In our quest to bring you the best TV content, sometimes we have to look... backwards. That's why we have Thursday TV Throwback, wherein each week our staff of pop culture enthusiasts will be tasked with bringing back some of the best television clips that have been forgotten by time, space and the general zeitgeist.
This week, we decided to take our quest to the big leagues — during last week's FX Upfronts, we asked some of the network's biggest stars what scared the crap out of them as children. From Sons of Anarchy to Justified to Legit, we grilled em' all. Read on, as their answers might surprise you...
Rob McElhenney, It's Always Sunny in Philadelphia: "It. Stephen King's It. Tim Curry played Pennwise the clown, and it was horrific. I don't know why he didn't do more stuff. He should have been a romantic lead. He's a great actor!"
Theo Rossi, Sons of Anarchy: "Stephen King's It, easy. He was a clown with yellow teeth, I mean... I have nightmares, but they're not about clowns."
Glenn Howerton, It's Always Sunny in Philadelphia: "V. V and V: The Final Battle. Enough said."
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Jim Jefferies, Legit: "TV-wise, H.R. Pufnstuf scared me. He was just creepy, H.R. Pufnstuf. And the talking trees, and the witch with the nose... it just didn't sit with me."
*Jacob Pitts, Justified: "Just after Sesame Street... I don't know what it was... in retrospect I think it was a staged opera of some kind. It was very hard for my three-year-old mind to understand. It wasn't Zoobilee Zoo. It was adults, in plastics, screaming. Which makes me think it was an opera. I saw it as people on a boat, screaming. That terrified me."
*ED Note: We do not know what he is talking about, but it sounds awful.
Kim Coates, Sons of Anarchy: "My dad used to do some bad things to me, man. He would watch black and white horror nights. I was about 6-7 years old, and my dad would go '[makes ghost noise] The Shadow knows!' Scared the s**t right out of me. I mean, Dad! Then he'd make up to me and say, "It's okay, it's just Dad." So yeah, black and white stuff.'
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[Photo Credit: Warner Bros Television]
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Where the Wild Things Are director Spike Jonze’s (Being John Malkovich Adaptation) ambitious adaptation of Maurice Sendak’s classic children’s book has been referred to variously as “experimental” and “art-house” — and only occasionally in a derisive manner — by numerous movie critics and journalists. For all of their negative box-office implications the labels do come with certain benefits the most important of which is a little-known loophole in the filmmaking code that renders certain films largely exempt from standard rules of story structure to which more orthodox films are expected to adhere.
That is they’re expected to have a structure. Where the Wild Things Are is above such trifles. Sendak’s source material with its 10 lines of text is largely devoid of any real storyline so the task fell to Jonze and his co-writer Dave Eggers to manufacture one. Given essentially a blank slate with which to work they used the opportunity to explore the id of a child reeling from the painful aftermath of divorce. And what a mind-bending journey it is.
Newcomer Max Records stars as Max a rambunctious young boy with a taste for mischief and an overabundance of energy. It’s a volatile combination if left unchecked and it eventually erupts in disastrous fashion one evening when Max’s exasperated overworked mother (played by Catherine Keener) has the audacity to invite her boyfriend (Mark Ruffalo on screen for all of a nanosecond) over for dinner.
Confronted by the alarming sight of his mother sneaking a kiss with a man who clearly isn’t his dad Max acts out in hideous fashion prompting a similarly hideous overreaction from his mortified mom. Stung by her harsh words Max makes a break for it running away to a wooded sanctuary on the bank of a river where he climbs aboard an unattended sailboat and is transported to a strange and distant land.
It’s there that he meets the titular Wild Things a close-knit if highly dysfunctional group of furry gargantuan beings with oversized heads and normal unaltered human voices. There are seven in all: sensitive temperamental Carol (James Gandolfini); amiable level-headed Douglas (Chris Cooper); skeptical smart-alecky Judith (Catherine O’Hara); patient avuncular Ira (Forest Whitaker); meek insecure Alexander (Paul Dano); tender affectionate KW (Lauren Ambrose); and mysterious intimidating Bull (Michael Berry Jr.).
And that’s it. There’s no villain to be found in Where the Wild Things Are. (At least not a tangible one anyway. I suppose “society” or “fear” might be considered among Max’s antagonists; then again “fear” may also have been Gandolfini’s character. I can’t remember.)
Together Max and his new companions play games destroy trees build forts and bicker — to what end it’s never exactly clear. As Max frolics about his imaginary world with his crew of overgrown H.R. Pufnstuf rejects each of whom is meant to symbolize an emotion of some kind it becomes increasingly apparent that there’s no real point to the proceedings.
