A friend of VincentDOnofrioCom at twitter sent this amazing photo.
Kathryn Erbe, Vincent D'Onofrio and their French counterpart Sandrine Rigaux, Vincent Perez #CriminalIntent
I didn't know that they ever met. This is so cool.
Showing posts with label CI. Show all posts
Showing posts with label CI. Show all posts
Saturday, December 5, 2015
Sunday, June 7, 2015
Beautiful new Interview
BoradwayWorld.com published a wonderful and long interview with Kathryn this week. Enjoy!
Kathryn and Seth Numrich in Afghanistan, Zimbabwe, America, Kuwait
BWW Interviews: Kathryn Erbe, Star of Stage & Screen
June 4, 2015 by Adrienne Onofri
She became a familiar face in America's living rooms with her 10 years on Law & Order: Criminal Intent, but since that TV series ended in 2011, Kathryn Erbe
has returned to her first love, theater. She is currently portraying
one soldier's mother--and another's hallucination, or perhaps his
salvation--in Afghanistan, Zimbabwe, America, Kuwait, the new off-Broadway play (AZAK for short) written and directed by Daniel Talbott, artistic directory of Rising Phoenix Repertory.
Now in previews and set for a June 9 opening, AZAK is presented by Rattlestick Playwrights Theater, not at the company's usual home on Waverly Place but in the Gym at Judson (Memorial Church), also in Greenwich Village. It's the third Rattlestick play--and the second costarring Seth Numrich--that Erbe's done since hanging up her badge as NYPD detective Alexandra Eames, partner of Vincent D'Onofrio's Det. Robert Goren. Last year she starred as a bisexual artist battling addiction in Rattlestick's Ode to Joy, opposite Arliss Howard and Roxanna Hope. Her other post-Law & Order theater credits include Nikolai and the Others at Lincoln Center Theater and Vineyard Theatre's Checkers.
BroadwayWorld interviewed Erbe on a bench in Washington Square Park, across the street from Judson. The park was full of cap-and-gown-clad graduates and their loved ones lingering from the graduation held earlier in the day for NYU--which just happens to be Erbe's alma mater.
How'd your collaboration with Rattlestick start?
The first play that I did with them was Daniel Talbott's Yosemite. An actress dropped out at the last minute. My agent is Seth's agent and is very good friends with Daniel, and he suggested me for the part, and I had a blast and really fell in love with Daniel's writing. I feel like his perspective is different from anybody else's, and the way that he articulates things is in so many ways exactly what I want to hear on a deep level. The way he talks about love, the way he talks about humanity. So I couldn't wait to work with him again. After that show, [Rattlestick artistic director] David Van Asselt said, "I'm going to find something else for you," and that's how I ended up doing Craig Lucas' play Ode to Joy, which was a two-year, life-changing journey for me. That was also the fifth play I did in 2½ years, and I needed to take a break. Just from being away from home the way you are when you do theater--missing bedtimes and stuff--so I basically swore off plays. And then I found myself in the audience of Tina Landau's production of Big Love. That play made me feel (A) like I wanted to be in love again and (B) I had this little voice that said, "Hm, maybe I'd really like to do a play again." And Daniel called me, if not the next day, two days after. I have a very hard time saying no to him.
What was "life-changing" about Ode to Joy?
Playing that character, Adele, became very close to my heart. Just her life struggle, playing a complicated character like that, but mainly just what happens when you work on something with people over a long period of time--the friendships that develop. It's really special, this work in the theater when you're all sort of in the trenches together. It can be a really fulfilling experience, and working with Craig and Arliss and Roxanna, we all were of the same sort of mindset, and it felt blessed.
The first time we read it, we did a public reading at the Cherry Lane, and that went over so well. I'm a company member of Atlantic, I've been trying to find something to do over there for years, and Neil [Pepe, Atlantic AD] was hoping possibly we'd do it at Atlantic. It took a while for the slot to open up at Rattlestick, so we did readings of it.
Do you especially enjoy acting in new plays as opposed to revivals?
I just go where the work is. I love what Rattlestick stands for in terms of supporting new work and doing work that other people maybe wouldn't be brave enough to do, and it feels like it's about the work more than it is about anything else.
Working with Daniel and working with Rattlestick exposed me to a whole community of young playwrights and directors and actors in New York which I felt completely cut off from doing Law & Order. I really didn't do anything besides Law & Order when I was doing that job. Daniel has this huge community with Rising Phoenix and the stuff they do at Jimmy's. His philosophy of you can make theater anywhere with anything for no money, you can do a play in a day, that it's for the people, by the people, of the people, I really love that. I want to support him in whatever way I can, whether it's doing site-specific work in somebody's backyard on Long Island, or this.
What can you tell us Afghanistan, Zimbabwe, America, Kuwait?
Well, it's a play about war. A postapocalyptic near-future. I think it's an antiwar play. Not an anti-soldier play. There's some dream states, there's some nightmares, there's a lot coming at the audience in lots of different ways and lots of different levels. I would say there are aspects of it that are bleak, and very beautiful. We're here [at Judson] because it's a great big open square. They've basically built a desert in there. It's gorgeous to look at, the technology that they're using in terms of projections and the lighting and the music, it's really stunningly beautiful.
Is it set in those places named in the title?
It's in the desert; it could be many places.
What does it say that maybe hasn't been heard in other works about war?
