Dans la presse anglophone

C'est clair que c'est étonnant cet article car il se base sur une rumeur démenti et puis le "j'ai entendu" ça me fait penser toujours au téléphone arabe. Même si je suis sure qu'ils ont droit à une augmentation vu le succès de la série pour les chiffres, j'attends de voir.

Pour Simon vu qu'il devient co producteur peut être qu'il a le droit à un pourcentage à partir de la saison 4. Mais bon là je suis pas au courant de tout ce qui peut se faire question salariale dans le monde télévisuel.

merci pour tous les articles

La couv' de TV Week australien

Spoiler:

Merci pour le scan

Attention spoiler Saison 4


'The Mentalist' Co-Star Michael Rady Talks Simon Baker's Directing Style, First Day Jitters and Two Upcoming Projects

The actor, also set to appear in "J. Edgar" and "House of Lies," plays the young boss of the California Bureau of Investigation on the CBS procedural but tells THR that he "didn't know how long I was going to be around."


The latest case of the week, featured in Thursday's episode "Blinking Red Light," centers on a serial killer who gains notoriety in the media. It's not just any episode; it marks series star Simon Baker's second stint behind the camera on the CBS procedural. (Baker, who portrays the unconventional investigator, directed his first Mentalist episode in its third season.) But things aren't hunky dory at the California Bureau of Investigation (CBI).


As the young boss of the CBI Luther Wainwright, co-star Michael Rady, who was a regular on the one-and-doneMelrose Place reboot on the CW, told The Hollywood Reporter that "the pressure's on" to make the team "look good." "He tells his crew, 'Look, let's not screw this up,' " he said. Rady, who has a small role in the Clint Eastwood film J. Edgar and appears in the upcoming Showtime comedy House of Lies, spoke to THR about playing a young boss, being directed by Baker and those two anticipated projects.

The Hollywood Reporter: You're in the thick of things on The Mentalist. When is your next episode?
Michael Rady: The next episode for me, shooting-wise, is in another week and a half. I like going back there and going, "What happened? What happened while I was gone?"

THR: Can you talk about where Luther Wainwright is at, at this point in the fourth season?
Rady: This week, you'll see Wainwright trying to walk the line and jostle for position over the FBI for control over this new investigation centered on the San Joaquin serial killer, who has been out and about for a few months. It's getting national coverage now so Luther sees part of his job as getting CBI to look good again and putting its foot forward in the media as well. He believes in the CBI and wants them to be right up there [with the other agencies]. He tells his crew, "Look, let's not screw this one up." The pressure's on. Like a good parent, "OK, you can do what you want to do but we also have to do what I want to do. And hopefully we can make this work." There's some chasing in and around all that.

THR: And Wainwright's a young boss. How has his presence affected the team? Is there an awkward, uncomfortable tension there?
Rady: That's inherent in him being the new guy, thrust into this world of this well-oiled machine. On top of that, he has these ideas of trust and transparency, completely foreign ideas based on their recent history. He's so young, they can't help but wonder, "Is this guy for real? Is he serious?" He doesn't even look old enough to drive. For me, I was trying to -- given the inherent nature of that -- give them respect so I can get respect back. Listening to them and listening to Patrick's wild ideas and his crazy antics and let him have his say and then speak. Listening first and going from there. I saw that as his key to survival in this Patrick Jane world.

THR: Were there any challenges as an actor jumping into an established show?
Rady: The first thing we shot was actually the scene where I meet everyone for the first time so that was rather appropriate. Of course, I didn't know anyone. I couldn't help being a little nervous because they've had about a thousand bosses; OK, I'm just the next boss. When I was introduced the first day, it was, "Oh you're the new boss. Gotcha. We're not even going to bother learning your name because you're going to be gone in a week." [Laughs] They didn't say that but I didn't know how long I was going to be around.
The language is chock full of gigantic SAT words and tongue-twisters. Everything you say is a mouthful. The first couple days I was getting a little overwhelmed by it and then I realized it happens to every single cast member. They have their moments of, "Wait! What the hell am I saying? I don't even know what I'm saying anymore." That put me at ease. I was able to relax.

THR: How is Simon as a director?
Rady: I was taking the Luther Wainwright approach of listening, watching and learning because he's been doing this forever. He has a vision and he knows what he wants. I was happy where I could see him do exactly how he wanted it. He's got a discerning eye. He shoots from the hip, he thinks in the moment and he's like, "Here, try this. You know what, let's do this, lets try this." If something isn't working, he throws it out. "That's not working it at all, it's crap." That's invigorating. Doing television, that can be helpful. You can get in the zone.

THR: Is directing something that you're interested in tackling?
Rady: I don't necessarily know. At this point, I'm still just fascinated by it because it seems like such a massive job. I'm anticipating that at some point I'll want to direct just because of observing and watching, trying to wrap around my head around all the things we as actors don't even know a director does. I'm still wrapping my head around all that.

