"THIS IS US", nueva serie de Justin para NBC

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Re: "THIS IS US", nueva serie de Justin para NBC

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- Nuevas imágenes bts del elenco de "This is Us" (06-20 Sept 2016):

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(@justinhartley: Premiere of @NBCThisisUs two weeks from today with this crew. @sterlingkb1 @MiloVentimiglia @TheMandyMoore
@sterlingkb1: #StarTrek50 shot on the same set that we're on now! @justinhartley @skelechiwatson
@sterlingkb1: @justinhartley beat me in arm wrestling...easily! #Vengeance
@JustinHartley: This is us reading about @NBCThisisUs
@SullivanTweet: #ThisIsUs #TheManny @justinhartley @nbc @NBCThisisUs The actual selfie)




- Video bts de la S1 (09-09-16):

https://twitter.com/justinhartley/statu ... 7375101952


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- Why Soap Vet Justin Hartley Just Had to Do NBC’s Buzzy ‘This Is Us’ (The Wrap):

http://video.thewrap.com/previews/8IhB8n5B-dzHfLYyE


Fotos de la entrevista: AQUÍ


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- Nuevas imágenes promocionales de "This is Us":

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- "This Is Us" | First Look (Sneak Peek):
https://twitter.com/NBCThisisUs/status/ ... 3301872640


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- "This Is Us" | "Critics" Promo:


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- Justin Hartley apuesta a que seguro lorraréis y habla sobre la vinculación con Alan Thicke (TVLine):
Justin Hartley apuesta a que seguro lorraréis y habla sobre la vinculación con Alan Thicke
Por Kimberly Roots / 19 Septiembre 2016, 2:21 PM PDT


By the end of This Is Us‘ first episode, characters we’ve barely met (yet already care about) experience quite a few extremes of the human condition. There’s budding love. Sibling bonds. A terrible loss. A life-affirming reconnection.

And then there’s Kevin, a very attractive and often shirtless Los Angeles actor who’s unhappy that his lucrative sitcom role is a waste of his time, talent and purpose.

Smallville alum Justin Hartley plays Kevin, and he’s highly aware that his character’s woes may seem a trifle less relatable than, say, those of Chrissy Metz’s Kate (who’s battling obesity) or Sterling K. Brown’s Jack (who’s just found his birth father). “But being frustrated at work? Everyone has had that. Having that work frustration carry over to your personal life? Everyone has also had that,” Hartley says good-naturedly.

Add in that Kevin is feeling the pressures of age — the premiere takes place on his 36th birthday — in an industry obsessed with youth, and “it’s like this perfect storm,” adds the TV vet, who has had memorable roles on Passions, Revenge, Emily Owens, M.D. and most recently The Young and the Restless. “You have the age, unhappy at work and lonely at home. Really, the only thing he has in his life worth anything — besides a paycheck, but who really gives a damn about that? — is his sister [Kate].”

The premiere finds Hartley sharing a scene with Growing Pains dad Alan Thicke, who plays himself, as they prepare to tape an episode of Kevin’s show The Manny. (For spoiler reasons, we can’t tell you exactly what goes down. We can tell you that if ever there were a poster boy for chiseled ennui, Hartley’s Kevin is it.) “We worked together one day, and at the end of the day, I feel like we’re best friends. The guy is awesome,” he says, laughing. “He’s just unbelievable, and so gracious and kind. What a nice guy.”

We also won’t reveal the big twist at the end of the hour; make sure to check in with TVLine immediately following the East Coast airing for a post mortem with series creator Dan Fogelman. But we got Hartley to tease a bit about how Kevin’s life gets a little less lonely — though probably even less comfortable — when Salem’s Janet Montgomery shows up as an acerbic theater actress/potential love interest named Erin.

“She doesn’t take Kevin very seriously as an actor or an artist,” he says, “and she has her opinions about him based on what she thinks he’s all about, what he must be all about because he puts hair product in his hair.”

He adds: “She’s not this warm person right off the bat, but she may warm up to him later.”

As TVLine pointed out in our review, the feelings-laden This Is Us has serious ugly-cry potential; Hartley certainly backs that up when we ask which episodes will reduce us to a pile of emotional destruction.

“[Episode] 2 for sure… 3, 4, 5 and — I just read 6 — also 6,” he says, laughing.

This Is Us premieres Tuesday, Sept. 20, at 10/9c on NBC.



https://tvline.com/2016/09/19/this-is-u ... ama-kevin/

- Por qué "This Is Us" es una serie "Que la gente necesita ahora mismo," según Justin Hartley (instyle):
Por qué "This Is Us" es una serie "Que la gente necesita ahora mismo," según Justin Hartley
Por Samantha Simon 19 Sept, 2016 @ 4:15 PM


When the trailer for NBC’s new drama This Is Us was released back in May, viewers immediately took to the multi-storyline two-and-a-half minute preview. Within just two days of being released, the video broke records after it was viewed more than 15 million times on the show’s Facebook page. To date, it has amassed more than 64 million views on the social media platform alone. The series—which follows a group of characters connected by a shared birthday—finally premieres this Tuesday, Sept. 20, at 10 p.m. ET, and after getting an early sneak peek at the pilot, we can promise you this: It’s worth the hype.

The show stars Mandy Moore, Milo Ventimiglia, Sterling K. Brown, and Justin Hartley among its ensemble cast—a group that never predicted just how much buzz the series would garner after its trailer came out. According to Hartley, who plays TV actor Kevin on the show, everyone involved was surprised by the overwhelming fan response. “It was sort of a whirlwind,” the star recently told InStyle. “We all knew that we were working on something really special, but just the sheer number of people that watched the trailer is mind-blowing—and I don’t think anybody expected it.”

Of course, it’s what comes after the trailer that Hartley is more focused on. “People who have actually watched the pilot already seem to love it and that’s what’s really exciting for me,” he said. “A lot of times you watch a trailer for something, and then by the time you get to see the actual movie or show, you realize that the best parts were in the trailer. So to know that’s not the case here and people are actually taking to the show itself is pretty thrilling.”
Paul Drinkwater/NBC/NBCU Photo Bank

The fact that This Is Us resonated with an audience before viewers even saw a full episode makes sense when you think about the diverse web of characters featured in the trailer. “We have so many different stories going on on the show, and they all sort of intertwine,” said Hartley. “But the characters are all grounded and likable so I think people can really relate to their storylines. There’s something there if you have children or want to have children, if you’ve lost a loved one, if you’re frustrated at work or in your relationship, if you’re addicted to something or something’s got a hold on you, or if you’re sad. Basically, if you’ve got a heart beating in your chest, I think you can relate to the show.”

While This Is Us will definitely give you the feels—seriously, keep a box of tissues on hand during Tuesday night’s episode—it’s not meant to totally bum you out. In fact, the series maintains a feel-good vibe even as its characters struggle through their personal issues and they manage to maintain their senses of humor while doing so. “It’s just funny—and everybody likes to laugh,” Hartley said. “You don’t see it in the trailer much but the pilot is freakin’ hilarious. So that’s what I’ve been telling people: You will laugh through these tragedies.”

And that rare sentiment is what truly makes the show tick. “Every time you turn on the TV, you see some kind of heartbreaking story,” Hartley said. “This is something people can really lean on and find a bit of respite in, so I think it’s something that people need right now, on a bigger scale.”



http://www.instyle.com/reviews-coverage ... c-premiere

- Justin Hartley sobre si es o no más exitoso en la vida real que su personaje de "This is Us" (parademagazine):
Justin Hartley sobre si es o no más exitoso en la vida real que su personaje de "This is Us"
Por Paulette Cohn 20 Septiembre, 2016 – 10:08 AM


It was surprising when Justin Hartley returned to daytime television as Adam Newman on The Young and the Restless, because he had been doing so well in primetime with roles on Mistresses, Revenge and Emily Owens, M.D. But the former Passions star knew something the rest of us didn’t know: He had an out for the right primetime television show and when he got the script for This Is Us, he knew it was the one.

“I’ve never read anything quite like it before and I thought, ‘Gee! If I have an opportunity to go do this, it would be wonderful,'” Hartely tells Parade.com in this exclusive interview. “So I just wanted to see what would happen. I was lucky enough to get it.”

In the ensemble drama, which is being called NBC’s new Parenthood, Hartley plays Kevin, an actor with a hit TV series titled The Manny, who is fed up with the lame scripts and the fact that he is always shirtless, who pines for better acting roles.

His twin sister Kate (Chrissy Metz) has a serious weight issue and, as is so often true in the case of twins – even fraternal ones, they have a very close bond and try to help each other through life’s crisis.

More than that can’t be revealed without giving away the twist that comes at the end of the first episode, but we did get a little more scoop from Hartley. Following is what he had to say in comparing his career and Kevin’s, the stories they will be telling, playing a twin, his upcoming indie movie and more.

I’m assuming you didn’t need to do a lot of research to play a character who’s an actor. But you’re obviously more successful than Kevin is. Was there something special about him that made you want to play him?

Here’s the thing, yeah, I’m not sure I am more successful than Kevin. You learn more about him as the series goes on. There is a really quick conversation when you learn more about his résumé. On paper, he’s had a successful acting career. You know how this stuff works, it’s like impossible to get on a show, so when you get on a show that’s successful and it runs for a few years, that’s like you just won the lottery.

So I’m not sure success-wise if I’m more successful than him. I think what’s happening is the combination of his age, where he is in his life, and him starting to become aware of how other people perceive him. And, I think, that’s what’s bothering him. I’m sure he’s like, “I’m on a show. It’s great. I’ll rework this character a little bit. We’ll make it a little less goofy, less about my body, more about the acting.” So he’s struggling with the fact that [his bosses are] just not interested in that.

So, I think, it’s partially due to his age, and partially due to where he is in his career, and partially due to the fact that he’s looking at his personal life. I don’t think he’s probably had any significant relationship that was anything that he could probably hold on to and say, “Man, if this girl leaves, I’ll be heartbroken. I really want to cherish this.” I think his only real relationship is with his sister. So a lot of that stuff I maybe don’t relate to, but I can certainly sit down and look at it and be like, “Oh, wow! That’s pretty deep. This guy’s got to get moving.”

Was there something special that you and Chrissy did in real life to achieve the chemistry you need to make the relationship real on screen?

Let’s see, is there anything that I did? I have a couple of friends who are twins that I asked questions, like: “Is it true that if one twin lives in New York and one lives in London, and one stabs their toe, do you feel that? Is there a thing there?” And oddly enough, I mean, you hear about it and it’s kind of bizarre, but it’s true. They told me, if there’s a crisis or a problem happening, they say they feel it. So, that’s kind of interesting.

I don’t have a twin, but I do have a brother and sisters, and I do know that there is a special bond there that is — I’m going to say – closer. It’s different. It’s closer than having a best friend. It’s easier to forgive them. I think it’s also easier to get mad at them. You feel a little piece of yourself in them. It’s one person on earth that you can talk smack about your parents to without feeling like you’re speaking bad about your parents. They just get it, right?

And I think Kevin and Kate have a sort of co-dependent relationship. It’s just a little unhealthy. They lean on each other for every single thing, and it’s a matter of trying to figure out, as adults, can they survive on their own and have their own lives as adults would?

Can you talk about the kinds of stories we’re going to see?

I can say that you’ll see that Kevin’s got to make a decision. Can he quit this wonderful, high-paying job? Like I said, on paper it’s wonderful. Does he fall in line, be a spoke-in-the-wheel, and do this thing and just say, “Well, this where I am?” Or does he, in fact, say, “No, forget it! This isn’t what I wanted. I am going to take myself seriously. I want other people to do the same and I’m going to pursue other avenues?” Which would produce many different conflicts, contractual and otherwise.

And then Kate’s being led around by this weight issue instead of taking control of it. She meets this guy and they do start to have a different perspective on how she can control her life and her happiness.

Also, Randall (Sterling K. Brown) has finally found his biological father. You’ll see that that changes so many things for him, in the way that he thinks about his future and his past. What he thought was so, “This is the way thing’s must have been,” he starts to realize that’s not at all what it was. And holy crap, here we go. He’s figuring out his identity, as well.

So, these characters go very, very deep into this, and it will keep you laughing, as well. I know everyone keeps saying, “Watch it with a box of tissues,” but it is funny as well.

This Is Us is being compared to Parenthood. Do you consider that a good thing because that was the last, really good family show that was on TV?

