really - it was the end of this big thing and it want - it wanted to be big, it wanted to be epic, and uh, it - it always feels small to me, you know, especially compared to the previous, you know, four hours. And it's not like people think, like, oh, they ran out of money. It - it doesn't work that way. All these things are being written and shot at the same time. It's not like, uh, you know, it's not like we, you know, got, you know, we - we shot one, then two, then three, then four, I just had no money by the end of, you know, by the end of the thing. Uh, it was, we just - logistics, um, you know, especially when you - it's fine when you shoot in Vancouver... I love shooting in Vancouver, I love the people, I love the crews there, um, it's wonderful, but you - like ,you won't believe the - the number of near misses. I actually think like, I can't - like we - we got so lucky so many times with the weather when it looked like we wouldn't. Like, at the end of Crisis On Earth-X for the, uh, wedding - the double wedding scene, I got on set for call that day and it was - it looked like it was going to pour. The - the skies were gray. It was horrible. It was the most unromantic, least wedding-like environment. And just like literally the second before we were supposed to roll camera, the - like it was like - it was like an act of God. Like, the - the clouds parted and suddenly the sun was beating down and it was glorious. But it was like literally right before we were about to shoot. Um, you know, when we were shooting the end of, uh, the season finale of season 2 of Legends, uh, with the big sort of World War 2 battlefield, um, you know, huge climactic moment, it had snowed the night before and it was - it was covered with snow - like covered with snow... I gotta say, Legends producer Val Stefoff, uh, is - is one of the all-time best line producers I've ever worked with. He - this guy works miracles. In this case, he worked a literal miracle. Um, he got hot water hoses, hot water trucks, out to the location and basically sprayed it down. And like between shoveling and melting the snow and everything - you watch that episode. You would never know that like literally an hour before we were - we were scheduled to shoot, um, it was - it looked like - it looked like a blizzard. Un, you know, just a lot of that kind of stuff, um, so I mean - I overall - I can't complain. I think we got lucky for more than we got unlucky and far certainly far more often than we deserved... But, uh, for the - for the end of Crisis On Infinite Earths, that was - that still - still vexes me. Um, there's a lot of - like, just to make that sequence work, there - there was like a day of reshoots, there was - um, there's CG, there was - I mean, you name it. Like, uh, there - there's a lot of, uh, you know, there's a lot of spit and bailing wire holding that climax together. Um, so that - that's definitely an area where I'd like to have gimme. Uh, you know, I - I go back and forth myself on, did we have too many cameos? Um, but, uh, I - you know, I - I think in many ways the - the reason we had so many cameos was, we didn't know how many we would actually get. It was a little bit like - it was a little bit like the way you book a plane and you sort of have to overbook the plane, because you know some people are not going to show up. Um, well, this was like when you to the airport and, you know, they're offering free tickets to people because, yeah, everyone showed up. You know, I would - I would describe that as a quality problem. The sequence at the end of the whole event when we - you know I always said, it's our going around the horn sequence where we see the reconstituted multiverse, um, I don't think people realize how hard that sequence was because every single actor who appears in that needs - not only did I have to get approval from the various shows, every single actor had to sign off and every single actor had to be compensated, which meant that I had to negotiate, you know, I forgot how many deals it was - call it 15 different actor deals and each time, uh, it was like I - I basically like I had to set a rate and hold to it, because if one actor wanted more, you know, then I'd be, you know, I wouldn't be treating all the actors fairly. If one actor wanted more than I had budgeted, it would suddenly become - you know, multiply that over 15 actors and - and you start to see the problem... It was like a labor of love, but, man, I was like - like on the phone constantly. I had like a whole little spreadsheet, um, between contact, you know, information, like agents, managers. Um, there were some actors who really needed to be talked into it... Like I said, I had to talk to every showrunner. Um, you know, getting Swamp Thing was tricky because the show wasn't even, you know, uh, the show had been cancelled by that point. Footage from the Green Lantern movie like - you - you name it, uh, it was, it was challenging. ... By the way, the Doom Patrol thing was amazing because that was like, you know, just sort of b-roll that they had had and it was like perfect... It was perfect because it's so - it's so in character, um, you know, in - in a way that was very true to the spirit and the tone of that show. I mean, truth - truth be told, of - of everything that's in Crisis, the going around the horn sequence might be my favorite, um, you know, down to, you know - down to, uh Brandon doing the Superman the Movie fly-by, um, you know, and - and - and with - with the John Williams score. It's like just, you know, things - things that I never could have imagined we would - we would get to do." -- On why Smallville wasn't in the post-multiverse sequence, MG: "Why didn't we have Smallville? I'll be honest with you. First of all, I guess I think was - think it was two reasons. Number one, it never occurred to me until I got the question on Twitter that - that people would think we did blow up Small - the Smallville universe. So - so part of it was that. And part of it was we - we'd obviously seen Clark and Lois, uh, in episode 2... For the most part, the going around the horn was to see all the universes and all the characters that we didn't get to see. So I think that's probably why. I mean, look, yeah, if I - if I could have had - if I could have, uh, done it all over again, um, it - it would be awesome to like just have a shot of Lois and Clark on the farm kissing for the go around the horn sequence... But sorry, I dropped the ball on that one. ... (On having Tom Welling for just one day) We did. Just a few hours. But also here's the thing, you know, under SAG rules... an actor gets paid for each - they don't get paid by the amount of time they spend on set. They get paid by the number of episodes they're in. So if - if like, you know, Tom was contracted for episode 2 and if Tom appeared in episode 5, that would trigger a completely different payment. And, uh, you know, certainly didn't have the - the money for that. Um, you know, but that - like I said, that really wasn't - that wasn't a factor. Um, it - it was, you know, it was just - quite frankly it just didn't occur to me." Edited July 4 by tv echo 1 Link to comment
tv echo July 5 Share July 5 Did You Ship Olicity in Arrow? Jon Arvedon July 4, 2024 https://www.cbr.com/thread/did-you-ship-olicity-in-arrow/ Quote I was definitely a fan of Oliver and Felicity before they actually became a couple. Once they were "really" together in Season 4, though, I found myself far less invested in their relationship. This was also around the time Team Arrow began to expand, and I feel like that also played a role in Olicity becoming less interesting to watch. Link to comment
