It’s the unfortunate day that Doctor Who fans knew would eventually come: After 4 years as the Doctor, Matt Smith announced that he will be leaving Doctor Who after the 2013 Christmas Special, in which the Eleventh will fall and Twelfth will be revealed.
Both Smith and Moffat released a letter about the departure, filled with kind words about the series as well as a few hints at what’s to come. Even though he has announced his departure, Smith still has two new adventures coming up, including the Doctor Who 50th Anniversary Special in November.
You can read Smith’s letter to below:
Doctor Who has been the most brilliant experience for me as an actor and a bloke, and that largely is down to the cast, crew and fans of the show. I’m incredibly grateful to all the cast and crew who work tirelessly every day, to realize all the elements of the show and deliver Doctor Who to the audience. Many of them have become good friends and I’m incredibly proud of what we have achieved over the last four years.
Having Steven Moffat as show runner write such varied, funny, mind bending and brilliant scripts has been one of the greatest and most rewarding challenges of my career. It’s been a privilege and a treat to work with Steven, he’s a good friend and will continue to shape a brilliant world for the Doctor.
The fans of Doctor Who around the world are unlike any other; they dress up, shout louder, know more about the history of the show (and speculate more about the future of the show) in a way that I’ve never seen before, your dedication is truly remarkable. Thank you so very much for supporting my incarnation of the Time Lord, number Eleven, who I might add is not done yet, I’m back for the 50th anniversary and the Christmas special!
It’s been an honor to play this part, to follow the legacy of brilliant actors, and helm the TARDIS for a spell with ‘the ginger, the nose and the impossible one’. But when ya gotta go, ya gotta go and Trenzalore calls. Thank you guys. Matt.
Smith, who never really watched Doctor Who before taking the role, took on the task of replacing David Tennant as the Tenth Doctor, an act many thought would be difficult, if not impossible. Yet after Smith’s first episode aired, the concern of many fans subsided as everyone knew that Moffat had chosen well, and that Smith would go on to become a great Doctor. And that’s exactly what happened – and the series grew, too, because of it.
But as this is Doctor Who, it’s time for the TARDIS to be passed on to a new (or old but new) Doctor, the Twelfth Doctor (who is unlikely to be ginger). In Smith’s statement, he hinted at the return to Trenzalore; in Moffat’s statement, the series showrunner makes one thing absolutely clear: he’s going to make you cry on Christmas.
You can read Moffat’s letter below:
Every day, on every episode, in every set of rushes, Matt Smith surprised me: the way he’d turn a line, or spin on his heels, or make something funny, or out of nowhere make me cry, I just never knew what was coming next. The Doctor can be clown and hero, often at the same time, and Matt rose to both challenges magnificently. And even better than that, given the pressures of this extraordinary show, he is one of the nicest and hardest-working people I have ever had the privilege of knowing. Whatever we threw at him – sometimes literally – his behavior was always worthy of the Doctor.
But great actors always know when it’s time for the curtain call, so this Christmas prepare for your hearts to break, as we say goodbye to number Eleven. Thank you Matt – bow ties were never cooler.
Of course, this isn’t the end of the story, because now the search begins. Somewhere out there right now – all unknowing, just going about their business – is someone who’s about to become the Doctor. A life is going to change, and Doctor Who will be born all over again! After 50 years, that’s still so exciting!
Though some fans may still be a bit upset at Moffat about the way in which Doctor Who season 7 was handled, he still knows and loves the series as much as the fans – so if the Doctor needs to regenerate, the quality story will most certainly meet the occasion.
And even though the departure of Matt Smith is sad, the final paragraph of Moffat’s letter sums it up best: “Somewhere out there right now – all unknowing, just going about their business – is someone who’s about to become the Doctor. A life is going to change, and Doctor Who will be born all over again!”
Anthony Ocasio blogs at Screen Rant.
The Writers Guild of America chose the HBO series “The Sopranos” as the best-written television series ever, the WGA announced on Sunday.
The guild had selected a list of what it considered the 101 best-written TV shows of all time. “Seinfeld,” the NBC sitcom often called the show “about nothing,” earned the number two spot on the WGA list. Meanwhile, the show that earned the highest spot on the list which is currently still on television was AMC’s “Mad Men.”
Numbers three, four, and five on the list went to “The Twilight Zone,” “All in the Family,” and “M*A*S*H,” respectively.
