Garrett Hedlund is Flying High as Capt. Hook in Pan

Garret-Pan(PCM) When an early incarnation of Capt. James Hook meets a mischievous 12-year-old boy named Peter he has no idea that their destiny will be forever linked.

In the epic live-action feature from Warner Bros. comes an original adventure about the beloved characters created by J.M. Barrie, including Garrett Hedlund as Capt. James Hook, Hugh Jackman as Blackbeard, Rooney Mara as Tiger Lily, and newcomer Levi Miller as Peter. The recently opened film is already a fall family favorite.

The young and rebellious Peter is whisked away from a Dickens-style orphanage in the middle of the night into a magical world of pirates, warriors and fairies called Neverland.

There, Peter fights life-or-death battles, while teaming with Tiger Lily, and his new friend, James Hook, who is both charming and charismatic in Hedlund’s able hands. Together, they must defeat the ruthless Blackbeard to save Neverland, discover his true destiny and become the hero forever known as Peter Pan.

The film was directed by Joe Wright, bet known for his stunning period films, “Pride and Prejudice,” “Anna Karenina,” “The Soloist,” and “Atonement.” The original screenplay for “Pan” was written by Joe Fuchs.

Hedlund, 31, is best known for Angelina Jolie’s World War II drama “Unbroken,” the Coen brothers’ “Inside Llewyn Davis,” “On The Road,” and “Lullaby.” His next film, due out in the fall of 2016, is Ang Lee’s drama, “Billy Lynn’s Long Halftime Walk,” co-starring Vin Diesel, Steve Martin, Chris Tucker and Kristen Stewart.

Ht was 18 years old when he made his film debut in the epic “Troy,” joining Brad Pitt, Eric Bana and Orlando Bloom. He also worked on “Friday Night Lights,” “Four Brothers, “Georgia Rule,” Country Strong,” and “Tron: Legacy.”

Born in Minnesota, he grew up on a farm. He spent his high school years in Scottsdale, Arizona, where he began taking private acting classes. After graduating from high school a semester early, he packed his bags to pursue his acting dreams in Hollywood.

Like his co-stars, Hedlund said he was delighted by the sheer breadth of imagination, the thoroughness, and attention to detail going on in Pan. There is pure magic, elegance, a freshness and originality, and a stellar cast in this timeless and lovely story.

I was amazed when you said earlier that no one got hurt. What would you say were the challenges for you physically?

GARRETT HEDLUND: I had some nicks and bruises here and there; but it was extremely physical and that’s what was so exciting. [The director] Joe [Wright], wanted all of these action sequences, but not just these every day ones. He wanted them to have a little humor with them as well. I remember when I first met Joe, there was an action sequence in the script that was Hook being much more heroic and Joe has never really seen him this way. He has seen him as clumsy. I don’t know if it’s when I met Joe, I have an older brother and I am used to getting picked on a lot, so maybe Joe found me an easy target and wanted to find Hook an easy target. [He Laughed].

What else was involved here?

GH: Joe’s son had this little trampoline and Joe loved seeing his kid on it. So he wanted to have a trampoline in his fight sequence. When we first met and I didn’t have the role yet he asked me ‘How are you on a trampoline.’ I wanted to do this movie, I had read the script and I had loved all of Joe’s other work, I think he is one of the best director’s out there, so I said, “I am fantastic on a trampoline; really incredible.’ [He Laughed].

Just a bit of a white lie – huh?

GH: True. But it wasn’t too bad; it was a lot of wire work and a lot of harnesses. But we had 200 extras, and in between the takes Joe would be playing music keeping everyone’s energy up and everyone would be dancing. And he would go for another wonderful take of me getting my face knocked in.

But, this was a good thing – right?

GH: Yes. I always wanted to be part of those sequences where a guy just takes an unbelievable beating and still manages to continue to fight no matter how humorous or pitiful it is.

Were you daunted at all about taking on such an iconic character as Capt. Hook – even though this is a different story and a different version of him?

GH: When I read the script I realized this was an origin story and it was introducing Capt. Hook, but not necessarily as a captain yet, but as James Hook, coincidentally still named James Hook. I had to ask myself if I accepted it in the first place. I knew I would have to answer a lot of questions. But I knew the character was so fun, and selfish and clumsy and manipulative and childish.

So what is going on in this movie?

GH: Well, Hook starts off in the movie as a prisoner digging for Blackbeard; he’s a demoted, deflated man who’s a bit mysterious and seems quite lost. But when he sees Peter, and sees what he can do, Hook thinks he’s found his golden ticket out of there. So that’s when his journey begins, right alongside Peter Pan, and before he comes into conflict with any crocodiles.

What did you love about playing this character?

GH: I loved his selfish nature. He’s found his way to complete his objective, which is to get off this island called Neverland, even if it means going back to a place he hardly remembers. If he has to convince this kid he’s new best friend and willing to help him find his mother, so be it.

Do you feel that there a message or theme in Pan that appealed to you?