tv echo July 6 Share July 6 (edited) COAST-TO-COAST LegalDispatch 103 MARC GUGGENHEIM JUL 05, 2024 https://marcguggenheim.substack.com/p/coast-to-coast Quote The Los Angeles event will be held at the Barnes & Noble at The Grove. I’m blessed to be joined by the far more interesting and charismatic Katie Cassidy for this one. I worked with Katie for eight years on Arrow — which she both acted in and directed — and we’ve remained friends ever since. It’s very kind of her to lend her time to my humble endeavor. * * * A friend of mine from the comic book community recently texted me with the following question: Quote Was the plan for Diggle to actually suit up as GL? Obviously things got…weird with that arc, but what was the thought about his next steps? Unfortunately, we never got the approval to go full “Green Lantern” with Diggle, but we were always trying to push the envelope as much as possible. For example, check out the proposed Season 8 costume for Dig that we weren’t able to slip past the powers that be: We tried a more “subtle” version as well, but that got nixed too: Oh well. Edited July 6 by tv echo 1 Link to comment
tv echo July 7 Share July 7 Rencontrez Colton Haynes au Comiccon 2024! Comiccon de Montréal Jul 6, 2024 Link to comment
tv echo July 7 Share July 7 Greg Berlanti directed Fly Me to the Moon, the new movie starring Scarlett Johansson and Channing Tatum. This movie will be released in theaters on July 12. 1 Link to comment
tv echo July 10 Share July 10 Josh Segarra Joins Netflix Series SIRENS By: Josh Sharpe Jul. 09, 2024 https://www.broadwayworld.com/article/Josh-Segarra-Joins-Netflix-Series-SIRENS-20240709 Quote Josh Segarra, who originated the role of Emilio Estefan in On Your Feet!, is set to appear in the new limited series Sirens from Netflix. The series is a female-driven, dark comedy limited series created by Emmy-nominated writer and showrunner Molly Smith Metzler and executive produced by LuckyChap. * * * In the show, Segarra will play Raymond, the proud manager of a restaurant franchise in Buffalo. He's been Devon (Meghann Fahy)'s long-time, on-and-off, toxic boyfriend. Segarra joins the previously announced cast of Julianne Moore, Meghann Fahy, Milly Alcock, Glenn Howerton, and Kevin Bacon. * * * According to the logline, "Devon thinks her sister Simone has a really creepy relationship with her new boss, the enigmatic socialite Michaela Kell. Michaela’s cult-ish life of luxury is like a drug to Simone, and Devon has decided it’s time for an intervention. When Devon tracks her sister down to say WTF, she has no idea what a formidable opponent Michaela will be. Told over the course of one explosive weekend at The Kells’ lavish beach estate, Sirens is an incisive, sexy, and darkly funny exploration of women, power, and class. Link to comment
tv echo July 12 Share July 12 (edited) Down From Record 15 Series To 6 On Air, Greg Berlanti Talks Peak TV Demise, Strikes, Scooby-Doo & That Scarlett Johansson-Channing Tatum Chemistry In ‘Fly Me To The Moon’ – The Deadline Q&A By Mike Fleming Jr July 9, 2024 https://deadline.com/2024/07/greg-berlanti-ponders-peak-tv-strikes-scooby-doo-scarlett-johansson-and-channing-tatum-chemistry-in-fly-me-to-the-moon-1236005236/ Quote EXCLUSIVE: At the height of Peak TV, Greg Berlanti‘s career took off like a rocket. His Berlanti Productions had a record-breaking 15 shows on the air simultaneously, from DC properties like The Flash, Supergirl and Arrow to Riverdale and Blindspot. Berlanti will have six shows on air this fall, which gave him time to launch Fly Me to the Moon, starring Scarlett Johansson, Channing Tatum, Woody Harrelson and Ray Romano. .... * * * DEADLINE: You held a record for the 15 shows on the air, but the television business has contracted and you’ll have six this fall. What’s your take on this change and how has your company pivoted? BERLANTI: I’m old enough now that I’ve been through a few expansions and contractions, twists and turns in the business when people are saying, oh, this is selling now and this isn’t selling. Or the advent of streamers. I would say a few things are obviously happening. One, the episode count number is going down, whether that’s on broadcast or streamers. When we were doing these shows at the start of my career, it was 24 episodes a year. You had a very clear year. You knew when you started, you knew when you finished, you knew how many episodes you had to be in production on, at one time. I think as money and the business contracts, originality tends to go up. People are more apt to bet on younger artists or artists who don’t cost as much so they take a flyer or a risk on. That ultimately can only be good. I think TV is so much about character and so who you’re casting. And what those characters are, whether it’s in a world of cops or whether it’s in a world of superheroes, or whatever. It is vitally important to focus on those things. And that is a cost savings too. The better the stories are…we are going back to one of the ways we pivoted is we’re making shows in less days, but because we’ve always done a lot of network, that was a very comfortable place for us at the height of peak TV. Even though we had a lot of shows, they were very affordably done. My hope is that when you see something like Suits explode on Netflix as happened last year, it would be nice to see some of the things that made TV return in more episodes. It gives more chance for things to catch on and stay on for audiences to invest in those things. And more great acting and good characters. I think there’ll be more of an investment in that, and that will allow for more things to stay on longer to connect with an audience. That would be good. And then the final thing I’ll say about it is one of the great things that used to be true of broadcast when there was more of it, was you could have an idea for a series and less than a year later, it could be on the air. You could have an idea for an episode, and less than eight weeks later, it could be on the air. There was a vitality to television; it wasn’t trying to be film in that way. The process was not as slowed down. Now I think there’s a real opportunity in places, and I think you’ll start to see it just expediting some of the process. The writers, we would change whole storylines of a season based on what an actor was doing on the day. It was so brilliant that we would go down and rip out the storylines and change it all. That kind of vitality in the storytelling makes up for what people are spending on it. And if people want to see television have that kind of breadth and power that it had, and singularity, I think the model’s going to have to shift again a little bit. * * * DEADLINE: You were so prolific in the DC series game that we speculated maybe you should take over when Walter Hamada left. James Gunn and Peter Safran now reign. You have Dead Boy Detectives returning, but have your superhero ambitions waned? BERLANTI: It was a moment in time for me, and one plan, the size and the scope of which we were altogether able to achieve. The closeness that I had with many of the actors, and still have, and other writers and directors and the family that we built over that time. And the opportunity where every year we were doing these big crossover episodes and all the different showrunners would come in from all the different shows. To create in that way was such a joy and incredibly challenging. But it is nothing I would try and replicate again at this moment. That felt very singular. I love Warner Bros. I wish them all the best with these amazing characters. We had a credo that I would say to everybody all the time, which is, we’re so lucky to have these characters. Let’s return them to the shelf more valuable than when we took them off. It was very much about that, and trying to build a world and a place where everybody who loved them as much as we did could come and tell stories. Now I think it’s time for new; the torch has been passed beautifully, and I’m really excited by all they’re doing there now. Edited July 12 by tv echo 1 Link to comment
