wingman wednesday

Some teens are wise beyond their years. Talented young actor Jaden Michael, a fan of David Lynch projects, is a shining example of that. His new film “Wonderstruck,” which received an extended standing ovation at the Cannes Film Festival in May, perfectly highlights his natural onscreen charisma and ability to tap into a character. Costarring Julianne Moore and Michelle Williams, “Wonderstruck” arrives in theaters this Friday.

We recently sat down with Michael to discuss his process of connecting with a character, why he doesn’t view acting as work, and what he’d binge watch if he had an entire day to himself.

TrunkSpace: You started your career very young. As you’ve grown up, have you found yourself enjoying different aspects of acting and the process than you did when you first started out?
Michael: As a child, I really enjoyed going to the auditions and memorizing. As far as I remember, I had a lot of fun working on “Sesame Street” and things like that, but now it’s more serious. For me it’s not just about being myself anymore – now it’s about creating the characters and becoming the character, so it’s more serious.

TrunkSpace: When you’re going through the process of finding a character, what approach do you take?
Michael: I like reading between the lines and imagining, what does the character like to eat, or, how does he walk? If it’s a period film or TV show, I like to research a lot about that time period and that era, and just what the character is. Every character is different. You have to be prepared and research the characters, and really know about the person and the time period.

TrunkSpace: Which was the case with your new film “Wonderstruck” because your character’s story is based in 1977. What was that experience like?
Michael: It was wonderful. Right before shooting “Wonderstruck,” I worked on something called “The Get Down” with Baz Luhrmann, which was also based in 1977. It was nice to see the big differences between the two sets. In “The Get Down” they really wanted to show the bad and the rough side of New York City, but for “Wonderstruck,” I really loved how it showed the people. The costume designer, Sandy Powell, was just excellent. She put these masterpieces together. You had the people walking around in polyester. Everyone was without underclothes, which was funny, because apparently that’s what they used to do back then. (Laughter)

And not only the 1970s, but also 1927, because there were a couple of times that we were on set and I got to see 1927. The transformations of the crew from this 1977 style to this 1927 style was… we’re taking out all the Chevrolet’s and we’re putting in Ford Model T’s, things like that, and everyone is dressed up. It really helped me as a character really feel like if I was in that time period, because I’m looking at what’s going on.

TrunkSpace: What was the most challenging aspect of playing Jamie in the film?
Michael: It was a lot of fun, but something that was challenging to play with the character was the fact that he happened to interact and talk with a deaf person. Oakes Fegley is not deaf, but he had to play one, and he did such a great job. When we’re trying to communicate, he’s a late-deafened, so he can speak but he can’t hear, so I would have to write something down to ask him a question. He would speak and then I would have to reply in writing. That was kind of difficult, but a lot of fun as well. It was just interesting to create, basically, a new language with someone. It was a lot of fun to work on it. It helped that we were really close and we were good friends.

TrunkSpace: With a project like “Wonderstruck” or any project that you’re working on, do you view them as an education as well, especially when you’re working with people like Julianne Moore who has been acting at such a high level for so long?
Michael: It was a great honor to work with Julianne, and with Todd (Haynes). Just being around her made you feel like, “Wow, it’s really important to stay humble.” This is someone who is an award-winning actress, and she’s so very humble and down to earth, and I really love that about her. And Todd, he was always telling us to stay focused, and giving us advice for the characters and things like that.

I don’t really see acting as a job, I see it more as a… it’s fun, you know? And very educational. For instance, on this set I learned sign language. I didn’t know much about deaf culture or deaf history. Learning about their culture, and now learning sign language, it’s a lot of fun and very educational to know this language, that way I’m able to have conversations with people I probably wouldn’t be able to otherwise.

TrunkSpace: “Wonderstruck” is generating some real buzz as it gears up for release. How do you stay grounded and focused on your work and the fun of the job as the buzz builds?
Michael: It’s not something I really focus on. For instance, a good friend of mine, director Jim Jarmusch, when the film went to Cannes Film Festival I was telling him, “Oh, I hope the film wins.” Jim was kind of like, “You know, if it doesn’t win, it’s fine. You guys got the buzz. You went to Cannes. Enjoy it. It’s not about winning or losing. It’s about enjoying the journey.” That’s something that I really took with me and I’m keeping the same kind of mindset. If we get nominated or not, it’s cool, but I worked hard, and I know that I did my best, and I’m having fun along the way.

TrunkSpace: So are you somebody who focuses on the present – the projects you’re working on now – as opposed to what those projects will lead to in the future?
Michael: A little bit of both. I like to think about, “Oh, maybe this will happen, or maybe this will happen.” And then at the same time, I also like to think, “Okay let’s stay present. Let’s stay grounded. Let’s stay on the ground.” But then at the same time I wanna get into my little rocket ship and go “Yay!” (Laughter)

TrunkSpace: You’ve done some work in voice acting as well. Is that something that you’re going to continue to pursue?
Michael: Yeah, I love doing voice acting. It’s a lot of fun, because even though your face is not being seen, you still have to deliver it that way. You still have to make the voice sound that way. I recently did something with Lesean Thomas called “Children Of Ether.” That was a voiceover, an anime, actually. That was a lot of fun.

TrunkSpace: Finally, Jaden, if you had a free day to lounge around and do whatever you wanted in terms of catching up on TV or movies, what type of stuff would you binge?
Michael: If I had a whole day to relax, I would probably go skating with a couple of my buddies and then probably fly my drone around, but I would love to catch up on some movies. I would wanna watch “Blade Runner 2049.” I love the original “Blade Runner” movie. I would watch some stuff from David Lynch. I like a lot of his original works. I would watch the new “Twin Peaks” series, just to catch up on that. And when “Stranger Things” comes out, I can’t wait, because my friend Caleb McLaughlin is on there, and I’m really proud of him, so I can’t wait to watch it.

TrunkSpace: Yeah, when that new season comes out, it will be impossible to get a hold of anybody for the entire weekend.
Michael: (Laughter) Right. Everybody’s gonna be doing the five-day trial of Netflix.

“Wonderstruck” arrives in theaters on Friday.

Set in the American heartland during the 1930s, USA Network’s new drama series “Damnation” is prepared to show just how many shades of gray a person can represent at any given moment. Times may change, but human nature does not, which means questionable decision making and life-altering conflict stretches all the way back to the presidential tenure of Franklin Delano Roosevelt. “Damnation” is looking to shine a spotlight on that complicated period in American history, all while taking viewers on a wildly entertaining ride.

Series star Sarah Jones is no stranger to entertaining television. The North Carolina-born actress has worked on countless long-running pop culture mainstays, from “Big Love” to “Sons of Anarchy,” and recently appeared as Alison Kemp in the Hulu series “The Path.”

We sat down with Jones to discuss the dissection of a period piece performance, her incredible costars, and why she’s thrilled about the current creative state of television.

TrunkSpace: Your new series “Damnation” premieres in just a few short weeks. The trailer paints an intense, dramatic journey for your character. What was the personal journey like for you in terms of finding who she was and then bringing her to life?
Jones: (Laughing) It was an intense and dramatic journey. The research and inspiration of who I drew from to relate to Amelia was the easiest and most enjoyable part. To come to terms with what Amelia and I have in common, how women have historically been viewed and treated by society, and the amount of work that still has to be done to maintain a fair balance in how women are viewed and treated by society—to acknowledge all of that, and to use that in a productive way without allowing a cloud of resentment hanging over my head was a little trickier. Of course the current political and social climate seems to intensify the experience, but I couldn’t be more grateful to have this kind of outlet in working on this show and playing Amelia to work through it all.

TrunkSpace: “Damnation” is a period piece. Does that add a different layer to a character when you have to not only find who she is inside, but also what that particular period meant to people in terms of how they presented themselves in public and in private – basically, how society influenced who they were?
Jones: Yeah, of course there are added layers when you’re looking at common mannerisms and societal pressures of a specific era and how that would relate to a particular social class, but I think in terms of how we present ourselves in private and public really hasn’t changed. I mean, isn’t that what social media branding is all about? And it doesn’t matter whether someone is trying to create a personal brand or not, they present themselves in a way that they feel will garner the attention they want. Societal influence may have evolved and given us more ‘options,’ but the pressure to fit into a mold that is deemed worthy of a person’s perceived character or values is still very much alive and well.

