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Celebrating 1,000 NCIS-franchise episodes

Social Media and Behind the Scenes: AKA Everything Else Not "News and Media"

Zalyn

By Zalyn
in Arrow

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dtissagirl
dtissagirl

What bugs me is the implication that if you are not patient, you're watching it wrong. Naw, son. You don't get to tell me how I watch TV. I'm an actual pro at doing it.

WindofChange
WindofChange

Oh wow, Emily. I'm impressed because this is really brave and I'm really proud that she said this in such an eloquent way.

dtissagirl
dtissagirl

Ha. Reading those stage directions, and realizing how EBR went the opposite way [curious and skeptic rather than faint by hot guy] makes me understand 100% how fucking lost they were at that time, and

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tv echo

tv echo

https://nockingpointwines.com/news/pacific-coast-pink-by-emily-bett-rickards-is-back/

Quote

Fresh on the heels of a sell out of last year’s edition, Emily Bett’s creation Pacific Coast Pink Sparkling Rosé is back for its third vintage! We are extra excited about it this year, mainly because this year’s release was made by good friend and longtime winemaker Sean Boyd. Sean recently decided to start producing sparkling wine under his own label, and we had to get in on that action for Nocking Point of course! 

This year’s release is a vintage sparkling wine (vs. non-vintage), which means all of the grapes were harvested during one harvest, rather than the finished wine potentially being a blend of many vintages. It’s a blend of Syrah & Cinsault- two Rhone varietals that make great rosé still wines, and as this wine proves, great sparkling rosé as well! Sean made the dry sparkling base first from these two varietals, sparkled the wine in tank, and then (as per with most sparkling wines) gave the wine a small dosage before bottling to create the perfect balance of sweetness, acidity, and mousse (that’s the bubbles!).

This year’s sparkling rosé is lean, bright, refreshing and will be a delight for any celebration, holiday or otherwise. Plus, it has an amazing new look in clear glass!  We can’t wait for you to try it! 

Cheers and happy holidays, 

Your friends at NP.

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tv echo

tv echo

(edited)

Next weekend's comic cons (updated, with schedules) - the last comic cons of 2019 involving Arrow cast...

German Comic Con, December 7-8, 2019 (Dortmund, Germany)
Katie Cassidy, Manu Bennett and Emily Kinney (also Dominic Purcell, Tom Felton and Jeremy Davies)
https://germancomiccon.com/gaeste/#dortmund
Saturday Schedule
Sunday Schedule
-Sat. (12/7) at 10:55am - Dominic Purcell
-Sat. (12/7) at 12:45pm - Tom Felton
-Sat. (12/7) at 3:00pm - The Walking Dead panel (incl. Emily Kinney)
-Sat. (12/7) at 5:15pm - Manu Bennett
-Sun. (12/8) at 11:30am - Katie Cassidy
-Sun. (12/8) at 11:50am - Tom Felton

Wales Comic Con: Telford Takeover, December 7-8, 2019 (UK)
Colton Haynes and Alex Kingston (also Tyler Hoechlin, Brandon Routh, Matt Ryan and Arthur Darvill) (also Tom Welling, Erica Durance, Michael Rosenbaum and Laura Vandervoort)
https://www.walescomiccon.com/guests
Photo-Op Schedule
Panel Schedule*
-Sat. (12/7) at 12:00pm - Teen Wolf Q&A Panel (incl. Tyler Hoechlin and Colton Haynes)
-Sat. (12/7) at 5:00pm - Smallville Q&A Panel (incl. Tom Welling, Erica Durance, Michael Rosenbaum and Laura Vandervoort)
-Sun. (12/8) at 12:00pm - DC Universe Q&A Panel (incl. Brandon Routh, Matt Ryan, Tyler Hoechlin, Colton Haynes and Arthur Darvill)
-Sun. (12/8) at 1:00pm - Doctor Who Q&A Panel (incl. Alex Kingston and Arthur Darvill)
(* Panel schedule does not list which guests will be participating in each panel, so I made educated guesses.)

Edited by tv echo
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Velocity23

Velocity23

This is why i can never take Katie Cassidy seriously. Her tweets about girl power are so empty and fake since she is clearly taking credit for some other womans hard work. And its not even the first time this season. You can applaud and thank your stunt women for making you look good in the fight scenes for your character. In a way its how you would actually offer support to other women. #TheFutureIsFemale and all that jazz. 

