Vincent Caso is known best for his role of Bladezz in the web series “The Guild”.  With season five on it way this summer, the series shows no of slowing down.  Movie Mikes had a chance to chat with Vincent about his role in the show and what else he has planned upcoming.

Mike Gencarelli: How did you get involved with “The Guild”?
Vincent Caso: It was actually very streamline and very professional, sort of flow from the start. Right out of the gate, I got a call from my agent saying I had an audition for a 30 minute pilot. I got the script for the whole season and read through it. Originally when Felicia wrote it, she had the idea to do a made for TV pilot and wanted it to be a TV show. I did the audition and they loved me and that was history. After that Felicia said “You know what this is going to be too much bureaucracy…too much politics, we are just going to go with a web series instead”.

MG: What is the best part of playing Bladezz?
VC: With any character I do play, I like to be someone that is definitely not me. I always get enjoyment out of playing someone that is so different from myself that it is like playing pretend, it is fun and exciting. That is definitely the best part of it and we just have a lot of fun on set.

MG: Do you find it difficult work on the web series?
VC: You think it would be but surprisingly it isn’t. We do have a lower budget but the whole production process is extremely professional. It is extremely smooth. In most cases, it is almost impossible to tell the different between a web series like “The Guild” or a TV series because of the way we run it. Of course there are web series out there that go on completely dirt cheap to no budgets and sometimes you can tell and sometimes you can’t. From the start we have had it a very specific point and our goal to make sure that our show looks as good as possible and that the crew and cast feel as comfortable in there environment as possible, regardless of our budget.

MG: Outside the show are you really into any MMORPG?
VC: After recording season one, Felicia got me into playing “WOW” for a little while. I played it for a while, I got a few characters to level 50+. I was having fun but the thing that gets me is that I get bored really easy. I start doing one thing and my attention gets taken somewhere else. I bounce from one thing to another. I play the occasional console game but I have been so busy recently.  I still try and find time now and then to let loose and have some fun.

MG: What is the best part of shooting the music videos?
VC: Oh my God, the videos were some of the most fun we have had on the series. It is just crazy. I am especially shocked with the production value of the song. I kept thinking that this is actually a good song. “Date My Avatar” ended up ranking really high on iTunes. I was shocked seeing on iTunes and it was great. The videos are always just a blast, it is just a chance for us to being completely ridiculous and we have no constraints in the area of realism. We just let loose and it is always just a great time.

MG: What can you tell us about season five?
VC: I can tell you probably something that you know, that at the end of season four we are going to a convention from the creators of our game. I can tell you season five will be taking place a lot in that convention. As far as other plot details, I can’t tell you anything. More so that I do not have a script yet and I do not know what Felicia is planning. All I know is that it is going to be crazy and you might see a return of Bladezz in some very humorous situations.

MG: What other projects do you have in the works?
VC: Right now, I have a few projects outside “The Guild”. One project, I have called “The End”, it is currently struggling in terms of budget and production. I am waiting to see what happens on that. I also have another guest spot on a web series, can’t say much about that just yet though. I have a couple more enormous things that are panning out right now. I can’t say more than I am attached to a few projects that are very big and going places. Hopefully I will be able to talk more about it in the coming months as details pans out and studios start letting some details go. That is really excited and I hope I could say more…but hopefully soon.

Daniel Licht is the composer of the new TV series “Body of Proof” which premieres on March 29th on ABC.  Daniel also does the haunting score for Showtime’s “Dexter”.  Movie Mikes had a chance to chat with Daniel about his work on the TV series as well as the differences between each genre.

Mike Gencarelli: Tell us about working on the new TV series “Body of Proof”?
Daniel Licht: Well, I got hired last Fall.  I did the first thirteen episodes, but I think they are only going to broadcast nine this year.  It is a very interesting show. Dana Delany’s character on the show solves crimes by doing autopsies.  Once again, I am writing music with lots of dead bodies around [laughs].

MG: What were your inspiration for that score?
DL: A lot of it is very emotional actually.  It is a procedural, which means a crime is introduced in the beginning of an episode and solved at the end.  But it is always like an emotional wrap up because these are crimes of passion.  Dana’s character manages to get people to make confessions.  The music is just really emotional.  I wanted to do something interesting instead of the standard string with sad piano lines.  I mutated the piano samples and tried to give it an interesting sound to it, sort of a futuristic sound.

MG: What was your biggest challenge when working on that score?
DL: Well it is always challenging trying to find a sound for a show…or a movie.  That is always the biggest challenge.  You have to get the theme and find the key to the show.  The dramatic part is usually pretty straight forward.  The comedic elements are always the hardest to find the right tone for.  It took me a while to find just the right tone.  There is some comedy involved as well, not slapstick though.  So, that took a while to get the tone and comedy mixed together right.  But hopefully I got the write sound [laughs].

MG: Tell us about working on the score for “Dexter”?
DL: I have been doing “Dexter” for five years.  It certainly has been a great show to work on, well acted…well written…well shot.  It really makes writing music for it a real pleasure.  The key was finding the right tone.  The show has a little ironic twist to it.  Parts of it are just very dark comedy.  It has just been great though.  I tried to create the feeling of Michael C. Hall as Dexter floating through this dark reality.  It is like a slow motion eerie carnival sound.

MG: Do you find that working on “Dexter” today differs from when you first started?
DL: Yeah!  I try and keep it moving.  I try and bring in new things but obviously there are the classic themes that come back and are a part of the show.  I rearrange them sometimes and sometimes I bring them back exactly as they were but I extended or shorten them.  I have tried to get into different sounds for this season.  The last season you had Julie Stiles and her character, so I started using strings and woodwinds.  Woodwinds is not a sound that is used a lot in “Dexter”.  The season before that featured Jon Lithgow and we used a lot of smashing sounds, like beating on the inside of a piano and some more techo elements as well.  That whole season, they wanted the music driving from the beginning of the episode until the end.  It is like a pulsing sound throughout the episode.  I just try and keep it interesting.

MG: You have done quite a few feature films in the horror genre, is that a favorite genre for you?
DL: I liked to have a little variety for what I work in and write.  But if I had to just to one…like if someone said to me “You can do light comedy or this or that”…I would want to do something dark, if I had to do only one style. I like to get emotionally involved with the music when I am writing.  I want to get the deep emotions from it.  I find that challenging for myself.  Part of it is just getting an opportunity, the first film I got offered was a vampire film and that is what you become…an expert on what you have done.

MG: Do you find that it differs for each genre you compose for?
Oh absolutely.  I will do research if I am working on a film that takes place in a certain location.  I will reach the music.  I will do out and buy specific instruments.  Even mood-wise, working on really dark stuff all day will make you kind of moody.  I have also done some more comedic stuff as well and you fell lighter as it affects you mood throughout the day.

“Being Human” is a re-imagining of the acclaimed BBC original series that follows three 20-something roommates: A ghost, a vampire and a werewolf who are struggling to keep their dark secrets from the world, while also helping each other navigate the complexities of living double lives.

The series stars Sam Witwer (“Smallville”, “Battlestar Galactica”), Meaghan Rath (“The Assistants”), Sam Huntington (“Fanboys”, “Superman Returns”) and Mark Pellegrino (“Lost”, “Supernatural”).

Movie Mikes is a huge fan of this series and was lucky enough to conduct an interview series to cover this show. If you haven’t seen it yet…make sure you set your DVR’s to catch this great new show Mondays at 9pm EST on Syfy. I hope you enjoy these interviews as much as we did doing them. Feel free to leave comments!