GH: I had seen little versions here and there, was always fascinated by the idea of never growing old, that’s always fascinated me. Growing up on the farm we grew up with when the chores were done, all we had was our imagination, so the idea of this was sort of for kids to be the ones who were in charge. To not have parents telling you what to do; and to be able to fly and all these fantastic things that as a kid you still believe you can possibly do.

Please tell me more about making this movie.

GH: When we were filming it, it was wonderful because Joe would be playing music in between every take. So every body is dancing around and singing you got to feel like a kid again, and not take yourself too seriously and it reminded all of us while we were there.

Did you learn anything about yourself or what you are capable of doing because of this movie? Or were there any surprises for you in making this movie?

GH: I never knew how much I would enjoy it. When it’s something like a Captain Hook and when it’s most characters, you are still sort of stressed, how can I make it like this or make it like that. And I realized that not everything has to be that difficult, it can be made a little easier without all the stress and not taking things so seriously.

What else comes to mind?

GH: Working with Hugh [Jackman]. I got to work with watch someone, who at this point in his career, still gives 110 percent and never lets up. No matter how hard their fight sequences were, he was always game for another take. He never got winded, and I just sat back and marveled that, ‘this is how I should be when I am Hugh’s age; still giving it my all and not ceasing up what-so-ever.’

Can you compare your early dreams of an acting career to the reality of what’s going on for you today? Is it different, or better, than you imagined?

GH: In terms of what I’d hoped for. Growing up on the farm I would say that acting never seemed like a possibility. Where I was from, some people had dreams of being a pro baseball player, pro hockey or pro football player, but most of us had dreams to work at the town factory, which was Polaris which makes snow mobiles and four-wheelers.

Do you remember what was going through your mind during the early days of your acting career?

GH: When I got my first role which was Troy, I never thought something amazing was going to happen to me because nothing really ever did. It was the first unbelievable thing that had happened to me, so to continue on. When I got the opportunity to make the movie, “On The Road,” that was incredible, from being such a fan of Kerouac, and being cast in that I was so unbelievably grateful and honored. It’s continually been happening to me; I still pinch myself.

I am sure you are a busy guy, but when you are not working how do you spend your free time?

GH: It’s all about learning and creating, and feeding my creative compulsions – writing or playing music. I am always trying to do something an hour each day that’s going to get me closer to where I want to be. I have friends who are wonderful musicians and writers and we inspire each other.

What’s next for you?

GH: I just finished working with Ang Lee on a movie, “Billy Lynn’s Long Halftime Walk,” which was a phenomenal book, written by an author named Ben Fountain. Doing that film was another one of those ‘pinch yourself’ moments. I feel like in the past year and a half, I’ve gotten to work with two of the best directors in the world. I feel honored.

The post Garrett Hedlund is Flying High as Capt. Hook in Pan first appeared on Movie News & Reviews.

America’s Got Talent Winner Paul Zerdin Talks Time On The Show, Vegas and More!


(PCM) Being huge fans of America’s Got Talent, it was an epic experience to witness ventriloquist Paul Zerdin being announced as the winner for this highly exciting season, as well as, seeing his amazing performance with Season 2 winner Terry Fator. With a show like America’s Got Talent, you never know what is going to happen and it certainly keeps you at the edge of your seat until the very end.

This season featured an absolutely amazing array of talent, however Paul Zerdin rose above the rest with his unique and quirky sense of humor and incredible ventriloquism skills! We had a chance to catch up with Zerdin after his big win to discuss his time on the show and just what the future has in-store!

On what was going through his head as Nick [Cannon] announced his name as the Season 10 winner

PAUL ZERDIN: When it was whittled down to myself and Drew I thought that Drew would win it definitely. I thought he was an amazing comedian. Very, very, very lovable character — personality. The audience loved him in the theater and, you know, out and about in America.

And I thought that he was going to win it. So I was preparing in my head what I would say to him before I got told to get off the stage. And I was going to say to him, you know, well done. The best man won. You’re a great act and congratulations.

And I thought I would be runner up. And then when they said my name, my heart skipped a beat. And it took a bit of a – it took a moment to sink in really. I still the feel the same really.

It’s a mixture of jetlag, lack of sleep, and euphoria all together — which, you know, I feel very happy about it. And I’m still slightly lost for words when people ask me about it now like you have done.

On which of his performances stands-out the most 

PZ: Probably my first audition at the Dolby Theater in Hollywood would stand out for me because it was the first one. And I just thought, I don’t know what’s going to happen here. It could go horribly wrong, or it could go well.

And luckily it went well. And I got a standing ovation from the judges and from the audience in the theater. And so I thought, wow that’s a great reaction and what a great start.

So that filled me with confidence. And I think helped me enormously to carry on and think that I could maybe, you know, go far. I didn’t ever think I could win it. But I thought I could get maybe, you know, quite a bit further in the competition.

That was a big moment for me. And also having Howie last week in the semifinal be my human dummy. I mean that was a bit of a moment because he was such a great sport. He had no idea what was going to happen.