“At their core, all of these wonderful series began with the words of the writers who created them and were sustained by the writers who joined their staffs or worked on individual episodes," Chris Keyser, who is president of the Writers Guild of America West, and Michael Winship, who is president of the Writers Guild of America East, said in a joint statement. "This list is not only a tribute to great TV, it is a dedication to all writers who devote their hearts and minds to advancing their craft.”
“The Sopranos” was the newest show in the top five, having debuted in 1999, while “Zone” was the oldest, having hit the air in 1959.
“Sopranos” followed mobster Tony Soprano (James Gandolfini), who lived in New Jersey with his wife Carmela (Edie Falco) and tries to succeed at his job while also keeping his family happy.
The rest of the top ten list included “The Mary Tyler Moore Show,” which came in at number six, as well as “Mad Men,” which took the number seven spot. “Cheers,” “The Wire,” and “The West Wing” came in at numbers eight, nine, and 10, respectively.
The rankings were determined by voting by WGA members which took place online.
One of the more intriguing aspects of Game of Thrones season 3 has been the emergence of unseen depth in characters who, in seasons past, have largely been understood to possess a singular, mostly villainous quality about them.
Take for example Jaime Lannister, a man who pushed a young boy out of a tower to protect the second worst kept secret in all of Westeros, has become an individual not only capable of garnering compassion from the audience, but is seemingly deserving of it as well. And while Tyrion has always been the Lannister with whom the audience typically sided, his sister hasn’t faired too well in the court of public opinion (or Mother’s Day list posts). But after witnessing the siblings’ interactions with their father (especially when asking for a favor or, say, the keys to Casterly Rock), we have been given new insight into what makes these Lannister’s tick. It may not have brought Jaime-like levels of empathy, but it certainly granted a clearer understanding.
This may seem a digressive point to make concerning an episode that doesn’t even feature a Lannister, but it serves to highlight the series’ extraordinary ability to rework preconceived notions about story and character (especially within the confines of a particular genre), and to remain unpredictable and daring through its willingness to break down walls of convention and break the hearts of its fans. It’s not rare for the “hero” to sometimes lose. In fiction, setbacks build character. But as seen here, this is no mere hindrance; it is the complete destruction of Robb Stark, and with him the dream of a new and possibly better kingdom. But it’s also the unmistakable end to a journey that, for all intents and purposes, appeared to be a major portion of the series’ overall narrative.
It is said that history is written by the victors, which, if true for Game of Thrones, means that the history of Westeros will largely be written by the Lannisters, as the events of this episode strike a massive (and likely decisive) blow against uprising in the North, and certainly quell any thoughts of beating the Lannisters at their own game. While ‘Blackwater’ was all about a Lannister victory in the face of an overwhelming force, through a combination of gutsy resolve (setting fire to Blackwater) and an 11th hour alliance that saw the Tyrells of Highgarden invited to take a seat in King’s Landing, tonight’s victory – known to many as the ‘Red Wedding’ – presents yet another Lannister triumph, but from a very different perspective, and with a very different outcome.
‘Blackwater‘ defined the family as untiring in their defense of the Iron Throne, and Stannis Baratheon as presumptuous in his belief it could easily be won. This occasion, however, will mark the Lannisters as ruthless and cunning, while the Starks are once more seen as recklessly beholden to apparently outmoded constructs like principle and tradition – basically the kind of thinking that got Eddard Stark killed. And while the disparate creeds of the Starks and the Lannisters perfectly mirror the discussion had by Varys and Littlefinger – regarding the larger concept of the ‘realm’ – the events that conclude Edmure Tully’s wedding speak largely to Littlefinger’s theory that chaos is indeed the rule of the day.
Unlike ‘Blackwater,’ however, ‘The Rains of Castamere’ isn’t entirely focused on a single story, which helps to make its final moments all the more shocking for those viewers unfamiliar with the storyline and unaware that yet another Stark casualty would be used as a focal point to end a season. The other storylines, though, certainly do not share the finality of Robb, Talisa and Cat’s portion of the episode, which offsets things a little.
Seeing how the world of Game of Thrones works is one the most fascinating aspects of the series, and Dany’s interference with an economy that runs entirely on slave labor (thanks to Daario Naharis, Grey Worm and Ser Jorah) has so far yielded some interesting results, which help to make her storyline lively despite being so far from the rest of the narrative.
