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NBC Books Holiday Specials from DreamWorks CITAZIONENBC has set premiere dates for two DreamWorks-produced holiday specials based on "Monsters vs. Aliens" and "Madagascar."
The Halloween-themed "Monsters vs. Aliens: Mutant Pumpkins from Outer Space" will premiere Wed., Oct. 28 from 8-8:30 p.m., with an instant encore at 8:30 that night. And on Nov. 17, at 8 NBC will bow "Merry Madagascar," a Christmas-themed special that will also repeat Nov. 28.
Both specials, along with two more planned in 2010, were announced by DreamWorks chief Jeffrey Katzenberg in June. NBC hasn't commented on the specials until today, however.
"Mutant Pumpkins" will feature the voices of Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Kiefer Sutherland and Rainn Wilson. "Merry Madagascar," meanwhile, will feature the voice of Carl Reiner, as well as original film cast members Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Cedric The Entertainer and Andy Richter.
NBC's official description of the two specials:
"Monsters vs. Aliens: Mutant Pumpkins from Outer Space" is produced by Latifa Ouaou and directed by Peter Ramsey from a screenplay by Adam F. Goldberg. The story continues after the events of "Monsters vs. Aliens," as Susan Murphy (Witherspoon) and the Monsters now work with the U.S. government as special operatives. When an alien presence is detected in Susan's hometown of Modesto, California -- right before Halloween -- the team is dispatched to investigate. Everything appears normal, right down to the jack-o-lanterns peering out from every doorstep and windowsill. But when Halloween arrives, those innocent-looking carved pumpkins are revealed for what they really are -- mutant aliens. The altered pumpkins then start to implement their fiendish plan to take over Earth. The Monsters are there to combat the mutant gourds and try to smash their wicked scheme.
"Merry Madagascar" was written by David Soren, Eric Darnell and Tom McGrath. The executive producer is Mireille Soria; Joe Aguilar is the producer and David Soren directs. The brand new holiday adventure stars everyone's favorite Central Park "zoosters" from "Madagascar" and "Madagascar: Escape 2 Africa." "Merry Madagascar" begins when Santa and his sleigh unexpectedly crash-land on the island, giving the jolly gentleman a case of amnesia. So it falls to Alex, Marty, Melman and Gloria -- along with the ever-inventive Penguins -- to deliver the presents and save Christmas. And it doesn't hurt that Santa's Sleigh just might be able to make a little trip to New York City, so they can finally return to their beloved home. But during their appointed rounds, the four re-discover the magic of giving -- and that it is ultimately more important than their own wish to return home. Also included is a long-lasting North Pole/South Pole rivalry between the Penguins and Santa's reindeer, plus magic flying dust and a King Julien-based holiday called "Julienuary."
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source: cottoncandy
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Hugh Laurie goes all Hollywood as he gets behind wheel of flashy Porsche
He's normally more down to earth when it comes to his choice of motor.
But it seems British actor Hugh Laurie has finally been bitten by the Hollywood bug and come over all flashy.
The 50-year-old star, normally seen getting around on the back of a motorbike, was yesterday morning behind the wheel of a snazzy Porsche sports car.
Life in the fast lane: Hugh Laurie seen with his new £45,000 Porsche Cayman S motor in Hollywood yesterday
Hollywood style: The actor normally gets around by more humble means, but not any more with the purchase of this flashy car
House star Laurie, who earns a staggering $9million (£5.7m) a year, stepped out of the Cayman S model motor during a trip to the gym in Hollywood.
And he's hardly going to keep his feet on the ground in the $70,000 (£45,000) vehicle, which can accelerate from 0-62mph in just 5.2 second.
It has a top speed of 172mph and comes complete with a light-weight alloy engine, which reduces fuel consumption, and a six-speed manual gear box.
The exhaust system boasts stainless steel twin pipes and there's no fear of bumpy ride with under-seat suspension.
Keeping fit: The House star was spotted on a morning trip to the gym
Laurie, who stars as Dr Gregory House in U.S. television drama House, is an avid motorcycle enthusiast.
He has two motorbikes - one at his English residence and another at his £2million mansion in the Hollywood Hills, which is described as a 'magical garden paradise'.
Other motors in his haul include a vintage red Porsche. But now, it seems, the actor is upping his game and living life in the fast lane.
He also owns a vintage red Porsche, seen here in 2006
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Life Magazine
September 2006
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da woman's day (una rivista australiana) 
(sotto spoiler la versione estesa)SPOILER (click to view)
Scansione e credits Aleki77. -
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auction of ``HOUSE'' memorabilia, February 23, 2009
related event
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Hugh Laurie on "Séries Mag", year 2009
ARTICOLO SPOILER! (PREMIERE SESTA STAGIONE!)
Thanks to Rap4ever8CITAZIONEL'articolo francese penso sia datato Agosto o Settembre 2009, poiché si incentra, in parte, sulla premiere della sesta stagione di House M.D.
