Tag: shirley-maclaine

  • ‘Only Murders in the Building’ Interview: John Hoffman

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    Premiering August 8th on Hulu is the third season of the popular series ‘Only Murders in the Building,’ which was co-created by Steve Martin and John Hoffman, and nominated for 12 Emmys including Outstanding Comedy Series and Outstanding Writing For A Comedy Series at the upcoming ceremony that is scheduled to take place on January 15th, 2024.

    Selena Gomez, Shirley MacLaine, Director John Hoffman, Steve Martin, Martin Short, and Amy Schumer on the set of 'Only Murders in the Building' season 2.
    (L to R) Selena Gomez, Shirley MacLaine, Director John Hoffman, Steve Martin, Martin Short, and Amy Schumer on the set of ‘Only Murders in the Building’ season 2. Photo: Barbara Nitke/Hulu.

    SOME SPOILERS FOR ‘ONLY MURDERS IN THE BUILDING’ SEASON 1 AND 2 BELOW!

    ‘Only Murders in the Building’ Season 1 and 2 Recap

    Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu's 'Only Murders In The Building'.
    (L to R) Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu’s ‘Only Murders In The Building’. Photo: Craig Blankenhorn/Hulu.

    The series follows three amateur sleuths –– actor Charles-Haden Savage (Martin), who spent years on a low-rent police show and still dines out on his minor fame, down-on-his-luck, flamboyant theatre director Oliver Putnam (Martin Short) and Mabel Mora (Selena Gomez), a young artist whose life suddenly becomes intertwined with Charles and Oliver’s when a former friend and fellow resident of grand New York apartment building the Arconia is found murdered.

    The three also bond over their shared love of a true crime podcast called ‘All is not OK in Oklahoma’, and quickly decide to launch their own as they dig into the truth behind Tim’s death. As they work their way through the suspects (including the variety of quirky occupants of the building), they learn that the real killer is Jan (Amy Ryan), a musician who Charles has been dating.

    Season 1 ends with cranky building head chief Bunny Folger (Jayne Houdyshell) dead in Mabel’s apartment, with Mabel framed for her murder. The second season is dedicated to Charles, Oliver and Mabel figuring out what really happened with Bunny, and how a mysterious painting factors in.

    It also features more from Cinda Canning (Tina Fey), the driven, arrogant creator of ‘All Is Not OK in Oklahoma’ as she seeks to find a compelling follow-up to her hit series. Our heroes initially think that Cinda, and then artist Alice Banks (Cara Delevingne), whom Mabel briefly dated, might be the killer, but it is revealed to be Cinda’s overworked assistant Poppy White (Adina Version), who was actually the not-so-dead subject matter of ‘All is not OK’ and yearns to have a podcast of her own.

    What is the plot of ‘Only Murders in the Building’ Season 3?

    Paul Rudd as Ben in season 3 of 'Only Murders in the Building.'
    (L to R) Paul Rudd as Ben in season 3 of ‘Only Murders in the Building.’ Photo by: Patrick Harbron/Hulu.

    At the end of Season 2, we jump a year forward, to the opening night of Oliver’s new play, ‘Death Rattle’. Its leading man, the annoying, smug Ben Glenroy (Paul Rudd), who clearly has no love for Charles, also starring in the production, collapses dead on stage.

    It’s revealed later in the initial episode that Ben is not actually dead but had a medical condition, and he promises to be a changed man, ready to make amends for his bad behavior during the play’s initial stages. He doesn’t get long to do that, though, as he’s pushed into an elevator shaft at the Arconia, landing on the car containing Charles, Oliver and Mabel. And so, another murder mystery is set in motion. Season 3 will also feature Oscar-winner Meryl Streep as Loretta Durkin, a struggling actress and Oliver’s love interest, who plays a small role in his Broadway show.

    Meryl Streep as Loretta in Hulu's 'Only Murders in the Building.'
    Meryl Streep as Loretta in Hulu’s ‘Only Murders in the Building.’ Photo by: Patrick Harbron/Hulu.

    Who stars in ‘Only Murders in the Building’?

    Moviefone recently had the pleasure of speaking with director, executive producer and series co-creator John Hoffman about his Emmy nominated work on season 2 of ‘Only Murders in the Building,’ creating the series with Steve Martin, setting up the mysteries, lessons he’s learned between seasons, improvisation on set, the lead actors’ chemistry, the show’s attraction to big name guest stars, and a little tease of season 3.

    Tina Fey and Director John Hoffman on the set of 'Only Murders in the Building' season 2.
    (L to R) Tina Fey and Director John Hoffman on the set of ‘Only Murders in the Building’ season 2. Photo: Craig Blankenhorn/Hulu.

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

    Moviefone: To begin with, congratulations on the show’s 12 Emmy nominations for season 2. How does it feel to get so much Emmy love?

    John Hoffman: I’m feeling very good, honored, relieved, all of the above. It’s been quite a ride with this show and the fact that for season two, dropping a year after our first season aired, to be recognized in this group of incredible shows, it’s rare air. So I am thrilled.

    MF: Season 3 begins on August 8th, are you excited for fans to see the next chapter?

    JH: I’m very excited for people to see what’s coming. We’ve got a good back half too. I promise you.

    Related Article: TV Review: ‘Only Murders in the Building’ Season 3

    Steve Martin as Charles in season 3 of 'Only Murders in the Building.'
    Steve Martin as Charles in season 3 of ‘Only Murders in the Building.’ Photo: Patrick Harbron/Hulu.

