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Movie, Music, TV Interviews

Karen Posada

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2010/01/21 at 12:00am

3 questions with Mel Gibson

01.21.2010 | By |

3 questions with Mel Gibson

ShowBizCafe.com (SBC) got a chance to talk to the actor, screenwriter, film director and producer Mel Gibson about his new film ‘The Edge of Darkness’; opening January 29th nationwide. He excitedly gave us the back story of the movie and also spoke to us about his upcoming projects.

ShowBizCafe: So Mel, how does it feel to be back in a starring role? We haven’t seen you in one since the movie ‘Signs’ in 2002. How is this role different from the other ones we’ve seen you in?

Mel Gibson: Wow 2002, that’s 8 years? Well it’s about 8 years different (laughs). Well if you haven’t been on the board for so long you make different choices, time informs that, so it’s different. [In this movie] the character is a blue collar cop who is dealing with the loss of a child and dealing with grief; he’s on the edge of a nervous breakdown. I guess I’ve been on similar territory before but this has a nice feel to it. I liked the original TV series when it was on during the 80’s, also done by the same director who decided to add something new to it. It’s kind of a harbinger; it gives a social warning of where we might be headed.

SBC: Talking about the director Martin Campbell who is behind both projects, what can people expect in the film and was there more pressure because of its association with the series?

M.G: Well it’s essentially the same, it’s a very human story involving heighten circumstances, it was changed according to the times. The original series was on during the coal miner strike, union stuff, and civil unrest; so he found a new backdrop for the movie. It resides in the healthy paranoia we all have perhaps, on what our leaders may be up to. [The script] reminded me of Jacobean tragedies from the 17th century, this film kind of has the look and feel of them, and I’ve always been a big fan of them so this was one of the things that attracted me to it. It’s about getting even, and everyone getting their justice served, nobody gets a free ride.

SBC: Are you working on any projects right now that we can look forward to seeing soon?

M.G.: Well I have 3 projects lined up – Am writing a story to be shot down in Mexico, which will be rearing its ugly head soon. I’ve also signed to work with Shane Black on his next directing effort. [Finally] I’m writing another story with Bill Monahan and Graham King who I worked with on ‘The Edge of Darkness’, I don’t think anyone has done the Viking movie right yet, I’ve seen plenty but none that do it for me; so I’m gonna make one that does it for me and everybody else, I’m gonna put the ‘V’ back in Viking. It’s the biggest punch in the balls you’ll ever get.

Jack Rico

By

2009/09/21 at 12:00am

A chat with Charlize Theron

09.21.2009 | By |

A chat with Charlize Theron

Charlize Theron chats up our own Jack Rico on winning the Oscar and her desire to win another one with a Latino filmmaker!

The Burning Plain

Jack Rico

By

2009/09/04 at 12:00am

An Intimate Chat with Walter Perez from ‘Fame’!

09.4.2009 | By |

Back in February, we outscooped every news media outlet, with an EXCLUSIVE interview with Walter Perez from FAME. Take a look at the interview from back then and wait for a new one coming up on the week of the 14th.

If you don’t know too much about him, here are some tidbits… he who grew up in South Gate, California and is of Mexican descent, plays Victor Taveras in the new remake of ‘Fame’ out in theaters on Sept. 25th. We caught up with the Latin heartthrob to chat about the his experience on the set of his new film, the theater, NYC, his dreams and of course “FAME”!

Walter’s film credits include, HBO’s “Walkout”, “Emilio, “August Evening” which received the John Cassavetes Award, “Inhale” alongside Dermot Mulroney and Diane Kruger and “A Beautiful Life” opposite Dana Delany and Debi Mazar.

What you should also know is that he’s no stranger to television, Perez has made several guest appearances including, “CSI: Miami”, “The Closer”, “Free Radio” and a five episode arc on “Friday Night Lights” where he played Bobby “Bull” Reyes.

