Moviefone Editorial

Tag: interview

Amy Schumer & Judd Apatow Can’t Wait for You to See ‘Trainwreck’

While the screening of “Trainwreck” that debuted at the South by Southwest Film Festival in Austin, Texas, back in March was designated a “work-in-progress screening,” it was so fully formed, so hilarious, so brilliant and explosive and heartfelt, that it felt finished and ready to capture the national zeitgeist, which it will undoubtedly do when it’s finally released this summer. Sometimes you see a movie and just know that in a few months everyone will be talking about it. “Trainwreck” is that movie.

“Trainwreck” stars and was written by Amy Schumer, who plays a journalist living in New York City that, as the title suggests, doesn’t exactly have her act together. She’s sleeping with a sensitive meathead (John Cena), while also drinking heavily and, well, sleeping with a bunch of other people as well. But an assignment to profile a sports doctor (Bill Hader) that turns into a really-for-real romance, coupled with the declining health of her father (Colin Quinn), forces her to rearrange her trainwreck-y ways and grow up a bit. It’s both hilarious and emotional, directed with grace and verve by Judd Apatow (this is the first film he’s ever directed that isn’t based on one of his own scripts).

So it was a real thrill to get to sit down with Apatow and Schumer in Austin to talk about the movie, how it might change before it reaches theaters, the amazing supporting cast (seriously, this includes everyone from Ezra Miller to Method Man to Dave Attell to LeBron James to Tilda Swinton), variations the script went through and whether or not they’d reteam for more projects. And yes, there was lots of laughter.

Moviefone: What sparked that initial fascination in Amy’s script and, Amy, what made you think Judd was a good fit for the material?

Judd Apatow: I wanted to do something with Amy. I wasn’t sure what it was. For half a year Amy wrote a completely different script, which was really funny but I kind of sensed — and maybe it’s from working with Lena [Dunham] and seeing how deep she goes — but I felt like it wasn’t the right first movie for her. The stories she was telling me from her life should be in this movie. So we just had a long talk about that and I asked, “What’s really happening? What’s happening in your relationships, for good or bad? What are the obstacles?” And then this idea formed very quickly and Amy was really great about including deeply personal aspects of her life in the movie. I have that conversation with people all the time and they, “I don’t want to put that in a movie because my family will get mad or my ex-boyfriend will get mad.” And it just stops.

Amy Schumer: It felt like such a dream come true. I can’t think of anyone whose sensibilities match up better with mine. It was like fantasy camp. It’s unbelievable this has happened to me. Three years ago I was at a Funny Bone in Indiana begging to get half off of wings.

Apatow: Did you get it?

Schumer: No! I didn’t get it! But I think that Judd’s sensibilities are my favorite kind. I love people who can make you laugh really hard and then be gutted the next second and he’s so good at finding that balance. Some of the scenes are a little heavier and we needed something to break the tension, which were things I didn’t understand because I had never written a movie before.This is a movie with a lot of firsts — Amy, it’s your first movie, and, for Judd, it’s your first movie set in New York and your first movie written by somebody else. What was that adventure like?

Apatow: Well, it was great to shoot in New York. I haven’t lived in New York for an extended period of time since I was living in Long Island as a kid. I never lived in the city. So just that experience was so much fun; it got me jazzed. Is that a young word? Jazzed?

Schumer: Oh, that’s very hip. Too hip!

Apatow: And I was watching Amy, who through this whole process would do stand-up every night and do concerts and so every night after shooting I would go to the Comedy Cellar. That really woke my brain up comically, to try and do that at the same time, waking up circuitry. It was a very special experience making the movie and just seeing how hard Amy was working. Most people don’t work that hard. I say that all the time and nobody ever listens to me. I say that the people who do well just work really hard. I would give notes to Amy and she’d bring a new draft back 8 days later. Most people would take three months or never bring it back.

Schumer: They just avoid you at parties. “Oh god, he’s here.”

Apatow: So that was really fun and it was fun not being the writer on it, since it gives me a perspective. I could read her page, I could pitch things but it takes away some of the terror of being completely responsible for all of the writing, directing, and producing. It’s a lot to take on. So I think it allowed me to be fresher and allow me to guide her into an area. But then she had to go off and figure it out. I would go take a nap.

Schumer: There’s been no napping for me for two years. It was a lot, because I was also editing the second season of my show, doing stand-up on the road, and just re-writing this draft a million times. I think it’s the hardest I’ll ever work. I hope so…

Would you write another script for him?