    MF: Can you talk about creating the series with Steve Martin? Was it always designed to be a comedic murder mystery?

    JH: It began from the plucky mind of Steve Martin, and it was very much his notion. He’s a real fan and has a real interest in the world of crime and mystery, unfolding and getting underneath it and watching the reveals that happen around a case. So he’s a fan of that work. Then on top of it, he is a comedic genius. So that person held it all and very sweetly along with Dan Fogelman and Jess Rosenthal’s introduction, brought me into the fold of that. I was looking at it in a way of, once Steve said, “I would love Marty to be in this with me,” then I was hoping we could do something that felt like classic meets modern. You’ve got these two classic comedians with this very modern young woman in New York where that constantly feels like a theme and then it let the comedic and the mystery unfold in a fresh way. I think we got very fortunate and we worked really hard, but the goal is always to make it look as effortless as possible but behind the scenes it’s quite a challenge to pull this sucker off.

    MF: The end of the first season sets up the mystery for season 2. How much of the second season’s mystery was set in place when you introduced it at the end of the first season?

    JH: Great question. They’re very tied in. As you’ve seen from the beginning of season three, we take a bit of a leap away, but those first and second seasons are more tied in than maybe evident from the beginning of season two, for sure. Going to the very notion that by episodes 9 and 10, you’re realizing, “Oh my God, the central person responsible ultimately in season 2 was present and was the actual person involved in the podcast and in the case of the podcast that first drew our trio together in episode one of season 1. So, that developed along the way, but it was also kind of in the back of my mind, at least as far as those ties that could happen that felt very exciting. But it was very challenging to thread that and not give it away and not let it be revealed. So that all was very exciting to do, but very in its own classic mystery way, a dance of mini balls in the air with character arcs and the personal relationship of this trio and the discoveries that have to happen. The comedic premises, you then have to create all in the while keeping a thrust of this mystery story that everyone’s hooked into.

    Selena Gomez, Martin Short and Steve Martin in Hulu's 'Only Murders In The Building' season 2.
    (L to R) Selena Gomez, Martin Short and Steve Martin in Hulu’s ‘Only Murders In The Building’ season 2. Photo: Patrick Harbron/Hulu.

    MF: As a director and executive producer, what were the biggest lessons you learned between seasons working on this show?

    JH: How valuable everyone else is. I have to say that in this moment too, as I speak to you as a producer of this marvelous experience and show, that I am in great solidarity and recognizing every minute of the value of the collaboration between actors and writers specifically that make everything about this show and make me stand in full solidarity with fairness for all of them right now in this very challenging moment in our business. But that is really it. To be the person who has to answer all the questions along the way for story, for actors, for everyone else, is very comforting oddly for me. I like being that person. But you have to be very careful with everything. But then to be able to feel the luxury of opening up to brilliant artists around you who have much better ideas than you do, and to be able to say, “Oh, wait a minute. Stop the train. We’re going here because of this fantastic idea.” There’s nothing like it. This show is just a magnet for talent. So, who’s coming in next door? Everyone feels this urgency behind the scenes to step it up for this incredible collection of actors that are on the show. But it’s also the great opportunity to work with people who make everything better.

    MF: Obviously, the first season was a huge success. What were the big challenges going into season two to repeat that success?

    JH: That sits in your head in a way that I wasn’t as much expecting or thinking about because I get very deep down in a story that I would like to tell. So I try and push aside everything else that way, but there’s no way for it not to emanate through. Certainly within our writer’s room, it was one of those moments of like, “Wait, they’re saying what over there? Who said what? Who wrote what?” That does inform, it can’t help it. It is part of the collaboration with the audience we have too. When you’re doing a mystery, you want to feel what they’re thinking a little bit and maybe undercut that, swerve away from it or lean right into it. So, that’s very nice to have that inclusivity for both audience and creators on this one.

    Steve Martin, Martin Short and Selena Gomez in Hulu's 'Only Murders In The Building' season 2.
    (L to R) Steve Martin, Martin Short and Selena Gomez in Hulu’s ‘Only Murders In The Building’ season 2. Photo: Patrick Harbron/Hulu.

    MF: Steve Martin and Martin Short are comedy legends, but what is surprising about the series is how organically Selena Gomez fits with their chemistry. Was that a pleasant surprise for you and is there room for improvisation on set? Do they come in with their own ideas, or stick to the scripts?

    JH: All three of them, I want to leave them completely unbridled to say and do whatever they want to say. Yet, I’ve recognized also that they have great comfort in these wonderful scripts that our writers work very hard on. There’s great trust and generosity from them. As I say, there’s great comfort too in knowing and recognizing the good fortune of having two geniuses and a very specific modern young woman, is that you hear their voices very distinctly and the way in which they can play is built into these characters that they are perfect for, comedically and dramatically. The fact that they’re so facile, it can go so many different ways, and gives us great leeway to really hone scenes, episodes and seasons that favor what they do best. So when they are with the material, they really stick to it in a larger way. I think they would say the same thing. More than that, it’s just about elevating all of it in the way that only they can do.

