Welcome to the TVStoreOnline TV and movie news blog. Here you'll find interviews with actors, screenwriters, producers, interesting facts, and behind-curtain looks at some of history's greatest films. You'll also find long, in-depth articles full of little-known facts and details. Whether you're a typical TV watcher/box office-goer or hardcore show or film critic, the TV Store Online blog has something for you.

Thursday, January 29, 2015

Jon Mortisugu filmmaker, Mod Fuck Explosion, Fame Whore, Pig Death Machine, Mortisugu low on high, Mortisugu amy davis

Every now and again you stumble across something that's life changing.   A song or album by a band, a movie even. Something that had previously flown under your radar.  And it's something that's potentially life-changing. It's something that alters your perception and has the ability to change the way you think about art. Jon Moritsugu's Mommy Mommy, Where's My Brain is high visual art.  You'd have to compare it to those old 60's Andy Warhol Velvet Underground films that were projected on the band.   It's unlike anything you may have seen before.  Great art should make you wanna smash things--keeping you up all night for days on end not allowing you the ability to escape it.  Great art should make you wanna go grab your girlfriend or boyfriend and fuck them out in the middle of the crowded city street.   Moritsugu is great art.

The MTV generation has been ripping-off Moritsugu's visual aesthetic now for the better part of a two decades.  The title sequences of his films alone mark a visual precedent.  Since Mommy Mommy, Where's My Brain, Jon Moritsugu has gone on to make several low budget lo-fi highly visual indie features.  Films like Scumrock (2002), Terminal USA (1993) and Mod Fuck Explosion (1994) have all gone stealth on the public's radar since their release to a certain point. They're championed in the cult scene and highly praised in art house and film geek circles as well. Moritsugu should be a household name.


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Tuesday, January 27, 2015


Red Scorpion has one of the most notorious and compelling behind-the-scenes production stories in motion picture history.  Involving the sneaky and dirty former Washington D.C. lobbyist Jack Abramoff and allegations that the film's funding came from South African apartheid money, Red Scorpion remains as controversial today as it did on it's initial release some twenty-five years ago.  It's a incredible document of the Reagan era with it's '80s decadence and cold war ideals.

TV STORE ONLINE:  So how did you come to get cast in Red Scorpion (1989)?

LUNDGREN:  They came to me with this poster that had me on it looking a bit like Ivan Drago from Rocky IV (1985). I read the script, and I thought it was quite good. It was an interesting story about a Russian soldier who basically accepts a mission and then changes his mind because he realizes that he's not doing the right thing morally--he's torn between doing his duty as a soldier and his moral duty as a human being. I liked the film's concept very much. 

TV STORE ONLINE:  There were some scenes that were in the original script that never made the final cut of the film right?

LUNDGREN:  Yeah, you're right. I do remember, there was an alternate opening to the film. Originally, I think it opened with this sequence where my character is in Russia training in the snow. I believe that got cut due to the budget issues. Also, I believe there were some changes to the ending of the film, but at this time I can't recall what those may have been.


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Friday, January 23, 2015

Robert Carradine actor, The Big Red One (1980), Sam Fuller interview, Robert carradine interview
 Actor Robert Carradine on his early days working with John Wayne, Martin Scorsese, his brother David and Sam Fuller in The Big Red One

TV STORE ONLINE:  Robert, what were you like as a kid?

ROBERT CARRADINE: I think I was kind of a loner.  Some kids when they're younger have an imaginary friend, that was me.

TV STORE ONLINE:  Growing up in a big Hollywood family as you did, was there ever any wonder what you were part of was abnormal, in comparison to the kid down the block whose dad worked in construction or something of that nature.

ROBERT CARRADINE: Well, that was the thing.  That wasn't something that was a big deal.  We weren't aware of what our dad did.  It wasn't until I was around eight or nine years old that I went to a set with my dad, and then I pretty much figured out what he did for a living. Prior to that, when he wasn't around, we just knew that he was "working."  So growing up, we never really made a connection that he was a movie star.


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Thursday, January 22, 2015

 
 
 
If you missed it a couple night ago, Jimmy Fallon and actress Keri Russell played "Flip Cup" in inflatable fat suits. Keri Russell wore a red inflatable fat suit and Jimmy wore a blue fat suit. We here at TV Store Online are proud to say that we've been offering these exact Jimmy Fallon inflatable suits for a few years now and we have them, not just in Keri's Red or Jimmy's Blue, but also in a variety of other fun colors as well. Often called "Fat suits", or " Spandex suits", "Chub suits", and "Zenti suits", our fat suits are one of our most popular items on TV Store Online.com.
 
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Wednesday, January 14, 2015
”Stella

The legendary Stella Stevens (The Poseidon Adventure, Too Late Blues) talks with TV STORE ONLINE about working with the great Jerry Lewis in the 1963 Paramount Studios comedy classic, The Nutty Professor.