tv echo July 12 Share July 12 (edited) Interview: Brandon Routh reflects on Superman Returns and Scott Pilgrim‘s longevity Peter Gray July 11, 2024 https://www.theaureview.com/watch/interview-brandon-routh/ Quote As he soars into Melbourne for Metro Comic Con (taking place this coming weekend, July 13th and 14th, at the Melbourne Showgrounds), where he’ll take place in such events as guest panels and VIP fan functions, Brandon took time out to chat with our own Peter Gray about his time as the Man of Steel, if he’s surprised at Scott Pilgrim‘s longevity 14 years after the film’s release, and how feels as a straight actor taking on queer roles. * * * And with the role of Superman, you reprised in the Arrowverse crossover, Crisis on Infinite Earth. Did you ever think it would be something you would return to? I have definitely continued to think about the possibility of it since Superman Returns. The longer time went by, the less it actually seemed possible. I was very surprised to have been asked, (but) very honoured to have been asked. It was pretty shocking. I leave a lot of possibility out in the world, but that was one thing that I definitely thought, “I love it, but it’s probably not going to happen again.” Edited July 12 by tv echo Link to comment
tv echo July 14 Share July 14 (edited) From yesterday's CBS presentation at the TCA Summer Press Tour... Edited July 14 by tv echo Link to comment
tv echo July 15 Share July 15 Writing for TV, Comics & Novels with Marc Guggenheim WriterCon Jul 14, 2024 Wookieepedia Interviews - Marc Guggenheim Wookieepedia Jul 7, 2024 Link to comment
tv echo July 17 Share July 17 Recorded while BR was in Melbourne, AU, for Metro Comic Con last weekend... Interview: Brandon Routh on His Iconic Role as Superman & Its Legacy Spotlight Report posted Jul 15, 2024 Link to comment
tv echo July 18 Share July 18 (edited) From Controplis New Jersey last weekend... Exclusive: Colton Haynes Talks Career Highlights & Future Projects at Contropolis NJ 2024! Pop Culture Warrior Jul 17, 2024 -- On being part of the Arrowverse, CH: "We all become friends, you know, Grant and I - um, Grant and I went from always being between the two of us for a certain role. Like, uh, Grant was up for, um... Grant Gustin, um, who plays Flash was up for Roy Harper and I got it. And then I was up for his role in Glee and he got it. So it's like people from your past coming together. It really does feel like a family." -- CH: "I'm about to start working on something that has to do with the superhero aspect, um, on kind of a big scale, so I'm excited about it. But, uh, it'll be announced pretty soon. ... I'm about to get into a different universe, um, a really great one, um, which is so crazy... If I don't get fired for saying this - uh, can't tell you what it is, but it's pretty great. ... It'll be announced pretty soon." Edited July 18 by tv echo 1 Link to comment
tv echo July 18 Share July 18 (edited) ‘Fly Me to the Moon’ Director Greg Berlanti on NASA’s Openness to Conspiracy and Saying Goodbye to the Arrowverse BY BRIAN DAVIDS JULY 12, 2024 https://www.hollywoodreporter.com/movies/movie-features/greg-berlanti-fly-me-to-the-moon-arrowverse-1235947595/ Quote You’re at an interesting turning point in your career as The CW’s Berlanti-verse will soon be concluding after 12-plus years. Have you been able to put your accomplishment into perspective yet? It’s funny you say that because I only like to call it the Arrowverse. I don’t usually use my name in association with -verses, but it is very sweet to say that. We all look back at our life in different decades and moments, and for me, the wish fulfillment of creating these stories that I grew up with — and to do it with the kind of actors, writers and directors that we got to work with — was a really Camelot-esque kind of time. It was not thought of at the outset [as a universe], but it became larger than life and larger than itself. So that was a real special time in my life, as was running my first TV show [Dawson’s Creek] when I was in my twenties, as was working on shows like Brothers & Sisters that were somebody else’s creation, as was something like Love, Simon. So I try to enter any new period or time of my life by surrounding myself with people I’m really excited to work with and stories that I’m really excited to tell. The only sad part is I keep getting older. (Laughs.) I can’t seem to stop that part from happening, but there’s always some great new Fly Me to the Moon-esque adventure around the corner. So I’m very wistful about the kind of good fortune I had at that time, and I wish all those individuals the best. Edited July 18 by tv echo Link to comment
tv echo July 21 Share July 21 (edited) Marc Guggenheim will be attending SDCC this year - his schedule is below... TIME MANAGEMENT LegalDispatch 105 MARC GUGGENHEIM JUL 19, 2024 https://marcguggenheim.substack.com/p/time-management Quote Mark Bickford writes: Good luck with the novel! I have a quick and (hopefully easy) question: you used Boston for Star City, National City was Los Angeles, Chicago was Gotham. But... what did you use for Central City on The Flash? I assume that the wreck of STAR Labs was placed over a stadium, but what real city did you start from? I could never figure it out. Hey, Mark. Thanks for the question. Good name. In the first season of Arrow, we stole stock footage from a variety of different cities to establish Starling City (as it was known at the time). In Season 2, however, we got money from the studio for a helicopter unit with which to film our own establishers and we chose Boston. We did this for two reasons. First, it seemed that of all the cities we used in Season 1, we made the most use of Boston, so there was some consistency to that choice. Also, I’d spent eight years living in Boston prior to moving out to LA, so there was a bit of sentimentality on my part which played into the choice. To be honest with you, I don’t have a perfect recollection of which city was used for The Flash (as I didn’t work on that show apart from the crossovers), but I believe that the city used was Vancouver, which is also where most of the Arrowverse shows filmed. And you’re correct that the STAR Labs establisher was CG-augmented/altered footage of a stadium in Vancouver that all the shows filmed at pretty regularly. * * * I’m coming to San Diego next week for ComicCon. I’m sure I’ve f*cked this up in some manner, but here’s my schedule for the con: Edited July 21 by tv echo Link to comment
tv echo July 21 Share July 21 (edited) Another podcast with MG - among other things, he talked about Green Lantern (the movie), the beginnings of Arrow, the importance of casting for a TV series, the challenges of television production today (shift from broadcast to streaming) and the need for more originality in movies... TRADECRAFT PODCAST - EPISODE 233 MARC GUGGENHEIM J ALEX MORRISSEY AND MARC GUGGENHEIM JUL 16, 2024 https://jalexmorrissey.substack.com/p/episode-233-marc-guggenheim -- MG: "I think casting in television is more critical than casting in film... In film, you definitely need a movie star. And it's a different kind of actor than a TV star... With television you're asking the audience to make a different kind of commitment to the cast. You're asking them to, first of all, make a commitment that'll last longer than two hours. And secondly, you're asking them to basically come into your living room, um, or your bedroom. And it's a different relationship that the TV actor has with the TV audience than a, you know, movie star has with the movie audience... And it explains kind of like why some actors have been able to make the leap from television to film and others can't... But it really speaks to how mission critical the casting of Arrow was, um, because - I always say like, the first three things you have to worry about when you're creating a show is casting, casting and casting... It's hard to even think of what number four is... You've got to get that right. And we were very lucky that, you know, we had incredible casting directors, you know, who always knew exactly who the right lead was... David Rapaport and Lyndsey Baldasare... For Arrow, Flash and Supergirl, at least, they - the very first person to read for any of the roles was always, you know, the person that was cast as the lead. So like, you know, Stephen was the very first person we saw...." Edited July 21 by tv echo Link to comment