    MF: Finally, the show has become a magnet for very famous performers who want to guest star, Meryl Streep appears in season 3, for example. Season 2 featured Shirley MacLaine, Cara Delevingne, Tina Fey, Andrea Martin, and Paul Rudd, some of who carry over to season 3. Has there been an effort to get the biggest names possible to guest star, or has that just happened organically?

    JH: Yes. The simple answer is yes. To have Shirley MacLaine in the middle of a pandemic come out of her home in New Mexico to say, “I want to come play in the landscape of New York City with this great cast of characters,” was an honor to everyone. The minute she stepped on set, the whole temperature changed. She just was absolutely brilliant. You realize the air you’re in, but also it makes you step up to live up to these people. Cara was fantastic and a friend of Selena’s for a long time and was so sharp, witty, intuitive and also a lovely person. She fit perfectly into the world, and that went on and on. Andrea Martin is a comedic genius as well, and knows Marty and knows Steve and seamlessly fits in as well. So, it’s about being strong with what the show is and hoping that people recognize the tone and how they might work in it, and then watching them just create magic is incredible. Then that leaps off into the opportunities that come from a season 3 cast, which is, I don’t know, the greatest of any half hour comedy in history? I’m going to put it up there. I’m not going to lie, I can’t believe it.

    Director John Hoffman and Shirley MacLaine on the set of 'Only Murders in the Building' season 2.
    (L to R) Director John Hoffman and Shirley MacLaine on the set of ‘Only Murders in the Building’ season 2. Photo: Barbara Nitke/Hulu.

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  • Meryl Streep Joins ‘Only Murders in the Building’

    Meryl Streep as Miranda Priestly in 2006's 'The Devil Wears Prada .'
    Meryl Streep as Miranda Priestly in 2006’s ‘The Devil Wears Prada .’

    TV comedy thriller series ‘Only Murders in the Building’ already features one of the best casts on the small screen, and it’s about to get even better. Star Steve Martin revealed on twitter that Meryl Streep has joined the ensemble.

    https://twitter.com/SteveMartinToGo/status/1615457362629861389

    The show stars Martin, Selena Gomez and Martin Short as Charles-Haden Savage, Mabel Mora and Oliver Putnam, three very different residents of a swanky, high-rise apartment building in Manhattan. When one of the other people in the building is murdered––one who had a connection to Mabel––the three unlikely citizen detectives team up to investigate what really happened.

    Along the way, they launch the podcast that gives the show its name. Season 2 follows their attempts to unmask who killed Arconia Board president Bunny Folger (Jayne Houdyshell). Along the way, they’re publicly implicated in her murder and are the subjects of a competing podcast.

    ‘Only Murders’ has built a reputation for quirky characters, engaging mysteries and a wealth of acting talent in its cast beyond the central three.

    Those either guest starring or part of the supporting cast include Nathan Lane, Jackie Hoffman, Amy Ryan, Cara Delevingne, Tina Fey, Da’Vine Joy Randolph, Sting, Jane Lynch, Andrea Martin, Michael Rapaport and Shirley MacLaine.

    Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu's 'Only Murders In The Building'.
    (L to R) Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu’s ‘Only Murders In The Building’. Photo: Craig Blankenhorn/Hulu.

    At the end of Season 2, Oliver––a seasoned, though as the show starts, unemployed––theater director, got his chance to helm a new show on Broadway. His cast includes Savage (an actor who made his career and a healthy fortune starring in a cheesy 1980s police series) and Paul Rudd’s Ben Glenroy, a snobbish fellow performer who in a flash-forward, has disagreements with Savage. He dies on stage, and Season 3 will explore the backstory to that.

    As for Streep’s character, the ‘Only Murders’ team have yet to reveal how she’ll factor into the story for the new season and whether she’ll have any connection to the core trio.

    Streep, of course, needs little introduction, an Oscar winning actor more normally found in movies (but occasionally on TV). She seems like a perfect fit for the ‘Only Murders’ world and it’ll be interesting to see how she fits in.

    From the looks of Gomez’ Instagram post that also served to announce Streep’s casting, she’s already interacting well with the main cast, larking around pretending to be an assistant providing them with new cushions, while being asked by Short for the “tea I ordered a half hour ago”.

    https://www.instagram.com/p/Cnh-j5TIc0U/

    Created by Martin and showrunner John Hoffman, ‘Only Murders’ has now been shooting its third season for roughly a week, but there is no date on the books yet for when it might return to Hulu. Despite its quality, it hasn’t won as many awards as you might imagine, but Streep’s presence could well change that.

    Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu's 'Only Murders In The Building'.
    (L to R) Charles (Steve Martin), Mabel (Selena Gomez) and Oliver (Martin Short) on Hulu’s ‘Only Murders In The Building’. Photo: Craig Blankenhorn/Hulu.
  • TCM Host Ben Mankiewicz Reveals Why We Love Classic Movies

    It’s been over 40 years since summer and the movies became synonymous for big, splashy entertainment at the multiplex. Turner Classic Movies is celebrating that long interconnection with its “Summer Under the Stars,” the film channel’s ultimate showcase for Hollywood’s most treasured stars and filmmakers.

    TCM’s primetime host Ben Mankiewicz joined Moviefone to offer a taste of the splendors that will be offered over the summer months, including the ongoing June tribute to its Star of the Month Audrey Hepburn; a July deep-dive, 40-film retrospective of the career of the Master of Suspense with “TCM Spotlight: Alfred Hitchcock,” which dovetails with a free online academic course; the “Summer Under the Stars” series, paying tribute to 31 different performers over 31 days, including celebrating Robert Mitchum‘s centennial and marking the 40th anniversary of the death of Elvis Presley; and the limited series “TCM Spotlight: Gay Hollwood,” focusing on the impact of the LGBT community on cinema.