I think the interesting thing that people say is, “Well, it’s kind of like…,” and then they’ll pull out the word Parenthood. Then like just what you said, it’s so cool. You said, “Do you consider that a good thing because that was the last, best family drama that was on.” So, everybody liked it, and if you’re being compared to a show that was successful and everybody liked, that’s always a good thing.

I’ve also heard that it’s parallel to Modern Family a bit because they’re funny. [Executive producer] Dan [Fogelman] made a parallel comparison to Lost, which I think is pretty interesting. But, yeah, anytime you can be compared to a show that had success, found an audience, touched people, and that people are excited about, I think that’s a good thing.

In addition to this series, you have a movie called Another Time. Can you talk about that?

A friend of mine came to me with a script, which was really good actually. It was basically a love story and a time travel project. It’s like: Can you go back and live the life that you were supposed to live that something messed up along the way? Is that possible? It’s an interesting idea that if you did things differently, could you have had what you think you wanted, and then, if you go back, do you realize that’s not what you wanted in the first place?



http://parade.com/508636/paulettecohn/j ... his-is-us/?

- Justin Hartley habla sobre la montaña rusa emocional que es ‘This Is Us’ (hollywoodlife):
Justin Hartley habla sobre la montaña rusa emocional que es ‘This Is Us’
by Avery Thompson 20 Sept, 2016 9:47am EDT


‘This Is Us’ is the show that everyone’s talking about. HollywoodLife.com talked to Justin Hartley EXCLUSIVELY about his character, Kevin, and he reveals everything you need to know about Kevin before watching the series premiere. Warning: Get your tissues ready!

This Is Us focuses on the lives of six individuals in very different routes of life. Justin, 39, plays Kevin, a sitcom actor, who finds himself at a crossroads in his life. HollywoodLife.com talked EXCLUSIVELY with Justin at PaleyFest in Los Angeles, and he told us all about Kevin’s journey on the show.

“He’s starting to feel the truth of the matter, the cold reality’s hitting him that he’s sort of there because he does sit-ups and pushups and they want him to take his shirt off all the time,” Justin told us. “It’s not why he wants to be there. He’s sort of loses it at work, and not only because of that but it’s more of a combination of things. He’s turning 36. That’s a turning point in his life, where he’s like I should be more than I’m doing right now.”

In the trailer, we see Kevin quit his job on the sitcom — in front of everyone. That moment is his breaking point, when Kevin realizes he wants more out of life.

“I don’t have a girlfriend, I don’t have a potential girlfriend,” Justin continued. “I have no meaningful relationships, except maybe with my sister. I’m not fulfilled at work. I think he sort of starts to have a little bit of a panic attack and takes it out onstage. The journey for him will be: Does he apologize and go back to work? Does he stick to his guns and figure out what he’s going to do for the rest of his life? Does he meet someone? Does he try to pour into something else? He’s gotta figure out how to work, how to live.”

Things may start to look up for Kevin as the show goes on. Janet Montgomery, 30, has been cast as a potential love interest named Erin. “We’re having a great time. We’ll see how it works out. I don’t know if I would call it romantic but it’s fun and funny,” Justin told us.

This Is Us also stars Milo Ventimiglia, 39, Mandy Moore, 32, Sterling K. Brown, Chrissy Metz and Chris Sullivan. By the end of the first hour, you’ll likely be crying your eyes out. The show has total Parenthood vibes. This Is Us is one of the best shows to come around in a long time. Watch it and prepare to fall in love. The show premieres Sept. 20 at 10 p.m. ET on NBC.


http://hollywoodlife.com/2016/09/20/jus ... interview/

- Creador de 'This Is Us' sobre el giro de la Premiere y el "buen llanto" (THR):
Creador de 'This Is Us' sobre el giro de la Premiere y el "buen llanto"
Por Amber Dowling 20 Sept, 2016 8:00pm PT


[Warning: This story contains spoilers from the series premiere of NBC's This Is Us.]

To say that NBC's This Is Us was among the fall's most highly anticipated premieres would be an understatement. Since the trailer for the Dan Fogelman-created drama dropped in May, the YouTube clip has raked up millions of views — scoring 15 million in just 48 hours. And the drama delivered a heartfelt hour (perhaps unrivaled since the conclusion of Jason Katims entry Parenthood) with its premiere Tuesday.

The series, one of two new fall entries from Fogelman (who is also responsible for Fox’s Pitch), revolves around a group of people who go through various life events on their 36th birthdays. Kate (Chrissy Metz) decides it’s time for her to stop making excuses and is finally ready to get in shape. Her twin brother Kevin (Justin Hartley) goes through an existential career crisis and has a meltdown in front of a live studio audience. Randall (newly minted People v. O.J. Simpson Emmy winner Sterling K. Brown) seeks out his adoptive father who abandoned him the day he was born when he left him at a fire station. Then there's Jack (Milo Ventimiglia) and Rebecca (Mandy Moore), who are preparing for the birth of their triplets.

But what that trailer didn’t show was the huge episode-ending twist that packs the pilot's biggest emotional punch: a clever time jump that reveals that Jack is the head of this family — he's Kate and Kevin’s biological father and the man who adopted Randall that same day he and Rebecca's third baby died.

Now that the game-changing reveal is out of the bag, THR sat down with Fogelman to discuss crafting those emotional punches and what they mean going forward, playing with time jumps, making audiences experience “the good cry” and avoiding Hollywood clichés.

Congratulations on the pilot. Where does the show go after such a big reveal?

The structure of the show is very similar in the coming weeks in that it’s interconnected stories. We have four main stories as our main storylines. We’ll be cutting back and forth between those the same way that we do in the pilot. They start commenting on each other because of the way the series progresses and all the stuff that happens in the pilot. So Mandy and Milo’s story is the story of a young couple raising a family, but that storyline will jump around in time. It won’t just be the couple taking the babies home from the hospital, it’s going to be the story of marriage and family. The pilot may have ended with them having the babies, but the second episode starts in 1988 and you see them eight years after having those kids. Then the third episode will go right back to the day they brought the babies home from the hospital.

Have there been limitations in how big of a time jump you can take given the actors' ages?

In terms of aging Milo and Mandy, it’s really subtle stuff when you really analyze it. It’s not like from 36 to 42 years old we become unrecognizably different people. Our hairstyles change, we age a little bit. We might use a little less or more makeup. It’s not that hard to do, it’s just that you have to be precise and thoughtful and do it the right way. Milo’s facial hair is a huge benefit to us. He’s so malleable with his look because we’re really able to place ourselves in different periods just based on the beard and mustache.

Is it true you asked Milo to stop working out for the role but he held fast?

Yes! He doesn’t stop working out. We told him that his character is a dad, and so you don’t see a lot of dads who look like him. He says sometimes he lets himself go, but we all dream of looking like Milo (laughing).

What’s the strategy for keeping those emotional punches rolling in the coming weeks?

It’s all life. I find the most interesting moments in life are the really small moments that can be much bigger in retrospect. The moment you met your wife or husband. The moment you decide to change career paths. These things aren’t always in front of national audiences, but sometimes the little things that define us as people have the most impact. In the pilot, we had Sterling’s character reuniting with his biological father and there are a lot of questions and animosity that come out of it. That’s a lot of raw emotion to be mined. You don’t need the birth of a baby or a twist in the pilot to get that emotion.

Is the goal to get audiences crying each week?

When we started shooting our second episode, Milo has this speech that really made me cry behind the monitors. I don’t think that’s happened to me in a really long time. But it was a good cry; it was beautiful and real. That’s the goal at least: the good cry. I like those old movies from the 1970s … we don’t make a lot of them anymore but Kramer vs. Kramer, Terms of Endearment. Those comedies were funny and captured something in life but they gave you a good kind of emotional release. My wife and I always get the screeners at the end of the year and it’s gotten harder and harder to watch the slug of films that are Oscar-nominated, they’re really dark. Our show has characters that are flawed and who do stupid things but they mean well and they’re trying to be better at the end of the day. That’s maybe an experience we can all relate to. That’s the human experience. We step in it over and over again but we keep trying to do better the next day and that’s where the emotion will come from.

Are monologes your go-to for drawing that emotion?

We think of it as a stage play, it’s really just about the moments in the dialog and the writer’s performances. It’s lighting it beautifully, working really hard on some carefully constructed scripts and then letting the actors go. There’s not a lot happening, no action sequences or car chases. We let the actors breathe a little bit. The scene in the pilot with Gerald McRaney and Milo in the hospital (seen above) — you don’t get a lot of shows with scenes of just two people sitting in chairs taking for that long without anything really happening. There’s a lot of silence and a lot of space. That’s one of the things that draws me, is watching great actors do that.

Was there a cathartic release in writing Justin Hartley’s character meltdown?

Not for me necessarily. I’ve had a different experience on the comedy front. I’ve only done two shows [ABC's Galavant, Neighbors] but I was trying to do different stuff so I never had that claustrophobic work experience. My frustrations sometimes were with how they were aired or scheduled. With Justin, hopefully it’s more of how we all want to have that moment with our bosses at our job. Talking with all my friends when we sit and talk about our jobs over a beer, everyone is always frustrated with their boss and they feel underutilized and undervalued. So what Justin’s getting to do in that scene is kind of tell off the man in a public forum. Giving voice to that experience more than just the television experience. But it is hard. We’re in a business that the nature of the business is it’s run by ratings and testing dials and it can be very frustrating and stifling so there’s a little of that too.

The way Kate and Toby (Chris Sullivan) meet is very similar to how the leads on Mike and Molly met in their pilot — did you draw any inspiration from that show?

I’ve never seen Mike and Molly. My family on one side is very overweight so I’ve always wanted to do something touching on that battle. An overweight support group felt like a place where we go with some people to explore some stuff. But I didn’t know that.

What kind of conversations have you and Chrissy Metz had about integrating her own weight loss (or non-weight loss) with the character?

We’ve had lots of talks and there’s a big plan of how and when that will all happen. She’s probably going to try and lose weight at some point. It would be very TV of us to say, have her lose all of the weight in eight weeks. So we wanted to treat it really realistically and it’s an up and down battle. She’s going to have low points and maybe explore or try other options. She’ll have a big fall and then maybe a big rebirth. That’s one of many journeys in the show for her. But it’s also about the coming of age story for her. Chrissy as a human being is the most vivacious, outgoing, funny, talented person, but this character has gone a little inward and is living a little bit in her brother’s shadow. So it’s not just about the weight, it’s about coming out into the world. That doesn’t happen overnight.

Was there any specific inspiration surrounding Sterling’s adoption storyline?

I have a lot of friends who are adopting now, so a lot of that came from friends. Adopting now is different than from years ago. I wonder what adoption was like in 1979. Now we’re well-educated and we have therapy tools. People who are adopted tend to have a lot of support; there’s essentially a book on it and what you’re supposed to do and schools of thoughts on how you address it. Those tools didn’t always exist 36 years ago so I thought that was an interesting storyline to explore.

Would you classify all your leads as being in a coming-of-age story?

There’s hopefulness to the characters; they’re all at low points and they’ve all somewhat fallen, but now they’ll kind of grow up a little bit and come of age at 36 years old. That’s not an easy journey, it’s falling on your face over and over again, and just when you get here you screw it all up and restart again. That’s the slog for the characters. Hopefully it’s uplifting though because I’m not interested in characters screwing up, making mistakes, getting the crap kicked out of them and then you end your hour of television feeling worse than you did when you came into it. We want to show the human battle. We take little steps to be better, be better, be better, and then we f— up and it all goes back to zero again. That’s what raising kids is I think. You try your best, you try your best and then something’s going to happen and you’re going to have to wake up the next morning and start all over again. It’s the human condition, our work, our jobs. And that’s the show.



http://www.hollywoodreporter.com/live-f ... ned-929894?

- El creador de "This Is Us" explica el sorprendente final de la premiere (EW):
El creador de "This Is Us" explica el sorprendente final de la premiere
Por Dan Snierson 20 Sept 20 2016 — 11:38 PM EDT


SPOILER ALERT: This story contains key plot points from Tuesday’s series premiere of This Is Us.

If you tuned into the series premiere of This Is Us on Tuesday night, you just witnessed a reveal to remember — and a twist to talk about. Before you watched the episode, perhaps you knew that the promising NBC dramedy would focus on a group of disparate thirtysomethings who share the same birthday. But what you didn’t know until the very end of the episode was that they have a lot more than that in common: They’re all in the same family.