tv echo July 21 Share July 21 (edited) SA's new NBC series, Suits: L.A., has been officially picked up for a series order... (source) Stephen Amell's Suits Spinoff Is Officially Happening At NBC, And I Wasn't Expecting To Get Arrow Vibes From The New Details By Laura Hurley published 2 days ago https://www.cinemablend.com/television/stephen-amells-suits-spinoff-officially-happening-nbc-arrow-vibes-new-details Quote But as somebody who did cover Arrow back in its heyday, I did have to laugh when I read about Stephen Amell's new character reinventing himself and embracing a role he never would have in his former life. An ensemble of characters whose loyalties are tested with bleed beteween their personal and professional lives? Talk about Team Arrow vibes! Edited July 21 by tv echo 1 Link to comment
tv echo July 24 Share July 24 (edited) Interview: Elysia Rotaru on Voicing Black Canary in Justice League: Crisis on Infinite Earths BY TYLER TREESE JULY 22, 2024 https://www.comingsoon.net/movies/features/1809057-elysia-rotaru-interview-black-canary-crisis-on-infinite-earths Quote Tyler Treese: You previously played Black Canary in Justice Society: World War II. So how helpful was it getting that film in before this big blow-off here, which is such an event? Elysia Rotaru: Oh man, it was a godsend ’cause I feel like figuring her out through World War II was the best thing ever. I think it was pretty well received with everybody as well. So having come back for these guys was just that much more fun because I had no idea. So it’s always a beautiful thing when you get a call. In Crisis, you’re voicing two versions of Black Canary, and the one is much older. How is it finding these slight alterations in the character and finding that mother-daughter relationship? Well, it was kind of trippy because I was like, “What does she look like? Am I haggard? Is she a smoker now? Like, what’s going on?” She still looked super hot, so I was like, okay, we don’t wanna put too much edge on her. But I think it wasn’t too farfetched from where I think Black Canary was emotionally sitting. We just wanted to put a little bit more texture into her voice. Obviously, that scene where they’re kind of saying goodbye to each other just laid down the emo vibes. It wasn’t hard to do for me because I have a child now. Tapping into that energy was pretty swift. Yeah, it was just weird. I’ve never got to do that before, playing against yourself like that. * * * You’ve had this really cool relationship with a DC because you were in some Smallville episodes, you were on Arrow. How cool is it being in this many corners of DC’s legacy on, on TV and film? You’re always popping up. You really creeped me deep. Good old Smallville from back in the day. Yeah. That’s awesome. That was one of my first credits, so that’s insane. I never really thought about it that way, so it’s kind of enlightening to have someone say that to me. Wow. Honestly, I’ve never really thought about it, so thank you for bringing that to the forefront of my brain. I guess it’s a really beautiful thing, and it makes me feel that much more grateful throughout the span of my career to be able to tap into all these characters in the same world. Thank you for that. Edited July 24 by tv echo Link to comment
tv echo July 25 Share July 25 (edited) Part 2 of that MG interview with The Showrunner Whisperer (Part 1 was previously posted above)... MARC GUGGENHEIM (Arrow, DC's Legends of Tomorrow) Part 2 | The Showrunner Whisperer Episode 09 Multiverse Of Color Jul 24, 2024 Quote 0:00 - Introduction 4:50 - Arrowverse Fandom 12:40 - Working With DC 20:40 - Multiverse of Color Ad 21:53 - Potential Revisit Of The Arrowverse/DC Genre 26:24 - Looking Back At HBO Max's Green Lantern TV Show 30:00 - In Any Lifetime 37:00 - Wrap-Up/Credits -- On the influence of social media on him as showrunner and the Arrow writers' room, MG said that they were all on Twitter and would read the social media posts and were always curious as to what was being said on Twitter. However, MG added: "Even if we were interested in having Twitter affect the writers' room - and that's a separate conversation - um, we - we're working so far ahead of - of Twitter, um, we're working like - there's just not - the way I sort of describe it is, there's just - there's no time to turn the - the oil tank. So a lot of times it - it was like, oh, Twitter didn't like this? Wait till they see next week's episode... Because, you know, we're - we're working - remember that the writing - the production is obviously happening very far ahead of - of actual air, but the writing's happening even further ahead than the production. There's - honestly, there's no way to sort of incorporate Twitter's thoughts, except to go - you know, shrug and go, it's simply too late... I always subscribe to, you know, Stan Lee's - he always said, 'Give the fans what they need, not what they want.' I think if - if that's, you know, that... seemed to work out pretty well for Stan and the Marvel Universe and I always tried to, you know, follow that as well... Read every tweet... Like I said, it never arrived in time to actually impact the story... It was always taken and - and appreciate for, you know, for just information about, you know, how the audiences responded." -- On whether there was any particular story where he saw the social media reaction and kind of felt that maybe they should have tackled it differently (for example, Laurel's death in Season 4, which was upsetting to this interviewer, Andy Behbakht, because Laurel was one of his favorite characters), MG: "Well, you know, it's very interesting, actually, because the - I - I don't even want to call them the Legends fandom and the Arrow fandom because obviously there's sort of overlap between fandoms - but the Legends - what I'll call the Legends tweets and the Arrow tweets were very, very, very different in terms of tone. Like, you would almost go - like these almost have to be completely separate sets of fans, because you - with the Arrow, we had a lot of angry fans. With Legends, we never did. So it's - so it's interesting. I think the - the death of Laurel - honestly, it wasn't my call. And I also think it's not so much - the thing that would have changed Laurel's fate honestly wasn't going to be Twitter. What would have changed it is if we had known that we were going to go for four more years... You know, had we known that the show was only reaching its midpoint, I don't think Laurel would have been killed off. But at the time it was - we were - we always sort of saw the show as a five-year show. It's didn't really occur to us that it was going to go beyond that. So I think that - if we're talking about hindsight being 20/20, I think that's - that - that's a greater factor... I don't believe in shows, you know, changing course for - to satisfy a vocal set of fans. And part of that is the way I watch television... I approach all my writing as a fan first, but I'm the kind of fan, you know, yeah, do they do things on shows that I don't like as a fan? Sure. All the time. But it never occurred to me to have input in the process. You know, it never occurred to me to - showrunner X or showrunner y should listen to what I have to say. I'm just a member of the