    Moviefone: From your perspective, what is that special relationship between summer and movies and the audience?

    Ben Mankiewicz: First of all, we owe it all to “Jaws.” Still one of my favorite things: our presumption of the genius of Hollywood executives, that it took them until 1975 to figure out, “Maybe people might like to go to the theater in the summer and see a big movie.” The summer movie is such a part of our life now, but it really did not exist until “Jaws.”
    Now, that does not necessarily relate to the particular connection that Turner Classic Movies has to its fans. But nonetheless, the idea of summer and the movies is, I think it’s fair to say, really began with “Jaws” becoming such a blockbuster hit in 1975.

    What do you love about bringing this special slate of summer programming to the Turner Classic Movies audience?

    I love that we’re trying new things, and the things that we’re trying are working. We had such great success with both of our other MOOC [massive open online course] –- and believe me, our PR department will be thrilled that I used the word MOOC in an interview; I don’t usually use it in conversation. Our first one was on noir, and our second one was on slapstick. They’ve worked. They’ve been really popular because they’re really good, and this is a whole new way of interacting with the audience.

    I feel like, and I believe it in my soul, that there is no channel on television that has this intimate a relationship with its viewers as TCM does. Off the top of my head, I don’t think any other television channel sponsors a college level course that we’re teaching our fans, and teaching ourselves. There are a number of TCM staffers involved that take this course. I will certainly take the Hitchcock course. Again, it is a way to interact, and more than interact, but connect on a really emotional level with people who love movies.

    We keep finding interesting ways to do it because it’s so valuable to us to form some sort of meaningful bond with these people who love the movies that we show. That’s just the course — to say nothing of the extensive 44-film Hitchcock programming that we’re going to have in July.

    Jumping in at any point in Hitchcock’s career, there are always new things to see, new insights to be gleaned, new discoveries to be made.

    As somebody who loves cinema as much as you do, tell me what you love about re-examining Hitchcock in his different eras, because we’re going to see all of them on the channel this summer.

    I think one of the great values of Hitchcock is that loving Hitchcock can run from casual movie viewer, who can’t name more than one Hitchcock leading lady, maybe not even any, but just knows that, “I love that he scares me,” right? All the way to the most intense film scholars in the world who study Hitchcock, not just as part of a broad-based knowledge of film, but study solely Hitchcock.

    And there’s a wide recognition that you can certainly make an argument that he’s the most important film director to ever live, right? Some people might disagree and that argument might be valid, but that argument can be made by serious people. These movies will work, and this course will work, and our programming with Alexandre Philippe will work for anyone anywhere on that spectrum. You can jump in.

    You don’t have to have gone to NYU film school, you don’t have to be a budding director, you don’t have to be Alexandre Philippe or Martin Scorsese to see the enormous creativity that went into making a movie like “Rope,” right? You can watch “Rope” and think, “Okay, that was pretty cool.” That, to me, is the ultimate value of Hitchcock.
    Are there a handful of his films that you especially got something out of while you were revisiting them?

    “Rope” in particular, and that’s why I bring it up. But I also had a fun experience with “Rear Window.” “Rope” I hadn’t seen in some time, and didn’t remember the value of “Rope,” right? To me, we talked about it so much, and the conversations with “Rope” were about the gimmicky part of “Rope,” which Hitchcock talked about: paraphrasing him, but he called it a movie that was basically one long visual trick, making it seem like one shot. I think it’s actually eight reels that he used, right?

    When I watched it again, in preparation for the conversation with Alexandre, I didn’t even notice, I didn’t care. I was just into it. I thought John Dall, like Robert Walker, is one of these great, unsung Hitchcock villains. He’s fantastic! I loved “Rope.” If you’d asked me before I’d started this programming with Alexandre to name my five favorite Hitchcock movies, “Rope” wouldn’t have been there. You ask me now, I can’t make a list of five without putting “Rope” in.

    There were a lot of movies that I completely thought differently about, the first “The Man Who Knew Too Much” among them. But also, as sometimes happens with, certainly, people who love movies, I know I like “Rear Window,” but I don’t think I’d seen “Rear Window” since college. I’ve talked about it plenty, I know it, I’ve read about it a ton as part of this job, constantly reading about it. Whenever I talk to some Hitchcock expert, or sitting down with any star who’s been in any Hitchcock movie, you want to talk about “Rear Window,” even if you’re talking to Tippi Hedren and Eva Marie Saint — they weren’t in it, but you still want to be able to talk about it.

    I had a wonderful conversation at our last film festival with Martin Landau, who told me that he made his henchman character gay. He just made that choice himself. Hitch didn’t give it to him. He did it, and Hitch didn’t say anything to him, and he thought, “Uh-oh.” He asked him, “What do you think?” And Hitchcock said, “If I have a problem with something you’re doing, believe me, I’ll let you know.”

    So when for the rest of his life, when James Mason was asked if his character was bisexual, and therefore in a relationship with both Eva Marie Saint and Martin Landau, Mason would always say, “No, but I’m always asked that question because of what Marty chose to do without checking with me.”

