‘Psych’ 8×03: Episode Stills

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James Roday Talks Show’s Future & Previews Season 8′s Craziest Episodes

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‘Psych’: James Roday knows you want to both hug and slap Shawn

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Zap2it: Before “Psych: The Musical” had you ever done a musical?

James Roday: I had never done a musical. I have so much respect for the medium and the muscles it takes to pull that off. I never felt compelled to take on that challenge. Predominantly you really have to learn how to take care of your voice to do eight shows a week.

Zap2it: How has Shawn evolved over the years?

James Roday: He has definitely moved slowly. I think he is taking baby steps, but if you add all the baby steps up, he has managed to go from man-child to man-adolescent. As he has gotten older there are things important to him. He does not want to lose a bit of a battle, to find the balance between a kid who does not want to grow up and a man who does not want to lose the things that matter most to him. That’s why you want to hug and slap him at the same time.

Zap2it: After seven seasons, what’s the set like?

James Roday: A lot of things had to come together for it to find its legs the way it did. We did it all up there in Vancouver and only knew one another. It brought us closer much faster. There’s not a bad egg in the basket, and we do have affection for one another and are constantly reminding each other what a unique experience this is and how none of us had ever experienced anything quite like it. [SOURCE]

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“Psych” 8×02: Episode Stills

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Psych: The Musical – Press Photos

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December 9 2013

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“Psych” 8×01: Episode Stills

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Interview: Psych – Talking to James, Dule & Steve

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Now as daunting as this probably was going into, what was the biggest challenge for each of you in putting this together or performing in it?

Dulé: Well for me it was writing. I mean to write all those songs out of my brain – you know, my name is Dulé Hill and I wrote every song. It really was a hard thing to do. No you know I’m lying.

Steve: Now you know for me – this is Steve Franks. I’m the series creator. For me, doubling all of Dulé’s dancing in the close-ups was really hard, because I haven’t tapped for very long, but it was worth it. It was great. It was like one of those great body switching movies and we really enjoyed it. But I tell you, we learned a lot about ourselves and our – all those around us by switching bodies for a very short period.

James: I think my neatest trick was being in Hawaii the entire time while my stunt double did the entire thing. Nobody said a word. Nobody questioned it for one second. I don’t know. I thought that was a pretty good work by me.

Steve: If could just answer for James and Dulé on their part. I can’t begin to tell you how many takes we did of these enormous dance pieces that went up and down stairs and were jumping and leaping and stuck – it was a very, very difficult lip synch that these things were pretty flawless throughout the whole course of the thing and hitting all the steps. I can’t begin to tell you how tired I imagined they were watching them. And they were always – not only were they willing to do another take, often times I’d yell, “Cut,” and they would just immediately say, “Let’s do another one.” So, I just can’t imagine the level of what is – I mean the physical peak that these guys must be in.

James: Well after all the work that Steve did just to get us there, there was no way that we weren’t going to step up to deliver the goods. I mean, he wrote – I think he wrote 37 original songs which he narrowed down to 21, which he narrowed down to 12. He wrote the whole thing. He conceived it. He composed it with Adam Cohen and he directed it. I mean it was a gargantuan, Herculean task that he took on. So in some ways when you think about it, Dulé and I had the easy job of just bringing it to life.

Dulé: And to go back to answer your question what was daunting about it was – think about what Roday just said is we didn’t have any extra time. That’s what made it so daunting. I think if we’d known we got an extra you know five days to do, then maybe it wouldn’t seemed so big for us, but the fact that we were doing a two hour movie special with music and all those things, new songs by Steve Franks and everything in the same timeframe as it took us to normally do a normal episode, which we already have trouble making anyway, that was daunting.