THR: You'll also be appearing in Showtime's House of Lies, about a group of management consultants. Was that a different experience from The Mentalist?
Rady: It's a different style of show in general. I can't liken it to anything, which is something I love about it. It creates its own fingerprint, style-wise. It's not like The Office or Entourage. It has its own look, writing style, humor. The producers from the start told everyone, "You can do whatever you want to do. Everyone was allowed to stretch their wings and explore their creativity and their ideas." I'm playing Kristen Bell's fiance Wes. Don Cheadle is the Simon Baker of the management consultants team essentially. Kristen Bell's character is leading a double life and I'm the other half of her life, where she actually has a soul and might want to be normal, but no one knows about this.

THR: Last but not least, you're in J. Edgar.
Rady: The movie is told through J. Edgar dictating his life story to special agents in the bureau. There's three or four of us. (Rady plays Agent Jones.) J. Edgar goes through a few of these agents who are taking his dictations. I got to do a few scenes with Leo[nardo DiCaprio]. That was pretty wild. [Laughs] One of those experiences that I won't soon forget.
The Mentalist airs Thursdays at 10 p.m. on CBS.

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Je suis sure et certaine qu'il y a une bonne âme qui va faire la traduction (chère bonne âme, merci d'avance et prenez votre temps )

Merci pour ces articles c est gentils et Merci d avance pour la traduction c gentils aussi
Gros bisous

Affiche promo pour la nouvelle saison de la chaîne Channel 5. Elle est vraiment sympa !!

Ce n'est pas grand chose mais une page des vacances de Simon dans le news idea , un mag australien

voici 2 promos dans la presse écrite anglophone pour la saison1 et 2 de TM

Elles sont chouettes ces pages (et beaux qualificatifs pour Simon ) psyred!

Un nouvel article sur TM.

Attention spoiler saison 4

Natalie Haynes's guide to TV detectives: #4 – Patrick Jane
The tension between Jane and Red John makes for good TV – but it is the weekly mysteries that make the Mentalist addictive

The Mentalist is a rare beast. Not in terms of its concept: a super-observant chap, pretending to be psychic, helps the police solve crimes, is an idea that formed the backbone of the successfully silly Psych a couple of years earlier. But in terms of its delivery, it is a show which consistently, and unusually, gets better with time.

This is because the pitch a writer needs to sell a show, and the hook which makes the show watchable week after week are not always the same thing. Tell us what makes this show different, the TV execs will demand, and we end up with an angelically handsome man, finely skilled in the arts of illusion, hypnosis, psychology and tea-drinking from a cup and saucer, while wearing a waistcoat.

But that isn't enough, so he also has to have a personal tragedy which motivates him. (In this case, Patrick Jane is hoping to capture and murder the serial killer Red John, who killed Jane's wife and child after Jane insulted him on a TV show. Serial killers can be petty that way).

Cleverly, The Mentalist writers have realised that their audience isn't watching for the eventual showdown between Jane and Red John; instead we're watching for the weekly murder mystery. And we're especially watching to see Jane work with the rest of the California Bureau of Investigation unit – the almost perpetually down-in-the-mouth Lisbon, the uber-deadpan Cho, the steely yet emotional Van Pelt, and the other one, Rigsby.

Common to the team is a sense of sacrifice: Cho is brusque with Summer, the prostitute-turned-informant for whom he clearly has the hots, because he's afraid to risk her safety (S4, ep14). Lisbon was prepared to fake a mental breakdown to catch a killer (S2, ep 3). Grace gunned down her own fiancé when he turned out to be evil (S3, ep 23), and Rigsby was taller than the others, and maybe once worked in arson (S1, ep 9).

The focus on our gang's shifting dynamic doesn't mean the writers aren't having fun with the Red John storyline too – the finale of Season 3, where Jane meets a man he believes to be his nemesis is genuinely brilliant. As Lisbon hits redial on the phone belonging to Red John's lackey, a ringing sound peals out behind Jane. It is, of course, picked up by Bradley Whitford, and any happy residual memory of The West Wing disintegrates as he tells Jane that his murdered daughter smelled of sweat, and strawberries and cream.

Simon Baker is terrific as Jane, the urbane, charming, yet ultimately tragic hero. And his pay cheque proves it – he's one of the highest-paid actors in a drama series in the world. Sitcom actors may earn more, but since Baker also has the almost unique pleasure of wearing a waistcoat and not looking like a massive tit, he wins.

Iconic: Sure. The tea-drinking, the curly hair. He even drives an old Citroën, giving the nod to Columbo, who also drove an ancient French car (in his case, a Peugeot).

Duffers: Rigsby as a dad? Let it not be so.

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