Schumer: Of course!
Can you talk a little bit about casting?

Apatow: It was fun to be in Amy’s universe and to be in this east coast space. I love Colin Quinn, as does Amy. I met him when I was in my early twenties when he was doing “Remote Control” and he was one of the first people who was really kind to us and hilarious. So I’ve known him forever. And I loved what he did on “Girls.” So when Amy said that she wanted Colin to play her dad, I thought, If he can appear old enough, that’s a fantastic idea. It’s really populated with a lot of people from the New York comedy scene — Saturday Night Live” and he totally got the joke and was improvising and totally prepared and loose. It’s not a spoon-fed performance, it’s actually an enormous amount of his personal decisions and jokes. He’s just very prepared to give it his all.

Were you thinking of these people when you wrote it — like Tilda Swinton?

Schumer: Well, I wrote it for her as a complete hypothetical, like LeBron. I wrote in the script, when I described her, as “like Tilda Swinton waiting in a baggage claim.” Because I had seen her once at a baggage claim and thought she was the most elegant, strong woman. Judd had met her years ago and said, “Oh, we should work together.” So the fact that those two pieces of casting worked out is just mind blowing. I couldn’t believe it. When I would be doing scenes with her, I was trying to be perfect but I kept thinking, Tilda Swinton, Tilda Swinton, Tilda Swinton…

Apatow: And Brie Larson we had written a big scene for in “Bridesmaids.” We had written this big sequence in Vegas but a lot of comedy movies, like “The Hangover,” had scenes set in Vegas so we cut the sequence out. So we were excited to get a chance to work with Brie; I had been a big fan of hers since she was on “United States of Tara.”
And Bill Hader gives such an incredible, unexpected performance.

Schumer: Right? I can’t imagine getting to work with somebody better. He was so amazing and I felt so supported and encouraged every day by him. He’s just the funniest guy. And that was Judd — Judd has seeing him as a leading man, so I have to give full credit to Judd on that. It worked out for me.

What was the most surprising aspect of this movie?

Apatow: Well, it was great to see what a strong actress Amy is. And the difficult scenes that were more emotional, it wasn’t hard to execute that. She was so well-prepared and she knew what she wanted to do; it was more about giving her the space to get there. You never really know how the more difficult scenes are going to work. Amy really knows what she’s doing. So at the beginning of the shoot it was like, Oh wow, we can really go there! Because Amy is ready to play and has been preparing for this her whole life. I don’t know how many movies you had been in, even in tiny parts.

Schumer: Two…

Apatow: Well, what’s interesting is usually when someone gets the lead part, they say, “Well, I played the friend in 25 movies.” This really was, in a way, Amy’s first movie, and she’s doing everything. To me that’s really exciting because a lot of it is trying to crack the code of how someone is as the lead. You can make a great movie but it’s a little less interesting if it’s somebody’s 40^th movie. But when it’s someone’s first movie you have to really work on how to present them.

So now he’s not interested in making any more.

Schumer: No. He’s not even looking at me.

Can you say what the final version of the movie will look like versus what we saw at SXSW?

Apatow: Well, it’s almost like the final testing, because we’re still listening to jokes. There was one scene that we had never had in there before — the scene in the bathroom where they’re talking about Johnny Depp. Did you like that?

I did!

Apatow: Great! Then we’re done.

“Trainwreck” hits theaters everywhere July 17.
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July 14, 2015
How Willow Shields & Jennifer Lawrence Went From Sisters to Best Friends

Willow Shields has had the pleasure of playing Jennifer Lawrence‘s sister since 2012, and while their real-life relationship definitely started off as more of a sister bond, it’s developed into an even deeper relationship.

“At the beginning, it was like she was a big sister to me, and now it’s become more like friends,” she told Moviefone Contributing Editor Jessica Wedemeyer during this year’s Comic-Con.

Shields also revealed that she thinks growing up around Lawrence definitely strengthened their friendship. “I feel like, as I’ve gotten older, we’ve kind of gotten closer in that sense — and it’s interesting to see how that changed too cause I guess in a certain sense you’ve seen the characters evolve into that a little bit as well — and even though they’re very much so sisters, they’re also best friends. So I feel like we can definitely share that similarity.”