    Let’s talk about the other summer heavy hitter: Audrey Hepburn, who remains as iconic as ever – just her image alone is something that people still respond to, and that her movies have remained as engaging as ever. Talk to me about her filmic legacy.

    First of all, I’ll tell you this about Audrey Hepburn. When we’re working on the scripts for TCM, there are, like, six words that I banned. And one of them is “iconic,” right? I’m like, “We can’t say it. We can’t write it. We say it too much, and we’ve cheapened it.” Except, once you’ve banned it, then you have to start making exceptions, and Audrey Hepburn is one of the exceptions. I’ve got to give that one up.

    She remains a symbol. Part of it is her backstory, but certainly part of it is the movie. Part of it is the paucity of actual movies. For such a huge star from Hollywood’s golden era, there are way fewer movies than almost every other actress of her generation. So her hit-it-out-of-the-park rate is pretty high. Once we get past “Roman Holiday,” it’s hard to find one that doesn’t work.

    What was one Hepburn film that you had maybe not paid attention to for a while and reopened your eyes about her performance in particular?

    Certainly “The Children’s Hour,” no question. It was sort of pitched as this bold, post-Production Code “These Three” [director William Wyler‘s previous adaptation of Lillian Hellman’s play] with teeth. But it still isn’t nearly as toothy as it should be, but it’s still terrific, and it’s still these two incredibly vibrant stars at sort of their strongest moments, speaking of Shirley MacLaine with Hepburn. And if you put yourself in the time, we’re still talking 56 years ago, so certainly, not as much progress from the first version to the second as you’d like. But still pretty bold, and if you do enough reading between the lines, you can see what’s going on.

    And look, I know it’s not a great movie, and partially it’s because of my fierce loyalty I have to Peter Bogdanovich, but I love “They All Laughed.” I know there are things wrong with it, and maybe I love it because of the things that are wrong with it. But I definitely think it’s worth seeing.

    Sometimes you love a movie for its flaws.

    Yeah, totally, and for what it’s trying to be. And knowing what was happening in Bogdanovich’s life at the time. Again, that’s why what we do is so important: the curation matters so much.

    When you put these movies in historical context, we’re not just telling Hollywood stories, we’re not just telling gossipy stories. You put these films in the context of the people who made them, the people who star in them, and the story becomes more than simply what you’re seeing on screen. And I think that connection means more to the audience.

    And we didn’t even mention “Summer Under the Stars,” which is literally our biggest programming event every year. 31 different stars for all 31 days in August, that we did a different star for 24 hours. It’s a big summer for us, and we’re excited for it, really. Everybody is.

  • Shirley MacLaine and Amanda Seyfried on ‘The Last Word,’ Legacy, and That ‘Terms of Endearment’ Remake

    Premiere Of Bleecker Street Media's 'The Last Word' - Red CarpetThe Last Word” brings together two different generations of Hollywood “it” girls turned “it” women: Amanda Seyfried, who’s continuing to come into her own as an actress, and Shirley MacLaine, who seemed to arrive fully and formed and, sixty-plus years after her film debut, still has plenty of “it” to spare.

    The two women recently sat down at a press conference to promote their co-venture, in which MacLaine plays a glass-ceiling-breaking businesswoman whose hard-driving ambitions and penchant for speaking her mind has left her with more than her share of detractors, prompting her to seek out local obituary writer and risk-averse aspiring poet Seyfried to craft an obit the uncompromising subject can approve of.

    Together, the two actresses sound off on topics ranging from motherhood (Seyfried’s about to have a baby with co-star Thomas Sadoski), legacy, risk-taking ageism, and MacLaine’s priceless response to the prospect of a remake of one of her most beloved films.

    Shirley, have you thought about your own legacy and what you want people to remember you for? What do you consider to be your greatest accomplishment?

    Shirley MacLaine: I don’t know, but I just figured out what I want my obituary to say is, “You think I’m dead, but I’m not.” What do you do about legacy? You leave it alone, you try to be the best. Right now you’re hoping to get financing [for films] and you get slipped great scripts, in terms of working.

    In terms of my life, I just want to share whatever I’ve learned, which is to know yourself, look for yourself, know what to look for, share it, be honest, be authentic — and even if it hurts your feelings. [Laughs]

    In this film, Shirley’s character, Harriet, is proud of the risks she took in her life. What are the biggest risks you have taken in your lives?

    Amanda Seyfried: OK, I know this one: for me, I used to not consider myself a risk-taker at all. I’m a very fearful person. I wasted some time being fearful, then one day I had an artistic opportunity that scared the living daylights out of me. Instead of saying no, I said yes and the course of my entire life has gone on a different path and I will never be the same person I was before that.

    I’ve gotten more than I can even say out of that; that one risk that I took. I don’t look at things as risks anymore. I look at them as opportunities that fail spectacularly. We’re too afraid to fail and that we’re not going to get anywhere and that’s another thing I love about this movie.

    MacLaine: I want to know what that risk was.

    Seyfried: It was a play off Broadway. It was a two-person play with [Thomas Sadoski]. It was terrifying. It was terrifying because I’m terrified of audiences. I’m terrified of being alone and I hide on film sets. I’ve never truly had the challenge of acting naked like that. I just learned everything. I learned a lot. It definitely made a giant impact.

    MacLaine: Fabulous! The biggest risk I always take is going in front of a live audience. I agree with her. There’s nothing more risky to do. You really have to leave yourself open to your own authenticity and you find that out pretty quick.

