This fall MARIA BELLO stars in a reimagining of the British TV series PRIME SUSPECT, playing the character that HELEN MIRREN originated.
Our fabulous friends at EW have a gallery of awesome photos for you to peruse.
To get a good look, go here
This fall MARIA BELLO stars in a reimagining of the British TV series PRIME SUSPECT, playing the character that HELEN MIRREN originated.
Our fabulous friends at EW have a gallery of awesome photos for you to peruse.
To get a good look, go here
JIMMY KIMMEL’S beloved UNCLE FRANK POTENZA, a former police officer who became a frequent guest comedian on JIMMY KIMMEL LIVE, died Tuesday morning at the age of 77.
JIMMY, whose show is on hiatus until next month Tweeted, “Thank you for your kind words about a very kind man – my Uncle Frank – who passed away this morning.”
Prior to engaging in hijinx with his nephew on the ABC late night show, FRANK POTENZA was a Korean War veteran who worked 20 years as a New York City police officer. He also worked for 20 years as a security guard at CAESAR’S PALACE in Las Vegas and at ST. PATRICK’S CATHEDRAL in New York.
In 2003, JIMMY asked his UNCLE FRANK to move to Los Angeles to join his then upstart talk show as security guard and on air contributor.
The show commented in a statement: “During his nine year run on air, Uncle Frank contributed many great moments to Jimmy Kimmel Live. He was beloved by his coworkers and considered an Uncle to all. His kindness and humour will be missed by everyone he touched.”
SHOWTIME’S DEXTER is 3 for 4 when it comes to scoring EMMY nominations for GUEST STAR IN A DRAMA SERIES.
JIMMY SMITS picked up a nom for his portrayal of ASSISTANT DISTRICT ATTORNEY MIGUEL PRADO in SEASON THREE and JOHN LITHGOW took home the statuette last year for his portrayal of the chilling TRINITY KILLER.
This season, JULIA STILES boarded the series about a Miami serial killer with a cause as LUMEN, a damaged rape victim freed from abduction by DEXTER (MICHAEL C. HALL). JULIA said she read a lot of literature to effectively play the victim, whom DEXTER ultimately transforms into a revenge killer.
THE HOLLYWOOD REPORTER: How much did you know about LUMEN or her story arc when you took the role?
JULIA STILES: I actually knew very little. I met with producer JOHN GOLDWYN and he gave me the broad strokes about what the arc of the character would be. I did ask if I would end up killing anyone and he said yes. At that point, I decided to do it. He told me that when you meet her for the first time, she’s been victimized. I was more interested in how she would become more active. The revenge part of it is what intrigued me.
THR: The fact that LUMEN ultimately got to kill someone is what sealed the deal for you to take the part?
JS: Yes, the idea that she wasn’t just the victim. I was really excited by the idea that she would be involved in DEXTER’S secret life, as opposed to on the outside of it like a lot of the other characters.
THR: How familiar were you with the series ahead of your audition?
JS: I was a big fan. I’d seen SEASON FOUR with JOHN LITHGOW and that’s what got me hooked. Then I went back and watched from the beginning.
THR: Following JOHN LITHGOW’S EMMY winning turn two seasons ago, did you feel particular pressure to deliver another award winning guest arc?
JS: Absolutely! My one hesitation was that his shoes are big ones to fill. My saving grace is that I’m a girl and that my character was very different from his. I at least comforted myself with that idea. If I thought too much about how great he was and how much the fan base really responded to his work, I would have been paralyzed. I tried to focus on the differences.
THR: What was the most challenging aspect of playing a victim turned revenge killer like LUMEN?
JS: I never think of myself as an actor who takes work home with them, but I was surprised, especially toward the end of the season – around Episode 10 – when some of the details of what LUMEN had experienced became really harrowing and I started to realize that it was affecting me outside of work. One scene in particular, in Episode 10, when the detectives have found DVDs showing what has happened to the victims – it was really dark. It made it more difficult for me to sleep.
THR: What did you learn about yourself playing LUMEN?
JS: I was surprised at how much I enjoyed the kill scenes and the sacredness of them. As a fan of the show, I felt very privileged to be a part of them.
THR: How did you prepare for the role?
JS: On one hand, it was difficult to prepare because I couldn’t see much of where it was going when we first started the season. The details of what she had experienced were really important to me; everything that she had experienced before the attack and abduction was irrelevant because she became a different person. I met with the writers a lot and grilled them for details about what she had experienced – the sensory experience of her trauma – because that would affect her behaviour when you first meet her.
