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Post by sissa on Oct 22, 2013 22:36:33 GMT 10
Congressional Campaign Committees’ War Chests Filled With $37 MillionBy Kent Cooper Posted at 10:30 p.m. on Oct. 20 Comments in post: Congressional Campaign Committees’ War Chests Filled With $37 Million 0 It’s lucky the congressional campaign committees had a combined total of over $37 million in the bank by the time of the government shutdown. With the current low approval rating of Congress, it is unclear how they will do in the fourth quarter. During the first nine months of the year, the committees had receipts totaling $106 million. The Democratic Congressional Campaign Committee had receipts of over $58 million, the National Republican Congressional Campaign Committee had receipts of almost $48 million. The Democratic Congressional Campaign Committee reported it had receipts of $8,411,474 and disbursements of $2,976,875 during September, leaving $21,572,948 cash on hand as of 9/30. The committee raised $3.6 million from contributors giving $200 or less. Itemized contributors from California gave $646,739 and those from New York have $366,935. PACs and other committees gave $361,300. Candidate committees transferred in $1.6 million. September was the second best month for fundraising this year. This year through 9/30, the committee had receipts of $58.2 million. Major donors included $32,400 from Rep. Chellie Pingree, D-Maine; $32,400 from former Ambassador Alan Solomont (MA); $32,400 from Susan Solomont (MA); $32,400 from Eugene Zagat Jr. (president, Zagat Survey, NY); $32,400 from Lyn Lear (psychologist, CA); $17,500 from Tim Gunn (fashion dean, Fifth and Pacific Inc., NY); $15,00 from Robert Wilmers (CEO, M&T Bank, NY); $4,500 from actress Maura Tierney (Warner Bros. Studios, CA);among others. The committee spent $572,691 on telemarketing; $400,808 on postage/delivery; $372,269 on payroll; $75,890 for legal services rendered; among other expenses. The National Republican Congressional Committee reported receipts of $5,267,554 and disbursements of $2,291,777, leaving $15,685,802 cash on hand as of 9/30. The committee raised $1 million from contributors giving $200 or less and almost $2.3 million from contributors giving more than $200. PACs and other committees (such as candidate campaigns) gave almost $2 million. Itemized donors in Texas gave $175,180, and Florida donors gave $166,492. This year through 9/30, the committee had receipts of $47.9 million. Major donors included $32,400 from Charles Koch (chairman, Koch Industries, KS); $32,400 from Connie Mack (FL); $25,000 from Larry Mizell (CEO, MDC Holdings, CO); $32,400 from Richard Zuschlag (owner, Acadian Ambulance, LA); among others. The committee spent $374,472 on payroll; $281,826 on fundraising calls; $245,265 on postage; among other expenditures. To search detailed money-in-politics databases, visit Political MoneyLine. blogs.rollcall.com/moneyline/congressional-campaign-committees-war-chests-filled-with-37-million/
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Post by sissa on Oct 16, 2014 23:45:15 GMT 10
George Wolfe brings to life the story of the US civil rights movementThe award-winning Broadway playwright, director, and producer spent six years carefully preparing exhibits for the new National Center for Civil and Human Rights. By Erik Spanberg October 2, 2014 2:00 PM “This is a lovely find,” says George Wolfe as he stands in one of the galleries at the National Center for Civil and Human Rights, an $80 million museum that opened this summer in Atlanta. Mr. Wolfe is a top Broadway playwright, director, and producer, as well as a member of President Obama’s Committee on the Arts and the Humanities. As chief creative officer of the new museum, he has melded the sophisticated lighting, scenery, sound, and video of a major theatrical production with the haunting, uplifting story of the civil rights movement. Wolfe spent six years designing and bringing to life the wrenching process of securing equal rights for African-Americans through protests, marches, and court battles. He pauses at a kiosk where a short film explains his “lovely find”: In late 1964, Dr. Martin Luther King Jr., born in Atlanta and living there when he won the Nobel Peace Prize that year at age 35, received tributes and praise when he traveled to Oslo to make his acceptance speech. The city of Atlanta, though, struggled with recognizing King. A number of white businessmen declined to buy tickets to a downtown banquet planned for January 1965 to honor the civil rights leader. Coca-Cola executives J. Paul Austin and Robert Woodruff, along with Mayor Ivan Allen Jr. and several others, met with the city’s business elite to discuss the damage that would result from a tepid turnout for King’s Nobel homecoming. “It is embarrassing for Coca-Cola to be located in a city that refuses to honor its Nobel Prize winner,” Austin told the group. “The Coca-Cola Company does not need Atlanta. You all need to decide whether Atlanta needs the Coca-Cola Company.” On a screen, black-and-white footage rolls showing King addressing a biracial crowd of 1,500 at a downtown Atlanta hotel in 1965. The narrator informs visitors that within two hours of Austin’s ultimatum, the banquet became a sellout, suddenly the hottest ticket in town. Coca-Cola figures into the museum itself, too: It donated the land where the 43,000-square-foot facility was built, near two major tourist attractions – the World of Coca-Cola and the Georgia Aquarium. Wolfe smiles and shakes his head while pondering the 1965 King dinner in Atlanta that almost wasn’t. “It’s fascinating,” he says before moving on to another exhibit, where he checks the lighting and the volume on the headsets, making sure everything is the way he envisioned. Wolfe grew up in Kentucky before moving to New York in 1979. In March of 1964, 9-year-old Wolfe saw King speak at the Capitol building in Frankfort, Ky. Despite spending his childhood in the segregated South, Wolfe recalls feeling safe and exceptional because of his “protected childhood” attending the academically strong Rosenwald School (backed by the late Sears executive and philanthropist Julius Rosenwald). In a country where being African-American and gay still come with ample challenges, the future Tony Award winner never bothered to let prejudice slow him down. “I never felt threatened and endangered at all” as a child, Wolfe says. He was frustrated, though, by at least one aspect of segregation. “I couldn’t go to the [whites-only] Capitol Theatre to see ‘101 Dalmatians,’ which I was obsessed with at the time,” he says. Wolfe grew up to become one of the most accomplished talents on Broadway, producing, writing, and directing dramas and musicals that played to packed houses and winning Tony and other awards. “Jelly’s Last Jam,” “Angels in America,” and “Bring in ’da Noise, Bring in ’da Funk” rank among his best-known works. The three-level museum includes a rotating display of King’s personal papers on the ground floor and, on the top level, a wide-ranging swipe-and-scan high-tech depiction of contemporary human rights issues from gay rights and income inequality to working conditions and religious and ethnic strife. Wolfe’s own contribution, “Rolls Down Like Water: The American Civil Rights Movement,” fills the second floor. It links the life of King with the global human rights concerns of today. Wolfe was asked to consider taking on the museum project by a committee that included then-Mayor Shirley Franklin. (The new museum is not related to the National Civil Rights Museum in Memphis, Tenn., located at the site where King was assassinated, which opened in 1991.) Doug Shipman, chief executive officer of the civil rights museum in Atlanta, recalls Wolfe telling him, “I don’t quite understand what I’m doing here.” Mr. Shipman then asked Wolfe what he would be doing if he hadn’t gotten into theater. “He said, ‘I’d be a history teacher.’ I said, ‘That’s what we’re asking you to do: Be a history teacher.’ ” Wolfe called on some of New York’s top creative talent, from architects to graphic designers. He also recruited actor friends such as Phylicia Rashad to narrate exhibits. Ms. Rashad’s voice-over ranks among Wolfe’s favorites: It’s a recitation of the etiquette rules of the period at Spelman, a historically black women’s college in Atlanta. Rashad, in her commanding voice, warns of a ban on wearing pants outdoors and implores the women at Spelman College to always wear gloves and bring purses when they go downtown. “I’ll just say yes to anything [he wants],” says actress Maura Tierney, a former cast member of the hit TV series “ER” who worked with Wolfe last year on “Lucky Guy,” a play by the late Nora Ephron, and who recorded narration for the museum. “When I heard George talk about the museum, it sounded really exciting. He has such a unique approach to everything he does.” Ms. Tierney and others who have worked with Wolfe say he has a knack for getting the best out of his collaborators. As a director and producer, he prods actors and crew to try new things. To reduce fear and insecurity, Wolfe often couches forays into the unknown as no big deal, offering a license to fail that can clear away mental blocks on the way to a breakthrough. Everyone who talks about Wolfe shares the observation that he scrutinizes everything, with no detail too small for inspection. “Working with George ain’t easy, but it’s so rewarding,” says Ruben Santiago-Hudson, an actor and playwright who also recorded narration for the museum and whose play, “Lackawanna Blues,” was produced by Wolfe. “On the work side, his courage makes him a tremendous leader. You’re willing to follow him into that fiery pit.” Wolfe’s unflinching sense of artistry can be found throughout the civil rights museum, including life-size videos of the Birmingham, Ala., police and dogs that surround visitors with the sounds of fire hoses, screams, and barking. At a “lunch counter” visitors sit on several stools and don headphones. They hear the rules for participating in a sit-in, including no fast movements and an adherence to nonviolent tactics. Then the exhibit provides a sample of the pressure put on demonstrators: The chairs shake and voices in the headphones hurl loud, relentless taunts. Wolfe has included lesser-known civil rights heroes, too, such as Ruby Bridges, the 6-year-old who integrated a New Orleans school in 1960 and inspired writer John Steinbeck and artist Norman Rockwell to document her courageous journey. Elsewhere, 1960s “freedom riders” can be heard reflecting in recorded interviews as their exuberance is tempered by the violence they encountered in Alabama, Mississippi, and other Southern states. More than anything, Wolfe says, he now enjoys seeing people making their way through the exhibits, exploring and listening, using their hands, eyes, and ears to gain understanding. “It’s been fun and exciting and challenging,” he says, standing on a second-floor balcony and looking down on the packed reception area below in the main entryway. “My job is done here.... I feel a sense of pride.” • For more visit www.civilandhumanrights.org. HOW TO TAKE ACTION Universal Giving helps people give to and volunteer for top-performing charitable organizations around the world. All the projects are vetted by Universal Giving; 100 percent of each donation goes directly to the listed cause. Below are groups selected by Universal Giving that help children around the world learn about the arts and culture: • Supporting Kids in Peru is a nonprofit effort that educates children in need in Peru. Take action: Volunteer for a theater project for children. • The South African Education and Environment Project helps youths in South Africa’s townships. Take action: Support art lessons at impoverished schools in Cape Town. • Children of Uganda supports orphans and vulnerable children so they can lead successful, productive lives. Take action: Help plan the Tour of Light, which shares Ugandan culture and benefits people in need. news.yahoo.com/george-wolfe-brings-life-story-us-civil-rights-180005708.html
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Post by sissa on Nov 4, 2014 7:14:56 GMT 10
Maura Tierney on The Affair, NewsRadio, and being fired from Growing Pains By Will Harris@NonStopPop Nov 3, 2014 12:00 AM
Welcome to Random Roles, wherein we talk to actors about the characters who defined their careers. The catch: They don’t know beforehand what roles we’ll ask them to talk about.