Elsewhere, Jon Snow comes within yards of being reunited with Bran and Rickon, but after refusing to kill an innocent man, he’s set upon by the wildlings and is forced to kill Orell and flee from a very perturbed Ygritte. Meanwhile, unbeknownst to Jon, his life was saved in part by Bran’s warging of the direwolves – which Bran can apparently do at will and to humans now, as seen by his calming of a panicked Hodor.
Season 3 has been a thin storyline for many of the Starks – Sansa and Arya being the two with the meatiest storylines, and even those were scant in comparison to the Lannisters’ arcs – but this feels in keeping with the best and worst aspects of what Game of Thrones has to offer. Stories like Bran and Rickon’s, and, also, Robb’s, can sometimes feel as though they’re slogging through the mud, going nowhere fast and taking time away from more interesting and compelling stories that are happening in the present. But the series excels at planning and illustrating the importance of things to come. Unless of course, as was the case of Robb Stark, his wife and his mother, the surprise is that the end was the only thing coming.
Kevin Yeoman blogs at Screen Rant.
It’s been two seasons since Charlie Sheen’s Charlie Harper character left Two and a Half Men, and while the show has effectively moved on – plugging Ashton Kutcher into the lead role while continuing to perform in the ratings – Chuck Lorre and company now find themselves in a somewhat familiar situation with Angus T. Jones leaving the show, or at least, lessening his presence.
So, what’s a 10 year old sitcom to do when it loses another one of its three original stars? Well, first they thank their stars that Jon Cryer is as durable as a cockroach in a nuclear war and immune to the allure of a viral video breakdown, and then they go on the lookout for a new cast member – a female cast member who will play Charlie Harper’s grown up secret-sin-baby.
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So, which actress will get this plum gig? Unfortunately, we have no idea right now, but with regard to her origins, Deadline reports that:
The girl, in her late teens or early 20s, shows up on Walden Schmidt’s (Ashton Kutcher) doorstep searching for her father. She claims to be a daughter of the house’s previous owner, recently departed perennial bachelor Charlie Harper (Charlie Sheen). I hear the girl will eventually move in with Walden and her uncle Alan Harper (Jon Cryer).
With Charlie Harper’s penchant for carousing, this development can’t come as a huge surprise. The show even played around with this scenario in the season 6 premiere, “Taterhead is our Love Child” when Rena Sofer appeared as one of Charlie’s many, many ex-flames, brandishing an 8 year old to try and get money out of Harper. This time, though, the writers are obviously choosing to commit a bit more, but the question is, how will they do it?
Will she act like or be made to resemble Charlie Sheen’s character? Is she going to court Walden and/or lovingly pick on Alan? How about this: now that there are two guys and a girl, are we destined to see a Pizza Place? Maybe there will be no real change at all and the successful status-quo will remain.
Sadly, we won’t know the answer to these questions until next season, but it’s fun to speculate and wonder in which ways this new character will be utilized to try and kickstart a show that may or not need it.
Jason Tabrys blogs at Screen Rant.
A pair of dueling Netflix executives helped to both shatter and then revive hope that the upcoming 15-episode revival of Arrested Development could be more than a one and done proposition, but now Netflix Content Chief Ted Sarandos seems to be providing even more clarity about the future for Arrested Development and the streaming giant.
In an interview with THR, Sarandos indicated that the ground was fertile for more Bluth family fun and another season from the formerly cancelled cult comedy, though he also cautioned that such an undertaking could be as difficult as the first go-around due to the cast and crew’s busy schedule.
“We would love to do more, and we have a deal in place that says that there could be. The problem is logistics. They were all working full-time and doing this show in between, and they did it for the love of the show and for Mitch Hurwitz. If we can muster up that love again, we’d love to do it again.”
What a fifth season of Arrested Development would mean for the long rumored film project remains to be seen, though Sarandos also indicated that Netflix might be interested in an Arrested Development film, saying that they had “openly talked about” a “movie scenario”.
While placing an Arrested film with Netflix would likely mean that either producers failed to find a better deal for a more traditional release – not out of the realm of possibility considering the fact that the project never really got beyond the discussion phase previously – or that Netflix simply blew away the competition, the project could be another feather in Netflix’s cap. Plus, according to Sarandos, Netflix seems like it is not entirely opposed to the notion of films and miniseries.