And I was so lucky the way that he reacted. Because he could have reacted so differently. But he – whatever he did, he did it just beautifully. And I love doing that piece because I can control – I do it from, you know, I’ll be doing it in my show in Las Vegas where I’ll get a couple out of the audience and I — a married couple is what I usually do — and I turn them into my dummies.

And I get them doing, you know, crazy things. And it’s great being able to sort of control them. But you’re, of course, you’re not really in control. You control their voices. But it’s very much up to the individuals how they react. And everyone reacts differently.

But that’s what I love. I love the danger of that and the fact that you can adlib. And Howie Mandel was absolutely brilliant.

On what he was surprised to learn about himself as a performer

PZ: I think when you come to perform at Radio City — and I’ve been lucky enough to perform all over the place, all around the world doing different sorts of gigs and things — no gig has ever been quite as big as Radio City.

I mean that theater holds just under 6,000, I think it is. And even though I think of myself as a, you know, a fairly polished performer and, you know, pretty experienced, I still had jitters in my stomach. I had butterflies just before I started my performance.

I’m not a performer that’s like a jabbering nervous wreck before I go on. I’ve worked with some comics over the years who just spend all day worrying about the gig that night. And I’ve always thought that’s crazy. That’s just going to ruin your day.

And I’m, you know, I work a lot and perform a lot. And I just thought, I can’t go through life just worrying about it. I think that’s ridiculous. But I try and channel the nervous energy.

So I would just get a little kind of buzz just before I started. Before I walked out on the stage at Radio City. But I remember being slightly surprised that, you know, I did have that slight jitter.

And I just kept saying to myself, “Right. Come on. Keep it cool. Keep it cool. Look like you’re in control. Just go out there.” And also sometimes you’re worrying about so much because you’re very limited with time. You don’t have much time. You’ve got to try and make an impact when you’re on a live TV show and you want to try and make the best impression you can.

You want to impress the judges. You want the audience at home to love what you’re doing. And you want a great – you want great feedback from the theater audience as well. And to try and do that in like two minutes — or whatever it is — is quite hard.

And so I – you’re worrying about it. Or and you don’t want to overrun because you’re on live television — which when you think about it, is quite – it’s quite a big deal when you’re right there in the moment.

But I somehow managed to channel it into positive energy and any nervous energy was hopefully, you know, went into the performance and made the performance better.

The one thing you sometimes can forget to do when you’re on a, you know, it’s a high pressure gig is to – you forget to enjoy it. So I was really conscious to myself. I said, “Come on. Keep smiling. And just enjoy it.” Because it’s an amazing opportunity.

On the challenges he faced competing on the show 

PZ: I’d say you need stamina for America’s Got Talent. Because it’s not only about the performance on stage. More of it is behind the scenes and the reality element to the show — which obviously is what people want to know, and TV audiences, you know, relish now.

Because it’s all about behind the scenes. And they want to see what it’s like, you know, going on before you go on stage. And all the reality filming out and about around New York — which, you know, New York’s an amazing city, and I’ve loved every moment here.

And so you’re filming a lot. And there’s crews — camera crews — taking you around filming the next bit of video which they then show if you’re lucky enough to get through the next heat and get into the next final, quarter final, whatever it is. And they show a video of you, you know, messing around.

So I’ve loved that. And I’ve had creative input in that as well. So I suggested ideas that we could do like go to an Italian restaurant with the different puppets and having a food fight and all those kind of silly ideas. I wanted to do stuff that was different and funny above all. That was the main thing. Just try and be as entertaining.

And I’ve learned that you really need some stamina for this. Because there’s so much hanging around. And sometimes I’d be taken off to a location to be filming and I’d beat the film crew because they were still filming, you know, Piff the Magic Dragon or one of the other acts.

And so, yes, you’ve got to have stamina. And I found out where I seem to have stamina. But you’ve got to keep going. And then you’re filming all day. And then you have to come in and do a dress rehearsal for the live performance. And then do the live performance.

So by the time you get on stage — in the live performance — you’re absolutely exhausted. So you somehow have to still pull it out of the bag. And so I’ve learned that I can do that. But it’s quite hard work.


On what it felt like to perform with Terry Fator and being only the second ventriloquist to win

PZ: I feel totally bowled over by it. And so honored. And to end up performing a spot with him on stage last night in the, you know, before the results began. You know I’m there on stage with Terry Fator live from Radio City on live on NBC. I had to pinch myself before I went on.

Because it was a bit of a moment. And to know that I kind of had his theater approval was – it meant a huge amount to me. And what a nice guy. He was so lovely. And we had a very quick rehearsal beforehand. And the day before, we were just talking about some ideas.

And I suggested a couple of things. And he really liked my ideas. And he suggested a couple of things. And it was just so nice. And it’s so unusual. I don’t think two ventriloquists ever performed together — certainly not on the telly as far as I can remember. And especially live on a show like this.

It was a really special moment. And to know that, you know, a ventriloquist has won it again. It just shows to you that, you know, I think for a long time people have thought that ventriloquists were a bit mad and a bit crazy. And the way they’ve been depicted in films and television movies over the years, you know, as mad and psycho killers or whatever.