Henry Rollins has done just about every type of medium in the entertainment business. From fronting such bands as Black Flag and the Rollins band to various television and movie roles as well as having his on weekly radio show. Henry has shown the world that he truly is a modern day jack of all trades. Henry ushered in his 50^th birthday this past February with a string of shows in NY, LA and DC and kicks off a U.S. tour this month. Movie Mikes had the chance to speak with Henry about the new tour and all the other things he has going on.

Adam Lawton: Can you tell us about your new spoken word tour “50”?
Henry Rollins: The tour is a very small group of about 30-35 shows. This year isn’t really going to be a big tour year however it just so happens that I turned 50 and I felt I had to do some shows. Turning 50 is just so funny. I felt doing some shows would be a great opportunity to poke fun at myself. The subject matter of the shows isn’t going to be a big production where I talk about being 50 and then play a violin and cry it’s simply going to be about places I have gone and my experiences and thoughts during that time. I do have a few things in there about turning 50 as I think society likes these types of numbers. I realized that being 50 in some ways has caused me to pause momentarily and take stock of things that are somewhat different now. I realized that there are things I just don’t or can’t do anymore. I may look at a woman and think to myself that she’s pretty but then think what am I doing she’s half my age! (Laughs)

AL: You have been described by some as a renaissance man. Do you find one of your works more rewarding than the others?
HR: No. I am kind of in the mood of permanent gratitude. All the things I get to do I feel are amazing opportunities. It’s great to be on stage! It’s great to be on film and on the microphone! For me it’s a big stew that I am peculating in with all the other ingredients. The overall is the good part for me. I can tell you that they all have different levels of stress.

AL: From the films you have been in do you have one role that sticks out as a favorite?
HR: I think the one I had the most fun on was “The Chase”. That film was also the first film I had ever done. It was fun because it was a comedy and no one really took themselves seriously. The director allowed me to make my own lines, so a lot of what made it into the film I came up with. It was just really great to get that green light from the director and be able to provide my own input and ideas.

AL: How did you initially become involved in acting?
HR: The directors of “The Chase” were fans of my music and they came to me with asking if I would be in their film. I figured I had nothing to lose and didn’t really have a reputation or a real job! I have gone through life fairly independent and I feel one suites one’s self very well by saying yes to things. In the 1980’s I saw a lot of people in independent music who were more talented than I get hung up with no options because they never had a plan B. When music didn’t work for them they were stuck. I just started saying yes to different job options and working overtime at getting better at each one. Overtime a lot of things have come my way.

AL: You are also an avid traveler, is there one place you have been that is a favorite?
HR: No. It’s all kind of my favorite. There are some countries where I don’t know if I will be back only because I wasn’t struck to learn more about that area. For example when I was in Brunei, a very small benevolent country, it was like walking through a gift shop. You walk through to check it out and that’s it. I am more interested in regions than specific countries. I love to learn about the history of specific regions especially Southeast Asia and America’s history with that area. I really want to get back to Cambodia and Laos. I also find the Middle East and Africa very interesting and try to make it to those places at least one to two times a year. I have met a lot of great people and seen a lot of great places.

AL: How was your experience working with William Shatner?
HR: He is a wonderful guy. We have remained friends since that time and I see him quite regularly. He actually lives up the street from me. He seems to always invite me to his Monday night football parties. Even though I’m not really a big sports guy I always go as he has really nice friends and very good food. I think Bill kind of pity’s me as I don’t know a lot of people and am somewhat of a workaholic. I think he just tries to get me out of my house and interacting with other people. He really has a big heart and is truly one of the nicest people I have met. I feel very lucky to have him as a friend.

AL: Can you tell us about any of your other upcoming projects?
HR: I am going to be doing a lot of work with National Geographic this year. I have a show coming out next month on Nat Geo Wild about snakes. I have continued to talk with the people involved with that show about doing some more animal type shows. I hope to be able to shoot that over the summer and also hoping it takes up a good portion of this year. Next year I have been pretty much spoken for and am planning a large scale tour.

Eden Sher plays the awkward yet lovable Sue Heck on Fox’s new hit series “The Middle”.  Movie Mikes had a chance to speak with Eden about the show as well as some of her other projects, which include working with Jay Leno.

Adam Lawton: Can you tell us about how your role on “The Middle” came about?
Eden Sher: I had auditioned for the original pilot a few years earlier but the show was never picked up. I got a call about going to the audition a second time and said ok. When I showed up at the audition there were two other girls who were much younger than I was. I figured that they would want one of those girls for sure. I decided I would give it a shot anyways and went in with my fake braces on and did the audition. After a few more auditions and phone calls, I got the part.

AL: What did you think the first time you saw the yellow sweat shirt?
ES: When I saw the sweatshirt the first day, it wasn’t really a big deal. I figured it was only going to be for one episode. Well it turned into this joke with the cast and crew that they started putting it in my trailer each day. Eventually what started as a joke turned into it being used in more scenes. The fans of the show really liked it as well and now I wear it almost all of the time. (Laughs)

AL: What is it you like about playing the Sue Character?
ES: Do I have to pick just one? (Laughs) It’s just a fun character to play and I kind of sympathies with the character as I am the middle child in my family.

AL: Do you have a favorite episode?
ES: Up until a few weeks ago I really liked the Kung Fu fighting episode from season one or the jeans episode. That episode Sue got to throw a tantrum which was great! However we just shot an episode which Sue has some really great moments.

AL: How was your experience working on “Weeds”?
ES: That was a really great experience and I loved working on that show. “Weeds” was a very different vibe than “The Middle”. It was a much more serious show. That was my first experience with a fully scripted show. I learned quite a bit by just watching some of the other actors work. A lot of what I learned working on “Weeds” has been very crucial in developing my acting skills.

AL: Can you tell us what it was like doing skits for Jay Leno?
ES: I had done that before I even knew that I wanted to act. Jay had come to my elementary school to film a bit for the show where he asked various kids questions. I happened to be one of the kids he talked to. He must have thought I was funny because they kept all of the parts I did in the show. I guess the bit ended up being successful and Jay came back to my school to do another one for Christmas. After that the producers of the show contacted my mom and told her that Jay really liked me and wanted me to do a recurring bit on the show. It was awesome! I got to be on the show with my brother and do a bit called “Just ask Eden and Cosmo.” Audience members would send in questions asking advice and we would get to answer them. At the time I was 8 and my brother was 10 (Laughs). We actually got to do that bit a couple times.

AL: Did you get to meet any of the guests from the show?
ES: I got to meet Michelle Branch and Pamela Anderson! Pamela is like the nicest person ever. She was great. My brother actually got to sit on her lap while she did her interview. It was really awesome!

AL: Do you have any other upcoming projects?
ES: I haven’t had time to audition for anything because of the shooting schedule on “The Middle”. I am attached to be in a film but there are still somethings that have to be taken care of before that gets started. Hopefully that will start in the spring time. We shoot like 15 hour days, so when I have some time off…I want to just relax. I do have a list of things I want to do in the near future like travel to Israel and a few other countries.

Brian Yunza is a Director/Screenwriter/Producer known best for his work on the “Re-Animator” and “The Dentist” series. Most of his film work falls into the horror genre. Brian has also started production company, Fantastic Factory. He has worked quite a bit with Stuart Gordon and they are both big fans of H.P. Lovecraft and together they have developed several of his stories into films. Movie Mikes had a chance to chat with Brian about his films and what he has planned upcoming.

