Clip of John from the upcoming movie Kid Cannabis

http://www.craveonline.com/film/previews/675589-kid-cannabis-exclusive-clip-this-is-my-masterpiece

Out April 18th in theaters and On Demand.

Huffingtonpost article about using the R-Word written by John himself.

SOURCE:
http://www.huffingtonpost.com/john-c-mcginley/what-really-happens-when-you-use-the-r-word_b_4896444.html

We are free to express ourselves (in accordance with the law), just about any way that we choose to. I do not enjoy hearing the "R" word: "retard" and "retarded."

And I will tell you why...

As these two words are now commonly used? They are (at all times), meant as a euphemistic put-down. And the genesis of the "put-down" itself is based on disparaging a population of special needs individuals who have always been viewed as inferior to the person mouthing the words: "retard" and "retarded."

What does it mean if one's best friend is acting "retarded?" He or she is behaving like a crazy person. Or, conducting him- or herself like a whack job. Far, far afield of any recognizable vestige of that person's typical or acceptable comportment.

When a party is said to be "retarded?" That party is understood to be insane, stupid or just plain ridiculous. When a friend tells another friend to "stop being such a retard," the admonishment is targeting an unflattering or all too simple-minded behavior that is only marginally tolerable when exhibited even by "those" people -- who damn sure aren't like "us"!

When the suffix "-tard" is added on to any adjective or noun, the resulting conjunction is intended to render a word that will connote an inferior, idiotic or dumber-than-dirt, juxtaposed quantity.

As one looks more closely at the contemporary use of the words -- "retard," "retarded" and the suffix "-tard" -- the pattern that clearly starts to present is simply this: When employing this specific language, the objective is to separate and distinguish the "user" from those being "used." The user in this case, of course, is the person spewing the words: "retard," "retarded" and "-tard." Those being used are the original population of special needs individuals who served as the catalyst for this kind of disparaging vitriol in the first place. They are those kids who ride on the smaller school bus. The ones who have personal space, proximity issues. The ones who talk funny. The ones with flat faces. The ones who drool. The ones who talk to themselves. And most importantly, many of those with intellectual disabilities are defenseless to this word.

Other populations that have been used by the users have and do include: blacks, Jews, homosexuals, lesbians, Italians, Latins, the Irish and women, just to name a few.

Whenever any of these populations are denigrated or used by the users? It is wrong. And the used will take action to stop being used. But, because the casual use of the words: "retard," "retarded" and the suffix "-tard" have now become so deeply and passively ingrained in the contemporary vernacular? The insidious stigma that is perpetuated by the words indifferent application has been prosaically sanitized into a blasé "toss-off" in delivery and insensitive intent. And yet, however blithe the everyday practice of spicing up one's speech with the words "retard," "retarded" and the suffix "-tard" has become? The (presumably) unintended result is still the same. A population of people, who has never done anything to harm anyone, is circuitously targeted and suffers from a trickle-down discrimination that is very real and very painful.

There is an old saying that has been heard on playgrounds around this country for years and years. And it goes like this: "Sticks and stones will break my bones, but names will never hurt me!"

Even those of us with the very thickest of skin, the stiffest of upper lips and the strongest of will, have been hurt deeply by malicious language spoken in caustic and barbed tongue. Words hurt. They do. They always have. And they always will.

Even for those of us who are perfectly capable of defending ourselves and self-advocating, when we have suffered a verbal assault? The wounds that some words inflict on us are sometimes almost impossible to reconcile. Now try to imagine a world where you could not use any kind of reciprocal language to object to an absorbed verbal offense, because you simply did not have the tools to form the syllables required to defend yourself?

That would stink! And it would be a really, really hard way to live your life. I do not enjoy hearing the "R" word. "Retard" and "Retarded." And in the interest of tolerance and maybe all of us trying to get along a little better? I have a very low-maintenance suggestion. Perhaps next time you feel compelled to use the words "retard," "retarded" or the suffix "-tard?" Stop. Just for a second. And see if sprinkling your language with love and compassion, doesn't lead you to discovering a new, different and possibly better way of saying the exact same thing? And I am not talking about some hippy-dippy, woo-woo, West Coast, granola eating, new age, blah, blah, blah. Okay?