Which is why there’s no resolution to Where the Wild Things Are either. And shame on you for expecting one. If you want a neat and tidy resolution go see Couples Retreat or some other “mainstream” release philistine. This is Spike Jonze’s playground and if you dare subject him to rules or limits of any kind he may just pick up his genius ball and go home.
The real brilliance of Where the Wild Things Are is how its director aided by the extraordinary work of cinematographer Lance Acord and his production design team is able to plug directly into the amygdalae of adults of a certain age and background effectively disabling their capacities for critical thinking. It could be the greatest Jackass prank Jonze has ever pulled.
Where the Wild Things Are is not a movie for kids and not because it’s particularly violent or scary — indeed it’s downright tame compared to the last Harry Potter flick. Children by definition aren’t nearly as susceptible to the film's naked appeals to nostalgia and as parents’ eyes well up while they watch it behind rose-colored lenses their offspring will be texting “WTF?” to their similarly bored friends as the film meanders toward its disappointing conclusion.
Freud on the other hand would absolutely adore Where the Wild Things Are particularly during its climactic sequence in which Max frantically fleeing a rampaging Carol literally leaps into KW's gooey womb which presumably represents the comfort and safety of a mother’s unconditional love. I wouldn’t be the least bit surprised if several years from now the movie becomes a fixture at child psychologists’ offices serving as a sort of multimedia Rorschach test to help therapists better understand their young patients. But that’s pretty much the extent of the film’s utility.
Here’s the real symbolism inherent in Where the Wild Things Are: Max symbolizes Jonze while the mother represents the director’s expectations for the audience. After Jonze runs off and blithely plays with our emotions for a few desultory hours giving us only ambiguity tinged with melancholy in return he expects us to reward him with a loving embrace and a hot bowl of soup.
It’s all rather childish.
Sigmund the Sea Monster, call your agent. It had to happen, and here it is: Someone got the bright idea to turn one of those trippy Sid & Marty Krofft TV shows into a movie.
Danny DeVito's Jersey Films has optioned the film rights to "The Bugaloos," a Krofft offering from 1970-72 about a group of teenage rock musicians who, as it just so happened, were bugs. The band members all had English accents, and they hung out with a guy named Sparky and were terrorized by a music-hating witch named Benita Bizarre.
"We're fortunate that many of the people who grew up on our stuff now want to work with us," Marty Krofft told The Hollywood Reporter.
Other Krofft TV shows are already in development for films, including "H.R. Pufnstuf" and "Land of the Lost," both at Sony.
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Step right in. We have recognizable has-beens to suit your every entertainment need. Looking for the leading-man type? We have great deals on Eric Roberts, Patrick Muldoon, Kiefer Sutherland and Dean Cain. In the market for a tough guy? Take your pick of Ray Liotta, Roy Scheider, Michael Ironside and other fine choices. We have leading ladies, too -- Morgan Fairchild, Jennifer Beals and Ally Sheedy.
What's that? You say these guys are box-office poison? Guess again. Even though they were scratched off the Hollywood A-list a while ago, these names still mean something in places such as Australia, Germany, Italy, Spain and Japan. And if you'd dropped in here at the weeklong American Film Market, or AFM, wrapping up today, you'd realize that being big in the Netherlands might not be glamorous, but it's nothing to sneeze at.
Case in point: Jeff Fahey.
You might remember Fahey from his supporting roles in movies such as "Silverado" and "Wyatt Earp," or maybe even "The Lawnmower Man." But you might not know that Fahey is a certifiable movie star overseas, top-billed in dozens of thrillers and action films (search the Net and you'll find numerous Web sites paying homage to the hard-working actor). Strolling through the hallways of the Loews Hotel, where distributors at the AFM hawk their wares, you'd have seen posters for some of his latest: "The Sculptress," "Blind Heat" (co-starring the venerable Maria Conchita Alonso) and "Epicenter."
"Jeff's got a lot of movies out there right now," says Anthony J. Lyons, vice president of IFM Film Associates, an Aussie company based in Los Angeles that makes movies for $1 million to $3 million. "He's an internationally known actor, and he's not too expensive to get. Rather than charge $200,000 for one movie, he might charge you $50,000, but he'll get 20 movies instead of two. These days you need known actors to sell your films overseas, and Jeff is a good value."
How many times have you heard an actor praised as a "good value?" Money talks at the AFM, and Fahey is a favorite son here because his films fall into those tried-and-true genres (action movies, thrillers, lowbrow comedy, T-and-A, horror/sci-fi) that cross cultural and language barriers. These kinds of movies appeal to the dozens of international distributors who come here each year looking for stuff to buy. Films that will go straight to video or cable TV in the United States (that is, if they are released here at all) but can pull in a nice chunk of change in overseas markets.
