Experience what is was like to walk with nature’s greatest prehistoric predators when Dino King 3D debuts on Blu-ray™, DVD and digital June 18th from Well Go USA Entertainment.

Painstakingly recreated in breathtaking CGI animation, the film takes viewers to a time before man, when dinosaurs ruled the earth. Speckles, a baby Tarbosaurus, is exiled and forced to flee his homeland when his entire family is killed by an evil, one-eyed T-Rex.

Lost in the deepest depths of the hostile jungle, hungry and alone, Speckles happens upon a much needed ally and companion in the form of a young female Tarbosaurus. Together they help each other survive through the treacherous and forbidding terrain. Speckles grows up learning fighting skills so he can be ready for the day when he will return to claim his family’s ancient hunting grounds and become The Dino King.

Synopsis:

Meet Speckles. He’s a Tarbosaurus, and lives a happy life in his forest home with his mom and siblings. One day, as he’s just learning to hunt, he encounters One-Eye, a Tyrannosaur looking for a new place to live. His herd is attacked, leaving poor Speckles an orphan and alone in the world. But when he meets Blue Eyes, another lonely and lost Tarbosaur, they become close companions – and over time, build a family of their own. But the life of a dinosaur is a hard one. Speckles hasn’t seen the last of One-Eye, and revenge, death, fear, and sadness are all in his future – as is happiness, and ultimately, hope.

Dino King 3D has a runtime of approximately 88 minutes and is not rated.

We’ll be giving away FREE Copies of Dino King 3D on Blu-ray to a few lucky winners — which could include you!

To enter, just e-mail our contest department TCSContests@gmail.com with “Dino King 3D Sweepstakes” in the subject line with your name and mailing address and that’s it!

We’ll pick the winners at random and notify you via email if you’ve won.

GOOD LUCK!!!

Original post: Dino King 3D on Blu-ray Sweepstakes!!!

But in the wake of the success of the Batman Dark Knight trilogy, a similar hope for a fresher take on Superman begins with Man Of Steel, with English actor Henry Cavill now donning the titular role.

The 30 year-old is best known for his roles in the films The Count of Monte Cristo, Stardust, and Immortals, and on the Showtime TV series The Tudors. He talks about how he found his way into playing such an iconic character and if he felt some sense of responsibility was involved.

“First, I don’t think it’s about finding my way into an icon,” Cavill says, “Playing an icon, you don’t try to be an icon because that defeats the purpose. The responsibility attached is enormous and the realization that it actually really, really, matters meant that I wanted to put the most amount of work into representing the character properly.”

“That specially applied when I was working out in the gym, when you feel you can’t push any harder and you can’t lift anymore weight,” he adds, “You think, hold on a second, you got to look like Superman, there’s a whole lot of people out there who are relying on me to be that super hero. So it really helped to push those extra few reps and just become that character.

Cavill talks about how Clark Kent, Superman’s human alter-ego, is being told he couldn’t fight, yet manages to somehow break through that when he’s forced into a situation.

“He broke through it in the period where gets the sage advice from Jor-El and it’s there where he really gets to test himself,” Henry says, “When it comes to the fighting aspect, it’s not really a matter of choice you have to and when it comes to characters like that, it’s not OK now I got to sort of change my thinking and just respond accordingly and that required fighting. It’s instinctual.”

Henry was asked if he took anything from other actors who have played the character and how did he play Superman differently.

“I did not take anything from the other characters that played it before,” Cavill says, “As an actor, the way I do it and the way I viewed is that all the actors that have come before, it’s their interpretation of the source material, source material being the comic books.”

“And I wanted to have my interpretation not out of a sense of ego, but in a sense that it might be a disjointed performance if I have someone else’s personality and their influence affect the interpretation of the character,” he continues, “So I went straight to the comic books and saw the older movies but I did not apply those performances to mine.”

Cavill talks about how he did the fight scenes in Man Of Steel.

“Flight, for one, there was a lot of rehearsal involved,” he says, When it came to actual super speed flight it was mostly belly pan work. Belly pan is the mold of the front of a persons body and you lie in it and a special gimble created so there’s a guy in a green suit and a green screen moving it depending on Zack’s direction and I just have to imagine what it’s like to fly.”

“We had lots of help from Zack’s sort of imagery attached to it and his direction,” Henry adds, “There was also a lot of wire work that we did during the whole stunt process, that was incredibly complex and the guys tested it amazingly. A guy called Jim Churchman just did a fantastic job on the wires. That was probably the funnest part for me in regards to flying because I got to be 40 feet up in the air and sort of just completely out of control, well someone else’s control thank goodness. That was the stuff that made you feel like flight and Superman.”

Henry was asked what kind of music he feels Superman would listen to on his IPod if he had one.

“That’s a really good question and one which I don’t really have the answer for right now,” Cavill replies, “Maybe like a whole bunch of the Hans Zimmer score or Gladiator.

Cavill talks about how what makes Superman identifiable to people to this day.

“I think some things better remain a mystery what would people do otherwise apart from talk about it,” he says, “I don’t necessarily think that he speaks to the outsider alone, he speaks to everyone or that ideal speaks to everyone. We all need hope no matter what century we are in, whatever state of life we are in, whether we are going through tragedy or not.”

“It’s just hope that everything will be ok and if it is tragedy and disaster happens I hope we can overcome it,” Henry adds, “I don’t believe it’s solely for those who are outsiders and those who think they’re alone. It’s for everyone.”

Original post: Henry Cavill Interview for Man of Steel

Adams talks about what attracted her to the role and what makes this one more different from previous incarnations.

“I grew up watching Superman and loving the characters and I let it be known that when I auditioned several times, this was my third time,” Amy answers, “So thank you [to director] Zack [Snyder] for letting me play Lois. When I talked to Zack about this incarnation of Lois, what I loved was that she was still this intrepid reporter, that she was somebody that was going to be apart of the solution not just part of the problem.”

“She was going to have more of an inner track on Clark and sort of be on the inside as oppose to be on the outside,” she continues, “And I really liked that and I thought that was a very unique idea. I really loved that Zack wanted it to be this really big, amazing film but was also very important to him to focus on the characters and the truth, grounding the characters in reality as much as possible in this amazing world that he created.”

It was mentioned on how more humanized the world of Superman is this time around.

“He wanted all of the characters to have a really true heartbeat,” Adams says, “And we spent a lot of time talking about that and that impressed me about Zack.”

Adams was asked what she felt was a bigger deal to her young daughter, doing The Muppets or doing this film.

“She really liked Henry Cavill in the suit, I have to say,” Amy replies, “She did try to give him a cheeky grab which was really funny. She wanted to touch the suit and she just happened to be rear-end height and, she’s going to kill me when she’s older, so she reached out and gave it a little touch.”
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“She’s really into Muppets,” she adds, “She just saw me in the Muppet Party so today she asked me if I was going to work with the Muppets and Miss Piggy. I would say Muppets, but she’s probably on the fence.”

Original post: Amy Adams Interview for Man of Steel

When The Dark Knight trilogy freshened the concept of Batman, Man Of Steel will follow suit for Superman. This time, General Zod will be Superman’s first opponent, played by 38 year-old Michael Shannon, who is best known for his roles in Revolutionary Road, which garnered him a Best Supporting Actor Oscar nomination, and the HBO TV series Boardwalk Empire.

He talks about how Zod stands in contrast to Superman in this film.