All I am suggesting is that an alternative to these hurtful words might be found in a greater reliance on love, compassion and grace.

This post is part of a series produced by The Huffington Post and the Special Olympics in conjunction with Spread the Word to End the Word awareness day on Wednesday, March 5. To find out more about the Spread the Word campaign, pleasevisit the website. Join us in taking the pledge at R-Word.org. Read all posts in the series here.

Follow John C. McGinley on Twitter: www.twitter.com/johncmcginley

Interview with John C. McGinley on Uproxx

http://www.uproxx.com/tv/2014/01/uproxx-20-john-c-mcginley/

John C. McGinley is an actor perhaps best known for his portrayal of Percival Ulysses Cox (aka Perry Cox) on Scrubs, as well as for his portrayal of Bob Slydell in Mike Judge’s cult classic, Office Space. (“I’m a Michael Bolton fan. For my money, I don’t know if it gets any better than when he sings ‘When a Man Loves a Woman’.”) Currently, he stars in TBS’ Ground Floor, which was co-created by Scrubs creator Bill Lawrence and recently concluded its first season.

John was nice enough to take a few minutes out of his busy schedule recently to answer a few questions from us.

1. You walk into a bar. What do your order from the bartender?

Bushmills Black (on the rocks), with a Moosehead Lager (back).

2. Who’s your favorite person to follow on Twitter?

Naomi Wolf

3. What’s currently waiting for you on your DVR/TiVO?

Ground Floor, Game of Thrones, The American Experience, 30 for 30.

4. It’s your last meal — what are you going out with? Cajun rubbed, bone in, Rib eye steak (medium rare). Creamy horse radish sauce, on the side. Onion rings (extra crispy!). Grilled asparagus. A bottle of “Melvile” Penoit Noir.

5. What websites do you visit on a regular basis?

“SI.com” “Huffington Post” “NY Times” “Deadline”

6. What’s the most frequently played song on your iPod?

“Mack The Knife” by Bobby Darin.

7. The first face that comes to mind when you think “punchable”?

Grumpy-ass surfers, poisoning the line-up.

8. What’s your favorite meme?

9. Dogs or cats?

Dogs!

10. Best concert of your life was…?

Bruce Springsteen. “The Seeger Sessions” Dublin, Ireland. June, 2006.

11. What book are you most likely to give as a gift?

The Boys In The Boat by Daniel James Brown

12. What’s the nicest thing anyone has ever done for you?

My wife, Nichole, said “…yes!” when I asked her to marry me.

13. South Park or Family Guy?

South Park.

14. You have an entire day to do whatever you want. What would you do?

Surf, all morning. Have a sauna. Grab some grub. Catch some zzzz’s. Play eighteen, in the afternoon.

15. What movie can you not resist watching if it’s on?

Patton

16. Android or iPhone?

iPhone.

17. Where did you eat the best meal of your life?

An obscure Italian steak house, located up in the hills, fifteen minutes north of Florence, Italy.

18. The last movie you saw in a theater?

Gravity

19. Who was your first celebrity crush?

Orson Welles.

20. What would you cook if Nic Cage was coming to your house for dinner?

Roast chicken.

Read more: http://www.uproxx.com/tv/2014/01/uproxx-20-john-c-mcginley/#ixzz2rjfXHfRH
Follow us: UPROXX on Facebook

Kid Cannibis trailer

There is a teaser trailer for the upcoming movie Kid Cannibis online now.

John C. has a part in it that seems like he is a marijuana grower.  You can briefly see him in a few frame sin the trailer.

The trailer is definitely NSFW, due to nudity.

Kid Cannabis Teaser from Tunnel Post on Vimeo.

First look at "Ground Floor"

Ground Floor is the new comedy by Bill Lawrence of Scrubs and Cougar Town fame.

