Tag: lennie-james

  • Movie Review: ‘Mufasa: The Lion King’

    Mufasa (voiced by Braelyn Rankins) in Disney’s 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    Mufasa (voiced by Braelyn Rankins) in Disney’s ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Opening in theaters on December 20th, ‘Mufasa: The Lion King’ represents Disney’s latest trip to the animated canon-to-live-action watering hole. Of course, “live-action” in this case is a slight misnomer as every blade of grass or twist of hair on screen is brought to life with impressive, photorealistic CG.

    But even with a filmmaker as talented as Barry Jenkins in charge, what transpires feels like a waste of his time and energy, since the storyline is so generic as to become tiring.

    Related Article: ‘Rebel Ridge’s Aaron Pierre Scores the John Stewart Role in DC Series ‘Lanterns’

    Will ‘Mufasa: The Lion King’ Rule the Cinematic Experience?

    Mufasa (voiced by Braelyn Rankins) in Disney’s 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    Mufasa (voiced by Braelyn Rankins) in Disney’s ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    When Jon Favreau brought the world the 2019 version of Disney animated classic ‘The Lion King,’ he did so with plenty of verve and the musical stylings of Beyonce added to the power of the original music.

    But here’s the question –– did anyone truly, really need to learn how Pride Rock came into being or why everyone calls Scar “Scar,” besides the obvious reason? Like with some other prequels, the movie ultimately rattles off a tiring list of callbacks and nods that can’t paper over the cracks of an entirely predictable story. And not just because you know how it ends, and you’re never particularly worried about anyone involved since we’ve all seen the next chapter.

    Even the music, this time provided by ‘Hamilton’ genius Lin-Manuel Miranda (who was so effective on ‘Moana’) is less than thrilling.

    Script and Direction

    (L to R) Mufasa (voiced by Aaron Pierre) and Taka (voiced by Kelvin Harrison Jr.) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Mufasa (voiced by Aaron Pierre) and Taka (voiced by Kelvin Harrison Jr.) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Perhaps the biggest issue for the new movie lies in Jeff Nathanson’s script. You can practically fill in a bingo card when it comes to references to the original, and if you’re keeping count of every time someone says “everything the light touches” you’d fill two sides of A4 paper. It’s prequelitis at its worst.

    The story of how Mufasa lost his own family but discovered another one (and then largely lost that) all while seeking a promised land where everything will be better is so basic as to be laughable in places.

    (L to R) Pumbaa (voiced by Seth Rogen) and Timon (voiced by Billy Eichner) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Pumbaa (voiced by Seth Rogen) and Timon (voiced by Billy Eichner) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Still, there are some positives to be found –– the intercut moments featuring Pumbaa, Timon, Rafiki and Kiara (daughter of Simba and Nala) are at least more entertaining and poke fun at the franchise in general.

    Jenkins is an accomplished, proven director, but the demands of the technology and fitting his square peg soulfulness into the edges-shaved round hole of Disney at its most rudimentary is rarely a situation that work for either.

    Cast and Performances

    The adoptive brothers of Taka (soon to be known as Scar) and Mufasa are the focus, but there are other roles to be considered too.

    Aaron Pierre as Mufasa

    Mufasa (voiced by Aaron Pierre) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    Mufasa (voiced by Aaron Pierre) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Pierre, so good this year in ‘Rebel Ridge’ and before that in Jenkins’ TV series ‘The Underground Railroad,’ does what he can with the role, and brings the young(er) Mufasa to life with some depth and emotion.

    He may not be James Earl Jones (Mufasa’s legendary original voice, who scores a warm tribute at the start of the movie), but he’s a decent substitute.

    Kelvin Harrison Jr. as Taka

    (L to R) Taka (voiced by Kelvin Harrison Jr.), Sarabi (voiced by Tiffany Boone), Rafiki (voiced by Kagiso Lediga), and Mufasa (voiced by Aaron Pierre) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Taka (voiced by Kelvin Harrison Jr.), Sarabi (voiced by Tiffany Boone), Rafiki (voiced by Kagiso Lediga), and Mufasa (voiced by Aaron Pierre) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Harrison Jr. has more to play as Taka, since his character gets to be first enthusiastic and then bitter, forming the basis for what will become Scar.

    He certainly wrings some emotion out of the role, even if he’s a little undercut by logic issues –– despite one moment late on, you really can’t believe why Mufasa would keep him around.

    Tiffany Boone as Sarabi

    (L to R) Sarabi (voiced by Tiffany Boone), Mufasa (voiced by Aaron Pierre), Rafiki (voiced by Kagiso Lediga), and Taka (voiced by Kelvin Harrison Jr.) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Sarabi (voiced by Tiffany Boone), Mufasa (voiced by Aaron Pierre), Rafiki (voiced by Kagiso Lediga), and Taka (voiced by Kelvin Harrison Jr.) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Sarabi –– the future Queen of Pride Rock –– serves mostly here as love interest for Mufasa and object of obsession for Taka, and while Boone’s performance is sweet and heroic, the role is rarely satisfying.

    Mads Mikkelsen as Kiros

    Kiros (voiced by Mads Mikkelson) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    Kiros (voiced by Mads Mikkelson) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    Mikkelsen, here back on villain duty, is essentially just a snarling plot device who threatens our heroes. He’s the role model for Scar’s eventual personality, and while Mikkelsen always gives good antagonist, the character’s something of a cipher.

    Final Thoughts

    (L to R) Kiara (voiced by Blue Ivy Carter) and Simba (voiced by Donald Glover) in Disney’s live-action 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Kiara (voiced by Blue Ivy Carter) and Simba (voiced by Donald Glover) in Disney’s live-action ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    In a world where ‘Wicked’ can serve as an effective and emotionally fulfilling prequel to ‘The Wizard of Oz,’ you really would hope for more from a ‘Lion King’ origin tale.

    Yet sadly, this is merely not embarrassing, providing little that is truly unexpected and settling for a Greatest Hits of ‘Lion King’ lore.

    ‘Mufasa: The Lion King’ receives 5.5 out of 10 stars.

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    What’s the story of ‘Mufasa: The Lion King’?

    ‘Mufasa: The Lion King’ enlists Rafiki (John Kani) to relay the legend of Mufasa (Aaron Pierre) to young lion cub Kiara (Blue Ivy Carter), daughter of Simba (Donald Glover) and Nala (Beyoncé Knowles-Carter), with Timon (Billy Eichner) and Pumbaa (Seth Rogen) lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka — the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny — their bonds will be tested as they work together to evade a threatening and deadly foe.

    Who stars in ‘Mufasa: The Lion King’?

    • Aaron Pierre as Mufasa
    • Kelvin Harrison Jr. as Taka
    • John Kani as Rafiki
    • Seth Rogen as Pumbaa
    • Billy Eichner as Timon
    • Tiffany Boone as Sarabi
    • Donald Glover as Simba
    • Mads Mikkelsen as Kiros
    • Thandiwe Newton as Eshe
    • Lennie James as Obasi
    • Blue Ivy Carter as Kiara
    • Beyoncé Knowles-Carter as Nala
    • Preston Nyman as Zazu
    • Anika Noni Rose as Afia
    • Keith David as Masego
    (L to R) Mufasa (voiced by Aaron Pierre), Young Rafiki (Kagiso Lediga), Taka (voiced by Kelvin Harrison Jr.) and Sarabi (Tiffany Boone) in 'Mufasa: The Lion King'. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.
    (L to R) Mufasa (voiced by Aaron Pierre), Young Rafiki (Kagiso Lediga), Taka (voiced by Kelvin Harrison Jr.) and Sarabi (Tiffany Boone) in ‘Mufasa: The Lion King’. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved.

    List of Live-Action Disney Remakes:

    Buy Tickets: ‘Mufasa: The Lion King’ Movie Showtimes

    Buy Live-Action Disney Movies on Amazon

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  • ‘The End’ Exclusive Interview: Michael Shannon

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    Opening in theaters on December 6th in limited release is ‘The End,’ directed by Joshua Oppenheimer (‘The Act of Killing’), and starring Michael Shannon, Tilda Swinton, George MacKay, and Moses Ingram.