You know, I don't have a lot of experience seeing a lot of war films, plays about war, soldiers. It's not what I'm necessarily drawn to, but more and more I find myself being sucked into things like The Walking Dead that is not something that I would think I would like at all intellectually. And I don't respond to it intellectually; I respond to it with my heart: the way the world feels like it's going, the way we've f---ed up the environment, quite probably beyond repair, and we're all moving in the direction of trying to figure out how to survive what we've done. I find myself drawn to things that feel more like life-or-death, and how do we get by, how do we work together to get through where we find ourselves in a wasteland. I think that's what Daniel's trying to get at.
What kind of audience reactions are you anticipating?
I will be curious to see. Like all of Daniel's work, it encompasses all aspects of humanness. There's some really ugly stuff and there's some really beautiful stuff. I hope that it will be moving and also really thought-provoking about war and about the cost of war and where we're headed.
How did you prepare for this role?
I've done some research in terms of reading things written by soldiers, written by mothers of soldiers. Right now I'm reading Trumbo's book Johnny Got His Gun, and just thinking about war and the politics of war, the money involved. I love that Pope Francis is talking about how people are making a lot of money off of wars.
Have you done political theater in the past?
That's where I thought I would go when I was in college. I was very interested in political theater, and I did a lot of it while I was at school, and imagined myself having that kind of life--doing theater for specific communities to try to bring about activism and be an activist myself. Somebody might go to see Craig's piece and think it was a political statement in that my character had both a husband and a girlfriend, but it was just up there. The Grapes of Wrath could be considered political, and Speed of Darkness was about Vietnam vets and how their lives were altered by the war.
You mentioned seeing Big Love at Signature Theatre last winter. Have you seen other shows in New York recently that made an impression on you?
I have, yeah. The Insurgents at Labyrinth and Bedlam's two versions of Twelfth Night. I loved Rasheeda Speaking. I absolutely loved Fun Home--I feel like that's kind of a miracle of a show. I just saw An American in Paris and I loved that, for other reasons. I really love being an audience member as much as I like being an actor.
Did Law & Order feel theatrical in any way?
We got to work with so many amazing New York theater actors. And Vincent, obviously, is just a hugely talented actor, hugely creative, and was always coming up with theatrical ways of doing that job. And it's not on paper--a lot of that came out of his own head and a collaboration between him and Rene [Balcer, co-creator of the series]. The scenes I had a lot of fun with were where we were putting on characters to catch a criminal, where we'd really get to skewer people.
Once I got over the sort of shock of the life change that [doing a TV series] is, I cried. Every day I would cry, missing my daughter--she was 5 when we started, and I was gone for 18 hours five days a week, would come home as the sun was coming up on a Saturday morning. I think during that time I felt very much like a worker bee: go and punch the clock, do my job, go home, try to have as much of a home life as I could.
Would you ever do episodic television again?
Sure I would. It was nice to have a steady job, and a family, so to speak, of a crew that we worked with for 11 years. It scares me to think about just because of what it does mean for your life, and I hopefully would be choosy in what I do.
You got your first professional job while still in college, so you've had a long career at this point. Does it ever feel like you've been at it too long?
Sometimes I wonder, because the business has changed so much. I'm almost 50. I refuse to get plastic surgery of any kind. I don't tweet, I don't have a website. I don't even own my name [as a URL]; someone else bought it, so I'd have to buy it from someone if I wanted to create a website with my name. I'm not willing to adapt in the way that a lot of people are, and that's been my case really from the beginning. I've always put my kids and my family first. So those choices have maybe affected my opportunities. Now in my "old age"--my middle age--I just want to be happy, and enjoy being home when I'm home and enjoy working when I'm working. I used to spend a lot of time in the not-so-distant past worrying about work and what other people are doing and why am I not doing it, and I don't want to do that anymore. I really am so happy with the opportunities that come my way, and I love being home. I have a really full life--dogs, kids... My daughter's at Bennington, and my son is 11. He's going into sixth grade, so there's a lot still to be done at home.
What else have you been working on lately?
I'm involved with several new plays in development, a couple of which I've been attached to for a year or more--playwrights who I love whose work I really want to be a part of and support. As far as any concrete thing, I don't have anything lined up. Turning 50.
Any special birthday plans?
I'm hopefully going to take my kids to Disney World. Hopefully going to go on a trip with my sister and some of my girlfriends. Go to New Hampshire--my mom turned 75, and her husband turned 90, so we're going to have a triple birthday celebration. It's going to be a whole summer of celebration of life. That sounds good to me.
Now in previews and set for a June 9 opening, AZAK is presented by Rattlestick Playwrights Theater, not at the company's usual home on Waverly Place but in the Gym at Judson (Memorial Church), also in Greenwich Village. It's the third Rattlestick play--and the second costarring Seth Numrich--that Erbe's done since hanging up her badge as NYPD detective Alexandra Eames, partner of Vincent D'Onofrio's Det. Robert Goren. Last year she starred as a bisexual artist battling addiction in Rattlestick's Ode to Joy, opposite Arliss Howard and Roxanna Hope. Her other post-Law & Order theater credits include Nikolai and the Others at Lincoln Center Theater and Vineyard Theatre's Checkers.
BroadwayWorld interviewed Erbe on a bench in Washington Square Park, across the street from Judson. The park was full of cap-and-gown-clad graduates and their loved ones lingering from the graduation held earlier in the day for NYU--which just happens to be Erbe's alma mater.
How'd your collaboration with Rattlestick start?