TrunkSpace: What is an aspect of the series that you feel will surprise viewers? Is there something tonally about it or story-wise that isn’t reflected in the trailer that is a big part of the “Damnation” experience?
Jones: I don’t know if this will surprise anyone because I think it just makes for great television, but the characters’ decisions and conflicts are full of grays. It’s messy, and complicated, and raw, which represents a very real human experience.

TrunkSpace: The series is stacked with this great cast of character actors who always seem to steal a scene regardless of the project that they’re in. In your opinion, how does this cast compare to other shows you’ve worked on in terms of pure talent on-screen?
Jones: I have to agree with you 100 percent on how talented this cast is. Wow, what a cast, right?! And I love that you brought this up, there are no ‘stars’ or ‘names’ in this show. We’re working class actors—we have to hustle for our jobs that we actually get (no one sees all the jobs we don’t get), stretch and save what we earn because we don’t know when our next job will be, and prove our worth every time we show up on set. There isn’t a single actor on this show that doesn’t arrive fully prepared and invested. We’re grateful to be here and tell this story, and that makes for an inspiring group of actors to be around and a highly creative and engaging environment to work in. That doesn’t take away from some beautiful experiences with other cast members on other shows, most everyone starts at the bottom, but from day one there’s been a sense of solidarity between us that’s felt really special and exciting.

TrunkSpace: Television is stacked with incredible, character-driven content these days. How exciting is it for you to see such a shift in the medium over the years, and at the same time, is it also a little intimidating knowing just how much competition is out there, all of which is vying for the same set of viewer eyeballs?
Jones: I saw this coming years ago when I worked on “Big Love,” and I couldn’t be more thrilled. I love the intimacy that storytelling through television brings. It’s like you’re inviting these characters into your home every week or hanging with them for a full day or two depending how you watch a series. And I can imagine that contributed to the shift in the way that shows are made now. You’re not gonna invite someone over to your house every week if you don’t want to spend time with them. In terms of all of these fantastic series coming out, I’m not intimidated by the notion of ‘competition’—there’s not another show like “Damnation” currently on the air, and if this show is considered to join the ranks of shows with ‘incredible, character-driven content,’ it’s because everyone involved in creating it worked hard for it and the viewers connected to it. I also think network executives, as far as cable is concerned, pick up a show with the intention to let it breathe and give viewers a chance to invest in it. Some shows are overnight successes, others are a slow burn with a major pay off of a dedicated following and a loyal fan base. (Laughing) I have zero control over any of it so I just try to focus on the work and hope for the best! But I really dig the viewer/content relationship, feedback, and conversation that television has created when it comes to its series.

TrunkSpace: Another big change in the way that television is being rolled out is in the number of episodes being produced each season. And while that means there’s less story to tell, more often than not, those series with fewer episodes feel richer and more character-driven than their 22-episode counterparts. What are your thoughts on shortened seasons from a storytelling/character point of view?
Jones: I support it completely! And I agree with your sentiment—it does feel like a quality over quantity situation. On top of that, writing, shooting, and editing a series is done so quickly that too many episodes will not only burn out everyone involved in making the show, but I think it’ll eventually burn out the audience too. Especially with all of the other shows out there.

TrunkSpace: Is there a part of your job or of the experience of what you do that still feels new each time you set out to do it? What still excites you as much as it did the first time you set foot onto a set?
Jones: I’m always excited at the prospect of who I’ll connect to and collaborate with, and when it comes to working on a TV series, I’m always excited when a new episode’s script comes out.

TrunkSpace: Going back to that first time you set foot onto a set, we’re curious, how much of your personal journey – the jobs and experiences you’ve had within the industry – have directly impacted your acting? Is the performer we see now completely different from the performer you were then due to the projects that came between?
Jones: God I hope so! If my work hasn’t improved and my life hasn’t evolved over the years, I need to take a hard look at what I’m doing with them. I’d like to think that my performances and my personal life have a symbiotic relationship of being fed by the experiences of living.

TrunkSpace: We all change as people as we get older as well. How much of that personal growth impacts what you do? Does it alter your point of view regarding your take on a character or specific choices you’d make for a character?
Jones: I don’t see how it couldn’t. I find the advice, ‘don’t take it personally,’ ironic when it comes to working as an actor. That’s the only way I feel I can take on a character or job—whether I get the opportunity to play it or not, which of course leaves me vulnerable to disappointment. But I’ve figured out how to move through it instead of around it, and I hope that raw and exposed space translates to something deeply personal and honest on screen. That’s a skill that’s taken years to build and I have yet to master it. And that example is just scratching the surface in regards to how personal growth impacts what I do with the work I get.

TrunkSpace: You’ve appeared in some very memorable series over the years that have left a lasting impact on the world of pop culture. Are there any characters, even short-lived guest spots, where you wished you had more time to explore and see where that particular person’s journey was going?
Jones: Yes and no. I’d hate to think I might’ve missed out on playing certain characters because I wasn’t available for them. Walking away from a character feels a bit like a break up—sometimes you’re relieved, sometimes your heart aches, or maybe there’s a combination of both, but ultimately it all works out the way it’s supposed to. And, of course, sometimes embracing that mentality is easier said than done! (Laughing)

“Damnation” premieres November 7 on USA Network.

Featured Image By:
Photographer: Logan Cole 
Hair/Makeup: Travisean Haynes 

In the new digital series “Stories with Kev,” Woody McClain portrays Kevin Hart as he reenacts memorable stand up bits from the entertainer’s career, adding a new dimension of funny to Hart’s already-hilarious act. McClain self-produced a version of the show on his own in 2015, going viral with his take on Hart’s “Permission to Cuss,” which ultimately lead to a collaboration with HartBeat Digital, the comedian’s production company.

“Stories with Kev” airs on the Laugh Out Loud Network and can be viewed here or through the Laugh Out Loud app.

We recently sat down with McClain to discuss how he turned his hobby into a career, why he doesn’t feel any pressure playing Hart even with Hart involved, and where he’d like to be in 10 years.

TrunkSpace: This adventure that you’re currently on with “Stories with Kev” came from you sort of taking the bull by the horns and putting it all together, and the universe just running with it, right?
McClain: Yeah, that’s exactly what’s going on.

TrunkSpace: Was this ever part of the plan when you started putting together content and posting it online?
McClain: I mean, it all started with me just wanting to show my funny side. I’ve always been the quiet one. I came from a dancer’s background, so I just wanted to show my funny side. When Vine started, it was a perfect platform for me to do that, and it just got bigger and bigger after that.

TrunkSpace: At what point did it get so big that you realized it was going to be a game changer?
McClain: Man, I was just always doing it. I don’t think I ever thought it was gonna be a game changer. It was just more so of a hobby because dance was my number one thing. This was just, literally, a hobby for me. I like to bowl, so me going to the bowling alley is just an everyday thing I like to do. I don’t think nothing of it, but if I become the number one bowler in the state, it’s like, “Dang, I didn’t know that was gonna happen.” (Laughter)

TrunkSpace: So when you’re working on “Stories with Kev” now and Kevin’s actually involved, does that put any pressure on you in terms of your performance seeing you’re working with the person you’re portraying?
McClain: Oh, no. No pressure at all. Kevin made sure to let us know to keep doing what we’ve been doing. “Don’t change the formula. Just keep doing it how you’ve always been doing it.” That’s the same approach we brought to it. It’s real simple. I just take what’s in my head and we just put it on video. I don’t want to get dinosaurs if we don’t need dinosaurs. Just keep it simple.

TrunkSpace: You started this journey to show your funny side, but from a performance standpoint, you’re getting to show a lot of different sides in terms of what you’re capable of.
McClain: Yes, for sure. Social media has definitely helped mold the actor that I am becoming. I can always just record myself and then I can post it immediately and I can get a response immediately. People that don’t even know you across the world are going to tell you, “Yo, this is whack.” They’ll tell you that because they don’t have a personal connection to you. Or they’ll say, “Yo, this is really good.” So I just make sure I always apply that. I like to see what other people think and how they feel because the more I started learning how to act, I realized I really like to make people feel, more than anything. It’s never about money. It’s never about popularity. I just really love to make people feel. Whether they feel laughter, whether they feel sadness, I just really love to make people feel.