Yes, Kevin (Justin Hartley) the actor who just quit his hit sitcom in a what-am-I-doing-with-my-career? freak-out, Kate (Chrissy Metz), the twin sister personal assistant who is pledging to lose weight and gain direction in her life, and Randall, (Sterling K. Brown), the businessman who finds himself tracking down his biological father, William (Ron Cephas Jones), are actually the children of wildly-in-love couple Jack and Rebecca (Milo Ventimiglia and Mandy Moore). The couple were expecting triplets, but after the tragic loss of one during childbirth, they decide to adopt the baby that was brought to the hospital after being left at a fire station. That aha! moment, whenever it happened for you (Want a cigarette? How about some lemonade?), revealed the true nature of the series: This is a story of this family take place in different eras, with the parents’ saga unfolding in 1979, and their offspring’s tales unspooling in present day.

Before you rewatch the premiere or discuss it with loved ones, or head out to the store to stock up on more tissues, read this interview with series creator Dan Fogelman, who breaks down the big moment and previews what awaits the Pearson family.

ENTERTAINMENT WEEKLY: That was a pretty brilliant device to introduce us to the family, just in the way that twist washes over you. How did you go about designing it? Was it was always going to be at the end of the first episode?
DAN FOGELMAN: It was always designed to be exactly where it is. It was written as such. Looking back on the pilot, obviously the locations are very well-disguised. John and Glenn [Requa and Ficcara, who directed the episode and serve as executive producers] did a brilliant, brilliant job of making everything correct. Even the lighting palette of the rest of the show makes it so that segment doesn’t stand out but still looks very much of the time. The biggest thing was, in the original script, the firefighter didn’t light the cigarette, and that seems to be [the moment of realization] … If you have no idea coming into the pilot that there’s a twist in it, it’s pretty much 100 percent that you will be surprised by it. I found very few people who hadn’t. And it comes to everybody at different places in the last minute and a half.

There’s the lemonade conversation….
“Do you remember what Dad used to say when something crappy would happen to us?” And you cut to [Jack] right then. A few people are right on it right then. Very few. And then there’s a little more when he starts looking at two babies and people start going, “Hmmm….” Some people start attaching right then. They’re still not even necessarily going, “Oh, this is in the past.” But their synapses are firing. And then when the guy lights the cigarette, a lot of people — especially younger people who are not even familiar that that was a possibility — go, “What? What?” And some people go, “Oh!” And then the song starts playing and we start popping around.

But if you watch it in a room of 50 people, you hear murmuring. You get people who are talking to the person next to them. If somebody’s not getting it yet, sometimes it takes all the way through that song for people’s brains to be putting together exactly what they’ve just seen. People who have gotten it early are crying a lot the entire time. My father was out here [in L.A.] recently with my stepmother and my sister, and I showed them it. It ends and my stepmother and my sister are going, “Oh, my God. Dan, I loved it. It completely caught me off-guard!” And it’s been off for 20 seconds and my dad goes, “They’re all related!” I’d never seen that reaction. And we all just turned to my father and everybody busted up laughing because we didn’t know what he’d been thinking for the last 20 seconds. It was like his brain was still kind of catching up to all this. [Laughs.] It comes to everybody a little bit different.

We tested the pilot, which I’m not a believer in. I’ve had positive experiences and bad. My belief is that almost every show that’s been on television has tested pretty positively, and there’s been a great deal of not successful shows. So I believe there’s something broken with the system, and I don’t believe it’s fair if you think that, to point out when it goes in your favor. What was bizarre when I went to the testing for this one was when the line graph started [jumping] at the end. The [participants] turn the dials up [to indicate a positive reaction]. The beginning of the show is at the left and the end’s at the right. By the end, it was hitting such a steep climb that I remember thinking, “Oh, this must be good. It looks like it’s high,” and I remember noticing all of a sudden that the people that worked at NBC and Fox studio were taking pictures of the screen with their phones because it was going so off of the metrics they use to measure it. It was neat. Again, I take it with a grain of salt because I am the first one to say, “It’s meaningless and it’s pointless!’ So it’s not really fair.

You get your first hint at the beginning of the episode with the ’75-79 photos. It’s laid out right in front of you. What are some of the smaller ones that people might have missed?
A question people have is, “It was their birthday! If it was the three of them, why did they never call Randall?” And my thing would be, “They might have, it just didn’t happen on camera.” But then if you look at Randall’s computer in the opening montage, there’s an email from Kevin. If you freeze frame on the computer screen. It says, “Hey, Bro, happy birthday.” It’s when he’s tracking down his father. There are some photos scattered throughout, that if you were looking in the deep background close enough… And honestly, more than anything, the medical equipment in the hospital is really old but you don’t notice it. Hospital rooms where you have a baby haven’t changed that dramatically in the past 30 years. So part of the reason by making [Dr. K, played by guest star Gerald McRaney] an old folksy doctor is when he looks at his watch to time contractions, he feels like a doctor who’s old-school as opposed to a doctor who’s from an older time. And Gerald brought that so naturally.

Hala Bahmet​, our costume designer, did a brilliant job: Milo and the jean jackets. Where we got lucky, John and Glenn were always quick to point out is that look of 1979 is so in vogue at the moment that rather than looking like he’s living in a different time period, it looks like Jack is kind of a hipster living in Silver Lake.

John said, “Hipsters saved us.” And they mentioned that doctors and nurses will be the first ones to figure out the twists because of the equipment.
The equipment, and also the different roles. We had medical consultants taking us through every single step of what would be happening and what not during the delivery and stuff. But the jeans and jean jacket is the star of the period that permeated the entire time. I mean, in our biggest scene of the whole show, Milo is sitting there in full denim with long hair and a beard, and people are crossing in the background, and you don’t notice it.

You even think that the Terrible Towel is a vintage thing he bought on eBay or a throwback item.… So, you said that almost 100 percent of people were surprised. Were there versions in which you had the reveal a little more obvious but then pulled back? Were there versions in which it was even more difficult to figure out?
Our first edit, which I took time constructing with the guys, was pretty much [the same]. The first time we played it for people, people freaked out. It was a testament. The script did a good job of placing the scenes, and then it was up to John and Glenn to figure out exactly how they were going to do it, and they were meticulous. The script was kind of like, “Here’s the basic road map. You’re going to be just in a room.” But the design of all of it — it was our production designer, Dan Bishop, who’s brilliant and did the whole run of Mad Men and did my last movie, and Hala with costume, and then John and Glenn leading — it was meticulously done. So that it worked the first time we did it.

But when you were going into the process, you must have been worried that it was going to be too obvious or that it wasn’t going to be obvious enough to feel justified.
I was confident we got it right the first time. And we tested. I believed in testing, not the dial testing, but I bring people in, friends and regular people to meet them, make them watch it, and then talk to me after. And let’s say that after the fact 100 people saw it and three people were like, ”Oh, I thought something was up because of that box at the beginning that said 1975-1979,” then I would have taken that shot out. And that didn’t happen so we never changed it. And then the neurotic part of you hits a point where you’re scared to touch anything because it’s working so good. Something might be driving you crazy and you’re like, “You know what? I’m playing with fire. It’s working almost 100 percent of the time. I don’t want to tweak it and suddenly somebody notices something.”

So it’s a lot about showing it to people, and you say to people, “Who got the thing?” I would sometimes say in my edit bay with 10 people in the room, “I’m going to play back the ending for you right now with 10 people in my room, and raise your hand when you’ve got it, but don’t speak. Just raise your hand at that moment. Five minutes ago you watched this, and now I’m going to play it again. I want you to just raise your hand at the moment you got it.” And you’d see a lot of the hands went up around the cigarette, but some right after, some a few before. So I started getting a sense of the experience of it and I would just do that over and over again, until I felt confident that that was going to work on a bigger level.

Moving forward, what can we expect from the relationship between the three siblings? Is it hard to trump biology?
It’s hard to trump biology, but then it’s also hard to trump twins; it’s a really hard thing to get inside of for Randall. And then also with Randall and Kevin, there’s two different kinds of brothers. There’s the type of brothers who are intertwined, and then there’s the type of brothers who are always at odds with each other. And Kevin’s kind of person is his twin sister, so it puts this kid on the outside looking in. So there’s different dynamics.

The way this show will function generally speaking now that [the secret] is out is the same. There’s basically four storylines that are always intercut and interconnected. The difference is, is that the [Jack and Rebecca] story line, which will jump about in time, is not just the story of a fourth person or group of people the same age, but it’s the story of their parents when they were their same age. So you’re seeing the kids in the past and then their stories are affecting or commenting on their stories in the future. So it’s the same structure, four storylines. You’re intercutting between them all, but the difference being that one of the stories holds all the other characters in it as well.

And it informs all the other stories.
It informs all the other stories. So, in our episodes, the past comments on the future, and the future comments on the past, and at the ends of each episode you’re like “Oh, I get it all.” And it’s not always very literal. Sometimes it’s small, sometimes it’s very on the nose.

Will viewers find different kinds of surprises waiting for them at the end of episode 2 and beyond?
I think if you were going in blindly after episode 1, you’re like, “Whew, wow. I wonder what happens next.” I think you get a bunch of surprises, but two big surprises. The start of episode 2 is a surprise, and the end of it is really a surprise…. So there are surprises and you’re unfolding this family a little bit, because now the cat’s out of the bag about the device of the show, and now we can start expanding the audience’s knowledge. The only way I can describe it for people is: Imagine that you had 10 home videos of your childhood and your life, and you gave them to somebody and mixed them all up in a bag and said, “Watch them,” but you were watching them a little out of order. And that’s kind of how we’re going to open up the family… Some episodes are going to end with these big surprises. Some are going to end with a huge sense of completion and emotional fulfillment.

Randall is being raised by a white family in 1979, in Pittsburgh. How much will race factor into the story?
It’s a big storyline. It’s one thing to have an interracially adopted child here in Studio City, California, 2016. It’s another thing back in 1979, Pittsburgh. There’s multiple things going on there. There’s a white family in a predominantly white neighborhood adopting a black child. There are three children in one home which is a stress in and of itself. One of those children is replacing essentially a child who died, and with grief and loss. So there’s a lot of complicated elements in that storyline. And then there’s just the typical elements that happen in life. A friend of mine adopted two little girls from Ethiopia, a guy out here in Los Angeles. And there was a moment where his wife was at the mall with one of the girls. and a black woman came up to her and handed her a note and walked away. And the note said, “Fix your daughter’s hair.” And rather than it being a really upsetting thing, it was eye-opening. She was grateful. And I told that story in the [writers’ room]. And it’s become something that in our own way, we’re kind of utilizing in our writers room right now, something that happens to Rebecca with Randall.

Just like I don’t want all of Kate’s stories to be about weight, I don’t want all of Randall’s stories to be about race. But I also don’t want to be so blind as to say, “That isn’t a core part of his story and for this guy abandoned by a father and mother he never knew and adopted by a white family.” it’s a huge part of his identity. We’ve brought in speakers to talk to our writers, we’ve brought in speakers from weight places, Overeaters Anonymous, and people who’ve lost a tremendous amount of weight. We’ve brought in people that are experts on interracial adoption and adoption to speak to those kinds of things. It’s something we’re really trying to do the right way.

Should we be studying the small things on this show?
There are little things in the pilot that you won’t notice that are the entire basis of the third episode of the show, and there are things that are going to happen in this season in the seventh episode that will be the most important thing that happens in the third season of the show.



http://www.ew.com/article/2016/09/20/th ... ise-ending?

- Las estrellas de "This Is Us" hablan sobre el giro que cambia los acontecimientos de la premiere (EW):
Las estrellas de "This Is Us" hablan sobre el giro que cambia los acontecimientos de la premiere
Por Dan Snierson 20 Sept 2016 — 11:02 PM EDT


SPOILER ALERT: This story contains key plot points from Tuesday’s series premiere of This Is Us.

An actor who has an epic meltdown on the set of his hit sitcom. A perfectionist businessman who has just tracked down the biological father who left him as a baby at a fire station. A personal assistant who is ready to make some changes in her life, including the number on her scale. A man who is wearing nothing but a towel — a Terrible Towel — whose wife is about to give birth to triplets.