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tv echo

tv echo

CH, MR and TH were at Wales Comic Con last weekend - here's videos of Dec. 7th "Teen Wolf" panel and Dec. 8th "DC Universe" panel (warning: minor spoiler by TH)...

Teen Wolf Q&A Panel - Tyler Hoechlin, Colton Haynes, Ian Bohen - Wales Comic Con
Geektown   Dec. 9, 2019

DC Comics Panel (Zachary Levi, Donal Logue, Matt Ryan) - Wales Comic Con: Telford Takeover
Geektown   Dec. 9, 2019

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tv echo

tv echo

(edited)

Congrats to Maya Houston...

NBC’s ‘Writers On The Verge’ Pencils In Its Class Of 2019-20
By Erik Pedersen  December 10, 2019 
https://deadline.com/2019/12/nbc-writers-on-the-verge-class-of-2019-2020-1202805678/ 

Quote

NBC has its latest “Writers on the Verge,” naming the Class of 2019-20 for its diverse writers program. Selected from more than 2,300 applicants are comedy writers Rishi Chitkara, Shirin Najafi and Min-Woo Park and drama scribes Andi Delott, Maya Houston, Mitali Jahagirdar, Lira Kellerman and Shani Am. Moore Read more about them below.
* *  *
During the course of six months, the new class will develop pilot scripts and fine-tune their pitching skills under the guidance of Grace Moss, Director of Talent Development and Inclusion at NBC, and Jen Grisanti, a former CBS/Paramount and Spelling TV executive. Writers also will be paired with NBCUniversal programming executives who will serve as their mentors and provide feedback on their scripts and pitching prowess. They also will build relationships with network executives, showrunners and agents.

At the end of the program, the writers will be considered for available writing assignments on NBC series.

The ultimate goal is for them to book a staff writing position on a TV series after completing the half-year program. ...

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tv echo

tv echo

(edited)

Very interesting (but super long) MG interview - among other things, he talked about the change from Lauriver to Olicity...

DCN Podcast Exclusive Interview With Marc Guggenheim
Joshua Raynor  December 13, 2019
https://dccomicsnews.com/2019/12/13/dcn-podcast-exclusive-interview-with-marc-guggenheim/

-- MG: "Ever since I stepped down as the showrunner of Arrow, life got so much better."

-- MG: "I'm always asked how much influence do the fans have on the shows. And the answer is always, 'not that much,' for a variety of different reasons. That's one of them, which is, you know, it's just - you're constantly - if we were trying to please the audience at every turn, or bring the audience into our process at every turn, we'd be trying to hit a moving target. Um, you know, it's just not feasible, especially when you're doing, you know, a long order or a medium order show where, you know, by the time the audience is even seeing it, you're at the end of your season, practically."

-- MG: "I'll give you an example, like, Season 3 of Arrow? Um, like, we were getting, like, amazing online reviews and great online, uh, feedback, like, the whole season.... We get to the end of the season and we're, like, just at the end of the season and we're starting to go into hiatus, suddenly the narrative online becomes, 'the season sucked.' I'm like, but I have the reviews, I have the recaps, like, they didn't suck before! Like, A.V. Club didn't retroactively turn those A's into B's. Um, you know. So, it's one of those funny things about producing television in the modern age."

-- Of all the characters he's written for TV, MG said that he identifies most closely with Eli Stone.

-- MG said that he's about to fly to Vancouver for prep on "the very first episode of television that I'm going to direct." He's been a writer and/or showrunner for 19 years.

-- When asked what makes his voice unique, MG said that "your voice is what you have to say in the world" and that sometimes it's very specific: "Are you saying something with your writing? And what are you saying? ... Both of those things must be consistent... You'll know it when you see it."

-- MG said that "comic book writing is an act of empathy." There was more discussion of comic book writing, collaborating with the artist, etc.

-- When asked if there was a specific actor in the Arrowverse that he found harder to write but then grown with or, vice versa, that he was looking forward to writing but then it grew away in a different direction, MG: "You start out writing the character and, at some point, you have to start writing the actor. And I don't mean the actor specifically, but you have to - you have to write the performance that the actor is giving you. And if you don't do that, again, you're missing out on an element of the collaborative process, because it's a collaboration with the actor. You know, when I started out, everything shot in Los Angeles, and now nothing shoots in Los Angeles. So you're always engaging in this collaboration with actors that you're not in the same city or even in the same country with. But that collaboration's happening over the course of a season and, basically, it's like, in a perfect world, you're writing to their performance, as opposed to writing a character in a vacuum, which means you're writing towards their strengths and away from weaknesses, and you're writing in the voice they're giving the character."