“There are some parts of it that are really appealing in that you tend to get a lot of the same fundamental benefits of original programming — star power, excitement, event content — on a smaller budget. And if you get proportionally the same amount of watching, that’s a good thing. The reason why I’ve shied away from original movies has been that there are so many more great movies that get made than ever get distributed, and I think we function better as a distributor for movies than we do as a creator or marketer of movies for now. But I probably would have said the same thing about TV shows three years ago.”
As for their burgeoning original programming roster, Sarandos says:
“It’s feasible that we would double the load that we did this year [with eight new shows]. People’s tastes are wildly diverse, and I want to be able to appeal to all of those tastes and across demos. Hemlock Grove is totally different from House of Cards. Orange Is the New Black is a very different show. I think we can support a lot of specific tastes.”
So, will Arrested Development come back to be as big a part of Netflix’s “Phase Two” as it has been for “Phase One” – standing out as an attention getting lightning rod that helped to establish Netflix as a competitive brand?
Times are different now and Netflix is no longer the new kid on the block, desperate for legitimacy. They have legitimacy now. In fact, it is likely that with the success of House of Cards, a healthy slate of upcoming programs and a growing list of actors and producers clamoring to work with Netflix, Arrested Development almost certainly needs to show that it can be more than a cult addiction and a great Lazarus story if it is to get more than kind words from Sarandos and Netflix going forward, because despite the hype, nothing is likely assured.
Jason Tabrys blogs at Screen Rant.
Where did this movie “Now You See Me” come from?
By now, an inextricable part of the summer (yes, even early May counts as part of the summer movie season now) movie hoopla is massive marketing campaigns. By the time I got to the theater to see “The Avengers” last summer, I felt like I’d heard half of Robert Downey Jr.’s snarky one-liners already in endless TV ads.
But this movie “Now You See Me,” starring actors such as Morgan Freeman, Jesse Eisenberg, Isla Fisher, Woody Harrelson, Mark Ruffalo, and Michael Caine as, variously, a team of bank-robbing magicians and the authorities trying to discover their secrets, comes out May 31 and I recently found the trailer online having only vaguely heard of the movie. It may be that the “Iron Man 3”/”Great Gatsby”/”Star Trek” noise was merely drowning it out, but this movie seems to have been a quiet summer release so far.
Which is a shame, because the trailer looks intriguing and the cast is top-notch. It’ll be Fisher’s second appearance in a summer movie after she played mistress Myrtle Wilson in director Baz Luhrmann’s “Gatsby,” and Harrelson is coming off his well-reviewed turn in the first “Hunger Games” movie. Freeman just starred in Tom Cruise’s (tepidly received) sci-fi movie “Oblivion.”
As has been remarked by others, I kept being reminded of director Christopher Nolan’s magicians movie “The Prestige” when watching the trailer for “Now,” what with Michael Caine starring in both movies and a sequence in the “Now” trailer when a woman gets trapped in a water tank, which also occurs in “Prestige.” But considering “Prestige” was the last big magicians movie, that’s probably inevitable. And there are worse comparisons – the meticulously plotted film starring Christian Bale and Hugh Jackman was entertaining and contained a heck of a twist ending.
Check out the trailer for “Now.”
Fast & Furious 6 picks up after the successful Rio heist in Fast Five, with Dominic Toretto (Vin Diesel) and his crew having given up their lives of crime, spending their hard-earned (read: stolen) money jet setting, wooing supermodels – or in the case of Brian O’Conner (Paul Walker), adjusting to fatherhood. All seems well until Diplomatic Security Service Agent, Luke Hobbs (Dwayne Johnson), tracks Toretto down, requesting the team’s assistance in stopping an international terrorist – in exchange for full U.S. pardons.
Toretto agrees to help and the rest of his crew assemble in London, where they come face-to-face (or car-to-car) with infamous Ex-Special Forces soldier-turned-robber Owen Shaw (Luke Evans), along with his team of cold-blooded killers and expert gear-heads. With only days to stop Shaw from acquiring a dangerous piece of technology, Toretto and his team find themselves out-manned, out-gunned, and forced into taking desperate measures in order to stop the terrorist before he can sell his weapon to the highest bidder.