The actor: Maura Tierney got her first exposure as an on-camera actor through small roles in various sitcoms, dramas, and TV movies, working with the likes of Norman Lear, Dick Van d**e, and (briefly) David Bowie. But it was the role of Lisa Miller in NewsRadio that made her into a proper prime-time star and put her in a position to pull big-screen appearances alongside Richard Gere (Primal Fear), Jim Carrey (Liar Liar), and John Travolta (Primary Colors). Post-NewsRadio, Tierney scored even bigger small-screen success on ER, and she was on track to follow it up with another hour-long drama—Parenthood—when a cancer scare temporarily derailed her plans. Thankfully, Tierney has rebounded: In addition to having spent a half-dozen or so episodes as a guest star on The Good Wife, she can now be seen on a weekly basis in the cast of Showtime’s The Affair.
The Affair (2014)—“Helen Solloway”
The A.V. Club: Were you chomping at the bit to try your hand at a cable drama?
Maura Tierney: I was dying to. [Laughs.] No, I was! Because I was on network television for—15 years? I was on great shows, and I loved them, but I’ve never worked on cable, and it’s just such a different environment. There’s a little more freedom with the material. So I was really dying to work on a cable TV show. I wanted to do a comedy, but then this came up, and I loved it.
AVC: Did it land in your lap, or were you actively looking for a series at the time?
MT: No, it was—well, I mean, I had a meeting with them. But it was offered to me, so I took it.
AVC: How would you describe this character, Helen?
MT: Helen is the wife of Noah, played by Dominic West, and she’s kind of a wonderful wife, but in a way that’s almost—I think a tiny bit annoying. Because she’s sort of perfect. She’s a great mom—she has four kids—and she’s a successful businesswoman that has a fair-trade, eco-friendly store, and she sort of grew up wealthy, so she’s kind of in a great place. But little does she know… [Laughs.]
AVC: The series is pretty intense, and more than a little bit nerve-wracking to watch.
MT: Is it?
AVC: Well, maybe it’s just because I’m married.
MT: In that case, I guess it is. [Laughs.] I mean, that’s the point, right?
AVC: When you first got the script, did you find yourself getting caught up in it as you read it?
MT: What I loved about it was the dual perspectives, because it’s almost like a chance to play two characters. For everybody. But, you know, in his memory of me, I’m sort of more… wife-y. Wife-y and normal. And her memory of me is that I’m a lot more glamorous and intimidating and kind of cold. That’s really fun—to play essentially two different characters, really.
AVC: Are you able speak about how the season plays out? In other words, will things wrap up at the end of this season and focus on a new couple next season?
MT: Well, no, it’s the same couple, but—it’s a flashback. The whole thing is told in a flashback, and I believe that Sarah Treem, who created it, has several seasons planned in her head—at least two—and because it’s told in flashback, it can go to a lot of different places. But it all depends on if the network picks it up.
Student Exchange (1987)—“Kathy Maltby”
MT: That was my first job! [Laughs.] And I, uh, worked with O.J. Simpson. So that’s a little claim to fame of mine. Who else was in that? Oh, Todd Field, who went on to direct Little Children. He was the star, and then he became this Oscar-nominated writer and director. And the captain of The Love Boat, wasn’t he in it?
AVC: Yes, Gavin MacLeod played a vice principal.
MT: Yes! And I played a mean cheerleader! [Laughs.] I’ve never gotten to be the bad girl again like that. That’s the only time I’ve gotten to play a role where I was that kind of character.
AVC: How did you find your way into acting in the first place?
MT: I just sort of always did it. I mean, always. When I was 5, I would pretend, and then in high school I did plays and stuff, and then I studied it in college. So I’ve just kind of been acting all my life, really.
704 Hauser (1994)—“Cherlyn Markowitz”
MT: That was fun, because I worked with Norman Lear. Can you imagine? How great is that? I mean, the show didn’t last, but that was an amazing thing, to work with him.
AVC: That may be the only sitcom that’s been spun off from a location rather than a character.
MT: No kidding! But, you know, it used to be Archie Bunker’s house, so it’s an iconic address.
AVC: What did you think when you heard the pitch for the series?
MT: I thought it was great! I mean, I mostly thought, “I want to work with Norman Lear.” [Laughs.] That was the primary thing. I wonder why it didn’t work. But, yeah, when I heard the pitch, what I mostly thought was, “It’s Norman Lear, and I want to work with him.”
Scotland, Pa. (2001)—“Pat McBeth,” producer
MT: That was fun. I loved that movie. I think everybody’s great in it, and it’s so funny and interesting and original. We went to Sundance, but it’s too bad that—I don’t know why, but the critics didn’t like that movie, and it was so independent that it needed that. My ex-husband [Billy Morrissette]—we were married at the time—wrote it and directed it. And I loved James Le Gros and Kevin Corrigan. It was such a great cast. Christopher Walken! We were in Nova Scotia.
AVC: How was Walken?
MT: He’s wacky as shit.
AVC: That’s what I wanted to hear.
MT: [Laughs.] He is! But he’s fascinating. Everything you think he is, he’s that. It’s all true. And I think he likes to be that way. I think he cultivates it! He taped his lines to the chest of one of the young actors he shared a scene with—and he was delighted with himself for having done that! But he was also excellent in the film.
AVC: It’s become a bit of a cult classic, certainly among people who study Shakespeare. People take these adaptations seriously, and that’s definitely a unique interpretation of Macbeth.
MT: They do take them seriously. I mean, when you said Macbeth just then, I kind of instinctively cringed and was, like, “Wait, where are we?” [Laughs.] You know, it’s funny: After the movie, people would send my ex-husband these things that were like textbooks, and they would basically be full treatises about the themes of Scotland, Pa. And none of them were really what he’d intended. He made a comedy out of it! But it was really fun to make. I wish more people had seen that movie.
The Office (2011)—“Mrs. California”
MT: That was really fun, too.
AVC: It was just a one-off appearance, but how did it come about?
MT: I don’t know. They just asked me, and I said “yes” because I liked that show. [Laughs.] But here’s what was interesting about that. You know how a lot of actors will say that it’s important how you act off-camera, that you work for the other actors, and… I’ve always envisioned myself as a person who’s really present for the other actors, and I’ve always tried to do the same thing off-camera—or better—than I did on-camera. But when you go on The Office, you’re always on-camera. And then you’re like, “Oh, so this is what it’s like to just really work hard.” Because you never know when you’re on camera or not. It lights a fire under your ass. It seems like they had a blast on that show. It was fun for me.
AVC: Had you worked with James Spader before?
MT: I hadn’t. He’s a little wacky, too. [Laughs.] But nice! He’s not Walken-level wacky.
The Van d**e Show (1988)—“Jillian Ryan”
MT: That was really fun. I mean, it’s Dick Van d**e! And Jay Sandrich was the director, who directed The Mary Tyler Moore Show. I was really lucky to be able to work with super-talented people early on. And Dick was so sweet. We had a lot of fun. But that show was kind of—I don’t think anybody was watching that show. [Laughs.] In addition to Jay, Kari Lizer was also on the show—as an actress, but she went on to create The New Adventures Of Old Christine. The most fun thing about the show for me was that I got to have curly hair. My hair is straight, but the character had curly hair.
AVC: The Van d**e Show was your first gig as a series regular, right?
MT: Yes, it was. That was right after I got fired from Growing Pains.
AVC: Um—this is the first I’m hearing of you being fired from Growing Pains, so I’m afraid I’m going to have to ask for further details.
MT: Yep. I was fired from Growing Pains.
AVC: So did you actually…
MT: Get fired? Yes, I did.
AVC: I was going to ask if you actually did the show and it’s just not on IMDB, or if you never made it on at all.
MT: Well, I was hired, I rehearsed, and—it was a multi-camera, so it was on the second day of rehearsal that I was fired.
AVC: Is it worth asking why?
MT: I don’t know why! I think maybe I had a bad attitude. [Laughs.] I really don’t know. The director kept saying, “Watch Kirk [Cameron]! Watch Kirk! Kirk knows what he’s doing! Watch Kirk!” And then I got fired. So that’s what I get for watching Kirk, I guess. Or maybe I didn’t watch him closely enough. Either way, I don’t think I’m welcome in his bunker.
