Michael Ansara, a rugged character actor perhaps best known for his role on three different TV iterations of Star Trek, has died at the age of 91. Ansara, who was married to actress Barbara Eden of I Dream of Jeannie fame, died July 31 at his home in Calabasas, Calif., after a prolonged illness. Born in a small village in Syria to American parents, Ansara is beloved by Star Trek fans for his portrayal of his character, Klingon warrior Kang. The actor played Kang on three versions of the legendary sci-fi franchise: the original (1968), Deep Space Nine (1994) and Voyager (1996). He also had major roles in such films as Julius Caesar and The Robe, Jupiter’s Darling, Voyage to the Bottom of the Sea and The Greatest Story Ever Told . Ansara came to the U.S. with his American parents at the age of 2. As a teen, he and his family relocated to California, and he entered Los Angeles City College with the intention of becoming a doctor, not an actor. A stint at the Pasadena Playhouse (where fellow students included Charles Bronson, Carolyn Jones and Aaron Spelling) led to roles on stage and in films. Michael Ansara was married to Eden from 1958-74. Their son, Matthew Michael Ansara, died in 2001.
No need to adjust your antenna, but you may wanna grab your dial because the Netflix nudes are queuing up! D.H. Lawrence ’s novel has been the subject of several sexy adaptations, but there’s no denying that Marina Hands fills out the titular role quite well in 2006’s Lady Chatterley . Next up, The Man from Beijing (2011) features the woman in the shower thanks to Suzanne von Borsody , and Charles Bronson kicks bad guy ass while June Gilbert shows hers and a whole lot more in 10 to Midnight (1983). Finally, American Horror Story star Lizzie Brochere goes full frontal in The Wedding Song (2008), and the thick nip tips of Maria Conchita Alonso lead an amazingly nude cast in The House of the Spirits (1994). Check in next Wednesday for the latest and greatest Netflix skin, right here at the Mr. Skin blog!
A simple E-F-E-F bass line progression is all it took to make a generation of moviegoers scared spitless to swim in the ocean. With Steven Spielberg’s classic 1975 beach emptier Jaws set for Blu-ray release on Tuesday, composer John Williams talks about the simple-but-oh-so-effective theme he created for the film’s voracious Great White shark in an interview with John Burlingame. According to the interview, the first and only music Williams played for Spielberg prior to the recording sessions was what would eventually become known as the Jaws theme that Williams says was “so simple, insistent and driving, that it seems unstoppable, like the attack of the shark.” Spielberg was not sold at first. “I played him the simple little E-F-E-F bass line that we all know on the piano,” and Spielberg laughed at first. But, Williams explains: “I just began playing around with simple motifs that could be distributed in the orchestra, and settled on what I thought was the most powerful thing, which is to say the simplest. Like most ideas, they’re often the most compelling.” Spielberg’s response, according to the composer who is also known for his indelible scores for the Star Wars films, Raiders of the Lost Ark , and Close Encounters of the Third Kind , among other landmark films was: “Let’s try it.” Burlingame writes that Williams spent two months writing more than 50 minutes of music for Jaws . They recorded in early March 1975 with a 73-piece orchestra. “It was a lot of fun, like a great big playground,” Williams says. “We had a really good time, and Steven loved it.” Spielberg even lent his less-than-masterful clarinet playing — shades of Woody Allen worship, perhaps? — to the soundtrack for a scene early in Jaws when a high-school band plays Sousa during a parade. Burlingame notes that “Williams needed to record a terrible-sounding rendition with his orchestra, which included many of the finest musicians in Hollywood.” Or as Williams puts it: “It’s very difficult to ask these great musicians to play badly.” So, Spielberg, who’d played clarinet in a high-school band, joined the orchestra on that number. “He added just the right amateur quality to the piece. A few measures still survive in the movie,” says Williams, who is probably one of the few people in the movie industry who could say Spielberg sucks at the clarinet and still manage to work in the business. Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Some time after turning down a role in 2010’s Expendables (the part he was offered lacked substance, legend has it) Jean-Claude Van Damme thought better of opting out of the Sylvester Stallone throwback, which went onto become a hit. But perhaps things worked out for the best: In this week’s Expendables 2 , Van Damme steals away with the spotlight as the eccentric and hilariously disdainful uber-villain Jean Vilain (yes, really) with an over-the-top performance that called for full commitment to character on set. At least, Van Damme believed his turn as Vilain required cultivating an icy rapport with his fellow action veterans on set. And so as Stallone, Arnold Schwarzenegger , Bruce Willis and Co. chummed it up during filming , the Muscles from Brussels stayed in character so well he only made nice after the bulk of filming wrapped. “I said to [Sylvester] Stallone, ‘How do you want me as a villain? Do you want me, like, an extravagant villain, or do you want a guy who’s completely serious and believes in what he’s doing and why he’s doing that,'” Van Damme recalled to journalists recently in Los Angeles. “Then I said, ‘By the way — why am I doing that?’ and he said, ‘Because you love money.’ I said, ‘Fine.’ So, I became that type of villain.” So committed was Van Damme to Vilain’s persona, he even found himself sneering at the crew. “When I saw all those cameras around me, I said, ‘Who are those bunch of clowns looking at us with those lenses and the lights and everything?’ I was really into the atmosphere of Expendables .” When it came to treating his peers and personal heroes like enemies, Van Damme didn’t hold back. “I’ll tell you what, those guys were like role models for me, because we have to be honest, we need to look at something to have a goal,” he recalled. “I saw Rambo . I saw Rocky . I saw Conan . I saw Die Hard . So to me, they were like heroes. I was back in Belgium watching them on the screen, buying tickets and dreaming of becoming like them. I wanted to be an actor since I was eleven, twelve years old, and now here I am and they’re chasing me.” Van Damme credits his acting skills to having worked with directors like Ringo Lam ( City on Fire ), who directed him in Maximum Risk (1996), Replicant (2001), and In Hell (2003). He counts Kirk Douglas and Charles Bronson among his screen idols and emphasizes the importance of finding truth within a scene, though his proclivity for doing something different in each take gave producer Stallone and director Simon West a challenge and a boon in the editing room. “If you do a good take,” Van Damme said, “you cannot repeat the same one.” His chilly treatment of his on-screen rivals was an extension of that truth-seeking imperative. “When I came on the set I didn’t talk to nobody,” Van Damme remembered. “I didn’t want to see them because, you know, Arnold is like bop, bop, bop and I was talking more to Stallone about the part than anything else. So, I believe, and I felt when I was looking at them, it was like, ‘Who are you?’ Nothing [in] the eyes. I felt like I didn’t like them. I took it very seriously.” “Of course, when the movie was finished I was like, ‘Hey, guys, I really admire you, but I didn’t talk to you in the beginning because I wanted to have that type atmosphere, that type of tension.’ I think you can see that when you look at the lens, when I look at all them and I’m like, ‘Go down to the floor, guys, bark all of you like dogs.’ It’s hard for me to say that to my heroes, but it was the only way, and then when the movie was going to end, that’s when I started to knock on trailers and say hello to everybody. ‘Hey, Chuck [Norris], how are you?’” Stay tuned for more from The Expendables 2 , which hits theaters Friday. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
‘I’ve got one big bullet and I’ll put it right between your eyes,’ he tells MTV News of throwback action flick. By Eric Ditzian, with reporting by Josh Horowitz Dwayne Johnson Photo: MTV News Dwayne Johnson started off the year rocking a pink tutu in “Tooth Fairy.” He’s ending the year, though, in pretty much the exact opposite fashion, kicking ass like we’ve never seen the former pro wrestler kick ass before. In “Faster,” Johnson stars as an unnamed ex-con on an utterly brutal mission to avenge his brother’s decade-old murder. The movie is like a flashy throwback to ultraviolent 1970s films like the Clint Eastwood-starring “Dirty Harry” and Sam Peckinpah’s “Straw Dogs.” Those flicks, it turns out, were the inspirations for “Faster,” which opens Wednesday. “The movies of the ’70s, a lot of Peckinpah movies, Eastwood movies from the ’70s, Steve McQueen, Charles Bronson — movies like that where they just have that tone and that texture,” Johnson told MTV News. “There weren’t big explosions for the sake of explosions, so all the action was fueled by an emotion. Not big bazookas or anything like that. I’ve got one big bullet and I’ll put it right between your eyes. It’s that type of action.” That’s a far cry from January’s “Tooth Fairy,” in which Johnson played a vicious hockey player magically transformed into a tooth-snatching, cash-bestowing pixie. It’s a role that had him squeezing into tights and donning the aforementioned tutu. So, um, which Johnson character — fantastical fulfiller of dreams or cruel destroyer of lives — falls closest to the guy he really is? The 38-year-old actor says each role has something in common with the other — a trait he also proudly shares. “There is nothing I wouldn’t do to protect someone I love,” he said. Check out everything we’ve got on “Faster.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
By now the rape-revenge pulp movie is a staple, but in 1971, when Burt Kennedy’s Hannie Caulder leapt upon the anti-western bandwagon, they were brand-new. It was still five years before Lipstick (1976) and six until I Spit on Your Grave (1977) –incidentally two of the most reviled movies of that decade (and bombs to boot) — and Charles Bronson’s Death Wish (1974) was still a few years away, which in any case gave the gun to Bronson, not the woman in question. Did it all start with Burt Kennedy’s modest, Spain-shot paella western?