Steve: And the rest of the episode – it wasn’t like the rest of the episode was a bunch of them standing around in the Psych office and having conversations. There was chases through the woods and there was a – this enormous you know fight with a hanging scene. And it was a big episode if you don’t even put the musical numbers into it. And after that, most importantly, add to the Episodes 14 and 15 of the seasons. So we’ve already shot 13 episodes. We’re at the end of our run. Usually if you come up at that time, everybody’s running on fumes anyway, so it was – I think that across-the-board, everyone was really running on adrenaline, and we still don’t know how we finished it.

James: It’s insane. It’s insane that we shot an episode after that. What was that? I have no idea.

Dulé: I have no idea.

Steve: James usually directs the last one and the first one.

James: Dude, it wasn’t me. It was some poor episode that got stuck with that slot. [READ THE REST OF THE INTERVIEW]

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James Roday, Dulé Hill, Steve Franks talk (wait for it) ‘Psych The Musical’

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Perhaps no show has as much fan trust as the USA Network’s hit “Psych.”

For seven seasons, creator Steve Franks and his writing team have offered an assortment of zany, hilarious, brilliant storylines – including a “Breakfast Club”-themed murder mystery, Cary Elwes as a master thief, a re-enactment of “Clue” wherein Curt Smith of Tears For Fears was shot (not fatally, fortunately), and an homage to “Twin Peaks.”

Of course, this is a show that revolves around a fake psychic detective, Shawn Spencer (James Roday), and his best friend, Gus, a pharmaceutical salesman with an unmatched number of pseudonyms (think Gus “Sillypants” Jackson, Ovaltine Jenkins, Don Cheadle Junior, Gern Blanston, Domo Arigato, etc.)

One look at Twitter and it’s clear “Psych” fans would accept any storyline, so long as Shawn and Gus were front and center. In fact, if Franks whipped up an episode involving the “Psych” cast reading the phone book, I’m sure it would be hysterical (and the Psych-Os would watch).

“By the way, we did the phone book once. It was a terrible episode,” Franks said. “I think the problem was we did the letter J, which I thought – I was really pushing for Q, but everybody thought it was too out there.”

See what I mean?

Now, “Psych” is taking its most ambitious leap yet, with a musical episode set to air Sunday at 9 p.m.

Roday said the two-hour special is Franks’ masterwork. [Read the full interview]

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Melodious mayhem in ‘Psych: The Musical’

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San Antonio’s “Psych” star James Roday never got a chance to perform musical theater at his alma mater, Taft High School.

However, the actor finally gets to sing and dance to his heart’s content in a special two-hour edition of his lighthearted crime series on the USA Network.

“Psych: The Musical” airs at 8 p.m. Sunday on USA.

When attending Taft here, “there was a bit of a power struggle between the director of our theater program and the choir director,” the S.A. native (born James Rodriguez) said in a phone chat. “To pull off a musical, they would have to play nice and work with one another, and they never quite figured that out. [READ THE FULL INTERVIEW]

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Steve Franks, James Roday and Dule Hill Tease The Series’ Musical Spectacular

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The Real Challenge…

Having an idea is all well and good, but bringing a full-length musical extravaganza to life on a basic cable budget and with no extra filming time was the real task. That’s right, the cast and crew had to learn to sing and dance their way through fourteen original numbers while also bringing to life a super-sized episode filled with location shots, a chase scene through the woods and fight scene that involved a hanging machine. More importantly, as Hill reminded us, an extra level of difficulty came about because they “weren’t going to Glee it up” and use pre-existing songs.

All total, the cast met with choreographer Paul Becker for roughly half of a Saturday, according to Roday, before filming began. Even more daunting? Together the episode makes up episodes 15 and 16 of season seven, meaning the cast and crew were already exhausted. “Everyone was running on adrenaline,” James revealed.

It was the cast and crew’s passion for Franks’ vision that helped them rally to produce the episode under the daunting time restraints. As Roday put it, “This was his (Franks’) baby, his crown jewel, his legacy.” The cast and crew knew that if they were going down, they were going down together. [READ THE FULL INTERVIEW]

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