-- MG: "I will say that, starting out, in terms of the Arrowverse, the hardest character for me to write for, and I think this is true for Greg Berlanti as well, was, uh, you know, was Oliver Queen, because - if you look at, like, Eli Stone, which is very much Greg and my voice, which it, it's banter-y and hyper-verbal, that's the way we write. And then, of course, you've got Oliver Queen on the exact opposite end of the spectrum, who, literally in the pilot, like, says as few words as possible. Um, I always said, like, with Oliver Queen, we created a character who we had, you know, no business writing, because he's so different from our voice. On the other end of the spectrum, like Felicity Smoak is - that - that's - you know, when Felicity Smoak comes into the show in episode 3, um, in many ways, it was just a, uh - it was like a cry for help, I think, on some level. It was like, can there please be one character on the show who is easy to write? Um, you know, it's, uh - it's interesting. But I think, you know, you have to - you have to adapt. You know, that's the thing. Like, every day you get dailies - that's why they're called dailies - you know, you're getting - the actor's giving you the answers to the test. You know, they're telling you basically in their performance, you know, what's working, what's not working. And you ignore that information - and it's great information - you ignore that at your peril." 

-- In response to interviewer's comment that Oliver was not the best conversationalist. MG: "No. God, no. It was brutal. Brutal... Yeah, writing for him was - he was the most internal - he probably still is to this day the most internal character I've ever written. I think, as Oliver has grown and evolved as a character, he's become much better at expressing himself. But those early years? Damn. Really, really hard."

-- Interviewer: "Speaking of Oliver and Felicity, going in, when you started the show, was the goal originally to follow the comic book source material and have the relationship be Oliver and Laurel-stroke-Dinah, and then, did the chemistry and obviously Emily Bett Rickards' performance then totally sway you and move you away, 'cuz that's the one thing that fans are still really in heated conversation about, is, should it be always Black Canary and Green Arrow, where did Felicity come from? And then you have the other camp who shipped Olicity from the very beginning. How did that whole change happen? Or was that originally part of the process when you started?" MG: "Here's the thing. Obviously, in the pilot, we established that Oliver and Laurel have this romantic history and, yes, the intention was that Laurel was going to be Oliver's love interest, um, certainly throughout Season 1. And, yes, we  - we,you know, named Laurel 'Dinah Laurel Lance' after Dinah Lance of the comic, uh, who, yes, Oliver and Dinah in the comic ultimately do, uh - you know, ultimately do get married. Um, there's a couple of things that, uh, happened along the way. One of which was, yes, Emily came along and she was only supposed to be a one-off. Um, you know, Felicity was only supposed to be in episode 3, but we loved Emily's performance so much, we're like, 'oh, let's put her in episode 4,' and 'let's put her in episode 5.' We kept writing to her, because, again, you got to respond to what you're getting from your cast. And one of the things we really started to get was, there was incredible chemistry between Stephen and Emily that we felt was undeniable and that we had to write towards. And where I part ways with the comic book fans, to be totally honest, is - everybody, you know, who's on my twitter feed, who's sort of talking about that, uh, stuff, treats Oliver and Dinah as if they were Lois and Clark. And I don't subscribe to that belief. Um, I don't feel like that romance between Lois - between Lois and Clark is - I'm sorry, I don't feel like that romance between Dinah and Oliver in the comics is as, quite frankly, sacrosanct as the relationship between Lois and Clark. Um, and I say this as someone who is a lifelong comic book fan. And I really do challenge anybody to, uh, you know, to prove that they're a better or more passionate fan of comic books and superheroes than I am. Um, but it's - you know, I think, in the comics, it just established a certain relationship that we didn't, A, feel as beholden to in the live action show, but also, at the end of the day, we're not writing comic book characters. We're writing live action characters, who are embodied by real men and women, who have different degrees of chemistry with each other. Um, and you've gotta - you've gotta write to - again, it goes back to everything I was saying earlier. You got to write to what you're seeing on screen."