It's starring John C. McGinley as the boss of a bunch of younger people working for a corporation on the ground floor.

There's a 1 minute teaser that just came online yesterday that shows the cast goofing around.  If there is any indication of the success of Lawrence's past two shows, this one should be as entertaining as the previous two.

http://www.cinemablend.com/television/Bill-Lawrence-Comedy-Ground-Floor-Teaser-Finds-Love-An-Elevator-59161.html

Happy belated birthday, John!

I just wanted to wish John a happy birthday!  It was this past weekend on the 3rd.  Keep up the good work, Johnny!

John C on John C.

http://www.mandatory.com/2013/07/16/john-c-mcginley-on-the-career-of-john-c-mcginley/1

He talks about some of his most important roles.

John C. on Good Day L.A. talking about 42.

http://www.myfoxla.com/story/22811180/john-c-mcginley-getting-red-barbers-sound-was-a-real-challenge

John C throws out first pitch at Dodgers game

http://wap.mlb.com/lad/play/?content_id=28503679&topic_id=8010468

John was on "Marie" on the Hallmark Channel today

You can watch a clip of that over on the official site:

http://www.hallmarkchannel.com/marie/videogallery/Video/JohnC.McGinley

John has a part in Tenacious D's unofficial Teen Wolf Sequel "Adult Wolf"

Not really a full length movie, but a spoof made for Jimmy Kimmel's show.

John coming back to cable TV.

http://www.thefutoncritic.com/news/2013/05/10/tbs-greenlights-ground-floor-new-sitcom-from-emmy-mominees-bill-lawrence-and-greg-malins-116510/20130510tbs02/


TBS Greenlights "Ground Floor," New Sitcom from Emmy(R) Mominees Bill Lawrence and Greg Malins
Skylar Astin, Briga Heelan and John C. McGinley Star in Workplace Comedy with a Romantic Twist
TBS has greenlit Ground Floor, a new workplace comedy with a romantic twist written by Emmy(R) nominees Bill Lawrence (Cougar Town, Scrubs, Clone High) and Greg Malins (2 Broke Girls, How I Met Your Mother). The series stars Skylar Astin (Pitch Perfect), Briga Heelan (Cougar Town) and John C. McGinley (Scrubs). Ground Floor is being produced by Lawrence's Doozer, in association with Warner Horizon Television, with Lawrence and Jeff Ingold (Like Father) serving as executive producers. TBS has ordered 10 episodes of the series, which will premiere on the network in 2014.
Ground Floor is set in the modern world of corporate America. The show centers on Brody (Astin), a young hot-shot banker at Whitestone Trust who thought he was just having a one-night stand with Jennifer (Heelan), a beautiful woman he met at a bar. But when he discovers that she works in maintenance for the building where he works, their worlds begin to collide in the most unexpected way. Facing Brody's critical boss, Mr. Mansfield (McGinley), as well as annoyed colleagues, the pair must find a way to deal with their growing feelings for each other in this modern take on Romeo & Juliet.
Starring as Jennifer's co-workers in the building's maintenance office are Rory Scovel (Zach Stone is Going to be Famous) as Harvard, a know-it-all who's secretly enamored with her; James Earl (Glee) as Derrick, who brings a laid-back quality to the office; and Alexis Knapp (Pitch Perfect) as Tori, a sexy young woman who loves to hit the clubs every night. In addition, Rene Gube (Upright Citizens Brigade) stars as Brody's colleague Threepeat, a money manager in love with his hair gel.
"Ground Floor is a smart and extremely funny comedy that blends workplace humor with relatable romantic entanglements," said Michael Wright, president, head of programming for TBS, TNT and Turner Classic Movies (TCM). "It's all brought together by a wonderful ensemble. With Ground Floor, we're thrilled to be extending our creative partnership with Cougar Town's Bill Lawrence.

Interview with John about Platoon, behind the scenes.

Great article with a lot of stuff I hadn't previously known.

http://www.empireonline.com/interviews/interview.asp?IID=1676

42 this weekend and some interview goodness.