But ventriloquists don’t have to be all mad. They can actually be quite funny and quite entertaining. And I think the American public have shown that. That they still love comedy and a bloke with a puppet.

And I think it helps that ventriloquism is coming back. You’ve got Terry Fator who’s a massive success story as a result of America’s Got Talent. He has this amazing show in Vegas.

And then you have people like Jeff Dunham who’s an incredible ventriloquist. And, you know, it’s helping put it on the map really. So to be part of that and hopefully carry on doing that, and trying to do something new with ventriloquism. And trying to, you know, trying to sort of advance it and — without sounding pretentious — take – try and take it to another level and do things different with it — play with it.

That’s, you know, that’s kind of my goal. And so far so good.

On his excitement for his upcoming headlining show in Vegas 

PZ: It’s amazing. It’s incredible. I never thought of that. I’ve been to Vegas on a number of occasions and seen as many shows as I could. Because I always – I would go and see whether it be Cirque du Soleil or Terry Fator or David Copperfield.

I was always, you know, blown away by the size of the venues. The just the whole scale of Vegas. I mean, you know, to people in the UK when you’re trying to describe Las Vegas or the shows or the casinos and the size of it, you just can’t.

You have to just say – I always say to people you have to just go there. Then you’ll know what I’m talking about. It’s just unbelievable. So the fact that I’m going to be headlining my own show at Planet Hollywood in Las Vegas next months is – I’m totally blown away by it.

I’m – I say bring it on. You know I’m ready for it. I want to go out there and do my full show. And people that have seen me on America’s Got Talent can see me do my full thing. And that really excites me.

But I’m still, you know, saying I’m going to be headlining in Las Vegas. That’s, you know, that is an absolute dream come true.

On his rehearsal process

PZ: You know I gig a lot. And whether it be comedy clubs or whatever performances I gig a lot. And so I like to think I’m always quite match fit. Because I get to perform a lot.

When it’s for something that’s as high profile as something like America’s Got Talent — and depending on which performance — but for example the last performance — my final performance on the show — where I wanted to show a little bit of everything that I do using, you know, techniques, comedy, and also a bit of animatronics as well — which I’ve kind of shown a taste of it throughout the episodes in the series – in the season of it.

But I wanted to sort of cram it all into the one final episode just to say this is what I do. This is my whole family. And here’s a taste of kind of everything in a very, very short space of time.

There was a piece I did right at the very end where I was – there was Sam my kid character, there was a baby down by my feet in his little stroller, and then there was the old man who was in his mobility scooter, and we were having a dialogue quite quick there.

I must say that was written especially for the performance. And I wanted to try and show off how quickly I could do the different voices. And also just how the, you know, three – it doesn’t have to be a man standing there with his hand up the back of a puppet to be a ventriloquist.

You can have a puppet that you’re not attached to that you’re still in control of and I’m still doing the voice for. And that’s still ventriloquism. Just in a different way. So I wanted to show all of that off in a really quick I would say spectacularly way. And that — I must say — that took a lot of practice.

And I practiced and rehearsed, and rehearsed, and rehearsed, and rehearsed because I was just, you know, I was worried that I might mess it up on live television. And I didn’t want to do that. So I practiced a lot for it.

On his writing process and idea generating 

PZ: I have a writing partner that I’ve written with for the last 20 years. And he – I will come up with an idea and say I want to do a routine about whatever. And then he’ll go and write it. And then he’ll come back and I’ll say I don’t like that, but I like that.

And we’ll – it’ll be very much a collaborative effort really. And sometimes if we’re in the room together then we’ll bounce ideas off and something will make us laugh and then it’s – and then I’ll kind of rehearse it.
And he – it’s sort of – it’s a bit improvy. And it’s whatever gets – takes, you know, takes it to get to final stage. And you – once you’ve written it and you learn it. And then I go and try it out in the comedy club.

And sometimes it works like a treat. Sometimes it kills. And sometimes it completely falls flat. Dies on its butt and I have to start again or rewrite it and tweak it. But it’s a long process. It’s a very long tedious process. As any comedian will tell you.

But it’s the only way really. And it helps to bounce ideas off. I have a friend who is out here as well who’s a comedian who was helping me with some of the ideas that I used on America’s Got Talent.

And also, he’s a performer as well. So he knows what works. Sometimes I’ve worked with writers in the past who come up with an idea, but because they haven’t got the performing background they don’t necessarily – they don’t know if it’s going to work or not.

Whereas he’s a performer himself. And he knows that it will work. So there’s more trust in the material. So, yes, it definitely helps to bounce ideas off someone.

But sometimes I can be on a plane or I can be traveling somewhere and I could have had a couple of drinks and suddenly I get inspired and start writing ideas down. So you never know. I always have my notes on my phone open so I can just, you know, tap in ideas. And they can come from anywhere really.

On the patch of his career as a comedian/ventriloquist and the market for his brand of comedy

PZ: I’m going to find out how big the market is really. I – the feedback has been tremendous. You know Terry has shown that, you know, you can be very successful as a ventriloquist.