Family Ties (1989)—“Darlene”
MT: That was fun, but it was a weird, tiny part. My brother, who’s younger—I really wanted to do it because he liked the show. And then I did it, and it turned out that he couldn’t give a shit. [Laughs.] It was still fun, because it was Family Ties, but it was really quick. It was, like, one second.
NewsRadio (1995-1999)—“Lisa Miller”
MT: That was great. The thing about that show is, I auditioned for NewsRadio in New York, and two days later I got a call saying, “The casting director accidentally erased your entire audition.” I was like, “Are you f**king kidding?” And I had to go back and redo it, but it was right after Thanksgiving, and I remember it was when they were lighting the tree at Rockefeller Center—the casting office was near there—and there were just massive amounts of people. I was just so frustrated that I had to deal with that to go back and do it again. But then, after that, they flew me out, so maybe it was, like, this blessing my first audition got erased. They so did not know who they were going to cast for that role. I flew in, went directly to the network test, got hired, and started rehearsing the same day! [Snaps fingers.] It was just like that. But we gelled right away. It was a blast.
AVC: It’s fortunate for them that you did gel right away, given the quick turnaround.
MT: Yeah, right! But there was no one over 30 on that show—except for Phil [Hartman], who acted like he was 15 years old. [Laughs.] But none of the writers or the other actors were over 30. It was so much fun.
AVC: Do you have a definitive Phil Hartman story?
MT: Um. [Long pause.] I don’t know. I do remember one thing he said to me. Joe Rogan was being so f**king mean to me one day—and mostly we were all friends, but Joe could be a weirdo—and I was sort of upset about it, so I was just sitting over in the corner. And Phil came over and put his arm around me, and he said, “You know, I just want to tell you you’re loved.” Isn’t that really nice? I know you expected me to tell some wacky story about Phil, but he was like that, too. He just put his arm around me and said that. He was so sweet. He was a really nice man.
AVC: Do you have a favorite Lisa storyline or episode?
MT: Yeah, I loved… [Starts to laugh.] Okay, well, first of all, I loved the space episode. That was f**king hilarious. All of those weird, bizarre concept shows that we’d do at the end of the seasons, like the Titanic, were great. But I also love the episode where Lisa wants Dave to tell her his sex fantasy, and he won’t tell her. And it’s just so funny at the end of the episode when he says something like, “I want to be with a space prostitute.” I don’t know, that episode was just really fun. She’s trying to work with him—but he’s just such a nerd!
Melvin Goes To Dinner (2003)—“Leslie”
MT: I love Bob Odenkirk, so when he asked me, “Do you want to do this?” I said “yes!” I just think he’s hilarious. Again, I’m the straight man. I’m the straight man a lot. In fact, I’m almost never not the straight man! [Laughs.] But I don’t care, because I just think he’s great. And that’s a talent, too. I’m not shitting on being a straight man. It’s just how I’m cast or perceived or whatever. Maybe one day before too long I’ll get to be wacky. I don’t know. I hope so. We’ll see.
Parenthood (2009)—“Sarah Braverman” (scenes deleted)
MT: [Wistfully.] Oh, yeah. Jason Katims. See, I get to work with super-talented writers and showrunners, like Jason, Norman Lear, Paul Simms, John Wells. What I did was fun. It was unfortunate that I had to jump out of that show [for cancer treatment]. But I watch it. It’s a great show. And maybe I’ll be able to work with Jason some other time. We certainly had a blast on the pilot. But, you know, the thing about that is, Peter [Krause] and Lauren [Graham] are a couple, so if I hadn’t had to drop out, she wouldn’t have gotten in, and they never would’ve made a love connection. So I take credit for that—as well I should! [Laughs.]
Law & Order (1991)—“Patricia “Patti” Blaine” Dead Women In Lingerie (1991)—“Molly Field” Fly By Night (1993)—“Denise” AVC: You did an early episode of Law & Order, and you also worked with Jerry Orbach—but not in Law & Order. That was in what appears to have been your first film, even if it apparently never actually got a theatrical release.
MT: I don’t think that was actually the first film. Maybe it was. You’re talking about Dead Women In Lingerie, right? [Laughs.] But I also did another little movie called Fly By Night, I think it was called, which was also never released.
But, yeah, I did work with Jerry Orbach on that other film—that horrible, horrible film—and he was a very nice man. But I actually worked with Paul Sorvino and Chris Noth on Law & Order. I had to testify against my mother!
AVC: It’s kind of a rite of passage for a New York actor to do an episode of Law & Order.
MT: Exactly!
AVC: So what’s the story on Dead Women In Lingerie?
MT: Oh, God, that was awful. I mean, that was literally the biggest piece of shit I’ve ever—it was just awful. This woman who was, like, an accountant directed it. It was just terrible.
AVC: So did you take it just so you could say, “Hey, I’m in a movie”?
MT: Well, yeah, but it was also the start of my career, so I think I was mostly just saying, “I’m working!”
The Linguini Incident (1991)—“Cecelia”
AVC: Right around that time, you were also in The Linguini Incident. Do you have a David Bowie story?
MT: Oh, my God. Yeah, well, he was, like, my idol when I was growing up. It was sort of when I was starting to listen to music and I realized that I didn’t have to listen to classic rock like all the kids I went to school with. He was a revelation to me. And my friend Richard Shepard directed that. We went to college together, so we were very good friends.
I guess I don’t have a great David Bowie story, but I remember I had this one scene where—it wasn’t even really a scene with him, but he was a bartender and I was a waitress. And I found out from Richard that David Bowie liked the Pixies, and I loved the Pixies at the time, so I just kinda sorta casually dropped the Pixies into the conversation so that David Bowie would think I was cool. And then he, like, sent his person out and had him buy all the Pixies CDs that existed, and we played them in the dressing room, and it was f**king awesome. It was an amazing moment to, like, hang out with David Bowie and listen to the Pixies.
AVC: Okay, I don’t know if your threshold for a great David Bowie story changed in the middle of telling it, but that’s definitely a great one.
MT: Isn’t it? You’re right. I forgot. [Laughs.] I’m old. I forget! But you’re right. That was great. Oh, and I went out for drinks with Iman one night, too. But I was so painfully shy.
AVC: Still, you had drinks with Iman, and you hung out with David Bowie.
MT: Yes, I did. [Laughs.]
Welcome To Mooseport (2004)—“Sally Mannis”
MT: The film that forced Gene Hackman into retirement. [Laughs.]
AVC: I’ve always suspected you might’ve had something to do with that.
MT: No, it wasn’t me, it was the film! But Ray [Romano] is such a great guy, and I think Gene Hackman is really—I mean, I’ve worked with a lot of amazing actors. Like, a lot. [Laughs.] Like, Academy Award-winning actors! Not that that means everything, but you know what I mean. And I found Gene Hackman to be incredibly delightful to act with, one of the most relaxed, engaging actors. I loved working with him so much. Him, and Jimmy Woods on ER. They’re just—I don’t know, it was just a wonderful experience.
AVC: Perhaps he sensed retirement was imminent.
MT: Maybe. [Laughs.] No, I just think he’s just a very pleasant actor.
AVC: What’s funny is that I’ve talked to several people who’ve worked with him, and they’ve generally had nothing but praise for him when he’s on-camera, but most of them have said that he’s not one for small talk off-camera.
MT: No, but you know what? He was nice to me. He didn’t like the director. But I don’t think he likes directors. I think that’s his schtick. I mean, he did, I believe, tell the director at some point to, uh… [Starts to laugh.] “Will you just shut the f**k up and go over there and say ‘action’ or whatever it is you do?” Now that’s funny.
AVC: That is funny.
MT: [Laughs.] But he was nice to me! He was lovely. That part was great. Unfortunately, that movie wasn’t the greatest, either, but—easy come, easy go.
Finding Amanda (2008)—“Lorraine Mendon” Rescue Me (2009-2011)—“Kelly McPhee”
MT: I loved Rescue Me. I really loved that job. I loved Denis [Leary], I loved Peter Tolan, I loved that role, I loved the character they created. I thought she was such hot shit, really tough and smart and different from the part I had played on ER, which I’d done right before, so it was really liberating and fun. The part was fun, and the clothes were fun, too. It was great.
AVC: Was it the character that originally drew you to the part, or just the opportunity to work on the series?
MT: Both. I remember Denis and Peter—actually, maybe it was just Peter—calling me up and pitching me the idea and the character, and I immediately wanted to do it. I liked the show, so I wanted to be involved, and then I really liked the idea that this character was kind of a rock ’n’ roll girl. It was great!
AVC: I’d wondered if it might’ve been Peter who called you, if only because you’d already done Finding Amanda with him by that point.
MT: You know, you’re right, that is why: We’d worked together before, so I already knew him.
ER (1999-2009)—“Dr. Abby Lockhart” AVC: Was the decision to do ER a conscious attempt to shift away from comedy and into drama?
MT: On some levels, it was. When I finished NewsRadio—I did that for four and a half years, for five seasons—I remember saying to my manager or my agent—and it was just a thought—that the only way I would go right back into a TV show was if I could do an hour drama, because that was something I wanted to do. I just remembering thinking that I didn’t want to do another sitcom. Then I got offered that job. It was weird. I guess I just put it out there somehow.
AVC: You’ve said in the past that you felt like you fell on the Television Academy’s radar as a result of Sally Field being cast as your mom.
MT: Yeah, that was the best. She’s wonderful.
