Gray, who played Sue Ellen Ewing, the wife of Hagman's backstabbing oil magnate J.R. Ewing in the legendary TV drama, was with her friend and co-star when he died in a Texas hospital.
She released a statement late on Friday, in which she called the star "my best friend for 35 years," adding, "He was the Pied Piper of life and brought joy to everyone he knew. He was creative, funny, loving and talented, and I will miss him enormously."
Gray helped Hagman battle throat cancer last year (11), suggesting he give up eating meat.
Duffy, who played Hagman's onscreen brother Bobby Ewing, took to Twitter.com to post a photograph of the two actors sharing a smile, alongside the poignant message, "My friend is taking a break. Pardon my silence. Love Patrick."
Principal, who starred as Duffy's wife Pamela Barnes Ewing in the show, tells UltimateDallas.com, "Larry was bigger than life... on screen and off. He is unforgettable, and irreplaceable, to millions of fans around the world, and in the hearts of each of us, who was lucky enough to know and love him. Look out God... Larry's leading the parade."
Kercheval, J.R. Ewing's arch nemesis Cliff Barnes in the show, writes on Twitter, "A friend and long time partner... the other half... RIP Larry Hagman... your spirit will live long."
Hagman's other onscreen wife Barbara Eden, who starred with him in sitcom I Dream Of Jeannie, has also paid tribute to the actor, revealing they recently reconnected and she feels grateful to have been able to spend that time with him.
In a post on her Facebook.com page, she writes, "I still cannot completely express the shock and impact from the news that Larry Hagman has passed... I am so thankful that this past year I was able to spend time with him and experience yet again 'Larry' in all his Big Texas bravado... I, like many others believed he had beat Cancer and yet we are reminded that life is never guaranteed. My deepest condolences go out to his (family)... I can honestly say that we've lost not just a great actor, not just a television icon, but an element of pure Americana. Goodbye Larry, there was no one like you before and there will never be anyone like you again."
Hagman recently told the Los Angeles Times of his final wishes, revealing he wanted his remains to be scattered over a field and "have marijuana and wheat planted and harvest it in a couple of years and then have a big marijuana cake, enough for 200 to 300 people. People would eat a little of Larry."
After breaking out two years ago with the teen pregnancy comedy Juno writer-director Jason Reitman trains his keen acerbic eye on the modern business traveler in Up in the Air a bittersweet comedy about one man’s turbulent journey of self-discovery and redemption.
George Clooney stars as Ryan Bingham a corporate downsizer (he fires people for a living essentially) and seasoned road warrior whose aversion to real human connection is reflected in his mammoth stockpile of frequent flyer miles the fruits of a job that calls for 300-plus days spent away from the office. Thoroughly content with a life spent in hotel bars and airport lounges Ryan begins to slowly unravel when he’s tasked with mentoring Natalie (Anna Kendrick) a fresh-faced recent graduate with a bold set of ideas for transforming the business of firing people — ideas that threaten both Ryan’s untethered existence and his budding relationship with Alex (Vera Farmiga) a fellow corporate nomad whose penchant for low-effort commitment-free relationships mirrors his own.
Enchanted by visions of a perpetual booty call replete with racy Blackberry messages and romantic trysts arranged via Outlook Ryan begins to suspect he might have found his soulmate in Alex. Inconveniencing his idealized scenario however is his travel partner Natalie a probing perceptive gal who proves a far more worthy adversary than he initially anticipated. As Ryan exposes Natalie’s real-world inexperience and naivety in a series of mildly disastrous business meetings she in turn refutes his resolutely isolationist approach to love and relationships. Soon their mutual resentment gives way to a father-daughter dynamic characterized by genuine albeit guarded affection. As his carefully crafted barriers steadily erode Ryan’s thoughts increasingly turn to Alex and he begins to contemplate the previously unthinkable prospect of putting down actual roots.
Corporate downsizing emotional detachment and the dehumanizing effects of modern technology aren’t exactly the most lighthearted of topics but Up in the Air avoids wallowing in dour Death of a Salesman territory with the help of Reitman’s sharp perceptive wit and a handful of lively cameos from comic heavyweights like Danny McBride Zach Galifianakis and J.K. Simmons. In fact the whole affair makes for a surprisingly uplifting experience in a "saddest happy ending" kind of way. Though the latter half of the film is hampered by structural deficiencies and a pair of melodramatic sadly predictable twists that move the plot forward but diminish its overall impact it still qualifies as one of the top films of the year and Reitman’s best work to date. Consider Up in the Air a surefire Oscar contender.
In yet another variation on the shopworn road picture in which two mismatched former buddies are forced to cross the country together Soul Men’s uneasy brand of overly broad humor and contrived situations is saved intermittently by some cool musical numbers. But alas it’s not enough. Louis (Samuel L. Jackson) and Floyd (Bernie Mac) are part of a major musical group led by Marcus Hooks (John Legend) who goes solo leaving Floyd and Louis in the lurch. Fast forward 20 years Hooks has died and Louis and Floyd who did not end on good terms and have not spoken since have been coerced into appearing a tribute show for Hooks at New York’s famed Apollo Theatre. Afraid to fly they get in Floyd’s 1971 Cadillac El Dorado accompanied by a talented young woman (Sharon Leal) who may be Floyd’s daughter. Along the way they try to get their act up to speed by appearing in various redneck honky tonks filling the interminable 103-minute running time with a lot of unfunny sexual encounters and unbelievable situations. The late Bernie Mac was a terrific comic talent and is highly wasted in this mishmash in which he is constantly encouraged to mug for laughs. Mac is so much better than the lowbrow material he has to work with here that it’s a shame this film should stand as one of his last (at least there’s Madagascar 2). Faring even worse however is Samuel L. Jackson who is out of his element in a musical comedy and seems to be taking none of this hokum seriously. Thankfully the soulful musical numbers reminiscent of classic ‘60s Sam and Dave R&B are well chosen and capably performed even though neither Mac nor Jackson are known for their singing. Best number in fact is fronted by John Legend making his acting debut as Hooks. As the young eager beaver manager trying to get Floyd and Louis back together Sean Hayes is way too broad. Faring better is newcomer Adam Herschman as Hayes’ mop-topped intern who uses his fanboy infatuation with the pair to nice advantage. And there’s a nice now bittersweet bit near the end with the late Isaac Hayes. Malcolm Lee (Undercover Brother Welcome Home Roscoe Jenkins) is a director who tends to go for the slapstick when a little subtlety and believability would be more in order. With a great Sunshine Boys premise and some nifty musical material to pepper the proceedings Lee still manages to drop the ball letting his talented actors down and encouraging them to chew up every scene. The corny silly situations certainly doesn’t help matters with the road trip device feeling more like padding than anything else. Soul Men doesn’t find the right rhythms.