I read a lot about trauma victims and rape victims, but for me, that was very intellectual and I wanted it to be more visceral and emotional. I had to use my imagination a lot and that was pretty harrowing. I wanted to do the character justice, in terms of the reality of how she was affected and to justify her revenge later.
THR: Was there anything you brought in that the writers incorporated into the script?
JS: There was a lot of discussion later as the relationship between DEXTER and LUMEN became more intimate. The biggest question was whether LUMEN was ready for any sort of closeness with a man.
THR: Were you surprised that LUMEN survived?
JS: Not only was I really surprised that she survived, but I was surprised that she ended up distancing herself from DEXTER. The tradition on the show is once you get too close to DEXTER, he’s got to kill you.
THR: Could LUMEN ever return?
JS: I have no idea, only because I don’t know if it makes sense for the show. It’s out of my hands. So we’ll see.
THR: Is there a scene that stands out most when you think about your DEXTER experience?
JS: In the kill room, when she first gets to put the knife in. That was really special. There was also a nice moment of collaboration where the set designers had put up pictures of all the other victims on the wall and I remember saying to the director that I felt like it was important that LUMEN acknowledge the other girls and say that it was for them, too.
We did a separate shot of that and it ended up in the final edit, which I was really pleased about. It’s a great example of how collaborative the show is and what a nice environment it is to work in.
This article is written by ROSEANNE BARR at NEW YORK MAGAZINE
ROSEANNE BARR was a sitcom star, a creator and a product, the agitator and the abused, a domestic goddess and a feminist pioneer. That was twenty years ago. But as far as she’s concerned, not much has changed.
During the recent and overly publicized breakdown of CHARLIE SHEEN, I was repeatedly contacted by the media and asked to comment, as it was assumed that I know a thing or two about starring on a sitcom, fighting with producers, nasty divorces, public meltdowns and bombing through a live comedy tour. I have, however, never smoked crack or taken too many drugs, unless you count alcohol as a drug. (I don’t.) But I do know what it’s like to be seized by bipolar thoughts that make one spout wise about Tiger Blood and brag about winning when one is actually losing.
It’s hard to tell whether one is winning or, in fact, losing once one starts to think of oneself as a commodity, or a product, or a character or a voice for the downtrodden. It’s called losing perspective. Fame’s a bitch. It’s hard to handle and drives you nuts. Yes, it’s true that your sense of entitlement grows exponentially with every perk until it becomes too stupendous a weight to walk around under, but it’s a cutthroat business – show – and without the perks, plain ol’ fame and fortune just ain’t worth the trouble.
Winning in Hollywood means not just power, money and complimentary smoked salmon pizza, but also that everyone around you fails just as you are peaking. When you become #1, you might begin to believe, as CHER once said in an interview, that you are “one of God’s favourite children,” one of the few who made it through the gauntlet and survived. The idea that your ego is not ego at all but submission to the will of the Lord starts to dawn on you as you recognize that only by God’s grace did you make it through the raging attack of idea pirates and woman haters, to ascend to the top of Bigshit Showbiz Mountain.
All of that sounds very much like the diagnosis for bipolar disorder, which more and more stars are claiming to have these days. I have it, as well as several other mental illnesses, but then I’ve always been a trendsetter, even though I’m seldom credited with those kinds of things. And I was not crazy before I created, wrote and starred in television’s first feminist and working class family sitcom. (Also its last.)
I so admire DAVE CHAPELLE. You did right for yourself by walking away, DAVE. I did not have the guts to do it, because I knew I would never get another chance to carry so large a message on behalf of the men and women I grew up with…and that mattered most to me.
After my 1985 appearance on THE TONIGHT SHOW STARRING JOHNNY CARSON, I was wooed by producers in Hollywood, who told me they wanted to turn my act into a sitcom. When Marcy Carsey — who co owned CARSEY WERNER with her production partner Tom Werner (producers of THE COSBY SHOW) — asked me to sign, I was impressed. I considered THE COSBY SHOW to be some of the greatest and most revolutionary TV ever.