The first play that I did with them was Daniel Talbott's Yosemite. An actress dropped out at the last minute. My agent is Seth's agent and is very good friends with Daniel, and he suggested me for the part, and I had a blast and really fell in love with Daniel's writing. I feel like his perspective is different from anybody else's, and the way that he articulates things is in so many ways exactly what I want to hear on a deep level. The way he talks about love, the way he talks about humanity. So I couldn't wait to work with him again. After that show, [Rattlestick artistic director] David Van Asselt said, "I'm going to find something else for you," and that's how I ended up doing Craig Lucas' play Ode to Joy, which was a two-year, life-changing journey for me. That was also the fifth play I did in 2½ years, and I needed to take a break. Just from being away from home the way you are when you do theater--missing bedtimes and stuff--so I basically swore off plays. And then I found myself in the audience of Tina Landau's production of Big Love. That play made me feel (A) like I wanted to be in love again and (B) I had this little voice that said, "Hm, maybe I'd really like to do a play again." And Daniel called me, if not the next day, two days after. I have a very hard time saying no to him.
What was "life-changing" about Ode to Joy?
Playing that character, Adele, became very close to my heart. Just her life struggle, playing a complicated character like that, but mainly just what happens when you work on something with people over a long period of time--the friendships that develop. It's really special, this work in the theater when you're all sort of in the trenches together. It can be a really fulfilling experience, and working with Craig and Arliss and Roxanna, we all were of the same sort of mindset, and it felt blessed.
The first time we read it, we did a public reading at the Cherry Lane, and that went over so well. I'm a company member of Atlantic, I've been trying to find something to do over there for years, and Neil [Pepe, Atlantic AD] was hoping possibly we'd do it at Atlantic. It took a while for the slot to open up at Rattlestick, so we did readings of it.
Do you especially enjoy acting in new plays as opposed to revivals?
I just go where the work is. I love what Rattlestick stands for in terms of supporting new work and doing work that other people maybe wouldn't be brave enough to do, and it feels like it's about the work more than it is about anything else.
Working with Daniel and working with Rattlestick exposed me to a whole community of young playwrights and directors and actors in New York which I felt completely cut off from doing Law & Order. I really didn't do anything besides Law & Order when I was doing that job. Daniel has this huge community with Rising Phoenix and the stuff they do at Jimmy's. His philosophy of you can make theater anywhere with anything for no money, you can do a play in a day, that it's for the people, by the people, of the people, I really love that. I want to support him in whatever way I can, whether it's doing site-specific work in somebody's backyard on Long Island, or this.
What can you tell us Afghanistan, Zimbabwe, America, Kuwait?
Well, it's a play about war. A postapocalyptic near-future. I think it's an antiwar play. Not an anti-soldier play. There's some dream states, there's some nightmares, there's a lot coming at the audience in lots of different ways and lots of different levels. I would say there are aspects of it that are bleak, and very beautiful. We're here [at Judson] because it's a great big open square. They've basically built a desert in there. It's gorgeous to look at, the technology that they're using in terms of projections and the lighting and the music, it's really stunningly beautiful.
Is it set in those places named in the title?
It's in the desert; it could be many places.
What does it say that maybe hasn't been heard in other works about war?
You know, I don't have a lot of experience seeing a lot of war films, plays about war, soldiers. It's not what I'm necessarily drawn to, but more and more I find myself being sucked into things like The Walking Dead that is not something that I would think I would like at all intellectually. And I don't respond to it intellectually; I respond to it with my heart: the way the world feels like it's going, the way we've f---ed up the environment, quite probably beyond repair, and we're all moving in the direction of trying to figure out how to survive what we've done. I find myself drawn to things that feel more like life-or-death, and how do we get by, how do we work together to get through where we find ourselves in a wasteland. I think that's what Daniel's trying to get at.
What kind of audience reactions are you anticipating?
I will be curious to see. Like all of Daniel's work, it encompasses all aspects of humanness. There's some really ugly stuff and there's some really beautiful stuff. I hope that it will be moving and also really thought-provoking about war and about the cost of war and where we're headed.
How did you prepare for this role?
I've done some research in terms of reading things written by soldiers, written by mothers of soldiers. Right now I'm reading Trumbo's book Johnny Got His Gun, and just thinking about war and the politics of war, the money involved. I love that Pope Francis is talking about how people are making a lot of money off of wars.
Have you done political theater in the past?
That's where I thought I would go when I was in college. I was very interested in political theater, and I did a lot of it while I was at school, and imagined myself having that kind of life--doing theater for specific communities to try to bring about activism and be an activist myself. Somebody might go to see Craig's piece and think it was a political statement in that my character had both a husband and a girlfriend, but it was just up there. The Grapes of Wrath could be considered political, and Speed of Darkness was about Vietnam vets and how their lives were altered by the war.
You mentioned seeing Big Love at Signature Theatre last winter. Have you seen other shows in New York recently that made an impression on you?
I have, yeah. The Insurgents at Labyrinth and Bedlam's two versions of Twelfth Night. I loved Rasheeda Speaking. I absolutely loved Fun Home--I feel like that's kind of a miracle of a show. I just saw An American in Paris and I loved that, for other reasons. I really love being an audience member as much as I like being an actor.
Did Law & Order feel theatrical in any way?