Mike Gencarelli: Can you reflect your favorite film in the “Re-Animator” series?
Brian Yunza: My favorite of the “Re-Animator” films is the first one because that not only invented the thing but it was also the first movie I had produced. Not to mention that it was the most successful. When you make a movie for the first time everything is new, every situation is unique, each challenge is fresh. Just like a first love, a first film is a process of discovery that can’t be repeated. If “Re-Animator” had turned out badly perhaps I would have buried the memory and moved on to another movie for my fond reminiscences. The sequels have a place in my heart, of course, but I am well aware that each of them had the goal of fulfilling certain expectations created by the first film.

MG:Tell us about working on “The Dentist” series? Would love to see that series continue?
BY: The first film in the series originated as an idea by the head of Trimark Pictures, Mark Amin. I agreed to develop and direct his idea and at that time my company would have also produced it for him. Mark didn’t insist on a particular story, only that the film should focus on the fear of sitting in the dentist chair, not on some fantastical or sci fi type of twist. We listened to pitches from over two dozen writers before settling on the story, and even then the script didn’t give us what we wanted. The process of working with Trimark was a very supportive and congenial one, and when I went off to Canada to produce Crying Freeman I was happy for them to make the movie without me if that worked out better for their schedule. When I returned and new writer had made some interesting improvements in the script and Pierre David had come on board to produce. I rejoined the project even though the budget had been slashed and worked on the script with on of Pierre’s executives while we were in pre production. Trimark did a great job of helping us find an appropriate and talented cast for the movie, and I can’t say enough about Corbin Bersen and his contribution to the film. He was more than just a lead actor, he was always there to help solve problems with creative solutions. I was insecure about The Dentist- I just didn’t know if it was going to work. I had never had such a minimalist situation for a story which led me to design the shooting of the movie more than I ever had before. It also had something I was not experienced in which was a ‘body count’. I was concerned that the killings be stylish and visual. All the sound and music was done by Alan Howarth in his studio in a very short time. Finally, when it was all over and I had seen it with a few audiences my fears were allayed and I realized that it did work and Corbin’s dentist character was truly memorable. The sequel was more difficult in many ways, not just because the budget was even smaller, but because I was unable to work with the script until the weekend before we began shooting. So, Corbin (and leading actress Julian McWhirter) would have dinner each evening after work to review and amend the scenes for the next day. The sequel is less successful than the original, but a lot of fun in its own way- mainly because the Dentist character is so much fun to watch. Corbin and I have discussed often our desire to continue the series. But we can’t because we don’t control the rights. Corbin is determined to revive the character. It was the character that introduced him to genre films and he now he loves the genre.

MG: When making “Return of the Living Dead III”, how much did you lean on the prior films in the series?
BY: I don’t think I “leaned” on the previous “Return” films at all. I admire the first one greatly, and was very aware that it was an unofficial sequel to “Night of the Living Dead”- so I wanted to respect both of those movies while doing something original. The straight forward horror of Romero’s film and the EC Comics style of O’Bannon’s film both influence “Return 3″”, but I think that the film that screenwriter John Penney and I fashioned goes its own way. Some fans were not happy that “Return 3” wasn’t as comedic as the first, but as a fan myself I find “Return 3” to be a very satisfying, fun horror film. I changed interpreted the underlying mythology of the living dead in a way that I felt did justice to both Romero and O’Bannon- the Trioxin gas remains as the reanimating agent, but the saliva of the living dead was able to turn victims into zombies. The studio, Trimark, insisted on only one requirement- that the movie contain “brain eating”- so I decided that the living dead ate flesh, not for the meat, but for the nerves in it, and the biggest bundle of nerves was the brain. So, you can see that I wanted to take the story a little more seriously that “Return 1”.
I didn’t draw on “Return 2” for inspiration as I thought it had been burdened by the requirement to carry on characters from the first film and to be wildly comedic. I was actually more inclined toward an ironic humor and especially the character of Julie as a living dead heroine. After making “Bride of Re-Animator” I realized that I was most interested in the character of the “Bride” and she only showed up in the third act. So with “Return 3” I was able to make that kind of character the core of the movie.

MM: Going from working in the horror genre, how did you get involved with Disney and “Honey, I Shrunk the Kids” as co-producer and writer?
BY: After making “Re-Animater”, Stuart Gordon (director of “Re-Animator”) and I were having a BBQ at my house and decided that we should make a movie for our young children. I recalled imagining myself to be smaller than a blade of grass as a kid, riding on an ant, and how exciting that would be. Stuart immediately saw it as a Disney movie and we quickly came up with the idea of an inventor who shrinks his kids. We were able to get a meeting with a development executive at Disney and on a plane ride back from Rome (where we were shooting “From Beyond and Dolls”) Stuart and I wrote out the whole story on a legal pad and pitched it upon arriving in LA. Surprisingly Disney loved the idea and immediately and put it into development. For the next year we worked on the project making set designs and storyboards, casting and special FX. We built all the sets in Mexico (full sized since there were no digital FX back then). Unfortunately, a few weeks before shooting Stuart had health problems and had to bow out.

MG: What was the most challenging film you have worked on?
BY: That’s almost impossible to say because there have been so many difficult ones. But, I would say that the first film I did in Spain, the one that kick off the Fantastic Factory and demonstrated whether the idea of producing genre films in Spain using Spanish crew and talent would work, is one of the candidates for most challenging. That was “Faust: Love of the Damned”. One that would top “Faust” is the one I just finished, “Amphibious 3D”. Shooting in Indonesia with Indonesian crew and some Dutch key personnel, doing it in 3D and having lots of creature FX and CGI- well that was incredibly challenging. The guys who built the 30 foot long sea scorpion lived in the middle of the island of Bali, worked on the floor and had never been on a movie set before. But the main thing that made the production difficult was the collapse of the financing in the middle of the production. This is one of the main reasons for disorganization and insanity on a movie set: the lack of a solid financing structure. Everything is in flux. It is like building a house with a faulty foundation. However, maybe by challenging you don’t mean difficult, but, well, “challenging”. In that case certainly “Re-Animator” qualifies because it was the first movie I produced, and it was immensely challenging to try to do something one has never done before. Or “Honey, I Shrunk the Kids”. Designing a movie for a mass audience with the Disney tradition to live up to is pretty challenging. Or how about “Beyond Re-Animator”? Making a “Re-Animator” movie that isn’t a complete failure when the only other person on the set that has an inkling of what we are trying to achieve is Jeffrey Combs. Shooting with a completely Spanish crew with mostly Spanish actors and trying to live up to the expectations of the fans was seriously challenging. You know all the movie productions have been involved with been very challenging, and a lot of that has to do with the goals we set for ourselves. One each one I try to raise the bar as high as I possibly can – and that’s the challenge.