”Stella
TV STORE ONLINE: How did you get involved in the project that became the film, The Nutty Professor (1963)?

STELLA STEVENS: I was under contract at Paramount Studios. So I was there on the lot every day, and they thought that I would be just perfect for the role for Stella Payne.  When I read the script for the first time I noticed that the name of my character was Stella Payne.  So I went to Jerry and asked him if he could change the character’s name cause I didn’t want to be know as a “pain”.  So Jerry was very nice and he changed the name from Stella Payne to Stella Purdy for me. Which I really appreciated [laughing].

TV STORE ONLINE: How was it working with Jerry Lewis as an actor and then  director?

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Thursday, January 8, 2015


A popular internet encyclopedia defines the term "character actor" as: One who predominantly plays a particular type of role rather than leading ones. Character actor roles can range from bit parts to secondary leads. However, character actors often play supporting roles, characters not subject to a major change or revelation in the course of the plot, and whose role is less prominent.

You could probably fill the Grand Canyon with everything you don't know about Paul Dooley. He was born, Paul Brown in Parkersburg, West Virginia on February 22nd, 1928. As a young man, Dooley made an attempt at working as a clown, as well as drawing various comic strips for his local newspaper and college. After college, Dooley enlisted in the Navy at the tale-end of World War II, spending time at sea around Japan. Finishing his service, Dooley went to New York City to pursue an acting career. In the early/mid 1960's Dooley took to the stage, trying his hand at stand up comedy, appearing on The Tonight Show with Johnny Carson several times.

Dooley worked as the comedy writer for the Mike Nichols and Elaine May team, and a comedy sketch show built around Jerry Stiller and Anne Meara. The '70s would find Dooley in the role of hugely successful television commercial actor in New York, as well as see him as the lead writer on the children's television show, The Electric Company. He would leave New York City in the mid '70s to pursue an acting career in film in Los Angeles. 

Dooley received his big break when he was cast by Robert Altman in the 1978 film, A Wedding. The film would co-star the likes of Carol Burnett and many others. From there, Dooley took on the role of "Ray Stohler" in a quirky little film released in 1979 called, Breaking Away. The film would become the little-movie-that-could, earning Academy Award nominations for many involved as well as accolades across the pond in England.


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Monday, January 5, 2015

 Actor/Filmmaker Greg Travis (Starship Troopers, Showgirls, Watchmen) on his new film MIDLIFE.

TV STORE ONLINE:  Thanks for the opportunity to check out your film.  I really thought the film was great. 

TRAVIS:  Thanks. I feel like it’s a good movie and I want people to see it. 

Upcoming Greg Travis Film Dark Seduction
TV STORE ONLINE: Researching you... I stumbled on your YouTube channel.   Where can I get copies of DARK SEDUCTION and NIGHT CREEP?   Are each of these actual features or just trailer shorts?  

TRAVIS:  Both of those are feature films I directed. And will be coming out later this year. I’m still finishing up DARK SEDUCTION and will re-release NIGHT CREEP as well.

TV STORE ONLINE: 
  I went through your YouTube Channel and was really blown away by some of your short films that you've put up there.  In particular, I really appreciated your ULTRA DOPES ON PUNK and your Art Of Noise "Bombs" music video.  There's a fun mix of avant-garde and comedy through your early short films....

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Monday, December 29, 2014
Steadicam Pioneer Garrett Brown talks with TV STORE ONLINE about the shooting of THE SHINING with Stanley Kubrick.


TV STORE ONLINE:  How much involvement did you have in the physical pre-production planning  on THE SHINING itself?

BROWN:  The Steadicam certainly had an influence on it because Stanley had seen the early demo and one of his first questions was, "Is there a minimum height in which the thing can be used?"  I'm guessing he had the galley for The SHINING and he had already thought of shooting at Danny's eye level for the film.    I had been over in London at Film '77 Expo and Stanley had asked me to come out to Borehamwood to meet with him and take a look at the sets for THE SHINING.    I took a rig out there that I had come up with which basically had the Steadicam turned upside down.  It was called "Low Mode", and basically it's just the camera placed at the bottom of the rig and the counter weights put at the top.   So I was able to run around there and I think that convinced him that the Steadicam might actually work for what he had in mind for THE SHINING.

Stanley hadn't projected an exact number of takes that he thought that he might do for any particular scene with the Steadicam and the floors of the sets, no matter how hard the carpenters may have tried, weren't level in spots and if Stanley would've tried to dolly some of the shots that he wanted during the shooting he would have gotten a much rougher result, so one of the first things that Stanley and I did was to go through a list of possible things that I might ride on, because given the amount of takes that Stanley had planned on, and it was not a honest assessment, there would have been no way that I could have done all of them day in and day out over the course of the time that I was there working on THE SHINING as 38-year-old man even in the shape that I was in then.

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