The World's End: review

The-Worlds-End-poster
Sitting down after watching the third chapter in the “Blood and Ice Cream Trilogy” (a.k.a., the Cornetto Trilogy, so named for the brand of ice cream that appears in SHAUN OF THE DEAD, HOT FUZZ, and now THE WORLD’S END), I would like to write a lengthy, detailed review noting intricate virtues of the triumphant final flavor (mint chocolate chip, for those keeping track). Unfortunately, Edgar Wright and Simon Pegg neglected to craft a triumphant film, so I cannot write that review. Far from the crowning conclusion, the third serving of Cornetto melts slowly for 109 minutes, its initial lustre resolving into a gooey, sticky mess on the sidewalk. Yes, technically it’s still mint chocolate chip, but you wouldn’t want to eat it, except to prove your unswerving fealty to the Wright-Pegg tribe.

Don't you hate it when the local policeman turns out to be an alien robot?
Don't you hate it when the local policeman turns out to be an alien robot?

This time out, Pegg plays Gary King, a middle aged former big fish in a small pond, who laboriously explains the back story in a prologue sequence that turns out to be a monologue at some kind of group therapy session. Gary regrets never finishing the quest he and his friends attempted years ago, to pub-crawl their way through all twelve local establishments in their home town. With nothing else going on in his life, Gary cajoles and badgers his old mates into having a second go. What follows is a fitfully amusing but dramatically trite exploration of middle age, but wait – and you knew this was coming – there’s a twist: the small British town has been taken over by alien robots!
The sci-fi element is intended to put a jolt into the otherwise mundane story (god knows that watching Gary and company work their way through a dozen pubs is not enough to sustain a feature film), and to some extent it does enliven the proceedings. Unfortunately, the alien invasion is also intended to lend a new perspective to Gary’s predicament, forcing him and his friends to realize what’s truly important in life. Well, sort of.
You see, what’s really happening is something else – perhaps not fully intentional, but not entirely accidental, either. Gary, frankly, is a self-centered jerk; although he presents the pub-crawl as a chance for him and his friends to reunite, the exercise really serves only his needs, and everyone else is just along for the ride, because he would feel incomplete without his posse. In his context, the threat of alien invasion does not force a revaluation of Gary’s personal priorities; it serves to reinforce – or at least, eclipse – his personal failings. Along with his friends on screen, we in the audience are supposed to forget about what a louse Gary is, because how important is that when the world’s end is nigh?
Unfortunately for THE WORLD’S END, it is nearly impossible to overlook Gary’s shortcomings, because Pegg nails them so perfectly in his first few minutes of screen time. What he never manages to do – ever – is convey the charm that would coax his friends into following him like trained puppy dogs. Throughout Gary’s interaction with Oliver (Martin Freeman), Steven (Paddy Considine), Peter (Eddie Marsan), and Andy (Nick Frost), we wonder why they ever put up with him, let alone agreed to get back together with him. (He convinces Andy to come along by lying about his mother’s supposed death; Andy is too stupid to see through the obvious deceit, which the film reveals later as if it were a surprise.)
We also find ourselves yearning eagerly for one of Gary’s “friends” to punch him in the nose; when it finally happens in the third act, it is about an hour too late. By this time, whatever flavor the film had has melted away. Gary’s insistence on completing his quest – even after the aliens have snatched two of his friends – is incredible and absurd, but never really funny, and he never has a change of heart or one of those personal growth moments that might make us think there had been a reason for making him the protagonist.