MG: Do you think you will ever continue the “Re-Animator” franchise?
BY: I have been doing my best to continue it. After my years doing the Fantastic Factory I came to LA with the plan to get financing for a trilogy of “Re-Animator” sequels that would continue and bring the saga to a close. It was kind of shocking to be to not find a strong desire to participate at places like Lionsgate and New Line. Well, even then the business was changing. I continued developing the stories for the three films, and at one time thought that we had the financing in place for the first of the trilogy, “House of Re-Animator”. That was to be Herbert West in the White House. Stuart Gordon was going to direct and William Macy agreed to play the re-animated president. I wanted to have Dan Cain come back so we could have a good confrontation between him and West. But, the financing fell through. Then Obama got elected and Stuart lost his enthusiasm because he enjoyed the idea of using some of the irony in the film in political satire. The political angle to me was less interesting because I am of the opinion that politics works fine in sci-fi, but horror is more the domain of psychology and religion. At present I am actively developing a script for “Re-Animator Unbound”! It is the story of what happens after Herbert West’s adventures in the White House and he has gotten black ops funding for an experimental project. For the first time he has a fully equipped laboratory. Once I get the script in order I will try to get Jeffrey Combs to agree to do it and, one way or another, get the financing for it.
By the way, Stuart Gordon is presently presenting his adaptation of “Re-Animator” into a musical comedy- entitled, believe it or not…”Re-Animator :The Musical”. It is really entertaining and should be a big hit.

MG: Tell us what other upcoming projects are you woking on?
BY: I am currently working with The Little Film Company’s Robbie Little on the financing plan for “The Men”, a sci-fi thriller by Dan O’Bannon (“Alien”, “Total Recall”) which Stuart Gordon will direct. The script is really great, about a woman who discovers that all men are aliens – so you can see that even though it is a thriller it will have a good dose of irony. It is a project that I worked with Dan on way back twenty years ago so I am really thrilled to be seeing it finally get going. Of course, I am working on “Re-Animator Unbound!” I am developing a 3D immersion film called “Necronauts” based on the short story of the same name. And I just finished co-writing with John Penney a pretty wild script called “The Pope”. Mainly I am working on arranging for a financing facility for making another label, or line, of films.

Carrie Preston is known best for her role of Arlene Fowler in HBO’s “True Blood”.  The show has been such a big hit and season four is getting ready to premier this summer.  Carrie also recently completed directing her second feature film “That’s What She Said”.  Movie Mikes had a chance to chat with Carrie about “True Blood” and also her upcoming film.

Mike Gencarelli: How did you get involved originally with the show “True Blood”?
Carrie Preston: Originally, I first met Alan Ball in the feature film he wrote and directed called “Towelhead”. When we were shooting that, I was playing a Texas wife of Aaron Eckhart’s character. I was playing this Southern narrow minded women, which was very different from Arlene but it made Alan think of me for “True Blood”. We were talking and I asked him what he was doing next and he said “Well, I’ve got the pilot about vampires for HBO”. I just couldn’t think of anything more different than what he has done before. He said “I think I might have a part for you in that”. My agents got a hold of the script and I actually didn’t know what character he was talking about. Arlene on the page is really nothing like me in real life [laughs]. He thought I could bring something to it, so I auditioned and I got the part.

MG: What is the best part for you playing Arlene Fowler?
CP: I like to find an interesting and complicated alchemy between the drama and the comedy. It is a challenge because I know that what the task I have been given on the show is to serve up some of the more comedic moments. But as an actor I like to find the reality behind the moments and it is has been a really interesting journey in making her character more than just meets the eye. On the page, she is something designed to be easily ridiculed as a racist or a redneck. Being a Southern woman myself, I try to honor the truth of what the woman is going through, which is quite a lot. She is a single woman with two kids, trying to support them with a waitress job and surrounded with an entire breed of what she perceives as killers are now infiltrated into society. So it is a lot of deal with [laughs]. Yes, there could be comedy from that but there is also a lot of dramatic truth for Arlene and that is really fun for me.

MG: How do you feel that you character has changed since season one?
CP: Well she has certain deepened and the writers have given her more conflict in each season. Certainly our show has a lot of conflict. So I think that her dealing with these new things every season has made her more complicated and interesting.

MG: What has been the most challenging episode to shoot to date?
CP: Well it was certain challenging during the orgy scene in season two [laughs]. When we were all wearing our black contact lenses, which you could see really well out of them. They couldn’t put your full prescription in them if you use contacts, which I do. So everything was kind of blurry and it was also like 40 degrees at 4am in the valley. There are bunch a naked people around you and you are having simulated sex [laughs]. So we were able to find the humor in that but it was definitely one of the more challenging days for me on “True Blood”. I don’t have it bad at all though compared to the others with all the blood and the combat. I am lucky I haven’t had to deal with the blood much.

MG: What can you tell us about the upcoming season four?
CP: As far as Arlene, we left off season three with the baby on board. Arlene has a lot of conflict about that and has really ambiguous feelings because the father of that child is an evil serial killer [laughs]. Even though he is not in the world anymore, it is still a great concern to her that the sense of the father will be passed on. She doesn’t know how she feels about bringing the baby into the world that might carry some of that. So that problem definitely grows exponentially as we get to season four. I can’t tell you exactly what happens but it will continue to be a great concern and issue for her. Things are definitely not right in the baby arena.

MG: What can you tell us about the latest film you are directing?
CP: Yes,  I directed a feature film called “That’s What She Said”. We shot it in NYC in October for 20 days…it was a quick shoot. It stars Anne Heche, Marcia DeBonis and Alia Shawkat. We have a great cast and it was written by my dear friend who is also an actor, Kellie Overbey. It is comedy about three women in the city, two best friends and a women they just meet. One of them is getting ready for a date and everything goes wrong. We like to call it “a chick flick that is not for pussies” [laughs]. So I am very happy with that and I am in the final stages of post production. We should have it ready to start submitting to film festival and sales reps around April, so we are almost ready.

MG: How do enjoying directing versus acting?
CP: Certainly what I have done as an actor my whole life has been very helpful for me getting an eye on the camera. One of my strengths I have is I know how to communicate with actors and I certainly speak their language. I tend to pick people to direct that are character based and focus on actor driven pieces. I would certainly like to learn how to direct a big action film but that might take a lot more time for me. I like to play to my strengths. I am also find that directing for me is a wonderful enhancement to my acting career. I like to be creatively challenged, I like to be busy and I like to have projects that I can pour myself into. With directing you have your hand in everything. Acting, which will always be my first love, you have only have part of that picture. With directing or producing, you have to give attention to all aspects of the creative process. I find that I am very humbled by that and I am also inspired by the collaborative process. I try to surround myself with people that are really great at their job, so we can create something really special. It is really fulfilling when something completes from inception to birth.

Burt Reynolds is a true Hollywood legend.  He has been in almost 100 feature films and has over 300 television episodes credits to date.  He is known for his roles in “Smokey and the Bandit”, “Deliverance”, “The Longest Yard”, “The Cannonball Run” and “Boogie Nights”, just to name a few. This month Burt is attending and doing a Q&A at TCM’s Road to Hollywood screening of “Smokey and the Bandit” on Wednesday, March 23th at the Tampa Theater in Tampa, FL. Movie Mikes had a chance to chat with Burt about him working on “Smokey and the Bandit” and dug up some good stories from the film.

Mike Gencarelli: “Smokey and the Bandit” is loved by many generations, how do you feel it holds up with audiences today?
Burt Reynolds: It holds up great.  I was worried about that myself.  I thought how is the new audience, cause they have seen it all…heard it all…done it all now, going to go back to this time…which is the age of innocence.  For some reason, it is kind of like when you watch “Stagecoach”. They have gotten a more sophisticated way of shooting a western. but you still know when you are watching that film, that were are watching something that has never been done before.  When you watch “Smokey”, you are watching people do things with a camera inside of car, that nobody has ever done before.  It is like having a baby in a taxicab, it was amazing.