    In terms of a life or death risk, don’t have an answer, and I can’t think of it. I went to Broadway when I was 16 and I didn’t consider it a risk. I thought it was probably what I should do. I think that I think like a dancer: nothing is a risk — it’s more that it’s what I think I should do. Therefore, I don’t define it as a risk. I still don’t consider anything that I do a risk. Jumping out of an airplane, I wouldn’t do so, therefore I’m not going to risk it.

    Another point of view about risk-taking is that I’m naïve. I’m very aware, but I’m very naïve. So when you are very naïve and expecting safety and the best, you don’t feel you’re taking risks. You can get smacked a little, but usually it works pretty well. As much as you can instill your open-minded naivety, basically open-minded to damn near anything, nothing will be a risk. You’ll be safer. [Chuckles] Not bad.

    This film has big themes about motherhood. Amanda what did you take away from the film now that you’re about to be a mother?

    Seyfried: I want to make it very clear to my child that they are safe and loved. I don’t want to ever lie to them. There’s a huge responsibility to being a mother and I feel like this experience, especially with Shirley, it’s all about honesty in your life, in your acting, and in your relationships. There’s nothing more powerful and direct. There’s nothing to be confused about.

    Whether you like it or not, the answer is just how you feel. Feelings aren’t facts, but certainly the way you feel about things is worthwhile. It was instilled in me even further that I just need to continue being honest and trusting myself and the journey of getting to know myself. I want to instill that so desperately into my child because you are all you have and you have this chance to really experience things to the fullest with all the self-knowledge you can ever have … This message and this movie is really powerful and I’m taking it straight to this fetus.

    There’s a mentoring theme as well. Shirley, was there anyone who gave you advice, or someone that you still remember taking you under their wing in the beginning of your career?

    MacLaine: My God, the first person that comes to mind is Joan Crawford, and I didn’t listen to a thing she said, thank God. Really! She really … Oh my God, what can I say? [She zips her lips discreetly] Wrong, nope!

    OK, wait a minute, another person. I was in love with Alan Ladd and I went to a party at Romanoff’s. I’m 5’7″ and in heels I’m 5’9″ or 10″. My friends said, “Hey Shirley, it’s your favorite actor, come and meet him.” I turned around, and he was there, and I went, [looks down] “Oh, hi, Mr. Ladd.” [Laughs] He’s about 4’9″ and all my adoration disappeared in the dust.

    Shirley, what are your thoughts on ageism in Hollywood? And did you think that the initial reaction to your brother Warren Beatty‘s Oscar night incident, suggesting he’d erred because of his age, was ageist?

    MacLaine: I don’t know what happened at the Oscars that warrants it to be ageist — I don’t want to talk about [Oscar night], it was awful. But I do think that aging people are underserved in this culture big time. I want to stay healthy and serve that community and be a voice. Yes, I want to be queen of AARP and say what they feel and it’s awful that they seem to be made invisible. Maybe that’s one reason why I did this great movie. I didn’t want an older person to be invisible in any longer. That’s what I want to do with it.

    If you could write your own life story, what would you title it?

    MacLaine: I would write “So Far I Like This Lifetime the Best.”

    Seyfried: “I Promise I’m Not Stupid.” Because I’m not stupid, but I’ve been going around in my life thinking I was not as intelligent. And you know what? Intelligence is all different. You can be intelligent in all different ways, and I’m intelligent in a lot of different ways and I’m just still trying to empower myself with that. So that’s what my book would be called — today.

    The music in the movie, as played by Shirley’s character — whose deep-dive knowledge of The Kinks and more gets her that DJ job — is eclectic and very effective. What’s on your playlist?

    MacLaine: Me, I’ve never heard of The Kinks, just so you know. You know, what really moves me is the Pas de Deux in “The Nutcracker Suite.” I love classical music, and I love the times and Dean [Martin] and Frank [Sinatra], with the lyrics and wonderful rhythms and how they blend the music into the heart. I’m old fashioned.

    Seyfried: There is a time and place for every genre, for me. I’d like to be listening to Bruce Springsteen when I’m giving birth. “Tougher Than the Rest.” He’s got a great collection, but yeah, I also like Patty Griffin.

    What is your favorite quote from the movie, and why?

    Seyfried: “Fail spectacularly” and “I am who I am” — those are the two I keep thinking about. “Fail spectacularly” because if you’re afraid to fail what can you do in your life? And, also, something always comes of that. You’ll always learn something. And “I am who I am” — I just love it. It’s just so … It’s true!

    Have you heard about this potential “Terms of Endearment” remake that’s been talked about, with Oprah Winfrey and Lee Daniels?

    MacLaine: [Makes a skeptical noise]. I don’t know anything about it. Is she going to play my part? [Mimes getting on the phone] “Hello, Oprah?”

    “The Last Word” is in theaters now.

  • Her Sights Set on Late-Night TV, Carrie Keagan Swears With Hollywood’s A-List

    The New Celebrity Apprentice - Season 15As if TV personality Carrie Keagan wasn’t already enough of a bombshell on her own, she’s been known to deploy many an f-bomb — and c-bomb, and every-other-profane-word-starting-letter-bomb — in many a celebrity interview.