“I think the important thing to remember was that on Krypton Zod does not have any super powers, he’s just a General,” Michael notes, “He’s been training for a long time, whooping butt for a long time there on Krypton.”

“Then he comes to Earth and goes through a similar thing that Kal-El goes through when he comes to Earth,” he adds, “It’s basically acclimating to the environment. But yeah, Zod has probably be doing those moves since he was a little boy probably.”

Michael was asked what draws him the inspiration to play villainous characters so well.

“Satan, yeah that’s where I go for my evil,” Shannon jokes, “I get my bucket and I go down to the well and I say Satan are you down there? I’ve got to be evil today and I lower the bucket down into the well and the lava comes back up and I drink it and it hurts but then I take some Alka Selzter and some Pepto Bismol. No, I don’t know, I really don’t know. It couldn’t be anything further then who I’m actually am. I’m kind of just a tall, lanky, goofy person and then I do these other things and…”

“I don’t even necessarily think of it as evil,” he continues, “I keep cracking my brain and saying was my guy in 8 Mile evil? Why do people keep saying I’m evil? I don’t get it. It’s like when people say Van Holden, he’s so evil, I’m like look at all the other men on Boardwalk Empire, lets line them all up shoulder to shoulder. Now you’re telling me that Van Holden is the most evil person on this television program. So I don’t really know. In terms of choreographed punches it’s no secret to anyone in this room that I’m much stronger then Henry is. There were a lot of ice packs back at the hotel for Henry.

Shannon talks about his fight scene with Russell Crowe, who plays Superman’s father Jor-El in the film, and was asked to compare his Superman role with his one in the Eminem film 8 Mile.

“Russell really kicks my butt in this movie,” Michael says, “I mean, he’s the Gladiator so what are you going to do? Oh, then 8 Mile, that fight wow what a walk down memory lane. That’s more of an awkward fight really. I mean that’s that kind of awkward fight you have when you just had sex with some dude’s mom.”

Original post: Michael Shannon Interview for Man of Steel

Chosen to take on this task as director is 47 year-old Zack Snyder, who has brought high style to comic book adaptations of 300 and Watchmen. He talks about how got the job in the first place.

“Kickback, I think, was the word,” Snyder says, “Debbie [Snyder] and I went and had lunch with Chris [Nolan] and Emma [Thomas], and we talked about this Superman project. I remember the first time when we were setting the meeting it was like hey you guys want to have lunch and if we talk about Superman is that weird? We thought no, no, Superman is cool. I was worried about Superman honestly as a project because it was a thing that I was interested in but then on the other hand I was scared of because Superman is Superman and he…Its seemed at the time like a lot of work to make work though I will say after I read David’s script and after talking to Chris there was no fear in the script and the idea. The idea was very straight forward and very confident and I think that’s what gave me this feeling of confidence that I felt like I can….there is a thing in there to make cool, there’s a thing in there that I’m interested in.”

“Maybe I need to just let go of the fear of this icon,” he adds, “I do like Superman as a character and I have followed him throughout the years. The fear for me was that, could I honor what he’s been and what he has the potential to be? I think David did an amazing job with the script and that was in there we just had to go after it. I think the vision was sort of an unapologetic Superman movie that we wanted to make that just didn’t…..I felt in the recent past people have been apologizing for Superman a little bit for his costume, for his origins, for the way he fits into society. We just wanted to say no, no, this is the mythology and this is how it is and it’s suppose to be this way and I think that’s kind of the movie we made. We wanted to enshrine him where he belongs and whether or not that’s making it too important I don’t know but it was the way we wanted to do it. It was fun to do.”

Snyder talks about why a non-linear narrative was the approach used with this film.

“I think that it’s a cool way to…you’re with Clark and he’s making his way and you’re sort of getting these cool insights into the why of him,” Zack says, “I think it’s fun to do it in a way, rather then when he’s facing a decision you get to see the why on why she’s making those decisions.”

“Presenting it that way allows the momentum of the story to keep going and you also get an insight into the man in a way that is interesting,” he adds, “It serves the movie in a really fun way too.

It was brought up that compared to past Superman works, Man Of Steel shows a Superman that doesn’t fit in and has struggles over his powers.

“Yeah, but you think that Superman…” Snyder says, “Because in your mind you think, oh, everything is going to be great, he can fly and everything. That’s awesome, but then you say, “Wait a minute, it also makes you different,’”

Also, what makes it a break from Superman films of the past is there’s no sign of Superman’s most popular villain, Lex Luthor.

“What I was going to say about Lex Luther was…there is a kryptonite question too that floats around the Lex Luther question too,” Zack says, “Someone asked me there’s no Kryptonite and there’s no Lex Luther, well OK within the parameters of this story there’s no kryptonite or Lex Luther not to say they don’t exist in the world. That’s an entirely different question.”

Zack talks about what made him decide to have General Zod, played by Terence Stamp in the original franchise and Michael Shannon in this film, be the first villain in this new film.

“I think the cool thing about Zod, he offers a real threat to Superman,” Snyder explains, “A physical and emotional threat to Superman that is much stronger then any earthbound threat. He’s able not only to match him physically but also represents his people, he’s a hard opponent that way.”

“Michael and I talked about it in the beginning that we wanted Zod to be…” he adds, “His point of view to be pretty clear in that he didn’t want anything that possibly…if this was happening to your planet and you were trying to save the people that you loved. What lengths would you go to?”

Snyder was asked what music Superman would listen to on his IPod.

“You mean like his locker room music?” Zack answers, “Like Black Hawk Down.”

Zack talks about the score Hans Zimmer created for Man Of Steel.

“Before we began working on the music, we got questions about the music from when we announced we were going to make the movie,” he says, “You get on the phone and you think you’re going to talk about , ‘Oh, you’re going to make a Superman movie that’s great what’s your take,’ but it was, ‘Are you going to use the music from the other film? From the John Williams score.’ I was like ‘Oh, God we haven’t shot a frame of film we don’t know that’ but we knew that music was out there and it’s a strong piece of music but because our philosophy out there was to act as if no films have ever been made, we wanted to act like we found these comic books underneath our beds and say ‘Hey, this would be a cool movie, we should make this Superman into a movie.’ Because we have sort of taken that point of view there was no cherry picking of stuff. You couldn’t go, ‘Hey, it would be cool if we just borrow these other stuff.’ We knew that everything was going to be from zero. I was hoping we would talk earlier from…you think Chris when you’re down there talking to Hans about your other movie could you twist his arm or bribe him somehow into working on the Superman movie. I don’t know exactly how it was said but for whatever reason he agreed so I don’t know if there’s pictures or…”

“It’s funny too because one thing I think is interesting is one thing that comes through the score is…” Snyder adds, “There’s big events in the film and score is amazingly supportive of those events but the thing that I think Hans did that’s amazing is and we talked about it even before I heard it we said it would be cool if the score, if the Superman score was humble, there was humility in the score. Like the Superman theme if you will if there was humility in it, which is really hard, it’s abstract, I just said humility and now make that into music whatever that means. Thank God I’m not a musician because I would never do that to him right. I would probably laugh but then you hear it and it’s in it. He says he doesn’t have any super powers but then you hear whatever that is and you say, ‘Wow, that’s humble.’”

Original post: Zack Snyder Interview for Man of Steel

But Hawke has done his share of genre films in recent years from the science-fiction film Gattaca to the horror film Sinister. Now the 42 year-old stars in the science fiction film The Purge.