audience... Television is not - it's not an interactive medium. And I know there's a lot of fans who hate hearing... I totally get that. But i's - it's not... I don't think that - that produces good art, quite frankly. So, yeah, that's my - that's my probably - probably controversial, uh, sort of opinion. ... I will say, you know, in terms of things we wish we could have done differently, there - there's a lot of stuff in - in Season 4 - like, Season 4 is probably my least favorite of - of all the seasons, in large part because there were - there were things that, in - in hindsight, just, you know, just didn't work and things we shouldn't have necessarily tried. Like, I think there's some incredibly strong, uh, episodes in Season 4, don't get me wrong. There are some episodes I think are really, really, really great episodes of Arrow. But overall as a season, I think the idea to try a lighter tone, it just wasn't, you know, it wasn't true to the show. ... We were going for a lighter tone because the first three seasons had been so dark. And bear in mind, like, you know, a lighter tone for Arrow is very different from a lighter tone for most shows... We still like, you know, ended the mid-season finale with, you know, Oliver and - and - and, uh, Felicity being attacked and Felicity being paralyzed. Um, I do wish we had approached that whole storyline very differently. You know, I've said this before in other interviews. But like we always plan every season out of Arrow, but I think the best seasons are the ones where we - where we give ourselves the freedom to alter course, not based on Twitter, but really just based on, you know, how the story is just playing out... And there were things in - in Season 4 that we had specifically planned for at specific moments in time... I just think we stuck to the game plan too rigidly, um, in a lot of places... So if I, you know, if I could sort of go back and redo things, uh, I certainly would. I will say, like, I - I love the season finale of Season 4. You know, we wanted to do an epic, you know, street battle with a lot of extras that felt like, you know, the end of Dark Knight Rises and I feel like we succeeded in that. There's a lot of groundwork that's done to introduce, you know, the Atom and Ray Palmer... That I think worked extremely well. Like I said, there's individual episodes that I - I like a great deal, the finale again being a good example... When you do eight seasons of television, not every season's going to be perfect." -- MG confirmed that the original game plan was to have Ted Kord, not Ray Palmer, on Arrow. He added that DC was "really great to work with" and that DC said 'yes' more often than they said 'no,' and that, when they said, 'no,' they had good reasons. However, MG said that "the only time that really bothered me was being Legends being told that we could no longer use Constantine," so they had to "shift gears" with Matt Ryan. He found it especially disappointing when the planned JJ Abrams Constantine series never came to pass. -- On whether he would like to revisit the superhero genre in the future, MG: "I would love to revisit it... Certainly I would to do, you know, another superhero property... I'd love to revisit Arrow specifically. Stephen and I, you know, uh, talk about, you know, every, you know, every now and again... I think I'd prefer to wait a little bit longer before revisiting Oliver. I'd love to do something, uh, in the comic book space, um, to sort of - I'd love to do something where we kind of give a proper ending to the Arrowverse... I think the only way to do that probably would be through a comic book, but I don't know, maybe, you know, ... maybe an animated movie... I think that would be really, really great... I would love to give it its proper - its proper, uh, you know, its proper end... So that would be fun." -- MG said that he thought the Green Lantern movie "holds up better" now, if you compare it to superhero movies that came out before and after since then. Edited July 25 by tv echo Link to comment
tv echo July 26 Share July 26 (edited) PRE-SDCC LegalDispatch 106 MARC GUGGENHEIM JUL 25, 2024 https://marcguggenheim.substack.com/p/pre-sdcc Quote Tony Tower wrote in with a couple of Arrowverse questions: (1) Was it hard to get approval to have Brandon Routh (ahem) return as Superman in CRISIS? Or was it as simple as Brandon agreeing and someone making a suit? I see what you did there. Nice wordplay, Tony. As I recall, getting approval for Brandon to reprise his role as Superman was relatively easy. As was getting Brandon to agree to do so. All it really took was pitching Brandon what we had in mind, creatively. And, yes, then there was the matter of the suit. The one speed bump we hit was whether we should recreate the suit from Superman Returns or go in a different direction. I rewatched Superman Returns in advance of my conversation with Brandon and found that it held up surprisingly well over the years and is a far, far better movie than most people remember. However, in that span of time, disturbing allegations arose about the film’s director and I’d be lying if I said that those allegations didn’t give me pause about revising the Returns costume. But when we hit upon the idea of using the suit from Kingdom Come, there wasn’t anything to think about. Kingdom Come is beloved by the other showrunners, writers, and me, so the thought of seeing Brandon in that suit — with his hair “greyed up” thanks to our makeup department — made the decision a fait accomplis. (2) I recall seeing a promo reel hyping Legends of Tomorrow before it aired (that I can’t find online now, of course), that had bits from the first episode but also included a lot more Green Arrow and Flash than we ended up seeing in the series — including Flash and the Legends fighting robots that never was part of a proper episode, IIRC. Was there a version of the show planned where Oliver and Barry were meant to appear more than they ended up doing, or was this just a bit of salesmanship? Neither really, as I recall. Oliver and Barry’s presence in what we were calling the “Promo” was really to hammer home the idea that the Arrowverse was growing and expanding. And we also knew that Legends would be set up by that year’s annual Arrow/Flash crossover event. Interestingly, the elements that appeared in the Promo that were repeated in subsequent episodes (e.g., Rick Hunter talking to the Legends on a rooftop and Sara emerging from the Lazaurs pit) were never repurposed. Rather, they were reshot. (The Rick and Legends scene wasn’t even filmed on the same rooftop.) For fun — and to satisfy this edition’s “From the Vault” content — here are the first three pages of the Promo I wrote: Edited July 26 by tv echo Link to comment
tv echo July 26 Share July 26 (edited) Joy Woods, Shaina Taub, Colin Donnell, Ben Levi Ross Join Cast of City Center Ragtime The two-week engagement will kick off with a benefit evening honoring original Ragtime star Brian Stokes Mitchell. BY ANDREW GANS JULY 24, 2024 https://playbill.com/article/joy-woods-shaina-taub-colin-donnell-ben-levi-ross-join-cast-of-city-center-ragtime Quote Newly joining the production are Colin Donnell (The Shark Is Broken) as Father, Ben Levi Ross (The Connector, Gatsby) as Younger Brother, recent Tony winner Shaina Taub (Suffs) as Emma Goldman, and Joy Woods (The Notebook) as Sarah. The foursome join the previously announced Joshua Henry as Coalhouse Walker Jr., Caissie Levy as Mother, and Tony winner Brandon Uranowitz as Tateh. Additional casting is to be announced. Edited July 26 by tv echo Link to comment