Riassunto: l'articolo si concentra sul primo episodio della sesta stagione di House M.D., sulla depressione, sul casco da usare quando si va in giro con la moto, sull'essere un attore comico e su quale episodio Hugh Laurie preferisca di House.
Viene chiesto a Hugh Laurie che genere di House sarà quello che si vedrà nell'episodio da due ore e lui parla dell'effetto del Vicodin su House, facendo riferimento alle allucinazioni e alla perdita della salute mentale, problematiche che alla fine lo porteranno ad esser ammesso in un istituto psichiatrico.
Nella premiere si vede come House vive senza il Vicodin e come si comporta da paziente all'interno dell'istituto. Cercherà di metter i pazienti contro i dottori per ostacolare il lavoro del suo medico curante ma si renderà conto che il suo atteggiamento è nocivo tanto per se stesso quanto per chi gli sta vicino. House imparerà per la prima volta in vita sua cosa sia l'umiltà.
Non ci saranno sostanziali cambiamenti nel personaggio, poiché l'unica cosa che cambierà davvero sarà il suo rapporto con la droga. Resterà sarcastico, qualità presente in lui da prima dell'infarto alla gamba, e, oltre a esser considerato un guaritore, sarà lui stesso oggetto di un processo di guarigione. Vedremo, infatti, come gestirà il dolore senza l'aiuto del Vicodin.
Hugh Laurie parla della depressione, di cui soffre, e dice d'esser fiero d'aver tirato fuori quest'argomento perché la depressione è una vera malattia e un tabù della medicina.
Discute delle problematiche che gli son state poste dalle compagnie asssicurative riguardo al fatto che gira per Los Angeles senza casco e dice che quando è per strada è come se si ritrovasse a fare un percorso ad ostacoli perché c'è gente che parla al telefono o manda messaggi o si trucca...
Per quanto concerne il fatto di considerarsi o meno un attore comico, Hugh dice che effettivamente in Gran Bretagna è conosciuto soprattutto per i ruoli comici che ha interpretato, ma che nella realtà si considera una persona abbastanza seria. Aggiunge, successivamente, che per far ridere la gente non ci vuole una vera e propria ricetta.
Quando gli viene chiesto, infine, qual'è il suo episodio preferito, risponde: gli episodi senza il bastone! E conclude, dicendo che, se la serie dovesse andare avanti per altri 3-4 anni, avrà davvero bisogno del bastone nella vita di tutti i giorni, perché fingere di zoppicare gli fa male alle ginocchia e all'anca.
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‘People Choice Awards’ fans cast breaking 60 million votes CITAZIONEPEOPLE'S CHOICE AWARDS 2010 ANNOUNCES STAR-STUDDED LINEUP FOR FIRST AWARDS SHOW OF THE YEAR
MARY J. BLIGE TO PERFORM
MUSICAL OPENING NUMBER TO FEATURE HOST QUEEN LATIFAH AND SURPRISE GUESTS
HUGH JACKMAN, MARIAH CAREY, LL COOL J AND MANY MORE TO ATTEND LIVE SHOW, WEDNESDAY, JAN. 6 ON THE CBS TELEVISION NETWORK
Fans Cast Record-Breaking 60 Million Votes on peopleschoice.com
A star-studded selection of talent from film, TV and music including Sandra Bullock, Colbie Caillat, Mariah Carey, Steve Carell, Jackie Chan, Chevy Chase, Kaley Cuoco, Ellen DeGeneres, Jenna Elfman, Johnny Galecki, Ginnifer Goodwin, Tim Gunn, Taraji P. Henson, Josh Holloway, LL COOL J, Hugh Jackman, Ashton Kutcher, Hugh Laurie, Taylor Lautner, George Lopez, Kellan Lutz, Kathryn Morris, Jim Parsons, Paula Patton, Ryan Reynolds, Nicole Scherzinger, Carrie Underwood, Keith Urban, Sofia Vergara and Kate Walsh are scheduled to attend the PEOPLE'S CHOICE AWARDS 2010 to be broadcast live from the Nokia Theater L.A. Live in Los Angeles, Wednesday, Jan. 6 (9:00-11:00 PM, live ET/delayed PT) on the CBS Television Network. The night will kick-off with an all-star musical number with host Queen Latifah and surprise guests and later will feature a dynamic performance by Mary J. Blige.
"We have jam packed this show with entertaining numbers and surprises so much so that audiences will be unwilling to leave their seats or walk away from their televisions," said Mark Burnett, Executive Producer of PEOPLE'S CHOICE AWARDS 2010. "The stars are coming out in droves to thank the fans for their love and support and with movie sneak peeks, musical numbers and comedy skits, it's truly going to be a night that no one will forget."
The People's Choice Award winners are determined by the fans and currently the 2010 show has logged in a record-breaking 60 million votes. The categories of Favorite New TV Comedy and Drama will remain open at www.peopleschoice.com until show night on January 6. For Favorite New TV Comedy, fans can vote for Accidentally On Purpose, The Cleveland Show, Cougartown, Glee and Modern Family. For Favorite New TV Drama, the nominees are Flash Forward, The Good Wife, NCIS: LOS ANGELES, V and The Vampire Diaries.