He stars as James Sandin, who tries to protect his family in a future America where an annual ritual known as “The Purge”, in which the police and emergency services are suspended for one night. Ethan was asked why he feels families in peril is attractive in suspense films.

“Well, the ‘families-in-peril’ trip is kind of obvious, which is that it’s everybody’s biggest fear,” Hawke says, “There’s a moment in the movie where you see the husband and wife loading guns and teaching her how to take the safety off, and it’s just kind of every parent’s worst nightmare. Nightmares are a strange thing because your worst fear is sometimes something you enjoy thinking about for some strange reason.”

“I don’t know why that is and it’s some kind of fantasy that people play out,” he continues, “’What would I do to protect my children? I’d do anything.’ You watch it play out. I don’t know what it is about…I’m petrified of such a thing, but I don’t really enjoy thinking about it.”

Hawke talks about his favorite aspect of the script.

“The truth is my favorite element of the script is Lena Headey’s character,” Ethan says, “I think that she and I did a movie together when I was 18 and she was like 14 or something. Years ago, we did a movie in England and I always thought she was a magical actress.”

“We wouldn’t even have any scenes together,” he adds, “It was a movie called Waterland, but I remember thinking that there was something really special about her. I just watched her from afar, her whole career and she’s just a terrific actress. She plays this part so interestingly. It’s my favorite aspect of the movie in that, I think, partly, because I’ve known her for so long, it made the whole family dynamic real easy.”

Considering that he had done a horror film like Sinister, it was asked of Ethan what made him decide to do another genre film like The Purge.

“Well, I got this script…” he recalls, “We had just finished Sinister, and Jason Blum gave me this script because the world is not as complex is one might think. We both over the years have loved James DeMonaco, the guy who wrote and directed this movie. And Jason said, ‘Hey, I just read this crazy script by James DeMonaco.’ I said, ‘Let me read it,’ and I had so much fun on Sinister, and when I was younger, I loved genre movies and one of my first directors was this guy Joe Dante, who had directed The Howling and Piranha and Gremlins. And he taught me a real love of what was possible with the genre movie, mainly that a good genre movie is a really scary, really fun thing to go see on Friday night, but also has some subterranean political message, and The Purge is perfect. Sinister, in a way, does too.”

“I always wanted to flirt with genre movies because I also did Daybreakers, and in a lot of ways, Training Day is a genre movie, too,” Hawke adds, “I could do a little series of them because it’s just a cop genre. Good genre movies are a little bit like trying to write a haiku. There’s certain things you have to do to fulfill the audience’s expectations, but inside that, you have this complete freedom to talk about whatever you want. In a way, it’s wonderful because you get to make a movie that deals with all these sociopolitical…I mean, who wants to see a movie about gun violence in America and class, but if you set it in this terrifying, fun rollercoaster ride of a movie, you can talk about whatever you want. And that’s always been, from the 1950′s on, that’s been the game that genre movies play when they do it well.”

Hawke was asked if he felt that the idea of a night of law enforcement was a realistic probability.

“Well, I think it plays into an age-old human fear, whenever any of us see glimpses of revolution or riots on television or absolute anarchy or any of us have watched kids behave,” he believes, “When you’re younger, kids in a schoolyard act like a pack of wolves. It can be really terrifying. I don’t know. It’s trying to put its finger in touching something. It’s an extremely violent film with an anti-violent message. It’s almost an oxymoron.”

“It doesn’t make any sense at all, but there’s, I find, something powerful about the movie, about watching this African American actor run through a gated community being shot at that’s all of a sudden not so wild science fiction,” Ethan adds, “The whole Trayvon Martin incident happened while we were making this movie. The whole seeing a culture with all these people with guns and sharpening their knives, our country is obsessed with violence and our right to protect our violence and call you unpatriotic if you’re not violent. It heightens it. It’s just taking a certain thing and exaggerating it, and that’s what the best Phillip K. Dick stuff does and that’s what this is trying to do.”

Ethan was asked if he had any input on the script.

“I have a lot of respect for James DeMonaco,” Hawke says, “It’s very difficult to make a movie like this with this budget and he had his work cut out for him. But I don’t know, I couldn’t begin to write a movie like this. I could try to help him or help myself create a full three-dimensional character. And this character was very hard to play in a lot of ways because he’s not overtly a bad guy, he thinks he’s a good guy.”

“It’s easy to play a villain, it’s easy to play a hero,” he adds, “But this guy is this weird gray zone of a person who is culpable for a lot of negative things in his life, but isn’t aware of them, and slowly wakes up. But I certainly didn’t assist in the writing. I could just work on my own character.”

Hawke was also asked if the film was shot in chronological order.

“Yeah, we pretty much did,” he replies, “It was one of the more fun aspects of the movie because the movie was all shot in one location, not exactly in sequences, but more than usual. It was really nice to be able to do because once we got that thing up and running, we could kind of do it like a play.”

“It’s all in one set and we have this amazing French cinematographer Jacques [Jouffret] running at the movie,” Ethan continues, “He’s just trying to create a tremendous amount of energy and adrenaline for the film and he made us all incredibly anxious.”

Ethan was asked if the film’s ending would him want to use a gun to protect his family.

“I’d really rather the people outside, if nobody had a gun, I wouldn’t have to worry about it, that would be more my theory,” Hawke says, “This kind of knee-jerk response is that more walls and more guns make people safer and I’m entirely suspect of that way of thinking.”

Hawke talks about the dichotomy of James being both a loving father and yet, someone who is benefiting of an annual ritual like “The Purge”.

“That’s what’s subtle about the movie,” he says, “I mean, that’s what I love about it. You take a movie like Lord Of War, for example, I worked on, that’s a very clear-cut thing. It’s exactly what it is. It’s a movie about a guy who’s selling arms to kids and anybody’s an obvious bad guy, but this one, it’s just more subtle than that. It’s someone who’s making money on a society that’s corrupt, which is, in a way, which is so dangerous about the character, because all of us could be that person, all of us who are participating in what is like four corporations seemingly owning the whole world right now and they pay all our checks.”

“And so, that’s what I think is subtle about it,” Ethan adds, “Yeah, he’s attentive, but he also wants his kids to do what he wants to do. He’s not meeting them at their level, and that’s what I think is…He’s not overtly good or bad. He wants the kids to do what he wants them to do, but it’s not like ignoring them. At least, he’s loving them, and I think that’s one of the more challenging aspects of the movie is that it doesn’t actually tell you how to think about any of it. I mean, she seems to be kind of against The Purge, just slowly anesthetizing herself at the beginning of the movie, just always drinking wine. She seems to clearly not like it, but not do anything to stop it, and he’s convinced himself it’s a good thing because it’s making him money.”

Ethan talks about one particular highlight of the film is a crazy fight sequence in a room with a pool table.

“The fun of it was doing fight scenes in such a domestic environment,” Hawke says, “Having a battle, it’s just kind of imagining those situations of being hunted in your own home. I think all of us can imagine it. I’ve secretly would love to do one of those crazy fight movies where you have to have all this training.”

“I’ve done just enough my whole life, little fight thing here, little fight thing there, that I’ve always had some training in it,” he continues, “But I would wish I was Jackie Chan. We could get real crazy running through the house.”