The biggest benefit of being sister-friends with Lawrence? She has a plethora of wisdom to share. “She’s been working in the industry since she was my age, and she’s basically like, ‘You’ve got to put a lot of hard work into it because at some point it will pay off.’ It may take a while, but it will pay off — and I’m actually so lucky to already at 15 have some of that work and some of that hard work pay off — hugely, already! So that’s pretty incredible.”

And it’s a good thing she has that advice to look to because she’s spending her formative years in the spotlight. “It’s one thing to grow up from 10 to 15, but it’s another thing to grow up in the industry,” she said. “I feel like I’ve tried to keep a little more normalcy in my life. I’m home-schooled, but I’m still very involved in schooling and things like that.”

One way Shields makes herself feel like a regular teenager is surrounding herself with people who don’t live in the Hollywood bubble. “I have friends who are not in the industry. It’s hard to grow up in this kind of environment, but I feel like it’s forced me to grow up quicker. I think it’s incredible though. Not a lot of people can ay that they were playing a character in a huge franchise for years — a really epic franchise. It’s nothing but good things in general.”

We think she’s going to be great! “The Hunger Games: Mockingjay – Part 2” hits theaters November 20th.
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July 11, 2015
Liam Hemsworth’s Bond With Josh Hutcherson and Jennifer Lawrence Is Even Closer Than You Think

Liam Hemsworth, Jennifer Lawrence, and Josh Hutcherson have been squad goals ever since the first “The Hunger Games” movie was released in 2012. And now, after finishing up “The Hunger Games: Mockingjay – Part 2,” their bond is stronger than ever.

“We’ve always had such a close relationship with each other,” Hemsworth told Moviefone Contributing Editor Jessica Wedemeyer at this year’s Comic-Con. “We always got along. We always really enjoyed being around each other. We literally know everything about each other. These people know more about me than most people in the world — too much probably! It’ll be a lifelong friendship.”

When it comes to spending time together, the trio likes to keep things pretty casual. “We don’t do a lot — usually just sit around and talk a lot of bullsh*t, pretty much. There’s a lot of giggling and talking nonsense,” he said.

So after being thrust into the spotlight along with Lawrence and Hutcherson, does Hemsworth feel like his new friendships and job came with too big of a price? “I try not to regret anything in my life. I try to learn from whatever I do.”

Don’t worry though, if he does find himself feeling a little overwhelmed, he’s got a plan. “Any time I do feel that feeling of regret, I try to look at it from a subjective point of view and try to figure out what I can learn form that situation. You can’t change what’s happened. It’s happened, and as long as you move forward in a positive way, I think that’s kind of the best thing to do.”

“The Hunger Games: Mockingjay – Part 2” hits theaters November 20th.
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July 10, 2015
Jennifer Lawrence Reveals ‘Anger and Frustration’ About Life in the Spotlight

Jennifer Lawrence is no stranger to the spotlight, but that doesn’t mean she loves it all the time.

At this year’s Comic-Con to promote “The Hunger Games: Mockingjay – Part 2,” Lawrence chatted with Moviefone Contributing Editor Jessica Wedemeyer about how she’s learning to deal with the anxieties that come with being an A-list actress and the kind of impact it’s having on her life.

“One day, when I’ve made peace with the paparazzi, I’ll regret all of the anger and frustration because it just takes up a lot of time, and it’s not nice,” Lawrence said. “It’s not lovely to feel angry and anxious every day. So I think one day, when I don’t have those feelings anymore, I’ll regret all of the time that was spent feeling anxious over something I couldn’t control.”

That said, Lawrence isn’t about to waste her time on regret. Almost mid-sentence, the Oscar-winner turned the negative into a positive — realizing that there just isn’t any room for regret when it comes to doing what she loves. “I don’t have any regrets, because there really is only one thing I can do on this world to make money,” she explained. “I have one skill, and I love it so much. So anything that has to come with that, I’m willing to accept.”

That’s our girl. “The Hunger Games: Mockingjay – Part 2” hits theaters November 20th.
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July 10, 2015
‘Inside Out’ Director Pete Docter Talks Disney Easter Eggs, Theme Park Plans

Pete Docter has done it again.

The writer/director, who crafted genuine classics “Monsters, Inc.” and “Up,” is back with “Inside Out,” a brand new Pixar masterpiece.

