A few years ago, I had (I’m not bragging, but telling the truth) one of the best photo galleries about Michael Emerson. Unfortunately, my webserver (yes, I keep my own webserver and it broadbands from my home) died. The photos are still there. One day, we will recover them. Till then, I will upload those old pictures one by one. Today, I uploaded a few more. Here are thumbprints of the new uploaded photos.
While I was out sick, I was awaiting for permission to post these huge photos of Michael Emerson. I received my permission, so I am posting them in them Michael Emerson Photo Gallery. Granted that they may be outdated, but nonetheless, they are beautiful pictures and are big enough for color prints for autograph seekers.
Here are some teasers:
To view the larger size, as well as additional photos, click here.
I apologize for not having updated this site for over a month. And here’s why:
There comes a time in our lives that we realize that we are mortals. Some of us realize as death hits in the face and then we leave the world of living. Some of us, face our mortality with a sudden illness that somehow gives us another chance. I faced my mortality twice. Once on March 30, 2009, when I went to the hospital with high fever and a cough that wouldn’t let go. I was admitted at midnight and by 8 am, I failed to be able to breath. Luckily, rapid responders saved my life. I woke up 4 days later in ICU. I was indubated and was told that my heart was attacked by a virus. I was lucky to be alive. I was also told that according to the rules of thirds, I won over the first: I was alive, as one third whose heart were attacked by a virus, would die, one third stay the same, and one third would get better. Once again, I was lucky, within a few times, I got better.
Three years has passed, and on November 5, 2012, an ambulance took me the hospital unable to breathe, after once again catching a cold that gave me high fever and an incessant cough that made unable to breathe. I passed out as we reached the emergency room and woke up 3 days later in the ICU and found a large tube down my throat. Once again, I was intubated. This time, I found out what hit me in 2009, hit me again in 2012. But now, the condition had a new name. It was no longer a virus that attacked my heart. During the interval from 2009 to 2012, my condition had a name: Takostubo Cardiomyopathy. Takotsubo is know as the “heart break” disease. Most people get it when they experience an extremely emotional state that they cannot cope it. The heart is suddenly deluged with a high concentration of adrenalin that it cannot cope it. The heart distorts its shape and, if help comes about right away, the chance of recovery is very positive.
Unfortunately, my affliction was not caused by emotional or psychological stress. It was caused by physical stress. We can attempt to diminish emotional and psychological stress. It’s hard to prevent physical stress. Colds are always around and who knows which one will be the one that will once again knock me out. The third time, I may not be so lucky. Although, I hope that it won’t be so. Nonetheless, I am well aware of my mortality, and hence, I am writing to all of you requesting a favor. I need a partner. Someone I can trust to help me run the site. If you are interested, please contact me by clicking here. Remember, it’s a volunteer job. Do it for the love of Michael Emerson’s career.
I’m including a blog post about the Person of Interest panel discussion at New York City’s 2012 ComicCon that I recently came across. The original post can be located here. You will be able to find additional photos that do not include Michael Emerson (other photos and larger version of the photo included here of Michael Emerson can be viewed here) and an audion clip of the panel discussion is located a the link I provided earlier.
I learned how much people loved Person of Interest while standing in line for the NYCC panel. Wherever I looked during my two days at NYCC, I spied people of all ages — but mostly kids in their 20s — rocking pink hair and latex pants. But, on the POI line, I noticed racially diverse, normally dressed people in their 30s and above. That’s when it hit me. These people didn’t care about comics, the DCverse, the Marvelverse or the Whedonverse — all they cared about was the Nolanverse. And, that’s why they came. For half an hour, I listened to people express their anger at seat hoarders who didn’t care about Carter, Reese, Finch or the dog, Bear, while another woman laid out her plans for buying a 3-day pass for 2013 JUST to see NEXT YEAR’s Person of Interest panel. Last year, I never experienced difficulty finding a seat in any NYCC panel. This year … not so much. The room was PACKED.
Once inside the panel, you could tell how hardcore the POI fans were from their frenetic energy during the POI teaser reel. It was hilarious watching the two year old in the stroller fuss while her parents — avid fans — watched the panel instead. For this season’s surprises, Reese and Zoe will go undercover as a married couple; Finch will appeal to Elias for help; Lionel’s past will return to bite him in the ass; Reese gets shot; Mark Pelligrino will guest; and our favorite victim from season two’s premiere will return. While I learned a lot from the press room interviews (which I will release shortly), each of the actors shared a lot in the panel itself. And, every time an actor appeared on stage, the crowd went wild displaying their true, hardcore love. Although the rest of this post will focus on the Person of Interest panel, it’d be wrong if I didn’t first call out the dedication of the Person of Interest fans.