 

Alex Florez

By

2009/08/11 at 12:00am

‘It Might Get Loud’ director sounds off on new film!

08.11.2009 | By |

'It Might Get Loud' director sounds off on new film!

Recently I had a chance to sit down with Oscar award winning filmmaker Davis Guggenheim (An Inconvenient Truth) in New York to talk about his latest documentary It Might Get Loud.  The film tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes). It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented.

We spoke about documentary filmmaking, whether the non-fans will enjoy the movie and his arguable decision to include Jack White in the film. Here in full, the Q & A:

AF:  First of all, congratulations on the film, I thoroughly enjoyed it!  However, I almost have to say that with an asterisk at the end.  That’s because I’m a fan of all three musicians in the film. But I also have a lot of friends that are ‘U2 haters’ who say things like “The Edge is nothing but pedals and effects…he’s not a true guitarist!”

How much do you worry about getting the non fans out to watch the film?

DG:  Well the thing about the movie is that it’s kind of universal.  Some fans may like this band more than that band but everyone responds to these guys as artists.  We all grew up to this music and this movie shows you how they made it and why they made it and the people behind it.  So I find that for non guitarists, people will like it even more because they connect with the artistry behind it.  The super guitar geeks want to look at the chords being played but this is not about that, this about how these kids from different times, from different generations, took their obsessions and became rock stars.

AF:  So is it fair to say that these bands will get some new fans out of the movie?

DG:  Oh yeah.  It already has. My son bought a mandolin and now he’s playing ‘The Battle of Evermore’.  Years later, Led Zeppelin still moves people.  U2 still moves people.  All this music is still cutting edge.

AF:  I want to talk about your selection process.  For the film you chose three guitar virtuosos from three different generations.  While it’s difficult to argue with the contributions that both Jimmy Page and The Edge have made in their respective eras, I think Jack White is a curious and somewhat debatable choice to represent our time.  Perhaps because we’re not far enough removed from the era.

Did you ever consider someone else instead of Jack White?  For instance, Tom Morello from Rage Against the Machine.  Or did you just need a singer? Was this your original wish list of guitarists?

DG:  We knew we weren’t going to get everybody.  In fact, if we tried to make a movie about everybody it would be too diluted.  You’d spend three minutes on Tom Morello, three minutes on Eric Clapton…We thought, why not pick 3 guys from 3 different generations? And it was important to have Jack White because he is still becoming, he’s got two new bands, and he’s also a singer, but most importantly because he represents the next innovator. He’s such an innovator. His sound is so distinct.  He’s so creative.  To me, he embodies what Led Zeppelin embodies: experimentation, improvisation and aggression.  You could easily make a movie about Tom Morello or Eric Clapton too…I really wanted Jimi Hendrix but he wasn’t available.

AF:  What kind of guitarists did you grow up with?

DG:  I was a huge fan of U2 because my brother brought home that first album called ‘Boy’ and I was like ‘this is my music!’  It was so different and so direct and so different from the classic rock that everyone else was listening to.  But it was years later that I started to realize Led Zeppelin is this really amazing band.  ‘I cannot ignore Led Zeppelin.’  It was a half a generation ahead of me so I really didn’t look into it at first.  But then when you hear it, you’re like ‘this is such great music, this is great musicianship and it’s the root of all the rock and roll that followed it.’  Everyone who came up after Led Zeppelin had to deal with Led Zeppelin because they were so good.

AF:  Its interesting to me too.  Led Zeppelin was obviously before my time but when you really fall in love with a band like U2 you eventually start to trace their roots, their musical family tree and you find out that sure enough, it was Led Zeppelin, The Clash, Patti Smith and all those bands from the 70s that influenced them so much.

DG:  Yeah.  You’re good. I like that. You know your stuff.

