Jeanne and Billy in A&E’s ‘Love Prison’ (Photo by A&E)
Would you be able to survive living on a deserted island with someone you’ve only had a relationship with online? That’s the set-up of A&E Network’s new series, Love Prison, debuting on September 8, 2014 at 10pm ET/PT.
Love Prison takes couples dating online who’ve never actually met face-to-face and places them in a house on a deserted island for a whole week. The series will air seven one-hour episodes and will be executive produced by Brent Montgomery, David George, Jordana Hochman, Drew Tappon, Shelly Tatro and Devon Graham, Jason Hollis, and Eliza Clark.
The Plot:
Each episode begins with an established online couple agreeing to test the strength of their connection in the “Love Prison.” Here, the couples are forced to get to know each other the hard way. This social experiment will test the validity of online compatibility versus real-life chemistry. They have zero access to technology and must spend 23-hours a day indoors. Surprise interruptions keep them on their toes, and just when things may be going well, video interviews about their past reveal secrets both good and bad.
After an emotional week, the couples will decide whether they will stay together or call off their online affairs for good. When their boat comes to pick them up, will they both leave together? Or will one be left behind?
Matt Ryan as John Constantine in ‘Constantine’ (Photo by Quantrell Colbert/NBC)
Welsh actor Matt Ryan takes on the lead role in the new series Constantine based on the comics and set to premiere on NBC on October 24, 2014. Executive producers David S Goyer and Daniel Cerone say the series will serve as an entry point into the comics for those not familiar with Constantine, while also satisfying long-time readers of the comic books, a delicate balancing act that Ryan’s looking to accomplish in his performance.
“I mean, I feel like the fact that he’s a tormented soul who’s harboring so much guilt, and then kind of counteracts that with this cynical look at the world – and he has this humor,” explained Ryan at the 2014 San Diego Comic-Con when I asked about his way into the character. “The juxtaposition of someone with so much sh*t going on inside that they seem irreverent to it. It’s buried so deep inside them that they kind of come across as they don’t give a sh*t when he’s actually a humanist at heart.”
Ryan also discussed the challenge of playing a character who never really wins.
“The challenge in that is how many times can he get beat down and get up again?” pondered Ryan. “But, then, he’s always compelled to. No matter how much society kicks him in the teeth, he still has to go out and save them. That’s the interesting thing, that compulsion to do right by humanity.”
Check out the rest of the interview with Matt Ryan in which he discusses the accent (it’s not full-on Liverpudlian), the source material, and cosplay:
Calvary is one of those indie gems you feel special as a movie fan discovering before everyone else gets the opportunity to jump on its bandwagon. Writer/director John Michael McDonagh set the bar high with his feature film debut and, fortunately, his second effort lives up to the standard he set for himself with 2011’s The Guard. Calvary reunites McDonagh with his The Guard star Brendan Gleeson for yet another award-worthy collaboration, taking on a difficult subject matter with finesse and a touch of dark humor.
The Plot: Calvary‘s Father James (Gleeson) is a good priest who is faced with sinister and troubling circumstances brought about by a mysterious member of his parish. Although he continues to comfort his own fragile daughter (Kelly Reilly) and reach out to help members of his church with their various scurrilous moral – and often comic – problems, he feels sinister and troubling forces closing in, and begins to wonder if he will have the courage to face his own personal Calvary.
John Michael McDonagh Calvary Interview
I realize it’s the same time of year as The Guard was released in America, but I’m afraid that no one is going to remember Brendan Gleeson’s performance by the end of the year and he deserves recognition.
John Michael McDonagh: “Yeah, I know. That is a worry. I was a bit irritated that he didn’t get enough recognition as he should of for The Guard.”
Exactly.
John Michael McDonagh: “Yeah, it’s possible the same thing might happen now. What I’ve found though, a lot of the reviews, even people who don’t necessarily like the movie – we haven’t had that many bad reviews – but usually they still love Brendan’s performance. Usually they might criticize me, but he’s had a universal applause, basically.
I guess The Guard was successful in its run and I guess Fox Seachlight is doing the same kind of thing with Calvary‘s release. That is the risk you take is that the timing of it, it might get lost in the shuffle when it comes to the end of the year.”
Your whole entire ensemble cast is incredible. We can only hope people remember this movie at the end of the year.