42 opens nationwide this weekend, make sure you go check it out.  John stars as the legendary sportscaster Red Barber in the movie.

Also, there has been a lot of publicity stops for John, at many major news outlets promoting the movie.

There's a 10 minute interview/bio here that's worth checking out:
http://www.cbc.ca/strombo/mobile-video/guest-interview/john-c-mcginley-1.html

John on his 5 favorite television shows

SOURCE

John C. McGinley is widely known for his work on Scrubs as the ever-cantankerous Dr. Perry Cox, but starting tonight the self-proclaimed TV junkie is taking on a new role: that of Tom Card, former CIA training officer and mentor to Michael Westen on Burn Notice. In honor of McGinley's new gig—he'll appear in at least five episodes of the USA spy show—we called up the actor to chat about why he loves TV and what he's watching on it. Here's what he had to say...

On people who don't watch television:
McGinley said he hates it when people say they don't watch any television, a sentiment he shares with Scrubs creator Bill Lawrence.

"Billy Lawrence, who was the executive producer on Scrubs, would say it was an arrogant, back-east thing, and it's always a lie when celebrities would tell him they didn't watch any television," McGinley said. "When someone would tell Billy they didn't watch TV, he would always go, 'Yes, you do!' And I've seen him do it, and after a few seconds, they'll say, 'I guess I watched 60 Minutes, and Game of Thrones' ... 'Oh, so you doooooo watch TV!'"

On his TV influences:
"One of my biggest influences is Carroll O'Conner from All In The Family, but just to scramble your eggs," he said to me while laughing maniacally, "I'm going to throw in Phyllis Diller, she was a daffy, female comedian who used to destroy Johnny Carson. When I was a kid she destroyed me. I can't remember why, but she did. And then there's Redd Foxx of Sanford and Son, and he's also one of the dirtiest stand-up comedians in the history of stand-up. And Flip Wilson, he was a cross-dressing comedian and played a woman name Gerald Dean."

On loving his DVR:
"That box is the greatest thing ever invented." 

Read on to find out which TV shows made McGinley's top five, starting with his absolute favorite.

Homeland:

"I would put this show up there with The Sopranos. It has a great layered complex storytelling. I like the agreement that it seems to make with the audience that we're going to start this story out really slowly and meticulously and YOU ARE GOING TO WATCH. That leap is unbelievable. It's just so ballsy. It's the best show on TV, by far!"

Game of Thrones:

"The A B C D storylines in each episode are shot on different continents. It's as good visually as most films to me. The actors are completely superior, the direction is flawless, and it's as good as any old-fashioned serialized storytelling. I just can't wait for the next episode."

Boardwalk Empire:

"I especially loved Season 2 because the writers learned from all the mistakes that were made in Season 1. The storytelling got so much more sophisticated and then of course I love when you kill a principle [character]. In the Season 2 finale, a principle [character] was murdered. Also, Steve Buscemi is one of my favorite characters on the show—he's sublime."

Dexter:

"Love the show, but the last season I felt they lost their way a little bit. The first three or four seasons were really good, and I'm not going to say negative things because I'm not going to. I just thought they lost their way a bit and that means this season will be spectacular. Also, to follow up Johnny Lithgow as a bad guy is almost impossible. He was so unbelievable and even before him Jimmy Smits was great."

Spartacus:

"This fifth one is my guilty pleasure. This is sooooo good. It's all T 'n' A, big sweaty men, the hot chicks, Roman extravagance—it's great. The technology used by the director of the film 300 during the swordplay and the scenes where they slow down a fight is used in Spartacus. It's great."

John spreads the word about "End the Word"

John C. McGinley to star in new pilot for Bill Lawrence called Ground Floor

SOURCE

John C. McGinley may have found himself at the mercy of his company in Glengarry Glen Ross, but now the actor is about to start running things. McGinley will star as a corporate boss in the TBS comedy pilot Ground Floor, according to Deadline.com. The new work place comedy will mark a reunion between McGinley and Scrubs creator Bill Lawrence. 