    Moviefone recently had the pleasure of speaking with Michael Shannon about his work in the film, in which he plays the patriarch of a well-off family who have retreated to a luxurious underground bunker after climate change has brought about the end of human civilization.

    Michael Shannon in 'The End'. Photo: Mubi.
    Michael Shannon in ‘The End’. Photo: Mubi.

    Related Article: Filmmaker Jeff Nichols Talks ‘The Bikeriders’ Digital Release

    Shannon’s character, simply known as ‘Father,’ may have contributed to the collapse of the Earth’s ecosystem as head of a fossil fuel conglomerate. Despite its bleak subject matter, ‘The End’ is a full-blown musical featuring 13 original songs all performed by the members of the cast.

    You can read the full interview below or click on the video player above to watch our interview with Michael Shannon.

    Michael Shannon talks 'The End'. Photo: Mubi.
    Michael Shannon talks ‘The End’. Photo: Mubi.

    Moviefone: Had you seen Joshua’s two documentaries [‘The Act of Killing’ and ‘The Look of Silence,’ both about the mass murder of Indonesian citizens by a brutal far-right regime in the mid-1960s] and having seen those, was finding out what he wanted to do with this kind of a curveball in a way?

    Michael Shannon: When I first met with Josh, I had not seen the documentaries. I had heard about them, they’re rather legendary, but I hadn’t actually seen them. So I had a pretty fresh palette going into it. All I had to go on was our conversation and then reading the script. But after I signed on, I watched both of the films, and found them exquisite and painful and all the things that everybody else probably has, and I didn’t really find it to be a curveball. Josh talks about these three films, ‘The Act of Killing,’ ‘Look of Silence,’ and ‘The End’ as being a triptych. He actually got the idea to make ‘The End’ based on the time that he spent in Southeast Asia and meeting a wealthy entrepreneur who was building an underground bunker. So I guess he could have made a documentary about that guy, I don’t know. But he decided instead to make his first narrative film.

    MF: What was your reaction reading the script and learning that it was a musical combined with a post-apocalyptic drama?

    MS: I was thrilled. I am really disinterested in doing something that’s been done before. I think there’s probably too many movies and TV shows in general, and that people spend too much time watching them. But if you’re going to go through the trouble of making something — and it is trouble, trust me, because he devoted years of his life to making this movie. It wasn’t easy, and it took a small village to get the thing financed. But if you’re going to go through all that, then you better make something that’s unique, and I definitely feel like he’s accomplished that.

    Tilda Swinton in 'The End'. Photo: Mubi.
    Tilda Swinton in ‘The End’. Photo: Mubi.

    MF: When you do look at a script, do you have an immediate reaction? Do you have to keep turning the pages, and become aware that you want to be involved in it, or on the other hand, do you read 10 pages and are like, “No, this is not for me”?

    MS: Yeah, it’s pretty quick. I don’t like reading screenplays anyway. I don’t know when that happened — it used to be that when anybody thought to send me a screenplay, I was overwhelmingly excited to see it. But I guess just through the years as you read stacks and stacks of them, they become less and less appealing. But yeah, you usually know pretty quick. But this film is about things that are really important to me, and I could tell that basically from the get-go. So this was a very easy script for me to get through.

    MF: Do you see a parallel with the story in ‘The End’ to the political moment that we’re in now?

    MS: A parallel? Well, it’s interesting, because I guess that’s where your mind is inclined to head, but it’s important to remember that this problem existed before Trump was elected. Even if Kamala Harris got elected or Jill Stein or whoever, it’s been a problem. It’s been a problem since the ‘60s, we’ve known about this for decades and we haven’t done enough to fix it or solve it because, frankly, we’re delusional. Not everybody on an individual basis is delusional. There are a lot of people that are aware of the problem and want to do something about it as individuals, but as a society, I feel like within the United States, there are all different kinds of people obviously, but the United States of America as a country, as a collective country, is mentally ill. It’s like a crazy person that needs treatment, and I don’t know who’s going to give us this treatment. I’m pretty sure it won’t be Donald Trump, but we need some serious time away in a clinic somewhere with a bunch of people saying, “Let’s get to the bottom of this, because you’re clearly very dysfunctional.”

    (L to R) Tilda Swinton and Michael Shannon in 'The End'. Photo: Mubi.
    (L to R) Tilda Swinton and Michael Shannon in ‘The End’. Photo: Mubi.

    MF: Father starts off as kind of empathetic and congenial, and then you learn more about him and his dark side starts to come out. What was your approach to playing him?

    MS: Of course he’s congenial, that’s how he got through life. I don’t think many people get to be CEOs or run corporate entities by being complete dickheads. Charm is the name of the game. Is he a sociopath? I don’t know. Sociopaths are very charming. I do believe that he does have a sense of morality ultimately, that he’s not a sociopath per se. But I thought about it, the potential or the possibility for it. But I think ultimately he’s just a man dealing with a profound amount of guilt, which I can relate to. I think guilt is a pretty universal feeling, I would hope. I don’t want people to be afflicted by it, but there are some things, like I mentioned earlier, that perhaps people should have a small amount of guilty feelings about. But I think what you see in the process of the film and the process of the story is a reawakening in him. It starts with Son inspiring him to really try and remember how he and Mother met, and it’s like a thawing of sorts. Like in order to cope with this experience that they’re having, he’s created this persona that he’s perpetuating just out of survival mode, but it’s not actually who he is if he really stops to think about it. But that’s the thing, in the aquarium that they’re all stuck in, self-examination can be a very dangerous thing. You would think, “Oh, I have all this time now, I am just going to get to know myself, and journal and all these things.” But that can lead you to some dark corners or some questions that you don’t know how to answer, and I feel like that’s what happens to Father in the movie.

    MF: You’ve sang onstage in a band, but this is the first time that you’ve sang on film, correct?

    MS: Well, I did a miniseries called ‘George and Tammy,’ where I played George Jones, and I sang quite a bit in that. But in terms of cinema, yeah, it’s been a long road, but yes, I don’t think I’ve sang in a movie before.

    (L to R) Michael Shannon, George MacKay and Tilda Swinton in 'The End'. Photo: Mubi.
    (L to R) Michael Shannon, George MacKay and Tilda Swinton in ‘The End’. Photo: Mubi.

    MF: The cast sang mostly live on set. Was that a challenge in any way?

    MS: Well, we rehearsed quite a bit before we started filming, we had three weeks of intensive singing rehearsals and a little bit of dancing rehearsals, and also table work with the script, blocking the scenes. The challenging part about a lot of the musical numbers that involved the whole group is that Josh had something very specific in mind about how he wanted it to move and flow and look. It’s always hard when you’ve got an ensemble of people all in frame at the same time and camera movement and all that. Some of those shots took a lot of takes to get them just the way that Josh saw them in his head.

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    What is the plot of ‘The End’?

    A wealthy family has lived in a vast underground bunker for 20 years while the world above has become uninhabitable and humankind has all but gone extinct. Their carefully controlled life and routines are disrupted by the arrival of a young woman from above who leads them to question everything.

    Who is in the cast of ‘The End’?

    'The End' opens in theaters on December 6th.
    ‘The End’ opens in theaters on December 6th.

    List of Michael Shannon Movies and TV Shows:

    Buy Tickets: ‘The End’ Movie Showtimes

    Buy Michael Shannon Movies On Amazon

     

  • ‘Genius: MLK/X’ Interview: Kelvin Harrison Jr. and Aaron Pierre

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    Premiering February 1st on National Geographic, and streaming February 2nd on Disney+ and Hulu, with the first episode also airing on ABC February 1st is the fourth season of the anthology series ‘Genius,’ which is entitled ‘Genius: MLK/X’ and follows the lives of Martin Luther King Jr. and Malcolm X, played by Kelvin Harrison Jr. (‘Chevalier’) and Aaron Pierre (‘Old’), respectively.