MG: In 1977 you began a long professional partnership with Hal Needham with “Smokey and the Bandit.”  Did you know while making it that you had a hit on your hands?
BR: We had no idea.  How could you know the proportion of what it was going to do in terms of box office…the slice of the pie. You had “Star Wars” and then “Smokey and the Bandit”. The car chases that we were going to spawn.  The fact that Gleason’s career was coming to an end as Mr. Television on one side and starting again in movies.  Obviously, there were many other films he did that were just as good or better.  His career didn’t jump start with us but it helped it in another direction.  Sally was on her way to becoming one the greatest actresses of our time, I think and Jerry Reed was just phenomenal.

MG: Did you find it difficult working with the improv on the set?
BR: No, because I was born and raised under that. I came from that whole second city kind of working. I loved the improvisation.  With Jerry, you had to be ready to spin off in every direction.  In every single take he never matched and it drove the script girl crazy.  He couldn’t remember anything that fast and she couldn’t keep up with him anyway.  By the time she had written down what he had done with his hands…he was doing something with his feet.  Between that, Gleason and a little tardy everyone now and then…it was pretty insane.  The only person that could do all that and keep some kind of sanity and control was Hal.  He had been used to juggling those life and death situations.  Even though this wasn’t life and death…if was pretty close to it, in terms of comedy and stunt.

Q: How was it working with Dom Deluise and Jackie Gleason?
BR: They were the best and can’t be replaced.  Everyday was wonderful.  I do not remember a single time that they didn’t make me laugh.  They were easy marks too to make them laugh.  Then when we all got the giggles…it was a wrap.  The entire crew was finished for the day.  We had so much fun.  Usually that doesn’t transfer to the screen when you are having that much fun.  This was one of those rare times, we all knew we weren’t making “The Conversationalist”.  We thought that if we could pull it off, then the audience might have as much fun as we did and could twist a few funny bones.

Q: Did you do a lot of your own stunts for “Smokey and the Bandit”?
BR: I did a lot of things that were insane and crazy.  Not for the money though, it was mostly for the fun.

Q: Do you feel that any of today’s car films capture the magic of “Smokey and the Bandit”?
BR: Well I would hate to think that we spawn the entire idea of a car case.  I think before “Smokey”, it wasn’t an entire three act play about the car chase.  In that particular film, we were never out of the cars.  It was kind of amazing that they were able to do that and make it work.  You can’t reinvent the wheel…but we did a pretty good job of it.  In terms of what they do now, what happens is that they are taking more and more chances…dangerous chances.  It never translates to the screen…the danger.  Usually the more dangerous the stunt, you can’t see it on film and nobody really gets it until you have 138 edits to bring it together.  If you really are that good, they you are Hitchcock and you are not conscious of how many edits there are.  That is the difference between someone that really knows action like Hal (Needham).  Hal has been the highest paid stunt man in the world and had done every great stunt picture up until then.  He knew how to make that work and then the other ingredients were (Jackie) Gleason, Jerry Reed and Sally (Field), of course.

Q: What was it about Hal Needham that appealed to you to work together so much?
BR: I think what Hal has, that I think everyone feels when they meet him, is this sureness.  Howard Hawks had it and obviously all of great directors who had the power had it.  He also had, there was a sense of danger about Hal, not to be cliched about what he did.  He really did laugh it off.  Men, women, children…everybody found him fascinating.  He lived life right on the edge and I found that fun to be around.  Also there was a certain cockiness, like a quarterback when you have no time on the clock…he is looking at your smiling and saying “Yeah, we are gonna score”.  He has this feeling about him and I liked that feeling.  I liked being around it and the whole sense of we are all going to do this together whether we crash and burn or not.

Q: Was there any issues during the production for “Smokey”?
BR: Not one.  Not a hitch in the giddy up anywhere.  In fact we kept waiting for the other shoe to drop, we thought it was going too well.  I mean I remember the first day of shooting, Hal and I looked at each other at 2pm in the afternoon and he said “Well, we already have all the shots” and I said “Yeah, I know partner…let’s go home”.  We did that every other afternoon.  Everybody was scratching there heads but after a while, you can only shoot so many shots of highway going by.  You have to move on.

Q: What is your opinion on the action genre today?  Is it getting too overproduced and is it losing its emotional attachment it once gained with audiences?
BR: That is a good question, I think what we have almost forgotten how to do is act with our gut…gut and a little cerebral.  We have discussed it to the point where we need to stop discussing it.  We are going to talk ourself into getting laid and then talk ourselves right out of it.  Just do it and roll it.  That is the thing about Needham that we were attracted to and that is what makes those kind of films work.  They put you right on the edge.  I remember him during the rehearsal, “Gleason…what is he going to say…oh Christ he is having another drink…oh shit…here we go…is Sally ok?..Sally is ok…Jerry is crazy…here we go…ok let’s do it”. We are shooting in a car for Christ sake for 90% of the movie, how do you pull that off? Well some people can, but nobody gets credit for it until the movie is over.  You know it works on the film in a gut level, but you don’t know why it works.  Nobody is going to give anybody credit for it on that level anyway.  On that level, it is just works so don’t try and figure it out… just enjoy it.

Q: What would you say is your biggest accomplishment in your career?
BR: Well, I think my major accomplishment is that I am still here.  It is pretty scary when you think about it.  The chances of my being around now 50 years ago were zero and none.  Now that I am around and we are talking in a civilized manor here, we are not talking about “The Conversationalist”, we are talking about “Smokey and the Bandit”.  We are talking about a tiny sliver of the pie of what encompasses the entire canvas of film.  It is a sliver.  But in that sliver that film has had it effects on everyone, in the sense that it bumped up against “Star Wars” and it did alright! It took on the big boys and never once bitched or complained.  It just took them on.

Q: Do you still have any of the Trans Ams that Pontiac gave to you?
BR: Yeah I do…I got one right downstairs in fact.  I think in the middle of night of me and car driving around town and having people say “Look at that poor bastard, he has really gone over the edge” [laughs].

Bert I. Gordon is the legendary director of  “The Amazing Colossal Man”, “Empire of the Ants”, “Earth vs. The Spider” and so many other classics.  When you think 50’s creature feature sci-fi…you should be thinking about Bert I. Gordon.  He is known for using “Rear projection effect” in his films to create his monster effects. Bert was given the nickname “Mister B.I.G.” which refers to his initials and to his love for making movies about giant creatures. Movie Mikes had the privilege with chatting with Mr. Gordon about his films and his amazing career.

Click here to purchase Bert’s autobiography and his films

Mike Gencarelli: Have you always been a fan of the sci-fi genre?
Bert I. Gordon: No. I’ve always been a fan of watching movies on the screen.

MG: Working with the original monster films of the 50’s, what was the hardest task for you?
BG: The creatures were fun. They gave me a little problem at the beginning when we started to train them! But we finally got to be friends (laughs).

MG: “The Amazing Colossal Man” is one of my favorite films. How was it working on that film and the special effects?
BG: I enjoyed making that. But self appointed critics criticized my effects by saying I used rear projection on my films. On all of the films I made I used rear projection maybe a dozen times. On “The Amazing Colossal Man” I used some blue backing, some matting and also some split screens. One nice effect is at the very beginning when he is hit by the atom blast. And what I did was I had some powerful fans blowing little particles to block out the screen. Then we’d cut the cameras and I had my special make up people put on the make up, which took a long time. Then, with the cameras in the same position, I started the fans and hit him with the little white specks again to block out the screen. We slowed down the fans until there he was, all “burned” up.