Director Justin Lin returns to helm Fast & Furious 6. The filmmaker joined the series back in 2006 with The Fast and the Furious: Tokyo Drift and was instrumental in reinvigorating the franchise – ditching the niche car culture drama (dripping with machismo and scantily clad women) in favor of bombastic vehicle stunts. Fast Five was the most successful film in the series – delivering eye-popping driving sequences along with entertaining character moments – does the director up-the-ante with Fast & Furious 6?
Lin’s latest entry successfully pushes the film series to bigger and more outrageous heights, sometimes at the expense of believability and compelling character drama. However, there’s little doubt that franchise fans (along with anyone who enjoyed Fast Five) will be disappointed by Fast & Furious 6. There are a few eye-rolling moments and, as in prior entries, a very heavy-handed message about “family” (along with some awkward legacy story beats) but scene-to-scene the film offers a no-holds-barred flurry of memorable action and tongue-in-cheek character moments that will definitely entertain moviegoers – even if the plot doesn’t hold up under close scrutiny.
The car stunts are bigger (and crazier) than ever before – easily outdoing the scale of the Rio “Vault” scene from the prior film. Moviegoers who had trouble suspending disbelief in Fast Five will face a similar challenge with Fast & Furious 6, but for anyone on-board with the series’ premise, every outrageous sequence is punctuated with plenty of slick visuals and fun one-liners. The film’s climax suffers a bit from overly-frantic green screen shots, making it hard to fully-appreciate individual altercations – which are sometimes lost in a blur of fast-moving scenery, punches, and gunplay. However, much like the rest of the film, the sum is often better than its individuals parts, and despite a few disorienting elements in the finale, the full sequence is still immensely exciting – and ranks among the series’ most iconic moments.
This round, Dominic Toretto takes center stage (again) – in a personal story that sheds light on his past and the present challenge posed by Owen Shaw. Still, this is a Fast and Furious film, so any attempts at character development are delivered through on-the-nose dialogue about family, sacrifice, and faith. Similarly, the movie works extremely hard to balance franchise legacy elements with recent additions from Fast Five and, as a result, the core Toretto arc is punctuated with clumsy storytelling that can be awkward at times (but not outright distracting). It’s all forgivable, but given the amount of time dedicated to the character’s personal journey, emotional beats never quite deliver on their promises of compelling drama.
Walker’s Brian O’Conner is marginalized this time, given a downright bizarre side-story that could have easily been left out of the film entirely (by adding one or two lines of exposition). The character remains a key member of the crew (and a counterpoint for Toretto), but with the addition of more interesting side-characters like Luke Hobbs (Johnson), O’Conner’s contributions this round are some of the least memorable (or sensical). The dynamic between Roman Pearce (Tyrese Gibson) and Tej Parker (Chris “Ludacris” Bridges) help off-set the emotionally charged Toretto plot with fun banter as well as misadventures – and, as mentioned, Hobbs (along with partner Riley, played by Gina Carano) add plenty of bone-crushing fisticuffs to the mix.
Shaw, aided by a strong (but ice-cold) performance from Luke Evans, serves as a good foil for Toretto and his gang – showing how differences in the team leaders result in their respective successes and failures. Toretto’s reliance on his family is his greatest vulnerability – whereas Shaw views his team members as nothing more than engine parts (each with their own expiration date). While the analogies get a bit heavy-handed by the end, the dynamic is interesting and serves as a fun opportunity to see Toretto and the team face a colder and more calculated set of doppelgangers.
That said, the Fast & Furious 6 story is full of plot holes and underdeveloped moments of emotional impact. The majority of them will speed by on an initial viewing, but once all of the twists have been revealed and moviegoers are left standing in the aftermath, it’s a noticeably paper-thin plot. Worse yet, the film never takes the necessary time to make sense of several key character moments – sacrificing development, explanations, and/or emotional catharsis for the sake of keeping the film’s pacing up. As stated, there’s never really time to consider these shortcomings in the moment, but for a story that focuses so much on the importance of “family,” the movie ultimately underserves a few featured members who are, apparently, less important than the high-octane thrills.
Of course, impactful drama has never been the primary goal of the Fast & Furious series – and forthat reason, it’s hard to imagine that returning viewers will be underwhelmed by the offerings in Fast & Furious 6. Lin has created a bigger (albeit not necessarily better) film that will please moviegoers looking for nitro-infused car stunts, amusing characters, and enormous action sequences. At times, Fast & Furious 6 is a little unwieldy, saddled with a lot of added baggage, but it’s still an extremely entertaining ride.