    Kelvin Harrison Jr. and Aaron Pierre talk 'Genius: MLK/X.'
    (L to R) Kelvin Harrison Jr. and Aaron Pierre talk ‘Genius: MLK/X.’

    Moviefone recently had the pleasure of speaking with Kelvin Harrison Jr. and Aaron Pierre about their work on ‘Genius: MLK/X,’ taking on the iconic roles, their approach, their research, and exploring their characters’ private lives.

    You can read the full interview below or click on the video player above to watch our interviews with Harrison Jr., Pierre, Weruche Opia, Jayme Lawson, and executive producers Gina Prince-Bythewood and Reggie Rock Bythewood.

    Related Article: Kelvin Harrison Jr. Talks ‘Chevalier’ and Director Stephen Williams

    Martin Luther King Jr., played by Kelvin Harrison Jr., preaches in 'Genius: MLK/X.'
    Martin Luther King Jr., played by Kelvin Harrison Jr., preaches in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    Moviefone: To begin with, Kelvin, can you talk about your approach to playing this character and how do you prepare to play someone as iconic as Martin Luther King Jr.?

    Kelvin Harrison Jr.: I think it starts with, at least for me, I started looking at interviews, and I just wanted to get a sense of his energy, how he spoke and anything I was picking up now that I was paying a different attention to it. We watch it as a viewer and we watch it as a citizen of America, as a young black man and that’s one thing, but as someone that’s about to embark on this experience to internalize what this man’s existence is, is a completely different thing so that was my first thing. Then the next step was reading his autobiography, reading all the books he wrote, while also traveling to Memphis and Birmingham and Atlanta and his hometown and D.C., and any place I can get my hands on in the little amount of time I had to prepare. After that, it became an investigation of myself, what it meant to be all these different ages, what it meant to deal with anxiety, imposter syndrome, fear, love, and fathers. That’s a whole thing and I love to explore the dynamics between a father and a son, that’s specific. I just took it all in and saw what came out of me. Obviously, there’s the technical stuff, seeing work and dialect coaching but that’s the boring stuff.

    Malcolm X, played by Aaron Pierre, is escorted from Temple in 'Genius: MLK/X.'
    Malcolm X, played by Aaron Pierre, is escorted from Temple in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    MF: Aaron, how did you prepare to play Malcolm X and did you learn anything during your research that really informed your performance?

    Aaron Pierre: Similarly, to what Kelvin said just here, it was step one as it was the extensive research. It was reading, again, the autobiography, reading ‘The Sword and the Shield’ by Peniel E. Joseph, reading Dr. Betty Shabazz‘s perspective, watching the documentary, watching the footage we have of him on panels, interviews and speeches. That was particularly important for me because I feel like arguably there is a lot of misinformation about Malcolm X, and I wanted to find information that was as close to the source as possible. What I mean by that is I wanted to hear from him himself in his autobiography, dictated to Alex Haley. I wanted to hear from those closest to him. I wanted to hear from his community first. Then, again, the same way Kelvin experienced going to these different states that meant something particular to Dr. Martin Luther King, Jr, I was in New York, I was in Harlem, and I was in Washington Heights. I love New York, I love Harlem, and I love Washington Heights. I loved having the opportunity, the privilege to walk around there, to breathe that air, to experience that experience and it informed me so greatly and deeply. I felt empowered by going to these beautiful places and inspired to do my best to portray Malcolm X to the very best of my capabilities and serve his story, and serve his legacy.

    Malcolm X, played by Aaron Pierre, preaches in 'Genius: MLK/X.'
    Malcolm X, played by Aaron Pierre, preaches in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    MF: To follow up, Aaron can you give one example of a misconception about Malcolm X that you wanted to set straight with this movie?

    AP: I think for me, this is of course subjective, this is my personal viewpoint, but I think a common misconception is that he led with violence. The reality is that he led with love, and he led with light. The physical aspect of his dialect and his approach was in direct response to your personal wellbeing, livelihood and safety being directly threatened physically. He was advocating for protecting that, he was advocating for preserving that, he was advocating for safeguarding the dignity and the integrity of that. It wasn’t actively seeking violence and actively seeking physical engagement. It was, God forbid should that present itself, we have the right to defend that. That came from a deep love for his people and his community. I think that’s something that I hope people will gain insight to and after that take the lead to do deeper research themselves into. There’s only so much we can explore in this series, but I’m hopeful that this will inspire people to go and do their own research and get a deeper understanding.

    Martin Luther King Jr., played by Kelvin Harrison Jr., and Coretta Scott King, played by Weruche Opia, in 'Genius: MLK/X.'
    (L to R) Martin Luther King Jr., played by Kelvin Harrison Jr., and Coretta Scott King, played by Weruche Opia, in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    MF: Finally, Kelvin, can you talk about how the series also explores the private lives of Martin Luther King Jr. and Malcolm X and examines their marriages?

    KH Jr.: I mean, listen, these men would’ve been nothing really without these women. Their intelligence is equal to these men’s intelligence. Their passion, their commitment, their integrity for this calling for the people and humanity is huge. I use the example a lot of Vietnam because I think that’s one that’s so clear is Coretta (Scott King) was the one. She was like, “We’re humanitarians and yet in our own country, there is an injustice happening with this Vietnam War. What are we going to do? How do we say we want equality and justice for all people, and we want everyone to be safe and to be taken care of, yet we’re allowing this atrocity to kind of take place?” So, she does that, she speaks out and this inspired him. She supports him even when he’s put in hot water because of it. She redirects his path every step of the way, she re-inspires him, and she holds him accountable for what he said he’s set out to do. I think it’s such a beautiful opportunity for us to give a little backstory into who they were as well as how they got to meet these men, how they built their strength and who are the people surrounding them that put this fire inside them to do what this moment, why are we even making this show right now. It would be an injustice to not speak about them. In some ways, it’s kind of like this show is about them. The reason, once again, that we’re talking about them today is because 60 years ago was the March on Washington, and we’re still talking about it because they led those legacies on and on. They’ve been keeping it alive. For twice their lifetime, these men. You know what I mean? We’re talking about men who died. I mean, that’s one of the beautiful things about the show, and that’s one of the things I’m most proud of, that we get to be a part of.

    Martin Luther King Jr., played by Kelvin Harrison Jr., and Ralph Abernathy, played by Hubert Point-Du Jour, in 'Genius: MLK/X.'
    (L to R) Martin Luther King Jr., played by Kelvin Harrison Jr., and Ralph Abernathy, played by Hubert Point-Du Jour, in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    What is the Plot of ‘Genius: MLK/X’?

    The series explores simultaneously the formative years, pioneering accomplishments, dueling philosophies and key personal relationships of both Dr. Martin Luther King Jr. (Kelvin Harrison Jr.) and Malcolm X (Aaron Pierre). While King advanced racial equality through nonviolent activism, X advocated for Black empowerment, identity and self-determination. The eight-part series also brings their wives, Coretta Scott King (Weruche Opia) and Betty Shabazz (Jayme Lawson), to the forefront and shows them as formidable equals of the Movement. While King and X met only once and often challenged each other’s views, the two visionaries, with their wives leading by their sides, ultimately rose to pioneer a movement that lives on today.

    Who is in the Cast of ‘Genius: MLK/X’?

    Malcolm X, played by Aaron Pierre, preaches in 'Genius: MLK/X.'
    Malcolm X, played by Aaron Pierre, preaches in ‘Genius: MLK/X.’ Photo: National Geographic/Richard DuCree.

    Other Movies Similar to ‘Genius: MLK/X’:

    Buy Kelvin Harrison Jr. Movies on Amazon

  • Actor Jason Schwartzman Talks ‘There There’

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    Opening in theaters and on demand November 18th is the experimental film ‘There There’ from writer and director Andrew Bujalski (‘Support the Girls’).