TrunkSpace: Can you talk a little bit about how the door opened for you to start working with Kevin?
McClain: I remember when I first saw the edit for the video. The director was like, “Man, I don’t know. How do you feel about it?” I was like, “Yo, this is golden.” I instantly knew this was the one. As soon as it posted, the next day I woke up and it had over 10 million views, and then I received a message from Wayne, Kevin Hart’s right-hand guy, saying that they wanted to meet and figure what we can do to work together. I went in and met with Kevin, this was 2015, and they said how much they loved the work and to keep doing it and we’ll eventually be able to link up and do something bigger on a bigger platform. That’s how that all happened.

TrunkSpace: Isn’t that crazy though? You wake up, you have 10 million hits, and that’s more than networks are pulling on shows with massive budgets.
McClain: Crazy. Crazy. Everything is going digital now.

TrunkSpace: Now that you’re working in that more traditional media market as well, is it a thin line to walk… moving your career forward but not alienating the fan base you built in the digital space?
McClain: Yes, for sure. My first thing was, “I’m going to just do traditional and I’m never going to do social media again.” But I felt like I was robbing my fans that were there with me from the beginning. I was robbing them by not creating content that I was doing before, so I don’t do it as much now, but I still do it.

TrunkSpace: Is dancing still a part of the game plan?
McClain: Oh, that’s out of the game plan. Listen, my knees right now, they can’t even… no, my knees are done.

TrunkSpace: So what’s the ultimate goal? If we flashed forward 10 years, what kind of entertainer do you want to be?
McClain: I just really love to tell people a story. Even when I got a chance to do “The New Edition Story” as Bobby Brown, it wasn’t just a role. For me, it was telling that person’s truth. I want people to see how other people live, and my thing is, as an actor, I want to be able to tell more true stories. I just want to help push my culture forward.

In 10 years I want to be… producing is what I really love. I love creating. I love producing. That’s my number one thing. I have ideas for days, and right now it’s just that I need to get it out. For me, it’s linking with not only people that are popping, who are super popular now, but I want to link with people that are up and coming – people that are super dope that don’t get that opportunity. There are a lot of people out there like that. I come from that background, so I already know how it feels. I’m looking to network across the board, not just network up.

Feature Image By: Photographer Shaun Michael

Nickelodeon has an incredible track record for recognizing young talent and serving as a springboard to the pop culture mainstays of tomorrow. The recent generation of megastars spawned at the channel have included Selema Gomez and Ariana Grande, and if history continues to repeat itself at the home that tweener’s built, Nicole Alyse Nelson of the series “I Am Frankie” will be another future success story who got her start at the network.

We recently sat down with Nelson to discuss how she grew up idolizing Nickelodeon, what she loves about her character Dayton, and why juggling a career at her age feels perfectly normal.

TrunkSpace: “I Am Frankie” has been airing for about a month now. Where has it impacted your life most?
Nelson: It’s been a fast and furious month. I’ve really only seen an increase in social media. I still haven’t been stopped in public or anything, but my family and my friends have been extremely supportive. All I’m hearing is really good responses about how the show is impacting kids in positive ways. It’s just a lot of really, really nice feedback.

TrunkSpace: Were you somebody who grew up watching Nickelodeon shows?
Nelson: Oh my gosh, yes! That is one of the main reasons I was so thrilled about even going in for this project. Growing up, I was actually always more like a Nickelodeon kid. Of course, I watched Disney Channel, but my heart really lied with “Drake & Josh,” “Zoey 101,” and “Ned’s Declassified.” To be on a network that I truly idolized as a kid is absolutely insane.

TrunkSpace: It’s kind of like paying it forward. They entertained you, and now you’re entertaining a new generation.
Nelson: Exactly. And another thing that I’m trying to do with that is, when I was really big into it, social media wasn’t really a thing like it is today. If I was in love with Ashley Tisdale or something, there was no way I could see what she was doing unless I bought a magazine. So now social media being the way that it is, I’m really trying to have a relationship with my fans and like all of their content, and be able to send out autographs and do stuff that I always wished I could have done when I was that age.

TrunkSpace: You mention Ashley Tisdale, and you look at the people who have come out of Nickelodeon shows, from Ariana Grande and Selena Gomez and all of these big, huge stars. Do you ever think about what you’re doing now in terms of what it could become for your future career down the road?
Nelson: Oh, absolutely. That’s the goal. I truly love what I do, and I hope that it continues for years to come. A lot of these stars as well are very talented singers. My goal isn’t so much to be a pop star, but continue along like the Emily Osment path, or Jenette McCurdy. Really just focus on acting, that’s the goal.

TrunkSpace: What was it that first drew you to Dayton as a character?
Nelson: The second I saw the breakdown for Dayton, I was in love. The breakdown had three females. It had Frankie, Dayton, and Tammy. Tammy’s kind of a mean girl, Frankie of course is a robot, and Dayton is just unapologetically herself. She is confident, she is intelligent. She is the expressive, charismatic best friend. She’s just a fun role. She’s the kind of character that I knew, upon reading four pages of the script, that if I book this I would never know what they would give me the next day. She’s the character that does crazy stunts and spits out food. She’s just insane, so she’s a lot of fun to play.

TrunkSpace: Does the comedy aspect of performance come natural to you in terms of timing and delivery?
Nelson: Comedy has always come pretty natural to me. I’m not going to say that I haven’t had to train and study, because comedy is all about timing and the way you say things. I did have to learn that, but it’s really been a natural instinct. I naturally have a really sharp tongue, meaning I’m really kind of quirky in the way that I use my hands a lot, and I naturally make reversals in my voice. I was always told growing up, even my theater teacher was like, “I’ve never seen a style as sharp as yours.” It’s kind of perfect that I got into kids multi-cam, because that’s really where the style is able to shine.

TrunkSpace: The concept of the show is a fun take on a classic idea. Does that fun translate to the work itself to where you have to pinch yourself to be reminded that you’re doing work?
Nelson: Oh, yeah. It’s so much fun, especially because a lot of the time things are just funny, lighthearted, and there’s a bunch of jokes on set. Working with Alex (Hook), who has to play a robot, is something really interesting. As an actor I forget just how much what the other person gives you matters, in terms of your performance. She gradually gets more human, but towards the beginning she was so robotic, it was just a weird thing to experience, because I was pushing so hard to make all of the energy happen. Then towards the end of it, it became so natural. You never knew what they were gonna write for you, or what was gonna happen. The whole process was just a blast, to watch it all unfold and experience it.

TrunkSpace: And this is the longest period of time – 20 episodes so far – that you have ever spent with one character. What is that experience like?
Nelson: I loved it. That’s the only thing a performer can really ask for, something they can really sink their teeth into. When I first got the role and I went to Miami and we started shooting, they pretty much handed us 750 pages and were like, “Okay, have fun.” At that moment I realized everybody trains you for how to get the role, but nobody tells you what to do when you get the role. It was this moment of being like, “You know what? I have so much to work with, I don’t even know where to start, in terms of breaking this down.” Of course, I figured it out, but at the very get-go, it was very overwhelming. It’s a lot of material.

A person changes a lot over the course of 20 episodes, in terms of what they learn and how they view the world. It was also confusing. We didn’t really shoot in order, so I would have to train myself to remember, “Okay, what we’re shooting right now is episode 7, but right after this, we’re doing episode 15. This is where I’m at mentally by 15, and then we’re going back to episode 2.” It was completely all over the place, and that was one of the hardest parts.

TrunkSpace: Other girls your age are focused on school and life, and here you are throwing career into the mix as well. Does it ever feel overwhelming or are you used to having a career and making it all balance out?
Nelson: I’ve made it feel pretty normal. When I first moved out here and I was like, “This is what I’m gonna do, this is what’s gonna happen…” I fully jumped in and committed to it. It was overwhelming at first, but it’s something that I’m so passionate about and I truly love it. There isn’t ever a moment that I’m like, “Oh, I’m not sure if I can handle this,” or “I just wish I was back in Texas,” because I’m from Texas. I’m really, really happy with what I’ve decided to do and with where my life is going, so, no regrets.