We got to work with so many amazing New York theater actors. And Vincent, obviously, is just a hugely talented actor, hugely creative, and was always coming up with theatrical ways of doing that job. And it's not on paper--a lot of that came out of his own head and a collaboration between him and Rene [Balcer, co-creator of the series]. The scenes I had a lot of fun with were where we were putting on characters to catch a criminal, where we'd really get to skewer people.
Once I got over the sort of shock of the life change that [doing a TV series] is, I cried. Every day I would cry, missing my daughter--she was 5 when we started, and I was gone for 18 hours five days a week, would come home as the sun was coming up on a Saturday morning. I think during that time I felt very much like a worker bee: go and punch the clock, do my job, go home, try to have as much of a home life as I could.
Would you ever do episodic television again?
Sure I would. It was nice to have a steady job, and a family, so to speak, of a crew that we worked with for 11 years. It scares me to think about just because of what it does mean for your life, and I hopefully would be choosy in what I do.
You got your first professional job while still in college, so you've had a long career at this point. Does it ever feel like you've been at it too long?
Sometimes I wonder, because the business has changed so much. I'm almost 50. I refuse to get plastic surgery of any kind. I don't tweet, I don't have a website. I don't even own my name [as a URL]; someone else bought it, so I'd have to buy it from someone if I wanted to create a website with my name. I'm not willing to adapt in the way that a lot of people are, and that's been my case really from the beginning. I've always put my kids and my family first. So those choices have maybe affected my opportunities. Now in my "old age"--my middle age--I just want to be happy, and enjoy being home when I'm home and enjoy working when I'm working. I used to spend a lot of time in the not-so-distant past worrying about work and what other people are doing and why am I not doing it, and I don't want to do that anymore. I really am so happy with the opportunities that come my way, and I love being home. I have a really full life--dogs, kids... My daughter's at Bennington, and my son is 11. He's going into sixth grade, so there's a lot still to be done at home.
What else have you been working on lately?
I'm involved with several new plays in development, a couple of which I've been attached to for a year or more--playwrights who I love whose work I really want to be a part of and support. As far as any concrete thing, I don't have anything lined up. Turning 50.
Any special birthday plans?
I'm hopefully going to take my kids to Disney World. Hopefully going to go on a trip with my sister and some of my girlfriends. Go to New Hampshire--my mom turned 75, and her husband turned 90, so we're going to have a triple birthday celebration. It's going to be a whole summer of celebration of life. That sounds good to me.
Saturday, May 23, 2015
Kathryn article at A MOVIE COLLECTION
The perfect complement to Vincent D’Onofrio’s character in Law &
Order: Criminal Intent (Robert Goren) was his partner in crime (no pun
intended) Alexandra Eames, played by the unique Kathryn Erbe.
She calls herself a “blue collar actor”, but in reality she’s so much
more than that. Kathryn began her career as a member of the Steppenwolf
Theatre Company and starred in some critical-acclaimed plays, A
Streetcar Named Desire and The Grapes of Wrath among them.
I remember watching her in a movie called Rich in Love. It is one of
those films featuring some true gifted actors, not exactly “movie
stars”: Ethan Hawke, Piper Laurie, Albert Finney and Kathryn herself. It
was such a great experience, as Erbe’s portrayal of Lucille Odom
displays enough expertise while allows you to take a glimpse of her work
ethic.
However, every great actor finds a way to expand their own horizons by
taking the most challenging roles available for them. In some cases, it
doesn´t necessarily implies earning millions of dollars or having your
name all over the place in showbiz TV shows on a daily basis. Actually,
it takes so much more than that.
This is exactly what Kathryn Erbe did in Oz. Shirley Bellinger, a woman
in death row, was the perfect character to showcase her skills, and
great enough to disturb the audience and got them thinking for a change
about the nature of evil and the darkest side of mental illnesses.
Kathryn Erbe was completely exposed as an actress both physically and
emotionally, during every scene of Oz in which she appears. Bellinger is
a mother who drowned her own daughter by sinking her car in a river.
She's so disconnected from the real world that uses kinky, emotionless
sex as the only way to express her feelings.
The execution scene of Shirley Bellinger shows how great Kathryn Erbe
is. No wonder why she stated later in an interview that after this
character, she knows how to check out and not be affected by all the
stuff she portrays on screen.
The cold murderer and evil mother beg for forgiveness just seconds
before being hanged, but the law was stronger than her survival
instincts. The whole sequence is extremely frightening and Kathryn’s
performance is raw, wild and perfect.
Fortunately, we will always have Alexandra Eames, her most memorable
character, to remind us that true friendship lasts forever. Kathryn
worked very hard and along with Vincent D’Onofrio endured long hours of
filming to create such a memorable TV show. Worth the effort, as she
embodied a tough and determined detective able to solve the most tricky
cases with the help of her brainy partner Robert Goren.
Even if the show never turned into any cheesy comedy à-la Bones to
appeal to a wider audience, Kathryn and Vincent are still the perfect TV
couple who gave us the best of their talent for almost a decade.
Pretty much as Vincent himself, Kathryn Erbe is a real actress whose
passion for what she does goes beyond shallow recognition by the media.
She knows exactly where she stands both as a woman and artist... and
that’s all that matters.
Saturday, May 9, 2015
.Sunday, February 1, 2015
Picture of the Week
Yesterday I watched CI season 1 Faith again. I hadn't watch a whole Criminal Intent episode in ages.
Plus Vincent tweeted about the show. Sigh, so good memories.