And I have lots of – I’ve got lots of ideas I would like to – obviously the Vegas show is very exciting. That’s kind of my first or the next to the big step. You know and maybe pursue some more Vegas dates depending on the success of the gigs at Planet Hollywood next month.

And also, television ideas as well. I’ve got lots of TV ideas as well. I’ve got an idea for a sitcom, which I’ve been kind of working on for quite a while now. And some other reality ideas involving, you know, my kind of comedy with the puppets.

And I think in a way this is such a great platform. America’s Got Talent gives you such amazing exposure. You have to really, you know, capitalize on it. You’ve got to go for it. And it’s a massive opportunity. And these opportunities don’t come around that often.

You know I’ve been in this business for 25 years now. And I’ve worked all over the place. But this is by far the biggest opportunity I’ve ever had. And so I absolutely, you know, want to go for it.

And I’ve got so many ideas and things that I want to do that I think in a way, you know, if I get it right, you know, you’re limited only by your imagination. So I’m very excited about the future.

I mean, you know, there’s no telling. Who knows? I just don’t – you don’t know what’s going to happen. But I’m going to try my very hardest.

On the hardest part of his journey on the show

PZ: The hardest part I suppose was – well, partly deciding the best bits of material to use on the show. Because you don’t get very long.

So having, you know, being able – being touring for some years and performing for a long time, I’ve got a fair amount of material. And you want to go out and do your best material. And make an impact. And get through each week to show that you can get to the finals.

But also, you have to kind of save some of your material as well so that you don’t peak too soon. And I think sometimes maybe some of the acts did. And so by the time you get to yourself and you find yourself getting into the semifinals or the final and you’re then like, “Oh, my God. What have I got left?”

You know you’ve still got to pull something else out of the bag. And so that was probably the most challenging was deciding what, you know, the right material was going to be for each performance knowing that you still have to save something back and kind of save the best ‘til last — which I like to think I did.

But that, yes, I would say that’s probably the most challenging. And also, being able to make an impact in such a short amount of time. You know that’s – it’s tricky.

On his advice for Season 11 contestants

PZ: You must go for it. Don’t be afraid. You must absolutely go for it. And then and it’s a huge opportunity. And if you get it right — which I was lucky enough to. And, you know, I’ve been given an amazing chance and I’m so grateful and thank the American public for voting for me.

And the judges. But you have to just absolutely go for it. But if you’re going to – if you want to go all the way and you think you can, you just – just pace yourself. That’s what I would say. Absolutely, you know, think about it — what you’re going to do — long and hard.

Because sometimes you could go out there and sort of blow it all too soon. Because you want to get to the next round. But you’ve got to have something else to top what you’ve already done. So, yes, my advice would be pace yourself.

You can see Paul in Las Vegas October 22 through 24 at Planet Hollywood Resort and Casino. Tickets are on presale now at

Also, to audition for America’s Got Talent Season 11 you can visit

The Intern — Nancy Meyers’ Cinematic Love Letter

The-Intern(PCM) When Nancy Meyers takes on a movie project she seems to have a sure-fire recipe for a hit – witty dialogue, A-list actors, and the ability to make us laugh and cry. Such is the case with her latest movie, “The Intern,” starring Anne Hathaway as Jules Ostin, the founder of an online fashion business, who is having a hell of a time juggling her successful Brooklyn-based e-commerce business, marriage and motherhood. Into Jules’ life comes Ben Whittaker, played by Oscar-winner Robert DeNiro, a 70-year-old widower and business executive, who is bored with retirement. Seizing the opportunity to get back into the game, he becomes a “senior intern” at Jules’ company.

The new Warner Bros. movie has this tagline: “Experience never gets old,” which is something that, during an exclusive interview, writer-director Meyers, 65, says captures the essence of her movie.The multi-generational comedy with a big heart was written and directed by Meyers, who has a stellar track record, which includes “The Holiday,” “Baby Boom,” and Private Benjamin.”

Meyers is best known for the romantic comedies, “It’s Complicated,” (2009) starring Meryl Streep, Alec Baldwin and Steve Martin, and “Something’s Gotta Give,” (2003) starring Diane Keaton, Jack Nicholson and Keanu Reeves. These movies have become classics to their scores of fans because of the multi-layered relationships. They also star A-list actors and actresses, who love to talk about how much they enjoyed conveying Meyers’ love letters to her film audience.

“I think this movie is Nancy’s love letter to us, to our generation, to us guys of our generation,” says Robert DeNiro. “I hope the movie is seen by a lot of people because it is this kind of movie. We do tend to feel that when you’re a certain age, you get older, you’re less relevant in some ways, and that’s just not the case.”

Anne Hathaway, who has starred in “The Devil Wears Prada,” and “Les Miserables,” said she truly loved working with Meyers.

“You look at Nancy Meyers and see this tiny, adorable woman and at first glance, I had no idea the tenacious, uncompromising, inexhaustible powerhouse that she is,” Hathaway said. “I had admired her work before, and now after making this movie with her, it goes beyond that. I’m so lucky that I got to work with her on this.”