Marcy presented herself as a sister in arms. I was a cutting edge comic and she said she got that I wanted to do a realistic show about a strong mother who was not a victim of Patriarchal Consumerist Bullshit — in other words, the persona I had carefully crafted over eight previous years in dive clubs and biker bars: a fierce working class Domestic Goddess. It was 1987 and it seemed people were primed and ready to watch a sitcom that didn’t have anything like the rosy glow of middle class confidence and comfort and didn’t try to fake it. ABC seemed to agree.
They picked up ROSEANNE in 1988.
It didn’t take long for me to get a taste of the staggering sexism and class bigotry that would make the first season of ROSEANNE godawful. It was at the premiere party when I learned that my stories and ideas — and the ideas of my sister and my first husband BILL — had been stolen. The pilot was screened and I saw the opening credits for the first time, which included this: CREATED BY MATT WILLIAMS. I was devastated and felt so betrayed that I stood up and left the party.
Not one person noticed.
I confronted Marcy under the bleachers on the sound stage when we were shooting the next episode. I asked her how I could continue working for a woman who had let a man take credit for my work — who wouldn’t even share credit with me — after talking to me about sisterhood and all that bullshit.
She started crying and said, “I guess I’m going to have to tell Brandon [Stoddard, then president of ABC Entertainment] that I can’t deliver this show.” I said, “Cry all you want to, but you figure out a way to put my name on the show I created or kiss my ass goodbye.”
I went to complain to Brandon, thinking he could set things straight, as having a robbed star might be counterproductive to his network. He told me, “You were over 21 when you signed that contract.” He looked at me as if I were an arrogant restaurant server run amok.
I went to my agent and asked him why he never told me that I would not be getting the created by credit. He halfheartedly admitted that he had “a lot going on at the time” and was “sorry.” I also learned that it was too late to lodge a complaint with the WRITERS GUILD. I immediately left that agency and went to the WILLIAM MORRIS AGENCY. I figured out that Carsey and Werner had bullshitted Matt Williams into believing that it was his show and I was his star as effectively as they had bullshitted me into thinking that it was my show and Matt Williams was my scribe. I contacted BERNIE BRILLSTEIN and a young talent manager in his office, BRAD GREY and asked them to help me. They suggested that I walk away and start over, but I was too afraid I would never get another show.
It was pretty clear that no one really cared about the show except me and that Matt and Marcy and ABC had nothing but contempt for me — someone who didn’t show deference, didn’t keep her mouth shut, didn’t do what she was told. Marcy acted as if I were antifeminist by resisting her attempt to steal my whole life out from under me. I made the mistake of thinking Marcy was a powerful woman in her own right. I’ve come to learn that there are none in TV. There aren’t powerful men, for that matter, either — unless they work for an ad company or a market study group. Those are the people who decide what gets on the air and what doesn’t.
Complaining about the created by credit made an enemy of Matt. He wasted no time bullying and undermining me, going so far as to ask my costar JOHN GOODMAN, who played ROSEANNE CONNOR’S husband DAN if he would do the show without me. (JOHN said no.) That caused my first nervous breakdown.
To survive the truly hostile environment on set, I started to pray nonstop to my God, as working class women often do and to listen nonstop to PATTI SMITH’S PEOPLE HAVE THE POWER. I read THE ART OF WAR and kept the idea She that cares the most wins upmost in my mind. I knew I cared the most, since I had the most to lose. I made a chart of names and hung them on my dressing room door; it listed every person who worked on the show and I put a check next to those I intended to fire when ROSEANNE became #1, which I knew it would.
My breakdown deepened around the fourth episode, when I confronted the wardrobe master about the Sears Roebuck outfits that made me look like a show pony rather than a working class mom. I wanted vintage plaid shirts, T shirts and jeans, not purple stretch pants with green and blue smocks. She bought everything but what I requested, so I wore my own clothes to work, thinking she was just absentminded. I was still clueless about the extent of the subterfuge.
Eventually she told me that she had been told by one of Matt’s producers —his chief mouthpiece — “not to listen to what Roseanne wants to wear.” This producer was a woman, a type I became acquainted with at the beginning of my stand up career in Denver. I cared little for them: blondes in high heels who were so anxious to reach the professional level of the men they worshipped, fawned over, served, built up and flattered that they would stab other women in the back.
They are the ultimate weapon used by men against actual feminists who try to work in media and they are never friends to other women. You can trust me on that.