    The movie features a series of two-character vignettes that deal with ideas of isolation and perception and was filmed with each actor individually in separate locations, only joining them to their partner’s performance in the editing process.

    The talented cast includes Jason Schwartzman, Lili Taylor (‘The Conjuring’), Lennie James (‘The Walking Dead’), Molly Gordon (‘Booksmart’), Annie La Ganga (‘Computer Chess’), and Avi Nash (‘Barry’).

    Jason Schwartzman has appeared in such popular films as ‘I Heart Huckabees,’ ‘Scott Pilgrim vs. the World,’ and ‘Saving Mr. Banks,’ as well as the beloved HBO series ‘Bored to Death.’

    But the actor is probably best known for his work with filmmaker Wes Anderson on such modern classics as ‘Rushmore,’ ‘The Darjeeling Limited,’ ‘Fantastic Mr. Fox,’ ‘Moonrise Kingdom,’ ‘The Grand Budapest Hotel,’ ‘Isle of Dogs,’ and ‘The French Dispatch.’

    The actor will next be seen in ‘The Hunger Games’ prequel ‘The Ballad of Songbirds and Snakes,’ and be heard as the voice of Spot in the animated sequel ‘Spider-Man: Across the Spider-Verse.’

    Moviefone recently had the pleasure of speaking with Jason Schwartzman about ‘There There,’ the unusual way it was shot, how that affected him as an actor, trusting the editors, his character, and collaborating with director Andrew Bujalski.

    Jason Schwartzman in 'There There,' a Magnolia Pictures release.
    Jason Schwartzman in ‘There There,’ a Magnolia Pictures release. Photo credit: Matthias Grunksy. Photo courtesy of Magnolia Pictures.

    You can read our full interview with Jason Schwartzman below or click on the video player above to watch our interviews with Schwartzman, Lili Taylor, Avi Nash, and director Andrew Bujalski.

    Moviefone: To begin with, how did you got involved in this project and what was your first reaction to the unique way director Andrew Bujalski wanted to make this movie?

    Jason Schwartzman: Well, I should say that I had met Andrew years ago, and we kept in loose touch, and we had each other’s email addresses. My hope was always one day to be able to work with him. I got this email that literally, it said, it was the first time I’d ever seen the word cockamamie written out, which I don’t know why I flagged that, but that was the subject, “cockamamie idea” or something. I opened it and my hope was, “Oh gosh, I hope I opened this and it’s a cockamamie idea of how to work together, not just like a cockamamie some other thing.”

    Basically, he put out in one email, “I’m thinking of doing something, making a film in this style. I don’t have it all figured out, the details, but the guidelines are really no crew. Every actor will be on their own and will be responsible for their own portions of the film. Would you be up for doing something like that?” Which, to me, I didn’t know how to play it cool. I mean, that’s what I’ve been waiting for. This is what I love, which is the adventure, and I love him. So, if I can be a part of anything and help him fulfill whatever he thinks is cockamamie, I’m there and I loved it. I loved the idea of it.

    I didn’t realize how welcome it was until I got the email because it was October of 2020, and I remember after I got the email, I couldn’t stop moving around. I was just so energized by the idea of it, and by the prospect of it, and going to work with him, having this task to do, and trying to learn these lines and this whole script. It was just so wonderful. I’m so excited.

    MF: As an actor, can you talk about the challenges of not being able to act opposite another actor?

    JS: I was pretty excited about it, to be honest with you, because acting in movies, it’s so interesting anyhow because it’s edited. You can take someone looking off because they hear something and they’re waiting for a siren to pass or something, and then you can put that here in the movie and it looks like they’re listening to a conversation in the next room. I love that. I love the manipulation of that kind of thing, and transposing reactions and looks into different parts of a movie.

    So, this would be the ultimate extreme version of that, which is just like, what would it be like to not react at all, to just do something? I was reacting because I would do the scenes with Andrew, but it was such an unusual process. I can’t describe it, but I loved the challenge of it and I loved the idea of it too.

    To be honest with you, I get nervous when I’m acting, and sometimes it’s so embarrassing acting because they’ll say, “Okay, everyone, quiet on the set and let’s watch this person now. Everyone look at this person.” It’s just like, “Please don’t look.” So, I kind of love the idea that no one was looking, and it was almost like an animated film in that sense because it was just me.

    I mean, obviously, we had a small group of people helping us and everyone’s time was valuable, but I felt like there was a freedom to try things and to kind of work it out. Because we were on a new territory, it just felt kind of super free and it was wonderful. It got even to the point where I started to do the scene sometimes without even having Andrew do the other lines. I would just pause for the other actors’ lines in my brain and then just keep going, which was kind of an amazing thing.

    I love the journey of what that scene is. It starts off between these two people that are by the end of it, really kind of talking to themselves, and then you are listening to yourself, and you’re also not listening to yourself, and you aren’t listening to the other person. It becomes the very thing that it’s experimenting with. Do you know what I mean?

    Jason Schwartzman stars in 'There There,' a Magnolia Pictures release.
    Jason Schwartzman stars in ‘There There,’ a Magnolia Pictures release.

    MF: On a project like this, is there a certain amount of trust that you need to put into the editors because that’s really who’s going to be shaping the performances, or is that the same on every film?

    JS: Well, I feel like it’s the same on every film just because you don’t know what it’s going to be like. But I think that for me, I still haven’t seen this film but I’m so excited to see it. This will be the first time in my life that I’m going to see a film, and sometimes when you go to see the final product, you have some sense of what it might be like because you were there with the other actors, but with this, I don’t even know what they were doing.

    This is the first time I’m going to see a scene. I have no idea. Literally, I was just totally by myself and so it’s so thrilling to see that play out, actually. You know what? It’s a good question about trust. I mean, I just trust Andrew. I love him. Obviously, I think to do this type of thing, I would only really be up for doing something like this with someone like Andrew, who I just think is a great artist and leader. Because I think to a certain extent if you just go out there and do a bunch of stuff and you don’t trust the person, it’s very frightening. But I felt totally comfortable and I think that I was one of the first people to shoot.

    So, I enjoyed that we’re all figuring it out, that whatever any hiccups we encountered, they could take note of and then give to the other actors to avoid any such problems when they shoot. I like the idea of being sort of like a tester, like a beta. I liked being the first one to experiment, to be like, “Okay, good to know. These microphones don’t do this. Good to know that when you’ve got this person on an iPad here the internet goes like this.”

    I liked how new it was to everyone at the same time. I don’t know why, I just felt there’s a camaraderie in that because it’s kind of what the pandemic was like. So, I liked all going into something with an idea of how it could maybe be, but really, none of us ever doing it before, truly.

    MF: The movie deals with isolation, did the way it was shot, and also the fact that it was made during COVID, help you achieve that feeling of isolation?

    JS: Well, I think that if you look at just the way we all interact with each other, or talk to each other, it’s such an interesting dance, at least in my case of listening and not listening, and why people say something in the middle of a conversation that takes it in a different direction. With the Zoom and everything, people can be writing stuff, you could be doing a totally different thing. So, that totally came into play, this idea of focus, and listening, and being present with someone because you cannot be. I guess people can fake it, but I also think that you know

    Anyway, it became that in such a wonderful way because you’re acting in the scene, and you are, as much as I’m listening to the other lines and trying to do it, I’m also aware that I’ve got to have some kind of consistency to what I’m doing so that they can intercut. So, in the beginning of shooting those scenes, I knew all the lines, but you’re trying to figure out where to be physically and look for these landmarks because there’s going to be so much unknown, like where do we know he definitely should be standing? What can we lock in?

    I love that process. Then you are kind of playing but also trying to get it, at least in my case, I wanted to get it consistent to where I was working towards something where not every take was so different, and I was trying to get better and better at it, or faster and faster. In that process, you realize that you are not listening anymore. Because there’s no one there doing the scene with you.