ABOUT PEOPLE'S CHOICE:
Now in its 36th year, the People's Choice Awards celebrate fan favorites in music, movies and television. The People's Choice website at www.peopleschoice.com serves as a year-round destination for entertainment enthusiasts to voice their opinions on pop culture, influence entertainment and determine the nominees and winners for the annual awards show. Fred Nelson is the President of People's Choice, and the awards show is produced by Procter & Gamble Productions, Inc., which is represented by MediaVest Worldwide, Inc., supervisors of the production. Queen Latifah is the host of PEOPLE'S CHOICE AWARDS 2010 and Mark Burnett is the Executive Producer.
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A closer look at most attractive men Robert Pattinson and Hugh Laurie
CITAZIONEThere was a time when the likes of George Clooney and Johnny Depp were the embodiment of the word heart-throb. But times have changed.
These days, ladies the world over – including the readers of hellomagazine.com – prefer something a little different when it comes to their leading men.
The response to this year's most attractive man vote was unprecedented, with over half a million votes cast. And the likes of Brad Pitt and Daniel Craig didn't get a look in when it came to the first and second placed men, Hugh Laurie and Robert Pattinson.
Just what is it about these two Brits which captivates hearts by the million? It's not their looks alone. Though Hugh's rugged aspect is easy on the eye, and there's no denying former model Rob's appeal, neither could be described as classically handsome.
Could it be for the characters they play? Robert has said: "Girls scream for Edward, not Robert. I still can't get a date," and perhaps he's right.
While he passed virtually unnoticed as head boy Cedric Diggory in Harry Potter, once he began playing tortured and lovesick vampire Edward Cullen, female fans immediately started swooning.
Similarly, Hugh was known largely as a quirky comedy actor until his role as the gruff and authoritative Doctor Gregory House elevated him to sex symbol status.
While worldwide fame came knocking for Robert at a young age, Hugh didn't achieve it until later in life.
But both share a certain humility and depth to their characters which proves a big draw.
In interviews, both come across as sharp and intelligent. Robert sings and writes songs (two of which actually appeared in the Twilight films) and has secret aspirations to be a pianist. Similarly, Hugh is an accomplished musician and has demonstrated his skills on the piano, guitar, drums, harmonica and saxophone several times in different TV series.
Hugh is extremely well read. He studied at Cambridge, and has other quirks to his character – like his love of vintage motorbikes. And the fact he's a loving husband and father of three just adds to his appeal.
Similarly endearing is Robert's constant declarations that he's "not gorgeous" and his awkwardness with his new sex symbol status.
This is the guy who almost didn't audition for Twilight when he found out the main character is supposed to be impossibly handsome, and who says he sometimes feels "like a blob". There's something refreshingly human about all that.
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House: Hugh Laurie-Leighton Meester Reunion in May-December Movie? CITAZIONEHugh Laurie's inimitable role on House is doubtless a full-time job, and for the better part of the show's six-year run, it has kept him from doing anything major as far as the big screen is concerned. But after doing voice work for Valiant , Stuart Little 3 , and Monster and Aliens , Laurie may just make that precarious jump from small screen glory to headlining in a feature film, with a much...
With 'Oranges,' Hugh Laurie of 'House' could take the film plunge (L. A. Times Dodgers Blog)CITAZIONE"Gossip Girl" Leighton Meester could also join the TV doctor in his first lead feature role.
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Hugh Laurie is bemused by Twitter
CITAZIONEHugh Laurie has revealed he "does not understand" Twitter, despite his ex-comedy partner Stephen Fry being a huge fan of the micro-blogging site.
Speaking on Radio 4's Front Row programme, the 49-year-old revealed he has a profile, but is "bothered by the social cost of every tweet".
He added: "As I look around my friends' tweets I see banality on all sides. I don't understand the purpose of it."
Laurie says despite their opposing views, he hopes to work with Fry again.
'Satisfying thing'
"We love to do things together, but we're just hopeless planners," he said.
The pair worked together on various projects, including Jeeves and Wooster and their sketch show A Bit of Fry and Laurie.
The actor, who is currently publicising a new series of the US medical drama House, said he is seeing a lot of Fry at work.
"Oddly enough, he now plays a role in this show Bones that actually shoots next door to House, so we wind up eating lunch in the same cafeteria."
Despite revealing he does not participate much on Twitter, he said his friend's comments were "the absolute best - the cream of the crop".
He added: "I think if people were able to take these 140 characters and develop a poetic Western form - a haiku of our own in which all human existence could be compressed into those 140 characters - that would be a satisfying thing, but that's not what I see when I read them."
