Streep wows Springfield Game of the general
And it’s not just because of her acting
LOS ANGELES—Rick Springfield, acting opposite Meryl Streep, is the wonderful surprise in “Ricki and the Flash.” The Grammy winner holds his own against the legendary actress, with the duo exhibiting good chemistry as lovers and bandmates. Director Jonathan Demme reportedly was considering two actors until Rick walked in to audition—he just played with Meryl and three musicians. “He claimed the part immediately,” Jonathan was quoted as saying.
Rick brings quiet intensity and a noble presence to his character, not to mention true musicianship and joy in the music scenes with Meryl, who stars as bandleader Ricki, and the real-life musicians who complete her group: bassist who has passed away, drummer and keyboardist
The former teen heartthrob expressed genuine admiration for Meryl’s learning to play the rhythm guitar—and very well at that—in a matter of several months.
Of course, Rick is no stranger to acting. He was the beloved Dr. Noah Drake in the soap, “General Hospital,” and his recent credits include Season 2 of “True Detective” and “Californication.” One of the first Australians to make it big in the United States, Rick has been successfully combining his singing and acting careers over the years. The singer behind “Jessie’s Girl,” his most popular hit, is also a writer with a best-selling novel, “Magnificent Vibration” (he’s penning a follow-up), and an autobiography, “Late, Late at Night.”
He has a new CD, “Mayhem,” coming out in October.
In person, Rick is soft-spoken and has a gentle demeanor. The singer-actor is looking good at 66, still sporting long hair that’s graying but adds to his dignified presence. He choked at one point in our chat when he talked about his father.
The rocker admitted that he’s a bit hard of hearing. “I’ve been too long in front of the guitar amp,” he explained. The following are excerpts from our interview.
Rick Rosas,
Joe Vitale Bernie Worrell. In my interview with Meryl, she mentioned your name with a deep sigh of admiration.
It is mutual which is good. It plays on screen. That was the first thing they looked for—the chemistry between the two of us before I even read… or anything. I am very judgmental of myself. I usually don’t like seeing myself on screen.
But they made me view this picture and I actually liked it. I saw the onstage chemistry which was great and I amvery happy with it. Being in a movie with Meryl Streep is like being in a band with
Paul McCartney. What did she tell you, going into the scenes?
She said, “Don’t be nervous.” I was very nervous but she knew that. Everyone was going, oh my God, it’s Meryl Streep. She knows how to diffuse that situation. She is very charming and very real. She has no at- titude. I found that a lot of the people you think are going to have attitude don’t. The most successful people actually don’t have attitude. They are okay with who they are.
What tips did you give Meryl, music-wise?
I did give her tips on the guitar. She would ask me things—how to hold it and does this look real? Actually on stage, she looks more at home with the guitar than I do, which really bummedme out (laughs).
Apparently, she learned to play the guitar for this role.
She’s a very fast learner. She plays a solo on the electric guitar. She worked at it for two months and before I was even cast. She plays a solo on the electric guitar which, after only two months [of learning], is basically unheard of.
An electric guitar is a very different instrument than an acoustic guitar. It requires more technique and she nailed it. I was incredibly impressed. She just has a gift for pushing herself which I try to do myself. She pushed herself and achieved this remarkable stuff.
Is Meryl one of the knockout talents you’ve met?
Barbara Porter)
My wife ( has knocked me out a couple of times FILMMAKER Jerrold Tarog, one of the honorees in the first INQUIRER Indie Bravo! awards in 2010, has always been known for turning a genre on its head.
He did it with horror (in the “Punerarya” episode of “Shake, Rattle & Roll 12”) and with romance-drama (“Sana Dati”).
This time around, Tarog, who is also a composer, scriptwriter, editor and occasional actor (in his acclaimed debut “Confessional”), tackles history in “Heneral Luna,” which has earned raves from critics.
In this interview, Tarog explains his fascination for the story of a revolutionary leader admired and loathed for the same reasons: his passion, his principles, his fortitude, his fearlessness.
What led you to the story of Gen. Antonio Luna?
I found his life story indicative of our disease as a nation. That our biggest enemy, then and now, is ourselves. We have a feeble sense of nationhood and our potential as a nation is often cut down by lack of foresight and critical thinking, and selfish interests. Antonio Luna was one of the best generals we had and we killed him.
Why should young people watch the movie?
Maybe the film can inspire the young to break our cycle of betrayal and have a stronger sense of nationhood. Maybe.
What was the shoot like?
Tedious, but we were mostly relaxed and happy on the set so the exhaustion didn’t really matter. We were happy to be doing something that contributes to nation-building. The hardest challenge was maintaining the vision without being overwhelmed by the scale.
Why was John Arcilla chosen to play Luna?
Because he’s the best actor for the part.
What was it like working with the cast?
We chose the best actors we could find, which means, as a director, all I really did was guide the ensemble. They were real actors who knew their craft. I didn’t have to do much.
Who are the other heroes whose stories you would like to tackle in the future? Why?
“Heneral Luna” is part of a planned trilogy. The second film is about Gregorio del Pilar; the third about Manuel L. Quezon. They are all
interesting, flawed characters. They make better subjects because of their contradictions. We’re not doing hero glorification but humanizing historical figures. The likelihood of the trilogy being completed will depend on the turnout of “Heneral Luna.”
Why is it important for you to make a historical film, considering it can be an uphill climb, box-office wise?
Because it’s important to do something you believe in. Life is too short. Might as well take the risk.
How do you make sure that many people would watch the film?
Strategic, out-of-the-box marketing. Passionate word-of-mouth. That’s all we really have.