    So, there’s no one to stop you from getting to your mark early or picking up a thing early. You start to hit these targets throughout the scene, these goals and say, “Okay, got to get to this thing here.” I think it’s somewhere in that you just begin to talk to yourself and it’s kind of amazing, like I was saying earlier, it totally becomes what the movie’s all about. You’re listening and not listening. It’s the illusion of listening, I suppose. Then it comes full circle where you go back to it and you are like, “Whoa,” then you break through to another place where you all of a sudden are hearing these lines, almost like for the first time.

    If you’re learning flashcards, you’re like, “Hmm, that is this. That is that,” then by the end, if you’ve done them for enough, then you just know. You’re like, “Hydrogen. Neon. Oxygen.” You know the next card. But then there becomes a moment after that where you start to go, “Oxygen. Wow, that’s something I never thought about. Oxygen.”

    You push through the robotic part of it, almost like a mantra, I suppose. The little I know of that. But like music even, it’s just like you can break through and it was so fun. I mean, I love doing it this way I’m afraid of other actors, I think. I don’t want the other actors to laugh at me and this was perfect for that. No other actor can laugh at you. Just yourself.

    Andrew Bujalski, director of 'There There,' a Magnolia Pictures release.
    Andrew Bujalski, director of ‘There There,’ a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

    MF: Finally, how would you describe your character in your own words? What did you like about him, dislike about him, and what was your approach to getting inside his head?

    JS: That’s a great question. I loved, by the way, the process of figuring this out with Andrew, who was so remarkable, and just a great collaborator. The way he talks about the characters and the way he answers questions, it’s as if you really are asking him about someone who’s real. He doesn’t really know, but he’s trying to understand too.

    You ask a question. He’s like, “I don’t know. Why would he do that?” It’s kind of like you’re talking about this friend of yours that did something strange and you’re trying to understand why they did it. What could possibly be happening in their personal lives? But to me, the character was really focused on the family aspect of it and I think that in my character’s brain, I’m doing the right thing at all times.

    There’s a way his lives supposed to play out and if everyone can just bear with him, it will work out. But if anything becomes disruptive or questioned, it will fall apart because it actually isn’t such a great plan. It’s totally not a way one should conduct themselves and live their life, but he is focused on keeping his family together. So, to me, it was all about just keeping things flowing, good, positive, and stay with me, a kind of confident desperation, if that makes any sense. He’s just very desperate, but makes it seem like you’re the one who’s desperate.

    Theatrical one-sheet for THERE THERE, a Magnolia Pictures release.
    Theatrical one-sheet for THERE THERE, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
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  • ‘Fear the Walking Dead’ Season 4: Morgan’s Journey Has ‘Unexpected Turns,’ Say Showrunners

    ‘Fear the Walking Dead’ Season 4: Morgan’s Journey Has ‘Unexpected Turns,’ Say Showrunners

    Fear the Walking Dead's Nick and Morgan
    AMC

    As a general rule, you should expect the unexpected when you watch the AMC sister shows “Fear the Walking Dead” and “The Walking Dead.” That will be especially true as we continue to follow the story of Morgan Jones (Lennie James) in “Fear” Season 4.

    There are spoilers ahead if you haven’t yet watched the most recent episode of “Fear the Walking Dead.” Read on only if you’re caught up.

    James left “The Walking Dead” for its spinoff after spending six seasons of playing his character, but he now has fans wondering if he’s on his way back. As Entertainment Weekly pointed out, Morgan shared during the most recent episode that he wants to go back to Virginia. If he’ll make it and how long it would take, though, are another story.

    EW interviewed “Fear the Walking Dead” showrunners Andrew Chambliss and Ian Goldberg, and they made it clear that they’re not done with Morgan just yet. Goldberg noted that the character has “emotional demons” and they plan to deal with them during the second half of Season 4. Morgan has a journey ahead of him, and based on the comments, it sounds both physical and psychological.

    The co-showrunner also pointed out that there’s a vast difference between announcing plans to do something and actually doing it.

    “He may say that he’s going back to Alexandria, but the journey to get there is going to be filled with a lot of unexpected turns, Goldberg said to EW of Morgan’s future.

    Whatever they have planned for him, James has speculated in the past that he could eventually find his way home. He told HollywoodLife in April that he agreed with his “TWD” co-star Andrew Lincoln (Rick Grimes) in doubting that “the story between, about the relationship between Rick and Morgan, is over.”

    And there you have it: Anything is possible. Prepare yourself as best you can.

    [via: EW]

  • ‘Fear the Walking Dead’ First Photos of Morgan Hint to Big Time Jump (and Good News?)

    So … Morgan might survive “The Walking Dead” Season 8 after all?

    “Fear the Walking Dead.” Fans still don’t quite understand how the timelines and locations will line up, but speculation left Morgan dying at some point later in TWD Season 8 and appearing in “Fear” as a prequel. Since “Fear” started covering the beginning of this “walker” apocalypse, it made sense that Morgan’s “Fear” scenes would be flashbacks of a sort to a time before “The Walking Dead” Season 5.

    But now it looks like “Fear” Season 4 — which premieres April 15, right after the TWD Season 8 finale — might catch up to the main show’s current timeline. Because new first look “Fear” photos from Entertainment Weekly show Morgan with his fighting staff. If that is the same stick he got from Eastman in TWD Season 6, the crossover must be happening after “The Walking Dead” Season 8. Right?

    Here are the photos:Fear The Walking Dead (2018)  Lennie James as Morgan Jones - Fear the Walking Dead _ Season 4, Episode 1 - Photo Credit: Richard Foreman, Jr/AMCFear The Walking Dead (2018)  Lennie James as Morgan Jones - Fear the Walking Dead _ Season 4, Episode 1 - Photo Credit: Richard Foreman, Jr/AMC
    And here’s a photo added later, of Morgan with new character Althea, played by Maggie Grace:

    Fear The Walking Dead (2018)

Maggie Grace as Althea, Lennie James as Morgan Jones - Fear the Walking Dead _ Season 4, Episode 1 - Photo Credit: Richard Foreman, Jr/AMCFans in the EW comments were left with a lot of questions about Morgan’s timeline. Here’s one fan with some potential answers, if they turn out to be correct:


    We’ll see. “The Walking Dead” Season 8 — still including Morgan — returns from winter break on Sunday, Feb. 25. “Fear the Walking Dead” Season 4 premieres Sunday, April 15, directly following the “Walking Dead” Season 8 finale.

    “Fear” returns with two new showrunners in Andrew Chambliss and Ian Goldberg. The whole franchise — TWD, “Fear,” and whatever else shows up — now has a new Chief Content Officer overseeing everything in Scott M. Gimple. He’s leaving as showrunner of TWD in Season 9, with AMC giving the fourth showrunner title to longtime TWD writer Angela Kang.

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  • ‘The Walking Dead’ Crossover Character Was Revealed & It’s a Sad Surprise

    Yikes. Most of us were wrong about this one, for good reason.

    After “The Walking Dead” Season 8 episode last night, “Talking Dead” revealed the character that would be “crossing over” to the companion series “Fear the Walking Dead.”

    It’s Morgan Jones, played by Lennie James, who did not seem happy about the change.

    “Yeah, it’s me,” Lennie James said by satellite on “Talking Dead.” He admitted he was “surprised” himself to be joining the cast of “Fear the Walking Dead.”

    He also added what sounded like a spoiler on Morgan’s fate:

    “The hardest part of it… has been leaving ‘The Walking Dead’ — leaving that cast, leaving that crew.” But, on “Fear,” “I’m really looking forward to exploring Morgan in a whole different world, with different characters, in a different place.”

    So does Morgan die at the end of Season 8, or just leave the Alexandria, VA, area? TWD Season 8 just finished filming its 16 episodes last week in Atlanta. Now James is heading right back to work filming “Fear” this Monday in Austin, Texas. So that’s probably why we got this news last night — AMC wanted to beat the inevitable set spoilers to the punch.