AVC: That had to have been a thrill.
MT: It was a thrill, and I was so nervous, because she’s very specific about the work. But it quickly becomes unintimidating because she is so focused on the work and so serious about it. She taught me to take the time you need to do the work that needs to be done. She was very unembarrassed about needing to take her time to get where she wanted to go. And as a result of working with her, I think I took myself more seriously as an actress. She gave me the insight to do that. And the balls. [Laughs.] Which is a tremendous gift.
I also think her performance and what we did together kind of created my character. Like, once you saw Abby’s crazy-ass mother, you’re like, “Oh, I get it now. I understand this woman.” [Laughs.] You know what I mean? She did, like, 10 episodes, I think, but the first three she did really informed every other thing that happened to me for the next four years. It was great.
AVC: When you originally joined the series, was it always intended to be a lengthy stint, or was it a short arc that just became longer?
MT: No, it was always intended to be long. I think I signed on for four years? And then I signed on for three more or something like that. I forget exactly.
AVC: Do you have a favorite arc from your run?
MT: Well, I loved the stuff with Sally, obviously. [Long pause.] I don’t know. I had a lot of fun on that show. I liked what they did with me at the end. I’d originally wanted them to kill me off, but in the last season they wrote this really amazing arc for me, where Abby gets involved with Goran Visnjic’s character, and then I accidentally get pregnant, and then she falls off the wagon and struggles with her addiction. It was really intense. And it totally felt like I got to go out with a bang.
Crossing The Mob (1988)—“Michelle”
MT: That was not my first job, but it was my second. It was a TV movie, back when they still used to do TV movies. And it was with Jason Bateman! Isn’t that funny? Now he’s, like, a giant movie star.
AVC: I believe you also got to work with Frank Stallone on that project.
MT: [Bursts out laughing.] Yes, I did, and I remember that because he asked me out!
White Sands (1992)—“Noreen”
MT: That was nice. That was actually a good movie. In fact, that was probably my first job in a really good movie, with great actors. I mean, Sam [Samuel L.] Jackson was in that, Willem Dafoe—it was really great. And a really cool movie. Oh, and Mickey Rourke was in that, right? And I think he shot his girlfriend when he was doing that movie! He was dating that model [Carré Otis] and he shot her by accident. Do you remember that? I think it happened during that! But I didn’t work with him at all. I only worked with Willem Dafoe. It was sort of a small part, but it felt like an important movie. It just felt like there was quality to it.
The Good Wife (2012-2013)—“Maddie Hayward”
MT: That was fun. I mean, I love that show. But especially my mother f**king loves that show. To the point where I need her to shut up about it sometimes. I’m like, “I know! The Good Wife is your favorite show!” [Laughs.] So that’s sort of partially why I did it. Also it’s shot in New York, and I hadn’t been on TV in a while, so it’s nice. It’s a nice set to be on. I mean, my character didn’t quite sort of evolve into what they had pitched me. But that’s okay. I had a nice time.
AVC: Did they reach out to you? I’d wondered if it was connected to you having worked with Julianna Margulies in the past or if that was incidental.
MT: I actually don’t know. The Kings [Michelle and Robert], who created the show, called me and pitched me this character, and it seemed fun. And, yes, working with Julianna again was fun, too. But I didn’t work with her that much. I did in the beginning, but in the end it sort of became more working with Alan [Cumming] and Chris [Noth]. But it was very nice to catch up with her.
Instinct (1999)—“Lynn Powell”
AVC: You worked with not one but two Academy Award-winning actors on Instinct.
MT: Yeah! I thought that movie was good, too. And you had Cuba [Gooding Jr.], and then you had Tony [Hopkins], also an Academy Award winner. That was great. The part was kind of hard, though. But I loved working with the director, Jon Turteltaub.
AVC: You sounded amused by the fact that you can refer to Anthony Hopkins as “Tony.”
MT: Well, that’s what he goes by! I didn’t mean to be pretentious!
AVC: No, you didn’t sound pretentious. If anything, it almost sounded like there was a little giggle before you said it.
MT: [Laughs.] Well, he’s lovely!
Primary Colors (1998)—“Daisy Green” AVC: Is there anyone that you’ve worked with who’s really intimidated you?
MT: Oh, my God, so many. Are you kidding? There was Sally Field, like I mentioned. I was intimidated by Gene Hackman. I was intimidated by everyone in the beginning! [Laughs.] And then John Travolta, Emma Thompson—I just think that what happens is when you work with these people, there’s a reason why they are valued members of the acting community, and you can be intimidated by that at first. But then, once you start doing the work, it gets fun. Or serious. And usually, hopefully, the intimidation goes away. But intimidation used to be my baseline. I’m getting a little better, though, I think because of my age.
AVC: Well, now that you’ve mentioned Travolta and Thompson, let’s talk Primary Colors.
MT: Oh, my God, and not only them, but also Mike Nichols! It was crazy. And Elaine May wrote the thing! Again, that was a long time ago, but Billy Bob [Thornton], Kathy Bates—it was crazy, that cast. But it was wonderful. I loved that book, too. That’s a book where I read it and I don’t usually do this, because I’m a hard worker but I’m not the most ambitious person, but I was like, “If that turns into a movie, I want to be in it!” Then a year later, it did. So I went in and auditioned for Mike Nichols, and then I went in again and auditioned for Mike Nichols again, and then I got the job. It was thrilling, because it was something I wanted to be a part of before I ever knew it was going to be a thing. Also because my dad was a politician [Joseph M. Tierney, a longtime city councilman in Boston].
Insomnia (2002)—“Rachel Clement”
MT: I loved Chris Nolan. I liked that part, too, but this was right before Chris blew up. His movie Memento went to Sundance the same year Scotland, Pa. did, so I had seen the movie there, met him a little bit, and it was great, but—I don’t think Al Pacino liked me very much. [Laughs.] Something happened. I don’t know what. I was a little isolated, because we were up in Vancouver, and all of my scenes were with Al. There was a whole other group of actors who had been together and had scenes together, so we were just kind of isolated. But I thought Chris Nolan was just a f**king great director. Al Pacino, there’s another one you can’t help but be intimidated by. But once I realized he didn’t like me, I kind of got over that.
AVC: Now, you say he didn’t like you, but are you sure? I mean, why do you say that? Was there something in particular he did?
MT: Yeah, he stopped talking to me!
AVC: Well, that’d do it.
MT: Yeah, I don’t know what it was. But the director of photography for that movie, his name’s Wally Pfister, and he’s now a huge DP and directed his own film [Transcendence], was also the DP on Scotland, Pa., so there was a comfort level with him. And you know who else was great? Robin Williams. I didn’t get to work with him, but I saw him on the set. He was a lovely man. And he gave me a foot massage.
AVC: There’s a memory to cherish.
MT: Yes, it is.
Liar Liar (1997)—“Audrey Reede”
MT: I really am always the straight guy. I told you! [Laughs.] But it’s okay. They think I’m good at it, and they think it’s a skill to be able to do that. But that movie was—I think that movie’s hilarious, and I think I’m almost recognized for that more than anything else I’ve ever done. Which is shocking to me. I mean, that’s an old movie and I’ve aged! It’s weird to have someone come up to me as recently as yesterday and have them say, “Liar Liar, right?” It’s just weird.
AVC: Come on, it’s not that weird that they’d recognize you. You don’t look significantly different.
MT: I guess, but—if I feel significantly different... [Laughs.] I mean, what year was that, anyway?
AVC: ’97.
MT: Oh, come on! [Laughs.] I mean, how long ago is that? But I think it’s a very funny movie. And kids still like that movie. So that’s nice. Even though I’m the mom and the wife in that, which is just boring. I mean, it was much more fun to play Kelly on Rescue Me, but I understand the appeal of that movie.
Primal Fear (1996)—“Naomi Chance”
MT: Oh, my God, that’s another one! Richard Gere. Can you imagine? You know, I was on ER for such a long time that I was just doing TV, so most of the movies I did were longer ago, but I do remember that I was young—maybe I was even still on NewsRadio—and we were shooting it on the Paramount lot. I was walking to the set behind Richard Gere, we’re on the soundstage, there’s the backdrop, and I just remembering thinking, “I’m walking behind this movie star! And I’m on a movie!” [Laughs.] It was pretty exciting! And I was maybe 29 or 30. I don’t remember how old I was. But he was really lovely. Edward Norton, too. That was one of his first gigs, and we had a great time together. I mean, my part was sort of just sitting next to Richard Gere and holding a pencil, but—that’s nice work if you can get it!