TrunkSpace: Has word come down yet if “I Am Frankie” will get a season 2?
Nelson: Nothing has been confirmed, but we’ve only heard really, really great things from the network. So that’s exciting!

Catch the first season of “I Am Frankie” on Nickelodeon or watch full episodes here.

Fall is in the air, leaves are on the ground, and pumpkin-flavored everything is lining the shelves of grocery stores across the nation. With the changing of the seasons upon us and the turning back of the clocks just around the corner, Hallmark Channel has kicked off its Fall Harvest programming event, featuring a number of movies meant to up our autumn intake.

Premiering this Saturday at 9 pm ET/PT is the romantic comedy “Love Struck Café” starring Sarah Jane Morris and Andrew W. Walker. We recently sat down with Walker to discuss the importance of on-screen chemistry, how the fall season plays into the film’s storyline, and why watching Hallmark Channel reminds him of gathering around the television with his family when he was younger.

TrunkSpace: You’ve worked on a number of Hallmark Channel films over the years. How does “Love Struck Café” differ from the others you’ve starred in as far as performance and where you were able to go with your character?
Walker: Well, these things always rely on the chemistry between myself and the lead female. Sometimes these things take a little longer to develop over the course of the 15 days, because these are such quick shoots that you really need to kind of hit the ground running.

TrunkSpace: Hammering something like this out in 15 days is really impressive.
Walker: It’s crazy. Usually you get the job maybe a week before you go to shoot it, so you have about a week by yourself and then you meet your leading lady and then you have two days with that person before you actually start shooting, so it really is no time at all. I think something that really helped on “Love Struck Café” was, Sarah and I had been introduced through a friend. She was working on a show called “Brothers & Sisters” and a girlfriend of my wife and mine worked on that show as well. So we had met her a long time ago and she’s just a great person. We had a rapport.

By day three we really started to get in the groove, and then once that happens we’re able to play and have a lot more fun, and just really challenge each other as well. I like it when I’m questioned on my decisions and where I’m bringing my character and where we came from and where we’re going. Sarah’s like, “Hey, let’s talk about where we came from today. Let’s go back in the script.” So we were working in the makeup trailer. We were working on our lunch breaks. Even when our day ended, we would meet up for maybe an hour-and-a-half or so and just talk through the next day and just make sense of what’s happening.

And with this, it’s a lot more playful, I think. It’s more broad of a range than the other Hallmark’s that I’ve done. I just had the ability to play around a lot more.

TrunkSpace: When you arrive on set and hit the ground running, is the script itself still being massaged throughout the production process?
Walker: Being massaged throughout the process, every day. The framework is there, but the meat of it all, we could change it up, almost as much as we’d like. Obviously that could be a slippery slope. You start changing things here and there in the plot, and then you get stuck in the editing room at the end. So we’ve got to keep it within the confines of everything, obviously. But yeah, we had the ability to change it up and add things that we felt necessary, where we felt necessary.

TrunkSpace: Hallmark Channel is one of the few networks that is continuing to grow its viewer base and their original programming continues to grow in popularity. Why do you think that is?
Walker: I think it’s a real positive spin. We deal with so many issues nowadays, between religion, politics, and environment, I think that it’s a great way for people to escape. And it’s a classic story. Hallmark has their formula. They are telling classic, Humphrey Bogart-like stories – different versions of classics that we all have grown up to love.

I remember sitting down every Sunday back in the day with my parents to watch the Disney movies that would be airing on Sunday night. We’d go to church in the morning, we’d go for lunch with the whole family, and then I would go play soccer or football or whatever, and then at night we’d all sit down with our TV dinners and sit there and watch these Disney movies. That’s what the allure is, just bringing people back to what we had back in the day, and I think that’s super important. I think that it’s nice to see that families want to sit down and watch these movies together, because they’re also movies that the whole family can watch together.

TrunkSpace: Hallmark Channel is also really great about connecting audiences to the feel and emotions of the seasons that they’re in through the seasonal content that they produce. “Love Struck Café” is part of the Fall Harvest programming event. How does that play into the story?
Walker: I would say everything you’d imagine fall would embody is basically in the film. We go to a pumpkin patch. We go on a wagon ride through an apple orchard. We enter a pie baking contest. It’s actually not a pie, but it’s basically an apple baking contest where the town gets together and bakes the pie. So, leaves are falling on the ground. It’s cooler weather outside. It’s all of the above.

TrunkSpace: When you’re shooting these movies out of season, does it throw you out of whack personally? Are you thinking about celebrating Christmas in the summer?
Walker: I just came back from shooting one for Lifetime right now. I was in Winnipeg, and it was torture. (Laughter) We had these big winter jackets on and stuff.

Psychologically it doesn’t throw me necessarily, because I just jump into it. And the set decorators – they always do such a great job at really doing it up and making sure that everybody feels like the holiday that they’re going to portray. Maybe physically it throws me a little bit off whack because I’m wearing three layers and I’m sweating, supposedly in the winter. (Laughter) But no, you can get into it really easily. It’s just all imagination. It’s fun. I get imaginative.

TrunkSpace: Outside of acting, you’re also producing, recently having finished up a science fiction film called “Oxalis,” right?
Walker: Yeah, we actually just submitted to Sundance and we submitted it to Tribeca, so we’re just crossing our fingers and hopefully it gets picked up somewhere.

TrunkSpace: Was this your first time producing a feature?
Walker: Producing a feature, yes. I produced a documentary about seven years ago called “Stolen Seas” and it was based on pirates in Somalia, but this is my first feature that I’ve ever produced.

TrunkSpace: One of the things that people always seem to be drawn to, at least for those of a particular personality type, is the problem solving aspect of producing. Is that something that you found yourself being drawn to?
Walker: Yeah. I own a business with my wife in Los Angeles. We have a cold-pressed juice business and we’ve had it for about five years now, so I’ve always enjoyed bringing people together in collaboration. It was a struggle at first, getting the branding done, choosing the best payroll company, reaching out to businesses who would be willing to shift our produce, etc., but it was all worth it. With my business, I’ve definitely had to resolve many, many conflicts, but I do love that aspect of it. For example, most of our staff work from home. This can be difficult as sometimes there can be problems with morale and productivity. I use a WFH survey to help track things and stop it becoming a problem. I just like bringing people together. Like with movies, if you cast it right, you don’t have to do that much. You just have to sit back and let people do what they do.

See Walker do what he does this Saturday when “Love Struck Café” premieres on Hallmark Channel.

Fall is in the air, leaves are on the ground, and pumpkin-flavored everything is lining the shelves of grocery stores across the nation. With the changing of the seasons upon us and the turning back of the clocks just around the corner, Hallmark Channel has kicked off its Fall Harvest programming event, featuring a number of movies meant to up our autumn intake.

Premiering this Saturday at 9 pm ET/PT is the romantic comedy “Love Struck Café” starring Sarah Jane Morris and Andrew W. Walker. We recently sat down with Morris to discuss what drew her to the character, why she enjoys the breakneck pace of television production, and how oftentimes rekindling an old romance means having to accept a lost love for who they are now as opposed to who they were in the past.

TrunkSpace: “Love Struck Café” premieres this Saturday on Hallmark Channel. Do you have any rituals for screening your projects when they first debut?
Sarah Jane Morris: No, not really. I’m trying to just get the word out as best as I can so that people see it. This is actually my first Hallmark movie. It’s one of the first things that I’ve done that I feel like my kids can watch. (Laughter) Although, they don’t want to see me kissing anyone. They’ll have to duck out for at least one part of it.

I’m going to do some live tweeting, and I actually have a couple of friends that might come over and watch it. Every once in a while I’ll do that. I’m excited.