    TWD showrunner Scott M. Gimple teased more in a statement:

    “Even though Morgan is going to be featured on ‘Fear,’ he has a lot of story left on ‘The Walking Dead.’ Morgan’s arc in Season 8 positioned him for the story on ‘Fear.’ It was also important to see Fear’s world and characters through new yet familiar eyes.”

    Many fans figured Abraham Ford (Michael Cudlitz) would be the crossover character, since “Fear” is set before the timeline of “Walking Dead,” and the current “Fear” storyline is in Texas. Abraham was from Texas before his group connected with Rick Grimes.

    But now it’s Morgan, and fans are confused about how he’ll end up part of that world. Rick met Morgan in Atlanta, as his first zombie apocalypse tour guide in the pilot episode. Did Morgan head to Texas after “Clearing” but before he went to find Rick? Gimple said his Season 8 storyline positions him for “Fear,” so does he leave D.C. for Texas, and a “Fear” time jump catches up the two timelines? Guess we’ll find out.

    It’s sad that fans waited so long to see Morgan again, and then TWD just didn’t seem to know what to do with him once he joined Rick’s group.

    “Walking Dead” Season 8 continues Sundays at 9 p.m. on AMC. “Fear the Walking Dead” Season 4 arrives in 2018.

    [via: TVLine]

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  • ‘The Walking Dead’ Season 7 Finale Has a ‘Sexy Moment’ That Made 2 Stars Screech

    Whatever you think about “The Walking Dead” Season 7 up to this point, consider this: Lennie James (Morgan) said he and Melissa McBride (Carol) “screeched” over a “lovely” “sexy moment” in the finale.

    Here’s that section of Lennie James’s Q&A with NME:

    “I hope people aren’t disappointed by the end, but there’s one point in the finale that myself and Melissa were reading as we sat next to each other on a plane, and both of us kind of screeched when we got to this one point. It’s such a sexy moment, on all levels – it’s huge, it’s just so lovely. And both of us, when we got to the point of reading it, were like: ‘Oh my God!’ Like kids, excited by it. And to still be at that stage seven years into the show is a testament to the writers. It’s about the arrival of a character, and it’s lovely – really lovely.”

    Sexy? Did he mean literally sexy? He said on all levels. Arrival of a character? Literally on that point too — like someone new shows up — or something else? Maybe we can pair this with what Andrew Lincoln (Rick Grimes) previously teased of the finale to Entertainment Weekly:

    “Wait till [Episode] 16. I promise you, there is one beat in 16, I dropped my script and started punching the air and did a little jig.”

    Episode 16 is the finale, so is he talking about the same moment? Apologies for the all-caps, but … DO THEY MEAN CARYL? This isn’t about Carol and Daryl, is it? Sorry if it isn’t, but sexy moment, punching the air … maybe Daryl is finally going to get some, with Carol or otherwise. Or it could have nothing to do with that at all. But now we’re rooting for some Pookie play time. Or maybe Eugene? Does Mullet Man finally get some? Clearly stuck on “sexy” here.

    For the record, James also hated the first half of Season 7, but because he was only in two episodes so he was bored and wanted to get to work and see everyone else on set. He promised “more action in the second half” as we’re about to go to war.

    Here’s more of his second half tease to NME (warning — minor comic book spoilers ahead):

    “On one level, it’s very obvious that we’re getting ready for war, and everyone who knows the comic books knows that we’re about to go into a couple of years of war. I don’t know how long that’s going to pan out in the television series, but it goes on for a while in the comics. So we’re about to go to war, and the second block [of eight episodes] is about meeting the protagonists and certain events that are going to decide what sides people take. And it’s not going to be a clear division of labour, let me say. There are some people who go to the dark side who are going to take you by surprise, and there are some people who are going to come over to the light – and that’s all a matter of perspective. As with this show, nothing’s going to move in a straight line. But one of the things that’s inevitable is that we’re heading to war.”

    “The Walking Dead” Season 7 returns Sunday, Feb. 12 at 9 p.m. on AMC.

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  • Lennie James: The Only Thing Guaranteed on ‘The Walking Dead’ Is That ‘Everybody Dies’

    Morgan Jones may be one of the few characters among “The Walking Dead” ensemble that isn’t in danger of being on the deadly receiving end of Negan’s beloved Lucille, but actor Lennie James still isn’t putting a lot of money down on his role’s long-term survival odds.

    When we last saw Morgan, he and his sometimes comrade/sometimes nemesis Carol were separated from the rest of the group and encountered some strangers who promised their delivery into the survival community known as The Kingdom in the comic-book source material — a prospect later confirmed by the show’s producers.

    So, as James joined Moviefone to look back at Morgan’s journey during the sixth season, which debuted on Blu-ray on Aug. 23rd, he was able to be a little less tight-lipped about the road ahead in Season 7 — but even he’s hedging his bets a bit, having dreamed up a Negan-centric scenario worthy of the show’s devilish plot twists.

    Moviefone: It was a really spectacular Season 6 for Morgan. Tell me what you were feeling when you saw the material that they were giving you throughout the season.

    Lennie James: Well, as these things kind of work, the material comes out bit by bit. Although, at the beginning of the season, we all have a sit-down with Scott Gimple, who runs us through in very broad strokes what will be happening with our character over the season.

    I have to say, the first thing I felt about the material as it was coming in was how brave the writers were being. Not just with the permanent kind of return for Morgan, but also in fighting hard to speak to a true journey of someone who’s gone off a particular path that Morgan is trying to walk on. I was excited by how they attempted to navigate that, and not to dilute it or to mitigate it, but just to present it as it is with all the complexity of the dilemmas.

    Morgan is definitely one of the most philosophically complex characters the show has seen. What was interesting about plumbing those depths and to trying to bring to life his anti-violence stance, especially in this world where that seems almost an impossibility?

    Well, every now and then, the show walks side-by-side with its audience, and sometimes the show pushes back against its audience, and sometimes the show is kind of behind the audience. You know, Carol, to a certain extent, is grappling with a similar kind of motion that Morgan is going through, and other characters have kind of touched on it, but there is a real question that these people who now exist at this stage within a post-apocalyptic world, which is to a greater or lesser extent, we have figured out how to survive.

    The group, Rick, and also having found the Alexandrias, and the hilltop, and other groups along the way — we’ve got to a point where we kind of know how to survive. And what Morgan is trying to introduce is a different notion, and that notion is: How do we live now? That’s a tricky question, and that’s a complicated answer.

    And I’m enjoying kind of walking that path, both convincing — not just the people around him, not just Rick and the group, but also convincing the audience of the importance. I’m saying that Morgan is right, I’m saying that the questions he asks are important questions, and the right questions to be asked at this stage in our existence.

    One of the more fascinating aspects of Season 6 was this relationship that he has with Carol. Tell me about cultivating that and sharing those scenes with Melissa McBride and getting those two characters where you wanted them in their ongoing conflict in the past season.

    Working with Melissa is just a joy. I’m not just saying that because what else am I going to say? I’m not going to say “It’s an absolute nightmare, and I dread the days whenever I see her” because that’s just not the case and not true! The fact of the matter is, I think if you ask any member of our cast who you’d most like to do scenes with, then she would be the number one person. So, on that level, I feel very blessed and enjoy going into work particularly on days when I’ve got scenes with Melissa.

    And I think one of the things I enjoy most about it is it’s easy. Nothing erroneous is put in front of the work. We show up, we talk about stuff if we need to talk about stuff. But mostly, we work it out by doing it, and that’s the way I love to work. I’m not someone who likes to have loads of in-depth conversations about it, because sometimes you can talk the joy and the heart out of a scene. I like to just do it. And then tweak it a little bit and then do it again, and have short conversations, but spend most of the time, doing the scene and figuring out what happens when you get in.

