FRED Entertainment

December 18, 2008

Holiday Havoc: Mitchell & Webb

Filed under: Holiday Havoc — Tags: , , , — UncaScroogeMcD @ 2:15 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got an exclusive sketch from UK comedy duo Mitchell & Webb – a little piece called “Lazy Writers”.

Chances are, to most Americans, the names David Mitchell & Robert Webb mean very little… unless, of course, they have a friend, relation, or acquaintance by that name. I speak, however, of a pair of brilliant comedians by the sobriquet Mitchell & Webb who currently ply their trade in the sceptred isle of England.

A cursory glance at the offerings on YouTube will bring you up to speed on Messrs. Mitchell & Webb – who, since their Cambridge Footlights days, have written and starred in Edinburgh Fringe productions, radio (That Mitchell & Webb Sound), a live tour, and a trio of sketch shows (Bruiser, The Mitchell & Webb Situation, and That Mitchell & Webb Look – all of which are currently available on DVD). They’re also the stars of the Britcom Peep Show, the feature film Magicians, and were cast as PC (Mitchell) & Mac (Webb) in the British versions of the popular Macintosh ads.

Check ’em out… But first, check today’s Holiday Havoc from Mitchell & Webb…

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Download “Mitchell & Webb: Lazy Writers – Space“:

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Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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December 16, 2008

Masters Of Song Fu Holiday Special: The Songs!

Filed under: Holiday Havoc,Masters Of Song Fu — Tags: , , , , — UncaScroogeMcD @ 11:46 pm

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We here at Quick Stop Entertainment are true lovers of music, in all its forms. We’re also quite keen on the spirit of competition, and of spurring creativity through said competition.

To that end, we launched a brand new form of creative combat here at the Stop.

In this age of manufactured and painfully earnest talent contests, we’ve decided to instead shine a light on the quirky, quixotic underworld of musicians that don’t get nearly the attention they deserve.

Ah, but I did mention that there was a competition involved…

A week back, we sent out the call for challengers. Many of you heard the call and fought for a slot. You’ll find information about them below.

Like a songwriting version of Iron Chef, these challengers will be presented with a very specific songwriting challenge. They’ll be given one week to complete their songs – however they see fit, within the parameters set forth – after which time the entries will be uploaded to Quick Stop.

Some of our challengers had to drop out due to various and sundry technology issues, but you’ll find the submissions of those left standing below. So what exactly was their challenge?

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HOLIDAY CHALLENGE

Tis the season and all that, right? Well, your challenge is to create a brand new character for this holiday season, and write a holiday song for him/her/it. Think Rudolph The Red-Nosed Reindeer, Frosty The Snowman, etc. Now you can add your own musical contribution to the festivities.

That’s it. The only other directive is that your song must run no shorter than 1 minute 45 seconds.

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MASTERS OF SONG FU

For this edition of Song Fu, we brought in a single (well, 2, technically) Master who our Challengers went up against. Think of them as the iron chefs of Song Fu…

PAUL & STORM

songfu-02.jpgPaul and Storm are a comedy music duo, and they have been performing as a duo since 2004. Before that, they were one half of a cappella band Da Vinci’s Notebook for about 12 years. A Paul and Storm show is part music concert and part standup/improv comedy”“just enough of both to fit neatly in neither category. They like to engage the audience, and are known to award snack cakes and/or other prizes for good (and sometimes bad) behavior. Their show would be PERFECT as a cable special, and would make lots of money for whichever brave channel decides to air them first.

Official Website: www.paulandstorm.com
HOLIDAY CHALLENGE SONG:Dexter, The Credit Debt Badger (Demo)

  • NOTES: This arrangement was supposed to be all tricked out, with strings, lush vocals, glockenspiel, horns and crap. We discovered, as suspected, though, that nothing sounds crappier than fakey synth strings and horns; and without strings and horns, the glockenspiel and lush vocals were out of place. So in the end, we reverted to the original, stripped-down, raggedy demo we had made to start off with. That, and we’re lazy.

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And now, the list of challengers and their songs:

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THE CHALLENGERS

JEFF MacDOUGALL

Jeff MacDougall 2: Electric Boogaloo – You may know Jeff from his short-lived stint as reigning challenger in MoSF#1 – ultimately losing to master Jonathan Coulton. He’s back and ready to make the holidays his bitch. Because really, nothing says Christmas music like the sweet sounds of Jeff MacDougall.

Official Website: www.jeffmacdougall.com
HOLIDAY CHALLENGE SONG:Becky, The Office Party Drunk

JASON MORRIS

songfu-jasonmorris.jpgI suppose I am what you could call a “Multi-Instrumentalist”. That is a nice way of saying “Jack-of-all-trades, Master-of-none”. I began playing drums as a teenager and spent a great deal of energy during my 20’s trying to “make it” in the music biz. As a drummer, I have had the opportunity to play with some pretty incredible musicians, garnering literally DOZENS of fans over the years. In 2004 I joined the band Celestial Static, and spent several years melting some face with good friends Jeremy and Julie Elzerman. Once that ran its course, I decided to spend more time locked away in my studio, writing my own songs and learning to play guitar, bass and sing. It doesn’t pay the bills, but I have a good time doing it.

Official Website: www.jason-morris.com
HOLIDAY CHALLENGE SONG:Twangles, The Christmas Squid

JOE “COVENANT” LAMB

My name is Joe Lamb, I’ve been known online as JoeCovenant, or JoeCov, Or just Cov for the last decade or so. I’m 45 and have been performing for 40 of those years. Up until 2005 I was solely a professional actor/singer, but I am now also a Civil Servant and work for Her Majesty. I’ve been playing guitar since I was 10, but still think Bar Chords are things played in pubs. (I can’t do ’em!) I’m not too bad on the Bhodran and can pick out a tune on a keyboard when pushed… really hard. I’ve always been frustrated that my ideas outdistance my abilities, so my output is always rather simplistic… But I like to think that, occasionally, synergy does it’s job well! My last album, a passel of LARP songs written ‘in character’, was recorded in the same way the songs for this contest will be recorded… Analogue, in my living room, through a quickshot stick-mic (Yes, really!) Hearing some of the songs that have been created through this contest I feel privileged to be involved! I’ll do the best I can!