The foreign rights to about 350 movies were up for grabs at this year's AFM, and an estimated $400 million in deals were made. Not all the films represented were of the low-budget, guns-and-car-crashes, monsters-and-scantily-clad-babes variety. TFI International was peddling foreign rights to "The Golden Bowl," the forthcoming Merchant-Ivory production starring Uma Thurman and Anjelica Huston; the new Roland Joffe movie "Vatel," with Thurman, Gerard Depardieu and Tim Roth, was also advertised, as was "Brother," the new movie from Japanese director "Beat" Takeshi Kitano.
But it was loads more fun to troll the market for the wreckage of once-thriving acting careers. There was Judge Reinhold from the "Beverly Hills Cop" movies, heading up a slam-bang actioner called "Crackerjack 2: Hostage Train," from North American Releasing. Reinhold plays Jack Wild -- no, not the guy from H.R. Pufnstuf -- a "rogue cop with a mission ... obsessed with capturing the notorious Hans Becker, a '60s-style Red Brigade type who has transformed himself into a '90s-style terrorist for hire," or so says publicity materials from the production. The film co-stars Michael Sarrazin as the bad guy. (Curiously, Reinhold did not appear in "Crackerjack 1," nor is he in the forthcoming "Crackerjack 3." Really.)
Other blasts from the past who have become AFM stalwarts include Steve Guttenberg, who gets the Most Interesting Title award for his directorial debut, "P.S. Your Cat is Dead!" Guttenberg is billed by the film's backers as the "acclaimed star of several billion dollars worth of top box-office and critical winners." Elsewhere, another company was dealing a different Guttenberg film, "Second Chance," a comedy with an all-star lineup of Pauly Shore, Robert Wagner and Tim Conway (no word, however, if Conway did the film in his ever-popular "Dorf" disguise).
If the definition of celebrity is skewed a bit in the films paraded here, the same can be said for the event itself. The American Film Market isn't a film festival -- there are no awards ceremonies, no paparazzi stampedes, and although there are premieres, they don't include big red-carpet entrances for celebrities.
It's not unusual for workaday actors such as Eric Roberts or Gary Busey to show up and do a little press for one of their films here, and they can walk through the hotel without being hassled. And you don't hear about wild antics on the after-hours party scene here. This is about as racy as it gets: One night last week, Jamie Kennedy (the film geek from the "Scream" films) got lost while walking around in search of the buyers' party for "The Specials," his new low-budget superhero comedy -- and he had to ask a bystander for directions.
"I've been to a few festivals before, but I've never been to something quite like this, which is pure marketing," said "Star Trek" actor George Takei, who was here promoting an as-yet unmade sci-fi film, "Overload," made by and starring a crew of former child actors including Tony Dow ("Leave It To Beaver") and Bill Mumy ("Lost in Space"). "But I know what the rules of the game are. I'm here to help sell the movie, which is something I never did with 'Star Trek.'"
If they ever hand out a lifetime achievement award to an actor at the AFM, it should probably go to Karen Black, the veteran of "Five Easy Pieces," "Nashville," "Airport 1975" and other 1970s classics who still works constantly, albeit in the relative obscurity of low-budget offerings, including many titles up for grabs at the market in recent years.
Black does it all -- from children's films ("Malaika," a movie about an elephant), to boring dramas about people over 40 ("The Donor," with David Carradine) and soft-core stuff (such as "Dinosaur Valley Girls," a movie from a few years back, in which she wore a loincloth) -- which makes her a fine role model for some of the other actresses such as Jasmine Guy, Carol Alt and Tahnee Welch following in her footsteps at the market.
"Karen is making a comeback, believe it or not," said Eric Louzil, president of RHG/Lions Share Pictures, which is peddling an independent film called "Oliver Twisted," in which Black stars. "... I've seen her name in quite a few films lately. She's quite a talent."
And at the AFM, a little talent goes a long way.
While playing near the edge of a river, Jimmy and his talking gold flute, Freddie, board a boat that beckons to them. As it drifts out to sea, the evil Miss Witchiepoo, seeking Freddie for her collection, casts a spell and makes the boat vanish. Swimming to the shore of Living Island, Jimmy is rescued by its mayor, H.R. Pufnstuf who, in an attempt to help them get back home, takes them to the secret escape path.
But Miss Witchiepoo follows and makes the path vanish when Jimmy refuses to give up Freddie. The story follows the efforts of Jimmy and Freddie to escape from the island; and the efforts of Miss Witchiepoo to acquire Freddie (the world's only talking flute) for her collection.