    Hot off of her ended-too-soon stint on the latest edition of “Celebrity Apprentice,” Keagan’s brand-new book “Everybody Curses, I Swear” just hit the shelves, a deliriously expletive-laced and scatologically important tome chronicling her many encounters with equally enthusiastic foul-mouthed famous people during her tenure at her breakout gig hosting celeb chats for the YouTube sensation NoGoodTV.

    While the job led to even higher-profile opportunities — including hosting VH1’s “Big Morning Buzz Live,” G4’s “Attack of the Show!,” movie roles like “Sharknado: The 4th Awakens,” and even a momentary stint behind Craig Ferguson‘s late-night talk show desk — it’s clear that her fondness for swopping swear words with the stars has never dimmed, as she tells Moviefone.

    Moviefone: You’d been talking to me about this book for a while. When did the idea kind of pop into your head, like “Oh yeah, I’ve got years of great material I can turn into a book”?

    Carrie Keagan: I was doing the VH1 show, and I was with my business partner, Kourosh [Taj], and we just started reminiscing one day about, “Oh God, you remember that? Do you remember that time with Colin Farrell? Do you remember … whatever?” We started saying like, ‘Oh, that would make a funny chapter in a book,” and we titled the chapter. Then we just kept going.

    All of a sudden we were like, “You know what? We should go and pitch this book. We should go and try and sell this,” and then we did. It was brilliant, honestly. For me, it was a really great way of being able to put all of the things that I can’t remember all the time at the drop of a hat in one place.

    When you first started to do this, it must have been a little daunting to go out there and try to be as free-wheeling, and edgy, and anything goes, in the system where it’s all very polite and buttoned up. So tell me about those early days, trying to do interviews with this style that was so different back then.

    I didn’t come from a background of doing interviews or anything like that. So just me, myself, trying to get into the headspace of “OK, now I’m going to go in front of the biggest celebrities in the world and I’m going to ask them to do something they probably wouldn’t even do in front of their mother — Oh my God, the pressure!

    Once I got into the rooms, and I just started throwing out F bombs or whatever, I realized that the difference between what I was doing and what everybody else was doing is that I was allowing them to be themselves, and not be this media-treated version of themselves. All it took was me being myself. So the more comfortable I got doing the job, the more comfortable they were just letting their hair down and enjoying the ride. It became what you see now: this Hollywood swear-fest.

    Do you remember the first celebrity to really embrace the opportunity that you were giving them and really run with it?

    SNL,” so he obviously understood that what I was trying to do was not invasive to him, it was actually super-promoting him. And as soon as I told him we were uncensored, he was like, “All right, let’s f*cking do it.”

    And we have had a great relationship ever since. Every time I see him, he’s always been really, really, obviously really blue. And whenever he’s in the room with another co-star of his, he’ll always explain, “This is Keagan. Just wait, just let her do her thing, and you’ll understand in a second.” So he’s always been really supportive. He’s always fantastic.

    Who’s made you blush?

    Oh, that’s a really good question! Oh God, I don’t know — George Lucas! I got George Lucas to swear. He told me what his favorite curse word was, and it was from “Star Wars.” And being a huge “Star Wars” fan, just being able to hear George Lucas spout out profanity was like, “Oh my God, this is amazing!” I freaked out. He was the greatest thing.

    When did the success of your style really become a turning point for you? I remember we started out doing this about the same time. I know it was risky for you, but when did you start getting the returns on it?

    People embraced it pretty much right away. There were ups and downs, and there were always moments where I would have to explain, like “I promise, if you don’t like what I’m doing, I just won’t air it,” or whatever.

    But really, I think the success of what we were doing ended up happening when I got on the cover of “The Hollywood Reporter,” and I was sitting on Borat’s lap, and they sort of announced that NGTV is this new way of watching your favorite celebrities. I feel like that was probably that moment where all of a sudden people thought that I was legit. That what I was doing wasn’t just some weird online obscure thing, it was actually celebrities enjoying themselves, embracing the format, and going all out.

    Tell me about what it was like to build your brand off of that. Obviously, you’ve gone a long way starting there. You’ve got your octopus tendrils in a lot of stuff!

    [Laughs] I’ve always liked to stay busy. NGTV was very much a launching point for me. After I was doing NGTV, they offered me the morning show on VH1. What an amazing opportunity. So I was able to take all the things that I had learned over the years and finally do them on live TV every day. It was a fantastic opportunity for me. I was doing “Attack of the Show!” which was bringing out all my nerdy side.

    Now we’re talking about late night. So it’s been a stepping stone, but my God, what a great way to cut your teeth with all the biggest celebrities in the world.

    Was it hard to reverse course and start to censor yourself for broadcast television?

    Yeah, and it’s even harder now that I’m trying to promote a book about swearing on network TV that doesn’t let me swear. It’s very complicated. It’s probably more complicated now than it was before. But you know, I know my place, I have to keep my tongue tied sometimes, it’s okay. Yeah, I feel myself squirming in my chair more often now than ever before.

    You don’t have to censor yourself with me, so tell me, what is your all-purpose swear word? Your go-to, the one that you enjoy saying the most?

    There’s a few, but the one that I enjoy saying the most is “c*ck-juggling thunderc*nt.” And it can be used in many different forms. It was actually a phrase that I learned from “Blade: Trinity.” David S. Goyer actually wrote that. It wasn’t me who created it. So I’m going to give him credit where credit is due. It was pretty much one of the most creative swear words I’ve ever heard in my life, and I decided to make it my own.