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Hugh Laurie
By Anna Carugati
Published: March 31, 2010
For TV viewers around the world, the word “house” no longer refers to the English term for a place to live. It immediately triggers images of the often rude, gruff and inappropriate but brilliant physician in House, who solves the most difficult medical mysteries, despite his unconventional approach and horrid bedside manner. Dr. Gregory House is brought to life by the British actor Hugh Laurie, whose early career in the U.K. saw him partner with former Cambridge classmate Stephen Fry in comedies such as A Bit of Fry & Laurie and Blackadder. House, now in its sixth season, has been sold to some 250 territories by NBC Universal International Television Distribution, and is one of the top-selling U.S. series in the world. In this exclusive interview, Laurie talks to World Screen about his love for the craft of acting and the making of House.
WS: What appealed to you about the character of Gregory House?
LAURIE: I thought he was a fascinating and at the time, as far as I could tell, a unique combination of wit and dissidence and unease and a whole list of qualities that I hadn’t seen combined in a single character, particularly not at the center of a drama. One could argue that there have been characters a little bit like House here and there, but they were usually peripheral characters. The hero was always a solid upright citizen, usually with blond hair and a dog, and they would do the right thing.
WS: A good guy.
LAURIE: A good guy, and you could tell who the good guys were. And this is a rather troubled and conflicted, damaged character who presented this problem for the audience, I suppose, which is that here is a man that has a gift with which he can heal. He can help mankind and yet the gift comes at a cost—it comes at a cost to him and it comes at a cost to any of the people around him. He’s always asking the question, “Am I worth the cost?” and it’s a constantly interesting question, and I grew to like him immediately. I felt within a couple of pages I really liked this guy. It doesn’t mean I think he’s a good guy or a nice guy, but I like him.
WS: I lived in Italy for 20 years and in Europe there is a little less sentimentality in the arts than there is in the U.S. Americans in general like happy endings, you know what I mean?
LAURIE: Oh absolutely, I do, yes.
WS: I wouldn’t say there is anything sentimental about House.
LAURIE: Not much.
WS: Why do you think it plays so well to a U.S. audience?
LAURIE: I wonder if the difference you are describing has actually changed in the last decade or so. I feel, though I can’t speak for the whole of Europe, as if the British maybe have become more sentimental than they were, and possibly the Americans have become less sentimental. I feel as if we are meeting in some strange middle ground somewhere. I think American audiences seem much more open now to different kinds of stories told with different kinds of flavors and tones and with different sorts of outcomes. Of course, there is always a sort of a Disney America, “When You Wish Upon a Star,” which is a nonsensical premise that your dreams come true. They don’t just because you wish upon a star.
I think Americans are much more open than they used to be to different kinds of ideas and stories. Actually, I think the British have become much more demonstrative, much more sentimental than they used to be. This sort of stiff upper lip is a much less prominent characteristic.
WS: The reaction to the death of Princess Diana was one illustration of that.
LAURIE: I didn’t want to bring that up, but that was an amazing display that I think would have been unthinkable 30 years before. If you had described that to British people 30 years before they would have said that could have never happened. But there we go, it was obviously always deep within us, we were just sort of rather suppressed.
WS: What stretch as an actor does the role of Gregory House present to you?
LAURIE: Most of the stretching I find is of a mechanical kind—it’s the volume of work you’re having to do and the number of decisions you are having to make in a day to actually keep something real and true and funny—to keep it alive. This is not something a stage actor does, you can’t just go and do this thing for two hours and be done. This is something you are having to think about and very actively think about, for 14, 15 hours a day for nine, ten months of the year. And it’s those mechanical things, the volume of it—dealing with the actors and dealing with the physical disability and all those sorts of things are actually harder than the emotional side, which I always felt, I can’t say that I found it easy, but I felt that I understood it. I knew what it should be, even if there were times—plenty of times—when I felt I hadn’t been able to do it right, I knew what it should be. From the moment I first read the script I had a very clear sound in my head of how it should feel.
WS: And he came to life to you right away.
LAURIE: Yeah, he did, actually. I had only read a couple of scenes to begin with. They sent me the first script and I only read a couple of scenes, but I felt straight away, I know who this guy is and I know how this should sound. Well, I know who the character is, but I also know who David Shore [the creator and one of the executive producers of House] is. I felt like I know what he is trying for here.
WS: As a viewer, the most refreshing thing about the show is that it makes you think, and there is so little on TV now that makes you think!
LAURIE: That’s right, that’s right! Well, I’m glad that you think that because I agree, I’m very proud of it. I’m very proud of it for lots of reasons, and while we don’t always succeed, I still think we have the energy and the will, and David certainly has the skill to continue to put difficult questions that make people wonder what is the right thing to do and what is the right way to behave.
WS: Who is the moral compass? Does David decide what the right thing to do is in a given episode?
LAURIE: It has to be that way. Of course it is a very collaborative medium, and he has a team of nine or ten writers who are all working on different stories. The only way it can work is that it has to be sort of one person’s voice. He and I, we discuss things at great length sometimes, and I will tell him what I think about a particular script or suggest what about this or what about that, but it has to be his decision—it is his creation. The character is his character. The character, to be honest, is him—David is much closer to House than I am, I think.