The film is just as imaginative as his earlier features, but instead of a world populated by monsters or floating houses, Docter takes us inside the mind of an 11-year-old-girl, where personified emotions scramble to maintain equilibrium. It’s ingenious and gently surreal, and Docter has pulled it off with aplomb. Recently, we sat down with Docter at Pixar and talked about Bing Bong, the amazing imaginary friend character (voiced by Richard Kind), the challenges the filmmaker faced developing the story, and his dreams for the movie to appear in the Disney parks.

Moviefone: It seems like making this movie was really difficult. Was there ever a point where you said, “You know, maybe ‘Monsters, Inc.’ does need another sequel?’”

Pete Docter: [laughs] It was really hard! But it was always fun. If anything, there would be moments of fear because I thought: “We have so much potential with this movie, and if we stumble and we don’t take advantage of it, and if we go through the whole film and don’t explore why songs get stuck in your head — or déjà vu, or where dreams come from… Those are all really cool things to think about and if we mess it up, then bad on us. So there was a lot of pressure to make it as fun and interesting as we could.

What was the breakthrough?

There was a time where we working towards our fourth screening. And that’s a time when you’re hoping to get some approvals – you want parts of the film to move on into production and become final footage. But going into that, I knew that parts of it were working and there were fun little bits but as a statement, I didn’t know what we were saying. What is Joy’s journey? What does she learn on this? And I walked away that weekend thinking: “What if I quit? What if I get fired?” You really go into that pit. I said, “What am I going to miss if I leave?” And I thought, “I’m going to miss my friends.”

I had this realization that the friends that I have the closest attachment to are the ones that I’ve had good times with, but I’ve also been pissed off at and gone through sad times with and been scared for. I realized, those are the emotions … responsible for the most important things in our lives. So that allowed us to reformat the film and work towards the ending — but that was a real turning point.
What’s interesting about the opening of the movie, and most of the first half is, it’s very narration-heavy, and there’s a lot of jargon and terminology — versus the beginning of “Up,” which had no dialogue at all.

Yeah, I struggled with that. There are a number of things that I now realize I was pretty wrong about, and I was dead set on there being no narration. We were going to do the hard work of showing everybody and not telling. And it ended up that, since this whole world is made up, the characters are not things that you see walking around; they’re kind of abstract concepts that are visualized. But in the end, after working at it for maybe two years, we distilled it into maybe the core things that we needed to say. And more than one person has told me it’s their favorite part of the film, just the fun of getting to meet these guys and seeing the concepts that we’re dealing with.

Another thing that makes that opening so powerful is Michael Giacchino’s score. Can you talk about the sound of the mind?

Having worked with Michael on “Up,” we didn’t really consider anybody else because he’s such a great collaborator and brought so much to the film. But we did talk about how different this one is than “Up.” “Up” was nostalgic – [“Inside Out”] needed to be more psychological and the things that felt right were like playing with time, you’re playing little bits of instruments backwards or samples.

The way Michael likes to work is — he watched the film and he went off and said, “This might be wrong, but this is how I feel about the movie,” and he then played an 8-minute suite that brought us all to tears. It was absolutely beautiful and so perfectly connected to the feeling of the film.
The character of Bing Bong, he’s going to be everybody’s favorite.

His origins came from being part of this group of disused imaginary friends that Riley came up with when she was there. There was Mrs. Scribbles and kids will always draw the quarter sun that will float down, and that’s all he was, this quarter sun. And Bing Bong was an imaginary friend, an amalgam of animals that Riley came up with, made of cotton candy. But as we redesigned the story, we came up with the idea that the rest of the guys aren’t really relevant, but Bing Bong could be a mirror to Joy.

Joy’s thing is, she’s trying to hold on to childhood and preserve the happiness of life and we took that to an extreme. This is a guy who was big in Riley’s life, but he’s been out of a job since she was three, so he’s wanting Riley to go back to the good ol’ days, which if you get into it is kind of insane and delusional. So that can help Joy on her journey on what she has to learn.

There are a bunch of great Easter Eggs, but my favorite was a nod to the Haunted Mansion. How did that happen?

Well, when [producer] Jonas Rivera and I really started working together, we bonded over our love of Disneyland. So as soon as we had this idea of doing a nightmare, we had an idea of using the music from Haunted Mansion.

You know what got replaced, but was in for a while? This came from research – we learned that when you go to sleep, all the short-term memories are redistributed to long-term, which has a lot more space. That’s why if you stay awake for 3 days you can’t remember stuff, because so much space is taken up already. So during non-REM sleep, all of those are shuffled down. That made us design that kinetic sculpture of the memories, and for a long time we used the noise of “It’s a Small World.”