Q: What’s the message or takeaway, if there is one for you, or more than one?

Nancy Meyers: There’s probably more than one, because there are several stories that go on during this movie. The central story, of course, is Jules and Ben’s friendship, and the value of this man to the lives of everybody at the startup.

Q: It there was just one message?

NM: I suppose if you handcuffed me and said you can only say one thing the movie’s about, I would say it’s somehow the tagline on the one sheet that experience never gets old. I didn’t write it, but they presented me with lists and lists of taglines, and when I saw that one, I put a big red circle around it. It says it well.

Q: Do you feel strongly about multi-generations being able to interact and help one another?

NM: Yes. People used to live in the same house with their grandparents, and the aunts and uncles, a lot of that’s just going away, like in a place like California a lot of people’s parents aren’t there any more. I am very happy that my children live in the same city as I do, and now I’m a grandmother, and my grandson is going to have me as part of his life.

Q: But this is not the case with families being so spread out.

NM: No, it’s not. I don’t think it’s that common anymore that everybody has elders. So the value of [Ben] this guy, and the value of the kind of man he is, which I see a big disappearing from our landscape, is one of the themes I wanted to write about in the movie. I also wanted to develop, an original relationship between a man and woman. It’s really a love story; it’s not a sexual love story, but it’s a love story.

Q: Your movies find clever, witty and fresh ways to address modern issues. So which issues did you feel strongly about for this movie?

NM: Well, obviously the concept of retirement and that it might happen to you whether or not you’re ready is talked about, as well as somebody’s desire not to be pushed aside.

Q: What else comes to mind?

NM: This is also about the fact that Anne [Hathaway] plays a woman who’s the founder of a company. I was saying earlier to somebody that when I wrote Baby Boom, it wouldn’t have occurred to me to make her the boss, and when I was writing Annie’s character in “The Intern,” it wouldn’t have occurred to me to make her an employee. I’ve been able to make movies over a long enough period of time where the world has changed. I’ve examined the lives of these women who have families and have children, and then I got a chance to look at the stay-at-home dad, [and] the mom who’s running a company, and all that entails.

Q: Your movies speak to everyone, but especially women, mature women who feel that you really get them.

NM: I get them, because I am one. I am a mature woman.

Q: Okay, do you still believe in romance; I mean, you write romantic comedies, and you have some happy endings, even though I would say that they’re not perfect endings.

NM: They’re complicated endings. Well, because as you get older, you’re more complicated. So things aren’t as cut and dry. You don’t jump into things – things aren’t as easy when you’re older. Do I believe in romance? I would say at the age I am now, I think it’s a different kind of romance than it was when you’re so smitten as a young woman, but I do in a way, yes I do.


Q: How long was this film shoot in Brooklyn?

NM: We shot for about 15 weeks. This is about half of what I’m used to, but twice as much as a lot of movies. So for me, I was racing on rollerblades the entire time.

Q: How was this movie different for you?

NM: I didn’t want to really write a romantic relationship. I’ve been writing romantic relationships for so long that for me it was really, kind of eye opening to write a different kind of relationship

Q: Was there something that was going on when the camera wasn’t rolling, in terms of Anne Hathaway and Robert DeNiro bonding, or spending their off time together, or alone?

NM: You know; what I observed was a mutual admiration society. I think two very strong actors really liking each other’s work, really finding it. They’re very good people, both of these people, they really are. He’s a very good guy; she’s a really good young woman, so there was no behavior on the set; not one minute of one day where anybody was misbehaving. It’s not in their make-up to misbehave. So it was a friendly set, and a warm set, and a kind of a team effort. I felt a team effort; both of them are team players, so I think that all helped.

Q: I met with Diane Keaton last fall at a women’s conference and I told her that “Something’s Gotta Give,” is one of my favorite movies, and she asked me if I thought that movie held up through the years and we discussed that it really was timeless.

NM: I love her.

Q: How does that make you feel when you hear a fan really admire your movies like that? I also spoke to Meryl Streep and we talked about what a pleasure it was to work with you on your movie, “It’s Complicated.”

NM: Well, it means an enormous amount to me. I want them to be happy with the work, because the actors give me lots of choices. They don’t know what I am going to pick. They have a sense of what I like, because they know what I’m going after, but the final performance is one that I put together from all the things they did for me. So you know, at the end, if they’re happy, makes me really happy. It means that we were on the same wave-length, and they trusted me. They trusted me to select from everything they gave.

Q: It is clear that you care for your actors while you collaborate with them, just like you worked with Anne Hathaway and Robert DeNiro on “The Intern.”

NM: It’s a very trusting relationship, you know, between the actor and director, so the fact that both women are happy with these movies is major. Diane lives in my neighborhood, I see her all the time, and I adore her. Diane has watched my kids grow up. To me, she’s just an extraordinary person. Obviously, both women are so gifted, so it means a lot to me to have them be appreciative and happy about their work, which belongs to all of us. They’re not my movies, they’re our movies.