Wednesday, October 8, 2014
Last Week Tonight: Civil Forfeiture
I love Kathryn so much. Watch the last 4 minutes of Last Week Tonight: Civil Forfeiture of October 6th. They got the Alex clothing very close. Gosh, I miss Criminal Intent.
This week’s topic on the brilliant Last Week Tonight with John Oliver is
civil forfeiture, which “sounds like a Gwyneth Paltrow euphemism for
divorce” but is actually the method by which law enforcement can seize
people’s property without them being charged with a crime. As has become
the expectation, Oliver provided a thorough overview of the situation.
He particularly focused on the absurd concept that it’s not the people who are on trial but their stuff. All of this led him to conceive of a hilarious new television show: Law & Order: Civil Asset Forfeiture Unit. Starring real-life Law & Order alumni
Jeff Goldblum, Robert John Burke, Kathryn Erbe, and John Fiore, the
trailer featured such wonderful absurdities as Kathryn Erbe handcuffing a
sofa and Jeff Goldblum playing bad cop while interrogating a pile of
money.
Oliver also touched on the protests in Hong Kong (surprisingly
polite!), the elections in Brazil (surprisingly crazy!), and the 2022
Winter Olympics (unsurprisingly unpopular!). Turns out, no one wants to
host the Winter Olympics except for Kazakhstan and China, so Oliver
decided to offer up the Last Week Tonight studio as another
option. For some reason, they didn’t make that video available on
YouTube (even though it featured the unicorn, the space gecko, and not
one but two mini-fridges of Coca-Cola products) but if that changes,
we’ll post it here.
In the meantime, here are some of Jeff Goldblum’s outtakes from Law & Order: Civil Asset Forfeiture Unit.
Saturday, May 31, 2014
Tumblr Found of the Day
I showed this to Rene Balcer, the
creator/producer of “Criminal Intent” (he bought a bunch of the Goren
& Eames pieces from “These are Their Stories”), and his response was, “I don’t think Eames would stop at his neck….”
Wednesday, April 30, 2014
Wednesday, April 9, 2014
The Artie Lange Show with Kathry Erbe
Yesterday was an amazing day. Blanca sent me a personalized Ode to Joy program with Kathryn's sign and greetings. I also got a beautiful Easter card by Alberto and a little addition was the TV Guide edition with Norman Reedus on it. JIPPY!
I also saw a tweet by the Artie Lange Show, saying Kathryn was a guest on Monday. After a little research I found:
I'm so glad they also offer a podcast. What a Gem! Listen to Kathryn from minute 25 on.
It's a big overview of her career, talking about Soap Operas (better money than library), What About Bob (smoking and Bill Murray leaving the set), Criminal Intent and her relationship to Vincent. I love that she said it was like a marriage. Eames' eye-rolling was built around Goren. She also talks about getting older, her daughter with her own show biz projects and Ode to Joy.
The biggest surprise, they also filmed the interview and posted it on youtube. Enjoy the whole interview 17 minutes and also watch Kathryn.
Thursday, September 26, 2013
Natural Affection's Kathryn Erbe on Playing Strong Women, from Streetcar to Law & Order
I really love this interview. Sigh about the words about Vinent andallthe insight of the different roles. I can't wait to meet Kathryn on Saturday.
By Kathy Henderson
September 25, 2013
Law & Order fans remember Kathryn Erbe as unflappable detective Alexandra Eames on the Criminal Intent
franchise, but the Massachusetts-born actress is also a Tony-nominated
stage vet and ensemble member at Chicago’s Steppenwolf Theatre. In the
past 18 months alone, Erbe has taken on demanding roles in two
off-Broadway premieres (Yosemite and Checkers), and she’s currently breathing new life into William Inge’s 1963 family drama Natural Affection,
which opens on September 26 at the Beckett Theatre on Theatre Row,
produced by The Actors Company Theatre. The warm and self-effacing Erbe
offered a career overview in her Role Call.
Role That Was the Most Surprising
“I’m kind of embarrassed to say that when I first re-read A Streetcar Named Desire [1997, Steppenwolf Theatre], I didn’t feel I could relate to Stella. Why would this woman stay with this guy? But my then-husband [director Terry Kinney] knows me well, and once we started, I fell in love with Stella and Stanley and Tennessee Williams. It was mind-blowing, particularly as I grasped his deep respect for humanity in all its forms, the lowest of the low in particular. Every role I play teaches me something, and that one informed so much of the work I did afterward. Gary Sinise [Stanley] is such a giving, supportive person, and it was a joy to go to the places Stella and Stanley went with him. These two people were absolute soul mates. It was just an epic, tragic love story.”
Role That Was the Most Demanding
“It never occurred to me that Law & Order: Criminal Intent [2001-2011, as Detective Alexandra Eames] would last so long. Being on a major network television show is like long-distance running: You have to pace yourself and maintain your energy level and your morale. There’s the role you’re playing on the show, and there’s also your behind-the-scenes responsibility to the crew, the guest actors and the fans—not to mention your own life as a mom. It was a joy to play a character who always knew what to say and do, who was strong and brave in the world of men and in the face of evil people. [Co-starring with Vincent D’Onofrio] was like a marriage, and what I hope will be a lifelong friendship. I admire his talent, his work ethic and the standards he set for himself. We had highs and lows, and I’m extremely proud that we made it out the other end as a team. It was an honor to be in the trenches with him.”