We mentioned to Hawke that the film seems reminiscent of the original Star Trek TV episode “The Return Of The Archons”, where the Enterprise crew lands on a planet where people let loose only during a festival known as “The Red Hour”.

“Yeah, I’ve seen all those old Star Treks, but I forgot about that one,” he says, ”You’re right. And I actually saw that one kind of recently. Because my son, I got him all the old ones.”

“He liked the last new one and so, we watched all the old ones together,” Ethan continues, “These are old ideas. Science fiction has been playing. When I first read this, I really did think it could be a Phillip K. Dick short story or something. It didn’t surprise me. And all those old Star Trek episodes are good.”

We asked him which film got the harder R rating, this or his also recently released sequel to Before Sunrise and Before Sunset called Before Midnight.

“It’s amazing,” he says, “It’s almost like something out of The Purge that Before Midnight would be rated R. It’s fascinating to me because of a breast, but I go see PG-13 movies with my son that have a death count in the thousands, it seems like. I never know how they come up with it. Our country’s relationship to sex and violence is a fascinating conundrum to me, both puritanical at one level and libertarian at the next. It’s funny, as we did interviews and stuff, it was only the American press that was so concerned with Julie [Delpy's] breast.”

“You did interviews with anybody in the world, they didn’t ask her about her tits,” Hawke continues, “But here, everybody was like, ‘By the way, can we talk about your breasts?’ It was fascinating. We were like little abused children that never saw a titty, but yet, this movie is absolutely terrifying. In a way, it’s just the truth of what we prioritize and I don’t even know what to say about it. Sex is a lot scarier to us than violence, I think. For some, intimacy is scary. We could write essays about it. I don’t really understand what it is, but it’s an interesting observation that you make. I hadn’t really thought about it. It’s fascinating. Sinister, Scott Derrickson works so hard not to get an R. Anytime that I did an improv or anything that had the F-word in it, ‘We have to go again.’ He wanted no cursing, there’s no blood in the movie, but it was just so damn scary, they gave it an R. They said, ‘It’s too scary. Kids can’t see it,’ and that’s one thing. And then, this, I never know what the rhyme or reason that we decide what children should or shouldn’t see. My mother would let me see anything.”

Hawke was asked if he feels The Purge’s concept is revelatory of human beings as inherently violent creatures.

“Well, it’s moments like this that I wish I was an anthropologist and I could answer or I’d done some history about it,” Ethan says, “If you study the history of mankind, it seems to be a history of violence. It’s kind of terrifying, so certainly, the history of art, whether you look at paintings or movies or plays, it’s just a litany of murder and death, but somehow, I’m always optimistic that I think that we’re fascinated by things that scare us.”

“One of the things that scare us is violence, but if you think about it, the great mass of us never perform any act of violence,” he continues, “The ones that happen, for every crazed kid in Boston who wants to blow something up, there’s a hundred people running to stop it, hundreds of people, thousands of people crying tears over the fact that it did happen. It’s a conundrum. Violence exists. It’s a real part of our life and we’re obsessed with what we’re scared of, but it certainly doesn’t define us.”

Ethan was also asked if there was any more backstory to how the society in the film got to the way it was.

“Yeah, in longer versions of the script,” Hawke replies, “There were lots of it that were explained. And then, as the filmmaking went on, in further edits of the film came, it started to seem better that people could do that in their own head. The more you start explaining, the more questions, ‘What depression?’ ‘Trying to leverage their debts? Which debts? Where’s China? Why is the government not China?’”

“If it was a novel, you’d have to do it, but it seemed, the movie’s not based on reality,” he adds, “It’s a concept, and most people are pretty smart and can run with it themselves. I enjoyed the backstory. I was a big advocate. I wanted to see the kid’s oral report of ‘The History Of Tonight’. I always thought the movie should open with that oral report. The kid going, ‘And then, this happened and that happened,’ but they ignored me.”

Hawke talks about why he’s mostly stuck to small projects and why he hasn’t gone the tent pole superhero franchise route that’s become commonplace in Hollywood now.

“I’ve always done small projects my whole career, there’s nothing recent about that,” Ethan says, “I’ve always been interested in creative freedom and the truth is the more you get paid, the less freedom you have. It’s just they never pay you for nothing. It’s just always the way it is. I’ve managed to do this for more than twenty years and keep dodging and weaving and not be one thing. I think I always resisted that. I always wanted the freedom to do something else. I didn’t want to try to do Long Day’s Journey Into Night and have the whole audience go, ‘Oh, there’s Batman!’”

“There’s nothing wrong with it,” he adds, “In many ways, as I get older, I wish I had made other decisions. Sometimes I’ll watch how people have parlayed their careers one way or the other, but I’ve tried to do things that interested me sincerely and they don’t all turn out good. I haven’t made all perfect decisions, but I’ve tried to stay interested in my job and I’ve succeeded at that, and doing little projects helps me because I feel like I don’t work for anybody.”

Ethan was asked if he would want to make anything that his kids could see him act in.

“No,” Hawke answers, “They don’t want to see me in a movie. I’m their dad. They want me to be their dad. If I look for compliments, ‘Hey, honey, wasn’t I good?’ Whatever, they don’t care. I would much rather them see To Kill A Mockingbird”

Original post: Ethan Hawke Interview for The Purge

Prize Pack Sweepstakes

In Theaters June 14, 2013

TheCinemaSource is proud to present a Super Exclusive Prize Pack Sweepstakes from the soon-to-be-released film, Man of Steel!!!

One Grand Prize Winner will receive:

• Norton 360™ Multi-Device by Symantec – ARV $99.99
• Family 4-Pack IMAX tickets – ARV $21 each, Total Value $84
• Laptop/iPad Backpack with Metal “S” Shield – ARV $60
• “S” Shield Zip-up Hoodie – $50
• Fisher Space Pen in Man of Steel Tin – ARV $46
• 16GB “Command Key” USB – ARV $40
• Men’s “S” Shield Charcoal Tee – ARV $40
• Ladies’ Bella Jersey Deep V-Neck Tee – ARV $34
• Man of Steel iPhone Case – ARV – $29
• Metal Etched Pin Badges of Superman and Zod Logos – $12
• Man of Steel Notebook – ARV $12
• Man of Steel Mouse Pad – $12
• 2” Metal “S” Shield Key Chain – ARV $12
• Set of temporary tattoos and decal stickers – ARV $12
• Man of Steel Screen Wipes – ARV $5

One Runner Up Winner Will Receive:

• Man of Steel Mouse Pad – $12
• 2” Metal “S” Shield Key Chain – ARV $12
• Set of temporary tattoos and decal stickers – ARV $12
• Man of Steel Screen Wipes – ARV $5

To enter, just e-mail our contest department TCSContests@gmail.com with “Man of Steel” in the subject line with your name and mailing address and that’s it! We’ll pick the winners at random and notify you via email if you’ve won.

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Synopsis:

From Warner Bros. Pictures and Legendary Pictures comes “Man of Steel,” starring Henry Cavill (“Immortals,” TV’s “The Tudors”) in the role of Clark Kent/Superman, under the direction of Zack Snyder (“300,” “Watchmen”).

A young boy learns that he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind.

The film also stars four-time Oscar® nominee Amy Adams (“The Master”) as Daily Planet journalist Lois Lane, and Oscar® nominee Laurence Fishburne (“What’s Love Got to Do with It”) as her editor-in-chief, Perry White. Starring as Clark Kent’s adoptive parents, Martha and Jonathan Kent, are Oscar® nominee Diane Lane (“Unfaithful”) and Academy Award® winner Kevin Costner (“Dances with Wolves”).