Official Website: None
HOLIDAY CHALLENGE SONG:Mr. Jones, The Advertising Man

“BUCKETHAT” BOBBY MATHESON

songfu-buckethatbobby.jpg“BucketHat” Bobby Matheson is an awkward teenage accordionist and multi-instrumentalist who specializes in superhero-themed and “Comedy” music, and who works for minimum wage in the fast food industry. With his style varying from polka to folk, punk to pop, and then again from rock to bluegrass, we’re left unsure what to expect. One thing for certain is that Bobby doesn’t like talking about himself in the third person, and therefore will stop this silliness right now.

Official Website: www.myspace.com/buckethatbobby
HOLIDAY CHALLENGE SONG:Donnie, The Disowned Christmas Tree

CHARLIE WOLF

Charlie Wolf has always been much better at writing songs than at writing third-person biographies about himself. While still a teenager, Charlie Wolf is already an accomplished ‘multi-instrumentalist’, playing guitar, bass, accordion, and keyboards. In the past year or so, Charlie has began playing private parties and coffee-house gigs in the Los Angeles area, which sounds way more interesting than it actually is. His music ranges from hilarious comedy songs to tender ballads, and more often than not, somewhere in between. He would like to thank the academy, but cannot, because he does not know where the academy is or how they would like to be thanked.

Official Website: www.gypsypunk.net/cw/
HOLIDAY CHALLENGE SONG:Latke Levi

RUSTY’S ROCKING JAMBOREE

“Rusty’s Rocking Jamboree” is a one-man, music and comedy show for family audiences, starring Russ Rogers.  While in college, twenty-some years ago, Russ Rogers was in a band called, “Buc Blaster and His Ukulele Rangers.”  There are several noteworthy alumni of “The Ukulele Rangers,” including Song Fu Master Michael J. Nelson.  Later, Rogers and Andy LaCasse (also a Ukulele Ranger)  partnered to form the almost near famous, children’s music and comedy duo, “Kit and Kaboodle.”  After ten years and three albums (still available on iTunes and CDBaby.com), “Kit and Kaboodle” broke up over musical differences.  LaCasse was musical … an d Rogers was just different.  Now, “Rusty’s Rocking Jamboree” has been entertaining family audiences around Minnesota for the past five years.

Official Website: www.rockingjamboree.com
HOLIDAY CHALLENGE SONG:Little Electric Jesus

THE MASKED STRANGER

The Masked Stranger (a.k.a Neal John Mac Rae), is a self proclaimed noise/folk artist from Nova Scotia, Canada. Although his work has gone completely unnoticed on an official level, he has still managed to garner several fans from Australia and amoungst his close friends. The Masked Stranger project started in 2004 when Neal John recorded “The River Song”, a simple panflute tune he furiously augmented and destroyed on his computer. Since then he has created roughly 30 other distinctly more destroyed and demented tracks under the moniker of The Masked Stranger. His music has been described as “a total disregard for musical theory”, “aaaaaaaah!”, “raw and grating”, “annoying”, “Twisting is a word I want to use to describe it… Very natural and earthly”, and “disturbing and yet… strangely enjoyable”. His most well liked and most consistant piece “Rue The Red” was described by Cape Breton goregrind artist Devin Meaney as “a posessed man jigging out on the strings of his creator. Like a puppet, devouring the flesh of god. And this is exactly what it reminds me of, no joke.”. This awkward and soil laiden musician’s journeys into the abrassive and the tribal only threaten to continue.

Official Website: www.myspace.com/themaskedstranger777
HOLIDAY CHALLENGE SONG:“Gryylgidalgabralte Killed Santa Claus

HEATHER HENDERSON

Heather Henderson has been entertaining America since she was seven years old. She got her start as a mini dancing superstar and co-host on Dance Party USA. Her career then made the natural progression towards Sesame Street and most recently a principal role in the Disney film Annapolis. Striving constantly to develop as an artist, The Big H sings with the bad-ass 60’s retro soul group SOULAMITE!, performs with the Revival Burlesque troupe in philadelphia, makes short films, writes funny songs, and is always looking for the next good audition. She hopes to have her own totally crappy and misquoted Wikipedia entry one day.

Official Website: www.HHenderson.com
HOLIDAY CHALLENGE SONG:Puffington Proper Paws, The Cat Who Loved Christmas

SCOTT WOLFSON

Scott Wolfson has been performing and recording since he was 13 years old. For more than half of his life he’s been a part of the New York City music scene – most notably, as the guitarist and songwriter for the “freak pop” band The Right Bastards, and most recently as the front man for The Buzzkill All-Stars. A graduate of NYU, he majored in musical performance and minored in music theory and composition. His songwriting strives to combine the wit and wisdom of Elvis Costello, Paul Simon, and Tom Waits with the pop sensibilites of Squeeze, XTC, and Crowded House. His unique voice and stylings add another dimension to the already strong songwriting.

Official Website: www.bc2music.com
HOLIDAY CHALLENGE SONG:Kevin, The Christmas Cat

BRYCE JENSEN

Bryce Jensen has been writing songs off and on for over twenty years, but he has rarely shared any of them beyond his friends and family. His styles range from a capella to heavy metal with a lot of wimpy finger picking stuff in between.  As most of his songs are horrible, Bryce has agreed to enter this contest as a service to the other contestants, making them appear even more talented by comparison.

Official Website: None
HOLIDAY CHALLENGE SONG:The Mistletoe Ho Ho Ho

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THE WINNER

So where’s the voting? Well, there is no voting in this Holiday Special. I figure everyone who participated is a winner, so we’ll be contacting them to send each and every one a little something special. Most of all, though, it’s important that artists like these get some attention and support in the new year from you, the audience, so feel free to discuss the tunes in the comments below, and visit their sites. Support them, won’t you? Oh, and HAPPY HOLIDAYS!

Ken Plume, The Fu Bringer

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Song Fu returns on January 12th, 2009.