Written by Lawrence and Greg Malins and directed by Gail Mancuso, Ground Floor follows a 29-year-old alpha male who has successfully risen through corporate America. He soon becomes forced to interact with his company’s support staff, a close group of care-free and fun-loving people. McGinley will play the group's boss Mr. Mansfield.

McGinley returned to Broadway after a 26 year absence earlier this season in the Al Pacino-led revival of Glengarry Glen Ross. He is known for his nine season turn as hot-tempered doctor Perry Cox onScrubs. His film credits include The Rock, Platoon and Seven. 

Watercolor Postcards trailer

John has a supporting role in this new movie.

Trailer is here:

Watercolor Postcards Trailer 1 from Rajeev Dassani on Vimeo.

My experience at Glengarry Glen Ross and meeting John C. McGinley

I went to go see Glengarry Glen Ross in late December on Broadway.  How could I pass up seeing John in one of the best written plays ever?

The performance started out a little bit shaky as Pacino's lines could barely be heard in the back where I was seated.  Then he ramped it up a bit.  I felt Pacino as Levene was a miscast in the beginning of the play, but he gave it a life of his own later on in the second act.  The second scene started and John C. McGinley stole the show with his rendition of Dave Moss, landing each line with precision you do not see too often.

While he was only in a few scenes and leaves the play towards the 2/3 mark, I strongly feel that John was a big anchor for the entire show.  A feat that was hard going against Pacino and Cannavale (who really took the Roma role to a new level).

I waited outside the theater afterward in hopes to get some signatures and meet John after the show got out. Unfortunately I was too late in getting to the right spot where the actors come out and missed him completely as he had exited first.  I didn't find this fact out until everyone else had left the stage doors and another person waiting had told me.

I was a little upset, but I didn't let that stop me.  My friends and I decided to come back two weeks later and get in line for the autograph seekers earlier on in the evening before the show let out.  I was hoping that the second time might be the charm.

I was right.  John came out right after Al Pacino did.  I was able to get his autograph, mention to him that I had been running this site, drop him a little note asking for an interview if he ever had the time and even got a picture with him.  He was extremely nice and made my wish of meeting him a reality that I will not forget.

His public relations manager contacted me the next day and arranged an email interview for the site, which I will post as soon as I hear back from her.

My dream of meeting my favorite actor finally came true and I could not be more happy about it.

Awesome!

John speaks about Glengarry.

http://blogs.wsj.com/speakeasy/2012/12/28/john-c-mcginley-on-glengarry-glen-ross-critics-and-al-pacino/

When John C. McGinley got a call asking him to play Dave Moss in “Glengarry Glen Ross” with Al Pacino on Broadway he immediately began memorizing. Five days a week, four hours a day, for four weeks straight, he learned every ellipsis and comma in the brutal Pulitzer-prize winning script by David Mamet. He turned his rehearsal space in Los Angeles into “Mamet Theater Boot Camp” he says, and hired a young actor to be the “text police.”

“I told him what I want you to do is police the commas, the pauses, and the italics,” says Mr. McGinley. “I don’t ever want you to tell me how you think this is going, because you have no idea. All I want you to do is just be the word police,” Mr. McGinley says. “I just became this Mamet zealot.”

The technique worked. The most anticipated show of the fall – with Pacino as Shelley Levene and Bobby Cannavale as Ricky Roma – has gotten mixed reviews overall but McGinley, whose character plots to rob a third-rate real estate office, is often singled out for his performance.

Although he’s friends with Ed Harris, who played Moss in cult-status movie version of the play, he wouldn’t ask him for any advice or even watch the film. “I wanted to explore this one by myself.”

He admits his co-stars were surprised when he showed up for the first rehearsal looking a little like the do-gooder student who actually completes all of his summer reading over the vacation.

“I came to New York so wired it wasn’t even funny,” he laughs. “They thought I was a jackass.”