AF:  A rockumentary.  In my opinion, ‘It Might Get Loud’ is one of a few that genuinely deserves to be called that.  A lot of films are called rockumentaries but all they really are is concert footage with a few sounds bites.  Then there’s the ‘E! True Hollywood Story’ and the ‘Behind the Music’ specials. ‘It Might Get Loud’ arrives as something different and refreshing because at the end of the day it is about the relationship between the musician and his instrument.

DG:  I wanted to make a different kind of music documentary.  Even to call it a documentary…I guess that’s how it has to be categorized, but this is about a summit of three guys from three different generations coming together to play and I’ve never seen that before. Whereas a lot of rockumentaries end up leading towards the death of the band or a drug overdose or a girlfriend breaking up the band, this movie is about the personal journey of these guys and how they went from teenage boys to artists and how they would write their songs.  I see a lot of other movies and say ‘wait you didn’t tell me anything about how they wrote and how they created. I want to know more!’

AF:  What is the appeal of the documentary film? And do you prefer it over a traditional narrative feature?

DG:  You know, I’ve done a couple of features and I’ve done a bunch of television.  So I like it all.  I’m really drawn to documentaries because right now at this moment, documentaries are exploding.  Creatively they’re changing.  Features aren’t being as experimental as documentaries are.  It Might Get Loud is an experimental movie where I had a lot of creative control.  I had animation in this film.  I used different kinds of techniques and storytelling devices that you could never use in features.  On top of that, you have all these people that you admire whose stories haven’t been told. 

The thing that you’re desperate for when you’re telling any kind of story, whatever is, is wanting to be passionate.  You want to be excited when you wake up in the morning, because if you excited that comes through in the filmmaking. 

I get sent a bunch of scripts.  Just last night I was reading a script and I cannot finish reading it because I’m so bored. I think audiences feel that same way when they see a lot of these movies. ‘Why did they even make this movie?’  These documentaries are so fun and interesting that I just keep following that.

AF:  A documentary like this one doesn’t have the same urgency as some of the others like ‘An Inconvenient Truth’, or the Obama piece that you made.  The ‘It needs to be said NOW’ factor.  Can you talk about the differences in the approaches?

DG:  That’s a very good question.  We made Inconvenient Truth in 5½ months and documentaries usually take a couple of years to do.  But we just felt like we had to make this movie now and the timing of it was its success. It was about capturing the moment. It Might Get Loud is very different. This is an exploratory movie about the nature of creativity. 

I like just jumping around.  I like being in the situation where I’m doing a totally different movie and saying ‘I don’t know if I’m going to be able to pull this off!’

AF:  I know that the structure of most documentaries are found in post.  I don’t know how much scripting you did beforehand but it was pretty neat how each story had its own take.  There’s a boy in the film that shadows Jack White, which serves as a clever device for his segment.  The Edge going back to his old high school brings this nostalgic effect. Then, Jimmy Page’s visit to the legendary Led Zeppelin house is almost mythological.  is that something that was at all premeditated, to have these different approaches for all of them?

DG:  Documentaries have a script that you are kind of writing in your head as you’re editing them, and when you finish the movie you finish the script.  Whereas if you’re doing a feature you finish your script, then start shooting.  So its kind of the opposite right? But I’ve learned with documentaries not to script stuff, to let the characters take me where I should go.  So with Jimmy Page, we just sat in a room for two days and just talked.  I asked him questions about this song and that song, and his songwriting.   Out of those interviews, an early map came out of the places where we might go shoot.  Those places then led to more clues.  We would edit some more, and that led us to even more clues. 

AF:  Very different from ‘An Inconvenient Truth’, where you had Al Gore’s slide show in essence, guiding you.

DG:  Yes, the slideshow was about 2/3 of the movie but the other part was telling his story which hadn’t been really done properly.  So we were following him around debating whether we should go here or whether we go there, still trying to discover those moments as we went.  I wasn’t even sure that you could intercut these very personal reflective moments inside this slideshow.  But it was very organic.  Then, we were constantly animating his slideshow and changing it and cutting it and moving it around.  It’s all an evolution.  His slideshow was almost twice as long than it was in the movie, so we had to kind of shape that.  By the time we finished the movie, we had our script. 