The audience responded well to Taraji P. Henson who shook her money-maker upon entrance, exhibiting her sassier real life self. She believes her character works with Finch because of his good deeds and joked it’s difficult working in a department where no one’s “clean” while looking at her on-screen partner, Kevin Chapman, aka Lionel Fusco. Weighing in on the Carter character, Jonah called Carter the show’s heart. The show follows her journey chasing the two males while learning she has more in common with them then she initially believed.
Regarding his own character, Chapman spoke about his acting process. He only reads his scenes before shooting and not the entire script, so that he doesn’t have more knowledge than his character does, which explains Fusco’s believable ignorance.
Although the POI-ites quieted when Jonah spoke, they didn’t appear any less rapt. During the panel Jonah revealed his inspiration for the show, having read books on artificial intelligence. He grew up watching the X-Files and loved the story of the week with gradual character development amongst the two leads. (So, HAH, to everyone who pooh-poohed my X-files-POI theory! Note: I say that lovingly.) He calls POI a science fiction show grounded in reality and joked that all of the writers wear “tin foil hats.” He’s a big Joss Whedon fan and tingled when J.J. approached him with the idea. The show will remain in New York, because he loves it and feels it’s one of the most watched places on the planet. Jonah spent the summer figuring out the Dewey Decimal system we witnessed in the season two premiere and loves the parallel between the ancient print catalog system and the bits and bytes of the Machine’s artificial intelligence. He thinks it’s ironic that they now film the show’s sky-view angles using robotic cameras and talked a lot about the iPhone’s Siri, which I mentioned in the premiere. He wanted a show to incorporate cable’s level of quality.
Although Michael Emerson, Amy Acker and Kevin Chapman received equal audience love, Bear — with his trainer — and pretty boy James Caviezel received the most. Jonah claimed he wrote Bear in because it’s a dog loving staff and he wanted Michael Emerson’s pooch to have company. Although Emerson smiled, he talked more to the show itself. The writers laid out the conflicts well and he enjoys the growing Machine friction. He likes being the burr under the audience’s saddle and admits he was fascinated with Root. He feels both Root and Finch had a type of courtship, but admits Finch isn’t the best for romantic partnerships.
They cast Amy as Root after the character’s introduction, but sent her episode 13’s script to give her a feeling. Unfortunately, she had just cut her hair (which she discussed in our press room interview). Both Jonah and Gregg told her they wanted Root closer to her personality. Although Amy describes herself as crazy, she’s also incredibly bubbly.
While Jim arrived late, he was definitely missed. The crowd raised to a not-at-all dull roar when he appeared, joking that he stopped to fight crime while revealing he performs 85% of his own stunts. If you can’t hear anything on the tape, that’s Jim speaking. He admitted he does a lot of looping post-filming because of his low voice. He reasons it away stating, he’s a CIA operative talking about state secrets in the middle of the city. Would you really raise your voice? No. Point taken, Mr. Caviezel.
Overall, I enjoyed the panel and the hints dropped by all. It’s a good cast and you could tell the audience loved them. The reason I wanted to give credit to the POI fans in the beginning is because, last year NYCC featured an un-announced one hour presentation of the pilot. This year we received the entire cast, including Bear and his trainer, one of the executive producers and ROOT. Would we have had that if not for the Person of Interest fans, the CaReese fans, the Zeese lovers, the Finch fiends/Michael Emerson lovers and everything in between? I think not. So don’t mess with a Person of Interest fan, and don’t mess with the show. As you can tell good things are coming our way.
This blog is really about Michael Emerson, but Carrie Preston is his wife and many times when she is interviewed, she talks about her husband. And she does in this article from Vulture as well, enjoy:
Carrie Preston is best known as Arlene Fowler on True Blood and Elsbeth Tascioni on The Good Wife, both wacky characters in their own right. But she’s only making a cameo in her latest film, That’s What She Said, which she directed. The comedy, now in limited release, is an adaptation of the play Girl Talk by Kellie Overbey (which Preston also directed) and features three very different women: an optimist looking forward to a prospective date (played by Marcia DeBonis), a cynic who no longer believes in love (Anne Heche), and a nymphomaniac who uses sex to feel better about everything (Alia Shawkat). In the case of the last, if a partner isn’t readily available, she’ll retire to the nearest public restroom or hop on a subway train, which has a vibrator effect on her. Preston chatted with Vulture about orgasms on the subway, women in Hollywood, and modern dildos.