The-Worlds-End-2013-Movie-ImageInstead, THE WORLD’S END leads up to cornball conclusion in which the Voice of the “Network” (Bill Nighy) tries to coerce Gary into joining the aliens voluntarily. The aliens turn out to be less interested in violent take-over than a simple merger; they would rather win allies than replace them with Stepford Clones, but they are willing to use force if necessary, because otherwise it would not be so obvious that they were the bad guys – which is necessary in order to make Gary seem like a good guy. In response to the alien’s offer, Gary’s penchant for fucking up everything he touches is provided as a counter-point, as if it were a point of honor – proof of the superiority of the human race. We are supposed to cheer Gary’s individuality – his desire to be free and do what he wants to do* – but he provides such a miserable example of the human race, that it’s easy to see why the aliens thought we needed a little help up the evolutionary ladder. In fact, our final image of Gary sees him starting a bar fight – lethal judging by the weapons on display – over a drink of water, in the post-apocalyptic world that results from the aliens’ departure. Presumably, Wright and Pegg intend this message to be taken with a heavy dose of irony, but they offer no evidence for this onscreen.
In spite of everything that is wrong with THE WORLD’S END (the title is taken from the last pub the boys reach), Pegg and Wright are too talented to his their target completely. The supporting characters are nicely played, engendering whatever sympathy the film evokes. Pierce Brosnan shows up in a bit as a former professor, lending a touch of class that the rest of the proceedings lack: he almost sells you on the idea that the alien invasion is a good thing. The shift from character comedy to sci-fi spoof is handled in a nicely matter of fact way, and Wright is fine with handling the tonal shift. If nothing else, his films are a distinctive change from the usual cookie-cutter approach: AT THE WORLD’S END is not much better than THE WATCH, but at least is is disappointing in a more interesting way.
Wright’s handling of the fight scenes is mildly amusing in a dumb-movie kind of way. Our boys are surprisingly adept at defeating the supposedly intimidating aliens – at least until the the third act arrives and the script realizes it’s time to gin up a crisis, at which point our heroes start loosing or at least have a harder time winning.
THE WORLD’S END exudes the lazy, knock-off aura, examplified by by the appearance of a giant robot – that doesn’t actually do anything interesting – and by the title itself, which is justified in the final reel almost as an afterthought. The film may not, in a literal legal sense, but the equivalent of a “contractual obligation album,” but nine years after SHAUN OF THE DEAD, it certainly feels as if Wright and Pegg are simply delivering the film out of a sense of obligation to their fans, recycling the old motifs with little new inspiration. Once again we have the small English town with the sinister secret (HOT FUZZ), and once again we have Pegg as a man on a mission, which is interrupted by monsters (zombies instead of aliens in SHAUN OF THE DEAD).
The difference is Shaun, unlike Gary, wanted to win back his old girlfriend – a worthier goal than drinking twelve pints at twelve different pubs – and SHAUN OF THE DEAD truly felt like a Working Title romantic-comedy rammed headlong into a zombie apocalypse film, with all of the Working Title virtues intact and augmented by the bizarre context. THE WORLD’S END, on the other hand, has all the virtues of a pub-crawl – if any. Adding robot aliens into the mix does not create some brilliantly original genre hybrid, combining the best fo both. It just gives us a pub-crawl with alien robots.
worlds_end_0THE WORLD’S END (August 23, 2013, A Universal Pictures Release of a Working Title Films production). Directed by Edgar Wright. Written by Edgar Wright and Simon Pegg. Rated R. 109 minutes. Cast: Simon Pegg, Nick Frost, Martin Freeman, Paddy Considine, Eddie Marsan, Rosamund Pike, Pierce Brosnan.
[rating=2]
2 out of 5 on the CFQ Review Scale: not recommended, but with some redeeming qualities.
FOOTNOTE:

  • Gary’s creedo is provided in voice via an audio clip from THE WILD ANGELS: “We wanna be free! We wanna be free to do what we wanna do. … And we wanna get loaded. And we wanna have a good time. And that’s what we are gonna do. We are gonna have a good time…”

Fox Developing 'Caves Of Steel'

Caves-of-steel-doubleday-coverDeadline reports that 20th Century Fox, is developing  a live-action feature film version of adaptation of Issac Asimov’s 1954 novel The Caves of Steel.
Simon Kinberg,  (X-MEN writer) is producing via his Genre Films production company, based at Fox. Henry Hobson is attached as director, with John Scott 3 (yep, that’s his moniker)  set to write the screenplay.
 Hobson is know primarily as a titles designer for films such as SHERLOCK HOLMES and RANGO, while Scott 3 works with the Chandra X-Ray Observatory, Seems like an odd pairing, but the two are first collaborating on a teenage Zombie film entitled MAGGIE.
Asimov’s The Caves of Steel was first published as a serial in Galaxy Magazine in 1963, and quickly picked up as a novel by Doubleday.
The tale is a murder mystery sent on an over-populated Earth about three thousand years in the  future. Here agoraphoic humans live in domed cities and rarely if ever see the outside world.
The rich and powerful Spacers’ (people whose ancestors left Earth for other planets) ambassador has been murdered and police detective Elijah Baley is forced to work with their chosen investigator,  the humanoid robot R. Daneel Olivaw.
This is a double-edged insult, as the Spacers are generally too disdainful and suspicious of Earthmen to spend time in their presence, and robots are equally distrusted and restricted on  Earth. Bailey and R. Daneel slowly come to bond during the potentially explosive investigation.
The book was a great success, and lead to the sequels  The Naked Sun and The Robots of Dawn . The  characters have ties to Asimov’s Robots series and, more loosely to the Foundation series.  
THE CAVES OF STEEL was previously adapted for live action on BBC televsion in 1964 starring Peter Cushing as police detective Elijah Baley and John Carson as R. Daneel Olivaw. That version, directed by Peter Sasdy, with a teleplay Terry Nation (DOCTOR WHO, BLAKES 7),  is considered lost, with only a few fragments remaining.

John Carson, Peter Cushing  BBC Televsion
John Carson, Peter Cushing BBC Televsion

New 'Real Steel' Trailer

“Set in the near-future, where the sport of boxing has gone hi-tech, REAL STEEL stars Hugh Jackman as Charlie Kenton, a washed-up fighter who lost his chance at a title when 2000-pound, 8-foot-tall steel robots took over the ring.
Now nothing but a small-time promoter, Charlie earns just enough money piecing together low-end bots from scrap metal to get from one underground boxing venue to the next.
When Charlie hits rock bottom, he reluctantly teams up with his estranged son Max (Dakota Goyo) to build and train a championship contender. As the stakes in the brutal, no-holds-barred arena are raised, Charlie and Max, against all odds, get one last shot at a comeback.”

Also starring:  Anthony Mackie , Evangeline Lilly, Hope Davis, and Kevin Durand
Directed by Shawn Levy from a screenplay by John Gatins, Dan Gilroy,  and
Jeremy Leven. Based on Richard Matheson’s classic SF story Steel.  (Previously adapted as an episode of THE TWILGHT ZONE).
Due in theaters October 7th from Dreamworks SKG and Walt Disney Pictures. Rated PG-13.
(Via The Movie Reel and Yahoo)

Schwarzenegger Back in 'Terminator'

Deadline reports that former California governor Arnold Schwarzenegger is indeed signed to star in a new TERMINATOR film.

THE TERMINATOR, Asian Poster
THE TERMINATOR, Asian Poster

Major Hollywood agency CAA is shopping a film “package” that includes  Schwarzenegger and currently hot director Justin Lin (FAST FIVE) to studios. 
The article claims that Universal, Sony Pictures and Lionsgate are very interested in the project, though no script has yet been devised.  
There may be some degree of urgency to the TERMINATOR franchise; in 2018 North American rights to the characters will technically revert to original writer/director James Cameron (and presumably producer/co-writer Gale Anne Hurd).

'Red Dwarf' to return

REDdwarf-Robert_LLOn his Blog, RED DWARF actor Robert Llewellyn revealed to fans that the cult favorite UK Sci-Fi comedy (originally on the BBC) was returning in a brand new season for the Dave TV satellite/cable comedy channel.

“So, the thing is, the whole point was that I was told not to say anything. Doug (Doug Naylor, co-creator/producer) told me, face to face, ‘don’t tweet this bobby. Not yet.’
So I didn’t. I was really good. I said nothing.
Then I spend a day in my voice over cell and know nothing of the interview Craig had done on the radio, which was, it appears, picked up by the Daily Mail, which, as you know is my fave all time newspaper. Ahem.
So then I get back to my trusty lappy and there’s a great slew of tweets telling me that Craig has once again spilt the beans. You’ve got to love him, he knows how to spin the scoop.
I’ve just spoken to Craig, he was as usual gloriously funny about it. He said, and I quote.
‘I did a radio interview and it just sort of slipped out.’