John Michael McDonagh: “I think Kelly Reilly, Dylan Moran, Aidan Gillen, Chris O’Dowd, all those are awards worthy performances, I think.”
Is there one of them you would have liked to have spent a little more time with in the film?
John Michael McDonagh: “I think looking back at the movie, probably Chris O’Dowd’s character, the butcher Jack, probably needed maybe a couple more scenes to round him out a little bit more. I just feel we miss him at a certain section in the movie. I think the others though all have pretty juicy scenes. Chris’s character has pretty juicy scenes, but they’re sparingly placed within the film so maybe he needed one or two earlier on. Apart from that, I’m happy. They all make an impression. They all have something confrontational to say, let’s put it that way.”
Is the lack of Chris O’Dowd your personal opinion or what you’ve heard from people who have watched the film?
John Michael McDonagh: “No. I just noticed it in the first 40 minutes. It’s like, ‘Oh, we haven’t seen Chris in a while.’ Then he comes back in the pub and he has a really big scene with Brendan in the pub, so it’s just like there was just one section…Let’s say maybe only one little hole maybe in the first 40 minutes where I could’ve come up with something else for him.”
The pacing is spot on and you didn’t rush anything. You played it out gently across that whole week period in which the film takes place. Did you know audiences would be with it that entire time and that you wouldn’t be losing people by the time you hit Wednesday or Thursday?
John Michael McDonagh: “I worried about it because it is quite specifically paced. I worried about the idea of breaking it up into days because it’s the thing, if you don’t like the movie, you’re going to go, ‘Oh god, it’s only Wednesday,’ you know? That kind of thing. When you’re watching Dogville, I like that movie but I think it was in 10 chapters and by the 5th chapter, we were about an hour and half in, and you’re going, ‘God, it’s going to go over three hours or something.’ I was worried a bit about that, but I tried to make the film I wanted to make and just hope that an audience will go with me.
What I found from early screenings, especially at Sundance is I was surprised at how long the humor lasted into the movie because at a certain point about halfway through, I’d say specifically when Brendan’s character goes to visit Freddie the serial killer, played by Domhnall Gleeson, that’s a really dark and brilliant scene. I felt after that we’re not going to get any laughs, but we did. I realized looking back that when there’s really dark and brilliant scenes, after that an audience wants a bit of relief. They’re willing to accept the darkness as long as there are comic moments dotted throughout. I was quite pleased. In all the screenings I’ve seen, the laughter lasts almost up to the final confrontation.”
Without giving away any spoilers, was the final scene exactly as you originally pictured it when you first came up with the idea of tackling this particular subject matter or did it change much?
John Michael McDonagh: “At the end of the film, one of the main characters reaches for the phone to try to communicate with another character. In the original draft, he doesn’t reach for the phone and I thought, ‘That’s too bleak.’ Him reaching for the phone is, at least he’s trying to communicate. I wanted a much more hopeful ending, so that was the only minor change. It’s not even a minor change really, it’s a big hopeful change.”
Does it surprise you that this particular subject matter is not tackled more often in feature films?
John Michael McDonagh: “No, because I think people, generally speaking, want to go to the movies because they want to escape from thinking about dark subject matters or philosophical or spiritual ideas, and you understand that. Most people’s lives are pretty tough. They’re working pretty hard now because of everything that’s happened with financial scandals and everything. It’s a tough world out there and I guess when you go to a movie, you want to switch off. I particularly don’t. I’m getting bored with all the popcorn movies. I barely go to see them anymore because I find them quite tiresome now just because they’re repetitive. They’re telling the same story over and over again. The filmmaking is improving, but the storytelling isn’t. I can understand it, but the responses I’ve got is that people are enjoying it because it’s something they haven’t seen in a long, long time. I think you have to go back, I guess, to the ’60s and ’70s and people like Bergman who was dealing with all those issues. I think it’s something new and original to them and people enjoy coming across something that’s original.”
It was one of the few films that I walked out of and actually talked about afterwards.
John Michael McDonagh: “The thing about the film is whether you loved it or a few people don’t like it, I think even the people who don’t like it, they can’t really dismiss it. It’s not a film you walk out of and go, ‘Okay, well, I didn’t like that one, I’ll go and get a hot dog.’ You have to deal with why you didn’t like it or explain to the person with you what was it about it that annoyed you or whatever. It’s not a film that can be dismissed.”