tv echo August 3 Share August 3 (edited) MG posted the 2013 Arrow comic that was published in TV Guide containing Oliver's eulogy at Tommy's funeral. MG also posted his entire script for this comic, but I didn't quote it below (go to link to read)... OUT IN THE WILD LegalDispatch 107 Marc Guggenheim Aug 02, 2024 https://marcguggenheim.substack.com/p/out-in-the-wild Quote So, I’m at ComicCon last week, and a guy named Gorav walked up to my table and asked me about an Arrow tie-in comic that was published in — of all things — TV Guide. Specifically, he wanted to know who wrote it. To be honest, I didn’t remember who wrote it — largely because I didn’t remember the thing AT ALL. We produced several in-canon comic book tie-in stories during the show’s first three seasons, but for the life of me I couldn’t remember one that appeared in the pages of TV Guide. But I promised Gorav I’d search my memory — and Arrow Dropbox folder — when I returned home and so I have and, lo and behold, Gorav is absolutely write. We actually produced a six-page story that bridged the end of Season 1 with the beginning of Season 2. I couldn’t decide on how much to share, so here’s the entirety of the script (it turns out) I wrote for the story. Substack requires me to split it into two galleries: * * * And — in for a penny, in for a pound — here’s the story in its entirety: Edited August 3 by tv echo Link to comment
tv echo August 3 Share August 3 (edited) Kacey Rohl (Alena on Arrow) is part of the cast for Star Trek: Section 31, an upcoming new Paramount+ original film. There's a forum for this film in the Movies section here: Edited August 3 by tv echo Link to comment
tv echo August 4 Share August 4 (edited) Caity Lotz's martial arts movie, The Lockdown, is finally being released - in theaters on Aug. 16 and then digital release/available to buy on Aug. 27... Tiger Style Media Roars into the Martial Arts Cinema Arena with Four Fisticuffs Fueled Thrillers of Legit Fight Action! John M Jerva August 1, 2024 https://action-flix.com/2024/08/01/tiger-style-media-roars-into-the-martial-arts-cinema-arena-with-four-fisticuffs-fueled-thrillers-of-legit-fight-action/ Quote Tiger Style Media is launching an explosive new era of martial arts cinema with 4 all-new action-packed films: ART OF EIGHT LIMBS, THE LOCKDOWN, LADY SCORPIONS, and KUNG FU GAMES. The films will be released theatrically and soon followed by Digital releases on all major platforms starting August 20, one week at a time. TIGER STYLE PRESENTS: THE ULTIMATE 4-MOVIE MARTIAL ARTS COLLECTION, a bundle featuring all 4 films, will also be available to buy on Digital September 10. * * * Each of the films boasts real stunts and fights conducted by the stars—no stunt doubles! .... * * * THE LOCKDOWN ... Starring: Caity Lotz, Leo Howard, Michael Biehn, Hon Ping Tang ... Synopsis: In this action-packed thriller from a producer of Once Upon a Time… in Hollywood, Caity Lotz (DC’s Legends of Tomorrow, The Flash) and Leo Howard (Kickin’ It, G.I. Joe: The Rise of Cobra) star as siblings Charlie and Jack, who are trapped in Myanmar’s toughest prison and accused of a crime they didn’t commit. Forced into televised fights where inmates battle for the chance to escape death row, they face off against the deadliest opponents where each match could be their last. Charlie and Jack must work together, their bond tested in a high-stakes game where only the strongest can win their way out. Upcoming Movie Trailers (Martial Arts) | Tiger Style Media Sizzle | Paramount Movies Paramount Movies Aug 1, 2024 Edited August 4 by tv echo Link to comment
tv echo August 7 Share August 7 Emmy Award Winning Marc Guggenheim joins the podcast to talk writing novels, comics, screenplays Worldatwarcomics Aug 7, 2024 Link to comment
tv echo August 11 Share August 11 Brandon Routh Q&A Panel - June 8, 2024 - Superman Celebration Entertainment Goes Pop posted Aug 11, 2024 Link to comment
tv echo August 12 Share August 12 (edited) Two different recordings of the same Arrow panel (Stephen Amell, Brandon Routh, John Barrowman, Colton Haynes) at Comic Con Wales on Aug. 11... Comic Con Wales: Cast of Arrow (Q&A Panel) [Highlights] Seb Sandford posted Aug 13, 2024 FULL ARROW PANEL WCC 11/08/2024 (Stephen Amell, Colton Haynes, Brandon Routh & John Barrowman) Catherine Wright Aug 11, 2024 -- Panel was asked how they were each cast for Arrow. SA: "So I went to a hockey game with my cousin Robbie on a Saturday night... And he went, um, hey, uh, I'm going into audition for Arrow. And I went, what's that? He went, it's, uh, based on the Green Arrow. And I went, who's that? And he said, I read the script and, uh, I'm going in because my agents want me to go in, but all I can picture when I was reading the script was you. So I went in on a Tuesday, had a call back on a Thursday, worked with our pilot director David Nutter on a Saturday, and was cast the following Tuesday... Apparently acting is easy... It could not have been an easier process. It was really cool. ... You're not right for a part until you're perfect for it." CH: "I'd just gotten off of a show and then one of the producers had called me, cause I'd known this producer for a long time, and asked if I would come and do an episode. And, um, I - I was like, yeah, I'd love to, that's awesome. And so then I went and did one and then it turned into three. And then, I think, it turned into six. And then they asked me to come back full time. But I think it was the chemistry with my character and, um... me and Willa had such a cool chemistry... It happened so fast. ... So that's what happened. The rest is history." BR: "I had a meeting, um, about, um, Ray Palmer and the Atom. And I really didn't know that much about, uh, the Atom. Um, I did a little research and I went and met with the producers... I was concerned because, you know, I played Superman, so I was like, I don't know if there's anything else that makes... sense... But they won me over with, you get to be funny. And I thought, okay, fantastic. And then I read, you know, um, the scenes that they had for Ray and I thought, man, this - I can do this, this is cool, it's going to be fun. And then I - then I did a meeting. And then I did a chemistry with lovely Emily. Yeah, she was amazing." JB: "I'd been out of Torchwood and Doctor Who for a couple years and, uh, I was just doing other things, doing concerts, and I got a phone call from the producers... And they had me on a phone call and they said, we're creating this world, we've cast this young man called Stephen Amell. And while I was at my counters in the morning, I'm always doing entering emails. I looked him up as they were doing it, and I looked at that and I went to Scott - I went (Makes beckoning gestures with hand, points down and then to his eyes and then shakes hand) ... And the reason that they hooked me, not just because of who the cast was going to be, but the part was the passion they had for the show when they were describing it to me and they're talking to me about it. It was the same feeling I got when I was being talked to about Captain Jack and Doctor Who and the other shows that I was passionate about. So I felt the passion from these people who were creating it and I said, jokingly, absolutely I want to be part of this world. They said, you're going to be a character that comes in and out. It was a character that was not very developed in the DC world. Again I looked up Merlyn, (To BR) as you looked up, uh, the Atom, and, uh, there was a very little... about him... But anyway, I said, yes, and I said, on one condition - that you give me a scene with Stephen topless... I was joking, but they did. I was not freaking joking, of course. You know me well out here. I want the scene with his top off." -- SA: "My favorite episode of Mad Men, ever, was when Don goes to California and he falls in love. And in the middle of that episode, which I was rewatching for like the fourth time, there's this girl that shows up to the office and she's so beautiful that no one is getting their work done... And so in the middle of rewatching it for like the fourth time, I paused it