RED DWARF: Back To Earth
RED DWARF: Back To Earth

So yes, we are making a new series, commissioned by Dave, not a special or a movie or a one off dooberry. A full 6 half hour episodes of a brand new series.
The previous Red Dwarf Back to Earth Dave specials were incredibly successful. For a Channel like Dave to get viewing figures which beat BBC 2 and Channel 4 combined was an unprecedented achievement which has never happened before or since.
The plan at the moment, and this could change, the plan is that we record the new series in front of an audience.
Now, this is a complicated issue. The last time we recorded a show in front of an audience was in 1998. Anyone remember 1998?
No YouTube, no Facebook, no Twitter, no broadband, no HD video cameras in mobile phones. Okay, a few people had e-mail. I had a crude web page already, but it really was basic.
So when the audience came in the producers would ask them politely not to reveal any spoilers ‘on the world wide web’ as we referred to it then. I’m sure some people did, but so few people would have seen anything it really didn’t matter.
The fear among the producers now is that it’s impossible to imagine an audience of around 400 people at the recording of a TV show like Red Dwarf, where nobody does a bit of a hint on Twitter, or sneaks a picture on Facebook or posts a bit of badly shot video on YouTube.
It’s just too tempting, it’s too easy.
The producers are very worried and I can see why. The gap between recording a show and it’s eventual broadcast is quite long, especially on Red Dwarf. It’s a show which uses a lot of post production time. Special effects, tweaking shots, CGI, even, dare I hope for it, model shots, all take time.
By the time the shows are released on Dave in 2012, half the potential bloody viewers could know an enormous amount about it.

Though the RED DWARF: BACK TO EARTH three part mini-series was successful, many fans felt the comic edge of the somewhat downbeat, reflective storyline was lacking. Perhaps shooting in front of a live audience, despite the dangers of spoilers, will give the new series the spark and energy some thought was missing from the single camera movie-style TV venture.
red_Dwarf_cast4For those not familiar with the series, it aired from 1988 to 1999 on BBC 2, and starred Craig Charles as Dave Lister, probably the the last human being from Earth left in the galaxy, after being revived from suspended animation (the brig) on the immense miing ship the Red Dwarf. All of the rest of the crew are dead from a radiation leak, and three million years have passed, before the sentient computer Holly (Norman Lovett or Hattie Hayridge, depending on what season or sex Holly currently was) determines it’s safe to resurrect him. He’d be all allone, save for the hologram of Arnold Rimmer (Brit Sitcom star Chris Barrie), Lister’s obnoxious room mate, the only person on the ship that Lister really knew. Death has not improved Rimmer, and they continue their “Odd Couple”-like dysfunctional releationship.
Fortunately for Lister, also onboard is Cat (Danny John-Jules), the sharp-dressing, vain and preening humanoid decendent of Lister’s pet cat, Frankenstien — the last of his kind, as well. The eager to please android Kryten (Llewellyn) joins the crew in Season 3, when the series really kicked into high gear.
Lister’s lost love Kristine Kochanski (played few times by Clare Grogan before Chloë Annett joined as a regular) rounded out the cast. She was actually a Kochanski from an alternate universe, where she rather than Lister had been saved. The female version of Holly originated in that reality, as well, and Holly Prime fell in love with her, causing the flaky AI to actually become her for  a good strech of time.
The series, created by Doug Naylor and Ron Grant, played skillfully with science fiction tropes and cliches, as well as twiting a wide range of TV and movie plots and conventions.
It also introduced a number of invented expletives, such as “smeg”, “smeg-head”, and “gimboid”, which are great fun to use.

'Evangelion' Anime Movies Screenings

Here’s the latest from VIZ Media about screenings at San Francisco’s New People J-Pop Center.