Speaking of Disneyland, there are certainly a number of elements that could be retrofitted for the parks. What would you want to see?

There are a number of different things. I would love to visualize Imaginationland, although that might be too obvious. I think, from the beginning, when we came up with this, Jonas said, “Oh, this should be in EPCOT Center.” The characters could have a great ability to talk about things in a pseudo-science — but also entertaining — way, talking about how your mind works and things like that. It would be fun.

“Inside Out” is in theaters now.
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June 19, 2015
‘Inside Out’: Meet Pixar’s Secret Weapon, Ralph Eggleston

Amongst animation fans, Ralph Eggleston is something of a legend.

Pixar hired Eggleston in 1992, when the studio was in full swing on the first “Toy Story” and he has served as a production designer, storyboard artist, writer and director. (In 2000, his short film, “For the Birds,” won an Academy Award.) He has contributed substantially to every Pixar film and this week’s “Inside Out” is no different.

For the brilliant new film that takes place inside the head of an 11-year-old girl, Eggleston served as Production Designer. And it’s a pretty unbelievable task, conjuring forth worlds as vast as the human mind (including the subconscious, Dreamland Studios, where dreams are made, the Train of Thought, and, of course, Headquarters).

We sat down with Eggleston and talked about the film’s lengthy development and production process, being part of the fabric of Pixar, and what he’s got coming up next.

Moviefone: You talked about working on “Inside Out” for a long time and just realizing that it wasn’t working. What was the breaking point where you said, “We have to do something else?”

Ralph Eggleston: Well, that was every day almost. The idea was always there. It was always about Riley and her emotions. Variations on that were what took place. The real world component of the film, for example, … Riley’s grandmother died and they moved to New York City and Riley’s grandmother was a hoofer in the follies in the 1920’s and Riley wanted to be like her grandmother. The idea was a big fish in a small pond moves to a big pond and she’s a small fish. And the whole mind world was based on the catwalks, all the way to the sublevels of a theater. That was a take. And that lasted for a couple of weeks, I’m sure. But the idea was always Riley and her emotions. Pete [Docter] didn’t want to spend too much time with Riley initially. And of course, the film has come back around to that, which is totally cool. The problem, for a little while, was that you didn’t care about the emotions or the journey they went on unless you cared about Riley and understood enough about her.
What was the hardest thing to lose?

Oooh, that’s a hard one. This didn’t go very far, but there was an idea for a concept of what the mind was that was much more based on a fractal. It was the idea that the further you zoomed in, the further you zoom in. It was never ending. There is this thing called a Mandelbrot cube fractal, which is a three-dimensional fractal. And they always look weird and hippy dippy … But it looks like a cube and you zoom in and it looks like an H.R. Giger painting, except in 3D.

But the idea was interesting – the further you zoomed in, it was infinity. But also that if you were on one set, say you were outside headquarters, which is in the middle of everything, and you got on the Train of Thought, it could go like this [he starts contorting himself] and then you’re looking like this, and these little dots are there and up is there. It was so intriguing. I remember having lunch with Brad Bird somewhere in this process and I pitched him that and he stared at me and said, “That would be awesome.” If the story had been much more advanced in terms of the push and pull of the elements, maybe we could have done it.

Where did the design of Headquarters come from?

To be honest, a lot of it had to do with the brain, finding elements of the physicality of a brain or a body – cellular structures, elements of hypothalamus, DNA. We would sit there and draw. We got macro-photography books of cells and body parts and we would just sit and doodle and abstract. And it was also a bonding experience for us.
And you’ve been here for a long time.

Well, Pixar started in 1985. I got here at the tail end of 1992.

You’ve worked on all of these things. Do you have any ambition to do a project of your own?

Well I have, it’s called “For the Birds.”

What about a feature?

I’ve pitched several things here. I’ll go wherever they want me to go. That’s always been the truth. So many people here go home and do their own thing. That’s not me. I am somebody who likes to do the work with groups. I don’t care where I fit in. It’s such a collaborative effort. That’s the most fun part of this job. So directing, I don’t know that I would want that pressure. I would rather fit in with a particular director and I’ve been lucky enough to fit with each one of the directors I’ve worked with… My job is to make their job easier.

Do you look in on other productions?