AF:  Thanks again, Davis. we wish you the best of luck with the film.

DG:  Thank you.  What a nice interview.  I enjoyed it! 

Jack Rico

By

2009/08/05 at 12:00am

Interview with Kiele Sanchez from ‘A Perfect Getaway’

08.5.2009 | By |

Interview with Kiele Sanchez from 'A Perfect Getaway'

Puerto Rican actress Kiele Sanchez stars in ‘A Perfect Getaway’ with Steve Zahn, Milla Jovovich and Timothy Olyphant. Many of the scenes of the movie were filmed in  El Yunque de Puerto Rico and we decided to get her thoughts on the lovely tropical island and her Latin roots!

Mack Chico

By

2009/07/07 at 12:00am

Cameron Diaz is interviewed

07.7.2009 | By |

Cameron Diaz is interviewed

The Hollywood Reporter interviewed actress Cameron Diaz, who has cuban ancestry, about her career and a plethora of things. Here is how it went:

Since her first film role in 1994’s “The Mask” opposite Jim Carrey, Cameron Diaz has been become one of Hollywood’s most successful leading ladies, entertaining audiences in such quirky comedies as 1997’s “My Best Friend’s Wedding” and 1998’s “There’s Something About Mary” and earning street cred in such dramas as 2001’s “Vanilla Sky” and 2002’s “Gangs of New York.” In 2003, Diaz struck salary gold, becoming the third Hollywood actress after Julia Roberts and Reese Witherspoon to receive a $20 million paycheck — for “Charlie’s Angels: Full Throttle.”

Her latest film, the New Line drama “My Sister’s Keeper,” teams her with Jason Patric, Abigail Breslin and Alec Baldwin in a different kind of role: Portraying a mom who goes to extreme measures to keep her leukemia-stricken daughter alive. Diaz may soon be reunited with Tom Cruise, her “Vanilla Sky” co-star, in James Mangold’s action film “The Wichita Project”; and she’s attached to the Zach Braff-directed comedy “Swingles,” currently in development. Just before receiving a star on the Hollywood Walk of Fame, the native San Diegan spoke with The Hollywood Reporter’s Noela Hueso.

The Hollywood Reporter: You’re known for broad comedies. What brought you to “My Sister’s Keeper”?

Cameron Diaz: It was a story that just touched me. l liked that (my character) Sara wasn’t obvious. I didn’t know exactly where she was coming from at first but then I realized that it was pretty simple to understand: She’s just a woman who’s trying to keep her child alive. We can all relate to that in some way — how far we would go for the ones we love.

THR: Do you see yourself transitioning into more roles like this?

Diaz: I’ve done a number of dramatic films over the years, such as “Gangs of New York” and “Vanilla Sky,” and a slew of smaller films nobody would have seen but that weren’t just comedies. For me, it’s all about rhythm. It’s not something I plan, it’s just questioning “What am I feeling?” Recently, I was feeling that I would love to do something fun and big. I haven’t done an action film in a long time and “The Wichita Project” fits the bill.

THR: How about a musical?

Diaz: I would love to do a musical. I don’t sing very well — honestly I’ve never worked on it — but I believe that if you work on anything hard enough you can get to at least someplace where you can fudge it a little bit!

THR: Do you dance?

Diaz: I do. I love dancing. I’ve never been trained, but choreography is something that comes pretty easily for me. I love musicals. When I was a child, I loved watching films where people were dancing. I loved Fred Astaire.

THR: You’re attached to a number of other projects, too.

Diaz: I have more than usual just because it’s been a year since I worked, so I’m ramped up to see what falls into place first.

THR: You don’t know what’s next?

Diaz: You never really know until you’re on the set. Anything can happen. “The Wichita Project” is definitely in the works. “Swingles” is in development, too. What’s going to be next is always a question of who’s getting (the project) together the quickest.