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Holiday Havoc: Coraline

Filed under: Holiday Havoc — Tags: , , , — UncaScroogeMcD @ 1:01 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, Quick Stop debuts the exclusive “Q” Alphabet Card from director Henry Selick’s stop-motion animated spectacular Coraline, based on the best-selling book by Neil Gaiman and coming to theaters this February

Coraline Jones (Dakota Fanning) is bored in her new home until she finds a secret door and discovers an alternate version of her life on the other side.  On the surface, this parallel reality is eerily similar to her real life and the people in it ““ only much better.  But when this seemingly perfect world turns dangerous, and her other parents (voiced by Teri Hatcher and John Hodgman) try to trap her forever, Coraline must count on her resourcefulness, determination and bravery to escape this increasingly perilous world ““ and save her family.

You can visit the official site at www.Coraline.com.

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To view a larger version of the card, CLICK HERE

Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

And here’s a list of where you’ll find the rest of the Coraline cards:

A – Ain’t It Cool News.com

B – Bullz Eye.com

C – Collider.com

D – Dread Central.com

E – Eclipse

F – Fearnet.com

G – Geeks of Doom

H – Happy News

I – IGN.com

J – JoBlo.com

K – KOL.com

L – Latino Review.com

M – MTV.com

N – NeilGaiman.com

O – Obsessed with Film

P – Premiere.com

Q – Quick Stop Entertainment.com

R – Rotten Tomatoes.com

S – Scifi.com

T – Twitch Film

U – UGO.com

V – VFX World.com

W – Worst Previews.com

X – X-Realms.net

Y – Yahoo! Movies.com

Z – Zap2It

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December 11, 2008

Holiday Havoc: Elephant Larry

Filed under: Holiday Havoc — UncaScroogeMcD @ 10:39 pm

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got a seasonal sketch from the New York-based comedy troupe Elephant Larry, titled “Game Show Hosts Of Xmas”.

Their current show, Elephant Larry Presents The Dump, is currently running in the Big Apple, and you can get information – and explore a bit more of their comic stylings – at www.elephantlarry.com. You can also catch this sketch – and a lot more holiday fun – in the Sound Of Young America Holiday Special.

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Download “Elephant Larry – Game Show Hosts Of Xmas“:

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Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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Holiday Havoc: Russell Howard

Filed under: Holiday Havoc,Interviews — Tags: , , , , — UncaScroogeMcD @ 12:09 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got an in-depth audio interview with UK Comedian, Mock The Week regular, and all around funny guy, Russell Howard.

If you’ve never heard of Russell Howard, do yourself a big favor and get your ass over to YouTube and look him up – there are plenty if stand-up and Mock The Week clips to be had. Then, be sure to pick up his new stand-up DVD, Russell Howard Live (It’s Region 2, but it’s about time you picked up an all-region DVD player or learned how easy it is to play them on your computer, anyway). You can visit Russell on the web at www.russell-howard.co.uk.

This conversation with Russell is presented as an audio podcast between Russell and myself (Ken Plume), and is dedicated to all of you readers who have been clambering for me to present more of these interviews in audio form.

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Download “A Conversation With Russell Howard & Ken Plume“:

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Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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December 9, 2008

Holiday Havoc: Jonathan Coulton

Filed under: Holiday Havoc — Tags: , , , , , — UncaScroogeMcD @ 11:55 pm

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got an exclusive holiday greeting from cyber-troubadour Jonathan Coulton – an evil, evil man who must be destroyed.

Why this call to action? Because he’s immensely talented, an amazingly gifted songwriter, and his incredible creativity both intimidates a normal, ungifted person like myself and drives me to distraction with catchy tunes and wordplay.

Damn him to hell, I can’t stop listening to his music.

That includes his first album Smoke Monkey, his first EP, Where Tradition Meets Tomorrow, the complete 4-disc collection of his online songwriting experiment, Thing-a-Week, and his greatest hits compilation JoCo Looks Back.

You can purchase all of his discs, plus other merch – as well as partake of more sonic goodness – at www.JonathanCoulton.com. While you’re over there, be sure to check out all 52 Things – and pick up his CDs. And pledge your life to him. That talented bastard. Until then, here’s his holiday message to you, the masses…

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Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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December 8, 2008

Holiday Havoc: David Mitchell Interview

Filed under: Holiday Havoc,Interviews — UncaScroogeMcD @ 10:36 pm

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-by Ken Plume

Chances are, to most Americans, the name David Mitchell means very little… unless, of course, they have a friend, relation, or acquaintance by that name. I speak, however, of a brilliant comedian by that sobriquet who currently plies his trade in the sceptred isle of England.

A cursory glance at the offerings on YouTube will bring you up to speed on Mr. Mitchell, as well as his comedy partner Robert Webb – both of which, since their Cambridge Footlights days, have written and starred in Edinburgh Fringe productions, radio (That Mitchell & Webb Sound), a live tour, and a trio of sketch shows (Bruiser, The Mitchell & Webb Situation, and That Mitchell & Webb Look, which is about to begin its third season). They’re also the stars of the Britcom Peep Show, the feature film Magicians, and were cast as PC (Mitchell) & Mac (Webb) in the British versions of the popular Macintosh ads.

As a solo, Mitchell is quick-witted, erudite guest on such UK panel shows as QI, Have I Got News For You, and 8 Out Of 10 Cats, serves as team captain on Would I Lie To You, and is the host of BBC Radio 4’s The Unbelievable Truth.

I urge anyone smart enough to own a region free DVD player to hunt down everything listed above from your online UK DVD emporium of choice, or at the very least scrounge the internet and YouTube for a splendid sampler.

And, if this intro is evoking a sense of déjà vu, it’s because I’ve used it in the past – for my first in-depth interview with David (I believe strongly in recycling). I recently sat down in my very comfy desk chair and rang him for a follow-up chat, catching up on the new series of That Mitchell & Webb Look, his reaction to recent comedy scandals in the UK press, and more…

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KEN PLUME: Is this still a good time?

DAVID MITCHELL: Yes, absolutely.

KP: Ah, excellent.

MITCHELL: I’ve got about an hour. Is that enough?

KP: That should be more than enough.

MITCHELL: Brilliant.