We always do. We share a lot here. The only stuff they keep away, not from people in the company but anybody else, in the most general sense, is the stuff in the early stages of development. If there’s something in production, and we have several things in varying states of production, any technical person or staff person from any phase in production can go in and do whatever they want.

And you said “Inside Out” was the most difficult thing you’ve ever worked on?

It was. Mainly because of the enormity of the possibilities — It was incredibly daunting.

Can you talk about what you’re working on next?

Yes — Driving home!

“Inside Out” is in theaters now.

June 19, 2015
Vince Gilligan Talks ‘Better Call Saul’ Season 2, ‘X-Files’ Reboot, and More

Writer/producer Vince Gilligan has pulled off the seemingly impossible — twice!

First, he managed to craft a “Breaking Bad” finale that somehow left every member of the show’s rabid fanbase completely satisfied. Then, he found an unorthodox way back into the world he created, scoring yet again with the prequel series “Better Call Saul.”

As awards and nominations for the latter series begin to rack up in the walk-up to the The X-Files” (the series that gave him his big break), and his reaction to that other massive AMC series finale, “Mad Men.”

Moviefone: Congratulations for all the nominations coming in for “Better Call Saul.” What has it meant to you that the audience has embraced the show and how different its left-of-center take on the “Breaking Bad” world is?

Vince Gilligan: It’s wonderful because we didn’t know if it would succeed at all! We thought it might be something that people would say, “Ah, I’ve seen enough of this world.” Maybe it’s just me, but I always expect failure, not success — so the fact that people seem to be embracing the show and liking it, and certainly Bob Odenkirk‘s work and Jonathan Banks‘s work, all the wonderful actors we have, I think, merits that. But I’m too close to it. I’m biased. But I’m so happy to hear the people are loving it. I couldn’t be happier.

Can you put anything out into the universe about what you’re thinking for the second season?

Well, it continues to be Jimmy’s journey for Jimmy McGill to Saul Goodman. What to say about it? We have found Jimmy is just as interesting to us in the writers’ room as Saul ever was. And so I’ll say this: I’ll be a little coy here, but we’re in no particular hurry to get rid of Jimmy and go strictly to Saul. So maybe that’s a little handout.

“The X-Files,” your old home base, is coming back. Are you just like the rest of us, waiting to see what they do with the revival, or do you have an inside track?

I know nothing about what they’re doing. I would love to be a part of it. I was very generously offered to be a part of it by my wonderful former employer, Chris Carter, and it broke my heart to say I wasn’t able to do it because I’m so busy on “Better Call Saul.” I really can’t do more than one thing at once. I am very sorry I won’t be a part of it, but you better believe I’ll be watching it as a fan because I was a fan of the “X-Files” before I ever was a part of it! I was a huge fan. I watched it from the very first episode, in 1993. And I couldn’t be happier that they’re rebooting. I can’t wait to see it.

As someone who played a huge part in one of the most acclaimed and universally loved series finales of all time, what did you think of the last episode of “Mad Men”? Did you watch it?

“Mad Men” was great! I definitely watched it. Matt Weiner just did a wonderful job. I love all those actors — I know pretty much all of them. They’re all great people. I know a lot of the crew on that show. And of course, I know Matt very well, and he really crushed it. I thought that ending was fantastic, going to the classic Coca Cola commercial that everybody knows and loves; I thought they really brought it. And it was a fitting and wonderful end to a history-making TV series.
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June 18, 2015
Mireille Enos on Her ‘Big, Glam’ Show ‘The Catch’ and the ‘World War Z’ Sequel

We’ll soon be seeing The Killing,” in a far more glamorous light: She stars in the upcoming The Catch,” which will air on ABC in early 2016.

“It’s a thriller. It’s about con artists and a kind of cat-and-mouse end game. It’s classy and exciting. I’m a forensic accountant, so I’m hunting for con artists,” Enos told Moviefone on June 7th at a Tony Awards viewing party. “And then I get conned. And also, it turns out, I have something to hide as well. So there’s many levels of conning going on.”

Chimed in husband Alan Ruck, “She’s sneaky!” The “Spin City” star ruled out appearing on the series. “No, it’s a big, glam show. That’s not my wheelhouse. I don’t go there too much.”

Enos says she’ll “spank it up” in the wardrobe department. Say goodbye to those mousy, oversized sweaters she wore for so much of “The Killing.” The chunky sweaters were, of course, a way to hide her then-pregnancy.