to look this person up and we are now married. Yes, Cassandra, my wife. ... I was watching an episode, I paused it, I went on IMDb, I looked up who this super attractive girl was, cyberstalked her, and then she was pregnant. ... I looked her up online. She lived in L.A. We were going to the same event two nights later. I went up, I introduced myself. I said, you were fantastic on Mad Men. Wanted to leave it at that. And then she gave me her number." -- Panel was asked for their most challenging stunt. SA: "There was a, uh, stunt at the beginning of season 2 where Diggle and Felicity come to Lian Yu and I'm on there by myself and I think Felicity steps on a landmine and I swing down from a tree. And I was very demonstrative - I was young and I was very much like, I'm doing the stunt and no one else is doing it. And they said, no, we have to have a double. And I said, well, I'm going to do it shirtless. Now you can. And then I was 60 feet up in the tree and I was like, I have made a giant mistake and now I have to live with it... We did it three times. Ironically, the thing that injured me was them pulling the rip cord to stop me from swinging." CH: "It was the... it was more like challenging 'cause I was just in freaking shock ... It was the scene - I think it was season 2 maybe. It was, we were on the docks and this big explosion happened and they told us - they were like, okay, you might feel a little bit of the force from it. And there - there are tires flying. And I'm like, oh, we'll be fine and like - I mean I'm a lot shorter than Stephen and - and everyone's like, it'll be okay. They put the mats kind of far away. And then it blew up and I flew through frame - like, I flew way past the - the mats, um, but it was - I was just in shock. And we were all laughing so hard. But there's got to be footage out there... But there just a crash dummy flying, which was me and (To SA) it even blew you past it, too. ... But, I think, mostly when I was doing the stunts, we had group things. Any time I would go to do something, um, everyone would just laugh. And I'm like - and I think it was just because there was something about when we were all together, one - one person would crack or one person would break. And there was that scene where I had to zipline down from something and I never hit my mark and everyone lost it. But mine was more just - that was so embarrassing because it wasn't my fault I wasn't hitting the mark... I wasn't controlling the zipline. But it was just the way I was landing and I was doing - I was trying to make everyone laugh... Yeah, so it was like most of the time they just didn't have me in group scenes 'cause I would just start trying to get everyone to laugh." BR: "I would say the salmon ladder. Good job, Stephen. I applaud you. It's very challenging and I could barely do it. And I learned how to do it the day before we did it, which was a bad choice, but it's the only time I had because I tried. I'd worked on that for like three hours, maybe two - two hours, like three hours, and I was like, I got like two in a row, like, man, I was destroyed the next day when we actually filmed it, like nothing left. Anyway, that was challenging, uh, but fun... But the most like brutal stuff I've ever done was, I think, probably Superman Returns when I'm getting beat up on New Krypton by Lex and his thugs, um, through the - the cold water and all that kind of stuff... I didn't have to do a lot of acting... It was pretty real, um, and kind of cool, but also challenging." JB: "There's two. The first one was... when I, um, did a fight scene with Stephen and... I had to kick through a wall. And I had to then - he was on the ground as Green Arrow - and I had to then come up to him and kick, kick, and he would, you know, come back or whatever looked like he was being kicked. But I had on steel toe cap boots and they - they didn't tell me that they were Harley-Davidson steel toe cap boots. And plus, I was also in a gimp mask and a thing. I couldn't see and I couldn't breathe and I brought that gimp mask home for a Friday. But anyway... I kicked through the wall, Steven went down, and I went, bam, and I kicked him right in the shins. And literally he was like (Mimes hobbling around in pain) ... I was mortified. I was like, I'm so sorry, I'm so sorry... He's like, freaking hate you, kill you, and all this kind of stuff. But it was very embarrassing. The other one was, uh, similar in Torchwood. I kicked a stunt man - accidentally kicked him in the mouth, smashed his teeth. He was bleeding and I was mortified. And the stunt coordinator came over to me and said, don't worry about it, John, that's what they're paid for... Hit your mark, don't worry about it. Clean your mouth up! That was it." -- Panel was asked for their most memorable acting moments. BR: "Being cast as Superman. And then being asked to come back." JB: "I'd have to really, really say mine was being cast in Doctor Who. It changed my life." CH: "Maybe a year, two years ago, I got to do this incredible music video for Tyler Childers, this incredible country artist and the story - it was the first time they'd ever shown a - like gay love story in a music video... It's such a beautiful video. We were nominated for a Grammy. Um, that was incredible. But on this - so workwise - but I had - I met Brandon when I was in high school. I had won... I'll just say 'won', that's not the real story. But I had won tickets to the Superman premiere... I never met anyone - I'm from - I'm from like Kansas, just moved from Texas. So, like, never even I think that was one of the first times i' ever been on a plane, um, knew nothing about Hollywood. I went to the premiere, took a picture with Brandon at the afterparty, and I had like - like brown, swoopy hair. And I was like so starstruck. I never even thought I was going to like get out of the, you know, the farm, but it was crazy. Then like cut to 10 years later, we were working on the same show. So it was just like such a - so wild like how crazy those, you know, life can kind of change. (Joking) So, um, yeah, he was - he was very difficult to work with and like not - didn't live up - didn't live up to like what I thought he was when I first met him. But we're friends now. (Waves hand) He was amazing. ... (Mod asked if he still has that photo) Oh, I do. And it's somewhere online because I posted it." SA: "I can think of a couple of different things and they - they most relate to Arrow. And it's - it's maybe like the first time that you get to put on the superhero suit, which is amazing, and you get to walk out on set. Like, oh, my God, I'm wearing a superhero suit and this is what I do for a living... I also think back to, you know, the - the 100th episode party that we had for Arrow and all the people that - that took the better part of a decade in their lives and made that their livelihood and how much appreciation they had for the effort that everyone put in. I think back to like, you know, the wrap gift that I did after season 8. We rented out, um, Rogers Arena where the Vancouver Canucks played. We did a Team Arrow versus Team Flash hockey game. And then we did a big family skate afterwards. And we're Canadian and we like hockey... Moments like that." -- Panel was asked what's coming up next for them. JB mentioned his upcoming concert tour. BR said that he has an independent film that got selected for Toronto International Film Festival. It's a "PG-13 monster sci-fi horror comedy" called Ick. CH said that he has 10 cats and two raccoons or skunks that he's taking care of. Also, he "finally finished school" and is a photographer now. SA said that he just wrapped a movie called The Lighthouse on [unintelligible word] Lane "where I play a coal miner that accidentally becomes a drug kingpin... He's got a good heart." He added: "Then I'm going to go do a limited series, uh, in Toronto in, uh, October... And then we start filming Suits L.A. in Los Angeles, which is amazing, uh, in November." Edited August 14 by tv echo Link to comment