Squaring off against the superhero are two other surviving Kryptonians, the villainous General Zod, played by Oscar® nominee Michael Shannon (“Revolutionary Road”), and Faora, Zod’s evil partner, played by Antje Traue (upcoming “The Seventh Son”). Also from Superman’s native Krypton are Lara Lor-Van, Superman’s mother, played by Ayelet Zurer (“Angels and Demons”), and Superman’s father, Jor-El, portrayed by Academy Award® winner Russell Crowe (“Gladiator”).

Rounding out the cast are Christopher Meloni (upcoming “42”) as U.S. military man Colonel Hardy, Harry Lennix (“State of Play”) as General Swanwick, Michael Kelly (“The Adjustment Bureau”) as Steve Lombard, and Richard Schiff (TV’s “The West Wing”) as Dr. Emil Hamilton.

“Man of Steel” is being produced by Charles Roven, Christopher Nolan, Emma Thomas and Deborah Snyder. The screenplay was written by David S. Goyer from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Thomas Tull, Lloyd Phillips and Jon Peters are serving as executive producers.

Zack Snyder’s behind-the-scenes team includes director of photography Amir Mokri (“Transformers: Dark of the Moon”); production designer Alex McDowell (“Watchmen”); editor David Brenner (“Pirates of the Caribbean: On Stranger Tides”); and multiple Academy Award®-winning costume designer James Acheson (“Restoration,” the “Spider-Man” films) and costume designer Michael Wilkinson (“The Twilight Saga: Breaking Dawn – Part 1 and 2,” “Watchmen,” “300”). The music is by Academy Award®-winning composer Hans Zimmer (“The Lion King,” “Inception”).

Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Zack Snyder Film, “Man of Steel.” The film will be released in 3D and 2D in select theaters and IMAX®, and is slated for release on June 14, 2013. It will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

This film has been rated PG-13 for intense sequences of sci-fi violence, action and destruction, and for some language.

www.manofsteel.com

BY ENTERING THE SWEEPSTAKES, ENTRANTS RELEASE AND HOLD HARMLESS WARNER BROS. ENTERTAINMENT INC. AND EACH OF ITS RESPECTIVE PARENTS, DIVISIONS, AFILIATES, SUBSIDIARIES, AGENTS AND ADVERTISING AGENCIES (COLLECTIVELY, “WBEI”) FROM AND AGAINST ANY AND ALL LOSSES, DAMAGES, RIGHTS, CLAIMS, AND ACTIONS OF ANY KIND ARISING IN WHOLE OR IN PART, DIRECTLY OR INDIRECTLY, FROM THE SWEEPSTAKES OR PARTICIPATION IN ANY SWEEPSTAKES-RELATED ACTIVITY (INCLUDING WITHOUT LIMITATION THE REMOVAL FROM THE SITE OF, OR DISCONTINUATION OF ACCESS TO, ANY MATERIALS), OR RESULTING DIRECTLY OR INDIRECTLY, FROM ACCEPTANCE, POSSESSION, USE, OR MISUSE OF ANY PRIZE AWARDED IN CONNECTION WITH THE SWEEPSTAKES, INCLUDING WITHOUT LIMITATION PERSONAL INJURY, DEATH, AND/OR PROPERTY DAMAGE, AS WELL AS CLAIMS BASED ON PUBLICITY RIGHTS, DEFAMATION, AND/OR INVASION OF PRIVACY.

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IN NO EVENT WILL THE WBEI BE RESPONSIBLE OR LIABLE FOR ANY DAMAGES OR LOSSES OF ANY KIND, INCLUDING WITHOUT LIMITATION DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL, OR PUNITIVE DAMAGES, ARISING OUT OF ANY ACCESS TO AND/OR USE OF THE SWEEPSTAKES SITE, THE DOWNLOADING FROM AND/OR PRINTING MATERIAL DOWNLOADED FROM THE SWEEPSTAKES SITE, THE REMOVAL FROM THE SWEEPSTAKES SITE OF, OR DISCONTINUATION OF ACCESS TO, ANY MATERIALS, OR THE ACCEPTANCE, POSSESSION, USE, OR MISUSE OF, OR ANY HARM RESULTING FROM THE ACCEPTANCE, POSSESSION, USE OR MISUSE OF, OR PARTICIPATION IN, ANY PRIZE AWARDED IN CONNECTION WITH THE SWEEPSTAKES. WITHOUT LIMITING THE FOREGOING, THE SWEEPSTAKES, ALL PRIZES, AND ALL MATERIALS PROVIDED ON OR THROUGH THE SITE ARE PROVIDED “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING WITHOUT LIMITATION THE IMPLIED WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT.

One (1) winner will receive four (4) *IMAX® tickets in the form of Hollywood Movie Money® Certificates. Each Hollywood Movie Money Certificate is redeemable for one (1) IMAX movie admission with a maximum value of ($21 total) to see any IMAX film (not exclusively Man of Steel) at participating theaters. Winners will be directed to the website http://www.activaterewards.com/imax where they will use the provided reward code to activate and print their Hollywood Movie Money Certificate. The reward code will expire on 12/31/2014. The Hollywood Movie Money Certificate will expire one month from online code activation and winner must comply with all terms and conditions specified by the issuer. Hollywood Movie Money Certificate not used by the date noted on the certificate will be void. Any amount remaining of any certificate after initial use will be forfeited. Total Approximate Retail Value (“ARV”) for all four (4) Hollywood Movie Money Certificates: $84 USD.

IMAX® 3D is a registered trademark of IMAX Corporation, “Experience Man of Steel in theatres and IMAX® 3D June 14th”

Original post: Man of Steel: Prize Pack Sweepstakes!!!

In the series, which tells the story of a group of survivors banding together to fight back against alien invaders on Earth, Wyle plays Tom Mason, who becomes the second-in-command of a citizen militia made up of the last survivors and when we last left our hero, he has become President of what’s left of the United States. He talks about what it felt like riding a horse on the season premiere episode.

“Well, using horses this season was incredibly fun, incredibly gratifying,” Wyle says, “I’ve done a fair bit of riding in my life and far more comfortable on a horse than a motorcycle. So the first couple of seasons of having to ride a motorcycle not only made me uncomfortable, but made my mother, who is a career orthopedic nurse, very uncomfortable.”

“And so, when they said, ‘In the realm of plausibility, there’s a very short shelf life on gasoline and we’re going to have to figure out another mode of transportation, so we’re thinking about using horses,’” he continues, “I was like, ‘Yes, horses, great!’ And then, when I read that script, I was like, wow, OK, we’re going to start off with a bang and I come charging through the gate with my new Vohm technology machine gun on the back of a horse, count me in. Tough to shoot, fun to shoot, and even more exciting to watch.”

We mentioned to Wyle that when Falling Skies first started, it seemed like a typical post-apocalyptic sad future, yet this season feels more hopeful.

“As you should,” he replies, “I think, in a weird way, we’ve sort of figured out the show now. In the first season, we had a really good idea and we didn’t know quite how to execute it, that we learned a lot of lessons in that first season about what worked well and what didn’t work as well for us. And the second season, we built on that momentum and had a really satisfying second season and we avoided a sophomore slump. And then that gave enough confidence to the network and the studio to really amp our budget in a lot of areas.”