EVANGELION_03VIZ Cinema, the nation’s only movie theatre dedicated to Japanese film, opens 2011 with just-announced screenings of director Hideki Anno’s EVANGELION 1.0 YOU ARE (NOT) ALONE, playing Tuesday, January 18th thru Wednesday, January 19th, and EVANGELION 2.0 YOU CAN (NOT) ADVANCE, playing Friday, January 21st thru Thursday January 27th. Screenings times and ticket information are also available at www.vizcinema.com.
EVANGELION 1.0: YOU ARE (NOT) ALONE
Monday, 1/17 – Thursday, 1/20
Tickets: $10.00
(Directed by Hideaki Anno, Japan, 2009, 98mins, Digital, Japanese with English subtitles)
There was no foreseeable warning before it happened – a catastrophe of unparalleled scale and magnitude overwhelmed the entire globe. This event, recorded in history as “The Second Impact,” caused half the population of the Earth to perish and devastated the world. All that remains of Japan is Tokyo-3, a city that is now being attacked by giant creatures that seek to destroy mankind. These creatures are called Angels.
Fourteen year old Shinji Ikari is called to Tokyo-3 by his father who he hasn’t seen in more than eight years. He is asked to come to the NERV headquarters to meet his father. His father reveals to him a gigantic humanoid weapons system that the special governmental agency has secretly developed to fight the Angels and then orders Shinji to pilot the giant artificial human Evangelion Unit One. With the fate of the world resting on his shoulders, how will the 14 year old boy Shinji fight? What is the truth behind “The Human Instrumentality Project,” an operation somehow related to the “Second Impact?” And who is the true enemy? The Angels, NERV, the mysterious SEELE, or the demons held within the hearts of the people involved? Gendō Ikari, a man who holds many answers to these questions, watches silently and attentively as his son fights a desperate battle…
EVANGELION 2.0: YOU CAN (NOT) ADVANCE
Friday 1/21 – Thursday, 1/27
Tickets: $12.00
The landmark anime property evolves, reaching new heights of intensity in the new feature film, EVANGELION 2.0. In an explosive new story full of brutal action and primal emotion, a group of young pilots maneuver their towering, cyborg Eva Units into combat against a deadly and disturbing enemy. In the battle to prevent the apocalyptic Third Impact, Shinji and Rei were forced to carry humanity’s hopes on their shoulders. Now, as the onslaught of the bizarre, monstrous Angels escalates, they find their burden shared by two new Eva pilots: the fiery Asuka and the mysterious Mari. In this thrilling new experience for fans of giant robot action, the young pilots fight desperately to save mankind – and struggle to save themselves.
EVANGEGELION_2.0
Animation and film director Hideki Anno is best-known for his work on the hugely popular anime television series NEON GENESIS EVANGELION, which ran on TV Tokyo in the mid 1990’s. Anno had been involved in the production of amateur films from his days in high school and began his film career as an animator in numerous commercial projects including Hayao Miyazaki’s landmark 1984 film NAUSICAA Of The Valley Of Wind. Later that year, Anno helped found the animation production studio Gainax – a group that rose from the independent film production company Daicon Film – with others he had met while enrolled in Osaka University of Arts. In 2006, he established the film development and production company, Studio Khara. Anno is currently involved in the production of a new series of Evangelion films, the latest of which is EVANGELION 2.0: YOU CAN (NOT) ADVANCE.
VIZ Cinema is the nation’s only movie theatre devoted exclusively to Japanese film and anime. The 143-seat subterranean theatre is located in the basement of the NEW PEOPLE building and features plush seating, digital as well as 35mm projection, and a THX®-certified sound system.”
 

'Transformers: Dark of the Moon' — Trailer

Here’s the rather clever teaser for Paramount;s TRANSFORMERS: DARK OF THE MOON.
One hopes the actual film will be as interesting.
The third TRANSFORMERS film stars Shia LaBeouf, Rosie Huntington-Whiteley, John Turturro, and Tyrese Gibson.
Directed by Michael Bay from a screenplay by Ehren Kruger (THE RING).
Coming to theaters July 1st, 2011 from Paramount Pictures.

Caprica: 'Retribution' – Teaser

In CAPRICA’s  “Retribution”:

“Things get tough for Lacy (Magda Apanowicz) when she doesn’t follow through on a bombing planned by Barnabas (James Marsters), and the Adama brothers (Esai Morales, Sasha Roiz) go after Daniel’s (Eric Stoltz) former colleagues.
Meanwhile, Amanda (Paula Malcomson) struggles to deal with all she’s lost.”

CAPRICA airs Tuesdays at 10:00 PM ET/PT on SyFy.