tv echo August 14 Share August 14 Matt Ryan was also at Comic Con Wales... DC Legends of Tomorrow Wales Comic Con Q&A Panel! With Matt Ryan smerdp posted Aug 13, 2024 Link to comment
tv echo August 14 Share August 14 Ep127 - Colin Donnell: Chicago Med, Jersey Boys, The Nineteen Twenty The Theatre Podcast with Alan Seales Aug 12, 2024 Link to comment
tv echo August 14 Share August 14 (edited) Official trailer for Caity Lotz's upcoming movie, The Lockdown... The Lockdown | Official Trailer | Paramount Movies Paramount Movies Jul 31, 2024 Edited August 14 by tv echo Link to comment
tv echo August 15 Share August 15 (edited) More on EBR's upcoming new film, Queen of the Ring... Intrepid film fans uncover details on Burke biopic ‘Queen of the Ring’ Posted by John Cosper | Aug 14, 2024 https://slamwrestling.net/index.php/2024/08/14/intrepid-film-fans-uncover-details-on-burke-biopic-queen-of-the-ring/ Quote The Queen of the Ring will soon have her moment on the big screen. Intrepid members of the Louisville, Kentucky indie film community began sharing the first officially released screenshot from the film Wednesday morning. The image of a tired but determined Mildred Burke (Emily Bett Rickards) first appeared on the movie’s IMDb page and quickly spread on Facebook. By the end of the day, another scoop started to make the rounds: the film is slated to screen in at the Ft. Lauderdale Independent Film Festival this fall. The same group that shared the photo from IMDb quickly shared the link to the FLIFF website about the movie. * * * There’s no official comment from the film company regarding the FLIFF. Only the acknowledgement that more details about the film and its release are coming soon. 39th Fort Lauderdale International Film Festival, November 8-17, 2024 https://fliff.com/flifffest/ ETA: It looks like Queen of the Ring screening will be on Nov. 8 in Savor Cinema. https://fliff.com/event-grid-all/?_venues=savor-cinema-fort-lauderdale&_alpha=Q Edited August 15 by tv echo Link to comment
tv echo August 16 Share August 16 (edited) Michael Jai White Q&A | GalaxyCon Raleigh 2024 GalaxyCon posted Aug 15, 2024 GalaxyCon Raleigh was July 25-28, 2024. MJW was there July 27-28. Edited August 16 by tv echo Link to comment
tv echo August 16 Share August 16 (edited) Manu Bennett will become much more well known when The Summit premieres on CBS this fall (following Survivor)... Jeff Probst & Manu Bennett Discuss the Triumphs & Trials of Reality TV | Conversations Between St… CBS Aug 15, 2024 Quote Reality competition hosts Jeff Probst ('Survivor') and Manu Bennett ('The Summit') discuss the power of human determination and triumph, their connection to contestants, and the unique adventures of their shows. Edited August 16 by tv echo Link to comment
tv echo August 17 Share August 17 (edited) MG has been doing a ton of media interviews to promote his new novel, In Any Lifetime - he links some of those interviews in his weekly blog... HOPE, FOR A CHANGE LegalDispatch 108 Marc Guggenheim Aug 16, 2024 https://marcguggenheim.substack.com/p/hope-for-a-change Also... Writer's Digest University (WDU) Annual Science Fiction & Fantasy Virtual Conference, August 23-25, 2024 (online) Marc Guggenheim https://www.writersonlineworkshops.com/courses/annual-science-fiction-fantasy-virtual-conference Quote SATURDAY, AUGUST 24, 2024 * * * SESSION 4: The Creative Multiverse: Writing Genre Across Multiple Mediums INSTRUCTOR: Marc Guggenheim TIME: 3:00 p.m. ET SESSION DESCRIPTION: Marc Guggenheim has successfully written for television, film, comics, animation, video games, and prose. The majority of his work has a genre bent, from superheroes to science fiction to fantasy. Learn the philosophies, tools, and tactics he uses to tell genre stories in multiple mediums. Edited August 17 by tv echo Link to comment
tv echo August 23 Share August 23 (edited) J Balvin to Make Film Debut Alongside Sean Astin, Stephen Amell in Drug Drama ‘Little Lorraine’ (EXCLUSIVE) By Naman Ramachandran Aug 23, 2024 https://variety.com/2024/film/global/j-balvin-film-debut-little-lorraine-stephen-amell-sean-astin-1236116110/ Quote Directed by Grammy nominee Andy Hines, the film is based on true events from the late 1980s, depicting a remote mining and fishing town’s transformation into a hub for a major cocaine smuggling operation. .... Amell portrays an out-of-work coal miner who takes a job on a lobster boat involved in drug smuggling. Balvin plays an Interpol agent investigating a Colombian drug importation ring suspected of entering America through Cape Breton. * * * Hines said: “Stephen Amell’s sensibilities for drama offered us such a wealth of depth and possibility as he took on the lead role in this larger-than-life true story. José [Balvin] and I have been working together for years, and have an incredible rapport in front of and behind the camera. Having him as a lead in my feature is a dream come true, and I can’t wait for audiences to see him bring this character to life.” Edited August 23 by tv echo Link to comment
tv echo August 28 Share August 28 (edited) Some cast interviews and reviews for Caity Lotz's new movie, The Lockdown (out now on digital and video on demand)... Caity Lotz & Leo Howard Filmed In An Actual Prison For Martial Arts Movie The Lockdown Screen Rant Plus Aug 26, 2024 The Lockdown | Exclusive Interviews | Caity Lotz, Leo Howard Moviefone Aug 27, 2024 The Lockdown Interview: Michael Biehn, Caity Lotz, and Leo Howard ComingSoon Interviews Aug 30, 2024 'The Lockdown’ (2024) Movie Review - Hightower Siblings Fail to Create Magic Neerja Choudhuri - Tue, 27 Aug 2024 https://moviesr.net/p-the-lockdown-2024-movie-review-hightower-siblings-fail-to-create-magic The Lockdown (2024) Review Jim Morazzini Aug 28, 2024 https://www.voicesfromthebalcony.com/2024/08/28/the-lockdown-2024-review/ Edited August 31 by tv echo Link to comment
tv echo September 1 Share September 1 Includes interview with Marc Guggenheim recorded at Fan Expo Canada last weekend (starting after the 17:00 mark) - MG explained how he went about plotting Crisis On Infinite Earths with the other showrunners... Fan Expo and Outlaws are Great! | Tractor Beam The Star Wars Underworld Network Aug 28, 2024 Link to comment
tv echo September 1 Share September 1 (edited) Indie Animated Feature ‘Isla Monstro’ Launching at Comic-Con Mercedes Milligan July 24, 2024 https://www.animationmagazine.net/2024/07/indie-animated-feature-isla-monstro-launching-at-comic-con/ Quote The indie film boasts a cast of Con-approved talents, including Juliana Harkavy (Arrow), John DiMaggio (Futurama), Harry Lennix (Man of Steel), Harland Williams (Half Baked), James Marsters (Buffy the Vampire Slayer), Spencer Grammer (Rick and Morty), Barry Bostwick (The Rocky Horror Picture Show), Christopher Sabat (Dragon Ball Z), Maurice LaMarche (Pinky and the Brain), Will Friedle (Batman Beyond), Dana Snyder (Aqua Teen Hunger Force), J LaRose (The Righteous Gemstones), Andre Gower (The Monster Squad), Kristina Klebe (Rob Zombie’s Halloween), Dia Frampton (The Voice) and LeeAnna Vamp (Ghosted). Synopsis: When loser Duke, who has screwed up every hair-brained scheme he’s ever come up with, accidentally falls off a cruise ship and wakes up on a mysteriously abandoned, top secret government island, he discovers that it’s overrun with mutants and monsters from a failed 1980s DARPA “super soldier” project to stop the Second Cold War. He soon comes up with the incredible idea of turning the island into a world class getaway resort, utilizing the creatures as it’s staff, much to the dismay of the United States government. Edited September 1 by tv echo Link to comment
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