Role That Got Me Back On Stage
“After Law & Order, I was eager to get back to the theater, and when Rattlestick sent me Yosemite [2012, as Julie] by Daniel Talbott, I read the play sort of ravenously. As usual, I thought ‘There’s no way I can play this part.’ She was a ferocious mother who is at the end of the line—bankrupt emotionally and in every other way—with three beautiful children and one dead child. I hadn’t done a play in 15 years, and I was terrified of going on this harrowing emotional journey, but it was a labor of love. That’s true of every play I’ve done, either for the story or the character. Yosemite opened doors for me in the New York theater community in amazing ways. There’s a whole world of fearless young theater makers here who put shows together on a shoestring budget and with gigantic hearts.”
Role That Is the Least Like Me
“The woman I’m playing now, Sue in Natural Affection, is all the things I never allow myself to be: She’s in control, and she will do whatever it takes to get what she wants. William Inge had read an article about a woman who rejects her son, and the son commits a senseless act of violence after being released from a work farm. Inge was known for rural dramas like Picnic, but this play was his response to stories about how urban youth of the early ’60s were acting out. The play wasn’t well received 50 years ago, but it’s fascinating and terrifying. I’m having to give myself permission to do things in front of an audience that I should not do. But I also get to be thrown down on a bed by an incredibly handsome 35-year-old who is built like a superhero. That’s awesome!”
Role I Wish I Could Have Played Longer
“I loved playing Mary in The Speed of Darkness [1991, Best Featured Actress Tony nomination] by the late Steve Tesich. My character was the daughter of a Vietnam vet, played by Len Cariou, who has become a successful businessman in a small town. Robert Sean Leonard played my high school boyfriend, and we had to be the ‘parents’ of a bag of flour. It gets smashed at the end by Len after one of his platoon members, now homeless and deeply disturbed, reappears. Stephen Lang played the part, and I will never forget sitting on stage, talking with him on the phone as he was standing behind me. It was a magical moment—the first time I felt I was living my dream as an actor. The play opened during the Gulf War, and nobody wanted to see a war story then. It had been closed a long time when I got the Tony nomination, and I was shocked! Irene Worth won, but I was thrilled to be in that company.”
Role I Resisted, Then Fell in Love With
“It took enormous courage for [ex-husband] Terry [Kinney] to send me Checkers [2012, as Pat Nixon]. I never liked him to boss me around [as a director] when we were married, so it wouldn’t have occurred to me that we could work together after we were divorced. Reading it, I felt like I was in a dream. Doug McGrath is such a throwback. ‘Elegant’ is the word that comes to mind—I adore the way he turns a phrase. I called Terry and said, ‘I don’t relate to this woman, but if you really think I can do it, I will trust you.’ Once we started, I was shocked by how deeply I understood Pat Nixon and how close she was to the women I descended from in terms of what they expect from themselves, how they comport themselves and their duty to their men. The key for me was a long monologue in which she tells Nixon why she believes in him when he is doubting himself. I absolutely fell in love with her and with Doug’s beautiful play.”
Role That Was the Most Surprising“I’m kind of embarrassed to say that when I first re-read A Streetcar Named Desire [1997, Steppenwolf Theatre], I didn’t feel I could relate to Stella. Why would this woman stay with this guy? But my then-husband [director Terry Kinney] knows me well, and once we started, I fell in love with Stella and Stanley and Tennessee Williams. It was mind-blowing, particularly as I grasped his deep respect for humanity in all its forms, the lowest of the low in particular. Every role I play teaches me something, and that one informed so much of the work I did afterward. Gary Sinise [Stanley] is such a giving, supportive person, and it was a joy to go to the places Stella and Stanley went with him. These two people were absolute soul mates. It was just an epic, tragic love story.”
Role That Was the Most Demanding“It never occurred to me that Law & Order: Criminal Intent [2001-2011, as Detective Alexandra Eames] would last so long. Being on a major network television show is like long-distance running: You have to pace yourself and maintain your energy level and your morale. There’s the role you’re playing on the show, and there’s also your behind-the-scenes responsibility to the crew, the guest actors and the fans—not to mention your own life as a mom. It was a joy to play a character who always knew what to say and do, who was strong and brave in the world of men and in the face of evil people. [Co-starring with Vincent D’Onofrio] was like a marriage, and what I hope will be a lifelong friendship. I admire his talent, his work ethic and the standards he set for himself. We had highs and lows, and I’m extremely proud that we made it out the other end as a team. It was an honor to be in the trenches with him.”
Role That Got Me Back On Stage“After Law & Order, I was eager to get back to the theater, and when Rattlestick sent me Yosemite [2012, as Julie] by Daniel Talbott, I read the play sort of ravenously. As usual, I thought ‘There’s no way I can play this part.’ She was a ferocious mother who is at the end of the line—bankrupt emotionally and in every other way—with three beautiful children and one dead child. I hadn’t done a play in 15 years, and I was terrified of going on this harrowing emotional journey, but it was a labor of love. That’s true of every play I’ve done, either for the story or the character. Yosemite opened doors for me in the New York theater community in amazing ways. There’s a whole world of fearless young theater makers here who put shows together on a shoestring budget and with gigantic hearts.”
Role That Is the Least Like Me“The woman I’m playing now, Sue in Natural Affection, is all the things I never allow myself to be: She’s in control, and she will do whatever it takes to get what she wants. William Inge had read an article about a woman who rejects her son, and the son commits a senseless act of violence after being released from a work farm. Inge was known for rural dramas like Picnic, but this play was his response to stories about how urban youth of the early ’60s were acting out. The play wasn’t well received 50 years ago, but it’s fascinating and terrifying. I’m having to give myself permission to do things in front of an audience that I should not do. But I also get to be thrown down on a bed by an incredibly handsome 35-year-old who is built like a superhero. That’s awesome!”