I grabbed a pair of wardrobe scissors and ran up to the big house to confront the producer. (The big house was what I called the writers’ building. I rarely went there, since it was disgusting. Within minutes, one of the writers would crack an utterly tasteless feminine hygiene joke that would make me want to murder them. Male writers have zero interest in being nice to women, including their own assistants, few of whom are ever promoted to the rank of writer, even though they do all the work while the guys sit on their asses taking the credit. Those are the women who deserve the utmost respect.)
I walked into this woman’s office, held the scissors up to show her I meant business and said, “Bitch, do you want me to cut you?” We stood there for a second or two, just so I could make sure she was receptive to my POV. I asked why she had told the wardrobe master to not listen to me and she said, “Because we do not like the way you choose to portray this character.”
I said, “This is no fucking character! This is my show and I created it — not Matt and not Carsey Werner and not ABC. You watch me. I will win this battle if I have to kill every last white bitch in high heels around here.”
The next battle came when Matt sent down a line for me that I found incredibly insulting — not just to myself but to JOHN, who I was in love with secretly. The line was a ridiculously sexist interpretation of what a feminist thinks — something to the effect of “You’re my equal in bed, but that’s it.”
I could not say it convincingly enough for Matt and his hand picked director walked over and gave me a note in front of the entire crew: “Say it like you mean it…That is a direct note from Matt.”
What followed went something like this: My lovely acting coach ROXANNE ROGERS (a sister of SAM SHEPARD) piped up and said, “Never give an actor a note in front of the crew. Take her aside and give her the note privately – that is what good directors do.” She made sure to say this in front of the entire crew. Then she suggested that I request a line change. So I did.
Matt, who was watching from his office, yelled over the loudspeaker, “Say the line as written!” I said, “No, I don’t like the line. I find it repulsive and my character would not say it.” Matt said, “Yes, she would say it. She’s hot to trot and to get her husband in bed with her and give it to her like she wants it.”
I replied that this was not what she would say or do: “It’s a castrating line that only an idiot would think to write for a real live woman who loves her husband, you cocksucker.”
ABC’s lawyers were called in. They stood around the bed while the cameras filmed me saying, very politely, over and over, “Line change, please.” After four hours of this, I called my then lawyer BARRY HIRSCH and demanded to be let out of my contract. I couldn’t take it any longer — the abuse, humiliation, theft and lack of respect for my work, my health, my life. He explained that he had let it go on for hours on purpose and that I had finally won.
He had sent a letter to the network and CARSEY WERNER that said, “Matt wasted money that he could have saved with a simple line change. He cost you four hours in production budget.”
That turned the tide in my favour.
BARRY told me Matt would be gone after the thirteenth episode. Which didn’t stop him from making my life hell until then. Some days, I’d just stand in the set’s kitchen weeping loudly. The crew would surround me and encourage me to continue. CJ, one of my favourite camera operators — an African American married to a white woman — would say, “Come on, Rosie, I need this job. I have five kids and two of them are white!”
I was constantly thinking about my own kids being able to go to college and I wrote jokes like a machine — jokes that I insisted be included in the scripts. (Lots of times, the writers would tell me that the pages got lost.) But thanks to BARRY, my then manager ARLYNE ROTHBERG, ROXANNE, my brave dyke sister GERALDINE BARR, the cast of great actors, the crew — who became my drinking buddies — the wardrobe department and the craft services folks, I showed up and lived out the first thirteen episodes, after which Matt left. Without all of them, I never would have made it.
(Most of the crew now work for Chuck Lorre, who I fired from my show; his sitcoms star some of my costars and tackle many of the subjects ROSEANNE did. Imitation is the sincerest form of show business.)
Matt stayed just long enough to ensure him a lifetime’s worth of residuals. Another head writer was brought on and at first he actually tried to listen to what I wanted to do. But within a few shows, I realized he wasn’t much more of a team player than Matt. He brought his own writers with him, all male, all old. Most of them had probably never worked with a woman who did not serve them coffee. It must have been a shock to their system to find me in a position to disapprove their jokes.
When the show went to #1 in December 1988, ABC sent a chocolate 1 to congratulate me. Guess they figured that would keep the fat lady happy — or maybe they thought I hadn’t heard (along with the world) that male stars with #1 shows were given Bentleys and Porsches. So me and GEORGE CLOONEY [who played ROSEANNE CONNER’S boss for the first season] took my chocolate prize outside, where I snapped a picture of him hitting it with a baseball bat.