-- MG: "When we were working on the first season of Arrow, I would typically use The Dark Knight trilogy as my tuning fork." He's also been inspired by various screenplays. MG: "Tony Gilroy's draft of Michael Clayton is a big influence on my prose style, um, particularly the way I write action, believe it or not, even though it's not a very action-heavy movie... The rhythms of that script are something that really speak to me. Aaron Sorkin's draft of The Social Network, you know, a huge influence on me." However, he said that he can't always use Sorkin's stuff as a tuning fork because he'll start writing "in that patter," which wouldn't work on shows like Arrow. He then talked some about his comic writing inspirations..

-- MG mentioned his love for Wiseguy and that there have been a lot of Wiseguy Easter eggs in Arrow.

-- On revisiting things, MG: "You have to understand, with Arrow, we just, like on Friday, locked the series finale... With respect to Oliver Queen, my instinct is not to revisit that character any time soon, because his story is told - or at least my version of his story is told... I don't think I have anything more to say about the character at this point. I hope that that changes. But for now, I kinda feel like I've said it."

-- MG said that he has "always been of the very strong opinion that Night Force would make a terrific television show" and that he's "talked to Marv [Wolfman] at length about it."

-- Some comments about COIE and the COIE tie-in comics (transcription posted in COIE thread in LoT forum).

-- MG said that he definitely sees the end of Arrow and the COIE crossover as the "end of a chapter," but he doesn't know what his next chapter will be. He said that 8 years of Arrow are almost a decade, plus LoT. He imagines his next chapter to involve "fewer things."

-- MG mentioned his upcoming directing debut again and said that he's always been "curious" if he would be a good director. MG: "It's good to direct for the very first time with family." [tv echo: Maybe I missed it, but I didn't hear which show's episode he would be directing. It sounds like an Arrowverse show.]

Edited by tv echo
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insomniadreams88

insomniadreams88

21 hours ago, tv echo said:

Interviewer: "Speaking of Oliver and Felicity, going in, when you started the show, was the goal originally to follow the comic book source material and have the relationship be Oliver and Laurel-stroke-Dinah, and then, did the chemistry and obviously Emily Bett Rickards' performance then totally sway you and move you away, 'cuz that's the one thing that fans are still really in heated conversation about, is, should it be always Black Canary and Green Arrow, where did Felicity come from? And then you have the other camp who shipped Olicity from the very beginning. How did that whole change happen? Or was that originally part of the process when you started?" MG: "Here's the thing. Obviously, in the pilot, we established that Oliver and Laurel have this romantic history and, yes, the intention was that Laurel was going to be Oliver's love interest, um, certainly throughout Season 1. And, yes, we  - we,you know, named Laurel 'Dinah Laurel Lance' after Dinah Lance of the comic, uh, who, yes, Oliver and Dinah in the comic ultimately do, uh - you know, ultimately do get married. Um, there's a couple of things that, uh, happened along the way. One of which was, yes, Emily came along and she was only supposed to be a one-off. Um, you know, Felicity was only supposed to be in episode 3, but we loved Emily's performance so much, we're like, 'oh, let's put her in episode 4,' and 'let's put her in episode 5.' We kept writing to her, because, again, you got to respond to what you're getting from your cast. And one of the things we really started to get was, there was incredible chemistry between Stephen and Emily that we felt was undeniable and that we had to write towards. And where I part ways with the comic book fans, to be totally honest, is - everybody, you know, who's on my twitter feed, who's sort of talking about that, uh, stuff, treats Oliver and Dinah as if they were Lois and Clark. And I don't subscribe to that belief. Um, I don't feel like that romance between Lois - between Lois and Clark is - I'm sorry, I don't feel like that romance between Dinah and Oliver in the comics is as, quite frankly, sacrosanct as the relationship between Lois and Clark. Um, and I say this as someone who is a lifelong comic book fan. And I really do challenge anybody to, uh, you know, to prove that they're a better or more passionate fan of comic books and superheroes than I am. Um, but it's - you know, I think, in the comics, it just established a certain relationship that we didn't, A, feel as beholden to in the live action show, but also, at the end of the day, we're not writing comic book characters. We're writing live action characters, who are embodied by real men and women, who have different degrees of chemistry with each other. Um, and you've gotta - you've gotta write to - again, it goes back to everything I was saying earlier. You got to write to what you're seeing on screen."