You really get the sense that you’re in the real New York with this film — not a glamorized, idealized version of the city.
It was really important to me to depict that. This morning, it was pouring rain. Pouring. I’m wearing heels and a very tight dress, and I had my hair all down and everything. My sweet husband [Michael Emerson] cut together from an old poncho a little hair tie for me — and I looked like the biggest bag lady! I had a hair tie that was blue, I had a black raincoat, a red umbrella, and a pink purse, and boots, with my high heels in a bag. And looking like that, I took the subway because I’m never going to catch a cab in the rain. It’s not Sex and the City, and I feel like the movie tries to capture that.
The subway scenes, you mean.
Illegally filmed, by the way.
Both scenes employ methods that people might want to borrow: first, Anne Heche’s pretense of having Tourette’s to get people to move away from her, very handy; and second, Alia Shawkat’s technique of getting an orgasm from the train’s vibrations.
You wouldn’t believe it, but we actually shot Anne’s scenes in a very crowded subway. That was my costume designer and script supervisor who were sitting next to her, because we didn’t have any money for background. People sort of looked, laughed a little bit, and then went right back to whatever it was that they were doing. They couldn’t have cared less: “Eh, Anne Heche doing something weird, whatever.” Same with the orgasms. No one batted an eye. Although that was very subtle — you had to know. But Alia was changing costumes on the subway in between the takes, so we were on the subway holding up coats to help her change clothing, and there was a camera operator, a boom operator, and me, so it was pretty kamikaze to shoot. We were doing this, mind you, at three in the morning, and on the A train — but, still, the subway was alarmingly packed at that hour.
Is the A train the best train for orgasms?
I wouldn’t know because I’ve never tried it, but in theory, yes. [Laughs.] There’s no O train, so I think it’s the A. There are fewer stops, so you definitely have a longer run at it, to get the rhythm going. It’s a good stretch. You could do it all the way to JFK. I love that in the movie, when she says she has spontaneous orgasms on the train, people ask, “Which train? Which line?” I mean, she wants to know exactly where she needs to go to get it on.
Where did you get Alia’s dildo for when she wants her orgasms in slightly more private locations?
The props woman on the film, she went everywhere, and she would send me these pictures and videos of these sex toys, and I was like, “Too much!” They all had these wings and things, and I was like, “Does no one just make a plain vibrator anymore? Can you find something that’s not out of a science-fiction movie?” Most of them have all these appendages, and for that shot, I just wanted a phallic symbol. I didn’t need it to be an alien thing on the floor that was moving around, so we had to craft that.
This started as a play in 2004, long before raunchy female comedies became en vogue again.
When Kellie wrote this script, there were no Bridesmaids running around. There was no Bachelorette happening. There were no Girls on HBO. There was none of that. I’m happy about those — I love Bridesmaids; I was there opening night — but I feel like Hollywood has amnesia. Do they not remember the silent films that were almost all starring women? Do they not remember the screwball comedies? Do they not remember Lucille Ball? They don’t, and they forget, and we’ve had some major amnesia, and we’re starting to come back into it. But if I’m going to watch men grabbing their crotch onscreen since the beginning of the talkies, we need a tit for tat.
I thought it was because Marcia’s character had just shaved at first, but she’s grabbing her crotch because of a yeast infection.
Movies don’t usually address any of that, any of the stuff that we do. Here’s a woman holding up a centerfold, shaving, trying to live up to an ideal, and you know she’s not going to. She represents many, many women in the world that Hollywood will never give a leading role to.
Unless you’re Melissa McCarthy.
And then they make an exception. And I’m glad that’s happening. But it’s very rare. As a feminist and a woman who believes in representing all females in film, I thought the only way to do that is to make it happen yourself. If we sent Kellie’s script to Hollywood, this would not be the cast. They would just want someone who puts glasses on and goes, “Oops! I’m adorkable!”
You’re on hiatus right now for True Blood. Any discussions yet with the new showrunner [Mark Hudis] about how things might change for Arlene and Terry?
No, but he’s wonderful, and he’s a big supporter of Arlene and Terry, so I’m curious to see what they’ll do what with our characters. Right now, I’m doing a three-episode arc on my husband’s show, [Person of Interest], playing his fiancée. We’re doing flashback scenes, and it’s so fun to be working with him, to be on set with him and see how he works with that character. It’d be fun if he could ever cameo on True Blood, too!