Q: Anne Hathaway and Robert DeNiro spoke so positively about making this movie with you.

NM: What makes it easy though, is that these two actors are great people. So, when you’re surrounded by great people, they make you better, and they also allow you to express yourself all the time. And they’re open and they’re safe, you know? That’s what we all want when we make a movie, to feel safe to be ourselves and get what we need. So, they allowed me to do my work in a way for that short amount of time.

Q: How does your own personal story affect what you write about?

NM: Enormously, because I don’t adapt books. I’m writing from, if not my experience, my take on things. So I got to talk about men, I’ve had a chance to talk about technology, the culture, and Millennials, versus the difference in what’s going in with men. To me, women have moved forward in a really interesting way, and men have floundered in the same period of time. So I think about that and I wrote about that.

Q: Did you enjoy the research for the movie?

NM: Yes, I personally really enjoyed the research that I did about startups and their culture. It was really interesting; I really learned a lot. I knew nothing about it before. I mean; how many movies do you want to see that take place at a magazine or an ad agency? This was a big, interesting workplace.

Q: Tell me more.

NM: So, just being able to, you know, I love doing research about things I’m interested in. I’m a big online shopper, but I don’t know what it’s like there. How does that thing get from there to me? I really observed that at a lot of start ups, and to see what goes on, was really, really interesting to learn about that culture; it’s fascinating.

Q: What struck you about seeing the movie recently?

NM: I really enjoyed watching this movie with the audience. It’s a bit of an audience participation movie. You’re surprised when things happen, there are really good laughs, they get emotional, and I hear people tearing up.

Q: What do you enjoy most about the movie?

NM: The relationship of Bob and Anne, that it’s a kind of an unexpected, you don’t really know exactly where it’s going and what it becomes. I like that, so when she shows up at the end of the movie and they’re together, I always get a great sense of relief, and kind of makes me feel satisfied when I get to the end of the movie, of the journey.

Q: Do you know what you’re doing next?

NM: No, I have never been at a press event and had an answer for that, because I never know. I really don’t know; I sort of wait for something to come to me. I wish I was like Woody Allen; someone was just talking about the documentary on him? He opens his drawer in his bedroom, and in it he shows you all his ideas. He’s got like a million little scraps of paper. I don’t have that.

Q: What was the dream of your film career versus like what you thought you might want to do when you were 20, or 30, or 40 versus today? Like, is it better, or different?

NM: I did not, you know, come to Hollywood thinking I’m going to get a chance to make movies for the next 35 years, with really doing the movies that I want to do. I’ve done a couple of movies that weren’t original screenplays of mine, but I re-wrote them. Mostly the movies I’ve done have been original, so the fact that I’ve been able to continue to do it over this length of time has been honestly so rewarding, and gratifying for me.

The post The Intern — Nancy Meyers’ Cinematic Love Letter first appeared on Movie News & Reviews.

Exclusive Interview With Clutch Bassist Dan Maines! New Album “Psychic Warfare” Due Out October 2!


(PCM) Always one of our very favorite bands to catch live, Clutch put on an incredible performance at the inaugural Food Truck & Rock Carnival held at Oak Ridge Park in Clark, NJ. Currently, Clutch are gearing up for the October 2 release of their eleventh studio album “Psychic Warfare” released via their own label Weathermaker Music. “Psychic Warfare” serves the perfect follow-up to the band’s critically acclaimed “Earth Rocker” which debuted at #15 on the Billboard charts when it was released back in 2013.

We were thrilled to hear some new tracks making their way into the band’s live set and if these songs are any indication of what’s to come with the new album, we are sure to have yet another phenomenal release from Clutch!

We caught up with Clutch bassist Dan Maines to chat about the recording process for “Psychic Warfare”, changes in the music industry, upcoming touring plans and more!


On adding in new songs to the live performance 

DAN MAINES: We opened last night at The Shindig Festival with two new ones and all together we had about six new ones in the set.

On reading feedback on social media about the new music 

DM: I come across that stuff, but I don’t search for it. It’s too easy to get wrapped up in all of that, but we do like to play our newest stuff whenever we have the opportunity, sometimes even before we record songs we will play it live. That’s more for our benefit than anything else, just to see if the song has legs and if it’s something that we need to put on the back burner.  It’s definitely something that keeps things fresh on our end.

On the difficulty of crafting a set list and adding in new material

DM: As a musician that is the stuff that you are going to be most interested in playing and I think it’s a good exercise for all of us to kind of gauge where the song is and what needs to be changed and it keeps us thinking about the music. It’s too easy sometimes to fall into this automatic mode, especially if you are playing the same set list over and over again night after night. Sometimes you catch yourself not even paying attention to what it is that you’re playing and that’s when mistakes are made.