    That’s the most joy … getting a chance to do my job opposite someone like Melissa, or a lot of the other members of the cast. So I’m enjoying that, and I think the connection between Morgan and Carol is that they kind of come from the same place. They’re kind of defined by the same things, by who they were to their children and spouses, and that’s what defined them before the apocalypse, and that’s what’s kind of haltered them. So I think that’s the kind of connection. The joy and the giggle of working with Melissa is always a good day.

    I’m sure another one of the fun things, or maybe not, is mastering all of the great physical stuff that you get to do as Morgan. Tell me about that. Tell me about becoming Morgan the warrior.

    I absolutely love it because it’s one of the things that I am enjoying most about this job that I do, which is learning skills that I never would have learned if it wasn’t for this job. Riding bikes, or shooting guns, or driving cars fast, or learning how to hit people without breaking them. In a particular occasion, I’ve learned to scuba dive and mountain climb and all kinds of different things because the jobs I’ve had to do.

    On this one, becoming proficient with the stick, I love it. Partly because I think the stick is just the best and most symbolic weapon for who Morgan is at this particular moment in time, and what his ideology is. Because it’s either something to lean on, or it’s something to beat someone to death with. I think that is exactly symbolic of where Morgan is at this particular moment in time.

    So I love it, and I made a deal with the guys, with Steven Ho, who trains me, and with Keith Davis, who is my stunt double. Whenever the stick is being swung, I want it to be me. I don’t want it to be anybody else making me look better than I actually am. I’ve committed to [it]. I’ve been, to a greater or lesser extent, and swinging the stick now not nearly as long as Morgan has. So he’s as good as I am, and apart from if I have to take a heavy fall, or be hit by something, in which case the logistics of insurance, my stunt guy would have to step in.

    The rest of the time, when the stick is being swung, I want it to be me, and I want it to be as real as I can make it, and as good as I can make it. That’s an added challenge, and kind of helped me to ground Morgan in the place that he’s trying to be.

    And I think, also, the important thing about Morgan and where he is, is that he’s not sure that what he’s saying is absolutely the right thing, and he’s not sure that what he’s saying is something that he can stick to, and I think that’s really important when we’re talking about who Morgan is and where he’s at.

    I’ve run into some of your other castmates over the summer, and, of course, nobody can say a word about anything given the Negan cliffhanger. But we know that you’re not on the chopping block.

    Do you? There were some people who were betting online that it’s me! I spoke to some of them the other day, and we worked out how it’s going to happen, actually, is that Neegan is standing in front of all of the other guys, and he’s doing the eeny, meeny, miny, moe, and when we get to the end of it, he goes, “Hold on one second,” and he goes to the trailer behind him, and opens the door, and he pulls me out and throws me on the floor and beats me to death. I think that’s where I would put my money if I were you! [Laughs]

    What are you looking forward to as far as picking him up again? Especially, he and Carol are now in a bit of a more common ground situation than they have been. What’s intriguing about the new season and Morgan’s place in it for you?

    I think, there are two things that I’m very interested in. It’s no secret that Carol and Morgan are going to end up at some point in this upcoming season at The Kingdom, and in the company of King Ezekiel. And I’m interested in, you know, Alexandria was the first place Morgan had to consider, deal with, and possibly worry about other people other than himself for a very long time, since he lost his son. And even before then, all he had to really worry about was his boy.

    So he’s not been around people in a while, and when he was at Alexandria, Rick was always there as a buffer, and kind of as a way to both excuse Morgan, protect Morgan, and challenge Morgan. In The Kingdom, Rick’s not there, and Morgan is, to a greater or lesser extent, arriving at the Kingdom as himself, with only himself to operate with. There’s no buffer. So I’m interested in how and what that’s going to do to Morgan.

    I’m also interested in what’s going to happen, and what it’s going to take, and what stake everybody will be in, if and when we ever get back together, if and when Rick and Morgan ever meet again, and come across again, and what the situation will be when that happens, because I don’t know, and where their minds will be … and will they both be on the same side? So I’m looking forward to that.

    Morgan was one of the very first characters we met, and he’s stuck around this long. Where would you put his odds on surviving to the end of the series?

    This is not a show in which anybody can guarantee that they’re going to make it to the end of the series, so I would probably take very high odds that Morgan doesn’t make it to the end of the series. That being said, I’m going to be ducking bullets and avoiding bites for as long as I possibly can, and get as close to the end as I possibly can. The only thing that’s guaranteed in the world of “The Walking Dead” is that everybody dies.

    What has being part of this phenomenon — this hugely popular show with this enormously dedicated fanbase – meant to you, first as a player who got to come in and out, and now as a regular?

    On one level, when we’re doing the show as we are now, I, to a greater or lesser extent, have to shut out any notions of what this show is out in the world, because, I think, otherwise it would get in the way. We’re not necessarily making the show that’s out there in the world. We’re just doing the scenes and the script that are put in front of us, and we have to protect ourselves and keep focused on that, and not be aware of the show out in the world.

    But, at the end of it, and when I meet with the fans, and I come across them, mostly what I feel and mostly what I want to say to them is “thank you,” in all honesty. Not just the kind of general, “Oh, thank you very much for watching the show, you’re so wonderful and great,” all that kind of stuff. It’s that I am very aware of the fact that my history in this show, in the main, is down to the fans.

    My existence in this show, in the way that I exist in this show at this moment in time, is almost exclusively down to the fans, and to the fact that, after the first episode, they started to ask the question of where is my character, and when is my character coming back? And the show heard that, and has tried to answer those questions. And the fact that they keep asking, and the fact that they find they have a connection to my character, is, without question, the main reason I’m still around, and I’m very glad of that. So that’s what I would say, really, to the fans.

    For a large chunk of it, particularly when we’re making it and when [we’re] filming it, I try to ignore it. But when it comes on, I am staggered by the popularity of this show out in the world, but also I’m very grateful for what the fans, what their commitment to the show has done — not just for the show, but also for me.

    “The Walking Dead” Season 7 premieres October 23rd on AMC.

  • ‘The Walking Dead’ Season 6, Episode 4 Recap: The Cheese Stands Alone

    the walking dead, walking dead, morgan, lennie jamesAs “Walking Dead” showrunner Scott Gimple scolded us all last week, answers about what may or may not have happened to our beloved Glenn are forthcoming — but we’re going to have to wait awhile. The exasperated executive producer instead encouraged viewers to look at this season of the show as a movie or a book, with different reels/chapters that need to be viewed together to make a cohesive whole. So this week, we were served a Morgan-centric chapter that filled in some of our wayward traveler’s back story, but did little to propel the plot of our main chain of events. It’s an episode that fans are bound to either love or hate; I found myself somewhere in the middle.

    “Here’s Not Here” focuses on Morgan’s fateful meeting with a man named Eastman, played to perfection by character actor The Drew Carey Show,” “The Americans,” “American Horror Story” — the list goes on and on). Eastman is the one to bring Morgan (mostly) back to reality after Morgan’s encounter with Rick in season three’s “Clear”; this week’s action picks up not long after the events of that episode, paving the way for Morgan to make his way to Rick once more, this time with a little bit of his sanity restored.

    That sanity is relative, of course, since Morgan’s zenned-out ways this season have been a bit frustrating, especially when he failed to kill several of the Wolves who invaded Alexandria in “JSS,” letting them slip out the gate, gun in tow. I thought he had finally come to his senses at the end of that installment, killing the greasy-haired Wolf who he first met in the season five finale; instead, we learn this week that that Wolf is not only alive, but that Morgan has squirreled him away in an abandoned Alexandria home, and is hoping to put him through obedience school. Unsurprisingly, the Wolf isn’t too keen on learning any new tricks.