What do all of these people who are turning 36 years old have in common besides the same birthday? The series premiere of This Is Us just showed you in poignant, funny, and charming ways — as well as an extremely surprising one: They’re all related.

Yes, the NBC dramedy — which is the fall’s most buzzed-about new series — pulled off one of the most rewarding (and clever) pilot twists in recent years with this feel-good game-changer: Near the end of the episode, Jack (Milo Ventimiglia) and Rebecca (Mandy Moore), the couple expecting triplets, lose one of the babies during childbirth, but wind up adopting a baby who was brought to the hospital after being abandoned at a fire station. And when the camera pulls back, it reveals people clad in ‘70s clothes, while a TV set shows Walter Cronkite talking about Iran. The connections fired: Jack and Rebecca’s story takes place in 1979, and the three kids that they took home from the hospital that day were Kevin (Justin Hartley) and Kate (Chrissy Metz) — who were established earlier in the episode as twins — as well as Randall (freshly minted Emmy winner Sterling K. Brown). The episode took place in two different eras, unspooling a story about the parents at the same age as their children.

Perhaps you figured it out when you saw the firefighter offering Jack a cigarette in the hospital, with the three babies next to each other in the nursery. Or maybe it was when Kate prodded down-and-out Kevin to recall the proverb that their father used to repeat — “There’s no lemon so sour that you can’t make something resembling lemonade” — which winked at the poignant consoling conversation that Dr. K (Gerald McRaney) had with Jack. Let’s hope that it’s not right now as you read this story. Whenever you had that moment of “Ohhhhhh!” you’re probably aching with questions right about now. Click here for illuminating intel and perspective from series creator Dan Fogelman, and keep reading to see the cast members’ thoughts on the twist and their teases about what happens next. In addition, executive producers Glenn Ficarra and John Requa, who directed the episode, dish a few secrets about the big reveal below. To get you started, here’s a promising quote from Brown: “Dude, what you’ve seen in the pilot is the very tip of the iceberg.”

On the moment that the actors figured out the twist:

STERLING K. BROWN: Reading [the script], it started to slowly dawn on me. I remember specifically reading the camera pulling back and seeing everybody was wearing ‘70s-style clothes and lapels. And then Kate says, “What’s that thing that Dad used to say to us… about lemons and lemonade?” I think right around there was when I was like, “Oh my god… I’m the third kid?” My jaw was on the ground. I was telling my wife, “Ryan, you’ve got to read this! You’ve got to read this!” and she was like, “It’s pretty damn special.”

JUSTIN HARTLEY: I’m not going to lie to you, it wasn’t washing over me at all, until… the end, when he offered him a cigarette. I mean, I’m not going to be one of those guys who’s like, “I have a sixth sense! I knew!”… I was like, “Oh, damn!” Now I want to know the whole story, not only going forward, but I want to know the story going back the other way as well. You feel like you’ve got the whole thing, and then at the very end you realize you were in the middle. And you want to hear all the in-between moments and what happened when they were kids.

MANDY MOORE: I think most people aren’t clicking until he offers the cigarette to [Jack]. That’s the moment where you’re like, “Wait….” Even when I was reading it for the first time, I was like, “You can’t smoke in… a hospital!” That’s when I was like, “Oh, whoa!” Then they pull back, and you really see the television and what’s on the news…. I didn’t see it coming at all. Even seeing it for a fourth and fifth time — at this point when the reveal is about to happen, there’s that shot of him in the window, looking in the nursery, my adrenaline starts pumping and I start to feel this tingling in my body, oddly. And I know it’s coming, I was a part of this, but I have a very emotional response to it.

MILO VENTIMIGLIA: A, it was clever. B, it was something that was truly unexpected. I did not see that coming… When grown-up Kate says, “What was it that dad said about the lemons?” and then it cuts right back to Jack standing at the nursery window looking at the babies, you go, “Oh, wow. It’s a family. They’re all connected. This is how the show is going to work.” And knowing the lessons we learn as kids, the experiences that we have, the idea of having the parents the same age as the kids and that kind of mirror reflection of what they’re all going through, what they’re all experiencing, it’s a very genius move by Dan. I mean, he’s taking the most simple story — it’s a family — but then you’re going to see mom and dad the same age as all the kids, and then you’re going to see them at different ages.

CHRISSY METZ: It was when the paramedic came up to Jack at the window and he said, “Oh, we have a baby that was left at the fire station.” And I was like, “Wait, wait. What are they going to do with the baby?” And I was like, “Oh, I got it!” And of course then I was trying to be Magnum P.I., trying to figure it all out. But that was the moment for me…. [It’s] about not letting a terrible situation affect you to the point where you are just handicapped for life. You make lemonade out of lemons. Because things happen for a reason…. It’s so beautiful on so many different levels for me.

On the attempts to throw viewers off the scent:

JOHN REQUA: We did some things to blur the line. We put period cars in the modern storyline just to blur the line a little bit. But I feel like nurses and doctors will be onto it before anybody else. I feel nurses and doctors will watch the show and go, “Oh, come on! They haven’t used that in 30 years!”

GLENN FICARRA: The equipment is all out of date, and the costumes are fairly out of date, but as TV viewers, we accept a wide range of mistakes in shows… Originally, we were just going to shoot everything really tight — and Dan wrote very carefully — but the more we were shooting, the more we’re like, “You know what? Just show it all. I don’t think we’re going to have a problem.” You’re just not expecting it. I think that’s also in large part to do with the setup as saying it has to do with people with the same birthday, so you’re thinking along those lines, and it’s a really good misdirect.

On how today’s retro-hipster vibe also helped to hide the twist:

MOORE: Everything I was wearing, it was all vintage maternity stuff. The bra that I had on top of my T-shirt was vintage, like, deadstock. Everything was pretty period-correct…. I mean, I probably shouldn’t have, but when Milo and I were doing our fittings and we were taking still photos to use as set decoration, I took a picture of us and I put it on Instagram. I think I said something like, “1970s or hipsters? What do you think?” It was a bit more of a spoiler than the network probably wanted, but everybody was like, “Yeah, hipster.” “Hipster.” “Hipster.” I love that John and Glenn didn’t necessarily go out of their way. If you’re looking for it and paying attention to what’s going on around us, it’s pretty obvious that we’re in a different decade.

VENTIMIGLIA: People are just like, “Oh, wow. Denim on denim. A beard. Long hair. Yeah, this guy must live in Silver Lake.” There was definitely a kind of timeless quality, but yet, it worked today. And I know that was the thing even in the script that Dan had written: We didn’t want to give away, any nod, anything that was going to be telling that we were in 1979. And then I think working to our favor is just Mandy and I look like some cool, hip kids. [laughs]… When I got the job, knowing that we were going to be going back to the past — and I’d already walked into the room with a beard and my hair was already longer — Dan had said to me, “Grow your hair, grow your beard out, stop working out.” I think the idea was to not look too modern, so I was basically like, “Yes, yes, no. I got to work out just for my own well-being, sanity and health.” But I just kept eating.

On planting clues throughout the episode:

FICARRA: Every scene was set up as Easter eggs all over… the Terrible Towel. The [box labeled] ‘79 photos. I think there’s something in every scene, because we had specifically instructed people to put an Easter egg in every scene. So even in [Randall’s] office, I don’t think we see them very much, but there’s pictures on the desk, and there’s an autographed picture of [Steelers great] Franco Harris.

REQUA: We have to tip our hat to the hipsters of the world. Because in their bedroom, they have a vinyl record player. And [Jack’s] hair and his beard are exactly period, and his clothes and her clothes are exactly period. I live in Los Feliz; there are people dressed like that on the street every day. Hipsters really saved us.

On the relationship between the three siblings:

METZ: They’re all three very different. But you notice that Randall and Kevin might not be as close as Randall and Kate. And you find out later on because there’s a bit of a competition, and just as with any parent or with any family that adopts someone who is different, parents just instinctively want to pay more attention to them and whether they feel like they need to or if the child needs it or not, the parents overcompensate. And then the biological children may feel a little slighted and neglected in that way, and there’s a bit of resentment potentially.

HARTLEY: Early on, you get a glimpse of just how close [Kevin and Kate] are, and in the coming episodes as well we touch on things like this phenomenon where twins will feel pain when the other one is hurt, or they feel stress when the other one is going through something. And I think you start to see this codependence that’s maybe a little unhealthy.

On the show delving into issues of race with a white couple in Pittsburgh adopting an African-American child in the late ‘70s:

BROWN: I have a friend, African-American, who was adopted at birth by an all-white family. And so I immediately reached out to him, in terms of what his socialization was like. Did they raise him as African-American? Did he feel connected to his culture/community? What did he have to do in order to gain access to that community? So, I’m very interested in charting that journey for Randall as well. It’s going to be really interesting, as they go back in time, and see him as a young boy, see him at eight, see him at 13, and how and when he grows into the culture from which he came.

MOORE: That is a focal point for Randall’s character and [Jack and Rebecca’s] relationship with him. But having an adopted African-American child being raised by a white family in Pittsburgh in 1980 — it’s not Los Angeles, it’s not New York, it’s not a more cosmopolitan area.

On the relationship between Jack and Rebecca:

VENTIMIGLIA: Everybody talks about “best friends,” what not. They’re great partners. They’re pieces that fit together. They’re very loyal to one another and loving to one another, and supportive of one another. They’re a unit, but they’re getting ready for a very, very difficult time with three babies and it’s a different era. We’re not living in the world of night nannies and all that.

On the flashback device:

FICARRA: It gives you such a wider palette because you can see echoes of the past, what informed certain things. Sometimes they’re just interrelated thematically; sometimes there’s a direct cause and effect.

REQUA: We’re working on an episode right now where you really get into Randall’s character, and you see a guy who just recently got in contact with his father, and so here’s this certain guy who was raised in a white family, and is a high achieving guy, and he suddenly has this connection with this father who’s been living poor, and a difficult life with addiction and disappointments and tragedies. And then, at the same time, you’re discovering in the past how he has began to develop his black identity as well, and how his mother and his father saw that, began to realize that that was an important part of their job bringing him up as a child. So you’re getting the full picture of a character, and the elements of a character.

BROWN: [They] help to inform how the children, in the present, came to be the people that they are. The ways in which the past helped to shape the present. It just goes deeper. It’s a show that doesn’t fan out, it just becomes more deeply rooted into the earth.


http://www.ew.com/article/2016/09/20/th ... oore-twist

- This Is Us: Behind the scenes de esta m,uy anticipada serie de otoño (EW):
This Is Us: Behind the scenes de esta m,uy anticipada serie de otoño
Por Dan Snierson 20 Sept 2016 — 1:48 PM EDT


It’s morning rush hour in the Pearson household. Rebecca (Mandy Moore) hustles around the kitchen, managing breakfast for her boisterous children. Husband Jack (Milo Ventimiglia) zooms into the room, searches for some coffee, and pumps up the little ones with a sweet call-and-response family cheer: “First came…ME! And Dad said…GEE! Then came…ME! And Mom said…WEEE!”

We can’t share the rest of that chant. Or divulge what one kid is teasing another about. Or explain why there’s a whiff of marital tension. Or even describe the overbearing-parent dynamic. But we can tell you that this quotidian breakfast scene will vibrate with significance when you see it. “There’s a lot going on here,” stresses Moore. “It’s a show that definitely will break your heart,” sums up Ventimiglia, “but also kind of reach through and give it a hug at the same time.”

This is This Is Us, the NBC dramedy that’s one of, if not the most anticipated new series of the fall, according to critics and tens of millions of views of the show’s trailer, which teems with touchy-feels, optimism, and ache, plus a glimpse of Ventimiglia’s bare butt. The ambitious series follows a disparate group of 36-year-olds who share the same birthday. There are no government conspiracies to untangle, no scandals to be spun, no murders to get away with — these are just people on the precipice of big change, seeking better versions of themselves.

These people would be: Jack and Rebecca, who are dealt a bittersweet hand during the birth of their triplets; Kevin (Justin Hartley), the star of a hacky hit sitcom titled The Manny who risks it all by quitting his job in a Jerry Maguire-esque meltdown that goes viral; his twin sister/personal assistant, Kate (Chrissy Metz), who is pledging to change her life and shed weight while trying out a romance; and Randall (Sterling K. Brown), a perfectionist businessman/family man who suddenly finds himself tracking down his biological father, who abandoned him as a baby. How exactly these people are connected is something that won’t reveal itself right away, but when it does, it’s as much feel-good realization as it is game-changing jolt.