Credits - I'm Not Dead (FANFORUM)
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Post by sissa on Jan 4, 2015 11:40:44 GMT 10
Comic horde will be here all week (plus) for SketchfestBy Chad Jones Updated 12:10 pm, Friday, December 12, 2014 Turn the dial up to 11. Spinal Tap is coming to town — sort of. The men behind the heavy-metal hair — Christopher Guest, Michael McKean and Harry Shearer (a.k.a. Nigel Tufnel, David St. Hubbins and Derek Smalls, respectively) headline the 14th annual SF Sketchfest, held Jan. 22 through Feb. 8. The lineup for the comedy festival, announced Friday, Dec. 12, boasts hundreds of comedians and events, with more yet to be announced. At the top of the heap is a tribute to Guest, McKean and Shearer, who also made music of a different sort as the Folksmen on “Saturday Night Live” and in Guest’s “A Mighty Wind.” Also receiving the Sketchfest tribute treatment are “Weird Al” Yankovic and comedian-radio host Marc Maron. Other big names headed to the various venues of SF Sketchfest include Bill Nye the Science Guy and Eugene Mirman in “StarTalk Live”; Natasha Lyonne and the Peaches Christ Experience screening and chatting about “But I’m a Cheerleader”; and an all-star 20th anniversary reunion of the NBC sitcom “NewsRadio” featuring Dave Foley, Maura Tierney, Stephen Root, Andy Dick, Vicki Lewis and Khandi Alexander.Audiences can also expect appearances by Jenny Slate, Judge John Hodgman, Wyatt Cenac, Adam DeVine, Margaret Cho, Jeff Garlin, Kumail Nanjiani and Chris Hardwick, and a high-wattage edition of “Celebrity Autobiography,” starring John Cho, Janeane Garofalo and Jennifer Tilly, among others. Some movies will be celebrated — Preston Sturges’ “The Miracle of Morgan’s Creek” — and some will be eviscerated: Doug Benson’s “The Benson Movie Interruption” tackles “Twilight: Breaking Dawn, Parts One and Two.” On Groundhog Day, Stephen Tobolowsky will pay tribute to “Groundhog Day,” in which he plays insurance salesman Ned “I sure as heckfire remember you!” Ryerson. Cary Elwes, who just wrote a book about his experiences making “The Princess Bride,” will be on hand to lead the “Princes Bride” quote-along. Elwes, who played Westley in the film, titled his work “As You Wish: Inconceivable Tales From the Making of the Princess Bride.” Cole Stratton, who co-founded Sketchfest in 2001 with Janet Varney and David Owen, says that with more than 200 shows, he’s hard-pressed to pick a highlight. “As an improviser and a big fan of their work, I’m really happy that Christopher Guest, Michael McKean and Harry Shearer are taking part,” he says. “And the 'Better Off Dead’ 30th anniversary live script read is going to be great. But mostly, I’m looking forward to the camaraderie — just seeing all this tremendous talent hanging out is always surreal and fun.” Originally formed as a way to showcase Bay Area comedy groups, SF Sketchfest embraces movies, music and assorted mayhem mixed in among the comedy acts. Participating groups include the Groundlings, Upright Citizens Brigade, Princess (Maya Rudolph’s Prince tribute band), Killing My Lobster, the Onion and Theme Park Improv featuring Ian Brennan, John Michael Higgins, Michael Hitchcock, Jessica Makinson, Oscar Nunez, and Stratton and Varney. Owen says that 14 years of Sketchfest’s consistent growth may attract big names, but scheduling never gets any easier. “I equate it to trying to put together a jigsaw puzzle outside during a hurricane,” he says. “So many small pieces to put together with so much constant change. But it always seems to work out. It’s all about making people laugh and be happy.” Sometimes the titles of shows are good for a laugh. Among the 2015 festival’s entries: “Tinkle Twins” with Dana Gould and Arden Myrin), “Who Charted?” (with Kulap Vilaysack and Howard Kremer), “Come to Papa” (with Tom Papa), “Competitive Erotic Fan Fiction,” and John Benjamin’s “Night of Not Interested in Hosting This Show.” Varney attributes the growth and popularity of SF Sketchfest to Bay Area audiences. “I hate to get all 'Field of Dreams’ about it — I mean, I truly hate to — but it has proven to be a real 'if you build it they will come’ kind of festival,” she says. “Our performers love the vibe of the festival, and we credit our staff, the people of San Francisco and, of course, the city itself for bringing so much of that to SF Sketchfest.” Chad Jones is a Bay Area writer. Twitter: @theaterdogs 14th annual Sketchfest: Jan. 22-Feb. 8. Various venues. Tickets are $10-$50 and go on sale Sunday, Dec. 14. www.sketchfest.com.
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Post by sissa on Feb 19, 2015 12:11:22 GMT 10
Kelly & Michael: Maura Tierney Kate Bush Fan + The Affair Review by Robin Lempel Kelly & Michael: Maura Tierney Maura Tierney came by to talk to Kelly Ripa and Michael Strahan about her new show The Affair, which looks really interesting. It’s about an affair and is told from each person’s perspective. Kelly’s watched the show and loved it. She called it really provocative. Tierney’s an Emmy nominated actress. She’s been on Broadway, TV, and movies and is known for her role in ER. She’d never done the high five thing before. People do still go up to her and call her Nurse Jackie, or they just go up to her and vaguely remember her. Kelly & Michael: Maura Tierney Student Exchange Kelly & Michael: Maura Tierney Kate Bush Fan + The Affair Review Maura Tierney talked to Kelly & Michael about how her role in ‘The Affair’ is like playing two different characters. (Helga Esteb / Shutterstock.com) Tierney’s first movie was a TV movie called Student Exchange. Kelly said it was just on cable. They, of course, even had a clip of it. Tierney was mortified. The costume was amazing. “I forgot I had to sing in it,” she said. “It’s why I’m not a singer.” Kelly & Michael: Maura Tierney Kate Bush Concert Tierney just got back from London where she saw Kate Bush. She’s a huge fan and it was the first time she performed in years. Bush didn’t know she was there. She was a “giant, huge, nerdy fan.” You can’t stand up and dance at British shows though. And security comes if you even touch your phone, but it was great. Kelly & Michael: Maura Tierney Apartment Renovations Tierney just renovated her apartment. She likes her contractor, but she can’t do anything right. She keeps buying things and hating them. She has a blue fireplace now. Kelly’s also renovating. Kelly & Michael: The Affair Review The clip of The Affair showed Tierney and the guy who’s having the affair picking out a dress. “This show has us talking at work like you can’t imagine,” Kelly said. Tierney plays a married woman and they’re spending their summer in the Hamptons. It follows two marriages. The marriage is happy and healthy, but he meets another women and he falls in love. Taking care of yourself could mean hurting someone else. You should be rooting for a new couple each week and it should be really thought-provoking. Act one is his memory and act two is her memory. She’s a very different woman depending on whose perspective it is. It’s like playing two different characters. On ER, Tierney consulted doctors and nurses, but they have a special consultant for The Affair. They have an infidelity consultant. “She cheats all the time,” Tierney joked. She actually wrote a book called Mating in Captivity. Tierney didn’t actually talk to her though. She talked to everybody else. Kelly assumed she was a man, but Michael thought she’d be a man. The Affair airs on Sundays on Showtime. www.recapo.com/live-with-kelly-ripa/live-with-kelly-interviews/kelly-michael-maura-tierney-kate-bush-fan-affair-review/
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Post by sissa on Feb 19, 2015 12:28:33 GMT 10
Shop 'The Affair' Star Maura Tierney Wears Sleek Maggy London L.B.D. To The Elle Women in Television Celebration: Where Can I FindYou can't go wrong with an L.B.D. Fresh off "The Affair's" big Golden Globe win for Best Television Series Drama- its star Maura Tierney hit the red carpet for Ell's Women in Television Celebration, presented by Olay and Hearts on Fire Diamonds, on Tuesday, Jan. 13 at the Sunset Tower in West Hollywood, California. For the stylish event, the 49-year-old actress, who was joined by the likes of other small screen stars including Lena Dunham, Jenna Dewan Tatum and Julie Bowen, donned British label Maggy London's signature black "Illusion" dress featuring a sheer neck details and figure flattering silhouette. She accessorized the sleek and sophisticated look with Paul Andrew's black suede and lizard print calf 'Paloma d'Orsay Pump' black peep toe pumps, a coordinating clutch and Harry Kotlar brilliant cut diamond stud earrings. Want to get the look? You can find Maura's exact dress for just $148 on maggylondon.com. www.fashionnstyle.com/articles/41047/20150119/the-affair-star-maura-tierney-wears-sleek-maggy-london-l-b-d-to-the-elle-women-in-television-celebration-where-can-i-find.htmTom Hanks sings Irish ballad at ‘Lucky Guy’ reunionBy Stephanie SmithJanuary 23, 2015 Tom Hanks reunited with the former cast and crew of his Broadway play, “Lucky Guy,” on Tuesday afternoon — two years to the day from the hit show’s first dress rehearsal — at Flatiron restaurant SD26. Actors Richard Masur, Peter Scolari, Maura Tierney, Deirdre Lovejoy and Christopher McDonald joined Hanks at the festive lunch, and we’re told the group closed out the meal with a rendition of Irish ballad “The Wild Rover,” which they sang in the opening scene of the Nora Ephron play. pagesix.com/2015/01/23/tom-hanks-sings-irish-ballad-at-lucky-guy-reunion/
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Post by sissa on Feb 19, 2015 12:32:57 GMT 10