I also believe it’s a movie you can go back and see again and catch things you may not have picked up on the first time.
John Michael McDonagh: “Definitely. The whole murder mystery hook; once you’ve seen the film the first time, you know who the killer is. When you watch it again, there’s lots of other levels to his interactions with the priest all the way through the movie.”
Given the subject matter, did you have a difficult time finding financing?
John Michael McDonagh: “Actually, what happened was Brendan was involved from the start, so it’s good to have a big actor who’s specifically known in the UK right from the start. When Chris O’Dowd came on board, we basically secured financing although we didn’t get as much money as we did for The Guard. I think The Guard was $6.8 million and this was about $6 million. I was happy with that. I guess a lot of filmmakers would say, ‘Well, The Guard was a hit, so why can’t you give me more money?’ My feeling was the subject matter of this is much tougher than The Guard, even though it had lots of melancholy moments in it, it was a much broader buddy comedy, I guess. I can understand that finances were tougher and I was happy enough to get the six million, to be honest. There’s lots of filmmakers that are struggling out there trying to get anything made.”
With that budget were you able to do everything you wanted to do?
John Michael McDonagh: “We got everything we needed, but it was a very short schedule. It started off with 27 days and in the first week, we did a six day week, but in that first week, we shot the conclusion of the movie, the whole confrontation on the beach. At that point, the financier said, ‘Okay, we got the end in. We’ll give the guy another two days.’ We had 29 days in the end. It’s tough. It was tough on Brendan more than me in a way because he’s on the set every day. He’s in every scene basically and he’s being emotionally hammered by all these characters.
I found for me, I storyboard everything. I found it really concentrated my mind because I knew that I had to be specific about everything. I had to move on when I needed to move on. I couldn’t just hang around doing take after take. What I would say is if you talk specifically, let’s say, about the beach scene, we got really lucky with the weather. This was shooting in Ireland in October. If we hadn’t got lucky with the weather, the shoot could have been a complete disaster. I got away with it in that sense. I wouldn’t like to do it on that schedule again. 35 to 40 days, I think, is a much easier schedule to get everything you want done.”
Did it help that you and Brendan had developed a short hand by that point having already worked on The Guard?
John Michael McDonagh: “Yes. I think we would have talked the film through beforehand, so there didn’t need to be a lot of discussions on set. I think we did about four or five days rehearsal with Brendan and the rest of the actors, so when everyone came on the set, they all, broadly speaking, knew what they were going to do. There was no long discussions or anything. We worked quite swiftly and Larry Smith, the cinematographer, lights really quickly once he sees how it’s all blocked. I gave him the storyboard, so he knows what the frame is. There’s not a lot of sitting around in trailers. [Laughing] Not that we had trailers. We had these tiny little caravans that you don’t really want to spend much time in because they’re all smelly. We worked quick.”
What are you working on next?
John Michael McDonagh: “Well, I’m hopefully next year going to shoot my first American movie called War on Everyone with Michael Pena and Garrett Hedlund, and we’re in the process of writing the finances for that. It’s meant to be about two corrupt cops in Texas, so it’s kind of a black comedy. Now we’re getting into discussions about, ‘Well, there’s better tax credits in Louisiana. Can you go to Louisiana?’ You know, there’s all those sorts of discussions.
It will be in about the $8 to 10 million budget. It was my kind of budget range, really. It will be harking back to black comedy of The Guard, but it goes into a darker ending in the last 30 minutes.”
Hollywood legend Lauren Bacall has passed away at the age of 89. The classic movie star, who was known for her sultry, husky voice and gorgeous looks, suffered a massive stroke and died on August 12, 2014.
Bacall worked in films and on stage for more than 50 years, starring in critically acclaimed films including To Have and Have Not, The Big Sleep, and Key Largo. In 1945, Bacall married another legend of the silver screen, the much-older Humphrey Bogart, and the two were together until Bogart passed away in 1957. Bacall then married actor Jason Robards in 1961 but that marriage only lasted eight years.
Bacall earned her only Oscar nomination in 1997 for her role in The Mirror Has Two Faces directed by Barbra Streisand. In 2010 she was the recipient of the Academy’s Honorary Oscar recognizing her decades of work in films. She also earned two Golden Globes, a Screen Actors Guild Award, the Broadcast Film Critics Association’s Lifetime Achievement Award, and was given a star on the Hollywood Walk of Fame way back in 1960.