I will never get tired of reading/hearing things like this. 

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Starfish35

Starfish35

On 12/14/2019 at 12:56 PM, insomniadreams88 said:

And where I part ways with the comic book fans, to be totally honest, is - everybody, you know, who's on my twitter feed, who's sort of talking about that, uh, stuff, treats Oliver and Dinah as if they were Lois and Clark. And I don't subscribe to that belief. Um, I don't feel like that romance between Lois - between Lois and Clark is - I'm sorry, I don't feel like that romance between Dinah and Oliver in the comics is as, quite frankly, sacrosanct as the relationship between Lois and Clark.

I remember saying something like this years ago, arguing with someone on TVLine (ultimately a pointless endeavor 😂).  Whatever one may think about the various incarnations of Lois and Clark through the years, Dinah and Oliver are no Lois and Clark.  

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Primal Slayer

Primal Slayer

DC Comics thinks that Oliver/Dinah are a top tier couple so.....I dont think any couple is as big as Superman/Lois...same as Green Arrow is never going to be as big of a superhero as Superman, but he'll still be an important character always in rotation.

MG: "I will say that, starting out, in terms of the Arrowverse, the hardest character for me to write for, and I think this is true for Greg Berlanti as well, was, uh, you know, was Oliver Queen, because - if you look at, like, Eli Stone, which is very much Greg and my voice, which it, it's banter-y and hyper-verbal, that's the way we write. And then, of course, you've got Oliver Queen on the exact opposite end of the spectrum, who, literally in the pilot, like, says as few words as possible. Um, I always said, like, with Oliver Queen, we created a character who we had, you know, no business writing, because he's so different from our voice.

Which is interesting since comic Oliver seems to fit GB/MG mroe than the Oliver they created themselves when they wanted someone who was Batman-lite.

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apinknightmare

apinknightmare

(edited)

When one half of a couple is a serial cheater, I feel like said couple can’t be *that* top tier or untouchable. In that respect, I agree with MG and would probably feel okay trying out a new romantic partner for Oliver too (especially one where he could be less of a shithead). 

Edited by apinknightmare
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tv echo

tv echo

(edited)

This Larry King interview was apparently recorded on Dec. 9th (the day after the first COIE crossover hour aired)...

Robbie Amell on encouraging cousin Stephen Amell to audition for lead role in ‘Arrow’
Larry King   Dec. 16, 2019

-- SA got his Arrow role of Oliver Queen first, before RA got his Firestorm role. However, RA read the Arrow role first, but he always pictured his cousin SA as Oliver. So RA told SA about Arrow, and SA went to audition for the role. SA thought he got the part and he did.

Robbie and Stephen Amell on superheroes, working together, and ‘Arrowverse’
Larry King   Dec. 16, 2019

-- LK asked what made the Arrowverse shows successful. RA said that Berlanti brought in a lot of supporting characters, like his Firestorm character.

-- Some talk about Code 8.

-- On Oliver's death in the Crisis crossover, SA: "I died last night on the show." LK: "You're off the show." SA: "Yeah." (Clearly lying at the time)

-- When LK brought up the "fanaticism" of their fans, RA thought that people are just looking for an escape. SA mentioned people going through hard times and tuning in to get away from their problems.

Acting, business ventures, and growing up in Canada - Robbie & Stephen Amell answer your questions
Larry King   Dec. 16, 2019

-- SA talked about his wine venture and Nocking Point.

-- RA and SA thought that there wasn't much of a difference between big screen and small screen projects anymore, with all the streaming series.

-- RA and his wife recently completed the U.S. citizenship process and are having their oath ceremony in January. SA said that he hasn't spent enough time in the U.S. to be eligible for citizenship because he's been in Vancouver working on Arrow, even though his wife and daughter are both U.S. citizens, and he also pays taxes in the U.S. 

If You Only Knew: Robbie and Stephen Amell
Larry King   Dec. 16, 2019

-- SA and RA answered questions about personal stuff, like biggest fears, hated foods, desired superpower, etc.

Edited by tv echo
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tv echo

tv echo

(edited)

Katherine McNamara Talks Arrow and Her New Film "Spirit Riding Free" - Heroes Interviews
Collider Interviews   Dec. 16, 2019

-- KM: "Having watched all of Arrow in preparation for coming onto the show - given who my parents are, I had to - uh, I had to pull as many little nuances from each of the characters to sort of be this amalgamation of - of two characters that people love so much and that have been so dutifully and well crafted by Stephen and Emily for so many years."