“So the third season’s just bigger,” Noah continues, “It’s just the narrative is blown out, we’re embarking in a lot of different storylines at the same time, our special effects budget was augmented, so the effects are more bigger and more exciting than before, and we know who these characters are now. And as a result, the show has an anchor in truth and believability because of who we’ve already established these characters to be. So we’re able to go out farther on the string in our storytelling because we have good roots to come back to.”

Noah talks about how the character of Tom Mason has evolved now that he’s President.

“When we left the character at the end of season two, he was pretty adamant about not wanting to assume any more responsibility than he’d already had,” Wyle says, “And the 2nd Mass was resolved to leave Charleston behind and go and strike out on their own. And then, they go outside and these things start falling from the sky and these new aliens show up and that’s how we left it.”

“So we took a lot of big gambles dramatically coming back from the third season by initiating some very big storylines and playing with the seven month time jump between where we left the characters to where we find them,” he continues, “We find my character the President of the United States, we find that there’s been an alliance forged with these new aliens, we find that my son is paralyzed, but we also find that the baby might have something wrong with it, we find all sorts of stuff going on.”

We interjected the fact that Tom seems to have difficulty wearing the suit of being President.

“Embracing the role of being the President was a tricky one for me to justify,” Noah explains, “And the way I justified it was by having him have a self-effacing attitude about the whole thing. And realizing that in order to keep the population of Charleston calm and to keep everything from descending into chaos, there needed to be some semblance of specific structure in place, even though I think Tom feels it’s premature and there’s a war to win first before we start building the next civilization.”

“He understands the pageantry and ritual of having somebody as a figurehead is important, and so, he plays that part,” he adds, ”But it’s the difference between playing President and being President that makes the arc of the season for the character. Eventually, he’ll grown into the suit. It’s an ill-fitting suit in the beginning and he fills it out admirably about the end.”

We commented to Noah that as much as the human conflict with aliens on Falling Skies is compelling, it’s the human conflict that is most compelling, as well as the scariest.

“It’s also the cheapest,” Wyle says, “But that’s really like, that’s manna from heaven. When we realized that we established these characters to a degree that we could coast for three or four episodes just playing on the interpersonal drama between them, without having to rely on the aliens and spaceships.”

“So we can save our war chest special effects budget for something really epic every four shows, suddenly, all the pressure came off because we’re like, ‘Great,’” he adds, “It’s compelling television to have an episode with Hope and Tom in the woods together trying to survive, because of who we’ve already established these characters to be, great. It’s both a necessity budgetarily and dramatic.”
We mentioned that the series seems to reflect how humanity tends to be in strife a lot of the time, until they have a common enemy, which in this case comes in the form of aliens.

“Well, from an outward perspective, it would look like that’s a fairly nihilistic attitude,” Noah feels, “ To say that humans are always going to revert to violence in a vacuum, unless there’s an external threat binding them together, they’re going to be torn asunder by their own greediness and pettiness and lust for power. I don’t necessarily think that’s true. And what we’ve tried to show, in almost every episode, is both the detriment of the situation, but also the benefits of the situation. And by benefits, I mean, the relationships are stronger in this world than they were before the invasion. Tom’s a better father in this world than he was before the invasion. Without all the distractions of a modern technological society, your word becomes your bond again and your trust in your fellow man becomes all-important.”

“So it’s sort of looking at it from a different perspective and saying, with all of our technological advances,” he continues, “Maybe there’s some intrinsic things about human relationships that we’re losing, that in the absence of all the gadgetry we find again. So that’s what I think the sense of hope comes from, and I hope that the show gets there when the aliens leave and we all look around, that we ask ourselves, ‘Who are we now? What do we want to be now? And when we create what’s going to be the future, how do we want to do it? What do we want to borrow from the past that worked? And what do we want to discard as being problematic or counterproductive through functioning well as a society.’ Those are the things that I get most excited about.”

We also noted that unlike most special-effects-driven TV series, that this is one with something to say, that dialogue and characters matter.

“It matters a lot,” Wyle says, “I went and saw Star Trek Into Darkness and went away with the same feeling like, ‘The effects are fantastic, but when Kirk and Spock are talking to each other, it’s just as interesting because I love Kirk and I love Spock and I know there’s going to be humor and complexity in this relationship and it’s just as satisfying as watching the Enterprise go down in flames.”

Particularly noteworthy about this season of Falling Skies is it reunites Wyle and his former co-star of ER, Gloria Reuben, who plays a recurring role in the series as aide Marina Perlata.

“That’s Jeanne Boulet. She had AIDS. Oh, my God!” he says, “It was great to work with Gloria again. And I was saying to another guy, ‘My mother’s bathroom is sort of a shrine to my career.’ And I was in there the other day using it and I was looking at this old Vanity Fair cover that cast of ER and the cast of Friends on it, and I looked on the date and it said 1993.”

“And it was like, ‘I’ve known Gloria for 20 years.’ It’s like, ‘It’s crazy,’” Noah adds, ”And then, we cast Robert Sean Leonard, who I did a movie with in 1991 called Swing Kids, and it’s wonderful to work with old friends. It’s wonderful to work with an actor you’ve got not only professional respect for, but a real history with, and it fosters a shorthanded trust that’s really difficult to replicate. And she’s coming off a major success in Lincoln where I thought she was phenomenal, so creatively, she’s at the top of her game. It was just great to have her.”

Particularly intriguing about the production of the series is that it takes about a year between seasons, which air during the summer with merely 10 episodes. We mentioned to Noah about the extraordinary level of patience it must take to be a fan of Falling Skies.

“Tell that to my mother, my God,” Wyle says, “Well, there’s no away around, the post-production time on these episodes is so extreme that we can’t physically make more than I think twelve, I think fourteen would be a stretch because no way we can do 22 of these and keep to the airdate pattern that we’re on, because these things take so long in post-production.”

“It’s very gratifying to hear that people feel that way,” he adds, “I don’t exercise that same patience. When my last Mad Men is on, when my last Game Of Thrones, or my last Breaking Bad, I get really pissed off.”

We asked Wyle what moment he’s most excited about for this upcoming third season.

“There’s a lot, but there’s one particular episode that comes up in the latter third of the season,” Noah replies, “The title of it is called “Strange Brew”, it’s written by John Worth and directed by David Solomon. I think it’s one of the strongest episodes we’ve done. It’s the most different episode we’ve done. It was the biggest risk we’ve taken it in the narrative structure of the show. And as a result, I’m particularly pleased with it.”

Original post: Noah Wyle Interview for Falling Skies Season 3

The series, which now goes into its third season, tells the story of a group of survivors banding together to fight back against alien invaders on Earth, which includes Bloodgood’s character, a doctor. She tells us about how she feels the third season will pan out for her.

“I think we did a really good job this year,” Moon believes, “I don’t feel like I can take credit. They did a really good job. It’s definitely like our pacing has picked up, I think the storylines are tighter, I think the CGI has kicked up a notch, and Cochise, to me, is our best surprise, Doug Jones.”

We commented that even as the technology and special effects have gotten better, the main power of Falling Skies still draws from the story.

“You certainly don’t want to rely on all the tricks of the green screen and technology and then not have a base, like a real, weighty good story,” Bloodgood believes, “Because ultimately, those are cheap tricks that can get old. Science fiction fans are pretty sophisticated, so you need to have have a good story plot and it needs to be full, really luscious and well-layered.”