He spoke to Speakeasy about working with Pacino, memorizing Mamet, extending previews, and his not-so-delicate thoughts on critics. Following is an edited transcript.

How does it feel to be getting so many good reviews?

I’ve never gotten notices like this. I wouldn’t even put that kind of stuff on my bucket list, because it would never have occurred to me before. I wouldn’t put on my bucket list being on Broadway with Al Pacino and being directed by Daniel Sullivan — because it’s just never gonna happen. So when it does, it’s kind of astonishing.

I’ve done 70 films, 200 episodes of TV…  as Dr. Cox on “Scrubs” I got some good write ups there, but not like this. You don’t dream about this stuff. And so I’ll see these different write-ups and it seems like I must have composed them in a dark closet somewhere and dispatched them myself.

You haven’t been on Broadway in 27 years – not since “Requiem for a Heavyweight” in 1985. What took you so long?

The last time I was here we opened on a Thursday and closed on Sunday. It was shattering. It was profoundly upsetting.  Enough to where I didn’t want to do it anymore. I turned down a bunch of Broadway shows because it was too emotionally expensive.

You worked with Pacino on Oliver Stone’s “Any Given Sunday.” Is he the one who wanted you in this production?

I haven’t had the spine to ask why I got offered this play. I’m sure someone must have championed me and I haven’t asked yet. I don’t know why. It’s a little cowardly.

You often get cast as a jerk. Why is that? Are you one?

Sometimes I get cast as kind of a tough guy with a heart of gold. That’s what I try to do. Because, if the character’s just a jackass all the time there’s nothing redeeming. You can’t follow that character for nine years on TV. We tried to make Dr. Cox a tortured, damaged guy.

Dave Moss is the exploration of hopelessness, and what desperation spawns. All actors are familiar with hopelessness, we’ve all had a taste of hopelessness and it feels profoundly desperate. So if I plugged that into this character, all of a sudden I connected to that sense of hopelessness. When men are hopeless, it’s game on.

You’ve said you followed Mamet’s script exactly, breath for breath.

[In the script] there are pauses and words italicized and capitalized and in bold font for where David wants you to do this, that, and the other thing. I took that to be like Shakespeare – unless you’re going to do Iambic pentameter you might as well do a different play. And in my brain I just figured unless you are going to respect what David put on the page — I mean the play only won a Pulitzer — I just think you might as well do a different play. You might as well dance the steps that he put down for you to dance. And I did, and I still do.

That’s what people seemed to be a little miffed about with Pacino — that he wasn’t doing that specific Mamet-speak.

I don’t buy that stuff.  Al’s a god. You’re lucky to be in a room with him for two hours. Give me a break. There are nights when I watch that guy from the side of  the stage and I weep. He’s one of the greatest actors in the history of cinema and he’s astonishing on stage. I think they’re taking cheap shots. Al’s one of the great storytellers ever. You get to be in a room with him for two hours. Be quiet.

Well, people seemed to feel a little confused by the whole extended preview process and the price of the tickets.

Not people. Not people. A couple of writers at the New York Times.  Not people. I don’t agree with you. Not people. Here’s the problem. It’s real simple. If you’re a reviewer and your review is rendered irrelevant because the run is sold out, you’re going to be a petulant child and want to take your basketball and go home so the other kids in the playground can’t play with it. Because your opinion is not going to move the meter. So of course you’re going to have an axe to grind.

Who cares that there were more previews? What a jackass thing to reference. 1200 people are standing at the end of the show every night. What’s that? That’s because the previews were postponed? Yeah, it got tuned up, sure. So what?

(He laughs.) Now the New York Times is going to kill me the rest of my career.

Well the economics are a little bizarre for these plays. They would be hard to mount successfully without Al Pacino, but on the other hand, tickets were not cheap.

The business model worked out beautifully. There are only two or three people who can do this. Hugh Jackman, Al, and a couple other people where whatever the critics write is completely irrelevant. And that pisses them off. So what! These are the same people who hated “Les Mis” when it opened and tied to kill it. That didn’t work either.