Ben Kendrick blogs at Screen Rant.
“Come in close, because the more you think you see, the easier it’ll be to fool you,” narrates Morgan Freeman as the veteran illusion debunker Thaddeus in the first trailer for Now You See Me.
That voiceover might bring back memories of Christian Bale’s “Are you watching closely?” from Christopher Nolan’s dueling illusionists film The Prestige – all the more so once Michael Caine shows up. However, this tale of professional do-daring magicians is an old-fashioned heist thriller infused with new life, courtesy of some flashy stage trickery (enhanced via the ‘magic’ of editing/special effects) and high-octane thrills directed by Louis Leterrier (The Transporter, Incredible Hulk, Clash of the Titans).
Now You See Me revolves around the exploits of The Four Horsemen – a group of Las Vegas magicians renowned for their hi-tech shows and mind-boggling stunts – brought to life by Jesse Eisenberg (The Social Network), Isla Fisher (Wedding Crashers), Woody Harrelson (Hunger Games) and Dave Franco (21 Jump Street). However, these gifted con artists scale new heights when they pull off a stunt that involves exposing a white-collar criminal (Elias Koteas), ‘magically’ funneling his illicit millions of dollars from his Paris vault and showering their audience with the cash results. But will the Horsemen’s ‘final trick’ be even more impressive (not to mention, lucrative)?
Boaz Yakin (Prince of Persia, Safe) and relative newcomer Edward Ricourt share screen story and co-scripting credit on Now You See Me, with Ed Solomon (Men in Black, Charlie’s Angels) also receiving credit for the screenplay. However, there have been reports that Josh Appelbaum and André Nemec handled script revisions, which is encouraging – given how capable they proved at creating an interesting team player dynamic in Mission: Impossible – Ghost Protocol – and also makes sense, as the duo’s former Alias co-showrunners (Alex Kurtzman and Roberto Orci) co-produced Leterrier’s latest flick.
Mark Ruffalo (The Avengers) costars as FBI special agent Dylan Hobbs, the man determined to stop the Four Horsemen in their tracks. Mélanie Laurent (Inglourious Basterds) plays Hobbs’ newly-assigned partner; meanwhile, Freeman (as indicated before) is a fellow with insider knowledge that might bring the Horsemen down. But could either (or both) of these mysterious players be secretly in cahoots with the thieving magicians?
If you want the answer, you’ll have to see the film – which, judging by early trailer footage, looks like a well-constructed and exhilarating cinematic thrill ride (though, perhaps one as logic-defying and preposterous as its predecessors).
Sandy Schaefer blogs at Screen Rant.
After months of build-up and downright divisive pre-release speculation, Star Trek Into Darkness has arrived in US theaters. The film has received an overwhelmingly favorable response from critics (read our Star Trek Into Darkness review) and is poised to make big bucks at the summer box office – in spite of high-powered hold-overs like Iron Man 3 along with a surprisingly strong performance from The Great Gatsby.
Last week, we had a chance to chat with the film’s stars, including Alice Eve who plays the much-talked about Dr. Carol Marcus to discuss the latest Star Trek film, her upcoming projects, and what it was like joining the iconic Star Trek movie crew. We’ve already posted our interview with Karl Urban (Dr. ”Bones” McCoy) as well as Simon Pegg and John Cho (Lieutenant Commander Montgomery “Scotty” Scott and Lieutenant Hikaru Sulu, respectively). Make sure to check back in the coming days as we publish further interviews.
NOTE: The following is an abridged (and more concise) version of the interview with Alice Eve. You can read the entire transcript from our conversations with actress by clicking the link below:
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- Alice Eve (FYI: The unabridged version contains MAJOR SPOILERS for the film)
Next to Benedict Cumberbatch’s John Harrison, Alice Eve’s Dr. Carol Marcus was one of the most talked-about new characters prior to the Star Trek Into Darkness release. Fans poured over Eve’s haircut, uniform, and facial expressions in an attempt to figure out her role in the film ahead of time. Director J.J. Abrams even capitalized on fan obsession over the character – using a picture of Alice Eve in her undergarments to hide a viral marketing link.