KP: Unless this completely derails and we’re off into territory that we probably shouldn’t have gone into.

MITCHELL: Well, I don’t have any more horrific, sick jokes to admit to. And it would be unwise of me to do in the current comic climate over here, anyway.

KP: I’m wondering if you should apologize for something, just to get it out of the way…

MITCHELL: Yes, just for everything I’ve ever thought or done.

KP: Yes. Now you’re going to have to apologize for concepts you may not have even had yet.

MITCHELL: Yes, (laughing) just an open letter of abject apologies to The Daily Mail.

KP: I’m actually surprised that the BBC hasn’t forwarded you a form letter…

MITCHELL: (laughing) Yes.

KP: Just in case you’re thinking of actually doing something that might be a bit beyond the pale.

MITCHELL: Mmm.

KP: That way, they have something on file that they can issue immediately, so they can’t be accused of having a slow response…

MITCHELL: Yes. (laughing)

KP: I read your Observer piece about the whole brouhaha. Was it a bit of a surprise to see exactly how that blew up?

MITCHELL: Yeah, it was, totally… I think the reason is, it was fundamentally a fun story at a miserable time. And I think all the press latched onto it because it was what people were wanting to read about. But the effect of that just would allow The Daily Mail in particular to turn it into sort of a witch hunt. Because I don’t think anyone really thought that what was broadcast should have been broadcast – but at the same time, it wasn’t the end of the world. It was a bit rude, they apologized, end of story. But I think there has been so much credit crunch stuff and all that, that the people really like the story where you can point the finger at two people for having been rude.

KP: Two people who I’m assuming that, particularly Daily Mail readers, would have seen as smug and deserving of some kind of slap.

MITCHELL: Well yes, I mean, I’m sure… yes. Because of the publicized salary of Jonathan Ross, and Russell Brand’s general style, I think they’re likely targets for The Daily Mail.

KP: Is there anything that’s in the third series of That Mitchell & Webb Look that you might have done differently?

MITCHELL: Well we did, obviously, because we were shooting the studio bit when the story broke. You do immediately look at something a bit different. I think there are probably a couple of things that we were glad we weren’t trying to broadcast in the same week, but I don’t think there’s anything that – you know, by the time the show goes out in February, I’m assuming things will be more or less back to normal, and there’s nothing too bad. Although The Daily Mail did pick up on something in the repeat of our second series that’s been on BBC4 over here. They picked up on something in that – the “Dame Rape” sketch – as an example of the filth that the BBC are broadcasting.

KP: Oh really? I noticed that they’re starting to troll through repeats. Didn’t they pick up something out of a Mock The Week repeat as well?

MITCHELL: They did, yeah. They clearly set several journalists to watching TV for a week and if they heard the word fuck or similar, putting it down on a list. That’s how you get a list of things, many of which had been broadcast a long time before and had no complaints, and none of which involved ringing up anyone and saying they fucked their granddaughter, and sort of taken them in a list as examples of why the BBC is just a load of liberal pornographers.

KP: All I can see right now is just an entire room of Daily Mail employees, a la Clockwork Orange, watching Dave.

MITCHELL: Yeah! Daily Mail employees who, I’m willing to bet, 99% of are not remotely offended and don’t object to any of the things they’re seeing, that are just subscribing to that paper’s grim, depressing sort of envious editorial style.

KP: From this side of the pond, it certainly seemed a little beyond the pale how quickly that became absurd.

MITCHELL: Yeah, reading the… because I’ve been doing this column in The Observer, I’ve been reading the papers more than previously, and reading The Daily Mail infinitely more than previously, and it’s just eye watering some of the stuff they had… Like, the week before – Rememberance Sunday – they were talking about the Ross-Brand thing, and they had the text of the whole thing, under the headline “Lest We Forget”. And you sort of think, it’s offensive, allying one bit of slightly objectionable broadcasting on Radio 2 to the phrase of remembrance that’s used to recall to mind all the millions of people who were slaughtered during the first World War.

KP: Well, I’m surprised they didn’t just issue little poppies with Andrew Sach’s picture on them.

MITCHELL: You’re talking about something, about how people are offended by things who shouldn’t be offended. You can’t get much more offensive than that, I would have thought.

KP: Well, no… Besides backing Hitler.

MITCHELL: Yes, of course.

KP: On a slightly different tangent, going into the third series after having two series under your belt, did you take a different tack going in?

MITCHELL: I think not much of a different tack. I think the key with a sketch show is to write in volume and with an open mind, and then sort of pick it from strength. I think we thought we should try and have a couple more things that recurred, because in the way the first series was we had probably two or three things that were in every week or returned three or four times. In the second series we had virtually none. And I think the make-up of the first series was better – because we want to have loads of standalone sketches, but I think it’s nice to have one or two things that come back each week. So that was the only thing we thought, “Well, we definitely want to write a couple of strands like that. But otherwise just stick to our guns. Lots of standalone sketches and just write more stuff than we need, so we know we’re gonna not be able to shoot some things we love. And then we know that everything in the show is something you’re proud of, if that makes sense.

KP: Is there a worry going in, when you have recurring pieces, that there’s a threshold you might reach where you’ve reoccurred them too many times?

MITCHELL: Oh always, yes. At the momen,t I’m still happy with the two things that run for six pieces, and I think they both hold good for all six – but you never know. Obviously, with every sketch there are some people who aren’t gonna like it, and the advantage of a sketch show is that’s over in a minute or two and then there’s something else that hopefully they will like. But obviously, the people who don’t like the recurring things, we risk disappointing six times. But yes, I do think then that’s why the show isn’t all recurring things or even mainly recurring things, but I think having a couple, it gives each episode a bit of shape. It’s helpful.

KP: Now, are you someone who, post-record, suffers from comedian’s remorse?

MITCHELL: In terms of worrying about whether things are funny?

KP: Yes.