Role I Wish I Could Have Played Longer“I loved playing Mary in The Speed of Darkness [1991, Best Featured Actress Tony nomination] by the late Steve Tesich. My character was the daughter of a Vietnam vet, played by Len Cariou, who has become a successful businessman in a small town. Robert Sean Leonard played my high school boyfriend, and we had to be the ‘parents’ of a bag of flour. It gets smashed at the end by Len after one of his platoon members, now homeless and deeply disturbed, reappears. Stephen Lang played the part, and I will never forget sitting on stage, talking with him on the phone as he was standing behind me. It was a magical moment—the first time I felt I was living my dream as an actor. The play opened during the Gulf War, and nobody wanted to see a war story then. It had been closed a long time when I got the Tony nomination, and I was shocked! Irene Worth won, but I was thrilled to be in that company.”
Role I Resisted, Then Fell in Love With“It took enormous courage for [ex-husband] Terry [Kinney] to send me Checkers [2012, as Pat Nixon]. I never liked him to boss me around [as a director] when we were married, so it wouldn’t have occurred to me that we could work together after we were divorced. Reading it, I felt like I was in a dream. Doug McGrath is such a throwback. ‘Elegant’ is the word that comes to mind—I adore the way he turns a phrase. I called Terry and said, ‘I don’t relate to this woman, but if you really think I can do it, I will trust you.’ Once we started, I was shocked by how deeply I understood Pat Nixon and how close she was to the women I descended from in terms of what they expect from themselves, how they comport themselves and their duty to their men. The key for me was a long monologue in which she tells Nixon why she believes in him when he is doubting himself. I absolutely fell in love with her and with Doug’s beautiful play.”
Friday, September 13, 2013
Memory Wall
For a current landcomm challenge we have to write and do graphic about monsters or relationship. For one of my entries I gave Bobby and Alex a photo wall for their together living room. You can find my other entries here at my LJ.
Thursday, September 5, 2013
Tuesday, August 27, 2013
Shirley Bellinger Lovebar
I made a Shirley Bellinger Lovebar for my big Bingo landcomm entry. You can find the whole entry including 16 different tv shows here at my LJ.
I also used Criminal Intent (plus references to Jo) for the Dialogue Only part.
"Eames?"
"It's me, Bobby."
"Hey Bobby, how are you?"
"Fine...fine."
"What?"
"Eames...Alex?"
"What, you frighten me, Bobby. What's wrong?"
"Please have a seat."
"Bobby, you..."
"I got a call today."
"A call?"
"A call from Jo Saint-Clair.”
"Jo Stain-Clair?"
"Commander Jo Stain-Clair, Homicide Paris."
"Why you are called by the French police?"
"He read all our reports. Saw the contact notes."
"All right?"
"You really have a seat, Eames?"
...
"Eames?"
"Yes, I rest on my couch."
"Nicole."
"Oh God...no!"
"Nicole Wallace."
"No, no, no."
"Nicole was in Paris."
"We found her heart Bobby. We found her fucking heart in a cooler. In this damn honeymoon suit."
"I know."
"The DNA matched."
"I know."
"Dr. Rodgers checked it trice."
"I know."
"Gage."
"I know, Eames. Declan killed her."
"How?"
"I don't know."
"I need a drink."
"Make it straight."
...
"Eames, are you still there?"
"We need to."
"Fly to Paris. I already booked two flights. Take off from JFK in three hours. I meet you at the airport, gate 4."
"How is this possible?"
"I don't have a clue? I hope Saint-Clair can shed light on the whole situation. But he sent a photo. It's her!"
"Shit."
"See you at the airport in an hour."
"Bobby, we have no competence in Paris, Europe, or wherever this bitch is right now."
"I know Eames, but I don't care."
Saturday, August 10, 2013
Nicole Wallace
Status: ALIVE!
And very well in Paris by the way.
I watched Jo this international 8 episode production with René Balcer as show runner and Jean Reno as sad but brilliant cop in Paris.
There were Jill Hennessy as regular but also Sam Waterstone in one episode.
Yesterday they aired the last two episodes. But 'The Catacombes' blow me away.
I read Olivia's name and was very excited. I knew she was the killer and she was so much Nicole.But as they took her finger prints the Interpol proof was made: SHE IS NICOLE WALLACE.They mentioned the NYC investigations of her cases, even read reports of Bobby about Nicole's behavior (but unfortunately never named the both Detectives).In the end her DNA with the bloody heart didn't match, but she could quote her card to Bobby that he would be the only one she'll ever love.
ARG, they didn't make another season of Jo.
Bobby and Alex are out in the streets of New York and Nicole is somewhere as well.
I always knew she tricked with this heart in Frame.
Watch here a short clip.
Sunday, June 16, 2013
A summary of all Law and Order: CI episodes:
Found this funny summary at here tumblr...the gif at the end is hilarious.
Eames: I’m supposed to keep an eye on you.
Goren: Let me know if I can help.
Medical Examiner: Everything is horrible. Here’s everything you need.
Eames: Obligatory sarcastic comment.
Goren: That guy did the thing.
Eames: -finds guy via cleverness and sarcasm-
Goren: Vague comments about criminal.