“That initial kernel was me looking to my right, center, and left at emails and Facebook updates from friends, and I was like ‘Holy s—, we’re all the same age and our lives could not be more different!’” says series creator (and Crazy, Stupid, Love screenwriter) Dan Fogelman of the show, which reunites him with Crazy directors Glenn Ficarra and John Requa. “Some people have four kids, and other people are unmarried with no kids. People are at the top of their professions, some people are saying, ‘I want to make a change before it’s too late,’ people are getting divorced, people are getting married, people are losing parents, finding parents. So I thought, ‘That’s a really interesting idea to follow these people who are all the same age.’ Then I thought, ‘What if even more directly, metaphorically, they were literally exactly the same age?”

He also thought to lace the show with flashbacks of formative moments from these characters’ lives as they navigate current crises, so “it’s almost like you’re the therapist for this group of people,” he explains. “You can slowly start to make the connections sitting on your couch, and you’re like, ‘Oh!’—in the way I can look at pinnacle moments in my life and childhood and go, ‘Oh, that’s why I’m doing that right now.’”

They’re hoping the audience responds with tears and laughs; the dramedy will court both while wearing its life-is-messy-but-it’ll-be-okay heart on its irony-free sleeve. (Parenthood fans in mourning are likely to find safe refuge here.) In discussing tonal influences, Fogelman — who also wrote Tangled and Cars, and created such offbeat TV series as Galavant — name-checks everything from Love Actually to Terms of Endearment to special episodes of Family Ties. “Some episodes are going to end with these big surprises,” he says. “Some are going to end with a huge sense of completion and emotional fulfillment.”

Ventimiglia — the Heroes alum whose recent roles have skewed dark (The Whispers) — responded to the show’s you’re-not-alone message. “This one felt hopeful,” he says. Meanwhile, Moore, who knew Fogelman from her Tangled role, was gun-shy from a run of busted pilots. “I was like, ‘I just don’t know if I have it in my bones anymore to go through this kind of rejection and heartbreak,’” she shares. “But then I read this and I was like, ‘Regardless of whether this moves forward, it’s so special…’” What also intrigued the cast was Fogelman’s desire to take the road less traveled with each character. The story of Randall, who is African-American, will address race, but he also becomes enmeshed in a poignant story when he learns that the dad (Ron Cephas Jones) he has just reconnected with is dying. “How close will you allow yourself to get to someone who’s been absent forever, and now may very well be absent again?” asks Brown.

To read more from our Fall TV Preview, pick up the latest issue of Entertainment Weekly, or buy it here – and subscribe for more exclusive interviews and photos, only in EW.

As for Kate, she is battling her weight, but her tale is also one of codependence with her famous brother, as well as a love story with her Hollywood-obsessed boyfriend (Chris Sullivan). “Typically when I’m auditioning for things, the plus-size girl is kind of the butt of the joke,” says Metz. “But [here we are] actually getting to her impetus to either want to change or why she is the way that she is…. We all have something that we’re not proud of. And whether it’s ‘I lied to someone,’ ‘I’ve gained weight,’ ‘I messed up my relationship,’ ‘I never had a relationship with my son or daughter,’ all of us can understand that. So that really touches on every level.”

Including a level that, as we mentioned, you might not see coming. “My jaw was on the ground,” recalls Brown of his reaction when he finished reading the pilot. “There’s this sort of mystical, meant-to-be-ness of it all.” Fogelman even ended that first script with a note of explanation of how the show will proceed after the revelation and signed off with ‘Love, M. Night Fogelman.’

If you’re getting a sixth sense that this isn’t your ordinary thirtysomething-characters-at-various-crossroads show, you aren’t alone. “I’ve never heard anybody talk like that about a trailer in my life,” says Hartley, “except maybe, like, ‘This new Star Wars trailer looks pretty cool!’” And the show’s high-visibility time slot after The Voice only ramps up the stakes. “All of a sudden you’re like, ‘Are they expecting it to launch to Super Bowl numbers?’” quips Fogelman, co-creator of another buzzy fall series, Fox’s Pitch.

For now the This Is Us team is just trying to focus on leaving the right kind of mark. Moore has a colorful metaphor to describe the vibe of the show. “It makes your heart feel just a little bit bruised, but a good bruise,” she says. “Where every now and then you push on it to make sure that it still hurts.” Save some tissues for Us this fall.



http://www.ew.com/article/2016/09/20/th ... re-preview

- NBC's This Is Us: ¡Contestadas preguntas calientes! Además, 5 veces en las que la Premiere (tranquilamente) nos spoileó el gran giro (TVLine):
NBC's This Is Us: ¡Contestadas preguntas calientes! Además, 5 veces en las que la Premiere (tranquilamente) nos spoileó el gran giro
Por Matt Webb Mitovich y Kimberly Roots / 20 Sept 2016, 7:59 PM PDT


One of the fall TV season’s better-kept secrets is out.

NBC’s This Is Us made its debut on Tuesday night, after a summer of generating significant buzz by way of its well-viewed, butt-baring, heart-tugging trailer. In short order, we met Jack and Rebecca (played by Milo Ventimiglia and Mandy Moore), happily marrieds about to welcome triplets; Kevin (Justin Hartley), a disgruntled sitcom actor, and his body issues-battling twin sister Kate (Chrissy Metz); and Randall (Sterling K. Brown), who having been abandoned as a newborn on a firehouse’s doorstep, has sought out his biological father.

The opening hour milked each character’s particular life event for much emotion, tempered by some smiles (thanks, Dr. Gerald McRaney!), until the final moments revealed a twist that connected the characters, something greater than a shared birthday: Jack and Rebecca are the parents of Kevin, Kate and Randall, the latter whom they adopted after losing one of their triplets during a difficult delivery. Meaning, at least in the pilot, Jack and Rebecca’s story is separated from their others’ by 36 years.

“I wrote the pilot on spec, basically, because I knew I couldn’t quite explain verbally what it was going to be,” This Is Us creator Dan Fogelman tells TVLine. “There was actually a note at the end of the script about what the series is going to be, because I felt it important that when people read it they got it. There was a plan in motion.”

So as Season 1 moves forward, scenes will be set in 2016 and 1980… and numerous periods in between. “We kind of refer to it as ‘a dramedy version of Lost,'” Fogelman says. For example, “You’re going to get a real feeling of the evolution of a marriage” with Ventimiglia and Moore’s characters, checking in on them before the pregnancy, or with the three children living at home. (That’s why the facial hair worn by Ventimiglia during press rounds doesn’t match the 1986 scenes; only the mustache is constant.) “You might even meet them in the present day,” Fogelman suggests, “as older versions of themselves.”

Fogelman, who mined similarly twisty territory with the film Crazy, Stupid, Love, concedes that what This Is Us aims to do is “very complicated.” But the potential for payoff was too irresistible. “If it works creatively, and I think it’s going to work, it’s going to be a really, really sophisticated attempt at a dramedy.” Born of a writers room populated by “playwrights and big brained people, each one smarter than the next,” he says, “We’re really trying to do something here.”

“We’re doing something really ambitious here in a medium that doesn’t always reward it,” Fogelman adds. And until the always unpredictable ratings roll in, “We’re being rewarded it for it simply by how great NBC is treating it,” with a summer-long promotional campaign.

Interestingly, This Is Us is one of two freshman dramas — the other being Fox’s Pitch — that Fogleman has debuting this week and concealing a significant twist. So forgive him if he’s been a bit on edge these past few months, raising an eyebrow when one particular NBC promo all but spelled out Kate and Kevin’s connection to Jack. But again, this isn’t new territory for the scribe.

“Crazy, Stupid, Love kind of launched my career, and it had this huge moment that really worked for people,” he recalls. “[A twist] works when you can watch back and not just say, ‘Oh, they surprised me for the sake of surprising me.’ It’s better when you can go back and go, ‘They surprised me and it makes sense for the episode and for the series.”


http://tvline.com/2016/09/20/this-is-us ... st-ending/

- El protagonista de "This Is Us" Justin Hartley nos cuenta, “Nunca he leído un piloto mejor en toda mi vidaI’"
(channelguidemag):

El protagonista de "This Is Us" Justin Hartley nos cuenta, “Nunca he leído un piloto mejor en toda mi vidaI’"
por Kellie Freeze 18 Sept, 2016


The trailer for NBC’s This Is Us has already garnered itself a cult-like following, and let me assure you, if you liked watching 2 minutes of the show, you’re gonna love the rest! And if you haven’t caught the remarkable trailer, check it out below. I chatted with star Justin Hartley about the fall’s most eagerly anticipated new series and I couldn’t stop myself — I gushed. But can you blame me? It’s like Parenthood meets thirtysomething; it’s an extra-special show that has heart and humor and follows the lives of intriguing characters who are tied by the fact that they share the same birthday.

And we think this is this fall’s best new series, which says a lot, because there are great new shows premiering in the next few weeks. But there is great, and then there is exceptional. And that’s an apt word to describe this series and the artists who are bringing it to life. And Hartley, whose previous work has included Smallville, Passions, Revenge, Revenge and The Young and the Restless is about to see his career launch into the stratosphere. Really, every member of this outstanding ensemble is about to be rewarded for excellent work; and lucky for us, the prize is getting to see more of this show.

Get to know Justin’s character Kevin:

Channel Guide Magazine: Hi Justin, thanks so much for taking time to speak to me on your day off. I appreciate it.
Justin: Of course. No problem. My pleasure.

CG: Justin, I have to be honest. The pilot for This Is Us had the entire Channel Guide Magazine office in tears. We’ve even named it one of our Top 9 New Shows For Fall.
Justin: Yes! Okay, good. I was going to say hopefully those are good tears and not tears like you’re going to stab yourself.

CG: Happy tears! Happy weeping. [laughing] When you first read the part of Kevin, what was your gut reaction?
Justin: The first thing I thought was I got very, very excited about the fact that I was re-energized again as an actor, and had that attitude of, “I have got to go get this.” I hadn’t had that in a while. It just sort of spoke to me. I know that sounds to cliché, but I don’t think I’ve ever had a role that I read where I was like, “Oh my god. This is so great. This is so beautiful!” Even though he and I aren’t identical, there are definitely things about him that I totally get and can relate to. On top of that, just the story, right? The story of these people and how they come together at the end there, and how they’re all sort of related, in what way they’re related.

When I finished reading the pilot, I remember thinking “I’ve never read a better pilot in my life.” Then I remembered thinking “I don’t think I’ve ever read a better episode of television in my life. This is amazing!” I couldn’t wait to figure out where it was going from there, and sit down with Dan after I got the job and talk to him about where all these characters were going. Just completely inspired and re-energized I think, you know?

CG: When you sat down with creator/ executive producer Dan Fogleman, what did he tell you about Kevin’s journey? What has surprised you about where this character is headed?
Justin: Yeah, so as you know in the pilot, we leave him with like, what’s he going to do? He quit his job — or so he says so. He has this meltdown. He’s sort of on this idea that I’m better than this. I can’t do this anymore. It’s driving me crazy to then, at the end of the pilot, going, “Oh my god, what have I done? Who does that? Who gives away … I fought my whole life to get a network series. I got a network series, and I just gave it away. What the hell is wrong with me?” You find out like what’s he going to do? Is he going to go back and grovel and try to get his job back, or is he going to stick to his guns and sort of throw his hat in the ring and go for it? Try to be a “serious actor” like he says?

Then also I like the idea of how his personal life is sort of mirroring or shadowing his professional life. He’s not fulfilled there either. It’s not like he has this wonderful girlfriend or wife, or children who make him laugh. He’s just sort of alone. He probably doesn’t have a lot of friends I’m guessing, and he doesn’t have any significant relationships. He probably hasn’t in a while, and he probably doesn’t have anything on the horizon. Then he sort of realizes after he gave this show away, that was really the only thing that he had, so he’s sort of this thirty-six-year-old guy going through a pre-midlife crisis-ish thing, and sort of finds himself with nothing except maybe a bank account. He’s finding out very quickly the cold reality of money can’t buy happiness.

I also think he’s funny. I like his sense of humor, and I like the way he’s self-aware. He becomes self-aware very quickly about how other people see him, and what they think of him before they even know him. I like that he’s smart enough to realize that.