I sent that to ABC.
Not long after that, I cleaned house. Honestly, I enjoyed firing the people I’d checked on the back of my dressing room door. The writers packed their bags and went to join Matt on TIM ALLEN’S new show HOME IMPROVEMENT, so none of them suffered at all. TIM didn’t get credit either.
But at least everyone began to credit me.
I was assumed to be a genius and eccentric instead of a crazy bitch and for a while it felt pretty nice. I hired comics that I had worked with in clubs, rather than script writers. I promoted several of the female assistants — who had done all the work of assembling the scripts anyway — to full writers. (I did that for one or two members of my crew as well.)
Call me immodest — moi? — but I honestly think ROSEANNE is even more ahead of its time today, when Americans are, to use a technical term from classical economics, screwed. We had our fun; it was a sitcom. But it also wasn’t The Brady Bunch; the kids were wiseasses and so were the parents. I and the mostly great writers in charge of crafting the show every week never forgot that we needed to make people laugh, but the struggle to survive and to break taboos was equally important. And that was my goal from the beginning.
The end of my addiction to fame happened at the exact moment ROSEANNE dropped out of the top ten, in the seventh of our nine seasons. It was mysteriously instantaneous! I clearly remember that blackest of days, when I had my office call The Palm restaurant for reservations on a Saturday night, at the last second as per usual. My assistant HILARY, who is still working for me, said — while clutching the phone to her chest with a look of horror, a look I can recall now as though it were only yesterday: “The Palm said they are full!”
Knowing what that really meant sent me over the edge. It was a gut shot with a sawed off scattershot, buckshot loaded pellet gun. I made HIL call The Palm back, disguise her voice and say she was calling from the offices of TOM CRUISE and NICOLE KIDMAN. Instantly, HIL was given the big 10 4 by The Palm management team. I became enraged and though she was uncomfortable doing it (HIL is a professional woman), I forced her to call back at 7:55 and cancel the 8:00 reservation, saying that ROSEANNE — who had joined TOM and NICOLE’S party of seven — had persuaded them to join her at Denny’s on Sunset Boulevard.
The feeling of being used all those years just because I was in the top ten — not for my money or even my gluttony — was sobering indeed. I vowed that I would make a complete change top to bottom and rid myself of the desires that had laid me low. (I also stopped eating meat for a year, out of bitterness and mourning for The Palm’s bone in rib eye steaks.)
As inevitably happens to all stars, I could not look myself in the mirror for one more second. My dependence on empty flattery, without which I feared I would evaporate, masked a deeper addiction to the bizarro world of fame. I had sold my time and company at deflated prices just for the thrill of reserving the best tables at the best restaurants at the very last minute with a phone call to the maître d’ — or the owners themselves, whose friendships I coddled just to ensure premium access to the aforementioned, unbelievably good smoked salmon pizza.
I finally found the right lawyer to tell me what scares TV producers worse than anything — too late for me. What scares these guys — who think that the perks of success include humiliating and destroying the star they work for (read Chuck Lorre’s personal attacks on CHARLIE SHEEN in his vanity cards at the end of TWO & A HALF MEN) — isn’t getting caught stealing or being made to pay for that; it’s being charged with fostering a hostile work environment. If I could do it all over, I’d sue ABC and CARSEY WERNER under those provisions. Hollywood hates labour and hates shows about labour worse than any other thing. And that’s why you won’t be seeing another ROSEANNE anytime soon.
Instead, all over the tube, you will find enterprising, overmedicated, painted up capitalist whores claiming to be housewives.
But I’m not bitter.
Nothing real or truthful makes its way to TV unless you are smart and know how to sneak it in and I would tell you how I did it, but then I would have to kill you.
Based on TWO & A HALF MEN’S success, it seems viewers now prefer their comedy dumb and sexist. People do what they can get away with (or figure they can) and CHARLIE is, in fact, a product of what we call politely the culture. Where I can relate to the CHARLIE stuff is his undisguised contempt for certain people in his work environment and his unwillingness to play a role that’s expected of him on his own time.
But, again, I’m not bitter. I’m really not.
The fact that my fans have thanked and encouraged me for doing what I used to get in trouble for doing (shooting my big mouth off) has been very healing. And somewhere along the way, I realized that TV and our culture had changed because of a woman named ROSEANNE CONNER, whom I am honoured to have written jokes for.