TrunkSpace: One of the things that Hallmark is so good at is painting the picture of a particular season…
Sarah Jane Morris: Which is always fun when you’re shooting winter in the middle of summer. (Laughter) This was actually not too bad. We were doing fall. We were late summer shooting for fall, so it was light jackets and sweaters and stuff, but I wanted to burn my coat by the end. (Laughter)

TrunkSpace: You mentioned how “Love Struck Café” was your first Hallmark project, which are known for having fast-paced production schedules. Did that force to alter your approach as far as performance was concerned?
Sarah Jane Morris: Oh yeah. It’s funny, I was thinking about that a lot when we were shooting this movie, which was 15 days. There were some big, huge budget features like “Deadpool” that were shooting in Vancouver at the same time as us. We had one day where it was kind of a big scene, so it took most of the day to shoot. I was like, “Man, I don’t know if I would be super excited to be spending a week on one chase scene in a movie.” (Laughter)

I think I kind of love the breakneck pace of television. You have to come in really prepared, which isn’t always easy because sometimes you’re not getting the material until right before you start shooting, or it changes right before. But you’ve got to kind of come in and be prepared and ready to have curveballs thrown at you, and be able to change it up on the fly. It’s challenging in a different way.

TrunkSpace: Being able to wrap a project in 15 days as opposed to three months also gives you time to pursue other projects and characters, which must be nice?
Sarah Jane Morris: Oh yeah, definitely. For me, it also gives me a lot of time to spend with my family. I’m a nearly full-time mom when I’m not working. I feel really lucky that I can go and work, fast and furious to get it done, and then come home and be with my family. I can be the mom that I want to be for them, and that they want for me to be, but they still get to see me as a working mom.

TrunkSpace: From a performance standpoint, what was it that drew you to the character Megan Quinn in this particular movie?
Sarah Jane Morris: Most of the stuff that I’ve done, I feel like in the past leans towards the pretty heavily dramatic. With some of “The Night Shift” I definitely got to play up a little bit of quirkiness with that character, but this was just fun to be kind of a goofball a little bit. I don’t know if it will come across that way in the end, with the final product, but it was a fun opportunity for me to bring my kind of goofy, weird side to a character, and not just have to play the straight romantic, dramatic actress that I often have to. Nobody was dying, so it’s kind of a nice emotional break. (Laughter) The last episode of “The Night Shift” that I shot in the summer, it was kind of an unpleasant head space to be in for that period of time, because it was a downer. This was just fun. It was nice and light. I like getting to play with my comedic side a little bit. I don’t get to do that very often.

TrunkSpace: So much of the success of these films comes down to the chemistry between the people at the core of the story. Was on-screen chemistry something that you and your costar Andrew W. Walker discussed prior to shooting?
Sarah Jane Morris: Well, it was funny, because after I was hired they told me who the male lead was going to be. I looked him up and I was like, “Gosh, I don’t know if I know this person.” Then on the first day I got there, I was waiting in the lobby with the director – we were going to walk to dinner, the three of us – and Andrew comes walking up. He walks right over to me and gives me a big hug. I was like, “Oh, okay. I don’t usually hug people I don’t know yet, but okay.” (Laughter) He was like, “No, we’ve met.” I was like, “Wait, we have?” And he starts reminding me that we actually met a couple of times, but it was 10 years ago. He and his wife are best friends with Emily VanCamp, who I was on “Brothers & Sisters” with for three years. As soon as he reminded me of that I was like, “Oh my gosh, yeah!” Then it was just like, “Okay, good people. We’re off from here!” It was great.

He’s done a lot of these Hallmark movies. I think the very first scene that we shot was a scene in the movie where he and I kind of run into each other again. I was like, “Oh, he knows how to really connect in that romantic chemistry type of way.” He goes for it and I was like, “Okay, this is gonna be easy.” I just had to let my guard down and go for it as well.

We had a great rapport. It was easy to play up the chemistry between the two characters. It was never awkward or anything like that, which was nice. We got along really well, so it wasn’t having to cycle feelings of frustration, or annoyance with my costar ever. (Laughter)

We actually did have a conversation pretty early on about how there wasn’t a ton of conflict in the writing between the two characters. We wanted to play up the conflict a little bit.

TrunkSpace: In terms of their backstory?
Sarah Jane Morris: The backstory, and just that they’ve changed – they’ve grown up and changed who they are as people. They always had a relationship where they sort of pushed each other’s buttons, even as kids. But now as adults, it’s different. He’s kind of needling me about the guy I’m dating, and the career path I’ve chosen. It’s not exactly what he let me go to pursue. I’m not really fulfilling that dream.

You want to kind of think that he’s sort of bugging her and that this may not work out. They may have changed too much for this to work out.

Find out if it ultimately works out this Saturday when “Love Struck Café” airs on Hallmark Channel!

There are very few actors who can command a scene and own a character like Chi McBride. While he admits that he never sets out to elicit a particular reaction from an audience and that the response to the work itself is organic, there is an undeniable, often undefinable, special “something” that certain entertainers have that makes that organic response possible. Whatever that special something is, McBride has it.

His voice booms like the bass drum in a marching band, banging out dialogue in a way that makes even throwaway lines seem like the best writing in any given script. His presence on screen is at times both formidable and approachable, making him capable of slipping into a wide array of fictional mindsets, which he has done seamlessly throughout the course of his career. And even when the projects themselves aren’t necessarily memorable, McBride’s work is.

With a career that has spanned numerous decades and countless character turns, he has been a part of some of our favorite entries into the Pop Culture Hall of Fame of the last 20 years, including the incredibly inventive but short-lived series “Pushing Daisies” and the before-its-time horror hybrid “The Frighteners.” Currently he can be seen returning to the role of Lou Grover in the long-running CBS series “Hawaii Five-0.”

We recently sat down with McBride to discuss why he doesn’t spend much time reflecting on past work, how he’s exactly as famous as he wants to be, and why “The Frighteners” may have fared better had it been released at a different time.

TrunkSpace: You have played a number of characters in various series that stretched for well over 80 episodes, Lou Grover of “Hawaii Five-0” the most recent one. Are there any characters that you wish you got to go on that long-term journey with, that ultimately didn’t have that opportunity?
McBride: Yes and no. I really loved the role I had on “Pushing Daisies” and it was a lot of fun to do. I loved the four years I spent on “Boston Public” because all we did on the set was laugh.

I’m not really attached to things in that way. My philosophy is only, we’re here until we’re not here. I don’t really spend a lot of time with any sense of longing or loss that I couldn’t continue to do something. Above all things this is business and I got that early on. I’m not really an artist. I’m pretty pragmatic about what I do for a living. We’re here until we’re not here. While I enjoyed those two roles particularly very much, I don’t spend much time reflecting on that kind of stuff.

TrunkSpace: So do you view your career as a whole journey as opposed to individual jobs?
McBride: Yeah, pretty much, because I’m not in control of the longevity of any particular project. Like I said, I’m not really an artist because I have a much more pragmatic view. An artist to me is a guy who draws with charcoal on a paper tablecloth for a bowl of soup in a restaurant. All these guys who are real artists, whose work lives forever and in perpetuity, is regarded in the same way by historians as well as people who consume that art now. Those guys are artists. I’m just a guy trying to make a living.

I take my work seriously and I do everything in my power to be good at it because it’s my job. You’re a journalist, I’m sure you try to do the best that you can in your field so that you can continue to work and support your family. That’s where it’s at for me. Every job, it’s no different to me to go from “Pushing Daisies” to “Hawaii Five-0,” or whatever I’ve done in between those two things, as it is you working for this paper or that paper or a guy going from IBM to Xerox. That’s just the way I’ve always looked at it.

TrunkSpace: In taking that pragmatic view and focusing on the business side of show business, are you someone who is interested in development and producing as part of what you do?
McBride: To a point. It’s never been my desire to be the King of Hollywood. To tell you the truth, I’m exactly as famous as I want to be, which is not very famous at all. I’ve gotten to the point where television networks will let me know that they’re seeking out my services and I’m happy to give them to them. We negotiate and do our business and I really enjoy what I do and I make a good living. But I’m not looking to be the King of Hollywood, because to do that, first of all, that’s a young man’s game and second of all, it is all-consuming if you’re trying to do that.

There’s an old saying, “The people in Los Angeles talk about two things, themselves and show biz.” I just don’t want to have show biz, I never have, consume my life to the point where you have a child and then the next thing you know, when you finally notice it, is that the kid is now using your razor and you don’t know where all the time went. It takes a level of dedication that I’m not prepared to give.

TrunkSpace: So you enjoy the work and work hard to be good at it, but you don’t need everyone to know that you’re good at it?
McBride: Exactly right.