Emmy Rossum, Maura Tierney, Caitlin FitzGerald and More on Female Sexuality and TVBy Bonnie Stiernberg January 14, 2015 | 2:26pm Emmy Rossum, Maura Tierney, Caitlin FitzGerald and More on Female Sexuality and TV In a perfect world, we wouldn’t need a panel like this. There’d be no exploitation to discuss, no misogynistic interpretations of female characters’ actions, no women relegated to window dressing. But unfortunately we still have a TV landscape where positive depictions of female sexuality are few and far between. Showtime—whose lineup includes plenty of complex women navigating these issues—hosted a panel on this issue at the TCA winter press tour on Monday featuring Shameless actresses Emmy Rossum and Shanola Hampton and executive producer Nancy Pimental, Masters of Sex star Caitlin FitzGerald and executive producer/showrunner Michelle Ashford and The Affair actress Maura Tierney and creator/executive producer/showrunner Sarah Treem. Here are some highlights from the discussion: Putting these shows aside, so much of what we see of women’s sexuality on TV is sort of defined by dysfunction. Either they’re hyper-sexual for some reason that has nothing to do with enjoying sex, or they’re not having sex and they’re unhappy about it. Why do you think that is? Is it reflecting something bigger in the culture? Emmy Rossum: What I think is so interesting about showing sexuality as part of art is no different than showing any other part of life to inform the art. Sexuality is a part of life, I hope, and it’s interesting that the women on the stage get to write, and we get to show characters. We get to explore the intimate parts of them, be that anger or loss or happiness or sexuality. We get to show so much about these characters. You’re right. Sometimes you do have sex for a reason that has nothing do with sex. Maybe it’s about power. Maybe it’s about insecurity. Maybe it’s about just wanting to connect. Maybe it’s about just wanting to feel good. But I think, regardless, what so great about the shows on Showtime and these women up here is that they don’t show in a gratuitous way. You’re right. It is illuminating something else, and that is dysfunction, and sometimes it’s just that we get the chance to do something great to show the audience something deeper about a character. So it’s really just in a sexual context. It really has nothing to do with sex and everything about emotion. For the showrunners, can you talk about writing and depicting sex, character development through sexuality as opposed to through violent action or dialogue? Michelle Ashford: We had an interesting sort of…I think I’ll say dilemma or a challenge or a lucky thing on our show, which was that our show was about sex. So we came out of the gate knowing that we were going have to tackle sex all the time, and one of the things that was very appealing to me is because they came at it through their work initially, which was, of course, science. And so I thought, well, that’s a very interesting way to look at sex. It’s fresh and different. So we had that as built into our show, and that allowed us to look at sex almost in the polar opposite way as how it has been approached, I think, for many years, which is how do you make sex look sexy? Our job was how do you make it look as unsexy as is humanly possible? Because what it was was a piece of science for us. So that was an interesting way to come at sex. Then when it came to the characters, we thought, well, let’s just expand this idea and make sure that we’re never showing sex to be sexy. What we’re showing it for is just a sympton of some emotional stage or some bargain that’s been made or whatever it is, because I think that’s more, first of all, reflective of reality that sex becomes, yes, there are people who just have nice, happy sex and— Rossum: There are? Ashford: Well, I don’t know. I’ve heard about it. [laughs] But we are all entrusted with telling dramatic stories. So, of course, we will be looking at ways to depict this in a way that’s reflective of some kind of character schism or dilemma or a development. And so I’m sure everybody has their own process with this, but that’s how we started. Sarah Treem: We like to think about sex as communication in our show. So it was a way to show the characters. It’s just a different way to show the characters communicating, and we hope that our sex scenes would move our stories forward emotionally in some way as, you know, specifically and productively as if we had used dialogue. So I personally think a lot gets communicated in sex as actually unarticulable and that sometimes people can talk to each other more clearly in sex than they can actually in conversation. So we were trying to whenever we do the sex scenes, we were trying to first understand what the characters were saying to each other in the sex scene and then basically, “How are we going to do it through sex?” As critics, a lot of times we’re trying to look at sex scenes in particular in shows and trying to figure out if they’re exploitive or if they’re really creative and necessary and necessary to move the story forward. And I’m wondering do you have a sense whether or not female showrunners and female writers are more likely to present sex scenes that are not exploitive of the female characters? And if so, how does that manifest itself? Maura Tierney: I think—I don’t know if you guys agree—I think to decide, I think you have to be in the room or in the scene to decide if it’s exploitive or not as opposed to being a critic. Do you know what I mean? The actress or the actor, I think, decides what is exploitive. Treem: I mean, I don’t think anyone ever tries to be exploitive. I think would that be strange. Tierney: Yeah. Treem: In porn maybe. I think they are trying in porn. I think there was a sense early in the days of Showtime and HBO original shows where you would see women nude because they could show women with their tops off, and then, you know, the medium progressed to a point where the sex scenes served the story more. But we’re still trying to sort through sometimes scenes. We’ve talked about Game of Thrones. We’ve talked about Girls. We’ve talked about shows where we’re wondering are these sex scenes exploitive? Is it about the nudity? Is it about titillation? Or is it really creative? And I just wonder if you guys have those debates or discussions, and how do you judge? Rossum: I think we do. Shanola Hampton: Absolutely, we do. Rossum: I think sometimes we see drafts or ideas and we think, well, this doesn’t feel necessary. How is this furthering the story? But things can feel exploitive in a lot of different ways. They can feel emotionally exploitive. A character can cry too much for no reason because that seems like the obvious thing to do. I think we’re just trying to find the honest truth of what a character would do in that moment, and if the honest truth involves sexuality, it involves intimacy between two characters, whatever, or violence between two characters, as long as it feels real. There’s a scene that we have this year in Episode 6 or 7 where Fiona has a different kind of sexual experience than she’s had before. It’s quite surprising and emotional and a little bit aggressive in a way that initially she thinks she wants and then she thinks she doesn’t. And for me, it was so much about the feeling, and I felt very, very vulnerable during that scene, and I was lucky that I was surrounded with actors and a cast and a crew that made me feel comfortable, didn’t make me feel exploited, and that kind of writing. I don’t know if you guys feel this way as actors, but there’s something about being able to go to a certain place, doing something challenging that you’re scared of that, once you do it, is incredibly liberating and not scary anymore. And I think that it had nothing to do with the fact that the scene was about sex and everything to do with the fact that the scene was about power. Tierney: Yeah, I mean, my character had, I think what you said, “nice, happy sex” in the beginning of our series. And the end, that was not the way they were communicating with each other, and there was a lack of communication, and it was very vulnerable, this stuff, in the end for me. But it was about that character being very vulnerable and willing to sort of submit to anything to hang onto. Nancy Pimental: Yeah, and I feel like we—I think we really keep the high watch on everybody from starting off in the writers’ room. Ashford: Yes, I was going to say that’s where this begins. Pimental: Yeah, it really starts—I mean, nothing has ever been like, “Oh, we’re on Showtime. We’ve got to show some titties here.” It all had like a nucleus and origin and a base, and then it just grows from there, from when the department heads come on and then when the actors come on and when the directors come on each episode. Everybody gets to say something. And I had one experience of monitoring myself. It was for the premiere episode that I’m sure you all saw last night of Shameless. We introduced at the end of last year this character Svetlana has alluded to that she might have sexual experiences with this woman. And I had her written in this premiere episode where she was ironing and she was topless, and as women were coming in and auditioning, and I was like, “What have I done? What have I done? These women, I feel like I’m exploiting them and it’s horrible and it’s just for a joke.” So I turned to my director, and I’m like, “I’m giving them lines to say.” So I ended up telling these women a couple of lines because there some of Mickey Milkovich’s brothers were like just staring as she’s ironing. And I’m like, “I’m giving her lines so that she has the power in the scene and she gets them back.” And it changed the energy, and it changed so much. So my whole point is that we’re very conscious of it, but we’re always—if there’s moments where things slip through the cracks, I think that we catch ourselves. That phrase “strong female character” has been deployed so many times that it kind of doesn’t mean anything anymore when people talk about it, it seems like. I’m curious how you guys would rephrase that maybe? Is it complete female characters or…? Rossum: How about just “strong character”? Caitlin FitzGerald: This word “strong” I find a little tricky. We have heard “strong female character.” So I think the word “strong” puts us—puts me—in mind of like a very specific sort of masculine energy, and I think I appreciate what the sentiment is supposed to be with that phrase. But I think women, I think all of us are strong in our vulnerability and our nakedness, emotionally or otherwise. And so I just think we need other kinds of words [like] comprehensive, whole, complete, real. Ashford: I would probably venture that most of us don’t even think of this in those terms. We’re simply writers, and we write characters. We give the same attention to our male characters as we do to our female characters. I think what you can’t escape, though, is that as a woman this is just the prism through which you’re filtering all your life experiences and the material you then put on the page. So I don’t know. I assume some people come at this, “Well, I’m going to write a strong female character.” I’d be shocked if any of us approach it that way. Treem: Yeah, I think we basically approach our characters as writers approaching our characters from a female perspective. Either we live in our bodies as women, and we are active, and we make choices, and we go after things that we want. And so when we think of female characters, we think of active characters. So when I hear the word “strong female character,” what it says to me is a character that’s taking action and isn’t just basically passive and reacting to a male character. So I think, you know, it’s, as everyone’s been saying, it’s not necessarily a choice. It’s just, you know, you’re writing like you’re breathing. You’re writing your experience in the world and your experiences as a human being who chooses things. For the actors mainly in terms of directing as well as writing, would what you see be any different if there were more women directing today as opposed to men? And the kind of scripts that you’re seeing, do women bring a special perspective to it? Or is there such a thing that a good writer is a good writer and with good character regardless of gender? Pimental: I think this whole conversation is a little too gender-focused for me personally. I mean, the last question about what is a strong female character, yeah, you’re right. We do hear that all the time, but I’ve never heard of anybody say “strong male character” or any kind of male character. Nobody talks about that at all. I mean, I guess men have always been the number one on the call sheet for a long time, but now women are, and that’s great. So let’s not, you know, make it a gender thing. But I can say, at least for me, our women are