Q&A: CAPRICA's Shasha Roiz

Caprica_SashaRoiz_HSHere’s a lightly edited transcript of telephone Question and Answer call Cinefantasque Online took part in with Sasha Roiz, who plays Sam Adama on CAPRICA, which returns for Season 1.5 on Tuesday, October 5th at 10:00 pm ET/PT.
(Parathetical notes have been inserted for clarity, some are logical guesses at Mr. Roig’s less audible responses over a sometimes noisy line, others simply to provide the reader with background information.)
I asked whether the fact that Sam Adama is a Tauron, and thus an immigrant on CAPRICA play a conscious role in his portrayal. Sasha Roiz, whose family moved to Canada from Israel when he was in his early teens, replied in some detail.

“Yes, the immigration – the immigrant status of Sam plays a very, very large role. It’s very significant to the portrayal because it’s really sort of what his outlook on Caprica, it’s how he sort of perceives himself in relationship to the Capricans.
And there’s that constant reminder that he’s a second class citizen because he’s not a purebred Caprican. And so that bitterness and that enmity is always sort of present in his everyday, you know, in my portrayal of it and certainly in Sam’s activities.
And I think it’s very true to many immigrants in our world as well. They’re part of a society that simply will not absorb them and we see that in many examples throughout the world. Then their own secondary societies and sort of play by their own rules and their own laws, and much like we did in, America back at the turn of the century.”

Asked about interacting with the Cylons, created by Daniel Graystone (Eric Stolz) on the series, Roiz has this to say:

“I think you’ll see a lot of people interacting with Cylons. I think it’s basically what we’re driving towards is the introduction of the Cylons into this world. And so it’s going to definitely cross paths with just about everybody’s storylines.
…There’s definitely some stuff coming out because Sam and Esai (Morales, who plays Joseph Adama)—Sam and Joseph they start – they negotiate a deal withthe Graystones. And so eventually that technology comes into the hands of the Ha’La’Tha (the Tauron underworld organization that Sam is a part of on CAPRICA) and there’s certainly a crossover of interest for their purpose and it’s going to be a very interesting sort of tug of war.”

Regarding whether Sam Adama’s loyalties and point of view might change, the actor repiled:

“You’ve always seen Sam as a very loyal soldier of the Ha’La’Tha and the main sort of dilemma that he’s going to be facing is a certain loyalty based on some decisions that are made. So you’re going to see his struggle with – within himself and within the organization, and his brother as well about sort of the future that he’s going to take and the future that, that the path that he’s going to go on ultimately.
So there’s going to be certainly fractions within their story lines and within their loyalties.”

L-R: Saha Roiz, Esai Morales
L-R: Saha Roiz, Sina Najafi, Esai Morales

Questioned if he finds the part of the hitman/family man challenging, Sasha Roiz repiled:

“Challenging? Oh I mean, every role I find challenging in its own way. This one I guess I don’t really find it especially more challenging than any other role I’ve played. In fact, it kind of brings about certain elements that I’ve always kind of enjoyed playing.
I just find it really fascinating how he’s such a dynamic character. And in fact, that makes it almost easier in some ways to play because there’s so many facets to the character from, you know, the harshness that he portrays in the world to the softness that he has with his family and towards Willy (young William Adama, played by Sina Najafi).
And there’s so many various elements to him, the way he’s loyal within his organization and yet he’s such a criminal outside of that organization. So it makes the character in some ways even more fun and a little easier at times to play because there is such a balance to him. He really isn’t one dimensional and it makes it a lot of fun to play.
…The first person I really worked with was Esai. And that chemistry was very quick. He’s such a friendly and outgoing individual and he’s such a talented actor. And we instantly found a chemistry like right back in the pilot even. And so that was very simple and that was the most important (thing) – of course with the rest of the Adama family, with – certainly with Willy there’s a chemistry.

In the world of CAPRICA, gay marriages are unremarkable and accepted. Asked how his character has been received by SF fans and the gay community, Roiz indicated he was very pleased.

“I absolutely love that facet of the character and I love that we’ve tackled it in a way that’s been completely unique to television. And it’s been nothing but a wonderful experience. People have been completely receptive. People have been incredibly supportive.
The gay community has been remarkable… And they’re incredibly strong and very cohesive and supportive community and it’s great to tap into that and I’m really, really pleased that they’re enjoying it, enjoying the portrayal.