My job is to do my job. Your job is to love or to hate it. That’s how our mediums serve each other. To think too deeply about it on that level, it’s really not that hard. It’s just a TV show. It’s just a movie. It may be around forever, but there’s some guy, and I’ve used this reference before, there’s some surgeon and he has to take a tumor the size of a lemon out of some kid’s head today. That’s important. That is not what this is.

So, yeah, I do look at it more of “business” than “show,” because that’s how everybody in the business part of it looks at it.

I don’t care how good a show is, if nobody watches it, they’re peeling it off the air. That’s just how it is. There are many shows that you start following and they yank it, but they yanked it for a reason. People aren’t putting on TV shows because they’re swell. They’re putting them on because we’re conducting business and there’s nothing wrong with that. The problem is that a lot of people think that there is something wrong with that. I’m not one of those.

TrunkSpace: There are a lot of fans who take it very personally when a show is yanked off the air, “Pushing Daisies” being a good example of one.
McBride: Yeah, and you know what, I understand that because there’s somebody working a grill, making a Big Mac, and they see it as manual labor. But there’s somebody who’s got 99 cents in their pocket and this is going to be what sustains them for the rest of the evening and into the morning. Two people that are connected, but one with a significantly higher level of involvement and that have a significantly different relationship to the job that the guy behind the grill is doing than he does. That’s the same, so I understand the investment because people have their own lives and their own jobs and they look for places to escape from the mundane activities of the day and a show does that for a lot of people.

I was having a conversation with someone who is a really big star. I said, “Do you realize how many people have been sitting in the hospital feeling like they have nothing to live for and one of your movies will come on and it will lighten their burden, even if it’s just temporary? That’s a big deal to them.”

But if we focus on that part of it, now you think that you’re really doing something that you’re not. That’s the kind of thing that happens organically, it doesn’t happen by design.

I’m a big sneaker collector and there’s been a lot of stuff on the internet about me and sneakers. There was a phase that the sneaker industry was going through where you’d look at these stores that would resell old stock shoes and there’s some sneakers that sell for $3,000, $4,000, $5,000, that are brand new but they were made 15 years ago. That’s something that happens organically.

What happened during that period when there was a boom was that the shoe companies, like Nike and Adidas, would try to create a shoe that they could sell for that kind of money off the bat. I remember talking to an executive and I said, “You know, a $3,000 sneaker is for resale, not retail. You create a shoe and charge three grand for it, everybody who buys sneakers is laughing at you. You can just make the coolest shit that you can make and then that’s the secondary market that puts that kind of thousands on it.” If you sold a ’68 Mustang in 1968 for $250,000 or you tried to sell a ’69 Shelby for $250,000 in 1969, you’d have been stuck with a lot of them.

So, it’s a different relationship depending on who the consumer is.

TrunkSpace: It’s like the music industry. Those who set out to be revolutionary never are. Those who do it organically and write from that creative spark inside them, that’s when the magic happens.
McBride: Yeah, you ain’t making “The White Album” because that’s what you’re trying to do. You ain’t making “Songs in the Key of Life” because that’s what you’re trying to do. You’re not making the response to a record, you’re only making the record. It’s much the same way in what I do. I don’t make people laugh or cry, I just do what I do. The response is organic and that’s it.

TrunkSpace: So does it still surprise you when something does or does not resonate with an audience?
McBride: I’m still surprised that people actually know what my name is. Every time somebody recognizes me on the street I’m completely surprised about it – when anybody knows my name or has seen what I do because I just don’t think about those things. I only respond to how I respond to a series.

I’m going to tell you a story. I’m not going to tell you what the project was, but I did a project once and when we did the pilot and we came to the table read, one of the executive producers is sitting there. We’re all at the table and I’m sitting next to another guy who’s been in the business as long as I had. The showrunner says, “Folks, I just want to prepare you for something. This thing is going to change your life. Enjoy your anonymity now because this is going to change your life to a degree where it’s going to be difficult for you to just walk through a mall or something, so just enjoy your privacy. Let me tell you something about this show, not only is this show going to be great, we are going to reinvent the medium.”

I looked at the guy sitting next to me and I said to him, “Listen, I don’t know about you, but I’m calling my wife right now and telling her not to buy nothing.” In less than the initial ordered run of 13, the show was canceled and the rest of the episodes burned off over some obscure hour of the morning on a weekend.

You have no fucking idea how you’re going to respond. The level of hubris at that statement, I literally was rolling on the floor laughing on the inside when I heard this guy say, “We are going to reinvent the medium.” I was like, you ass, that’s never going to happen.

It’s amazing how deeply some people think in terms of their sphere of influence and their ability to control how people feel about things. I think that if those things that do happen, “Friends,” “Seinfeld,” “Lost,” “Big Bang Theory,” “Happy Days.” it’s lightning in a bottle, man.

TrunkSpace: At the same time, projects don’t always have to be the biggest commercial successes to impact an audience or change the industry. We mentioned “Pushing Daisies” already, but another project of yours that was well ahead of its time was “The Frighteners.” Both of those projects are two that, if released today where there is a different approach taken with the consumption of content, could have found a different level of commercial success.
McBride: It (“The Frighteners”) is kind of a cult status kind of thing from what I’ve heard. Look, the movie was released on the same weekend as “The Nutty Professor” and the same day that Muhammad Ali lit the Olympic torch. Nobody’s going to see the movie. Why that movie wasn’t released in October, I’ll never know. If that movie was released closer to Halloween or in the same slot as something like “It” was released, I have no doubt that we would have fared a lot better. I don’t know if it’d be blockbuster or anything like that, but if this movie had been released closer to Halloween, there would have been a different take on it, I really believe, because people have discovered it over the course of the last – what, hell, it’s been more than 20 years since I did that picture. I think that people would have responded quite differently to it in terms of its first viewing and first box office. It would have been much different.

TrunkSpace: Tonally it seems to fit more with today’s tastes than what people were consuming in the mid 90s.
McBride: It’s so funny that you say that because I kind of think the same way. I just actually saw it recently because my kid wanted to watch it and I wouldn’t let him watch it because he’s nine. But I watched it so I could see whether or not he could watch it and I was like, “Wow, this movie really holds up and this movie still is entertaining and it’s even more engaging than it was when we first made it.”

I think it just was a great film. Everything happens the way it’s meant to happen. It has achieved the status it was meant to achieve.

“Hawaii Five-0” airs Fridays on CBS.

Sly sleuths have been entertaining us with their crime-solving skills for as long as television has been beamed into our homes. Hallmark Movies & Mysteries took that delectable dish of a genre and altered the recipe slightly, adding the one ingredient that everybody can relate to – food.

Based on the series of books by author Peter King, “Gourmet Detective” follows homicide detective Maggie Price (Brooke Burns) and former, world-class chef Henry Ross (Dylan Neal) as they crack the twists and turns of cases as entertaining as they are perplexing. The latest installment, “Eat, Drink and Be Buried” premieres Sunday, October 8 on Hallmark Movies & Mysteries.

We recently sat down with guest star Bruce Boxleitner to discuss how a text prompted his involvement in “Gourmet Detective,” why it reminded him of his classic television series “Scarecrow and Mrs. King,” and why “TRON” was like capturing lightning in a bottle.

TrunkSpace: You’ve been working as a professional actor since the early 1970s. Does it still have the same excitement today as it did for you in the early days when experiences were still new?
Boxleitner: Well, yes and no. When you’re much younger, you’re a little more unsure of yourself, and nowadays, I don’t have that problem. I’m pretty much comfortable around any movie set just through years of experience, and I’ve experienced a great deal – very fortunate to do that. At this stage of my life I don’t work as much as I used to, which is fine. This particular project really came out of nowhere and was a pleasant surprise and I enjoyed it a great deal. So, I still love working, don’t get me wrong, and the things that are similar is that every time I get a job, I’m as excited as a 26-year-old kid again. I think every actor does that.

TrunkSpace: You mentioned being more sure of yourself now. As an actor, does having confidence translate to a performance?
Boxleitner: I totally believe that. I believe confidence is everything, and your comfort level. You’re in front of a camera, you’re in front of a lot of people. I have just lived more life, and that does come into the balance, and that’s what you bring to your work in any role you play.