way raunchier than our men. Hampton: Yes, they are. Rossum: Our female writers write raunchier stuff than our male writers, and I don’t think that our female directors are any less apt to push the envelope. Hampton: They’re more apt. My experience on Shameless, most of the women directors, they’re not afraid. Rossum: They’re comfortable with us. Hampton: They’re totally comfortable, and, you know, we’ve had experiences where, because you become very protective of your characters and you don’t want to do anything that you feel like it’s gratuitous, I’ve had conversations more so with women directors than with the male directors on my show about, “Is that necessary? And here is how I feel about Veronica in this moment.” So I don’t find that they come and they’re like, “Okay. Woman to woman, you don’t have to show nip here.” That’s not the case. I was looking sort of at the title of this panel, “Sexuality in Television: A Female Perspective” and thinking, okay. Sexuality on television from a male perspective, well, that’s 70 years of television and 120 years of movies, so that’s there. I guess what I am sort of wondering is the fact that we’re in a moment now that is better, does that mean that we shouldn’t be harping on it anymore or should we keep harping on it until it’s consistently better for five, 10, 20 years at a stretch? FitzGerald: Well, statistically, only, like, I think it’s 16 percent of the people behind the camera are women. So here we are having the conversations, and that’s amazing, and we’re all getting to do this incredible work. But it seems to me that if it’s that weighted, the people who are creating the images and the words, and then we still have some distance to cover. Treem: I think women get ourselves in trouble when we don’t talk about it. “Harping” on it isn’t a word I would use. I would say exploring it. Tierney: Vigilance is maybe a good word too. To keep paying attention is right. Treem: [Our] whole show is about the back and forth between male and female perspectives, so we love it. www.pastemagazine.com/articles/2015/01/emmy-rossum-maura-tierney-caitlin-fitzgerald-and-m.html
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Post by sissa on Mar 27, 2015 23:57:15 GMT 10
IMAGE DISTRIBUTED FOR ENTERTAINMENT INDUSTRY FOUNDATION - SU2C celebrity ambassador and actress Maura Tierney attends CANCER: THE EMPEROR OF ALL MALADIES screening at Jazz at the Lincoln Center on Tuesday, March 24, 2015 in New York. (Photo by Diane Bondareff/Invision for Entertainment Industry Foundation/AP Images) maura´s picMaura Tierney shares battle with breast cancer for latest Ken Burns docBy Andrea Morabito . October 17, 2014 Prolific documentary filmmaker Ken Burns is turning his lens on cancer for his next project “The Story of Cancer,” premiering on PBS in the spring. The three-part, six-hour series includes testimonials from celebrities like Maura Tierney, who shares her fight against breast cancer in this exclusive video. Tierney — who is currently starring in Showtime’s new drama “The Affair” — describes her fear sitting in the waiting room for her results as “like the worst audition ever.” She also talks about being more afraid of chemotherapy than cancer, going bald and having to wear a wig, and the individuals who helped show her cancer doesn’t have to be so scary. “The Story of Cancer: The Emperor of All Maladies” includes three different films — a historical documentary; an intimate vérité film; and a scientific and investigative report that seeks to strip away some of the fear and misunderstanding that surrounds the disease. nypost.com/2014/10/17/maura-tierney-shares-battle-with-breast-cancer-for-latest-ken-burns-doc/
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Post by Martine on Mar 28, 2015 5:19:32 GMT 10
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Post by sissa on Mar 30, 2015 23:53:18 GMT 10
Golden era heralds big switch for stars
March 20 2015 at 12:05pm By Entertainment Reporter
AS much as this is hailed as the golden era of TV, it is also a fortuitous time for actors to shine. With more revolutionary offerings infiltrating our TV screens, there are some attractive crossovers taking place. Here’s a list of some of the standouts:
AMANDA SCHULL
Although she gained her footing in shows like One Tree Hill and Pretty Little Liars, she rose to prominence as Louis Litt, a legal lackey in Suits. Now the blonde bombshell is stealing the limelight as the lead in 12 Monkeys.
COREY STOLL
While he has an impressive CV on the big and small screens, he made a lot of noise with Law & Order: LA and as the morally bankrupt political pawn whose vices got the better of him in House of Cards. This time he is calling the shots – and with more hair than we are used to seeing on him – in Fox’s gripping thriller, The Strain.
ALFRED ENOCH
TO corey stoll.pg COREY STOLL . This novice actor is best remembered for his Harry Potter exploits. Despite his deceptively boyish looks, he is proving to be quite the dark horse as Wes Gibbins in How to Get Away with Murder.
BILLY BROWN
He may not have as much scope as the other actors in How to Get Away with Murder, but fans are very familiar with his work in Dexter, Sons of Anarchy and the short-lived drama, Hostages.
MATTHEW “MATT” MCGORY
Take the man out of his prison guard uniform in Orange is the New Black and you easily buy into him as this slightly podgy, wealthy brat of an undergraduate. He is infuriatingly cocky, but entertaining nonetheless.
THOMAS SADOSKI
TO alfred enoch_CITY_E1-a He gained acclaim for his role as Don Keefer – a bit on the conceited side but lovable and smart, too – in The Newsroom. Now he has surfaced in The Slap in a contradictory cowardly role. But he plays his whipped husband with aplomb.
MALIK YOBA
His is a face that has launched a thousand characters, so to speak. Best remembered for Alphas, he is rolling with the big dawgs as Vernon Turner in Empire – one of the hottest shows on TV.
MAURA TIERNEY
Talk about prolifically flitting from one character to the next. She moved from ER to Rescue Me to The Good Wife. Now she’s taking on the title of the latter, figuratively speaking, as Helen Solloway in The Affair.
TOM CAVANAGH
TO billy brown_CITY_E1-a BILLY BROWN . This movie and TV actor frequently pops on our screens. Best known for his TV show, ED, he has appeared on many hit TV shows. Finally, he gets proper acknowledgment for his talents in The Flash. And he wears his mask of good guy with bad intentions with conviction.
DYLAN MCDERMOTT
The Practice, American Horror Story, Hostages and, now Stalker. Yep, he is back on our screens, rebounding from Hostages’ collapse. Aside from the eye-candy value he brings, he plays his damaged character with the perfection we have grown accustomed to.
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Post by Martine on Apr 26, 2015 3:41:33 GMT 10
Maura appears at 1:42
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Post by Martine on Apr 26, 2015 3:43:15 GMT 10
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Post by sissa on May 29, 2015 4:35:01 GMT 10
"The Affair" Star Maura Tierney Tells Oyster About Her Favorite Places to Travel -- and What's Up Next on Her Bucket ListMay 20, 2015 by Susan Hornik Actor Maura Tierney has quite the busy schedule. Tierney -- a breast cancer survivor -- is actively involved in the charitable work of the Stand Up To Cancer organization. She also, of course, has starred in numerous plays, TV shows (like "ER" for which she was nominated for an Emmy), and movies. And these days, she stars in the hot new Showtime series “The Affair.” But you may not know that Tierney is also a globetrotter; she's been all over the world -- and is ready to pack her bags for her next adventure! We caught up with the busy actor to chat all things travel. On her bicoastal lifestyle:"I have apartments in both New York and Los Angeles. I always make sure to carry keys from both my apartments and my phone with me! Just so I know that if I have to go home to either place, I have them." On one of her favorite destinations:"A few years ago, I travelled to The Middle East. That was beautiful! I went to Istanbul, Lebanon, Beirut, Cairo, and Jordan. It was just gorgeous; it’s very sad that there is so much trouble there, as it isn’t so easy to return there. I met such lovely people in these places. I was in Cairo not long after their first revolution and the people were very hopeful at the time.” On eating abroad:"I loved eating in Beirut. Middle Eastern food was great there. It was all delicious-- hummus, olives and cheese, stuff like that." On her next vacation:"I would love to go to St. Petersburg in Russia and Eastern Europe in winter,” she enthused. “I have never been in Poland. Hopefully I will get there one day! When I told my friend I wanted to go in winter, he said, ‘Are you crazy?! It’s not like Paris where you can wander around and find a cafe!'" On one of her favorite hotels:“It was ten years ago, but the greatest hotel I stayed at was in Florence, called JK Place. It wasn’t a big hotel but the service was incredible. I know they have expanded to other areas too. It’s not super fancy but it was really, really nice." On her favorite hotel amenity:"I like the sheets. You just can’t make your sheets the way they do in a hotel!" credits: twitter.com/mauratierneyfan
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Post by sissa on Jul 3, 2015 1:26:12 GMT 10
What Your Favorite 'ER' Character Says About You (Unfortunately, None Of These Mean You're Supposed To Marry George Clooney)RACHEL SEMIGRAN - @rachel_SEMIGRAN On March 9, 1995, a brand-new hospital saga premiered on NBC, and it came to define what was then known as “Must See TV.” The first episode of ER was filled with so much drama, and so many multi-dimensional characters, that viewers were immediately hooked. The powerful series ran for 15 seasons and was a stepping stone for many successful actors, including George Clooney, Julianna Margulies, Noah Wyle, Anthony Edwards, Eriq LaSalle, and Maura Tierney. For as much as the cast has gone off to do after ER, the show still remains a defining moment, if not the biggest moment, in their careers. But if you’re an ER mega fan, you already have all of that practically tattooed on the inside of your skull. Before George R.R. Martin was ever involved in television, there was Michael Crichton who, week after week, destroyed the hearts of fans either with the personal lives of ER’s staff or the tragic stories of its patients. I’d rather watch Game of Throne’s ”The Rains of Castamere” a hundred times over ER’s “On the Beach.” If you think True Detective is heart-stopping, go watch “Be Still My Heart” from Season 6 and prepare to not blink for about 45 minutes. What made ER so special was how deeply the writers and actors cared for the characters they created. ER has some of the most unforgettable figures in television history, and since I know you have a favorite somewhere in that brain of yours, here’s what your favorite character says about you. Dr. John Carter You are an idealist who believes in fighting the good fight. You might piss off your parents, your teachers, and your bosses from time to time with your brazenness, but your intentions are always in the right place, even when it angers authority