    But as far as everyday use, I say “f*ck” all the time. I think it’s a great word. The thing for me, swearing has always been a thing of love. I don’t swear out of hate. I swear out of love and out of fun. I think that’s a really important distinction to make. People mostly put swearing into a context of bad things. But really, swear words are just words. It’s all about the intent, and I intend to make people happy.

    Do you have a few favorite celebrity swearers? Like, Ian McShane — it’s just a delight to listen to him cursing. Did you have some interviews that were just like, “I just love hearing you say swear words”?

    Yeah. I love cussing it up with Emma Stone. She’s just a wonderful human being. I feel like we’re cut from the same cloth. So, whenever I walk into the room, she’s always like, Keagan! What the f*ck?! I love that.

    I got a real kick out of hearing some of the legends, like Robin Williams, when he goes off on a tangent. You know him, he can talk for days, and when he would go off on a swearing fest. I had an entire interview with him once where it was literally about the word f*ck, and he said it in every single language, in every context, in every form you could possibly think of. Guilty pleasure all over the place.

    Was it hard to do you style with somebody like Betty White?

    No. Betty White is wonderful. Actually, in that sort of genre, Shirley MacLaine is one of the best swearers I’ve ever met. That woman can throw down like nobody’s business. She’s a delight to talk to. She does not mess around. If she does not like the way an interview is going, she will tell you. She had a lot of fun with me.

    What’s it been like to have that transition from the interviewer to being a celebrity interviewee in your own right?

    It’s funny, I don’t really think about it like that. Even being on “Celebrity Apprentice,” I was just really excited to be there with everybody. I still think of myself as being on the other side. I’m still just a fan first. That’s why I maybe have had any success is that I still really like what I do. I love hosting, I love talking to people, I love meeting people, I loved writing the book. This whole thing has just been a really fun ride for me.

    Tell me about your fans, because there’s definitely this huge community that’s been following you from project to project, and the times that you get to interact with them and kind of see why they love what you do and the way you do it.

    I nicknamed my fans Keagles. Lady Gaga can have her Little Monsters, I have my Keagles. And they’ve been amazing, honestly. I’ve had such support from my fans on social media, and even just randomly. I don’t think of myself, like I said, as a celebrity. So when people stop me on the street and say, “Oh my God, I saw you on ‘Attack of the Show!’ I loved that show.” Or, “Oh my God, I used to watch ‘Big Morning Buzz’ all the time.” It warms my heart, and it gives me a reason to do this.

    Sometimes when you have a hard day, you forget why you’re going to work every day. But then I’ll get a really nice Tweet saying, “Oh my God, that interview you did with Heath Ledger, it just changed my entire vision of who I thought he was.” OK, that’s why I do this, because it’s not just about me. It’s about everybody being able to enjoy this moment that I’m having with a celebrity.

    How was that “Celebrity Apprentice” experience, as short-lived as it was? Did you have a good time?

    It’s reality TV, so it was a fun ride. I don’t know that I took it super seriously, because I knew it was reality TV. But I took raising money for my charity, the Humane Society of the United States, very seriously. So I was bummed that I wasn’t able to raise money for them. But other than that, it was cool hanging out with the celebrities. It was cool getting to be friends with them now.

    It was cool being able to get to know Arnold Schwarzenegger. He invited the whole cast up to his house while we were shooting, and he was like, listen, “I have to fire one of you every week. I want to get to know you as people before I have to do this thing as a boss on a show.” That was amazing. Who gets to do that?

    Had you interviewed Arnold a number of times before doing the show?

    I had interviewed him once or twice, not many times. He was always a cool dude, but he was the governor. So he was a bit media-treated with me, but he was always really fun.

    What’s on the next rung of the ladder for you? What are the things that are in immediate striking distance that you’re hoping to do?

    There’s a couple of things on the burner, so you’ll be hearing some announcements, I’m sure, soon, but right now I’m focused on the book. There’s a couple of movies that are still not released, so those are coming out. Hopefully some big announcements, actually.

    I would love to do late night. That’s been my goal since the beginning. I think it’s time that a woman is on late night TV. So perhaps you’ll hear about that soon.

    You’ve been vocal about that — and you’re not the only one who’s been vocal about that. How close do you think we are to seeing this shift and not the same-old, same-old anymore?

    That’s a really good question. I’m not sure. I’ve been in the rooms with networks, and they haven’t moved on it yet. In fact, the one time that they had the opportunity to move on was when Craig Ferguson left. I was on Craig’s show when he announced that he was going to be moving on. He said to me, “You’ve done this before, you want to be in late night. Do you want to audition right here, right now?” I said, “Absolutely!” And he put me behind the desk and it was the first time that’s ever happened.

    What did CBS do? They turned around and hired another white dude. So it’s disappointing. I feel like the world is ready. I feel like the networks maybe are still just living in the ’70s and they haven’t quite figured out that the rest of the world is ready for a female voice in that position. Maybe everybody just needs to keep telling them and we can change something.

    We’ll close out on a very serious subject: What’s the swear word that you need to use more in your life?

    Oh! There’s one that I learned. It’s a weird one, but it’s “d*ck of the cat.” And I plan on putting that into my regular rotation as quickly as I can. D*ck of the cat. It doesn’t sound like a very big swear word, but it’s pretty fabulous.