Bacall, born Betty Joan Perske on September 16, 1924 in New York City, NY, is survived by her three children: Stephen and Leslie (with Bogart) and Sam Robards. Our thoughts are with her family and friends at this very difficult time.
John Barrowman at the 2014 San Diego Comic-Con (Photo by Richard Chavez/Showbiz Junkies)
John Barrowman had a lot of supporters among the media seated at the table during our interview in support of season three of Arrow at the 2014 San Diego Comic-Con. In fact, one even went as far as to dub the table ‘Team Barrowman’ at the start of our interview. And while I’m still Team Arrow, it’s impossible not to enjoy watching Barrowman tackle the role of Malcolm Merlyn in the popular The CW series.
“Malcolm and Thea and what happens in the future is going to be one of the most dysfunctional yet amazing relationships that you’re going to come across,” replied Barrowman when I asked what we can expect from the upcoming season. “I think the fans are going to be shocked and thrilled at the same time at what’s going to happen.”
As for why he thinks Malcolm has such a connection to Thea, Barrowman offered, “Well, after Tommy died it was then alluded to…that’s when we found out that Thea was Malcolm’s daughter. Malcolm had two people at that time after Tommy died still in his life and that was Moira and Thea, because Moira – although now is gone – Malcolm loved Moira… This is me as Malcolm talking because that’s how I make it work for myself. He loved her because she would wind him up. She would say to him, ‘You mess with my children and I will kill you,’ he knowing that she always knew the secret she kept with him because then she must have really kind of liked him in a way to keep that secret from his own wife. Blah, blah, blah, you know what I mean?
So, there was that kind of thing going on. Thea is all that Malcolm has left so he is going to try to grab that. He lost Tommy because he could not control emotions, right? He lost Moira because she emotionally gave herself up. She sacrificed herself, which is an emotional thing. Malcolm can control with money, violence, and destruction; he can’t control people’s emotions. This is what he’s got to learn how to do, and this is what he’s going to try to do with Thea.”
Check out the rest of our interview with John Barrowman in which he talks about wanting to do a meaty scene with Stephen Amell and more on what’s coming up on Arrow:
Danielle Panabaker at the 2014 San Diego Comic-Con (Photo by Richard Chavez/Showbiz Junkies)
Danielle Panabaker stars as ‘Caitlin Snow’ in The CW’s The Flash, a new series premiering on October 7, 2014 with Grant Gustin in the lead and an audience eager to see the popular comic book character as the centerpiece of his own series. Panabaker was among The Flash cast members who made it to the 2014 San Diego Comic-Con to discuss the series and in our interview, she said that each week when she gets a new script, she’s been so excited to see what’s happening with her character and the series.
“It just totally blew my mind. I’m so proud of the writers and so excited – and so grateful,” said Panabaker. “The scripts are amazing. Every week is a new rogue, a new meta-human, a new bad guy, and it’s so cool to see the ones that they picked and to learn about them.”
Panabaker also explained what it was that she latched onto to get into Caitlin. “I think what I love about these guys is they write really awesome women, and it’s so nice to be not just a girlfriend or not just a sister or a daughter. She is a very strong woman with her own point of view and her own history,” said Panabaker.
Check out our full interview with Danielle Panabaker for more on what viewers can expect from the series:
After an initial reaction of shock and sadness over the loss of the very talented comedian and gifted actor, Robin Williams, I reflected on his many fine performances on TV, stage, and film. There have been many mentions of his Academy Award-winning performance in Good Will Hunting, as well as the performances he delivered in Good Morning, Vietnam, Mrs. Doubtfire, and Dead Poets Society. I have seen them all, but I believe that a couple of others that have received little mention, The World According to Garp and Awakenings, should not be missed.
Directed by George Roy Hill, the 1982 film The World According to Garp was based on a John Irving novel. John Irving is one of my favorite authors, and several of his books have been adapted for the screen. In my experience, news that a film is being made from a novel that I liked, such as The World According to Garp, is a double-edged sword. On the one hand, I’m delighted that the work will reach a larger audience. On the other hand is the fear that the film or TV show will take too many liberties or otherwise destroy what was compelling about the source material. In the case of Irving, some adaptations, like Cider House Rules for which Irving won the Academy Award for Best Adapted Screenplay in 1999, are excellent. Others, like, The Hotel New Hampshire starring Jodie Foster, are somewhat less effective.