TrunkSpace: It just makes sense that actors who have lived more life are able to find different characters they’re playing and relate to them because they have seen and witnessed more.
Boxleitner: I think that’s very simple and to the point, yeah. I agree with you. I started when I was very young, so right out of high school and into the theater and then from theater to television out here. And I thought, by the time I get out here, I’d already been, I thought in my mind, fairly worldly. (Laughter) But Hollywood’s a different bag altogether than New York was and Chicago, where I started, and the television world. I had those life experiences, but then I was playing roles of young men my age who would have those same feelings and experiences. That’s what it is. I think as you get older, hopefully like a fine wine, you get better.

But, I’m still thrilled like a young kid again when I do get a job.

TrunkSpace: Because each one is a different experience?
Boxleitner: Exactly, and it reminds me why I did it in the first place, because I do love it. I love it a great deal. This particular project came along with a text from Dylan Neal.

TrunkSpace: Can’t beat that!
Boxleitner: Yeah, he came along with, “Listen, I don’t know if you’d be interested, but my wife and I have written this role for the next ‘Gourmet Detective’ with you in mind.”

Right there, that’s flattery any actor would like – somebody actually thought of you specifically in the role. And it turned out it was a terrific role and I couldn’t thank him more.

TrunkSpace: And Hallmark Movies & Mysteries’ original programming has a very large fan base that rivals some of the science fiction properties known for capturing passionate viewers.
Boxleitner: Yeah, it is very, very big. About three years ago now, that’s when I originally worked with Dylan in the series “Cedar Cove,” which we did for three seasons on Hallmark. It was their first foray into a first-run television series, as opposed to re-running older series and just the standalone movies that they do so many of. My God, they do like 100 movies a year. It’s amazing.

TrunkSpace: Why do you think so many people are drawn to this type of original programming?
Boxleitner: Hallmark is reliable. They know what they’re going to get. I think a lot of people have been turned off by programming, I hate to say it. There’s a segment of our population, in the world too, that doesn’t want to have so much violence and all that sort of thing that television fare has now. You know, when Dylan had texted me about this, I had seen the first “Gourmet Detective” and it was reminiscent, for me, of a series I did in the 1980s with Kate Jackson called “Scarecrow and Mrs. King.” It was very, very popular and it reminded me of that, which was some of the best in 80s television.

I always tell my kids, “We made some pretty doggone good TV.” And it still holds up because I get fan mail, fan response, from “Scarecrow and Mrs. King,” yet that’s been 30-some years ago, if not more. So the “Gourmet Detective” had that kind of feel. There’s a bit of a romantic comedy in there. There’s mystery and murder mystery, and there’s quipy banter between a handsome leading man and a beautiful leading lady, and that’s classic stuff. That’s your classic genre going all the way back to “The Thin Man” and things like that in the old movies.

TrunkSpace: There’s also something kind of nice and classic about watching television and feeling good when the credits roll.
Boxleitner: Exactly. I’ve said, and I don’t want to paint with too broad of a brush, but today it seems to me that television is so dark and cynical for the most part. Hallmark offers good stories, good characters, but also something where you can say, “Oh, I enjoyed myself.” It’s entertainment. It’s the times we’re living in, I’m sure, reflecting in our art and television. But you’re right, I just feel that some people need an island of respite, for heaven’s sake, and Hallmark provides that.

TrunkSpace: Television is all about escapism.
Boxleitner: That’s what these provide and usually you have a good time by the end of it.

TrunkSpace: And in this one you’re actually playing Dylan’s father, correct?
Boxleitner: Yes, I am. And this one too, I think compared to the others, this has a little more character development for Dylan’s character. He’s a flippant, very fun guy with all of his quips and stuff like this, but there’s a little darker side to his character. This has a little background into him and suddenly dad shows up. And dad’s a complex character and it’s a complex relationship with them.

I was just thrilled to get it. I immediately said, “Are you kidding me? Yes, whatever you say!” I think Dylan and Becky (Southwell) are very, very good writers. It’s been nothing but good.

TrunkSpace: A movie like “TRON” holds such a special place in the hearts of fans. As an actor, is finding a project like that, which resonates with people on multiple levels, like catching lightning a bottle?
Boxleitner: It is. First of all, in 1981, when we were shooting it, we had no idea it was a pioneering effort. It could just as well have gone wrong, you know – a failure. That’s what was kind of exciting about it. And Disney took a huge chance on it and now it’s 2017 and people still talk about it. I get fan mail constantly, and just about two months ago we had a big thing on Hollywood Boulevard at the El Capitan Theater, one night only, with “TRON” and “TRON: Legacy” playing. Steven Lisberger and Bill Kroyer and I showed up for a Q&A beforehand, and it’s a whole different generation of fans whose parents showed them this movie and it turned them on.

So, it has, for whatever reason, and there are many and you can name them, it has resonated over the years and it’s so amazing to me, because back when Jeff and Cindy and I were making this thing, we had no idea what we were doing or if it was going to work. I’m just very proud to be a part of it and I try to participate in everything that’s done on it, whether it’s a homage or if there’s something new to do with it. I’ve done the games. I’ve done the animated series. It keeps hanging in.

I don’t want to be disparaging here, but the big movie of the summer of ’82 was “ET” and so far we haven’t had a sequel to that or talk of it, but this little movie called “TRON” just keeps on going.

“Gourmet Detective: Eat, Drink and Be Buried” will be served up to mystery-hungry viewers on Sunday, October 8 (9 p.m. ET/PT) on Hallmark Movies & Mysteries.

You better not cry. You better not pout. And here’s why…

The new holiday hybrid “Better Watch Out” is coming to town this Friday and it’s going to entertain the hell out of you!

A tongue-in-cheek riff on home-invasion horror, the film is a beautifully-wrapped package filled with shock, awe, and laughs. Bound to become a Christmas classic in the same way that “Die Hard” and “Gremlins” are considered for those viewers who are just west of weird, “Better Watch Out” is the earliest gift you’ll receive this season.

We recently sat down with star Levi Miller to discuss the range of his character Luke, how the creepiest people are sometimes those who don’t look the part, and what he admires most about the incredible actors he has worked with over the course of his career.

TrunkSpace: “Better Watch Out” is a really fun, entertaining ride from start to finish. How much of that fun translated to what you were doing on set every day? Was the experience of making the film just as memorable as it is for those who are getting a chance to watch it now?
Miller: To some extent for sure, there is always enjoyment that comes out of doing something so out of the ordinary. During filming there were plenty of memorable moments and I believe those moments reflect into the film itself.

TrunkSpace: We actually read in an interview with director Chris Peckover that something you did in the audition for “Better Watch Out” ended up making it into the film. Can you tell us about that because it is not something you hear happening very often?
Miller: When I first read the script for “Better Watch Out” I was highly engaged with Luke – he is a character with so much range. So I suppose I deeply focused on him and researched him for a long period of time until I understood him and his diverse personality.

TrunkSpace: It seems like some of those early choices you made for the character ended up becoming part of your overall performance. That being said, what was the most difficult aspect to capture regarding Luke’s personality? What took you some time to absorb and translate into your performance?
Miller: Luke is a very dominating character and throughout the film he becomes more and more dominating. Although I like to have somewhat of a control of a situation, being dominating is something that I found very crude and difficult to capture. But throughout filming I began to slip into Luke’s personality and I understood how to become that side of him.

TrunkSpace: One of the things we loved about your performance was Luke’s innocent, and yet at the same time, devilishly sinister smile. Did you spend some time working on those physical mannerisms and reactions? Did they have a particular influence?
Miller: The mannerisms portrayed whilst being Luke were mostly based off Luke’s personality itself. They kind of just blended in with my performance. I’ve always thought that the creepiest people are those that are known to be – but look the most innocent.

TrunkSpace: The film is opening today. Do you have any expectations about how it will be received because so far, the buzz has been really good – currently it is rocking a 91% on Rotten Tomatoes?
Miller: All I hope for is that audiences enjoy it and that they feel the emotions I intended them to feel.

TrunkSpace: Outside of performance, “Better Watch Out” is also a departure genre-wise from other projects you have worked on in the past. Was part of the hope in tackling a project in this horror/comedy hybrid territory that you’d start to steer your career in a new and more mature direction?
Miller: I never really thought about that. I’d love to play as many different characters as possible, but I much prefer to choose roles based on the films and the roles themselves rather than the career side of it.