-- On working with so many other shows' superheroes on the Crisis On Infinite Earths crossover this year, KM: "It's been so fun to explore, particularly because Mia is so much like her parents. Getting to interact with people like Sara Lance, who knows Oliver so well, but also so similar to Mia that they butt heads in a lot of ways but can also connect. Or Barry Allen, who knows Oliver's aggressive tendencies, can see them in Mia and can kind of manage her in a very real way. But, you know, these characters kind of help guide her through the biggest crisis of her life in that, you know, her father has been her biggest vulnerability and she was finally confronted with him, had to come to terms and kind of make peace with all of her issues with him. And then to have him torn away from her so quickly and now she's on a spaceship among aliens and strangers and superheroes, dealing with the biggest loss of her life? It's a lot, and it's - it's a crisis all her own that she's dealing with in the midst of the worlds ending."

-- KM: "The writers from day one with Mia have done such a beautiful job of crafting her story and making it really special and really nuanced and well-developed and - and that's been such a great journey to go on, especially given what it's leading to and kind of everything that the legacy of Green Arrow is, it's a lot to close one chapter and potentially begin a new one, and I just want to do justice by that."

-- On the Mia/Canaries spinoff, KM: "It's amazing to take on this legacy because Stephen has built such an incredible legacy and, through with the writers and the team, it's a character that people connect so much with. He's the ultimate antihero, in the sense that his entire story is one of redemption. And he's come so far and grown so much. And, you know, Mia has too, in smaller increments, and getting to sort of take that on, it's a big step and it's - it's - they're big boots to fill, as it were. Um, but it's very exciting to kind of see where things can go and to see such a gritty, badass superhero played by a tiny blonde girl*... It's a fun new twist on a classic superhero trope, and I'm excited to show people what we have in store."

(* Except we had tiny blonde Sarah Michelle Gellar playing Buffy the Vampire Slayer in the past, and we will have

Spoiler

tiny brunette Natalie Portman playing Thor

in the future. So maybe not such a new twist.)

-- KM: "When I auditioned, it was for a character that interacted with Green Arrow and Wild Dog, who was a rookie cop - who, you know, was a rookie cop who's very by the rules but has a dark past - or something, you know, whatever they say to keep it serious. So once I got the role, I started doing research on, okay, so I'm in the SCPD, so what is that all about, and what training to cops go through, and what does that happen and, you know, have in store? And then I get a call from Beth Schwartz, who's our showrunner. She says, 'Hey, congratulations! I'm so happy that you're on the show. We're excited to have you. By the way, everything you know is a lie. You're Oliver and Felicity's daughter. Okay, thanks. Bye!' Wait, wait, wait, hold on. Slow down. Let me breathe first and form English words to come out of my mouth. Um, what? I was so floored, because I knew this character had a potential to stay on the show, but I didn't know in this capacity. And having been on Shadowhunters for years and with Malec being such like a huge ship, Olicity was always there in every essence with it. And so I knew the power of the Olicity fandom and I knew how much people attached to that - that ship and to those two characters and everything. And I knew I had my work cut out for me. But I didn't even know her name for a long time. Like, I had no idea what her name was. The first episode I did, they only called her Blackstar. But, at that point, I thought her name was Maya. And then there was a whole different backstory - different than we had for episode 12 - moving forward. And they - as they developed the show, they kept changing things and honing in who she was really going to be. And it turned out so beautifully in the end."

-- On Mia coming to understand her father and why he made the choices he made, KM: "... And as she's becoming a hero herself, she begins to understand what that really means and - and that it's ultimately all about sacrifice and about loyalty and about legacy and about, you know, doing what's right no matter how hard."

 

-- On her favorite thing that we've haven't seen yet, KM: "I'll tell you this, we haven't yet seen Mia with her hood up. And it's coming... And there's an element to that that is also new that is exciting and fun and I had a hand in helping to create."

Edited by tv echo
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Featherhat

Featherhat

 If that's what they're willing to pay him, good for him. I guess the exposure that he has recently from all thing Arrowverse, plus a foot in the wrestling world means everyone's banking on him bringing a fanbase. It's not surprising, I just hope for his sake it doesn't translate into a one and done.