WS: Looking at how a show is produced in the U.S., which is significantly different than the way shows are produced
in Britain, from the writing process, the budgets and the amounts spent on the pilot process, what do you like about the U.S. system? Not to badmouth the Brits in any way!
LAURIE: Lord no, I plan to live there!
WS: And Britain has produced spectacular shows.
LAURIE: I suppose one of the things I like about the American system is that at the end of it all, whatever one may think about an average day, there is some great television drama being made. This is a good time for television drama, for all the difficulties and for all the uncertainties and economic problems, it is nonetheless a great time, which I think is largely to do with writers. It is completely a writers’ medium. Certainly in feature films, or in British television, the writer does not have the position that an American writer has on an American drama. They are not producers, for one thing. David is the executive producer, and he and Katie [Jacobs, one of the executive producers] run the show. That doesn’t happen in Britain and it doesn’t happen in feature films here. I like that; that has a lot to do with it.
The pilot system, I don’t know, it is a little odd and there is wastage, I suppose. But in a way I’m sort of reassured by the fact that people cannot predict an audience. I think we would have reached a depressing stage of human development if one clever person sitting in an office somewhere could actually predict, “If you put this actor with this writer and you tell this kind of story with these elements, the audience will love it.” If that day comes, I think that will say something rather depressing. So the very fact that audiences are unpredictable, fickle and fasten on to things that no one could have imagined that they would fasten on to, or they ignore things that everyone thought they would love, that involves waste. So people will make pilots [and say], “I could have sworn that would be a huge success, and who knows why it didn’t work.”
But in a funny sort of way I like that. I know I am not paying the bill, but I like the fact that we can’t know that mind of the audience, nor should we. It is a wonderful thing that we try to please, we try to guess at, but ultimately you can’t.
WS: It’s alchemy to a large extent, isn’t it?
LAURIE: It’s alchemy, exactly. And the only meaningful strategy you can have is to please yourself and do something that you like, and David has written a show that he likes and he would want to watch. And all of us who work on House, I think, are trying to do something that we would like, and hope, just hope that other people would like it, too. As soon as you get into the process of trying to guess, you are sunk—it’s all over.
WS: Now, where do you find time to write your novels? And when will the second one come out?
LAURIE: Well, the second one, as you can imagine, is rather delayed! Delayed by some years now, I’m afraid. But because of the success of House, the one book I did write, The Gun Seller, has now been translated into some 20-odd languages, so [the publishers] must be pleased about that, and that will keep them at bay for a while!
WS: Do you think about a life after House? Do you think about teaming up with Stephen Fry again?
LAURIE: I don’t really think about a life much after lunch. [Laughs] That’s about as far as I work! A couple of hours is my thing! I’m like a goldfish; I don’t have many plans.
I would love to work with Stephen again. He is in L.A. at the moment writing. We see each other and we talk about it. He’s also not very good at planning. Neither of us are good planners; we have no master scheme.
WS: So two goldfish.
LAURIE: Two goldfish, exactly! [Laughs] And every now and then we meet, and say, wait a minute, you’re also a goldfish.
WS: Will we see you play the piano again on House?
LAURIE: Oh, I hope so.
WS: You enjoy that, don’t you?
LAURIE: I do, I do. I don’t practice enough, I don’t have time to do that, either, but yeah, I do love it. I also think it’s an interesting element in the psychological makeup of this character, that for someone so apparently fiercely rational there is a romantic side to him. There is music in him and not just music of the mathematical, mechanical Bach kind. He has a romantic side and there is something beside that cold calculating machine inside his head, which I do like as an element.
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Tormented Doctor Turns to Directing
By BILL CARTER
Published: April 11, 2010
LOS ANGELES — When Hugh Laurie gets an hour off from shooting scenes on his hit Fox drama “House,” he generally stretches out on a couch in his comfortable trailer, though not because he needs a quick nap to recover from playing one of television’s most complicated lead characters.
No, Mr. Laurie is taking a break from an even more arduous task: talking American.
“You are messing up my afternoon,” Mr. Laurie said pleasantly in his distinguished Oxford English accent. (Distinguished because he was born in Oxford and educated at Eton and Cambridge.)
After this interview interlude in his native tongue, he said he would have to return to the set and relocate his American accent, one he has delivered so convincingly in his six years as the tormented-genius diagnostician in New Jersey that many of the show’s fans are still shocked when he turns up on a talk show and describes his acting “proh-cess” instead of “prah-cess.” (When Bryan Singer, who directed the pilot, first looked at Mr. Laurie’s audition tape he was impressed at how this obscure American actor had latched onto the character.)
On the set Mr. Laurie sticks persistently to American dialect even off camera because, he said: “I find it hard to go back and forth. I need for my own sake not to draw attention to it. I don’t want the crew saying, ‘Oh, he said that in a British way.’ That would distract me as well.”
And yet for an entire episode, the one that will be broadcast on Monday night on Fox, Mr. Laurie was compelled to do a lot of talking to the crew in his own voice. For the first time he stepped into the role of on-set boss: the director.