figures. When it comes to the head vs. heart, you always follow your heart. Dr. Kerry Weaver You are the no-nonsense person in charge and you like it that way — after all, if you didn’t take care of EVERYTHING, then who would? Work often gets in the way of your personal life, and it often takes the intervention of those closest to you to slow down and enjoy life. Now, I’ll let you get back to your regularly scheduled routine. Nurse Abby Lockheart Your romantic life is a hot mess. Your career is a hot mess. Everything is just a hot mess. You just keep holding on to the knowledge that some day, it will all work out… or, when it does, life will just continue to hand you another heaping plate of WTF. Your bookshelf is filled with comedic memoirs like Yes Please and Bossypants, and you never miss your Sunday night HBO.Dr. Luka Kovac You are brilliant, romantic, and deeply poetic. However, your vices get in the way, and you have trouble opening up to people. When you do finally let others in, the results are beautiful. Go on and brood in a corner. Dr. Mark Greene You are wise and kind-hearted. You are the first person everyone in your life goes to for advice. You are an endless well of brilliance. Though you’re a total softie, you also have a wicked sense of humor. You can kick it with the gang at happy hour, but you’d rather be at home with your family showing off your amazing grilling skills. Oh, and you definitely prefer wine over beer. Now back to solving the world’s problems… Dr. Elizabeth Corday You’re a fish out of water most of the time, but that’s nothing new. You’ve got oodles of ambition and sometimes you can’t tell if it’s your true desire or just what you think the world wants you to be. You sometimes suffer from foot-in-mouth syndrome, but it’s part of what makes you so darn charming. You grow on people, and, once you find your niche, you are absolutely irreplaceable. Dr. Doug Ross You love kids, but don’t necessarily want any of your own. You’re “just having fun” right now in your dating life, and aren’t looking for anything “serious.” Your parents always ask you when you’re going to settle down, and you never have an answer for it. You are a lone wolf who would rather find your own way than depend on anyone — the trouble is, when you actually do need someone, you’ve burned a lot of bridges, and finding help can be tough. Nurse Carol Hathaway You are nothing if not a hopeless romantic. You always believe in the best in people, and it sometimes means people take advantage of your forgiving ways. You’d rather have an open heart and have it stepped on than to be guarded and safe. You tried online dating once, and it nearly killed you. Dr. Peter Benton People often mistake your confidence for arrogance, but that doesn’t get in your way. You always do you. You care passionately about your work, and likely do Cross Fit or Tough Mudder races. You’re a lot softer than you let on, but you like keeping people guessing. Dr. Susan Lewis You’re a bit of a know-it-all, and you’re more than a little infamous for running your mouth at all times… but that’s actually why people like you. You were definitely a late bloomer when it came to being comfortable in your own skin. It all paid off in the end because you know who you are, you know what you like, and you’re probably having the best sex of your life with someone you really care about. Jeanie Boulet You’ve been through hell and back, but you never ever use your past as a crutch. You take what life has given you and use it to fuel your path forward. There’s very little regret because you live in the moment. And if your favorite character is none of these people, you might want to go back and rewatch this show because you clearly missed something. www.bustle.com/articles/94068-what-your-favorite-er-character-says-about-you-unfortunately-none-of-these-mean-youre-supposed-to
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Post by sissa on Oct 20, 2015 22:09:46 GMT 10
Looking Back at My Favorite Anecdotes, Articles, and Interviews from 2014Posted on January 1, 2015 by will by Will Harris Okay, so here’s the thing about me, and if you haven’t already picked up on it, I’d be surprised, but…I really like doing interviews. In fact, I’d go so far as to say that I love doing them. Because of this, even though I probably did upwards of 100 interviews over the course of 2014, I can honestly say that I don’t even need all of the fingers on one hand to count off the conversations that left me with a bad taste in my mouth about the person I was chatting with. As such, this retrospective of my favorite memories and moments from throughout the course of the year could’ve been much longer…and if I’m doing my job right, then you’ll still end up thinking, “Oh, man, I can’t believe he didn’t mention [INSERT GLARING OMISSION HERE]!” Then again, I spend all freaking year having people saying that – hello, Random Roles commenters! – so I’m more or less used to it. I hope you enjoy this look back as much as you enjoyed reading the original pieces – hopefully you’ll find a few funny bits that you missed or discover interviews that slipped by you in the midst the ridiculous number of links I shared – and I offer my heartfelt thanks for all of you who’ve supported my efforts, not just this year but all the years before this. I hope you continue to have my back, and in turn, I hope to continue being able to provide you with stuff that makes you happy while still leaving you wanting more. (Nobody’s perfect, so that’s about the best I can hope for.) Best Supposedly Not-Great Story from a Random Roles: Maura Tierney, who assured me that she didn’t have a great David Bowie story from working with the Thin White Duke on the 1991 film, The Linguini Incident, only to offer up the following: “I remember I had this one scene where—it wasn’t even really a scene with him, but he was a bartender and I was a waitress. And I found out from Richard that David Bowie liked the Pixies, and I loved the Pixies at the time, so I just kinda sorta casually dropped the Pixies into the conversation so that David Bowie would think I was cool. And then he, like, sent his person out and had him buy all the Pixies CDs that existed, and we played them in the dressing room, and it was f**king awesome. It was an amazing moment to, like, hang out with David Bowie and listen to the Pixies.” Most Touching Stories: Maura Tierney and Tim Meadows, but we’ll start with the latter, since he’s the one whose picture you see directly above you. Ever since I chatted with Neil Flynn a few years ago about his connection to Del Close and what an important figure he was to so many people in the Chicago acting and comedy community, I’ve always tried to ask folks who studied in that city if they have a Close story to share. You’ll see one from Ted Levine at the close of this piece, but Meadows’ contribution to the field made me start to mist up even as he was telling it. (Del) did this show called “Honor Finnegan Saves the Universe,” and it was performed at the ImprovOlympic, and he told Charna Halpern that he wanted certain actors to be at this rehearsal, and she told me that I was one of them. So I was sitting in the rehearsal with all these other people, and then he looked around the room and he said, “What are you doing here?” Talking to me. And I go, “Oh, they told me I was supposed to be here.” He said, “No! Get out of here! You’re not supposed to be in here!” And I got up and I left the room, and I was really embarrassed. Nobody said anything. A couple of days later, I was at the bar, I’d just done a Harold and it was really good, and Del came up to me, and he goes, “Look, I didn’t want you in this show because I don’t really have anything for you, but the next show I direct, I want you to be in it.” And I said, “Oh, okay. Thanks, Del!” And he barely ever talked to me! But the next show he directed was for Second City, and I was in the touring company, but when he took the job as the director, he told them he was only going to take it if he could hire the cast that he wanted for his main-stage cast…and it was me, Chris Farley, David Pasquesi, Joel Murray, Joe Liss, Holly Wortell and Judy Scott. Those people were the people he picked to be in this cast. So he kept his promise to me: he said, “The next show I direct, I want to hire you for,” and that was the next show he directed. So he changed my whole f**king career based on that…and it all started with him yelling at me to get out. [Laughs.] The last time I talked to him, I reminded him of that story, and we both started crying. I was talking to him on the phone, and we just started crying. I told him, “Del, I’ll never forget what you’ve done for me. You changed my life in more ways than one.” He was great. As for Maura Tierney’s story, you might start getting teary as soon as I say that it was about Phil Hartman, but if that doesn’t do the trick, then the story itself probably will. I do remember one thing he said to me. Joe Rogan was being so f**king mean to me one day—and mostly we were all friends, but Joe could be a weirdo—and I was sort of upset about it, so I was just sitting over in the corner. And Phil came over and put his arm around me, and he said, “You know, I just want to tell you you’re loved.” Isn’t that really nice? I know you expected me to tell some wacky story about Phil, but he was like that, too. He just put his arm around me and said that. He was so sweet. He was a really nice man. Memorable Moments from Random Roles Maura Tierney on Welcome to Mooseport MT: The film that forced Gene Hackman into retirement. [Laughs.] AV Club: I’ve always suspected you might’ve had something to do with that. MT: No, it wasn’t me, it was the film! But Ray [Romano] is such a great guy, and I think Gene Hackman is really—I mean, I’ve worked with a lot of amazing actors. Like, a lot. [Laughs.] Like, Academy Award-winning actors! Not that that means everything, but you know what I mean. And I found Gene Hackman to be incredibly delightful to act with, one of the most relaxed, engaging actors. I loved working with him so much. Him, and Jimmy Woods on ER. They’re just—I don’t know, it was just a wonderful experience. AVC: Perhaps he sensed retirement was imminent. MT: Maybe. [Laughs.] No, I just think he’s just a very pleasant actor. AVC: What’s funny is that I’ve talked to several people who’ve worked with him, and they’ve generally had nothing but praise for him when he’s on-camera, but most of them have said that he’s not one for small talk off-camera. newsreviewsinterviews.com/av-club/looking-back-at-my-favorite-anecdotes-articles-and-interviews-from-2014/MT: No, but you know what? He was nice to me. He didn’t like the director. But I don’t think he likes directors. I think that’s his schtick. I mean, he did, I believe, tell the director at some point to, uh… [Starts to laugh.] “Will you just shut the f**k up and go over there and say ‘action’ or whatever it is you do?” Now that’s funny. AVC: That is funny. MT: [Laughs.] But he was nice to me! He was lovely. That part was great. Unfortunately, that movie wasn’t the greatest, either, but—easy come, easy go. newsreviewsinterviews.com/av-club/looking-back-at-my-favorite-anecdotes-articles-and-interviews-from-2014/
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