As for the upcoming “World War Z” sequel, Enos said it “would be fun” if her character was allowed to kick some zombie ass this time around. As Ruck pointed out, “Mireille’s got a black belt in Tae Kwon Do, so I think we ought to do that. Let’s call Brad [Pitt].”

“I did kick a zombie in the head in the car,” Enos noted of the first film. She said she hasn’t seen a script yet for the film, which has a June 2017 release date. Juan Antonio Bayona (“The Orphanage,” “The Impossible”) will direct.
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June 18, 2015
Why Alan Ruck ‘Hated’ ‘Ferris Bueller’s Day Off’

How does Alan Ruck feel about his most famous movie, “Ferris Bueller’s Day Off“?

“There was a short period in my life where I hated that movie. I couldn’t get any other work. People would be like, ‘Heyyy!’ and I was like, ‘Yeah, one-trick pony,’” the actor, who played Ferris’s depressive best friend, Cameron Frye, revealed to Moviefone at a June 7th Tony Awards viewing party.

But, fortunately, he’s come to appreciate the 1986 John Hughes film, “Now I’m happy that people still love it,” he said. As for all the tributes to the movie on its “30th anniversary,” he said. “Yeah, it’s nice. I’m really happy that it’s touched a lot of people.”

He did dispute it being the 30th anniversary of the movie however: A baseball-loving movie fan determined that the actual date of the famous ball game that Ferris, Cameron, and Sloane attend was June 5, 1985, more than a year before the film hit theaters on June 11, 1986. “So will we be celebrating the 31st anniversary next year?” Ruck quipped.

He said it doesn’t feel like it’s been 30 years: “It’s kind of brain-numbing. I know I’m older, but I feel fine. I don’t feel like I’m going anywhere anytime soon.”

He also admitted it’s been “a while” since he’s watched the movie. “I actually don’t like to watch myself. I don’t believe me. There’s a suspension of disbelief thing that just doesn’t happen.”

And has he ever heard the fan theory that Ferris doesn’t exist, he’s just a figment of Cameron’s imagination? “Like ‘Fight Club?’” Ruck smiled. “Yeah. I hope someone got their doctorate doing that. That’s very clever.”

Ruck went on to star in “Spin City” and can now be seen playing FBI director Alex Myers on the ABC series “The Whispers.”
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June 17, 2015
Cheyenne Jackson on ‘American Horror Story: Hotel’: ‘It’s Scary and Amazing’

How top secret is “American Horror Story: Hotel”? The actors haven’t told their families what to expect when the latest installment debuts this October.

Moviefone caught up with Cheyenne Jackson June 7 at the Actors Fund Tony Awards viewing party, where the actor serenaded honoree Alfred Molina with a performance of Elton John’s “Your Song.”

So can we expect Jackson to sing on “AHS: Hotel” as well? “I can’t say. It’s so top, top secret. Literally, not even my mom knows,” he said. “I know it’s set in a hotel and I know who’s in the cast and I know it’s scary and amazing. And that’s all I know.”

The cast, by the way, includes Lady Gaga in her her first TV role (she briefly appeared in “Machete Kills”), as well as Matt Bomer and Max Greenfield (“New Girl”) and previous “AHS” stars Kathy Bates, Angela Bassett, Sarah Paulson, Evan Peters, Chloe Sevigny, and Wes Bentley.

Jackson hadn’t even gotten a script yet: Filming starts in about two weeks. “As much as all of us are saying, ‘I want to read it!’ You’ve gotta just trust that [Ryan Murphy] knows what he’s doing.”

How did Jackson land the part? “[Murphy] asked me,” he said simply. Jackson previously worked with Murphy on “Glee,” where he played Dustin Goolsby, the coach of rival singing group “Vocal Adrenaline” on the second season of the Fox show.

He’s eager to get to work on the fifth “AHS” installment: “I’ve cleared everything because ‘American Horror Story’ is going to take up all my time for the next eight months, except for a couple of concerts here and there.”

Has he met Lady Gaga yet? “No, I haven’t, but I saw her and Tony Bennett at the Hollywood Bowl. She was amazing. She’s legit, she’s the real deal.”

What does he expect from “AHS: Hotel”? ‘I’ve stopped hoping and dreaming and wishing because I know anything I think of will never be as good as what [Murphy] comes up with,” he smiled.

“American Horror Story: Hotel” is set to premiere some time in October 2015 on FX.
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June 15, 2015