M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
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M. Emmet Walsh, Character Actor from ‘Blood Simple,’ ‘Blade Runner,’ Dies at 88 

M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)
M. Emmet Walsh arrives at the 2014 Film Independent Spirit Awards, March 1, 2014, in Santa Monica, Calif. (AP)

M. Emmet Walsh, the character actor who brought his unmistakable face and unsettling presence to films including “Blood Simple” and “Blade Runner,” has died at age 88, his manager said Wednesday.

Walsh died from cardiac arrest on Tuesday at a hospital in St. Albans, Vermont, his longtime manager Sandy Joseph said.

The ham-faced, heavyset Walsh often played good old boys with bad intentions, as he did in one of his rare leading roles as a crooked Texas private detective in the Coen brothers’ first film, the 1984 neo-noir “Blood Simple.”

Joel and Ethan Coen said they wrote the part for Walsh, who would win the first Film Independent Spirit Award for best male lead for the role.

Critics and film geeks relished the moments when he showed up on screen.

Roger Ebert once observed that “no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad.”

Walsh played a crazed sniper in the 1979 Steve Martin comedy “The Jerk” and a prostate-examining doctor in the 1985 Chevy Chase vehicle “Fletch.”

In 1982’s gritty, “Blade Runner,” a film he said was grueling and difficult to make with perfectionist director Ridley Scott, Walsh plays a hard-nosed police captain who pulls Harrison Ford from retirement to hunt down cyborgs.

Born Michael Emmet Walsh, his characters led people to believe he was from the American South, but he could hardly have been from any further north.

Walsh was raised on Lake Champlain in Swanton, Vermont, just a few miles from the US-Canadian border, where his grandfather, father and brother worked as customs officers.

He went to a tiny local high school with a graduating class of 13, then to Clarkson University in Potsdam, New York, and the American Academy of Dramatic Arts in New York City.

He acted exclusively on the stage, with no intention of doing otherwise, for a decade, working in summer stock and repertory companies.

Walsh slowly started making film appearances in 1969 with a bit role in “Alice’s Restaurant,” and did not start playing prominent roles until nearly a decade after that when he was in his 40s, getting his breakthrough with 1978’s “Straight Time,” in which he played Dustin Hoffman’s smug, boorish parole officer.

Walsh was shooting “Silkwood” with Meryl Streep in Dallas in the autumn of 1982 when he got the offer for “Blood Simple” from the Coen brothers, then-aspiring filmmakers who had seen and loved him in “Straight Time.”

“My agent called with a script written by some kids for a low-budget movie,” Walsh told The Guardian in 2017. “It was a Sydney Greenstreet kind of role, with a Panama suit and the hat. I thought it was kinda fun and interesting. They were 100 miles away in Austin, so I went down there early one day before shooting.”

Walsh said the filmmakers didn’t even have enough money left to fly him to New York for the opening, but he would be stunned that first-time filmmakers had produced something so good.

“I saw it three or four days later when it opened in LA, and I was, like: Wow!” he said. “Suddenly my price went up five times. I was the guy everybody wanted.”

In the film he plays Loren Visser, a detective asked to trail a man’s wife, then is paid to kill her and her lover.

Visser also acts as narrator, and the opening monologue, delivered in a Texas drawl, included some of Walsh’s most memorable lines.

“Now, in Russia they got it mapped out so that everyone pulls for everyone else. That’s the theory, anyway,” Visser says. “But what I know about is Texas. And down here, you’re on your own.”

He was still working into his late 80s, making recent appearances on the TV series “The Righteous Gemstones” and “American Gigolo.”

And his more than 100 film credits included director Rian Johnson’s 2019 family murder mystery, “Knives Out” and director Mario Van Peebles’ Western “Outlaw Posse,” released this year.

Johnson was among those paying tribute to Walsh on social media.

“Emmet came to set with 2 things: a copy of his credits, which was a small-type single spaced double column list of modern classics that filled a whole page, & two-dollar bills which he passed out to the entire crew,” Johnson tweeted. “‘Don’t spend it and you’ll never be broke.’ Absolute legend.”



Video Game Performers Will Go on Strike Over Artificial Intelligence Concerns 

SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
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Video Game Performers Will Go on Strike Over Artificial Intelligence Concerns 

SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)
SAG-AFTRA signage is seen on the side of the headquarters in Los Angeles on Friday, Nov. 10, 2023. (AP)

Hollywood's video game performers announced they would go on strike Thursday, throwing part of the entertainment industry into another work stoppage after talks for a new contract with major game studios broke down over artificial intelligence protections.

The strike — the second for video game voice actors and motion capture performers under the Screen Actors Guild-American Federation of Television and Radio Artists — will begin at 12:01 a.m. Friday. The move comes after nearly two years of negotiations with gaming giants, including divisions of Activision, Warner Bros. and Walt Disney Co., over a new interactive media agreement.

SAG-AFTRA negotiators say gains have been made over wages and job safety in the video game contract, but that the two sides remained split over the regulation of generative AI. A spokesperson for the video game producers, Audrey Cooling, said the studios offered AI protections, but SAG-AFTRA’s negotiating committee said that the studios’ definition of who constitutes a "performer" is key to understanding the issue of who would be protected.

"The industry has told us point blank that they do not necessarily consider everyone who is rendering movement performance to be a performer that is covered by the collective bargaining agreement," SAG-AFTRA Chief Contracts Officer Ray Rodriguez said at a news conference Thursday afternoon. He said some physical performances are being treated as "data."

Without guardrails, game companies could train AI to replicate an actor’s voice, or create a digital replica of their likeness without consent or fair compensation, the union said.

"We strike as a matter of last resort. We have given this process absolutely as much time as we responsibly can," Rodriguez told reporters. "We have exhausted the other possibilities, and that is why we’re doing it now."

Cooling said the companies' offer "extends meaningful AI protections."

"We are disappointed the union has chosen to walk away when we are so close to a deal, and we remain prepared to resume negotiations," she said.

Andi Norris, an actor and member of the union's negotiating committee, said that those who do stunt work or creature performances would still be at risk under the game companies' offer.

"The performers who bring their body of work to these games create a whole variety of characters, and all of that work must be covered. Their proposal would carve out anything that doesn’t look and sound identical to me as I sit here, when, in truth, on any given week I am a zombie, I am a soldier, I am a zombie soldier," Norris said. "We cannot and will not accept that a stunt or movement performer giving a full performance on stage next to a voice actor isn’t a performer."

The global video game industry generates well over $100 billion dollars in profit annually, according to game market forecaster Newzoo. The people who design and bring those games to life are the driving force behind that success, SAG-AFTRA said.

Members voted overwhelmingly last year to give leadership the authority to strike. Concerns about how movie studios will use AI helped fuel last year’s film and television strikes by the union, which lasted four months.

The last interactive contract, which expired in November 2022, did not provide protections around AI but secured a bonus compensation structure for voice actors and performance capture artists after an 11-month strike that began in October 2016. That work stoppage marked the first major labor action from SAG-AFTRA following the merger of Hollywood’s two largest actors unions in 2012.

The video game agreement covers more than 2,500 "off-camera (voiceover) performers, on-camera (motion capture, stunt) performers, stunt coordinators, singers, dancers, puppeteers, and background performers," according to the union.

Amid the tense interactive negotiations, SAG-AFTRA created a separate contract in February that covered independent and lower-budget video game projects. The tiered-budget independent interactive media agreement contains some of the protections on AI that video game industry titans have rejected. Games signed to an interim interactive media agreement, tiered-budget independent interactive agreement or interim interactive localization agreement are not part of the strike, the union said.