THR: Do you see yourself becoming a producer or director?

Diaz: No, I don’t really. It’s so much work. I lack the ability to focus for that long. I enjoy my time on a set as an actor. It’s the perfect amount of time for me. Films are a collaboration anyhow, so everyone is always contributing something to a project.

THR: Do you have a dream project you’ve been trying to get off the ground?

Diaz: I haven’t found anything where I’m saying I have to tell this story. I am a meanderer of sorts. I like to move around and see what’s going on over here and see what’s going on over there.

THR: You broke the $20 million salary barrier with “Charlie’s Angels: Full Throttle.” No actresses are getting that kind of money anymore, yet the guys still are. Are women being hit disproportionately with the salary reductions?

Diaz: I don’t think so. In light of the current economic situation, everybody’s been pulling back on all levels; everyone’s being reactive. The whole country is waiting to see where this is going and how long it’s going to last. From what I know, all the deals are having to change. A good deal isn’t always $20 million up front — but getting a fair deal all the way around is.

THR: Beyond your acting, you have become quite prominent for your environmental activities. Have you been happy so far with the Obama administration’s environmental policies?

Diaz: So far. I know that he’s pushed and pulled from so many different directions, but I think he’s getting some good advice.

THR: What would you like to see him accomplish on the environmental front?

Diaz: Alternative energies — and doing it the right way. Changing an entire industry isn’t an easy feat to accomplish but if we give him enough time to do it, he can set up a great infrastructure to do so.

THR: What do you think about your getting a star on the Hollywood Walk of Fame?

Diaz: It will be cool to be under people’s feet. It really is the place where people can understand exactly that actors are not really stars — they don’t exist in the sky, they exist on the ground just like everybody else.

Mack Chico

By

2009/06/11 at 12:00am

Q&A: Hobbit Director Guillermo del Toro on the Future of Film

06.11.2009 | By |

Q&A: Hobbit Director Guillermo del Toro on the Future of Film

Wired magazine had a chance to interview famed mexican director and new visionary for the Lord of the Ring’s prequel – The Hobbit. The interview in its entirety is below…

Two years ago, few outside of fanboyland knew who Guillermo del Toro was. Film geeks name-dropped him as one of the “Three Amigos,” a triad of up-and-coming Mexican-born buddies that includes Alfonso Cuarón (Children of Men) and Alejandro Gonzàlez Inàrritu (Babel). But del Toro was probably the nerdiest of the three—the pasty indoor kid behind Hellboy who doodled in his notebook and painted pewter dragons while his pals made “important” films with Clive Owen and Brad Pitt.

That changed with Pan’s Labyrinth, his grimly vivid coming-of-age fable set in the aftermath of the Spanish Civil War. Nominated for six Oscars and winning three (including Best Cinematography and Best Art Direction), Labyrinth instantly elevated the talented schlock-meister from geek totem to critically beloved prophet. He was handpicked by Peter Jackson to helm the two-part prequel to The Lord of the Rings and took on a slew of projects that will keep him in the spotlight for years. His plate is now piled high with a Frankenstein adaptation, revisionist Dickens, loyalist Vonnegut, and more. Suddenly, we’re looking down the barrel of the Del Toro Decade.

But don’t worry: While he’s poised to succeed Spielberg and Lucas atop Blockbuster Mountain, the 44-year-old kid from Guadalajara is still a talented schlock-meister. Who but a committed nerd would carve out time between making Hellboy II and developing The Hobbit (with executive producers Jackson and Fran Walsh, as well as scribe Philippa Boyens) to cowrite splattery vampire novels? (The Strain, a sort of modern reply to Bram Stoker’s original Dracula and the first volume in an epic bloodsucker trilogy, is due out June 2.) Del Toro is tight-lipped about his three-year Hobbit odyssey—the screenplay isn’t finished, and casting has yet to be announced formally. But he’s more than ready to hold forth on vampires, his creative process, and the future of movies. Hint: They’ll be more than just films—and you, dear reader, will be in them. If you dare.