On the recording process for “Psychic Warfare”

DM: We worked about with Machine, who is the producer we used for Blast Tyrant” back in 2004 and then we used him again for “Earth Rocker” and things went really well for us on “Earth Rocker”. I think we felt more comfortable working with Machine for that record than we did for “Blast Tyrant”. I think it was a bit of a shock when we did “Blast Tyrant” because his methods are pretty unorthodox and we just felt more comfortable with him by the time we got around to doing “Earth Rocker”. I think that made the process for “Psychic Warfare” a lot easier because we had made the decision to go with him very early on in the process, so we had the opportunity to bring him down to our studio in Maryland a couple times for an extended period of time just to work out the songs and that was a big help. So, by the time we got into Texas we had not only all the songs written out, but we had played them live for at least two or three weeks before we went into the studio.

When we got into Texas, we just set up the gear and really just kind of belted them out. There was really only one song, it was “A Quick Death In Texas”, that we had ideas and riffs for, but it was really written in song form in his studio in Texas.

On the ways Machine challenged the band during the recording process

DM: His recording style is very different. Normally, you get a band and you set everyone up in the same room and you have everything mic’d and you push record and just play that song over and over again until you get what everyone agrees is the good take. When we did “Earth Rocker” it was very different. We recorded one instrument at a time, we recorded the drums and once the drum takes were done, we recorded the bass and then moved on to guitars and that was very unusual for us, maybe not for other bands, but for us it was kind of an unusual way of doing it. But, when it came time to do “Psychic Warfare”, we really expressed our desire to do it as more of a live setting recording process, so he was very flexible with us on that and he allowed us to set everything up and we recorded it as a band. It was much more of a live approach to recording than with “Earth Rocker”.

On the imperfectly perfect sound of the live recording style

DM: When you have music being recorded into a computer and you have it laid out in front of your eyes and you can see the imperfections, it’s too easy to cut that aspect of recording out and only listen with your ears. It’s something that can both be a crutch and a useful tool, you just have to be able to reign yourself in and use it for the benefit of the music.

On upcoming touring plans and release day for “Psychic Warfare” on Oct 2

DM: We have a tour that starts on October 3 and it’s mostly an East Coast and Midwest tour. We go out to California for a couple of festivals, but we’ll be going back out early next year to hit a lot of the markets we don’t do in October. We’ve got a UK and European run in November and then we have our usual week’s worth of shows between the 25th and the 1st of December.

This post came fromExclusive Interview With Clutch Bassist Dan Maines! New Album “Psychic Warfare” Due Out October 2! - unSkinny Pop

Exclusive Interview With Rock n’ Roll Queen Lita Ford! New Music And Autobiography Are On The Way Soon!


(PCM) It was quite an honor to sit down with the gorgeous and legendary Lita Ford just prior to her performance at the recent Food Truck & Rock Carnival held at Oak Ridge Park, in Clark, NJ. We spoke in depth about her upcoming book release, as well as, when we can expect to hear any new music on the horizon. Fans will be pleased to know that both are on the table for 2016 and that there will be plenty of live dates on the way as well!

Additional Lita Ford tour dates can be found below:

10/23 San Jose, CA Rockbar Theater
10/ 24 Modesto, CA Fat Cat Lounge – Northern California Women’s Music Festival
10/25 Portland, OR Bossanova Ballroom
10/30 – 11/ 3 Miami / Jamaica KISS Kruise V – (Sailing from Miami to Jamaica w/ KISS, Steel Panther & Fozzy)

11/14 Calgary, AB, Canada Deerfoot Inn Casino
11/ 21 Ormond Beach, FL Performing at: “Metal – The Post Apocolyptic Tour” at Bruce Rossmeyer’s Destination Daytona


For more information, please visit:

This post came fromExclusive Interview With Rock n’ Roll Queen Lita Ford! New Music And Autobiography Are On The Way Soon! - unSkinny Pop

Sabaton Frontman Loses A Bet And Has To Walk 323 Miles To The Band’s Next Gig!


(PCM) It’s all fun and games until someone has to walk!  Such is the case for Sabaton frontman Joakim Broden who lost a bet made with his bandmates and is now forced to walk about 323 miles to the band’s next gig at the Trodheim Metal Fest in Norway, held Oct 1 and 3. Broden has already started his journey and has decided to create a video journal of his trek!

It will reportedly take Broden about 107 hours to make the trip and in a comment to Norway’s he says, “I will not go into details on exactly what happened, but I can say that it was fun and a bit silly. It started out almost as a joke, but it evolved to be quite serious. I will take a few days rest. I have made contact with some fans via Facebook, who have provided me with food and shelter.”

Broden goes on to say, “The first day was the hardest. That’s when I walked for ten hours without proper shoes. It wasn’t exactly ideal. And I do not walk such long stretches of time now. I walk between four and eight hours a day.” 

We can only wish Broden the best of luck with his journey and we certainly hope he will make it in time for the band’s performance!  Wonder if the rules of the best said anything about hitchhiking?

We caught up with Sabaton during their appearance in Philadelphia, PA last year….check out our exclusive interview and show coverage here!

This post came fromSabaton Frontman Loses A Bet And Has To Walk 323 Miles To The Band’s Next Gig! - unSkinny Pop

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