“It was somebody else’s idea,” Mr. Laurie said, acknowledging that he was nervous about taking on the assignment. “As soon as an actor starts directing, it looks like some kind of vanity project, doesn’t it?”
Katie Jacobs, an executive producer of “House,” said in an e-mail message, “The truth is I’ve been asking him to direct for years.” She added: “I think I just finally wore him down. I have yet to find something Hugh can not do expertly, so I knew he would deliver a great episode. But mostly I thought it would be great for morale, to have our leader direct.” She continued, “I’m thrilled he did it.”
Mr. Laurie approached the job with enthusiasm. “I had made enough of a nuisance of myself,” raising questions about staging and other details, he said. “I have been absolutely fascinated by the process of it. It requires the rarest and most demanding set of skills, from problem solving to engineering, and common sense.”
It also appealed to him, he said, because of a couple of recurring fantasies. In one, right out of the movie “Airplane,” the pilots get sick on seafood, and the flight attendant comes through the cabin looking for someone who will step in.
“I’m not saying I would push people out of the way, if there were anyone else more qualified,” he said. “But if no one else wanted to, I would love to try that.”
And then: “There are times I wonder if I went on in the World Cup with the English soccer team, how long could I last on the field before the crowd realized that I was not the real thing? Would it be one touch of the ball? Two touches? Would it be 10 seconds? Could I make it for a minute?”
Mr. Laurie said he did not expressly select this episode to direct, though it worked out well for a quasi novice. (He has directed a couple of times for British television.) “I knew it would be fairly contained; they weren’t going to trust me with some enormous action sequences,” he said. Instead he led an episode about the hospital in lockdown because of a missing baby. He called it “a slightly expanded version of a stuck-in-an-elevator story.”
Dr. House is locked in with a man facing death within 24 hours. The patient, played by David Strathairn, is “sort of a phantom of House further down the road,” Mr. Laurie said. “He is approaching death and is sort of looking back on his life with the kinds of longing and regrets that House suddenly sees he might have.”
Mr. Laurie said that he greatly appreciated having a veteran actor like Mr. Strathairn to work with. “He was completely entitled to be apprehensive in the hands of someone so untested,” he said, “but he was extremely generous.”
Beyond the interaction with his fellow cast members, Mr. Laurie said that what he liked most about the directing experience was “the freneticness of it,” adding: “I’m a brooder. If I have too much time to think, I start to complicate things in ways they don’t need to be complicated.”
Gregory House remains a highly complicated man, of course, though in Mr. Laurie’s hands he has taken numerous character turns, highlighted by the spell in a mental institution that started this season. “It’s hard, but he’s sort of reaching for something,” he said. “He acknowledges a loneliness. However much he may be resigned to it, it existentially pains him nonetheless. And he has to acknowledge that there is comfort in friendship, and love and human contact.”
Mr. Laurie, who in British television mainly worked in comedy (“The Black Adder,” “Jeeves & Wooster”), has also found the humor in “House”: “The show is extremely funny in different ways. It’s broadly farcical sometimes. It’s clownish at times. It’s sophisticatedly verbal at times.
“I still love the character,” Mr. Laurie said. He isn’t alone; besides the show’s success on American television, it is a worldwide phenomenon.
“It really puzzles me that we do so well overseas,” he said. “It is such a verbal show. Yet it is translated into Portuguese, Italian, Russian, and it still survives. It’s the No. 1 drama in Italy. The French are mad for it. I find that baffling.”
Maybe not as baffling when put in the context of the character’s progenitor: a consulting detective from Victorian England who is, as Mr. Laurie put it, “arguably the most famous literary franchise ever.” Having been a Sherlock Holmes aficionado from an early age, Mr. Laurie said he has always enjoyed the many associations House shares with Holmes.
“God, how flattering it is to be compared to that character,” Mr. Laurie said.
The “House” season having finished filming, Mr. Laurie is relocating to territory not far from his fictional home at Princeton-Plainsboro Teaching Hospital, starring in an independent film called “The Oranges.”
The role will certainly be a departure. “He is a soft-spoken, gentle soul — a lost soul who finds something that turns his life upside down,” Mr. Laurie said, adding only that “it revolves around a romantic relationship that disturbs all parties involved.”
And yes, he’s another American. More work on that accent.
“There are certain things I recite on my way into work. I’ll listen to NPR, and I’ll just pick a phrase, and I’ll go over and over it,” he said. It never sounds perfect to him, but Mr. Laurie seems to be getting away with it.
“I think Americans are a bit more tolerant of different sounds,” he said.
http://www.nytimes.com/2010/04/12/arts/tel...ml?pagewanted=1
Gianky
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Aleki77 .
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Hugh Laurie : «House me scandalise»Le comédien accorde un entretien exclusif à TV Magazine
C'est un samedi après-midi. Très exactement à l'heure du thé. Hugh Laurie, alias Gregory House, nous accorde une interview presque inespérée. Courtois, élégant, délicat, l'acteur britannique évoque Dr House, le film qu'il tourne actuellement près de New York, son avenir, ses affections...