Those are all things that, when I read that character, I was like “I dig that.” I like that he’s sort of a real guy. He’s on a sitcom on a network television. He’s famous, and he’s this real guy. I think that’s kind of cool.
Justin HartleyPhoto credit: Riker Brothers

CG: And he’s in a bit of a golden handcuff situation.
Justin: Exactly! That’s exactly right, which can always be fun. If it’s done the right way, you get it. There’s a saying that, everybody empties their trash out on the street. All their garbage, all their stuff they carry around with them every day, and then you can go down the street, and you can pick up anyone’s and bring it home with you. Then ninety-nine times out of a hundred, you’ll pick up your own garbage and bring it back into your own house, you know? That’s sort of like this guy. He looks like a certain way, and he’s got a certain job, and he does all this stuff, and then you dive deeper into him, and you’re like this guy’s got problems just like everybody else. He’s got worries just like everyone else, and they’re significant. He’s alone, and it’s kind of sad actually.

CG: In the pilot, Kevin gets to deliver an epic rant, and it’s a moment that viewers will definitely remember. And it’s a really brilliant moment of acting. What was that scene like to shoot?
Justin: We did it in front of a large audience of two hundred extras. I think it was The Carmichael Show set that we were on. I think we used their actual crew to shoot the show within the show, and my character is literally going insane.

It was very cathartic in many different ways. It’s my character saying, “Here I am!” In any acting school that you go to, they’ll teach you this is not the way you behave. I mean, your mother, when you’re five years old tells you, “This is not the way you behave,” and yet I’m having to going literally ape@#$%, and it’s okay. Then you’re doing it in front of people on a stage, and then to have your bosses come up and be like, “Okay, cool. Awesome. Do it again.” It’s very cathartic. Kevin is saying and doing all of the things that we wanted to do when we were in that position where we weren’t being appreciated, but we just can’t behave that way. He does it, and I got to do it, and it was like okay. To do it safely and almost everyone had a laugh afterward, so it was fun.

CG: In This Is Us, the writers ask each of the show’s leads to be open and vulnerable and to be willing to take a leap — as their characters each take a leap of faith. How was that challenging you as an actor?
Justin: As an actor, the nightmare is getting a script and trying to figure out how you can rewrite it to where it makes at least a little bit of sense. I’ve never had a job like that, but I’ve had friends who have. The dream scenario is this job where every time you get a script, you literally sit there and you go, “Damn, I don’t know if I’m good enough to do this. This is brilliant. I don’t know if good at the script.” And that’s a terrifying thing to feel — to be honest with you. Maybe a lot of actors wouldn’t admit that, but everyone has felt that. Trust me.

At the same time, it’s an exhilarating thing to feel, where it’s like you’re being challenged every single moment. And on This Is Us, every single person — the writers, the DP, the directors, the producers, the network, the studio — everyone is excellent at their job, and they’re delivering this piece of gold, and it’s up to you to make sure that there’s a voice behind it. It can be terrifying, but at the same time like I said, it’s thrilling knowing that they’re trusting you with this. I’ve never been happier in my life professionally. I just think this is really something special.

I know you said you’ve seen the pilot. I hope we get your vote to watch the second episode, and the third, and the fourth. I can’t wait until you see these. We’re starting episode six now, and they just keep getting better and better and better. It is a brilliant show.

CG: Kevin seems like he’s alone even in a crowded room, but he does have this wonderful relationship with Kate. I mean, they’re so close that they’re almost co-dependent. How quickly did you and Chrissy Metz fall into that?
That’s exactly the way I describe it — this loving, wonderful relationship that has this unhealthy co-dependent side to it. To the point where you start to realize that these two have never, ever been apart. They wouldn’t be able to function without each other, which is kind of a problem, and then very early in the series, you start to see that that gets addressed and what they’re going to do about that. It’s funny. It’s also heartbreaking, and it’s like watching a break-up and then laughing through the misery. It’s so wonderful how the characters deal with stuff and how relatable they are. I find myself watching the show — like I’ve read it, and I’ve seen it, and I know what’s coming — I watch it, and I still get emotional.

And with Chrissy, I think the moment I met her, we started talking about how our fathers have the exact same name, and there’s just so many things that we have in common. It’s ridiculous. She’s hilarious, and I kind of just think of her as a sister, to be honest with you. Isn’t that funny how that works? It sort of happened right away too. She’s got that sort of sisterly instinct with me she took on right away. Yeah, we’re not too far off that relationship. When the two of us work together, we’re constantly asking each other questions and checking in. It’s just she’s a lot of fun to work with.

In later episodes, we’re going to see Kevin interact with characters played by Katie Segal and Brad Garret. Can you tell me a little bit about those relationships?
Justin: We definitely had some laughs. Our scenes together are funny, but again, Dan does this great thing where it’s also heartbreaking, and you get to see they’re not like characters, you know? They’re like actual, fleshed-out characters that come in and affect Kevin’s life in what turns out to be kind of a negative way, I guess. Negative in the beginning, and then sort of positive at the end.

And what a treat working with those two. You grow up watching these people, and all of a sudden you’re standing on stage with them. It’s just sort of a surreal moment, but it was thrilling. They’re so kind, both of them together. They’re hilarious and kind and everything that you would hope they would be.

CG: You said when you first read the pilot, that it was the best thing you’ve ever read. What was your reaction when you watched the pilot for the first time?
Justin: I was happy. When you’re an actor, you read these things, and they’re great on paper. It’s always one of those fears where you say, “I saw the movie, and the book was better than the movie.” And that’s also a fear when you read a script and it’s really good; and then when you see the final product — for whatever reason — it just didn’t translate.

This one is quite the opposite actually. When I read it, I thought it was brilliant, and then when I watched it, I thought, “it’s better viewed than it is read.”

I don’t know if I’ve ever had that experience before, where I read something, and then I watched it, and I was like, “Oh it’s better than the book.” You know what I mean? This one actually is.

CG: The character of Kevin spends a lot of time shirtless. Is his struggle to be seen as more than beefcake something that you can relate to?
Justin: I don’t think I struggle with that as much as Kevin does, but I can certainly relate to it. I mean, no actor wants to be just a guy that takes his shirt off, and I’ve certainly had those jobs where it’s like — at the end of it — you were just a guy that took his shirt off. That’s not the most fun thing in the world. Most of the jobs I’ve had where I’ve had to take my shirt off, it’s so funny because I find that when I’m playing a character that has to take his shirt off, it’s not really vulnerable for me.

When I’m at the beach and it’s me and I’m not playing a character, that’s when I’m like, “let’s just leave the shirt on.” You know what I mean? For whatever reason, I can find a safety net when I’m playing a character because people just think it’s a just character that you’re playing. You can pretty much do whatever you want and be as vulnerable as you want as long as you’re playing a character. People just assume that you’re really into the part.

I know it’s the same body, but I think mentally … I just don’t mind it when I’m playing a character I guess. I mean, as long as it makes sense, right? This guy, how funny is that Kevin’s whole thing is, “I’m sick of taking my shirt off and I’m done with it!” but then throughout half of the pilot, Kevin’s got his shirt off?!? I get a kick out of it.

CG: That’s true! [Laughing] Thank you so much, Justin. I really appreciate your time. Again, I can’t wait to see what comes next for the show. After I was done watching the pilot, I was really sad there weren’t any more episodes for us to screen on the NBC press site.
Justin: Thank you very much for watching, and I appreciate it. Hopefully, you’ll like what’s to come as well. It’s very, very good, and I appreciate you taking the time to talk to me.

CG: Of course! Have a great day.
Justin: Take care. Bye.



http://www.channelguidemag.com/tv-news/ ... n-my-life/

- This Course: Justin Hartley (Anthem Magazine):
This Course: Justin Hartley
Por Kee Chang 20 Sept 2016


There’s something you should know about Adam Newman on the long-running soap, The Young and the Restless, perhaps as interesting as anything else you might find spiraling down that click hole. The character was first introduced to the show as a baby in 1995, and later “SORASed” (Soap Opera Rapid Aging Syndrome) in 2008. In 2014, Justin Hartley became the third actor to play adult Adam, but as “Gabriel.” In tune with soaps’ routine fast-thinking, the show killed Adam off with a car crash following Michael Muhney’s controversial exit from the role, which then made it possible for the writers to reintroduce Adam as “Gabriel” with Hartley in the role. Presumably, we’re to believe “Gabriel” underwent a successful face transplant. This month, Hartley announced his own exit from the role—by God, via a cabin explosion—for an entirely good reason.

This fall, Hartley is coming to NBC with This Is Us, a highly anticipated new series that debuted its trailer on YouTube to monster views some months ago, about an interconnected group of people who share the same birthdays. The 39-year-old Chicago native stars as Kevin, a handsome actor who has grown bored of his bachelor lifestyle. Meanwhile, in real life, Hartley’s a handsome actor who recently got engaged to his Y&R co-star Chrishell Stause. In this edition of This Course, Hartley takes us into his world of television. The goal of the ongoing series of food and conversation is to keep things as transparent as possible. It’s essentially an open dialogue, in this instance over lunch at Granville in Studio City, where we discuss a myriad of things, including the actor’s journey to here, the things he has learned, and his return to primetime with This Is Us.

This Is Us is set to premiere on Tuesday, September 20 at 10/9c on NBC.

So you’re originally from Illinois. What was it like growing up there?

Well, we moved when I was around 10 to a town called Naperville in Chicago. It’s a nice, suburban, and middle-to-upper class area. We were certainly on the lower end of that, I think. People were friendly. When my parents got divorced, I ended up moving to Orland Park, which is a different suburb of Chicago. I went to Carl Sandburg High School there and then went to Southern Illinois University. I was there until 2005 or something like that before coming out here.

You studied theater in school. When do you think you sort of flipped that switch?

The thing is, I was always into sports and stuff like that. I didn’t think about theater that much. But I ended up getting hurt to the point where I couldn’t really do much anymore. [From the restaurant patio, we watch Hartley's face roll by on the side of a bus.] I’ve arrived, baby! Anyways—

No, not “anyways”… That’s a huge fucking deal! I didn’t tell you this before, but one of the first billboards that I saw on the drive in from LAX was for This Is Us.

Really? Good! It’s just a series of, “It’s no big deal. Who cares?” I’m kidding. It’s awesome. It’s fucking awesome. I didn’t think they’d matter, but every time I see it… You know what that says? That shit cost money, so it says that someone believes in it. Someone’s seen the show and believes in it enough to spend the money and get the word out to get people to watch it. It’s really great.

Anyways—I ended up taking an acting class in college, which, to be honest, was an elective. I thought it would be an easy way for me to get cheap credits without much effort. It ended up being the hardest class I’ve ever taken. As it turns out, that was a nightmare and a blessing. The class was called “Interpretation of Literature” or something like that. I thought we were just going to read cool books, most of which I probably already read and, therefore, demand no-big-deal book reports. It ended up being an oral representation, so it was like acting. I was horrified. But I did it and I got the acting bug from that. I did some plays and I knew right then it’s what I wanted to do.

Did you move out to L.A. pretty quickly after realizing this?

Not right away. I think that took some time. But once I got close to graduation, I knew I wasn’t going to stick around and wanted to come out here. It’s the typical story: I had no money, no job, no prospects—I had nothing. But I was young, I didn’t have any bills to pay, I didn’t have anyone to take care of besides myself, and I knew I could get a job. My sister actually moved out here about a year ago—she’s a singer, actress, and all that—and I answer a lot of her questions and sift through some of the industry bullshit. I didn’t have any friends out here when I came. I didn’t have anyone. Again, that was a blessing and a curse because I didn’t get sucked into any weird thing.

What “weird” things are you referring to specifically? What do actors get suckered into?

I just mean like, I think for some people when they have a group of friends, they can get influenced by that group of friends. Maybe they’re acquaintances and not even friends, but they live in L.A. I’ve seen people come out here and attach themselves to people who don’t do much. They just hang out and sort of enjoy the weather, which is great if that’s what you want to do, but if you’re an aspiring actor, it’s hard work, you know? You can’t just go to the beach and hang out and drink all the time. That said, my Old Fashioned is on its way. [Laughs] I’ve earned it, god damnit.

