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• Obama on cable: duel of softballs vs. shout-downs

  NEW YORK - Barack Obama competed against himself Monday with interviews airing simultaneously on two different networks. They migh

  t as well have been two different galaxies.

  The Democrat waded into cable TV's blood feud, between Keith Olbermann of MSNBC and Bill O'Reilly of Fox News Channel, becoming as much a bit player as any even-odds presidential candidate can be.

  In one interview Obama had to fight — not always successfully — to keep from being shouted down. In the other he couldn't succeed in keeping a straight face at the ease of the softballs tossed at him.

  We'll leave you to guess which is which.

  Obama sat down with O'Reilly first last week. The Fox News Channel host aired a portion of the interview last Thursday, and it became the second-highest rated episode of "The O'Reilly Factor" ever. He'll spread the interview out over two more nights this week.

  O'Reilly came after the senator for an income tax plan that Obama said would lower tax rates for 95 percent of Americans while increasing rates for the richest citizens to Clinton administration levels.

  The Fox host complained that Obama wanted "50 percent of my success." They fought briefly over numbers, and Obama said to O'Reilly, "you can afford that." O'Reilly said Obama's plans would promote class warfare. He called him "Robin Hood Obama" and said his tax plan was a "socialist tenet."

  "If I'm sitting pretty and you've got a waitress who is making minimum wage plus tips, and I can afford it and she can't, what's the big deal for me to say I'm going to pay a little more?" Obama said. "That's neighborliness."

  O'Reilly said he and others he knew would be be making less stock transfers if the Obama tax plan went through. "It's going to come back and haunt you, senator," O'Reilly said.

  It was a much different atmosphere at the MSNBC studio in Rockefeller Center. Olbermann interviewed Obama campaign on Monday and will run it in two parts with the second one on Tuesday.

  He criticized a McCain television ad that characterized him and Palin as mavericks who can get things done.

  What, he asked Obama, could he do to prevent people from lying about his record? "Why do people hesitate to use the word `lie' about these things?"

  Olbermann drew the smile from Obama when he asked whether the candidate should use more "exclamation points" in its statements. "Have you thought of getting angrier?" he asked.

  He praised Obama for his use of the word "enough" in his convention acceptance speech and wondered why the Republicans, in his words, were having success muddying the waters of the campaign.

  "The Republicans cannot always govern, but they run very smart campaigns," Obama said.

  O'Reilly said he had frequently interrupted Obama because he didn't want to let him wander. Olbermann let him wander, lapse into stump speeches, and ducked when Olbermann asked him the most direct question, about whether he believed Sarah Palin had enough experience to be president.

  "I'll let Gov. Palin answer that," Obama said with a smile. "I'm sure she'll be appearing on your show."

  ...(more) - 09 10 2008 9:04AM

• Harris plays jack-of-all-trades on `Appaloosa'

  TORONTO - Ed Harris took Old West self-sufficiency to heart with his latest film.

  First, Harris secured the rights to Robert B.

  Parker's Western novel "Appaloosa" and pitched it to buddy Viggo Mortensen, who agreed to co-star with him in the saga of two upright pals aiming to clean up a lawless town.

  Then Harris co-wrote the screenplay, produced and directed the film and put in 10-hour days to help edit it.

  Harris even followed the singing-cowboy trail, co-writing and crooning a rootsy song for the end credits.

  Appropriately, Harris was on a horseback-riding trip with his family in Ireland in 2005 when he read Parker's book. Harris said he had read some of Parker's "Spenser" mysteries and picked up "Appaloosa" because it "had a cool cover and looked like a neat book.

  "Then I just started reading this thing and was totally delighted with the relationship between these two guys," Harris said in an interview at the Toronto International Film Festival, where "Appaloosa" premiered.

  "I read the first couple scenes, literally, probably read 35 pages of the book or less and called my agent and said, `Find out if this is available,' because it just tickled me."

  The movie rights were open, and soon after, Harris passed the book on to Mortensen while they were promoting their film "A History of Violence" at the Toronto festival that same year. After Mortensen signed on, Harris got to work on the screenplay with his friend Robert Knott.

  Harris stars as the close-lipped Virgil Cole, who arrives in Appaloosa as the new marshal along with longtime trail partner Everett Hitch (Mortensen). Bold, supremely capable and unshakably loyal, the two implement an iron-fisted rule over the town, taking on a gang led by a murderous rancher (Jeremy Irons).

  Complicating matters is Virgil's romance with a widow (Renee Zellweger), a woman prone to indiscretion and indelicate behavior.

  "Appaloosa," which has played two weekends in narrow release and expands to more theaters Friday, marks Harris' return to directing after his acclaimed filmmaking debut "Pollock," which earned him the third of his four acting Academy Award nominations and won the supporting actress Oscar for Marcia Gay Harden.