CAprica _Roiz_2Since  Capriacan society is so accepting of the the matter, Sasha Roiz indicated that viewers shouldn’t expect the relationship to be a major story focus.

“Well the back story—I don’t know if it’s necessarily going to tackle anything as far as the sexuality because as you’ve seen, the world that we live in doesn’t really—there’s no reason to particularly delve into that because it’s a non-issue.
But you will see more of Sam and Larry. You will see a little bit more of that partnership and the kind of life that they have and the kinds of strings that they have due to obviously Sam’s involvement in the mob. So you will see more examples of that. …Sam’s going to be going through quite a bit of stuff and you’re going to see Larry there as a support for sure for some of the major blows that are about to come.”

Asked  for further details about playing a character with a distinct dark side. the actor expanded on his approach.

The darker stuff is not that difficult, in a sense that when you kind of—when you kind of like truly believe the, you know, Sam’s perspective on life and he’s a very black and white character. And he doesn’t have a lot of room for doubt. And he’s very much a soldier. And so when he’s given an order, it’s very much like a soldier has to go out and perform the order.
There will be a little bit more— like I said, there’ll be doubts placed upon him for the first time, and that’ll be really interesting to see, the sort of torment he has as someone who’s always taking orders unquestionably, and then all of a sudden is arrested and has to start to question his life and his loyalties which he’s never had to do before. And that becomes very interesting to portray.
Some of the darker elements, when we play those out, I don’t really see him very differently than a soldier carrying out certain duties and missions that he has to do. And there’s really no room to question them at all.

His thoughts on co-star Eric Stolz directing an episode?

Eric Stolz in 'Unvanquished'.
Eric Stolz in 'Unvanquished'.

Eric directs I think the very first episode, airing this Tuesday. It was great. Eric’s a (remarkably) talented director. I mean he’s been working on stuff since we wrapped as a director. And it was very interesting to watch him wear two hats so to speak, and to watch him switch from director to actor because his storyline was quite heavy at that episode and so it wasn’t easy for him.
So he was always very aware even while he was performing of what was happening behind the scenes. And it was remarkable to see him being able to switch so quickly because I think for him it was the first time he was directing himself as well.
So, that was really fun to watch. But as a director he was incredibly respectful. It’s obviously a strange transition when all of a sudden one of your co-stars is directing you. So he was very respectful and very gracious about it. And he did a great job. He was remarkably easy to work with because (when someone who) understands the show as intimately as he does all of a sudden is directing you, it really lends itself to some great work.”

Asked about the irony of the future Admiral Adama’s family being so closely invovled with the creation of the Cylons, Sasha Roiz had a well-thought-out answer.

“That’s the wonderful thing for fans of BATTLESTAR (GALACTICA) is that they get to see it on two different levels and I think it’s what makes it really interesting and compelling for the fans of BATTLESTAR is to be able to watch an entirely different saga but at the same time connecting to something that they’ve already loved and they could see certain elements playing themselves out and foreshadowing.
And so I love whenever we have a little nod, you know, cheeky little nods to CAPRICA like that. I think it always lends itself beautifully and the Internet’s always lit up right after those shows with people trying to connect the dots, you know, having a good time with it. So…it’s a lot of fun for sure.
But like (producer) David Eick always says, you know how World War II ends. You either — you’re still kind of interested in seeing this play out, or this battle play out or the different characters involved on the course.
So there’s always room for these great stories even though you may know what the outcome will be. How we get there is a whole other thing.”
 

'Caprica' Season 1.5 Premiere – Preview

Here’s a a look at what coming up in CAPRICA’s Season 1.5.
The Season Premiere is Unvanquished, in which “Clarice tries to convince Gemenon that a terrorist attack against the STO leadership is necessary and Daniel meets with the Ha’La’Tha in an effort to get support for creating a virtual afterlife.”
CAPRICA returns this Tuesday, October 5th at 10:00 PM ET/9:00 Central on SyFy.
Look for a Q&A with CAPRICA actor Sasha Roiz, who plays Sam Adama, to be posted later today.
(Description via Blastr.com)