Hugh Laurie, l'année dernière, vous exprimiez votre plaisir à travailler aux États-Unis, mais aussi vos difficultés à vivre loin de l'Angleterre...
Après six années passées sur le plateau de Dr House, il ne s'agit plus tout à fait d'une vie nouvelle. L'Angleterre me manque, mais c'est un peu comme si la boucle était bouclée. Nous avons tourné six saisons. La septième débute mi-juin. Sans doute y aura-t-il une saison 8... Et, comme je suis de nature inquiète, bien qu'incapable de faire des plans, je commence déjà à me demander dans quelle partie du monde mon métier me mènera ensuite. Pas sûr qu'il me ramène vers l'Angleterre...
Seriez-vous prêt à rester à Los Angeles ?
Je ne vois pas Los Angeles comme un lieu de vie, mais comme un lieu de passage. C'est une ville étrange, instable, anarchique sous ses airs proprets, bien léchés, et précaire à bien des égards, même pour les nantis comme moi.
C'est néanmoins the place to be quand on est acteur...
Définitivement, oui ! Même si je suis actuellement dans le New Jersey, où je tourne un film... Il y a ici toute une communauté d'acteurs et de producteurs de télévision, de cinéma et de théâtre, très différents de ceux que l'on croise à Los Angeles.
Que tournez-vous ?
Cela va s'appeler The Oranges, une comédie mélodramatique construite sur l'histoire de deux familles installées dans un quartier bourgeois et paisible de la proche banlieue de New York. Le père de la famille A, moi, tombe amoureux de la fille de la famille B, Leighton Meester (Blair Waldorf dans Gossip Girl). Évidemment, c'est une catastrophe...
On vous voit peu au cinéma... Vous devez pourtant crouler sous les propositions ?
Ce n'est pas tant de jouer dans beaucoup de films qui m'intéresse, mais plutôt la qualité du scénario. Le script de The Oranges est le meilleur que j'ai lu depuis des années. De même, les scripts de House sont, à mon sens, les plus remarquablement écrits de toutes les séries du moment. Alors, western, mélodrame ou science-fiction, peu importe...
Dr House, justement. Êtes-vous toujours enthousiaste ou totalement déprimé par le caractère tourmenté de votre personnage ?
Je serai toujours très attaché à Gregory House. Il m'intrigue, me séduit, m'amuse, m'attriste, me scandalise ! Je continue de penser que j'ai une chance folle de jouer dans cette série.
TF1 diffuse actuellement la saison 5, dont certains épisodes apparaissent encore plus excessifs que d'habitude... Qu'en pensez-vous ?
Simplement, les auteurs ont un peu plus joué sur les deux tableaux, avec, d'un côté, des épisodes assez soft, construits sur des intrigues médicales « normales » ; et, de l'autre, des histoires plus ramifiées quant aux relations entre les personnages et leur mise en scène. David Shore, le créateur, possède un grand sens du « jusqu'où on peut aller » dans l'improvisation et à quel moment il faut revenir vers plus de sobriété. C'est comme une mélodie et je trouve ça intelligent. Sans oublier le comportement de House, qui va en se dégradant tout au long de la saison...
... Jusqu'à le mener à son internement.
Absolument ! Au terme d'une longue lutte dans l'espoir de trouver une issue, mais ce n'est pas si simple...
N'aurait-il pas pu la trouver auprès de Lisa Cuddy, la directrice de l'hôpital, visiblement éprise de lui ?
Les drames sont élaborés pour mettre en scène les blessures de l'âme. Si vous soignez ces blessures, il n'y a plus de drame. Donc, plus de Dr House.
Vous avez réalisé un épisode de la saison 6. Une envie subite ?
Ce sont les producteurs qui me l'ont proposé. Sans doute en avaient-ils assez de me voir fourrer mon nez partout et de m'entendre tout commenter. (Rires.) C'est plus fort que moi...
Est-ce votre première expérience derrière la caméra ?
J'avais réalisé deux ou trois choses en Angleterre, mais jamais aux États-Unis. Vous devez être capable de gérer la technique, de diriger des acteurs - personnes que je connais toutes parfaitement, ce qui tend à rendre les choses plus difficiles (Rires.) -, de raconter l'histoire et de jouer dedans ! C'était très dur, d'autant qu'à la différence des réalisateurs habituels je n'ai pas eu le temps d'approfondir mon travail. Mais c'était aussi passionnant.
Êtes-vous content du résultat ?
Cela aurait pu être beaucoup mieux...
Vous dites cela parce que vous êtes un Anglais bien élevé...
Je dis cela parce que je suis honnête. (Rires.)
Trouvez-vous encore le temps de jouer de la musique, de finir votre livre ou de vous promener à moto ?