I had to ask a lot of questions to figure out the rudimentary stuff when I got here like, “How do I get an agent? How do I meet them?” It’s just crazy, you know? I came out here and ended up doing more acting classes and studied quite a while. I got lucky and got a soap. But I was absolutely horrible. I have no idea why they hired me. [Laughs] I have no idea what they were thinking.

They obviously saw something.

I don’t know what they saw. Maybe they were drunk! Maybe they had liquid lunch. [Laughs]

Can you recall your first professional gig?

The first thing I ever did on set was on a show called Early Edition. I did extra work for one day. I got to sit at a table like this one and some guy robbed a woman or something. I think they actually showed my face on the show. Then I got to sit in this really hot room for seven hours, before walking down a street and pass the camera. I thought it was the coolest thing in the world.

You learn incredibly fast just being on a set, even as an extra, right?

You learn so much in like three weeks, and it’s a cool way to learn without being held accountable for being how bad you are. [Laughs] There are some good actors on soaps, but not when you first start. The people around you are so nice, too, because they’ve all been there and they understand.

I’ve never been into soaps myself, but I always viewed it as its own kind of animal.

It is totally different. In one regard, the pace on a soap is hectic. There’s this constant thing hanging over you like, “Get it done on time. Let’s go.” You get one take these days—one. You mess up a line and they’ll say, “People mess up their lines all the time! Let’s move on.” There’s an urgency. We’re not doing four hours of overtime here. We have to pump these things out, yeah? I don’t think the medium was meant to be produced at that kind of rate. Having done it—going to work with 40 pages of dialogue, then having to go home and memorize another 40 for the next day, and so forth—I can tell you it’s a lot of stuff. I think I had something like 127 pages to get through on the last two days of The Young and the Restless. I don’t know what happened, but I think they got a little backed up. They also knew I was leaving, so we had to do like seven shows in two days.

That’s insane.

But it’s also good because, if you have a scene that you think is bad, you have another one coming in like two seconds you can feel good about. [Laughs] You literally say a line and then forget it. As far as This Is Us is considered, you have to have the energy to be able to do it over and over and over again, like it’s the first time you’re doing it each time. That’s a whole different sort of skill.

How do you honestly feel about leaving The Young and the Restless behind?

It’s tough because you show up to work every day and you become family. My wife on the show is my fiancée’s best friend so that’s an interesting thing, right? “Going to work!” [Laughs] But we became a family of our own at This Is Us. We had a cast dinner this past weekend and we talked about almost everything except the show. It’s been a smooth transition. We’re all the same-ish age.

Right now, I’m literally neck-deep in This Is Us. They start shooting episode six today and I report to work tomorrow. I mean, there are only so many hours in a day. There’s no time right now. FOX and NBC is behind the show and Sony and CBS is behind The Young and the Restless, and I don’t know how that all works. That’s way above my pay grade. I don’t know what that conversation is like, or if there is a conversation. I’m very happy right now. The show is phenomenal.

You play a sitcom actor on the show. What else can you reveal about Kevin?

So here’s this guy who, on the surface, stars on a successful sitcom, which means he’s probably making a lot of money. He’s famous-ish. He probably leads a privileged life. He has this great relationship with his sister. Everything looks great. But when you get a deeper glimpse into his life, you see that he doesn’t have a girlfriend and probably hasn’t been in a meaningful relationship for a long time. He’s not happy at work because they don’t take him seriously. It’s like, if he has any creative ideas, they just want him to take his shirt off. It’s a lonely place that he’s in. Also, the close relationship he has with his sister looks great at first, but it’s like they have this co-dependency thing going on. He’s a 36-year-old man who probably doesn’t know how to fold a shirt. I bet he can’t even cook. You also have the age thing happening. On top of that, he starts to see other people’s perception of him: “You’re a joke, dude.” People think he did push-ups and pull-ups, and got lucky. I think all of that together is an explosion that you will see in the pilot. He has a Jerry Maguire-type of epic meltdown—and in front of Alan Thicke. He calls out Alan Thicke and that goes viral. He starts to second guess himself. The character is very rich, deep, and complex.

I’m sure you can relate to some of these things very deeply as an actor yourself.

Not even just actors—I think people can. The goal is to sort of move past that. I have a daughter who’s 12 years old and one of the things that I’m very conscious about is teaching her to understand that this stuff happens, and to live her life not based on what other people think, but how she wants to live it. It’s a very simple thing to explain, but a very difficult thing to do because we all hurt. You hurt, right? You go through it, too. I’m raising a little woman and it’s not easy. I can’t imagine what it’s like to be a woman in this world. I don’t think I could do it. There are so many instances where you get the shorter end of the stick because you’re a woman, or because you’re black or Asian or heavyset or old or uninformed. People have all these preconceived notions about people they don’t even know. It’s unbelievable. We touch all of that on the show. I love the way Dan [Fogelman] writes it in a way where it’s not sugarcoated. It’s not like, “Here’s the lesson of the week!” Our characters are flawed, too. We’re not these angels walking around by any means.

Your daughter fully understands what you do for a living, right?

She does. She actually came to work with me the other day. She had like a half-day at school or something so I brought her to work. She’s visited every single one of my shows, whether that’s Smallville or Emily Owens M.D. or Revenge. She’ll say things like, “This is what I want to do,” and I try to explain to her like, “This is the result of all the work that gets put in, traipsing all over town poor and trying to figure out how you’re going to get money for gas or when your car breaks down, and everyone’s saying ‘No’ to you.” Then she says, “Well, how do you just do this?” [Laughs]

Yeah, skip all of that other stuff.

There’s no way to do that.

Are you okay with her wanting to act?

I’m open to it, but cautious. I don’t want her to audition until she’s ready and, for me, that means acting school and acting lessons. When she’s ready, she can go out and audition because, otherwise, it’s just going to sound like a bunch of rejections. I’m not saying that anybody would ever say “No” to her, but if they did, it’s easier to take than if you were like trying to fool someone because you don’t know what you’re doing, you know? I’ve been there, too. She’s acting now in school and beginning to dance and stuff like that. I love the arts and I encourage it.

Is anyone else in your family in the film industry?

Not that I know of. My mom’s a teacher and my dad’s a plumber. My step-dad’s a psychiatrist.

How did they react when you first started out on this path?

My mom was all for it. My mom is super sweet and really encouraging, to the point that I could give her the worst idea in the world and she’d be like, “Go for it! What a great idea!” I think other people were a little more skeptical and grounded in reality like, “Come on, dude. Go get a real job.” But acting is a real job. When I got to Chicago, I obviously started seeing more actors. In Central Illinois, people don’t see acting as something you can make a living doing. It’s just not around and you don’t have access to it. Moving across the country to L.A. to act, you know—I got away with it. [An elderly man waves while exiting the restaurant and shouts, "You're alive!" and Hartley thanks him.] My character on The Young and the Restless got blown up last week.

What I just saw right now—it must happen to you all the time, right?

All the time: “Hey, it’s good to see you alive.” Isn’t that funny? It’s rare in life that you get to walk around and say that to people like, “Good to see you alive!” and then laugh about it.

It’s not hard to imagine that might happen to you on the hour or whatever it is, but to see it happen firsthand is bizarre. How did you feel about going out the way you did on the soap?

You mean with a bang like that? Good.

Adam’s been through a lot, including everything before you signed on.

He has, and now it’s over. [Laughs] It’s a sweet release.

Congratulations on that Emmy nomination this year, by the way.

Thanks! I lost big time. I’m a loser! I’m kidding. That was fun. It was fun playing Adam. And you were right, that character did come back from the dead. He came back with a new face, a new life, and a new everything. My whole thing was like, if he died and came back as a new person, I’m going to tap into some things that you’d never seen before. I wanted to make him funny. I mean, how hilarious is it that everyone thought you were dead, but now you’re back? I found that funny, so I wanted to make him funny. I got away with being a kind of asshole in certain moments because I think he earned it. He had been funny and sweet, took care of his wife so well, loved his family and that stuff, so that earned him the right to be a kind of jerk—the “bad guy”—sometimes.

This time right now seems like a big life chapter for you in general. You also got engaged.

The relationship I have with Chrishell [Stause] that evolved over a long period of time before the engagement changed me because I’d been married before. Divorces are not amazing. To get yourself into a place where you’re ready to make that commitment again, it takes a special person, a special situation, and a special chemistry. If you asked me three years ago if I thought I’d be engaged and ready to have a new wife and be on this show, I would’ve laughed at you. We live so many different lives in our lifetime, don’t we? We really do. We can bookend our lives, but they’re headlined by these mushroom cloud events. When I look back on things, I imagine what it was like to think the way I did ten years ago. I’m like, “Man, I can’t believe I was so naive.”

You already have a rabid fanbase. Does it ever get too invasive?

Never. Very rarely do people get personal and hate you for doing something. If they have an opinion and think you’re a shitty actor, that’s okay. That’s their opinion. Very rarely do they get personal and call you a shitty person. I can count on one hand how many times that’s happened. I’m lucky in that I’ve been sort of protected by good writing and good characters that people appreciate. My fans are great. They’re so loyal. I recently wrote what I thought was a nice thank you letter to my fans for watching. Not a goodbye, but a thank you letter. They wrote me all the time to tell me what they thought about me, how deplorable it was what I was doing, or how amazing it was what I was doing. So I just wanted to take a moment and say thank you for, I don’t know, making my job fun and making me laugh. They’re good people and I appreciate them.

There’s a lot of waiting around for actors, both on and off the set. Do you handle that well?

I’m good as long as I have something on the horizon, like the near-horizon. If I don’t have anything on the near-horizon, I tend to go a little bit insane. I’m not mean or anything, but I’m probably annoying as hell because I like to work. I don’t really mind waiting around on set as much as I used to, and maybe that’s because I don’t have as much energy as I used to.

You co-wrote and directed an episode of Smallville when you were on the show. Was that fun?

I loved it. I was lucky. They let actors direct episodes once in a while, right? So I brought that up. We had a meeting at the beginning of season nine or something and Kelly Souders, the showrunner at the time, told me, “Yeah, you can direct in season ten.” I was like, “Thank you.” [Laughs] “But that’s not the question I was going to ask you. Have you ever had an actor who wanted to write an episode?” She just went pale, probably thinking, “Of course not! This idiot has no idea what that entails.” I asked her, “If I wrote an episode, like what I thought the premiere should look like, would you read it?” and she said, “Of course!” I actually had it on me and she was like, “Wait. What?” They ended up letting me co-write one. People ask me all the time if I actually wrote it and I’m like, “Yes! Yes, I did!” [Laughs] The season after that, I got to direct one and that was a blast.

Did you find the writing and directing difficult? What was the big takeaway?

I was lucky enough to be around a bunch of people who sort of guided me because preparation is everything, right? Same as in sports, preparation is everything. So I was prepared, and had a shot list and everything. Of course, as soon as the actors come to set, the shot list falls apart because they don’t want to do that. But at least you have one. The writing and directing helped my acting a ton. Understanding other people’s jobs really helps an actor because it calms you down a little bit. It’s not all about you and you don’t realize that in the beginning—or I didn’t, anyway. I’d be reading a script and think, “Why are they telling me this?” and then you realize that wasn’t for you. It’s for the network or someone else who’s also reading it. I just love all of it.

Was there a directing bug to be caught there? Would you do it again?

Totally! I just think those opportunities are hard to come by. When I directed Smallville, we were on another planet—literally. We had to figure out what it would look like, how to light it—maybe that was already established, I don’t remember—but wherever we were, we had two different worlds going on. I was in most of the episode. I almost didn’t want to be in it because it’s bizarre to be on both sides of the camera like that. It was a lot of good times and I hope to do it again.

Maybe you’ll go onto direct an episode of This Is Us.

That would be fantastic. Back then, I probably would’ve strategized something like this, but now I’m going to enjoy this or whatever it is I have, you know? This Is Us is such a special show. Sometimes I do think someone’s going to come along and wake me up like, “Funny, right? We were just messing with you. Let’s go back to work.” I’m just going to enjoy it because, why not?




http://anthemmagazine.com/this-course-justin-hartley/

- El protagonista de "This Is Us" Justin Hartley sobre sus escenas sin camiseta y su pasado en la Soap Opera (glamour):
El protagonista de "This Is Us" Justin Hartley sobre sus escenas sin camiseta y su pasado en la Soap Opera
Por Jessica Radloff 27 Sept, 2016 10:00 pm


If you're an avid TV watcher, there's a good chance Justin Hartley has been on your radar for some time—from his breakout four-year run on the supernatural soap opera Passions and his recent two-year stint on The Young and the Restless (for which he earned an Emmy nomination for lead actor) to 16 episodes of Mistresses and 12 episodes of Revenge. His role as 36-year-old Kevin on NBC's critically acclaimed drama This Is Us, however, may prove to be his biggest hit.

