Blue Bloods star Sami Gayle had a close call with New Jersey police last year (13) after accidentally leaving a packet of fake drugs in her coat pocket after a day of filming the crime drama. The teen actress reveals she had worn her own jacket to shoot scenes for the hit TV series, in which she plays Nicky Reagan-Boyle, the niece of Donnie Wahlberg's detective character, Danny Reagan, but she forgot to take out the prop powder when she finished work - and it fell out at the most inopportune time.
She explains, "I was shooting an episode a few months before Thanksgiving... we were driving through New Jersey to visit my grandmother and we were in a car accident, somebody rear-ended us, and when the police came, they saw me and they were like, 'Oh, we love your show, can we get a picture?'. I got out of the car and took pictures and the policemen had a squad car and I was like, 'You know, it's so funny, I'm in a police show but I've never been in a squad car and taken pictures, so can I do that?' And they said, 'Absolutely.'
"I had been wearing my coat on set that day, we had been filming with the fake heroin packets, so I went to pull my phone out of my coat and out falls the fake bogeyman packets! But I had the name of the script on my phone and we sort of made nice on the situation by showing them that, but it was definitely very frightening!"
BLOOD SISTERS LTD
Vampire 101: Class is in Session
If you can't catch Zoey Deutch, Lucy Fry, Sami Gayle and Dominic Sherwood from Vampire Academy at their Comic Con panel in New York on October 11 at 11AM ET, fear not: MTV will be featuring interviews and set visits online. Unless you've been locked in a coffin, you already know the movie version of Richelle Mead's Vampire Academy is slated to open on Valentine's Day, 2014. The tale follows vampire/human hybrid Rose Hathaway and her classmates through the intricacies of Romanian vamp escoterica. It's like Buffy, but way more sophisticated. It is, after all, a boarding school.
For Vampires with Taste
If you're on the West Coast, why not duck out for a romantic evening at The Vampire Lounge and Tasting Room? There are some whites —for you wimps — but the reds are worth sharpening your teeth for. You will definitely make an impression on your date.
Three's the Charm
But if you're stuck any place in between, Encore has scheduled a mini vamp triple-header on Saturday Oct. 12: Van Helsing airs at 5:45 PM ET, Blade at 8 PM ET, and the crown jewel in that franchise, Blade: Trinity, airs at at 10 PM ET. Van Helsing is fine to watch while you're making dinner, but the coolest is definitely the last one. It's funny, imaginative and sick, and has something compelling the other two don't: Ryan Reynolds hotness.
Hollywood has had lots to say about the American school system as of late and whether you choose to believe the information presented to you via eye-opening documentaries like Waiting For Superman or fictional phenomenon’s like Fox’s Glee it’s clear that our educational institutions are out-of whack at best broken at worst. No one has been able to depict this disheartening downward spiral quite like director Tony Kaye with his new film Detachment. In it the reclusive auteur focuses on just a few weeks in the life of Henry Barthes a substitute teacher who gets more than he bargained for when he takes a job at a fledgling high school and in the process gives parents professors and kids a much-needed wake-up call.
In this short period of time Kaye dissects the contemporary classroom with unflinching realism. The grainy worn film stock he uses for his verite’ photography coupled with topical subject matter ranging from child prostitution and teen suicide to parental negligence makes the movie appear to be more a documentary than a narrative feature but that’s where Carl Lund’s poetic screenplay comes in. His prose is simultaneously beautiful and brutal effortlessly supplying existential excerpts for star Adrien Brody darkly comic bits for fellow teacher James Caan and up-to-the-minute slanguage for the teenage students. He also uses this star-studded stage (the ensemble includes Marcia Gay Harden Tim Blake Nelson and Christina Hendricks among many others) to touch upon the larger sociopolitical issues effecting our schools and children lashing out at numerous initiatives/establishments like “No Child Left Behind” that we’re led to believe have been implemented to increase residential property values instead of grades. Though the script begins to sound like a sermon at times it’s not intrusive enough to become distasteful. Quite simply it’s brazenly truthful.
However excessive exposition can often hurt a film’s momentum and Kaye gets unnecessarily sidetracked with the painful back-stories of his characters. Brody’s Barthes is our central protagonist so the sub-plot involving his aging ailing grandfather is essential in defining him but the filmmaker forces insight into the lives of almost every teacher (and a few of the students) down our throats. Individually each vignette is heartrending but distracting; the majority of them have little connection to the main narrative. Collectively they illustrate many of the problems that contemporary families face and more importantly create an emotional crescendo leading into the inevitably tragic conclusion.
The brilliance of this casual buildup to the film’s climax is a nod to Kaye’s storytelling aptitude. I found him utilizing the kind of in-your-face filmmaking tactics that Spike Lee made commonplace in his early movies most noticeably with close-ups on a few actors who irritably address the camera head-on (like in Do The Right Thing). In addition he intensifies the action with quick cuts and aggressive push-ins that elaborate on each character’s crisis. Perfection clearly isn't his strong point; Kaye frames his shots sloppily at times and doesn't attempt anything groundbreaking but maximizes the potential of tried-and-true lo-fi techniques. His stylistic abilities are second only to Brody’s performance which is subtle sad and sweet all at once. We take an emotional and psychological plunge with the native New Yorker as he navigates a teenage wasteland of sex drugs violence and depression but it’s all just another day at school to America’s urban youth.
Long absent since his freshman feature American History X Detachment is a welcome return for Tony Kaye whose commitment to the integrity of this story is marked by unrelenting bleakness in its tone and uncensored cynicism regarding the state of our schools. He doesn’t portray every educator as a saint or every student as a sinner; through Brody he imparts on us the uneasy truth about the direct correlation between our failure as parents and the failure our children: we're one and the same. The true genius in his film is not represented in the text of his commentary but in his ability to forge an explanatory mosaic from his characters’ varying but related points of view. Because of this there are multiple mini-narratives that run through Detachment and all of them are worthy of your attention.