Criminal: Oops, I’m a murderer.
Captain: Good job, Goren.
Friday, May 17, 2013
To the Boy...
...in the Blue knit cap.
Lately popped up a few new on set photos of the last Criminal Intent shooting. Click for more Vincent. (Thanks Judith for the first one)
Sigh, I miss them solving crime.
Wednesday, April 10, 2013
All Things Alex Eames...
...collected by my wonderful friend gorengal.
See the entry here at her LJ. I can't wait for more news about the next SVU episode.
Friday, December 14, 2012
Law & Order: Criminal Intent: The Final Year
To pre order on DVD now - Release Date: March 12, 2013
I miss season 9 on DVD, oh no I don't really miss this season.
- Actors: Vincent D'Onofrio, Kathryn Erbe
- Directors: Jean de Segonzac
- Format: NTSC
- Region: Region 1 (U.S. and Canada only.)
- Number of discs: 2
- Studio: Shout! Factory
- DVD Release Date: March 12, 2013
- Run Time: 330 minutes
2-disc set with the final 8 episodes will be available in the first half of March
Friday, November 23, 2012
What if..?
Short drabble written for tvholics at the LJ.
CHALLENGE: Channel Abed, and explain using your knowledge of TV meta and canon, what may have been had something happened just a bit differently.
Title: What If...?
Timeline: Bobby Goren after 'Do you love her?' asked by Dr. Paula Gyson. – 10 x 05 Trophy Wine
Characters: Bobby Goren + Dr. Paula Gyson
Rating: K+
Word Count: 170
A/N: With beta help of gorengal.
"Do you love her?" Dr. Gyson asked the Detective after he talked about his partner and how much he respected her.
Bobby fell silent, his eyes wide open. He was always good in responding to direct questions and attacks but this took him off guard. He needed to lean back.
"That wasn't a trick question, Detective. You’re safe."
"I...I admire her. She has my respect."
"I know, you said this," Paula answered, and leaned closer. "Do you love Alexandra?"
"Alex," Bobby corrected her.
"Do you love Alex?"
"The last thing she would need is for me to hit on her," Bobby whispered.
"I didn't ask you what SHE needs."
"Yeah...” Bobby collected his thoughts. “I, I talked myself into that she is like a sister to me."
"But?"
"I have romantic feelings for her," Bobby confessed, cradling his face into his hands.
"What do you fear?"
"I need our working friendship and partnership. I can't..."
"Yes."
"What if I destroy everything? I would fall apart."
"No."
"I feel so lonely."
Timeline: Bobby Goren after 'Do you love her?' asked by Dr. Paula Gyson. – 10 x 05 Trophy Wine
Characters: Bobby Goren + Dr. Paula Gyson
Rating: K+
Word Count: 170
A/N: With beta help of gorengal.
"Do you love her?" Dr. Gyson asked the Detective after he talked about his partner and how much he respected her.
Bobby fell silent, his eyes wide open. He was always good in responding to direct questions and attacks but this took him off guard. He needed to lean back.
"That wasn't a trick question, Detective. You’re safe."
"I...I admire her. She has my respect."
"I know, you said this," Paula answered, and leaned closer. "Do you love Alexandra?"
"Alex," Bobby corrected her.
"Do you love Alex?"
"The last thing she would need is for me to hit on her," Bobby whispered.
"I didn't ask you what SHE needs."
"Yeah...” Bobby collected his thoughts. “I, I talked myself into that she is like a sister to me."
"But?"
"I have romantic feelings for her," Bobby confessed, cradling his face into his hands.
"What do you fear?"
"I need our working friendship and partnership. I can't..."
"Yes."
"What if I destroy everything? I would fall apart."
"No."
"I feel so lonely."
Monday, October 1, 2012
100 Drabble - Undercover
Title: Rehabilitate
Prompt: Undercover
Flavor: Criminal Intent + SVU info
Characters: Robert Goren + Danny Ross
Rating: K+
Word Count: 98
A/N 1: With beta help of gorengal.
"Goren."
"Captain."
"So you're a US Marshal now?"
"Yes."
"And they gave you my case?"
"They did," Bobby nodded, and took the chair in front of Ross. For a brief second an image with the same setting flared up. But the last time Bobby was undercover and Danny his contact.
"Eames?"
"Terrorism task force at Homeland."
"So you separated?"
"Not really," Bobby shrugged, touching the ring at his left hand.
"Oh," Danny's eyes snapped open. "Congratulations."
"Thank you." It was hard for Bobby to control his gleaming face. But they needed to concentrate to rehabilitate the 'dead' man.
Prompt: Undercover
Flavor: Criminal Intent + SVU info
Characters: Robert Goren + Danny Ross
Rating: K+
Word Count: 98
A/N 1: With beta help of gorengal.
"Goren."
"Captain."
"So you're a US Marshal now?"
"Yes."
"And they gave you my case?"
"They did," Bobby nodded, and took the chair in front of Ross. For a brief second an image with the same setting flared up. But the last time Bobby was undercover and Danny his contact.
"Eames?"
"Terrorism task force at Homeland."
"So you separated?"
"Not really," Bobby shrugged, touching the ring at his left hand.
"Oh," Danny's eyes snapped open. "Congratulations."
"Thank you." It was hard for Bobby to control his gleaming face. But they needed to concentrate to rehabilitate the 'dead' man.
Subscribe to:
Posts (Atom)