MG: Are you aware that “The Amazing Colossal Man” trailer is on a constant loop in the Sci-Fi Dinner in Walt Disney World?
BG: Yes I am. How is it being presented?

MG: It’s a 1950’s themed diner and they have a large screen that shows a lot of the 50’s sci-fi trailers.
BG: That’s terrific. Disneyland here in California has also run several clips of my films.

MG: What inspired you to write your autobiography “The Amazing Colossal Worlds of Mr. B.I.G.?”
BG: I had been approached in years past but I didn’t really want to write it. Then I attended a film festival called Monster Bash in Philadelphia in 2004. In going there I was so pleased to find out that I had so many fans, both from the period when I made the films and the younger fans who had seen them on television and DVDs. So I decided that I would write the book.

MG: Tell us about working on “Earth Vs. the Spider”. Was it a difficult production?
BG: Not at all. It was actually one of the easier films. It appears to be shot in the Carlsbad Caverns and I wanted to film all of the caverns there. So I contacted the people in charge from the state (New Mexico) and they invited me down. They took me through and it was fantastic. Beautiful stalactites and stalagmites. I told them that I wanted to film a movie there. They said fine…BUT…you can’t use your lights. The lights they have there are all indirect to bring out the beauty of the rock formations in the caverns. There’s no way without lights that you could shoot a movie down there. So I was unhappy because I thought without some nice caverns…what was I going to do? Then I got the idea to come back and shoot still photos with a long timed exposure, because that is what it took because the lights were so dim. They said that was fine. I went back with my camera and my tripod and some assistants and they took me through some different caverns. I set up the camera and took the photos. They lasted many, many minutes because of the time exposure. I took those photographic plates and split screened many of them and that’s how I put the people and the spider in the Carlsbad Caverns. As for the spider yes, I used a real spider in the film…as I did on many of my films. I used some nice tarantulas that were very friendly. I put some in with split screen and some with blue screen travel mattes.

MG: “Empire of the Ants” is such a cult classic. Can you tell us about working on that film?
BG: We shot the film in Florida in an area that was very much like Africa. We had a boat on the river and the film called for Joan Collins to fall into the water where there were real alligators. They were all around and we had to have the grips hold them back. I know Joan made a comment in one of her books that it was the roughest picture she had ever worked on. The ants I shot down in Panama. A lot of the so called critics complained that I used stock footage of the ants but I never used stock footage at all. I went into the jungle with an entomologist from UCLA and we filmed the preface for the film in the jungles of Panama. For the ants that were in the story I had the entomologist collect a lot of the them. The ones I wanted to use were poisonous but they had fuller bodies. He collected them and in my hotel room I had a blue backing and lights and we shot the miniature stuff with the ants. We shot all the ant stuff down there…didn’t want to bring them back! In “The Beginning of the End,” when we needed grasshoppers, I didn’t want to use the ones we had in California. At that time there had been almost a plague of locusts in Texas and I saw them in the paper. They were perfect….just the kind I wanted. I thought I would contact an entomologist there and have him ship me a bunch. But the state of California said no, you can’t bring them into the state. They were afraid they would mate and create another plague. So I asked if I could just bring in the male locusts, no females and they agreed to that. So I had an entomologist in Texas collect hundreds of them, put them in crates and ship them to me. When they arrived at the airport the state of California had their own entomologist examine each one to make sure it was a male. I forgot to ask them how they tell if it’s a male or a female.

MG: Can you tell us about how you seemed to always take the role of director, producer and writer on your films?
BG: And I also did my own visual effects! From the time I was a very young kid I didn’t want to do anything but make movies the rest of my life. My aunt gave me a movie camera when I was 9 and I started to make home movies…not family stuff but movies…I’d write the stories. My family and friends would act them out and I would film them. When I got to university I started a campus newsreel, shot on 35 mm and the theatres in the town would play them. After that I started making television commercials and industrial films. I thought I was happy because I was making movies. But one day while shaving I looked in the mirror and said to myself, “Hey…you’re not making movies…movies are made in Hollywood.” So after three months I closed my business and moved to Hollywood. It wasn’t easy, of course. But in all those years, while growing up, I learned all kinds of methods to do visual effects. To answer your question…why I did everything…I liked doing it all! (laughs) What can I say?

MG: What was your favorite film that you made? Least Favorite?
BG: I’ve been asked that before and I always say that my next film is my favorite. (laughs) But I’d have to say that “Food of the Gods” is my favorite. My least? I love them all. I love all my children.

MG: How do you feel about the horror films being made today?
BG: I’m currently working on a screenplay that takes a look at all of my films and the genre’. It will be like “Airplane.” I like some of the sci fi and horror films made today but too many of them rely on digital effects, even when they’re not really called for. One film I really liked was “Avatar.” That’s my favorite of the recent films.

Click here to visit Bert’s official website
Click here to purchase Bert’s autobiography and his films

DeVaughn Nixon has been acting since a very young age. He has appeared in film alongside Hollywood heavy weights Danny Glover, Kevin Costner and Arnold Schwarzenegger…to name just a few. DeVaughn is also starring in the upcoming Disney film “Prom”. Movie Mikes had a chance recently to speak with DeVaughn about “Prom” and his experiences in the film industry.

Adam Lawton: Can you tell us about your upcoming film “Prom”?
DeVaughn Nixon: “Prom” is really going to exciting! The movie is a story about High School and kids finding their emotions. It’s a very organic film that I think will register with both parents and kids. I play the character of Tyler who is one of the most popular guys in school and has the answers to everything. On the outside Tyler looks as though he has everything together but as the story unfold you start to see Tyler has some insecurities. Tyler is the type of character that sometimes you will love him and sometimes you hate him.

AL: How did you become involved with the film?
DN: I had heard about the film through a friend of mine and he thought I should audition for it. I brought it to my managers at the time, who then got me an audition. I went in and auditioned and that same day I got a call back to meet with the director the following day. After that I did some screen tests with other prospective cast members and a short time later I got the call to be in the film.

AL: You have been acting since you were very young. Was acting something you had always wanted to do?
DN: My dad was a professional basketball player and I had kind of grown up wanting to follow in his footsteps. I was playing basketball all the time but I was also acting. Acting was something that was always on the back burner for me. It wasn’t until I got my first real job that I knew I wanted to act full time. I just couldn’t picture myself in a 9-5 job where I wasn’t being creative. By the time I was 23, I knew that I wanted to act full time.

AL: How was it working with Kevin Costner and Whitney Houston on “The Bodyguard”?
DN: That was a dream come true! We filmed half of the film in Los Angeles and the other half in Lake Tahoe. That was the first time I had ever seen snow which was an experience in itself. Working with Whitney was really great and she became like a mother figure to me on set and still is to this day.

AL: Can you tell us about your experience working on “Terminator 2”?
DN: That was awesome! I had gotten that job after the producers saw my work in “The Bodyguard.” I had a little bit of buzz going for me and I went in and auditioned and got the part. It was really great getting to work with Arnold. The cast was all really great! I remember Arnold was always picking me up with one arm. That movie was great. James Cameron is a genius.

AL: Do you have a role that sticks out as a favorite?
DN: “The Bodyguard” is something that I will always remember as it really is a classic film. However from my adult career I would have to say “Prom”. There is just such much going on in that movie. The whole set was just full of excitement and that really added to the experience. We have formed somewhat of a “Prom” family and we all hang out with each other.