  While "Pollock" was a labor of love shot on a tiny budget, "Appaloosa" was a much bigger production loaded with action and period design, a test of Harris' filmmaking chops.

  "It makes you trust yourself. It makes you be much more decisive than I am normally in life, because you can't afford to hem and haw," Harris said. "You've got to make decisions, and also, it's great in terms of your relationships with people and delegating responsibility. ...

  "The doing of it, it's kind of thrilling. It's a moment-to-moment proposition. I don't really live like that on a normal day. I'm not that consumed. It's fun. I like it. I couldn't do it 365 days of the year, but basically, you dive in, you know some day you're going to be done with it, and you just go for it."

  Harris began his career in theater and television before earning early big-screen acclaim as astronaut John Glenn in "The Right Stuff." He has taken on occasional lead roles but mostly has built a film career in standout supporting gigs in such movies as "Apollo 13," "The Truman Show," "The Hours" and "Gone Baby Gone."

  It was tough lining up the money for "Appaloosa," because Westerns generally have been out of favor in Hollywood in recent decades. Westerns do not sell well overseas, where financial backers hope to recoup much of their investment, Harris said.

  He ultimately managed to raise a modest budget of about $20 million for the production, which was largely shot in New Mexico.

  Harris had to fight to keep in sequences aboard an old steam train that are pivotal to the action, along with a shootout that was filmed in Texas.

  "I said, `If you start taking away these elements, the production value of this thing is not going to be what it's supposed to be. It's not going to have the visual impact it needs. It's part of the story,'" Harris said. "Anyway, we finally got it set up and going. It wasn't a luxurious shoot by any means, but we did have the means to do it."

  Harris approaches filmmaking with workmanlike facility, his co-stars said.

  "He's generally pretty efficient," Mortensen said. "He had to be because of the budget and wanting to put so much of it on the screen in terms of the production values."

  "He's not a man of many words, you know. He shows up and says what he's hoping for, sets it up and puts it to film," Zellweger said. "Everything was just so comfortable and easy. Maybe that says more than any anecdote I might come up with. He's confident and he's pretty clear about he wants, and it just kind of falls into place."

  Harris did some musicals in his college acting days and has played guitar and piano, the latter for his 2006 turn as the composer in "Copying Beethoven."

  But the song he sings over the closing credits, "You'll Never Leave My Heart," came about as a bit of a fluke, Harris writing the lyrics and Jeff Beal, who did the movie's musical score, coming up with the tune.

  "I was up late one night just fooling around, you know. I showed it to him, he goes, `Let me try to write some music for it,'" Harris said. "Anyway, it was fun. We had a good time recording it."

  Harris' song is an earthy, angry romantic reproach sounding like something a lonely cowboy could have concocted around a campfire back in Old West times.

  Preceding it over the end credits is a modern country-rock tune from Tom Petty and his band Mudcrutch, "Scare Easy." Harris initially resisted the Petty song, finding the tone too contemporary for his 19th century tale.

  "The first time I listened to it, I went, `No, this is not right,'" Harris said. "But then I kept listening to it and we tried it over the credits, and it was like, `Yeah, man, the film's over. ... Let's rock.'"

  ...(more) - 09 30 2008 1:54PM

• A 'Supernatural' Women Talks the New Fourth Season

  It wasn't a scam or a hoax. After Dean Winchester made a Faustian deal in order to help his younger brother Sam cheat death, m

  ost viewers assumed the resourceful siblings would somehow find a loophole in the contract. Well, not this time. By the end of season three, Dean had been ripped apart by a hellhound and his soul left rotting in hell. With Supernatural resuming to the CW on Thursday, September 18th, the stakes have obviously never been higher so writer/producer Sera Gamble decided to answer any burning questions about how the Winchester boys would never be the same again.

  SPOILER ALERT
  

  Newsarama: Sera, what has condemning Dean to hell allowed you to do story-wise for season four?

  Sera Gamble: It opened up a lot of doors for us. It was a decision we were really happy that we made. It separated the boys for the first time since we started the show really so they have a whole bunch of new secrets that they are keeping from each other. Sam had to go on without Dean for several months and Dean obviously had this very singular experience that is starting to come back to him.

  NRAMA: Last year, Ruby was trying to prepare Sam for Dean's inevitable death. With this Thursday's premiere taking place four months later, what kind of mind space is Sam in now?

  Gamble: There is a lot of tune in and find out about Sam. Basically, what I've been saying is Sam has all his fingers and toes and has been driving the Impala. Beyond that, you have to tune in and find out. People are going to be surprised to see where Sam is and we take our time revealing what has happened to him while Dean has been gone. We hold those cards pretty close to our chest. I have actually just been writing episode nine, which is a two-parter, and it has a lot of flashbacks to the time just after Dean is buried. We space that out pretty well over the first half of the season. There is a lot to tell.