He’s the breakout star of HORRIBLE BOSSES, fighting off JENNIFER ANISTON’S advances – and getting a little nuts during a certain vacuum scene.
Still, fans of FX’s raunchy hit IT’S ALWAYS SUNNY IN PHILADELPHIA all ready know actor CHARLIE DAY as the show’s sweetly off the wall character CHARLIE.
Here are some fascinating facts to peruse before IT’S ALWAYS SUNNY’S season seven premiere arrives on SEPTEMBER 15.
1. HE’S GOING TO BE A DAD
On IT’S ALWAYS SUNNY, CHARLIE constantly chases after THE WAITRESS (MARY ELIZABETH ELLIS), a still unnamed server at a nearby coffee shop (and some time theme restaurant) who he’s obsessed with. THE WAITRESS can’t stand CHARLIE – going as far as to sleep with two of his friends – but in real life, CHARLIE has been married to MARY ELIZABETH since 2006 and the two are expecting their first child in December.
2. HE ONCE PLAYED HIS WIFE’S BROTHER/LOVER
When they were first dating, CHARLIE and MARY ELIZABETH played incestuous twins on a 2004 episode of RENO 911.
“Nothing says, ‘This is the girl I want to marry,‘ like pretending she’s your sister and making out with her to get a job,” CHARLIE facetiously asserted.
3. HE’S REALLY NOT FROM PHILADELPHIA
CHARLIE actually hails from Rhode Island – and he even lived in New York’s Harlem neighbourhood for a while – and now resides in Los Angeles. Although he said he digs Philly, there’s one familiar staple he doesn’t enjoy: “I don’t care for cheesesteaks. They make me shit my pants.”
4. HE MADE HIS ACTING DEBUT ALONGSIDE MARY TYLER MOORE
In 2000, CHARLIE made his first TV appearance, playing a mailroom clerk in the TV reunion movie MARY & RHODA, starring MARY TYLER MOORE and VALERIE HARPER.
5. HE’S A MUSICOLOGIST
Both of his parents are music teachers and CHARLIE’S written a lot of the music featured on IT’S ALWAYS SUNNY. But CHARLIE is a classical music fan. DEBUSSY is a favourite and he admits to trying to learn CLAIR DE LUNE on piano through YouTube instructional videos.
“I think I got to a certain age where I decided I’d rather be a baseball player than a musician,” he said of giving up on piano lessons as a child.
“Now, like most kids, I regret it.”
This article is written by JANE at xojane.com
I recently interviewed ROSEANNE BARR on my SIRIUS XM show and then she answered all my listeners’ queries and THE SAME FIVE QUESTIONS WE ALWAYS ASK. See this awesome lady on ROSEANNE’S NUTS on WEDNESDAYS at 9:00 PM on LIFETIME.
JANE: What is the closest you’ve ever come to being arrested?
ROSEANNE BARR: I have been arrested. For hitchhiking in Denver, Colorado…and went to jail for it. Jesus, that was in the early 70s. We all used to hitchhike. But it was against the law. I hitchhiked cross country. I don’t recommend it. If my kids would try to do that, I’d chain em in the basement. It was so…I shouldn’t say positive.
But when I did it, you know, it was so fun. I didn’t have a dime in my pocket. I have to thank a lot of great truckers. I love truckers. They’d take me and my girlfriend and they’d buy us breakfast and we just rode in trucks and heard great stories, coast to coast. Nothing bad ever happened. Nobody was ever a creep or crazy like they are now.
You wanna hear a scary story? You know DEBBIE HARRY? The great DEBBIE HARRY. Well, she told me that one time – she used to hitchhike, too – she got in a car with this guy in a Volkswagon. Five years later she saw it on TV…and it was Ted Bundy. She could tell he was trying to get somewhere mentally with her, get her into a mental state. She was like, “I’m outta here!” You know DEBBIE.
JANE: I would’ve gone right along with him.
ROSEANNE: You think you’d be a victim?
JANE: Of course. Because I like to take care of people. I’m codependent. So I would have seen him with his fake cast and that little VW bug and I would have been right over there like, “Oh, how can I help?”
ROSEANNE: That’s what happened to a lot of poor girls. But I’m codependent too and I realized it when I was looking at my boyfriend JOHNNY. I go, you know, I think I need an enabler.
JANE: What’s the weirdest thing you do when you’re alone?