AL: Can you tell us about some of your other upcoming projects?
DN: I just finished work on season two of “The Hard Times of RJ Berger” which was really great to be a part of. I had a cameo in an episode from season one and they brought me back for season two and I shot seven episodes. I really enjoy that role as I get to play a character that is totally the opposite of me. I have a small part in an upcoming film with Justin Timberlake titled “Now”. The film is a sci-fi thriller based in the near future where time is money. I think this film will be coming out shortly after “Prom”.

Tommy Davidson is one of the funniest comedians in the business.  He started his career with “In Living Color” and has since started in many films ranging from “Booty Call” to “Ace Ventura: When Nature Calls” to “Black Dynamite”.  Tommy is currently touring the stand up circuit and took some time to chat with Movie Mikes about his roles and his tour.

Mike Gencarelli: Going back to the “In Living Color” days, how it was working on that show?
Tommy Davidson: It was the best! It is like being with the Pittsburgh Steelers and like every other team is like boring. I learned everything I know about TV from that show. To this day I can still say it is a staple in my career.

MG: Did you have a favorite character you played on the show?
TD: I did this karate teacher, Sweet Tooth Jones who was pretty funny. But I would have to say it would be my major impressions, like Michael Jackson and when I did Spike Lee. It is pulling those things off that were the best for me on the show.

MG: When did you realized that you were able to impersonate various celebs ranging from Michael Jackson to Sammy Davis, Jr.?
TD: I didn’t until I got out to California and started in the business. Someone told me that was I was doing was impressions. I said “That is what I have been doing all that time”? [laughs]

MG: “Black Dynamite” was such a fun movie, was it fun to play Cream Corn in the film?
TD: It was a piece of cake. I was running around being half pimp. I got to come up with all kind of different ideas. It was great because that was the kind of stuff I did on “In Living Color” and you can’t beat that.

MG: You worked with the late Bernie Mac on various projects, how was it working with him?
TD: Wow…it was great. Bernie would let me do what ever I wanted man. Bernie really loved me sincerely. All I had to do is show up to the set and he would say “Just do what you want”.

MG: How did you get involved with “Ace Ventura: When Nature Calls” as The Tiny Warrior?
TD: Oh yeah man! Jim called me to come on and do it and I felt very special.

MG: Tell us about working with first time director, Cedric the Entertainer on “Chicago Pulaski Jones”?
TD: He was very good. He really knew what the hell he was doing man and I wasn’t surprised. I started in the business before him but that is the way things turn out. He definitely has paid attention over the years.

MG: You are currently touring doing the stand-up circuit, how do you enjoy doing stand up?
TD: I love it man. I am out there all the time doing stand-up comedy. I am not rusty at all.  In fact, I am at the best and even getting better. It’s like if you compare a professional martial artist to some people who get into a street fight once in a while [laughs]. On this tour, I am doing a lot of observation material. I will probably also do a couple of impressions maybe a few new ones. But for the most part, I will just stand there and just do what comes to me.

Click here to find out where Tommy’s is appearing next.

In spite of a career that is approaching three decades Clancy Brown’s biggest fans may still be in elementary school. Known for his roles in such films as “The Adventures of Buckaroo Bonzai Across the Eighth Dimension,” “Highlander” and the much loved “Shawshank Redemption,” Mr. Brown also appears in one of the most popular animated programs of all time. Or at least his voice does. Brown gives voice to Mr. Krabs on “SpongeBob SquarePants.” Other animated roles include Raiden in “Mortal Kombat” and Lex Luthor in no less than six different projects. But it’s not all Krabby Patties and the Man of Steel on the small screen. He’s also had roles in such films as “Dead Men Walking,” “Starship Troopers” and will soon be seen opposite Harrison Ford and Daniel Craig in “Cowboys vs Aliens.” In spite of his busy schedule Mr. Brown took the time to answer some questions for MovieMikes.

Mike Smith: Your given first name is Clarence. Where did Clancy come from?
Clancy Brown: My Dad, Clarence, Jr, picked it. “His name shall be Clarence, III and we shall call him “Clancy.” Something like that.

MS: Both your father and grandfather were successful politicians. Did you ever think of pursuing a career of public service?
CB: No.

MS: What made you decide to make acting a career?
CB: I enjoyed it from a very early age. When I had to make my own living after college, I decided to give doing what I enjoyed most a shot as a profession. It worked out and I’ve never had to “work” for a living since. If I hadn’t gotten so lucky, there were plenty of options open to me being, after all, a young educated white male in America.

MS: Your first big screen appearance was as Viking opposite Sean Penn in “Bad Boys.” How did that come about?
CB: Long story. The short version is that the show came through Chicago casting a couple supporting roles. Jane Alderman made sure they saw everyone remotely appropriate for the roles. A young man was cast (and he was the best choice) but ended up withdrawing when his family objected to the script on religious grounds. They came around again and settled for me.

MS: You appeared as Rawhide in “Buckaroo Banzai.” Are you amazed that, a quarter century later, the film is still considered a cult classic?
CB: Almost everything about that film is amazing, but not that it is a cult classic.

MS: Your first starring role was as Viktor in “The Bride.” How did you prepare for a role that was completely different than anything you had done before?
CB: Read and Read and Read about the Frankenstein mythos. Honored now to be a small part of it. Boris Karloff became one of my heroes.

MS: You’re often cast as the villain or the authority figure (and sometimes both). Do you consciously pursue those roles?
CB: No. I would cast myself much more creatively. I would be an awesome Blanche DuBois.

MS: You played Captain Hadley in “The Shawshank Redemption,” which, according to over a half million users of the Internet Movie Database, is the greatest film ever made. Did you realize when you were making it that it would be so well received?
CB: No. We all loved the script and thought it would be good if we just didn’t fuck up too much, but none of us expected the love the film has inspired over the years. It’s nice.

MS: You’ve provided character voices in over a dozen animated programs and features along with a similar number of video games. Any favorite character?
CB: Mr. Krabs, Dr. Neo Cortex, and, of course, Lex Luthor.

MS: How many times have you been asked to call someone’s child as Mr. Krabs?
CB: Many. Always pleased to oblige.

MS: Can you tell us about your role in “Cowboys and Aliens?”
CB: His name is Meachem. He’s big and fuzzy. Got a deep voice. Good guy. Does the right thing. Baffled by what happened to his town but sure about how to respond. Not looking for trouble but not afraid to step in and end it…peacefully. Folks should like him.

MS: Thank you again for your time.
CB: Thanks for asking

Angell Conwell is currently has a recurring role on “The Young and the Restless”, playing the character Leslie Michaelson.  She has also has co-star in the following movies “Baby Boy”, “Soul Plane” and “The Wash”.  Movie Mikes had a chance to chat with Angell to chat about how she enjoys playing a lawyer in the soap opera.

Mike Gencarelli: Tell us how you prepared for your character Leslie Michaelson in “The Young and the Restless”?
Angell Conwell: I started out by searching the internet for characteristics of lawyers. I also watched a lot of movies where actors or actresses I admire played lawyers. I then added my own spin on it which I think is very important. I had been a fan of the show, so I had an idea of the role. But thank goodness for the internet (Laughs)!