"I feel like I've worked for it," says Hartley, 39. "I couldn't be happier."

Sitting on the 1980s-style set that depicts the home of his on-screen parents, Jack and Rebecca (played by Milo Ventimiglia and Mandy Moore), Hartley talked shirtless scenes, his soap opera past, and being a dad. With This Is Us now officially picked up for a full season today from NBC!, it's safe to say you'll be seeing a lot more of Hartley.

GLAMOUR: With so much excitement since the show premiered, how has your life changed?

JUSTIN HARTLEY: It’s interesting because I’ll be out, and someone will say, “I just loved you on Passions! Did you just quit acting after that?” [Laughs] I don’t know what to say so sometimes I’ll just say yes. Some people will say Young and the Restless, Smallville, Revenge…it just depends what they’ve seen. There are people that have watched everything I’ve done, which is so sweet. Sometimes I’m grateful for that; sometimes I feel like I have to apologize. This last week, it’s a little different, because [Kevin] is such a unique role, and the show is so big. People that have recognized me from shows in the past will now say, “I loved you on this, but your new show! This Is Us!” You can tell that it affected them.

GLAMOUR: Kevin reminds me a bit of Vince from Entourage. Where did you take inspiration from?

JH: I took a lot from friends, but also me.

GLAMOUR: Your friend, Michael Rady (Melrose Place, UnREAL), first told you about the role and the script, and your reaction was, “This is me.” But now that I’ve gotten to know you a little bit, I'm noticing plenty of differences. What are your similarities with Kevin and what are your differences?

JH: He’s a lot like me, but all of the stuff that he does that is funny is like a steroid-ed version of me. Like it’s me times 10. And then you find out later in the series that Kevin has a huge heart. He’s basically all heart. I think people have certain preconceived notions of certain people that they’ve never met. And so, that’s sort of what I try to work from. I think his humor comes from his heart. I think he’s very self-aware, and I’d like to think that I am. I wish I had been more self-aware earlier, but I think that just comes with age. Kevin is very self-aware, especially around people that he trusts, like his sister.

GLAMOUR: In the pilot, it’s the guy—in this case, Kevin—who is objectified with the shirtless scene. Have you ever felt that in your career?

JH: Yeah, of course.

GLAMOUR: What did you do about it?

JH: Oh, what do you do about it? [Takes a deep breath] Not what Kevin did. The thing about it is, the cool thing about that scene was the culmination of him turning 36, going through this mid-life crisis, realizing he doesn’t have sort of anything going on in his personal life or really close friends, or a girlfriend or a fiancée or a wife or kids. I don’t think Kevin is dumb—he probably realized what the job (The Manny) was when he took it, but I think he thought he could influence it and make it change and be a little bit more…I don’t want to say better, but different. And it ended up being that the writers of this sitcom just wanted to tell the cheap joke. They’re not interested in anything else that he has to offer, other than him taking his shirt off or whatever. I think all of those things led to him exploding and I’ve definitely felt like that. I’ve been fortunate...to express those frustrations to my fiancée, or keep them to myself. I don’t bring them to work, but of course, we’ve all felt that way. That said, I have no problem at all taking my shirt off to tell a story. It’s interesting about the pilot because the shirt needed to be off to tell that story [on The Manny]. If you were just talking about it, you need to see him being objectified in order to feel for him a little bit.
justin-hartley-shirtless-this-is-us-pilot.jpg
PHOTO: Ron Batzdorff/NBC

GLAMOUR: I’m sure you’ve been told countless times, “You’re such a good-looking guy,” but you’re thinking, “OK, but there’s more than that!”

JH: That’s a nice thing to say. I don’t know if I have so many people coming up to me saying that kind of stuff, but we all get pigeon-holed or put in a box, no matter what that might be. I have a 12-year-old daughter, and all the time people will say, ‘Oh, she’s young!” and you’d be so surprised what you can learn from that 12-year-old if you just opened up your mind.

GLAMOUR: You got your start on daytime, and you just came off a lengthy run on Young and the Restless. Did it ever annoy you when people called you a soap opera actor?

JH: No. [Although] I have friends that [that term] really annoys them. People will come up and say—and it is insulting—“Do you ever want to do anything else? Like some real acting? Or a real show?” Here’s the thing: You can either get upset about that, or you can realize that that person isn’t trying to offend you. They’re literally interested, and they’re asking you a question. I know when people are trying to insult me. That’s not an insult. That’s just someone being ignorant—they don’t know. They’re being sweet. And, of course, there are people that will say, “I heard you were on this, but I don’t watch it.” It’s like, “OK, that’s OK too.” But no, I don’t get upset about it. It comes with the territory, and there are worse things. I love acting, and so whenever I get the opportunity to act, I’m happy. I’m easy to please when it comes to that kind of stuff. I don’t know what I’d do without it.

GLAMOUR: You’re 39 now. What do you wish you could tell yourself when you were 36?

JH: Gosh, I don’t know, that’s a tough question. I don’t know if I’ve grown a lot since I was 36. [Laughs] I would tell myself the same thing that I continue to tell myself today, which is don’t sweat the small things.

GLAMOUR: Were you happy where you were at 36?

JH: I was not...I went through a big huge life change when I was 34, 35—I forget how old I was…and that’s a difficult thing. Anytime you go through a divorce, you’re completely lost, whether you want to admit it or not, or whether you know it or not, you’re completely lost. At 36, I think I was pretty happy [actually], but here’s the thing that I think happens…you’re expected to be somewhere at 36, and there’s that feeling: At this particular age—especially for women for God’s sake—you should have this many kids, you should have a husband, or you should have this...and it’s overwhelming. So that perpetuates the feeling that no matter where you are, no matter how much money you have, no matter how many kids you have, no matter how great they’re doing, whether you want kids or not, married or not, it doesn’t matter—you feel behind. I think understanding that is part of being able to be happy at 36 and knowing that. I’m always going to be looking for something artistically or whatever. I think that’s part of being driven, but that doesn’t necessarily mean I’m unhappy.

GLAMOUR: Are you happiest now?

JH: I am. I’m happiest now. My daughter is 12, and we have an amazing relationship. She knows without a doubt that she can literally come to me with anything, and I will stifle myself and realize that if it’s not what I want to hear, it’s more important that she continues to come to me and tell me things and is honest with me than me getting mad at her or giving her my opinion right now. She has figured out a way to make me an amazing parent. She’s a wonderful daughter. I have my fiancée now (actress Chrishell Stause), who I couldn’t be happier with. This job—I’m still waiting for somebody to wake me up. We’re doing something special. My father called me to talk about the show, and I could tell just from his voice that he was affected by the show. He said it was speaking to him. I’ve never heard him say that about anything! So I thought, “This is special.” That made me feel really good.

GLAMOUR: In tonight's episode, you're at quite the Hollywood party. Did you ever live that lifestyle?

JH: Here’s the thing about it...I don’t know. [Laughs] I think I’m lucky that I’ve been working, because when you’re working, you don’t have time to do all that stuff. You’re working. You’re on set all the time. I think that’s a good thing. I worked all through my 20’s, all through my 30’s, so I’ve been lucky to be working. I’ve certainly been to Hollywood parties, and I have friends that are ridiculous—wonderful people—but they’re high rollers with tons of money.

GLAMOUR: What did you think when you found out Mandy Moore and Milo Ventimiglia were playing your parents?

JH: I thought, “That sounds about right. I always saw that happening.” [Laughs] No, that was something else [altogether]. I didn’t consider that until...I read the script and when I got to the end, I was like, “That’s cool,” and I was so focused on the twist at the end and how it all tied together that it never dawned on me that people my age would be cast as my parents until it started happening. That’s crazy, huh? Milo takes playing my father very seriously. He’s not a father, but he has that fatherly instinct. He could easily, easily, be my father—if he was older. He’s an old soul if you know what I mean? And then Mandy is so smart and just...same thing with her, I could see her being a mother. She’s very nurturing.
justin-hartley-sterling-k-brown-milo-ventimiglia-mandy-moore-this-is-us.jpg
PHOTO: Frazer Harrison/NBCUniversal

GLAMOUR: Had you ever met them throughout your career before the show?

JH: Oh! I don’t think Mandy knows this actually. I was scheduled to do a chemistry read with her on a project a long, long time ago, and the project ended up not going. So, I guess the answer is no, I didn’t meet her before this. Milo and I have some of the same friends. Mandy and I—I don’t think we moved in the same circles, but now we do. None of my cast mates, as far as I know, I knew prior to this show. None of them. Isn’t that something? They are great. I couldn’t be happier.

GLAMOUR: Well, my mom is still upset your character Adam was killed off on The Young and the Restless. She loves you.

JH: Aww, that’s so nice.

GLAMOUR: So we could see Victor Newman (Eric Braeden) on This Is Us potentially at some point?

JH: [Laughs] Yes, and what would he do?

GLAMOUR: He’d be the evil studio head!

JH: He could be my dad’s dad! [Laughs] Milo’s dad! He would do it probably, [Eric]'s a good guy. We hit it off right away. I think I made him laugh, which he wasn’t expecting. Our characters hated each other and Adam wanted to dethrone his father. He wants all the power. We would go at it in scenes together! He gets loud and I do, too. And then afterwards we’d laugh and tell jokes. [Eric and I] got along great. He’s got to come on This Is Us. He should watch it and do commentary! He should live tweet our show! That’d be awesome!

The next all-new episode of This Is Us airs on Tuesday, October 11 in its new time slot at 9 P.M. ET/PT. For more with the cast, click here.


http://www.glamour.com/story/this-is-us ... opera-past


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Re: "THIS IS US", nueva serie de Justin para NBC

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- Milo Ventimiglia says "This is Us" is a show about the "ups and downs" of life (EW):

http://bcove.me/e6fmr583




- "This Is Us" | After Show: Episode 1 (Digital Exclusive):
https://twitter.com/NBCThisisUs/status/ ... 2791636992


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- "This Is Us" Premiere Viewing party (20-09-16):

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(@chrishell7: #ThisIsUs Viewing party!!!! @justinhartley @scheanamarie @NBCThisisUs
@justinhartley: My company for #ThisIsUs @MiloVentimiglia
@NBCThisisUs: We're loving your comments! Keep them coming using #ThisIsUs.
@peopleschoice: This is @justinhartley & @MiloVentimiglia watching themselves on TV. Super meta. But super awesome. #ThisIsUs
@peopleschoice: Live tweet parties may look super anti-social ... Okay. They are. But during commercials we all put our phones away and talk. #ThisIsUs
@skelechiwatson: Tweeting in progress...#ThisIsUs
@sterlingkb1: @justinhartley watching one of his favorite actors...#JustinHartley #ThisIsUs
@sterlingkb1: Somebody's proud of their man! @justinhartley @Chrishell7 #ThisIsUs)


Vids:
https://twitter.com/skelechiwatson/stat ... 8128630785


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- Screencaps de Justin en "This is Us":

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- "This Is Us" | 1.02 "The Big Three" Promo:


- "This Is Us" | 1.02 "The Big Three" Clips:

http://www.spoilertv.com/2016/09/this-i ... press.html


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- Video-entrevista de Justin Hartley en "Entertainment Tonight" (21-09-16):

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(@leanneaguilera: Fact @justinhartley is a delightful human and #ThisIsUs is a phenomenal show. #watchit ETOnline)


Video:

https://business.facebook.com/Entertain ... 413936180/




- Video-entrevista de Justin Hartley & Chrissy Metz en "ExtraTV" (21-09-16):

https://www.facebook.com/extra/videos/1 ... S_TIMELINE


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- Stills del 1.02 "The Big Three":

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- "This Is Us" | Catch Up: Episode 1 (Digital Exclusive):

- "This Is Us" | "This Is Kate" (Digital Exclusive) :

- "This Is Us" | "Watch This Is Us, the Show America's Raving About" Promo:


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- NBC's Live Screening And Social Gathering For The Premiere Episode Of 'This Is Us' (20-09-16):

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