MITCHELL: Yes, always. Always. And I think the process of making a television show is that the moment it’s commissioned is the best moment, because at that point it can be the new Fawlty Towers. It can be the funniest thing anyone has ever done ever. And with every decision you subsequently make, you limit it. I suppose the skill is to fuck up as little as possible, so at the end you’re still left with something reasonable. So yeah, the point before broadcast, I will be more worried and most down about the material. And then hopefully if we get some good response and nice reviews, then I’ll come up about it and feel proud. But yeah, the process of making the program from commission to transmission is, I think, a process of leaking confidence. Having said that, the two studio recordings we did in front of the audience went very well and they laughed at everything, and that always gives you a bit of a boost.

KP: Does that compare or contrast with Robert’s mindset during the records?

MITCHELL: I think he finds the actual moments of shooting more stressful than me, and I think he’s less stressed overall. I have more of an even stress graph, and he has peaks.

KP: So, afterwards, would you say that he’s more reflective or less reflective than you are?

MITCHELL: I think afterwards he’s, “That’s fine. Great. Done that.” Before he’s more panicky. Beforehand I’m kind of, “Well, I’m concerned, but I think this will be alright.” And afterwards it’s, “Mmmm, I’m a bit concerned.” (laughing)

KP: And how does it feel when you have something that is going to be sitting in the can for three months before it even airs?

MITCHELL: Well that’s always a worry, because you never know what things will happen in the news that will suddenly randomly make a difference… It might be as simple as a name you’ve chosen in a sketch – someone of that name becomes a serial killer, and then there’s nothing you can do. You have to reshoot the sketch. So there’s always, yeah, concern when comedy’s left in the can, and obviously it also leaves time for other shows to do similar jokes.

KP: Have you had issues with that in the past?

MITCHELL: We haven’t yet. We’ve been lucky. But, you know, lots of people thinking of jokes, they’re going to overlap sometimes. But I’m thinking we’re sort of alright now. We’ve only just finished shooting. We’ll be out in February. I don’t think there’ll be many new things airing between now and then. So hopefully it’s not too bad a gap. The first year with Peep Show, it was almost a year between shooting and transmission, and that was a very nail biting time. I kept telling people, “I’m in this TV show,” and they still hadn’t been on.

KP: Yes, “Prove it.” So you went around with a little portable DVD player…

MITCHELL: (laughing)

KP: “Just come over here and watch this…”

MITCHELL: Yes.

KP: Your own private screenings of your career.

MITCHELL: Especially, being Peep Show, it just looked a bit homemade.

KP: Are there plans, then, to try and go into another series as quickly as possible, or are you in a down period right now?

MITCHELL: I think they will decide on the recommission when we transmit, so we won’t know about that until February. In the meantime, we’ve got a pilot commissioned from the BBC that we’re shooting in early December, and we’re doing Peep Show again next summer, and we’ve got to write a Christmas book for next Christmas.

KP: I heard about the book deal…

MITCHELL: Yeah, it’s the thing I’m most sort of concerned about at the moment, in that I’ve never written a book before, so I don’t know what it feels like to have finished it. I know what it’s like to finish a script, I know what it’s like to finish shooting something – I know the size of those jobs – but the job “Write a Book” is an absolute mystery to me currently. Although, obviously, this is going to be a comedy book with lots of little items, so it’s more akin to the book version of a sketch show. But still, I’m intimidated by the scale of that task. But we have to get that done by early March, because that seems to be the speed at which publishing works. I’ll need the time in-between to design it and make it look glossy and also add the jokes.

KP: And run it by the Daily Mail audience. That’s really where you should serialize it.

MITCHELL: Yes. Oh definitely. I’m sure they’ll be very interested. More filth from the pornographers. (laughing)

KP: Yes. You know, you’ve been involved in so many filthy programs. I’m surprised they haven’t started picking apart Would I Lie to You.

MITCHELL: (laughing) “All that duplicity? What are you telling our kids to do!?!”

KP: “It’s rather unfortunate that that’s what Britain today has come to. Lying to entertain.”

MITCHELL: Yeah. “Or so-called entertained. These so-called comedians.”

KP: Has that been recommissioned yet?

MITCHELL: No, we’re waiting to hear about that. I think there’s a lot of… they’re being very slow with those decisions at the moment.

KP: I wonder why.

MITCHELL: Yeah… (laughing)

KP: I don’t know what they could possibly rethink on some of these things.

MITCHELL: But I really enjoy doing Would I Lie to You, and I really hope it comes back.

KP: You certainly look like you had more of an enjoyable time in the second series than the first.

MITCHELL: Mmm. Yeah, I got sort of settled in. We knew where we were and they simplified it slightly. During the first series, I had a terribly bad back.

KP: Oh really?

MITCHELL: Yeah. Throughout most of last year I had a bad back, which is now, fortunately, much, much better. But my memory of those studio recordings is sort of by the end my back is in agony and I’m forcing a grin onto my face and thinking, “I really want to stand up and walk around, although I know if I do stand up and walk around I’ll look like I’m 90.” Or when you’re just trying to be light and make jokes and this sort of thing, and you don’t feel that anything is funny because your back hurts, it’s very, very annoying.

KP: Do you think that might have added to your reaction to some of the presentations? You certainly were quick to argue.

MITCHELL: Was I? Probably the grouchiness of the back. It wasn’t Ann Robinson that annoyed me at all – it was just my back. Or as I call it – Ann Robinson.

KP: There were a couple of times that you looked like you were going to, if you could get up, fist fight with Lee (Mack).

MITCHELL: Right… (laughing)

KP: And I think Lee started to realize, during the second series, that there was a line he could cross with you.

MITCHELL: (laughing) You’ve gotta keep Lee in line.

KP: Lee certainly seems like he feels a little bit vulnerable to certain things. But I was surprised by, I’m not sure which episode it was, where Lee was threatening to throw something at you. And you would have none of that.

MITCHELL: Yeah – what was it? The coconut…

KP: Yes. You seemed genuinely worried that he was going to lob it at you. Just for comedic effect. I’ve never seen someone be abandoned so quickly by his teammates…

MITCHELL: I think that was the thing that was most hurtful, to be left alone on the sinking ship.

KP: That, and you can almost see the panic of a schoolboy in the yard knowing that something was about to go down and there was no one around. And the teacher was laughing.

MITCHELL: Yeah, absolutely.

KP: Do you still find the panel shows enjoyable?