MG: Can you tell us how your role came about and how you enjoy working on “The Young and the Restless”?
AC: I auditioned for the show because my entire family watches the show. Also the character was one that I really wanted to play. When I went to the audition, I just really felt it and I think it came off in the audition. I really enjoy working with the cast. They are such great actors which I don’t think a lot of people realize. The whole experience has been just great!

MG: Can you compare what working on TV and movies is like verses working on “The Young and the Restless”?
AC: From my experience so far working on soaps is much faster. I was used to coming from movies where you have lots of rehearsals and preparation. In soaps you don’t have nearly as much time. I have learned that you have to be prepared and ready to go at anytime.

MG: Can you tell us about any upcoming episodes or story lines for your character?
AC: With my character being a lawyer there always seems to be something going on in the city so Leslie is out there tending to her business. I really can’t say too much other than I want everyone to keep their eyes open!

MG: What has been your favorite role to work on so far?
AC: I really enjoy playing Leslie on “The Young and the Restless” this role is the first time I have played this type of character so it’s growth for me. I have done a bunch of comedies which were all really great. Working on “Baby Boy” with Jon Singleton was wonderful and I also really enjoyed “Soul Plane”. I think it’s a tossup between those three.

MG: Do you have any other upcoming projects?
AC: There always seems to be something in the works but, right now most of my time is taken up doing “The Young and the Restless” I also have my website www.allangel.com which will have all my up to date info.

Frances Fisher is known for her roles as Strawberry Alice, the madame prostitute in “Unforgiven” and Ruth DeWitt Bukater, the mother of Kate Winslet’s character in “Titanic”. This year Frances has been featured in “The Roommate” and upcoming “The Lincoln Lawyer”. Movie Mikes had a chance to chat with Frances about her roles and her love for what she does.

Mike Gencarelli: Tell us about your role in the recently released “The Roommate
Frances Fisher: I play Leighton Meester’s mother. It was a really fun film to work on but sadly they cut quite a few of the scenes i had done. My character is pretty much there to ask a question and to move the plot of the story along. The question that my character asks is an important plot point of the movie.

MG: Tell us about your upcoming role as Mary Windsor in “The Lincoln Lawyer”?
FF: Mary Windsor is the mother of Ryan Phillippe’s character and is a woman who has raised her son on her own since he was very young due to the passing of his father. Mary’s son is really the apple of her eye and would do anything for him.

MG: How was it working with such a great cast?
FF: It was terrific. Everyone on the cast was very professional and fun. I really enjoyed going to work each day. My first day of work was actually one of the bigger scenes in the film and each person had their part down and really nailed it. I really was just a great experience working with such high caliber actors and actresses.

MG: Tell us about your experience working on the film “Titanic”?
FF: I will never forget the view of the ship the first time I got to see it all lit up. It really looked like a ship had just docked. I was very spectacular. No one knew what that movie was going to do or how big of a success it was going to be when we were shooting it. I don’t think there will ever be another movie that will be number 1 for 14 weeks at the box office.

MG: What has been the most challenging project for you to work on?
FF: For me it seems to be whenever I have to play a cross examining lawyer role. I find it very challenging just because I have so much material. There is usually a lot of technical dialogue that can be tough. My role on “Eureka” is one that stands out to me. It probably didn’t seem very difficult but there were a bunch of technical terms that I had to remember.

MG: You have done quite a bit of stage work, what is your process one you get a role?
FF: I prepare the same whether I am doing stage, movies or television. I usually try to find out where the character is coming from. I try to create a back story for the character so I am not duplicating something I had previously done. I try to come up with everything from what the character is wearing to how they walk and talk.

MG: Any future plans to return to stage?
FF: I don’t have anything in the works right now but I am always looking! I am always open to anything good that comes my way.

Mindy Sterling is known best for her role of Frau Farbissina in “Austin Powers” series. Mindy is currently starring as The Supervisor, the villain, in Disney’s latest film “Mars Need Moms”. Movie Mikes had a chance a chat with Mindy about her new film as well as her other films.

Mike Gencarelli: Tell us about your role as the Supervisor in “Mars Needs Moms”?
Mindy Sterling: Well she kind of looks like a take off on “E.T”, people have been saying. She is old. She is pruney and irritable. She also runs all the aliens lives. All of the hatchings, the babies that pop-up from the ground, are raised by robots who are really cold. Basically though, they are missing a lot of nurturing. She wants stronger tools to raise they little babies. All the alien men do is hug [laughs]. She goes on a search to find the perfect earthling mom to use as a tool in how to bring up these babies. She picks Milo’s mom, who is a great mom. She loves her son but at the same time she has structure and rules. My character sees that and grabs her for Mars. Milo doesn’t want mom to leave so he goes after her.

MG: How was it speaking in an alien language the whole movie?
MS: Oh my God! It was sooooo much fun for me. I didn’t have to memorize anything. In my mind, I would say certain things for particular scenes. So not intentionally but it would just come out in this martian gibberish. We actually had a recording session where we tried different things out, like sounds and tried to form some kind of martian dialogue. There were certain words that were chosen that meant these things throughout the course of the film and then we used them over and over.

MG: Your role was not just a voice role though, how was it shooting the film with performance capture?
MS: I gotta tell you and everyone that is a part of it will tell you the same, it is so freeing, liberating and magically. You do not have to worry about hair, makeup, props and sets. You wear this suit with all these reflecting balls that captures everything you do. You have these dots all over your face and your also wearing a helmet. They have like 200 camera that’s are surrounding you in a very open space, called The Volume. It was just great. All you thought about was the acting and what you needed to do. I think all the actors and myself thought that it was incredibly freeing. If you stay during the credits, it shows the behind the scenes and it is great to watch what we did and how it was transferred into this technologically amazingly well produced film.

MG: How was it working on the “Austin Powers” series as Frau Farbissina?  The role is so funny and so classic.
MS: Oh thanks Mike, I can’t say enough wonderful things about that experience, it was so great. I loved working with Mike (Myers), he was so generous. I loved coming back each time and working with the cast and working with Seth Green, he is an amazing actor and wonderful friend. It was just so much fun. We get to watch those films now over and over and laughs. They were so much fun to make and do, we constantly had to retrained from laughing during filming. It was like silly playtime.

MG: Tell us about working on “How the Grinch Stole Christmas”? Was it difficult with the makeup?
MS: The makeup was difficult, but that was one of the good things about “Mars Needs Moms”…you didn’t have to sit in a chair for three hours. Absolutely magically and fun to see how everyone changes working on that film. When you put on that kind of facial prosthetics and the wigs. You really do become a Dr. Seuss character.  It is a lot of fun.

MG: Do you find that makeup retricted your performances at all?
MS: Your body is your body, but facial maybe. I think that is why they chose people that are more animated and flexible. It is not that I did anything different, I am just a very physical actress. It works for that style.

MG: Tell us about your roles Mitzi Kinsky in “Desperate Housewives”?
MS: Oh that is just so much fun. They throw me in and I am just one of the women on the block. She is abrasive, inappropriate and say what is on her mind. She is a like a little brat. What is so great is that they pop me into a scene and I get to do my little bit. You wonder why anyone have anything to do with her. I haven’t found one redeeming quality in her yet, but that is what makes it so fun for me [laughs].

MG: What else do you have planned upcoming?
MS: I have a new Disney show that is coming out called “Ant Farm”, which I have a recurring role in. I play the school principal. I love kids to death. I love work with kids. I love playing with kids. I love watching them create and find who they are. I really enjoy my job. Being a mom for me is number one, I have a 16 year old and acting for me is number two.