TrunkSpace: Hugo Weaving. Reese Witherspoon. Hugh Jackman. Oprah Winfrey. These are just a few of the people you have shared scenes or a set with. Do you look at these experiences as not only work, but as bits of on-the-job education? Do you actively try to absorb knowledge from all of these costars who are not only successful, but extremely talented in their craft?
Miller: Absolutely, many of the people I work with along the way, cast and crew, have been in the industry for many years if not decades. These people have such a deep understanding and love for the craft and it’s an experience on its own having a conversation with them. But what a lot of these people have in common is how grounded they are – that’s something that I truly admire.

TrunkSpace: Something all of those individuals share is career longevity. Is there a particular actor who you admire for their ability to manage a successful career (and yet still push themselves through their performance) that you would be ecstatic to see your own career emulate?
Miller: There are many actors that I look up to and admire and Leonardo DiCaprio is one of them. Many of the roles he has played have been incredible. “The Wolf of Wall Street” is probably one of my favorite films. He is also a great humanitarian – definitely someone I admire.

Unwrap “Better Watch Out” today in theaters and On Demand!

Featured image by: Chris Wood with Michael Roud Photography

If the Bluths of “Arrested Development” fame made being despicable an art form, the Swallow family from the Audience Network’s “Hit the Road” is turning it into a catchy song that you just can’t shake. The new series from “Seinfeld” alum Jason Alexander, which premieres on October 17, follows the band-on-the-run exploits of the dysfunctional songwriting clan as they traverse the country in search of fortune and fame.

Series star Natalie Sharp plays lead singer and diva-in-training Ria Swallow, and from what we have seen thus far, it’s a star-making role for the Canadian-born actress and songwriter.

We recently sat down with Sharp to discuss getting to play the daughter of a TV legend, why her character is a total badass on stage, and how she got to see “Supernatural” star Jensen Ackles riding around on a tiny, yellow motorbike. Do you want to know how she got the yellow motorbike? You could check out this article on how to finance a motorbike for some tips and tricks.

TrunkSpace: You’re starring in the new series “Hit the Road” from co-creator Jason Alexander. When you’re cast in a series developed by one of the great icons of television, what goes through your mind? How did you celebrate?
Sharp: Confusion, and OMG! My friends have been spotting us on billboards together, and none of it feels real! I feel incredibly lucky to be acting with Jason. He has taught me so much and is so warm and welcoming, and HILARIOUS (obviously). I love being his troublesome teenage daughter!

I was actually with my friend in Mexico when I got the call. After all the screaming, we celebrated with some margaritas!

TrunkSpace: The series follows a family band as they tour the country. Are we talking a dysfunctional version of the Partridge Family… a sort of siblings Guns N’ Roses? And on top of that, what type of music does the family focus on?
Sharp: A VERY dysfunctional version of the Partridge family. Our family is ridiculously chaotic. We lie, cheat, steal… you name it! Our music is cheesy and lame, which adds to the contrast between our onstage persona and offstage persona. You’ll see. We are despicable people. It’s amazing.

TrunkSpace: In the show you play the lead singer and eldest daughter of Jason, Ria. Looking over the history of music, who would you best compare Ria to as far as lead singers of the past or present? Who does she embody?
Sharp: Definitely Avril Lavigne and Christina Aguilera.

TrunkSpace: Playing a character like Ria seems like it would be a lot of fun to inhabit, not only because of the music angle, but also just because of the attitude you get to exude. Now that you’ve had some time to spend with Ria and discover who she is at her core, what has been the best part of the performance journey for you?
Sharp: I am constantly discovering new things about Ria, which has made this whole process so exciting. Even in a comedy, I was able to go very deep emotionally and, as you said, figure out who she really is at her ‘core.’ I am very protective of my character because I love playing her. She has definitely become a part of me and I would stand up for her any day.

My favorite part of the process has been discovering the relationships between each of her siblings and parents. I love the family dynamic we have created and being able to work with such an amazing cast is half the battle.

TrunkSpace: You’re actually a singer/songwriter in real life as well. How much of your knowledge of music and performance were you able to inject into your role?
Sharp: A lot. I was given so much freedom when it came to my performance, and my style of singing. We all created harmonies together, and would have jam sessions almost between every take! The music is what really bonded us as a family. Personally, I have been singing and performing on stage since I was five years old. It comes much more naturally to me and so I am very comfortable with it. Singing helped me understand Ria because it is something we have in common. I know how it feels to walk on stage and feel like you’re on cloud nine. I know why she loves it, and I know how much it means to her. If I weren’t confident in my singing and stage presence then this role would have been incredibly tough!

TrunkSpace: Double-edged question. What is your favorite fake lyric that Ria got to sing and what is your favorite real-life lyric that you’ve written?
Sharp: “I’m an outlaw, I’m a champion, turn up my amp now, and I’ll teach you a lesson.” Ria is so confident when she is up onstage singing. She knows she is great! Total badass!

My lyric would probably be from the first song I ever wrote: “If you’re going to judge me on what I did, you can’t say you know me.” Which is, now that I think of it, also at the heart of Ria.

TrunkSpace: We mentioned getting to work with an icon like Jason already, but that’s not where the icons stop as far as “Hit the Road” is concerned. Richard Dreyfus is also guest-starring in the series. With all of the incredible people surrounding the project, what is the biggest lesson you took away from your work in season 1 that you will apply to your career moving forward?
Sharp: To never stop wanting to learn! To not put so much pressure on myself to be ‘perfect,’ but to enjoy the moments and ultimately have fun!

TrunkSpace: The concept is great, the cast is incredible, and the buzz is building around the show. It seems that the biggest hurdle now is just informing people about where the show will live. With so many networks and streaming platforms these days, what is the key to getting people on board with the AT&T Audience Network so that they can watch the show?
Sharp: Because I come from Canada, Audience and AT&T network don’t exist. So this is all very new to me too! Marketing and publicity for both the show and network are very important. If people are interested in watching our show, they need to know how. They have done an amazing job with spreading the word on social media for “Hit the Road,” AND other new, hot shows on the same network, so it is only a matter of time that Audience starts buzzing as well!

TrunkSpace: We are suckers for the series “Supernatural” here. As it turns out, you guested in one of the most memorable episodes of all time, “Fan Fiction.” For fans of the series, what was that experience like, especially with the concept of the episode involving so much of the show’s past?
Sharp: It was incredible! It was my first big acting gig and I really had to do my research because I had never watched the show (I know, I know… sorry guys)! It was also a musical episode, which made me feel right at home. The boys were obviously amazing to work with, and it was hilarious watching them improvise! I didn’t know they were so funny! I thought it was the coolest thing when I saw Jensen Ackles riding around a miniature, bright yellow motorbike on set.

And I also loved the fact my character got kidnapped by a scarecrow and then I get to fight a demon witch? I’m very much into the action adventure.

TrunkSpace: As that particular episode touched on, the series has a very loyal fandom. Having now been a part of the series, have you felt the reach of the fandom in real life, either through social media or via day-to-day interaction?
Sharp: I have surprisingly been approached a couple times! And fans message me through my artist Facebook page, and Instagram. I can always tell when my episode re-airs!

TrunkSpace: You are currently in school and working as a professional actress at the same time. How do you strike a balance between studies and work?
Sharp: I have been doing this for four years now and I have learned to go with the flow! Even though I have a crazy schedule and homework, and exams, and a social life… I know what my priorities are, so it hasn’t been too hard (even though it can be a little stressful). I just feel so lucky that I am able to do both!

TrunkSpace: You’re still very early in your career. With so much future ahead of you, what do you hope to accomplish? What are some of your bucket list items that you’d like to check off?
Sharp: Well… I have already filmed a volleyball movie, which is another huge passion of mine, now I am doing singing… I definitely want to be a superhero and work on a post-apocalyptic type show! Action/Adventure is one of my favorite genres along with sci-fi. Working with Christopher Nolan would be a dream! He is such a smart director and I love how he stretches and twists people’s minds! Other than that, I don’t want to look too far into the future. Whatever happens, I believe is meant to happen. Of course, it would be amazing to win an Oscar…

“Hit the Road”pulls into town October 17 on the AT&T Audience Network.

Featured image by: Ryan West