We also mentioned that the third season seems more hopeful now.

“I think that has a lot to do with [producer] [Steven] Spielberg,” she notes, “I think when you watch a Spielberg film and without being corny, I think he is the ultimate optimist, anything you watch, there’s always that silver-lining, there’s that through-line where no matter what happens…”

“You know what it is, I think with Spielberg, he must be, not only an optimist, but he must be like an idealist, someone who believes in the American Dream,” Moon continues, “And probably, the storyline always ends with that feeling that we’re going to persevere, no matter how the odds are against you, even when you watch like Schindler’s List. So I’d like to think that’s why our show has that silver lining definitely because of Spielberg.”

The amazing factor is despite the fact that there are so many TV series to choose from now with the hundreds of cable channels, there is a core following that will wait a full year for merely ten to twelve episodes of Falling Skies.

“I am surprised,” she feels, “I’m surprised because right now, we’re all ADD, there’s so many shows, which is great, because there’s so many more opportunities for actors and so much more choice for viewers. but for people like us that are on a show, there’s this time gap, you just want to hope that they come back again.”

“It’s just harder to keep their attention on the screen and interested in your show, so that must be a good sign people tune in, because they do have to wait for it,” Bloodgood continues, “Maybe that’s a good thing. It’s only ten. It seems a bit short, but maybe we’ll extend it, but I think it makes it easier because it is a hard show to shoot, so ten seems like the perfect amount of time. It’s a little over four months.”

Bloodgood talked about the fairly creepy baby that her character Anne births to this season.

“I definitely deliver a creepy baby,” Moon says, “She’s adorable and my character is completely in love with her, but she does start acting strange. And her peculiar behavior is only saved for me. She doesn’t do it in front of anyone else.”

“Everyone starts thinking it’s post-partum depression,” she adds, “I’m losing my mind, my baby’s definitely acting cray-cray, and she’s certainly having some sort of alien tendencies. So I have to make a decision for her safety.”

We mentioned that the finished special effects for it give it a kind of Pet Sematary feel to it.

“So not Rose from Rosemary’s Baby?” Bloodgood replies, “Rosemary’s Baby didn’t scare me the way Pet Sematary scares me. I’m with you. Oh, my goodness, because it’s Stephen King. I loved it. The sci-fi girl in me loved it. I knew, I was like, ‘OK, is this going to be something when we laugh because it’s a bit over-the-top?’”

“But when you see the baby look at me and she’s giggling, and why do babies always giggle in science fiction or horror?” she continues, “It’s always the scariest sound is a baby’s giggle. I love it. I love the creepy factor. At heart, I’m a science fiction, horror film fan, so I thought it was fun to play with it and I’m glad the gag is not silly, that it actually works. It’s chilling. It’s supposed to be, I’m glad. I heard Spielberg had a big say-so on it, so that was kind of fun.”

We felt that one of the great things about science fiction done properly is it’s a great allegorical platform to discuss experiences women experiencing post-partum depression.

“Having had a baby, I felt a bit a bit of the blues when I first had the baby and not scare the crap out of me, because you hear so much about post-partum depression,” Moon says, “And you have this drop of hormones where you feel, it’s just this elevation when you’re pregnant and then, you have the baby, and it just feels as if something just took a real sharp left turn, as my husband put it, and for about six weeks, I felt a bit…also sleep-deprived, so you’re exhausted, you’re body is in pain, you have this child that’s so dependent on you, and you do feel a bit disconnected, not everybody, I did, but it terrified me, and then, I started to feel better.”

“But those first couple of months were, I felt like I was in baby boot camp,” she adds, “I was like in it. I was in the trenches. And I had a respect for what mothers went through, and I can kind of understand. It was extremely hard, really hard. You just feel really weepy and sad and yet, there are moments you feel fine. It’s very confusing, and I think of women who have to go back to work right away and my heart goes out to them. I was lucky I didn’t have to do that.”

We felt like we could watch this and be like, “Thank God, that baby’s not an alien.”

“That would be the worst,” Bloodgood believes, “I’d rather be depressed than have a baby that started having alien tendencies. I don’t know what I would do with that. I’d probably still love her just the same, but Mommy would be a little freaked out at cray-cray baby.”

We asked Bloodgood what she felt she could contribute herself as an actress in a post-apocalyptic world.

“Isn’t it interesting?” she says, “I was reading World War Z and they were saying how if you are a plumber, how if you are a doctor, these are the people you would need in a post-apocalyptic…People like me, actor, interviewer, journalist, what use would they have for us? We would be completely useless. You would have to have a skill and the more hands on the skill is, the better, because everything changes.”

“Who cares about intellectual people or a philosopher?” Moon adds, “We need some people that can save lives or build a well, very fundamental, basic stuff. And I feel like I would be useless, too, that’s why as a doctor, they made me a doctor because everyone needs a doctor in a crisis. We’re screwed. I’m going to become a homeless person who’s hoping somebody takes pity on me.”

We asked if being on Falling Skies has enabled her to learn new skills, like take CPR classes.

“You know what, we did do a little bit of CPR,” she mentions, “What we did do is me and Saychelle Gabriel, who plays Lourdes on the show, we actually went to a hospital in Vancouver and we shadowed a nurse in the emergency room, and that was eye-opening. We saw everything from unfortunately a suicide attempt, a woman who had a stroke, a guy who had fell on a blade, an older gentleman who had fell on his face, we heard about a person who’s really a mute and a deaf and was slightly clipped by a bus, it was crazy, all in one morning. And it was like nothing, she was pregnant, the woman helping.”

“We were both pregnant, how funnier, and she, it was like nothing,” Bloodgood continues, “It was just mind-blowing what these people are able to do and just, they stay so calm, and I was again useless. We would just be able to pretend, that’s what I would be. I would, as an actor in a post-apocalypse, I’d just pretend that I was somebody, and then, ad-lib it and hope nobody would know.”

We asked her if she felt her ER real-life situation made her take pause about the fact that compared to that, acting is not saving lives or not a life-and-death situation.

“I never take acting too seriously,” Moon says, “I don’t know what it is. Sometimes I feel like I should, because you need to be committed, but I also think like I never want to think that things are way more important than they are.”

“I always try to have perspective,” she continues, “And I think as actors, it’s just hard to ride that line of wanting to be a real character, but also going, ‘You know what? We’re not saving lives. It’s just acting. There’s a whole world out there of people that are suffering. Let’s have some perspective,’ so I try to. And I’m someone who likes to joke around a lot on set. I’m not like a method actor. It’s just not my style.”

We mentioned to her that one of the greatest quotes we ever heard was when a publicist screamed at her client actress, “The sign on my door says PR, not ER,” and hung up.

“Words to live by,” Bloodgood answers, “It’s not life or death. I think it gets stressful because it’s an intense business. Everything feels life and death and I’ve definitely lost my cool a few times, but I try to get perspective. I think getting older helps and now having a baby, I mean, that’s the most important thing to me. But do I still panic that I’m not going to remember my lines, especially when I have medical jargon to say, yeah, I do.”

Original post: Moon Bloodgood Interview for Falling Skies Season 3

Now the 27 year-old returns for the third season of the TNT science fiction drama Falling Skies. In the series, which tells the story of a group of survivors banding together to fight back against alien invaders on Earth, Roy plays Hal Mason, the oldest son of Tom Mason, played by Noah Wyle.