Wired: You’re pretty busy these days. What made you want to write vampire-themed horror novels?
Guillermo del Toro: I originally wrote a very long outline for a TV series I wanted to do called The Strain. And then the network president at Fox said to me, “We do want something with vampires—but could you make it a comedy?” Obviously, I responded, “No thank you” and “Can I have my outline back?”

Wired: So you turned a TV show into a novel, which you cowrote with best-selling crime author Chuck Hogan. Why a collaboration?
del Toro: I’ve written short stories in Spanish and English. I’ve written screenplays. But I’m not good at forensic novels. I’m not good at hazmat language and that CSI-style precision. When Stoker wrote Dracula, it was very modern, a CSI sort of novel. I wanted to give The Strain a procedural feel, where everything seems real.

Wired: But “real” for you is so … unreal. You set The Strain in New York. In the past, your depictions of the city, from Mimic to Blade II to Hellboy, have had a fabulous aspect.
del Toro: It comes from my first trip to New York as a child. I was walking around Central Park, and I saw one of these expensive apartment buildings. At the top was a Gothic tower, and I said to my mother, “A vampire lives there.” I wasn’t being metaphorical. Then we went into the subway and—wow! For a guy from Guadalajara, the subway is mythical. The underground of the city is like what’s underground in people. Beneath the surface, it’s boiling with monsters.

Wired: With Pan’s Labyrinth, you proved you can indulge your love of monsters and seek artistic credibility at the same time. Do you still get push-back from an industry that believes the science fiction/fantasy genre and “serious filmmaking” don’t mix?
del Toro: People think because you love genre you don’t know anything else. It’s condescending. If the emotion is provoked and the goals are achieved, what does it matter? Is Thomas Pynchon a more worthy read than Stephen King? It depends on the afternoon. And I love Kurt Vonnegut. He threads the profane and irreverent with the profound and soul-searing.

Wired: Is that what attracted you to Slaughterhouse-Five?
del Toro: Of course. Enormous truths can be revealed with a sense of humor and whimsy. With Pan’s Labyrinth and The Devil’s Backbone, which is a less well-known film, I was trying the same thing, in a way. And with my first feature, the vampire fable Cronos, too. I tried to take genre premises and explore them obliquely, where the fantastic is either tangential or illuminates reality in a different way.

Wired: The movies you’ve booked will keep you busy for another decade or more. They will also make you the dominant fantasist for this period, which promises profound tech-driven upheavals in both content and distribution. What will we see?
del Toro: In the next 10 years, we’re going to see all the forms of entertainment—film, television, video, games, and print—melding into a single-platform “story engine.” The Model T of this new platform is the PS3. The moment you connect creative output with a public story engine, a narrative can continue over a period of months or years. It’s going to rewrite the rules of fiction.

Guillermo del Toro in his home

Wired: It sounds like you’re talking about an entirely new form of storytelling.
del Toro: Think about the way oral tradition became written word—how what we know about Achilles was written many, many years after it made its way around the world with different names and different types of heroes. That can happen when you allow content to keep propagating itself through different kinds of platforms and engines—when you permit it to be retold with a promiscuous form of mythology. You see it when people create their own avatars in games and transfigure their game worlds.

Wired: How is that interactivity going to change Hollywood—and the way directors like you make movies?
del Toro: [Legendary B-movie producer] Samuel Arkoff once told me there are only 10 great stories. That’s where the engine and promiscuity come in. Hollywood thinks art is like Latin in the Middle Ages—only a few should know it, only a few should speak it. I don’t think so.