    Morgan wasn’t, either, when he first meets Eastman, a man living alone in a cabin in the woods who’s surviving thanks to his green thumb and a goat named Tabitha. Eastman easily subdues Morgan when the latter man sneaks up on the cabin, thanks to his mastery of the martial art of Aikido, which urges “redirecting, evading, and actually caring about the welfare of your opponent” (and also, incidentally, calls for some pretty kickass work with a staff). Eastman places Morgan under temporary house arrest while trying to talk him down from his madness (or at least get him to leave without attempting to kill Eastman again), and eventually, Morgan relents and reaches for Eastman’s copy of “The Art of Peace,” immersing himself in the philosophy that everything does, indeed, get a return. (There’s a circle on the front of the book to really drive that point home, though that was more the cover designer’s doing than the show thrusting a metaphor in our faces. Well, maybe a little bit of both.)

    It’s true that I clamored to know more about Morgan back when his permanent return to the show was teased last season. I’m just not convinced that that backstory justified a 90-minute episode, especially following the anguishing events of last week. Sure, “Here’s Not Here” provided a palette cleanser of sorts, a way for fans to breathe and grieve and process what we may or may not have seen in “Thank You” (the jury’s still out, though I’m starting to accept that my eyes may have indeed deceived me; more on this below). And it was helpful to finally find out just how Morgan made his transformation from bats–t crazy to bo-wielding badass. It just seemed like a roundabout way to get there, especially in the beginning, when Morgan made more than a few false starts in his journey from screaming “Kill me!” at Eastman to actually accepting the man’s help (and falafel).

    Morgan is clearly unhinged in the episode’s earlier flashbacks, and the camerawork makes that apparent, appearing blurry around the edges during some of Morgan’s more brutal moments. He murders two men in cold blood out in the woods, stabbing one through the throat and choking the other one as the young man pleads for mercy. Morgan smiles at this and continues snuffing his life out; later, he explains to Eastman that his job in this new existence is simple: he clears, whether it’s walkers or people — anything that gets near him must be eliminated. “That’s the biggest load of horses–t I’ve ever heard,” Eastman replies, and I can’t help but agree. Morgan has gone mad, and there doesn’t seem to be a point anymore to his decision-making; it’s not kill or be killed, it’s just kill and keep killing, until there’s no more killing left to do. Then, it’s time to paint some rocks with nonsense words and phrases. As you do.

    Eastman, a former forensic psychiatrist, diagnoses Morgan with PTSD, and explains that he, too, suffered trauma, but has risen above his memories of the awful fate that befell his family thanks to his continuing devotion to Aikido. He learned the martial art before the apocalypse, he tells Morgan, in part to relieve the stress of his job, interviewing hundreds of convicted criminals to evaluate whether or not they were fit for release. During an encounter with a man named Crighton Dallas Wilton (“Name like that, sounds like he should own an oil company, wear a big hat,” Eastman says wryly), the psychopath snapped, attempting to beat Eastman to death to prevent him from delivering the report that Wilton was unfit for the outside world. Thanks to Aikido, Eastman subdued the criminal and survived; unfortunately, he made a powerful enemy, as Wilton later escapes from prison and murders his wife and two children, simply because he wanted to ruin Eastman’s life.

    It’s a chilling tale with seemingly endless layers of horror, as Eastman reveals that he then plotted to take his own revenge, snatching Wilton from the side of the road while out with a prison work crew, and bringing the convict back to the cell in his cabin to watch the man starve to death. Morgan marvels at this plan, and asks if Eastman actually went through with it. “I have come to believe that all life is precious,” Eastman replies. “That’s why we’re having oatmeal burgers.”

    We later learn that this is a lie by omission, and that Eastman did indeed carry out that plot, though he deeply regretted it. “What I did to him, it didn’t give me any peace,” he tells Morgan. “I found my peace when I decided to never kill again.”

    Contrast that attitude with the one the Wolf sports, and you can see where Morgan’s morality will be tested as this season unfolds. The episode is framed with Morgan telling the Wolf about his time with Eastman, to explain that he, too, was once a broken and reckless killing machine, but he believes the Wolf can learn to change, just like he did. The Wolf disagrees. He came to Alexandria in search of medical supplies to treat a serious wound; whether he lives or dies, he tells Morgan, his pack will not be tamed.

    “I am going to have to kill you, Morgan,” the Wolf says, his sickly sweet voice dripping with danger. “I’m going to have to kill every person here, every one of them, the children, too. Just like your friend Eastman’s children. Those are the rules. That’s my code.”

    Morgan’s own code is simple: “Everything gets a return.” Will we see Morgan snap once more, and snap this Wolf’s neck? I’m hoping yes, but fearing no. Either way, the rest of the Wolves are circling — and they’ll get a return, too, one way or another.

    Other thoughts:

    – Gimple wrote both “Clear” and “Here’s Not Here,” and his fingerprints are all over this episode. He must really love writing for Morgan to devote two entire bottle episodes to the character. Again, I question the logic of that choice this time around, but according to the showrunner, everything will make sense in time. I’ll attempt to trust him, but I’m a bit skeptical, because…

    – …it seems pretty clear now that Glenn’s “death” was a fakeout. Based on that “Talking Dead” statement and a re-watch of last week’s episode, I’m convinced that the prevailing theory is correct: Nicholas’s body fell on top of Glenn, and is the one getting eaten after they fall. I still don’t think it makes much sense, since zombies are gonna zombie no matter how many people are piled on top of each other. But everyone loves Glenn, his “death” seemed pretty stupid (even for his overly-trusting character), and Gimple’s own insistence that people be patient and wait for answers before jumping to conclusions indicates that we haven’t seen the last of our favorite former pizza delivery guy. It’s a completely cruel and unnecessary cop-out, but I’m fairly certain it’s the scenario we’re stuck with. Everything (even “dead” characters) gets a return, I guess?

    – I knew Eastman wasn’t long for this world, but I really, really enjoyed his character. He wasted no time in calling Morgan on his s–t (“What’s your name?” “Kill me.” “That’s a stupid name. It’s dangerous. You should change it.”), served as sensei during a “Karate Kid”-esque training montage, told sweet stories about his daughter, and yes, it turns out, actually was a cheesemaker, just like Morgan claimed. He was still perfecting his recipe when Morgan arrived (one humorous scene featured him spitting out a bad batch, yelping, “God, that’s terrible!”), but managed to succeed as the days passed. “Grassy notes are a little AstroTurf, but there’s potential here,” he declares. ” … I was afraid that damn goat was going to make me a vegan.” His death reminded me of Tyreese’s, in that it happened to someone who should have known better, and shouldn’t have been bitten in the first place. But thus is the circle of life on “The Walking Dead”: Stupid deaths for great characters.

    – Speaking of which: RIP Tabitha 🙁

    – Written in Eastman’s “The Art of Peace” book is this quote: “Aikido means not to kill. Although nearly all creeds have a commandment against taking life, most of them justify killing for one reason or another. In Aikido, however, we try to completely avoid killing, even the most evil person.” Probably should have realized that the underlining foreshadowed that Eastman did, indeed, end up killing Wilton.

    – Despite the horrible nature of the story, I did have to laugh at Eastman’s line, “I knew that Crighton knew that I knew exactly what he was.” That circularity reminded me immediately of the “Friends” episode, “The One Where Everybody Finds Out.”

    – Eastman tries to make Morgan believe in the future, telling him, “You’re gonna hold a baby again.” That winds up being true when Morgan cradles Judith in the season premiere, but that’s a super random statement to make, right?

    – When we saw Morgan back in the season five midseason finale, he had reached Father Gabriel’s church shortly after our original survivors had left. There, he pulls out some strange totems, including a Goo Goo Cluster candy bar, a rabbit’s foot, and a bullet. All three make an appearance in this episode, as we learn their significance and how Morgan acquired them. The candy was a favorite of Eastman’s; the rabbit’s foot belonged to Eastman’s daughter, and Eastman passed it on to Morgan before he died; and the bullet came as a thank you from a young couple whose lives Morgan spared near the end of the episode.

    – “Everything is about people. Everything in this life that’s worth a damn.” — Eastman’s final words of wisdom to Morgan, which spurred him on his quest to ultimately reunite with Rick. It seems Morgan may wind up regretting that journey.

    Photo credit: Gene Page/AMC

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