The World According to Garp is one of the better adaptations. The cast, with Williams in the lead, Glenn Close as his mother, and John Lithgow as his transsexual friend, is outstanding. Glenn Close was nominated for a Best Supporting Actress Oscar and John Lithgow for Best Supporting Actor Oscar for their roles, but without Robin Williams as Garp, the film doesn’t work. The highest praise one can give of a performance is to say, “I can’t imagine anyone else in that role.” This is my reaction to Williams’ performance in the film; he was able to capture the essential goodness, sweetness, but also the melancholy of the character.
Like the The World According to Garp, I had read the source material for the film Awakenings, a book of the same title by the neurologist Oliver Sacks. Robert De Niro gives an outstanding performance in the difficult role as a patient who’s transformed from a non-reactive victim of post-encephalitic sleeping sickness to an animated one who wants to experience life that he has missed. Robin Williams is also outstanding and understated as a shy, sensitive, caring, and likeable doctor who works with these patients.
These two films, in addition to all those frequently mentioned, deserve a viewing as we remember Robin Williams.
* * * *
Additional Editor’s Note: In addition to Roberta Valdez’ suggestions of The World According to Garp and Awakenings, I’d like to suggest viewings of The Fisher King and Insomnia for those who are looking for performances outside of the box. – By Rebecca Murray
Leah Turner (Photo Credit: Jeremy Cowart / 2014 CMA Close Up® News Service / Country Music Association®, Inc.)
Leah Turner was raised on a California ranch, the daughter of a rodeo champion. Her parents bought her a piano when she was 5. Within a year, inspired by the Country classics her mom and dad enjoyed, she had written her first song.
In a college songwriting class, she caught the ear of Kenny Loggins, who persuaded her to move to Los Angeles. But Turner, sensing that Nashville was more consonant with her sound and spirit, eventually booked a one-way ticket to Tennessee and began making herself known in the heart of the Country capital.
On her self-titled debut EP, released by Columbia Nashville and produced by Cary Barlowe, Jim Catino and Jesse Frasure, Turner’s talent explodes like a sunburst. Her singing is intense, with a rough timbre shaped by technical command and deep soulfulness. Each of these six songs rocks hard but at medium tempo, allowing Turner plenty of room to sculpt her delivery with delicate nuance.
When she needs to interpret a lyric carefully, as on “Beat Up Bronco” (written by Turner, Barlowe, Frasure and Hillary Lindsey), she does so; even on the “whoa, whoa” lick at the end of the chorus, she pours soul into her syllables. And when she needs to shout it out, nothing can stop her.
Turner’s grit, humor and talent suggest that the era of male chart domination in Country may soon be coming to an end.
For more on Leah Turner, visit www.CMACloseUp.com.
IN HER OWN WORDS
SONG YOU WISH YOU’D WRITTEN
“I really love ‘Love Can Build a Bridge’ by the Judds. I remember singing it as a little girl. There’s so much truth in that song.”
SONG YOU’D LOVE TO COVER
“Right now, I cover ‘Cowboy Take Me Away’ by Dixie Chicks.”
FIRST GIG
“The first time I played guitar out was in a place in L.A. called On the Rocks, on Sunset Boulevard. My mom, dad, my uncle and three other people came. I learned right there what Garth Brooks meant when he said if there’s only one person there, play like there were thousands.”
GREATEST PERFORMANCE TO DATE
“It was the second night of the Brad Paisley tour. The band was on. I felt on. The crowd was loving it. And I walked off of there with my band, feeling like, ‘Hell, yeah. We can do this’.”
Last Week Tonight With John Oliver host and Emmy/Writer’s Guild award winner John Oliver will be hitting the road for a brief 15 city tour kicking off on November 18, 2014 in Buffalo, NY. Tickets will go on sale at 10am on August 15th via livenation.com.
Prior to hosting his own HBO series, Oliver was a guest host and correspondent on The Daily Show. He won three Emmys for his work as a writer on The Daily Show, and he’s hosted four seasons of his own Comedy Central stand up series.