MITCHELL: Oh absolutely, yeah. I love them. I’ve managed – well, touch wood – I’m sort of in a state where I can go into them with quite a relaxed state. Some, actually, of what I do with Peep Show and the sketch show, it’s very – you know, there’s a lot of preparation, a lot of hard work. It’s very satisfying, I’m very glad to do those shows, but it’s nice to do a show where my part of it is quite brief and quite frivolous, and all the planning and the headaches are obviously involved in the structure and writing the whole script and everything, but I can essentially swan along, pontificate for a bit, and go home. And while people are willing to pay me to do that, I will be a very happy man.

KP: Would you ever want to front your own panel show on TV?

MITCHELL: Oh, I think, yeah, I’d be interested if it was the right thing. But at the same time, I think that would be much harder and less of a breeze, but very satisfying if it worked. Because those shows, when they click in a way Have I Got News For You has, then they can run and run and become a real beloved fixture in the schedule.

KP: What do you think would be the panel show that you would front? What type of panel show do you think would be…

MITCHELL: The difficult thing, I sort of vaguely pitched an idea, with the company who make Peep Show, for the BBC – which they’re mulling over – which was a sort of panel of people who’d try and answer random questions, was the vague idea. That seemed quite a nice idea, because it was loose and lots of topics could come up. But I think there’s a balance to strike with something that’s not too restricting, but also something that has enough of a structure to seem like it’s not just people sitting around shooting their mouths off. It’s a delicate balance to strike, and with something like Would I Lie to You, it’s very heavily structured. It’s a parlor game. And I think that really helps it, because there’s clear competition and it’s clear what people are trying to do and why they’re there. On the other side of it, QI is much looser, but also works very well because there’s the sort of mission to inform, and from the panelists a sort of mission to be facetiously ignorant. And that works very well. But I think it’s the sort of thing you never really know when you’ve got it right until you’ve had the idea and had a bit of a go with it.

KP: Well, you’ve always struck me as someone who would be perfect also with a current affairs show.

MITCHELL: A sort of topical comedy thing?

KP: Yes.

MITCHELL: Yeah, that was… you know, the best ones of those are great.

KP: I’ve never understood… obviously we have something like The Daily Show in the US, which airs about 300 times a year. I’ve never understood where you could have Have I Got News For You air for 20 episodes a year and that’s seen as being as topical as it could be. It’s off the air so much. Even Mock the Week is only about 20 weeks a year…

MITCHELL: About 10 a year, 12 a year maybe.

KP: And obviously news is happening all the time.

MITCHELL: Yeah. We’ve never had this idea that any show should be year-round. Our television has always been differently structured so that to us, Have I Got News For You is on a huge amount of the year. Because a show usually runs for six weeks and has one series a year. And instead of that, Have I Got News For You is running for 20 weeks of the 52 rather than six. So yeah. But you’re quite right – there’s absolutely no reason other than I think Ian Hislop and Paul Merton probably wouldn’t want to.

KP: Which is bizarre, because news certainly happens all the time…

MITCHELL: It definitely happens all the time, although it has to be said less of it happens in the summer – I can say, as someone who’s been on once a week in the summer. It’s the kind of thing, I’m sure – I mean, things must have happened, but actually in the summer, all it is is silly stories and then the occasional massive tragedy, which you can’t go into a topical show saying, “I’ve got all these great gags about some terrible thing that happened in Indonesia.” There’s no jokes about that. What you need is MPs saying embarrassing things or Gordon Brown looking like a twat. That’s the area that it’s serious enough to matter, but trivial enough to make jokes about – and that seems to never happen between July and September.

KP: Or you just realized that, going in, all of those awkward jokes have got to be told by Frankie Boyle.

MITCHELL: (laughing) Yeah! Frankie Boyle must be… you know, it’s a difficult season for him at the moment. His whole genre of comedy is under attack. (laughing)

KP: I just heard that replacing, Jonathan Ross’s show on Friday nights, is going to be Live at the Apollo, with the first episode featuring Frankie.

MITCHELL: (laughing) That’s asking for trouble. They should be showing Howard’s End, or something.

KP: It was a sort of “What?” kind of moment. I think Michael McIntyre is fronting it for this series, but yeah, the first spotlighted comedian is Frankie. What commissioner put that forward?

MITCHELL: Yeah, right. That’s a risk, ’cause he’s gonna…

KP: How can he not?

MITCHELL: Yeah, his mainstay is stuff about rape and necrophilia.

KP: And this entire controversy. I’m wondering who’s gonna be vetting that tape.

MITCHELL: Yeah… (laughing)

KP: Surely there must be safer comedians to go with.

MITCHELL: Yeah. He’s very funny, Frankie.

KP: I think you need that comedic voice.

MITCHELL: Oh definitely, definitely. But yes I wouldn’t necessarily agree with sticking him on BBC1 on a Friday night this week.

KP: That brings up an interesting thing that you participated in in the past – has there been any word how Channel 4’s Big Fat Quiz is going to be this year?

MITCHELL: I’ve not heard any word. I assume it’s happening, but I think I was vaguely approached about it and I think it might be a time I can’t really do. I’ve heard it’s happening, but that’s all. I’ve no idea who’s on it.

KP: Because last year you did it, and Jonathan and Russell both did it.

MITCHELL: Yeah. I don’t know whether… I imagine… Well, I mean, there’s nothing to stop Jonathan being on Channel 4, but at the same time… he’ll probably keep his head down, I think, until after Christmas.

KP: I can see Russell doing it.

MITCHELL: Yeah. Well, I think the thing that would make him do it is the thought that some people thought he shouldn’t.

KP: Well, not just that – I guess, what, his Channel 4 show is getting great ratings.

MITCHELL: Yeah. Yeah, he might do it if he’s not in L.A.

KP: Yes, hanging out with his future career.

MITCHELL: (laughing)

KP: So, when do those records normally happen? Is that early December?

MITCHELL: Yes, I think last year it was the first week in December kinda time.

KP: So you’ll be fully engrossed back in work at that point.

MITCHELL: Yes, I think so. I can’t remember the date they gave me. The first week of December I’m actually hosting Have I Got News For You, which I’ve never done before.