  NRAMA: Speaking of Ruby, between her, Bella, and Jo from season two, how come the ladies just can't seem to catch a break from the viewers?

  Gamble: That's a good question! I don't know. It's kind of built into the matrix of the show a little bit. The fans are seriously protective of the relationship between Sam and Dean. Fundamentally, it's a show about these two brothers and us reassuring our audience that we are not trying to threaten that is not really enough. We have been pretty candid that we have made some missteps along the way and tried to learn from them. I especially liked Ruby last year. She was really effective but it's definitely an uphill battle whenever we say that a woman is coming on the shows. There is a certain segment of the fans that react right away so we always just say "Wait and see. There are surprises."

  NRAMA: Promos have Dean chained and in pain down in hell. What kind of discussions did you have over how to present that fiery domain because so far, it seems very 'Hellraiser'-ish?

  Gamble: We knew we were going to get to use one beautiful shot of Dean and he is in excruciating pain. We wanted to give you an image to leave you with, to let you know that he wasn't going to have a fun summer. It was sort of a launching pad for our discussion of hell because we have been cognizant of the fact we can't afford to do a $100 million hell this season; we are only going to be able to cleverly imply what is happening down there. We sort of picked our torture tools for that moment to give you an impression

  NRAMA: Everything always boils down to the brothers so how will Dean's trip to hell strengthen or strain his relationship with Sam?

  Gamble: I can say it does both. We are discovering this as we go along but I can say there's a certain fundamental core to their relationship that will never change. And some things are never the same once your brother dies and goes to hell. Most of us will never experience that because you just die once. It's kind of juicy when you get into these scenes and hear what these characters have to say and it's been a pleasure to write it. I can't say too much about it but I really can't wait for people to see these episodes. They are very rich and there is a lot going on for both of these boys.

  NRAMA: The boys seemingly vanquished Lilith in the finale. Is there a new big bad in town or is it hard to keep a demon mother down?

  Gamble: There is a big threat this season. I wouldn't say you've necessarily heard the last of her. We leave it pretty mysterious. We have been calling this the pre-apocalyptic season. Things are pretty heinous. We are not going to make it any easier for them.

  NRAMA: Genevieve Cortese is stepping in as a new character this year. What is her deal?

  Gamble: I can't say much about her yet. She is in the first episode and apparently Eric put out a casting call for a love interest just to poke fun at the fans. At Comic-Con, he revealed it was a joke. She's been a pleasure to work with and is in a couple of episodes.

  NRAMA: With hell fitting in prominently, how important are the themes of heaven, hell, and religion?

  Gamble: The big themes have been important throughout Supernatural. It has always been a part of the show. From the pilot, because these are two brothers who lost their Mom so young, and death has been hanging over the family forever, and a demon killed their mother, I don't think there has ever been a time when they didn't have these conversations about how there's just evil, if there are any good forces, and is there a God?

  NRAMA: Creator Eric Kripke basically said he was a sick son of a bitch for loving that twisted Christmas episode, "A Very Supernatural Christmas", so much. How do you plan on topping that?

  Gamble: I love that episode too! That was pretty disgusting. I thought the Doc Benton episode was equally disgusting.

  NRAMA: I was surprised you got away with some of the stuff in that episode, "Time Is On My Side".

  Gamble: Me too! I kept waiting for the decency police to bust into our offices! I don't know. I just promise that we will. Actually, we have an episode that is cooking that is so disgusting. We have classic disgustingness coming up. Every now and then, an episode comes up that give us an opportunity to exercise our own personal demons that way. It's delightful. We try to gross each other out in the writers' room.

  NRAMA: Originally, Jason Vorhees was slated to make an appearance last year, which didn't happen, but do you have any iconic monsters you will be putting the Supernatural twist on?

  Gamble: Yeah, we do. We have an episode I am really excited about that we shot entirely in black and white. It's an homage to the old classic horror movies so there is a very classic vampire that looks like Count Dracula, there's a very classic wolfman, and a very classic mummy. It's like a big monster mash going on. I knew when I saw the script for the episode it was going to be good and Bob Singer directed it. Hands down, it's one of the most beautiful creative episodes. Bob has consistently been a good director for us, as well as one of our Executive Producers, but he got to really step up and be the best director he could be to do this episode and show off a little bit. He's kind of a walking encyclopedia of film and he got to prove that to do this episode.

  NRAMA: Considering Sam has already died once and Dean has literally been to hell and back, can things really get any worse for the Winchester boys?

  Gamble: Yeah, they can [laughter]. We have to be creative but there are fates worse than death and we have a long list of them on our white board in our writers' room and we will be throwing them at the boys.

  • Original Story: A 'Supernatural' Women Talks the New Fourth Season

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  ...(more) - 09 18 2008 11:37AM