Roy talks about how the series has managed to stay strong with the upcoming season.

“I love it,” he says, “Obviously, I have several friends who are on other shows and creators of shows and writers on shows, and they all like tease and war, ‘Watch out for the third season. It can be tricky. Sometimes that’s when that lull first hits,’ and I think we dodged a bullet. The thing I really like about this third season is we have so many storylines that are going on at the same time.”

“Usually, there’s one, two, maybe three things going on that are sort of intriguing and mysterious,” Drew adds, “Whereas this season, we start out with four or five that you’re really concerned for the different characters that you’ve now spent two seasons with and seeing how these things play out really make good storytelling.”

We mentioned to Drew about how this season will hook you in right from the jump with the third season premiere.

“It’s pretty big, huh?,” Roy replies, “Yeah, seeing all those rebel Skidders jump over the wall there and come down on the canyon. Yeah, I was told by Remi Aubuchon, our head writer, at Comic-Con last year that he finally figured out what we were going to do with the bug going from my eye to the ear. And he says, ‘Alright, man, you’re going to be paralyzed.’ I look back at him, I said, ‘For how long? We’re going to get out, right?’ And he said, ‘Well, don’t worry about that. It’s all going to be fine.’”

“And so, I was a little worried,” he continues, “But I knew that was going to give a whole wealth of information and things to play for the character that were going to be more mental and psychological. The trick was going to be Hal’s a very physical guy and that’s how he knows himself. But in that opening sequence when I’m on top of the Hummer and I’m shooting a 250 caliber machine guns, explosions are going all around, I didn’t feel like I missed a step on being an action star. I was like, ‘OK, I’m going to be alright.’”

The twist in this season for Hal, however, is he goes from being a man’s man who goes into battle with guns blazing, but then goes nowhere after he is paralyzed.

“Exactly, nowhere, even when I run out of ammunition, that’s the whole problem, what am I going to do now?” Drew says, “Being paralyzed is tough, getting around becomes a lot more difficult, but actually, I bought a wheelchair when I found out this was going to happen. I bought one and started cruising around on it around my apartment and what not. And I got up to Vancouver and they wanted me to have a sport chair, which I didn’t have, so it took a second to get used to it. But I picked things up quick, so that first scene when it’s revealed that Hal’s paralyzed and they take him out of the top of the Hummer and put him in his wheelchair.”

“They wanted me to do a 360 to show that athletic side to Hal, to show that he’s still got it,” he adds, “The thing was that was the first day of filming. I had been in this chair one day and I was like, ‘Guys, you’re killing me here. I want to do an awesome 360 and you’re giving me a day. By the end of that week, I kid you not, I was so good in this wheelchair that for an indefinite amount of time, I could cruise around in a wheelie, on gravel, whatever, I had that kind of balance. But that first day, on the incline, with the gravel, it was a little tougher, but it still worked. It was fine, but I was like, ‘I could have done better.’”

We asked Drew if he’s learned other new tricks from having acted on Falling Skies.

“Yeah, you have a lot of time on set, so anything you can pick up and learn and master…” Roy replies, “Another thing is breaking down guns, that’s a fun little pastime when you’re on set is getting the ammunition and armory guys to show you how to take different guns apart. I can get to where I can close my eyes and take them apart and put them back together and it was fun.”

We also asked Roy how he would prepare himself in an actual alien apocalypse.

“Probably falsely prepared,” Drew answers, “I would like to be sort of like Hal in the fact that he can wrangle up some hot girls, but then, I wouldn’t be like Hal and I would run for the hills and I would just stay in a cave with this super-hot girl. I’d probably bring a gun or two, but I wouldn’t plan on using them I needed to.”

We interjected to Drew that it seems that he was saying that the rest of humanity is basically on its own.

“I can’t save everybody,” Roy admits, “If they want to come and hide in my cave, OK.”

Roy talks about the development this season on the relationship between Hal and his girlfriend Maggie, played by Sarah Carter.

“That was incredibly fun to play. One thing is that Sarah and I really trust each other in our work together,” he says, “And we have such a fun time exploring these new things because all last season, it was just the chase of me after her, me after her, me save her, me blah blah blah. Not complaining, making out with the hot girls is real fun. But it was cool to be able to take it to this darker side, and we skip right from what should be their honeymoon phase to now they are like an 80 year-old couple. She’s having to take care of him. We have a paralysis at the 01 level. You’re not having much luck with anything down there, of functioning the way that it should, and especially without the modern technology and the advances that we have, I’m really needing a lot of help.”

“And I wanted to play Hal, to everyone that is on the outside, when I’m out and about, to look like everything’s fine, ‘Don’t worry about me. This wasn’t the best thing to ever happen, but I’m fine. I’m still me,’” Drew adds, “She’s the one that’s getting, things are being taken out on her, we’re seeing that snap put towards Maggie when she’s just trying to help, but Hal is not a fan of being helped. He’s the guy who wants to be helping. He’s a very confident and self-sufficient guy, and now that she’s having to step in, he’s kind of lashing out. He’s doubting himself, he’s not sure what’s really happening, what is he imagining, what is he dreaming, and he knows that Karen is up to something.”

We pointed to one scene in one episode where Maggie is walking next to Hal and it seems demeaning because everyone is above him has to look down engage with him and yet he’s trying to suppress his frustrations.

“It’s one of those things that gets you under the skin,” Roy says, “You don’t show it, but for some reason, his fuse is a little shorter now, he’s popping off a little quicker than he used to. And that’s one of those things that’s a fine line to walk, because if you just play him upset all the time, it wouldn’t be as compelling and that’s not how humans really interact with each other.”

“You try to overcome things, but when they’re tough, like I was saying, that fuse is a little shorter,” he continues, “And so I thought that would be a more interesting way to play it, in that trying to overcome this hurdle, but it’s a tough, tough hurdle.”

We asked Roy what he is most excited for fans to see this season.

“In the fourth episode is when you’re going to see that first chink really exposes itself in Hal’s armor that he puts up,” he says, “And we’re going to be introduced to, really, it’s a new side to Hal, he’s not the Hal that we’ve come to know. And then, in the next episode, we can sort of see him start to work his evil ways, but it’s the sixth episode of the season that I’m the most proud of. I’ve never filmed anything that I’m as proud of.”

“Remi and the whole writing staff created an incredible episode for me to really flesh out this character and to walk a very dark line,” Drew continues, “But that it’s still grounded in this whole Mason family drama, that’s still the core, we haven’t completely removed ourselves from it. And we’re going to find Hal in a room, cornered into a room with a character that we haven’t seen very much interaction with at all this season, and things are really going to get ugly.”

We wondered if what will happen will be a creepy baby sister possibly.

“Ooh, it’s not,” Roy replies, “That might be next season, but I don’t even know what we would do.”

We asked Roy if fans can look forward to more shirtless scenes of Hal this season.

“I’m a skinny guy, but for some reason, I felt like they were going to make me take the shirt off this season,” Drew says, “And I just killed it in the gym, and thank goodness I did, because that shirt’s off all the time.”

“After the shoot, I lost all the pounds that I put on,” he adds, “Everybody usually puts on weight during a shoot, I just lose it like that, because if I’m not going to the gym, I lose it. So I was glad I put the time in and now it’s all gone.”

Original post: Drew Roy Interview for Falling Skies Season 3