KP: Well, congratulations on that.

MITCHELL: And I’m looking forward to that. And I do this Radio 4 show called Unbelievable Truth.

KP: That was recommissioned…

MITCHELL: That’s been recommissioned, but we’re doing… the series will be next year, but we’re doing a Christmas special. And then the week after that, I go into this pilot thing.

KP: Really, there needs to be some sort of outlet where people can find out all the things that you’re actually doing.

MITCHELL: If I was a technical wiz kid I might even have a website.

KP: You don’t have to be a technical wiz kid to have a website at this point.

MITCHELL: No, I know. But what you do have to do is remotely get your shit together. I’m blaming technical knowledge when in fact I should be blaming overall human competence.

KP: And you just did. At the very least you could have a Twitter account.

MITCHELL: A what?

KP: Oh, that’s good. I was hoping for that response. Twitter is essentially a micro blog. It’s MySpace for lazy people. So people can friend you and you can friend people, so people can follow what you say. But you’re limited in your postings to 140 characters. Essentially a text message.

MITCHELL: Oh right. Oh, that’s quite nice. Yes, so every so often just remember to put, “Doing this show on this day, please watch.”

KP: Exactly. And it goes out to people via their cell phones, RSS feeds. Stephen Fry just got a Twitter account and has been Twittering from Africa.

MITCHELL: Oh. Where is he in Africa?

KP: Well, let’s see where he is right now. “Oh my sainted pants. Held a golden orb spider in my hand. They’re huge, they’re horrid, damn they can produce silk though. Photos when I can.” Next post: “Golden orb spider’s bum’s poking out. 24 spinning silk which is twisted into threads. Four threads are strong.” And he’s posting links to pictures in these things as well. “Sorry it’s blurry. Fear. I took some better ones with another camera but I haven’t got the card reader.”

MITCHELL: (laughing) That’s sort of nice. It’s like getting personal text messages from Stephen Fry.

KP: It is exactly that. And occasionally he’s actually replying back to people that are replying to him. So whenever he’s got a signal, he’s sending these sort of messages. But certainly, when you have a Christmas special up you want to get the word out about, you can say, “Be sure to tune in.” Or, “Be sure to illegally download it from the net when it hits.”

MITCHELL: Oh, of course. (laughing)

KP: Which people do, of course.

MITCHELL: What Rob and I should really do is get that website that’s under construction for longer than any Olympic stadium, we should get just something on it – just what we’re doing. It’s a simple thing. At least there’ll be something there.

KP: I mean, really – if Wembley could be finished, so could your website.

MITCHELL: (laughing) Yes.

KP: I don’t know what builders you hired for it.

MITCHELL: I haven’t heard back from them for a while. Well the trouble is it was James Bartman that was doing, but we just didn’t give him any content. But also, now I think he’s too busy with his own career to bother setting up our website, which is completely fair enough. We should probably just approach someone who does that as a job, pay them some money, and all the things that normal professional institutions do. We are supposed to be a business, after all.

KP: I’ve had this very same conversation, it seems, with many British comedians now about getting web presences.

MITCHELL: I think the trouble is we’re just sort of feckless and unprofessional as a nation.

KP: Well, really, all you need is someone who just puts up these various little news bits. That doesn’t necessarily mean that you have to sit on the site going, “Oh, I’ve got to do another blog entry.”

MITCHELL: Yeah yeah. No, exactly. Somewhere where we can stick something up like that, but we don’t have to…

KP: Actually do content for it.

MITCHELL: Or worry about doing another 500 words a week, or something.

KP: Yes. Although it does pay dividends in the end.

MITCHELL: Yeah, it makes people look at it, doesn’t it, if you change things.

KP: And even with the Twitter thing, I think that probably would have been beneficial and still could be beneficial to the US promotion.

MITCHELL: Yeah.

KP: You know, so that you can easily deploy people and get a nice little base built up.

MITCHELL: I’m going to write myself a note. That’s how serious this is.

KP: I think it’s only a year or two that separates you and I – do you think there’s a threshold for technical aptitude?

MITCHELL: I don’t know. I think if I was a couple years younger, I’d probably be more likely to be competent at it, or see it as just a part of life. But at the same time, I think it’s partly what I’m like anyway. I’m always going to be among the least technically savvy of my generation, but obviously younger generations are more technically savvy and I would be more so if I were in those generations – if this sentence now makes sense.

KP: It does. What do you think plays into that? Do you think you just don’t have the patience to sit down and mess with it?

MITCHELL: Yeah, I think partly that. I do things out of necessity. That’s now I motivate myself to do things I want to do, is by turning them into a necessity. So the only way I ever did shows was by booking a venue, so we’ve got to do it. Without those deadlines I don’t tend to get things done, in a pottery way.

KP: So do you think if a website did fully exist and needed to be fed, it would be different than just an “under construction” or “coming soon” being there for you?

MITCHELL: Yes, I think so. Yeah. I think once it’s there, once it’s become part of my system, I can service my system. But I’m very bad at… “One of these days, I should set up a website…” is just the same as saying, “I will never do this.” But if somebody says, “You’ve got to do it next Thursday,” I go, “All right, fucking hell, next Thursday, here we go,” and then I might do it.

KP: Yes. “Where’s your Christmas message for the website?!?”

MITCHELL: Yeah, exactly. If I had a website, I’d realize that at Christmas I’d better put something up there. Or we’ve got a new show coming out; I’d better put something up there. And yes, it would be part of… yes. I’ve written myself a note now, so this is serious.

KP: I’m glad I’ve forced you into note mode. I feel like I’ve deployed you. But I would definitely recommend at least looking into it because it’s so simple and easy and quick to launch the Twitter account, at least as an interim step before an actual website launch.

MITCHELL: Right.

KP: I mean, Stephen’s doing it – how can you not have that seal of approval prompt you to action?

MITCHELL: No, exactly. The thing is, though, he’s brilliant at everything. He’s incredibly technically savvy and all these things. He’s a renaissance man. I’m not. I’m a medieval man.

KP: But it’s purely by choice.