ROSEANNE: Twitter nude. Oh, here’s my Twitter: @therealrosanne. It won’t give me a blue [verified] check, so stop asking me why I don’t have a blue check or I’ll ban you. They won’t give me one. They stole my name: ROSEANNE BARR. And I’m like you, I don’t own my name. I’m gonna sue her [the person who has that Twitter handle].
Remember ANDY KAUFMAN? “I’m from Hollywood. Do you understand what that means?”
I’ll own you and I’ll have Twitter by the time I get my lawyers on your ass. They hold your name hostage. It’s like identity theft. What the hell…? I’m not gonna pay em. They’re like, “It’ll cost you $50,000 for your name.”
F you! I don’t have to pay for my name. Goddamn pirate. You know what I mean? Don’t get me started.
JANE: What pills do you take every day?
ROSEANNE: None. I can’t remember to take my vitamins either. I wish I could remember to take pills every day. I paid $1,000 for vitamins – I never take em. I can’t remember anything.
JANE: Is there anything else you can’t do?
ROSEANNE: My hips are bad. I think I need a hip replacement. That’s why I can’t do that DANCING WITH THE STARS shit.
JANE: Oh, you’d be so brilliant on that too.
ROSEANNE: I really wanna do that show.
JANE: Who is on your celebrities to make out with list?
ROSEANNE: Oh Jesus. CHER. If I get married again I wanna marry CHER. I’m in love with CHER. I would love to – no, maybe not make out with her. I’d like to hang out with her and marry her, but I don’t know about making out with her. I have a thing about kissing and germs. I don’t like to shake hands or kiss. So, I don’t know. But I think CHER is fascinating.
And guy wise – who’s my guy crush? I have a lot of those. PAUL SCULFOR. There’s a picture of me and PAUL. Yeah. I just stared at PAUL. He’s pretty handsome. He’s gorgeous. He’s the new somebody. So he can get a discount on luggage. I’m so thrilled. But he’s gorgeous.
I like RACHEL WEISZ’S husband. What’s his name? DANIEL CRAIG. I think he’s hot too. He’s very masculine. RUSSELL CROWE – even though he’s crazy, I love RUSSELL CROWE. I think I would make out with RUSSELL CROWE except his nose is too long so it would poke you. You know when you’re making out…the long nose, that wouldn’t be good.
I shouldn’t say I’d make out with anyone ’cause I have the best, most handsome boyfriend in the world. I’ve never seen a more handsome man than my boyfriend or met a more interesting man. He’s the one, for real. In the morning when I see him, I’m so happy. I like him. I don’t hate him. It’s been 8 years…and I still don’t hate him. I’ve seen him every day for 8 years, talked to him every day for 8 years and I still like him.
Australian actor GUY PEARCE can currently be seen smoking up the small screen in the HBO miniseries MILDRED PIERCE as playboy MONTY BERAGON, opposite KATE WINSLET.
GUY first got noticed as a flamboyant drag queen in THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT and has been working steadily since in movies like MEMENTO, L.A. CONFIDENTIAL and THE KING’S SPEECH.
GUY (who, let the record show, is completely unpretentious and charming) spoke to POPEATER about those racy love scenes with KATE WINSLET and the enduring popularity of PRISCILLA.
POPEATER: I’m loving MILDRED PIERCE.
GUY PEARCE: As soon as I knew it was KATE and TODD [HAYNES, the director]…I mean, how can you say no? They offered it to me and there was another film that I was potentially going to be doing that would have clashed with MILDRED PIERCE, so at first I wasn’t sure if I could do it. I then found out that I didn’t get the other film that was in the works so it worked out well. That other film didn’t end up being very good and I got to do MILDRED PIERCE. So I was very pleased.
POPEATER: Had you seen the original?
GP: I hadn’t. KATE my wife and I watched it, enjoyed it and let it go. It’s a classic but it’s film noir and very different to the book. TODD had talked me through what he wanted to do. He talked about the original film and how different this was going to be. How we were going to honour the book.
POPEATER: I was a little embarrassed to watch your bedroom scenes with KATE.
GP: [Laughs] Yeah, they’re pretty naughty. When you work with someone like TODD and KATE, they’re all about integrity. But there’s always that little voice in your head that says, “OK, here I go. I’m taking my clothes off.”
POPEATER: You don’t have to worry, my love. You are in very good shape.