JOHN OLIVER FALL 2014 TOUR DATES:
November 18, 2014 – Buffalo, NY * at University of Buffalo
November 19, 2014 – Denver, CO at Temple Hoyne Buell Theatre
November 20, 2014 – Anaheim, CA* at The Grove
November 21, 2014 – Santa Rosa, CA at Wells Fargo Center for the Arts
November 22, 2014 – Portland, OR at Keller Auditorium
November 23, 2014 – Seattle, WA at Paramount Theatre
December 04, 2014 – Atlanta, GA at Cobb Energy Performing Arts Centre
December 05, 2014 – Durham, NC at Durham Performing Arts Center
December 06, 2014 – Columbus, OH at Palace Theatre
December 07, 2014 – Madison, WI at Orpheum Theatre
December 12, 2014 – Westbury, NY at Theatre at Westbury
December 13, 2014 – Albany, NY at Palace Theatre
December 14, 2014 – New Brunswick, NJ at State Theater
Robert Carlyle and Emilie de Ravin from ‘Once Upon a Time’ at the 2014 San Diego Comic-Con (Photo by Richard Chavez / Showbiz Junkies)
How quickly will the honeymoon be over for Robert Carlyle and Emilie de Ravin’s Rumple and Belle in season four of Once Upon a Time? Well, it’s not likely executive producers Adam Horowitz and Edward Kitsis will let the just-married couple spend much time in wedded bliss. And at the 2014 San Diego Comic-Con, Carlyle and de Ravin chatted about where we’ll find their characters at the beginning of season four and whether there’s a possibility of a happily ever after for them.
Emilie de Ravin and Robert Carlyle Once Upon a Time Interview
You look great with dark hair.
Emilie de Ravin: “Thanks!”
Is it for the character?
Emilie de Ravin: “Yes.
What’s going on with her?
Emilie de Ravin: “She just got married.”
Robert Carlyle: “She did.”
Emilie de Ravin: “…under a very deceptive pretense. We’re only up to episode three, we just read three so developmental-wise, there hasn’t been terribly much this season yet. But, it’ll be nice to delve into her past a little more this season. So I hope that is in season three.”
The relationship between Belle and Rumple is one of the more tender on the show. Are they still on the way, ultimately, to delivering what the show has to hope they deliver, which is a happy ending?
Robert Carlyle: “I hope so. I hope so.”
Emilie de Ravin: “At some point. But I think there has to be…”
Robert Carlyle: “It’s difficult at the moment.”
Emilie de Ravin: “…a lot more going on.”
Robert Carlyle: “I think this season will stretch the relationship, I think really stretching it, more than it has been before. Because they’re married now, and he’s lied to her, right off the bat and this isn’t good, you know? So we need to see where that’s going to take it.”
Can these two live with each other? Can they live without each other?
Emilie de Ravin: “With what I know…”
Robert Carlyle: “With what you know…”
Emilie de Ravin: “…because I’m obviously going to find out.”
Robert Carlyle: “You’re going to find out, probably pretty soon. It can’t be good.”
Emilie de Ravin: “Yeah. I mean, that’s the one thing that you could have done to completely give me your trust is give me that dagger.”
Robert Carlyle: “Give you the dagger. I know, I know. He can’t. He’s an addict. This is the problem is that he doesn’t mean to do these things. He loves her and all the things he said in the vows are true, but this addiction is strong. Not only that, he’s been doing it for hundreds of years, literally. So it’s very difficult just to let that go and start a new path.”
Are you amazed at the extent to Adam Horowitz and Edward Kitsis have mined these stories in order to build this quite complicated adult world? Or is that just a reflection of the fact that buried deep in the stories are actually these extraordinary complex characters?
Robert Carlyle: “I think it’s a very interesting question, I think it could be either, I guess. Either or, I think. Maybe it was, maybe we’re always in there. But I think sometimes the best and the most brilliant ideas are the simplest. That’s what they guys have done; they’ve taken something from a very simple idea that’s brilliant at the same time.”
Emilie de Ravin: “Well, because they balance that well, too.”
Robert Carlyle: “Very, very well.”
Emilie de Ravin: “I think that’s why the demographic is so broad.”
Robert Carlyle: “Yeah, it’s right across the board. Exactly. It’s a true family show.”
Emilie, is it nice having another Aussie on the set now? Do your characters have much to do with the Frozen characters?
Emilie de Ravin: “Well, we don’t really know yet.”
Robert Carlyle: “I’m about to do my first scene with Elsa. That’s the first one.”