Even people who have never seen any version of Superman have probably heard of Superman and Lois Lane. In a series which eventually bowed to Comics Canon and went with Clark/Lois they had Oliver/Chloe  end up together and Oliver had a relationship with every female character except AH's BC. Lois and a version of "Lena Luthor" were more important to him.

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tv echo

tv echo

(edited)

This newly posted interview was recorded at Supanova Perth (June 28-30, 2019) - therefore, what might've been spoilery back then is no longer spoilery...

CRE8-TV (S1-EP1) WE AUSSIEFY ARROW - WITH DAVID RAMSEY
Cre8ive Crusade   Dec. 17, 2019

Quote

Our first episode of Cre8-TV celebrates the hit show Arrow.  We chat to David Ramsey who plays John Diggle and throw him a few Aussie Slang curve balls.. Hints on the Green Lantern. We Aussiefy Arrow and if you are interested in being an actor we have great tips from David and an acting challenge of shooting an arrow for screen.  Yes, we are Aussie...  Hope you enjoy our little show and will subscribe for more.  Keeping it fun.

Edited by tv echo
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tv echo

tv echo

(edited)

Interesting, I had not seen those tweets before - I'm still really curious to find out what went on behind the scenes during S2 of Arrow (I have always had this suspicion that, if MG had told KC prior to the start of S4 that Laurel would be the one in the grave, then somehow Laurel would not have ended up being the one in the grave by the time they started filming 418 in February of 2016, and that MG waited until the last minute to tell KC that her character was being killed off for a reason)...

Edited by tv echo
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tv echo

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(edited)

Tana & Jake’s 'Bustedness' Show CANCELLED?! Kat McNamara SPILLS On New Projects! (Celeb Lowdown)
Clevver News   Dec. 21, 2019

-- KM talked about her animated role in Spirit Riding Free: Spirit of Christmas.

-- KM said that her pink hair style is for her "next project" (later, when asked about this project, she said that she can't tease it "just yet").

Spoiler

-- On the Mia/Canaries spinoff, KM said that they've shot the backdoor pilot (809) but that "we'll see" as to whether the spinoff happens.

-- KM said that she's working on Stephen King's The Stand (mini-series) starting next year.

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Posting here because it's more behind-the-scenes info than news...

'Arrow' archery trainer Patricia Gonsalves reveals how she gets the actors on the show to look like convincing archers
By Remus Noronha    Dec 22, 2019
https://meaww.com/arrow-season-8-archery-trainer-patricia-gonsalves-how-were-they-trained-styles-lykopis-cupid 

Quote

Ever wondered who gets Stephen Amell, Katherine McNamara and all the other actors on 'Arrow' to shoot arrows like realistic vigilante heroes? Meet Patricia Gonsalves, founder of Lykopis Archery in Vancouver and the person responsible for training the stars of 'Arrow' in the basics of archery. In an exclusive interview with MEA World Wide (MEAWW), Gonsalves revealed her day to day life on the sets of 'Arrow'.

"Film Archery is very different from real archery because normally we're not shooting an arrow," Gonsalves explained. "We're dry firing the bow, which is where you release the string without an arrow. So when we're training for film archery, we start out by teaching the basic info method that we use with my school and then we move in to dry fire. So they get to shoot some real arrows for a little while, and then we move on to sort of making it look like they’re shooting an arrow." 

"If it's like ‘Arrow’ where it's a heavy action show and the stunt team likes to do a lot of action, then we practice that. So once they have this sort of basic trial method down, then we practice the dry firing and we practice walking and shooting, running, and shooting and so on and so forth." 

"They then learn how to move. So when the stunt guys teach them how to kick or punch, they know where the bow goes. So A, it looks good, but B, it doesn't throw them off balance so it becomes awkward."
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Gonsalves has spent a lot of her time traveling around the world and learning about different archery styles from cultures around the globe. She's used some of this knowledge on 'Arrow' as well, as she revealed to MEAWW.

"So one of the characters, Cupid," she said. "The prop team decided that they would go with an Asiatic compound style, which is what you find in the Eastern part of Europe and then continue East to Japan, to India and Pakistan, and it's a composite style of bow-work made of wood, horn, and sinew, and she shot it with what they call the Turkish style and that was fun. And as far as we know, she's the only hero on TV in North America that uses that type of draw. So, interesting, actually."