Pas beaucoup, malheureusement... Ou plutôt si. Je viens de participer à l'enregistrement d'une chanson de Meat Loaf. Nous avons joué dans une salle où Sinatra, Nat King Cole et Dean Martin s'étaient produits. C'était incroyable ! Et la moto, heureusement, reste mon principal moyen de transport. J'en louerais d'ailleurs bien une cet après-midi, histoire de faire un tour dans les collines du New Jersey : elles me rappellent l'Angleterre, et on annonce de la pluie...
http://www.tvmag.com/programme-tv/article/...lise%C2%BB.html
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http://community.livejournal.com/hughbunni...yle=mine#cutid1
It’s a Saturday afternoon. It’s tea time, to be more precise. Hugh Laurie, a.k.a. Dr Gregory House accepted to give us an almost unhoped-for interview. Courteous, elegant, delicate, the British actor talks about House M.D., the film he’s currently shooting near New York, his future, his affections.
TV Mag: Last year you talked about how pleasurable it was to work in the US, but you also said it was difficult to be far away from England…
HL: After six years spent on the set of House, this isn’t a new life anymore. I miss England but it’s a little like I’ve come full circle. We’ve shot six seasons. We’ll start shooting Season 7 mid-June and there will probably be a season 8. And since I’m a big worrier – although I’m incapable of planning things ahead – I’ve already started wondering where my job will take me next. I’m not sure it will take me back to England…
TV Mag: Would you be ready to stay in Los Angeles?
HL: I don’t see Los Angeles as a place to live; it’s more of a transit place. It’s a strange city: it’s unstable, anarchic beneath its clean appearance and it’s a precarious place in many respects, even for lucky people like me.
TV Mag: But it still is the place to be when you’re an actor.
HL: Absolutely, yes. Even if right now I’m in New Jersey to shoot a film… and there’s a large community of actors and producers here working for the theater, the TV or the cinema but they’re very different from the people you meet in L.A.
TV Mag: What film are you shooting?
HL: It’s called The Oranges. It’s a melodramatic comedy built around the story of two families living in a rich neighborhood near New York. The father of family A –me- falls in love with the daughter of family B, Leighton Mester (Blair Waldorf in Gossip Girl). Naturally, it’s a disaster.
TV Mag: We don’t see you in a lot of movies… but you must have been approached a lot.
HL: I’m not really interested in playing in a lot of movies. I’m more interested in the quality of the story. The script for The Oranges was the best I’ve read in a long time. It’s also true for House: to me, it’s the most remarkably-written show on television. So I don’t really care whether I do westerns or dark comedies or science-fiction…
TV Mag: Talking about House, are you still an enthusiast or are you sometimes depressed by the tormented nature of the character?
HL: I’ll always have a strong affection for Gregory House. I’m intrigued by him, but also seduced, amused, saddened and shocked! I keep telling myself how incredibly lucky I am to be on that show.
TV Mag: TF1 (French network) is currently showing season 5 and some of the episodes seem to be even more extreme than before. What do you think?
HL: I simply think the writers used several aspects of the show: On the one hand the typical medical mysteries and on the other hand story arcs dealing with the relationships between the characters. David Shore, the creator of the show, is very much aware of how far you can go in improvisation and knows when it’s best to come back to more simplicity. This is like a melody, and I think it’s very clever. Also, House’s behavior is getting and worse and worse as the season ends…
TV Mag: …up to the point he’s got to be institutionalized.
HL: Absolutely. After a long struggle trying to find salvation, but it’s not that easy.
TV Mag: Don’t you think he could have found some sort of solace with Lisa Cuddy, the hospital administrator? She’s visibly attracted to him.
HL: Dramas exist to show moral wounds. If you heal those wounds, there’s no more drama and no more House.
TV Mag: You’ve directed an episode of Season 6. Was it a sudden envy?
HL: The producers approached me. They probably couldn’t stand my meddling and my constant commentaries on everything anymore. (laughs) I can’t help it!
TV Mag: Is it your first experience behind the camera?
HL: I had directed 2 or 3 things in England but never in the U.S. You must be able to handle the technical aspects, to direct the actors (who are people I know perfectly well, and that tend to make things even more difficult) (laughs), but you must also be able to tell a story and to act in it! It was very difficult and unlike the usual directors, I didn’t have time to prepare a lot. But it was also fascinating.
TV Mag: Did you like the result?
HL: It could have been a lot better.
TV Mag: You’re just saying that because you’re a well-educated Englishman.
HL: No, I’m saying that because I’m honest. (laughs)
TV Mag: Do you still have time to play music, to finish your novel or to ride your motorcycle?
HL: I don’t have a lot of time unfortunately… actually that’s not true. I’ve just finished recording a song for Meat Loaf’s new album. We were in a recording studio where Sinatra, Nat King Cole and Dean Martin had played. It was incredible! As for the bike, it’s still my main means of transport. As a matter of fact, I’d really like to rent one this afternoon and go for a ride through the New Jersey Hills: they remind me of England… and I think it’s going to rain.
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prostosi2 .
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The a little above multivariate techniques are each and all pretty linear as with well a true model is calculated using linear combinations .
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