However, the actress never let all the speculation distract her and, instead, tried to stay focus on the task at hand:
Alice Eve: I don’t follow that because it’s pretty damaging if you get too into that stuff. Obviously I have a bit of an awareness because I go to the internet like everybody else but I don’t get too involved in the details of those conversations just because it can hurt you if you stumble on something that’s not nice [...] Even with the internet aside there’s an element of JJ making an environment where you’re able to feel safe. If you feel safe there’s no fear or pressure. You feel that you’re just there to do your job and serve the movie that everyone’s making. There are thousands of people that go into making a movie like this. There’s us [the actors] but there’s the preproduction, there’s the post production and that amounts to a lot of eyes and ears and minds so you’re just a part of a big journey and a big bandwagon. You take it day by day.
In preparation for her role, Eve went back and rewatched the first season of the classic Star Trek series, along with several of the original films. Like many of the Star Trek reboot stars, the actress wanted to find a balance between developing her own interpretation of Dr. Carol Marcus while paying homage to the version played by Bibi Besch:
Alice Eve: I enjoy any sort of preparation. I love what I do. The process to doing what I do is to research it and to look into the depths of the person. Especially if there’s an established cannon such as there was with Star Trek so I enjoyed that process. That’s the process I enjoy; that’s the creation, that’s the building part of it. That’s why I do what I do.
Elaborating on what exactly she picked-up from Besch’s portrayal, Eve asserted that it was important to include “purpose” and “strength,” elements that are clearly on display in Star Trek Into Darkness:
Alice Eve: I think that when Bibi [Besch] played her in the 1982 films with a real directness, a purpose and a strength. I definitely wanted to bring that to my Carol. But because JJ [Abrams] kind of split the timeline in 2009 it gave us a bit of room for our own interpretation. So obviously that was sort of liberating at the same time it was taking on the hallmarks of who she was as a person [...] She’s very strict with Kirk in the film in ’82… when they have that screen conversation she’s very strict about what she wants Kirk to do and the fact she has information at her disposal so with that information she’s direct to Kirk and I guess pedagogical is the word.
Still, there are major differences in the two versions of the character – most notably the addition of Eve’s English accent. In fact, Abrams was so concerned that the change would be a sticking point (Marcus had an American accent in the original series), he actually shot an expository scene where the character explains her own backstory – a scene that was eventually cut:
Alice Eve: There was one scene that we shot that didn’t make it into the film. That was about me explaining why I had an English accent; my mother moved to England when my father stayed in San Francisco to run Starfleet. I think that JJ felt that plot point wasn’t necessary and that you didn’t question it beyond the first moment. I think that made sense and we had a certain license with the split timeline.
Ben Kendrick blogs at Screen Rant.
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Kate Hudson has reportedly joined the cast of Zach Braff’s film “Wish I Was Here,” for which Braff is raising funds via Kickstarter.
Hudson will play Braff’s wife in the movie, according to the Hollywood Reporter. Braff will direct the film as he did with “Garden State,” and has written the film’s script with his brother Adam Braff.
Braff was impressed with Hudson’s Oscar-nominated role in the 2000 film “Almost Famous,” according to The Wrap, and the two are now “good friends,” the actor said.
The movie will follow a man named Aidan Bloom, played by Braff, a father and husband and trying to find work as an actor and searching for meaning in his life. After other educational options fall through, he begins to homeschool his children.
According to the Hollywood Reporter, the film will also star “Homeland” actor Mandy Patinkin, “Book of Mormon” actor Josh Gad, and Jim Parsons of "The Big Bang Theory," who also appeared in Braff’s 2004 film “Garden State.”
Braff raised more than $2 million via the website Kickstarter for the film in four days. He has also secured funding for the film from Worldview Entertainment. The film’s total on Kickstarter is currently at more than $2,700,000.
“Garden State,” which was written and directed by Braff, centered on an aspiring actor (Braff) who returned to his hometown for his mother’s funeral. The movie also starred Natalie Portman, Ian Holm, and Peter Sarsgaard.
Hudson’s breakout role is widely considered to be her part in “Almost Famous.” She has also starred in romantic comedies such as “How to Lose A Guy in 10 Days,” “Raising Helen,” “Fool’s Gold,” and “Bride Wars.” She appeared in the film adaptation of the musical “Nine” and has recently guest-starred on the Fox series “Glee” as a tough teacher named Cassandra July.
According to Braff’s Kickstarter website, he hopes to release “Wish” in September 2014.