Though she might be a trainer, Gonsalves also has other duties on set, namely making sure all the equipment is safe to use. This is how she summed up her daily routine on set, "Generally, we go through the training. I'll meet and we'll talk about the equipment and what they want the archer to look like or what they want the archer to do. And then we'll do some training sessions. So depending on how long the character's going to be on the show would dictate how long the lesson or lessons will be. And then I arrive on set and a lot of my job has to do with safety, to make sure that the equipment is safe, it's safe to dry fire." 

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"It's Been An Incredible Journey." 'Arrow' Director James Bamford On The Show's Legacy After Season 8
BY JINAL BHATT   December 26, 2019
https://in.mashable.com/entertainment/9883/its-been-an-incredible-journey-arrow-director-james-bamford-on-the-shows-legacy-after-season-8 

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Q.1 When it comes to superhero powers, Arrow is very grounded. How do you keep the show grounded when you enter the crossovers and other superheroes fly into your story?
If the script comes in and it says, “Supergirl flies in and lands.” Well, we’ll see Supergirl fly in and land, but she’s landing in our part of the universe, so we try to surround her with all the practicality and pragmatic characters and characteristics that we like to utilize in Arrow. We don’t use many visual effects in this show. We pride ourselves on trying to do everything practically. That’s not because of budgets, but we’re really proud of the fact that we can pull off sequences that you can usually only pull off on a feature film’s schedule.
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Q3. What happens to all the material that’s edited out of the show?
I’d love to put together a director’s cut of all the episodes that I directed. I would love the fans to be able to see what my cut would look like. Quite often, the director’s cut is delivered with 10 minutes of extra footage that has to be edited out. Sometimes it’s 15 minutes of overtime. Sometimes it’s six minutes of overtime. But there have been a lot of really cool moments, amazing visuals and emotional scenes that have never been seen by the public eye that I’d love for everyone to see.

Somehow, I want people to see this stuff. Sometimes people yell at you on Twitter. They say things like, 'You didn’t do that right!' I’m not going to tell them every time, 'Oh, that got cut out. There was nothing I could do about it.' But I do feel poorly that everyone doesn’t get what they want.

However, it’s almost impossible to make everybody happy because all the fans are completely different. You can’t please everybody all the time. You just have to make a creative choice and go with it.

Q4. Has there been anything you’ve really wanted to put in Arrow but haven’t had the chance to do yet? And now that it’s the final season, are you going to put it in there?
I’ve got a long list of things I want to do. Every season, I go back to that list and I go, “Okay, I want to do this, this and this.” Or it’s something we’ve done already but we to cut due to our 42-minute broadcast time. Shows on streaming networks can be a full hour, so they can do a 10-minute scene on something that we can’t necessarily cover because we’ve got to fit in the rest of the episode. In that sense, we have to be very precise and surgical about how we deliver our action.

Whenever we do something that we’re really proud of but then it’s cut due to the broadcast time, it’s always disappointing. But whenever something spectacular gets cut, I always write it down and say, “I’m coming back to this. I’m putting this in a future episode.” I’m always doing that. I’ve got a list on my phone of so many things that I want to do.
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Q5. How does it feel to look back at the epic accomplishments of Arrow?
It’s incredible. Look at all these other superhero shows that have come along. I feel like we jump-started this whole era, which has been fantastic.

We also tried to do it practically. We tried to do it with as little visual effects as possible. We tried to tackle this show from a very practical standpoint and have everything be as real as possible. We’re still constantly trying to outdo ourselves every year – but what we’ve accomplished is we’ve set a certain bar for television of this genre, and we’re very proud of ourselves.

Q6. What legacy will Arrow leave behind when the show finally comes to a close?
When it was decided to bring this character to life on television, I don’t think anyone really knew what was going to happen. I think they approached it like, “Okay, let’s try something different. Let’s try something new.” It’s been an incredible journey.

When the show started, the crew members that we brought together were all A-list people from Vancouver. They were all feature film people. That’s everyone from wardrobe and stunts to hair makeup – and beyond. It’s been a collective effort, but you know you’re going to create something special when you have every single department being that passionate about the show.

When you have every person that committed and you put them together, this giant soup of symbiotic wonderfulness resulted in a show that became the renaissance for superhero shows from then on.

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