Wired: So how will the public story engine tell those same 10 stories differently?
del Toro: We are used to thinking of stories in a linear way—act one, act two, act three. We’re still on the Aristotelian model. What the digital approach allows you to do is take a tangential and nonlinear model and use it to expand the world. For example: If you’re following Leo Bloom from Ulysses on a certain day and he crosses a street, you can abandon him and follow someone else.

Wired: You’re describing a model that’s more like a videogame. Is the merger of movies and games the first step?
del Toro: Unfortunately, I’ve found in my videogame experience that the big companies are just as conservative as the studios. I was disappointed with the first Hellboy game. I’m very impressed with the sandbox of Grand Theft Auto. You can get lost in that world. But we’re using it just to shoot people and run over old ladies. We could be doing so much more.

Wired: But these nonlinear, hybrid storytelling forms involve gaming tech, which could trap them in a geek ghetto. What’s going to bring down that wall?
del Toro: Go back a couple of decades to the birth of the graphic novel—I think we can pinpoint the big bang to Will Eisner’s A Contract With God. Today, we have very worthy people doing literary comics. I think the same thing will happen on the Internet-gaming side. In the next 10 years, there will be an earthshaking Citizen Kane of games.

Wired: Are you going to create it?
del Toro: I’ll be trying to make it. But I won’t be trying until after The Hobbit.

Wired: Seems like you’re pulling an Obama on us: doing everything at once. That’s an interesting strategy.
del Toro: Look, the fact that I have a simulacrum of a career is a wonder. To paraphrase John Lennon, a career is what happens when you’re making other plans.

Jack Rico

By

2009/03/27 at 12:00am

John Cena quits WWE for Hollywood?!

03.27.2009 | By |

John Cena quits WWE for Hollywood?!

Wrestler turned film actor, John Cena, took time out of his busy schedule to talk to us, ShowBizCafe.com, about his second movie, 12 Rounds.

The film, a mix between the movies ‘Speed‘ and ‘Die Hard‘, is “action personified” from beginning to end. He seemed to be aware of this opinion and agreed with us that it, perhaps, is the best Hollywood film where a WWE wrestler has starred in.

In a very revealing moment, he promised that, unlike Hulk Hogan and Dwayne ‘The Rock’ Johnson, he will never leave the WWE to pursue a full-time career as an actor. So he says… I guess only time will tell.

Expect to see Cena out of wrestling (due to an unforeseen injury, wink, wink) this June thru September shooting a new action flick. Check out the interview in it’s entirety right now!

Jack Rico

By

2009/02/26 at 12:00am

Exclusive! Walter Perez speaks about ‘FAME’!

02.26.2009 | By |

Walter Perez, who grew up in South Gate, California and is of Mexican descent, plays Victor Taveras in the new remake of ‘Fame’ out in theaters on Sept. 25th. We caught up with the Latin heartthrob to chat about the his experience on the set of his new film, the theater, NYC, his dreams and of course “FAME”!

Walter’s film credits include, HBO’s “Walkout”, “Emilio, “August Evening” which received the John Cassavetes Award, “Inhale” alongside Dermot Mulroney and Diane Kruger and “A Beautiful Life” opposite Dana Delany and Debi Mazar.

What you should also know is that he’s no stranger to television, Perez has made several guest appearances including, “CSI: Miami”, “The Closer”, “Free Radio” and a five episode arc on “Friday Night Lights” where he played Bobby “Bull” Reyes.

Mack Chico

By

2009/02/22 at 12:00am

Sofia Vergara speaks on ‘Madea Goes to Jail’

02.22.2009 | By |

Sofia Vergara speaks on 'Madea Goes to Jail'

Colombian actress Sofia Vergara is popularly known in the Spanish language television market for her commercials and variety shows on the Univision network. She began to crossover a decade ago with a film called ‘Chasing Papi’ and a few ABC tv shows, unfortunately to no success. Afterwards, urban film directors began to cast her in small roles and that’s what she’s doing now. She’s still pretty, though.

Here she is in her latest urban movie speaking about her role as ‘T.T’

 

 

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