GP: [Laughs] Well, I worked on it. I exercise a lot anyway. I’ve always been thin, so keeping him thin and appropriate for the period wasn’t too hard. Also obviously once you get a tan, everyone looks fifty times fitter than they really are. It was all about working on the tan.
POPEATER: You were a junior bodybuilder.
GP: I won the junior state championship when I was about 16. I just found the whole world of bodybuilding really fascinating. The idea of actually changing yourself was fascinating and then as I got older I concentrated on developing my mind and spirit rather than my biceps.
POPEATER: Ever kiss your biceps and say, “Check out this gun show”?
GP: No, I was always looking at my biceps wishing they were bigger. I was never quite the proud bodybuilder that I think some guys are.
POPEATER: You were in THE KING’S SPEECH. They’re sort of the same characters as we’re seeing in MILDRED PIERCE – spoiled, handsome men.
GP: There is a similarity in that both take place in the 30s. But they’re very different on one level in that Edward or David is born into this massive amount of responsibility and spends his life trying to avoid it. Monty has never really had to have any responsibility in his life. He’s lived the life I think Edward would have wanted to live, the wealthy playboy having fun and seeking pleasure.
POPEATER: Were you surprised by the success of THE KING’S SPEECH?
GP: I wasn’t after I’d seen it because I thought it was fantastic. To be honest I generally don’t think about how something will be perceived. I think whether it moves me and whether I can be successful playing the character. It’s not really till it’s finished and you stand back and you’ve had some months away from it and you can look at it like an outsider and go, “Wow, this is great.”
POPEATER: Still, did you think it would be an OSCAR winner and the film of the season?
GP: I can never really guess that sort of stuff and I’ve done films before that have been great and they haven’t had much of a release. I still think THE PROPOSITION is the best film I’ve ever been a part of and not many people seem to have seen it. It’s weird, the life of a film. You look at other films that have won the ACADEMY AWARD and you sort of think: Really? I think a lot of it is what culturally is going on. I saw BLACK SWAN and THE SOCIAL NETWORK. I thought they were both great. It just depends on what people are after.
POPEATER: You were in PRISCILLA, QUEEN OF THE DESERT. Have you seen the Broadway production?
GP: I went to the opening. It was fantastic. It was very emotional to be honest. We made the film about 18 years ago. It’s had a great life, that film. It holds a really special place in my thespian heart.
POPEATER: You must be a gay icon from that movie.
GP: I felt like a bit of a gay icon at the time. At the after party I had every cast member coming up to me going, “Oh my God, you’re my idol. I’ve loved you ever since I was five years old.” All these 20 year olds in the show and I felt very old and very straight. [Laughs]
POPEATER: After seeing the film I have to admit I assumed you were gay.
GP: There was a lot of talk at the time because all three of us are straight. There were actually a few pockets of disgruntled queens who thought, “Come on. Why have you cast three straight guys?” I remember having a big think about that for quite some time and thinking I know it’s representative, but at the same time you’re discounting what it is as actors we do. If we portray the character successfully that should be what counts. Unfortunately what I learned is that every film you make, there’s some small pocket of people pissed off.
POPEATER: You live in Melbourne.
GP: In the community where I live people come up and say, “Hey, saw that film you were in. You were great,” or “That was crap.” But it sort of feels like community stuff. I don’t have people chasing me in the street. I wouldn’t want to live in LA. I don’t have the urge to live in the industry and be in the middle of it all the time. I don’t want to leave mum and my sister behind.
POPEATER: Your sister is developmentally disabled. I always think people who have siblings with special needs are special themselves, more in touch with their emotions and other people’s emotions.
GP: I did some therapy to talk about the effect of having a sister with special needs and what effect that might have had on me. You subconsciously pick up on all the attention that goes to the sibling with special needs. As a kid there’s a part of you going, “Hey, what about me?” In a way when you do grow up with someone with special needs you are so attentive and you kind of forget a bit about yourself. Here I am as an actor and well known and people think, “Oh you must be so up yourself. You get all this attention,” and I’m like, “No, no. I’m constantly the one saying, ‘Please, I don’t want a fuss.”’
POPEATER: So you’re not an egomaniac.
GP: I don’t reckon I’m up myself. I reckon I’m more down on myself than up myself. I end up feeling guilty sometimes for my success. I feel bad about being showered with praise. In the back of my mind I think about my sister struggling.