MITCHELL: I suppose so. You’re just making it worse! You won’t let me attribute my failings to something sort of genetic that I can’t help.

KP: This is almost a sketch. Someone who is just clinging onto the idea that they’re a medieval man and refuses all modern technology.

MITCHELL: Yes, “There is nothing I can do! I would like to wipe my ass – it’s just not in my nature!”

KP: “You cannot drag me into your modernity. I refuse. In fact, I would be largely incompetent and will not even try!” There’s certainly a place in the world for someone like that, just for the sake of comparison.

MITCHELL: (laughing)

KP: Now I feel I’ve pushed you into something. I’ve forced you to cook with fire.

MITCHELL: Yes. “I’m very happy with raw mammoth.”

KP: There’s always got to be a technology dissenter.

MITCHELL: Yeah.

KP: You’re a neo-luddite.

MITCHELL: Yes. I’m a luddite who can’t actually be bothered to smash things. I’m the new, very 21st century apathetic take on Luddism.

KP: I feel bad. I just want to make that perfectly clear.

MITCHELL: I feel guilty for not having a website; you feel bad for having pushed me – it’s great. A free and frank exchange of vague guilt and self-loathing.

KP: It pretty much is what our relationship’s comes down to. Speaking of which, what exactly happened with the US? I guess the show is no longer being aired on BBC America.

MITCHELL: Oh, it’s not?

KP: No, I checked their schedule and you are not on it.

MITCHELL: But they showed it, didn’t they?

KP: I think they did what they normally do with shows, and showed it once in the middle of the night, and didn’t let it actually build an audience through repeats.

MITCHELL: We have hardly any contact with them. I should try and hassle them to stick it all on again.

KP: It would be, what, one less rerun of Ground Force?

MITCHELL: Yeah. It’s not like they’re paying us for putting it on, so it’s pretty much free.

KP: You would think that they would utilize that a bit more.

MITCHELL: Yeah. It got some nice press, I think.

KP: I thought you got a good deal of good press over here.

MITCHELL: Yeah, but then you’ve got to give people the opportunity, having read the press, to see the show.

KP: BBC America refuses to advertise anything or show it where people can see it, so you’re pretty much just throwing it out there and no one’s really going to see it. BBC America just throws it against the wall, largely because I think they do get it for free, and what incentive do they have for it to take off?

MITCHELL: Yeah.

KP: There’s not that pressure as if they developed it in house. So I think it’s an awful shame that they do this, but they do it again and again. They killed Black Books over here. They have the option to pick up stuff like Spaced and make it run, and it took the internet and cult audiences for it to take off. You’ve probably had more viewers on YouTube than you had on BBC America.

MITCHELL: Yeah, sure.

KP: And did they only pick up the first series, or both series?

MITCHELL: BBC America?

KP: Yeah.

MITCHELL: They picked up both.

KP: That’s at least 12 days that they ran you.

MITCHELL: Yeah.

KP: I see this block runoff in the middle of the night…

MITCHELL: Well, maybe now that there’s a third series, they could show them all for a magnificent 18 days next year.

KP: In fact, they should call it that – “18 Magnificent Days of Mitchell and Webb”. Or, “Hey! Look! It’s Mitchell and Webb!” Or, “We’re BBC America and We’re Here”. Again, I think to leave the marketing in their hands is not the best thing to do to make sure that people see it. And I don’t think that they really anticipate that artists will contact them and go, “What the hell?”…

MITCHELL: No.

KP: So it certainly might be worth your while, or the while of someone on your behalf, to find out what their deal is.

MITCHELL: Yeah.

KP: You thought you had a good response press wise, right?

MITCHELL: Definitely.

KP: Are there any plans to come over? You had mentioned, at one point, the possibility of coming over and doing a show or two in the US…

MITCHELL: To be honest, there’s not going to be any time. We’re not going to have any time for that in the next six to nine months, but I think after that we might put together a stage show and do a tour here, and I think that would be the point at which to do a couple of gigs over with you at the same time, when we’ve got a show that we feel we’ve worked in and is slick and would represent us well.

KP: How do you view doing stage work at this point? Is it just a matter of not having the time to mount something like that?

MITCHELL: At the moment we’re pretty booked up until next autumn doing TV stuff and this book.

KP: The last live thing you did was, what, The Secret Policeman’s Ball?

MITCHELL: Yeah, which was just one sketch.

KP: It seemed like a very odd room.

MITCHELL: Yeah. It’s not a theater, really – it’s a big concert hall. And I think the priority was to garner publicity rather than for it to be a great comedy night. I think the output reflected those priorities. But, in the end, it’s for a charity, so they’ve got to do what they think is best. You hear about the Secret Policeman’s Balls, and when they started you felt it was really something that was creatively led by the comedians, and it isn’t now.

KP: And it seemed like an odd reaction in the room to the various comedy pieces…

MITCHELL: Yeah.

KP: Almost a very subdued reaction. I don’t know if that was the mic-ing of the audience or if there was a lot of silence on the night for the comedians…

MITCHELL: Well, people seemed to be laughing to me, but I think it’s such a big room there’s no atmosphere. Because it’s not built in that way.

KP: So it was like playing in a vacuum.

MITCHELL: They could have probably done the sound mix on the TV show a bit better.

KP: It certainly makes it an awkward viewing experience for someone at home, going, “Well, I find it funny…”

MITCHELL: (laughing) Yes, exactly.

KP: “Surely *someone* in the audience must be laughing…”

MITCHELL: Yeah.

KP: Then you just feel sorry for the performers – “Just run – run from the stage. Don’t look back. Don’t ever do this again.”

MITCHELL: The bit we did felt like it had gone down well, but I never saw the TV version.

KP: It was an interesting viewing experience, if you wanted to see an exercise in awkward silence. For everyone. I’m not pointing out you specifically.

MITCHELL: “You died on your ass…”

KP: You should have been more self-aware in the moment. You’re hearing all these imaginary laughs in your head. But yeah, it was interesting. Although, on that note, we should wind down… Don’t forget about the website…

MITCHELL: It depends on whether I finally get my shit together on this occasion or not. It will have to happen at some point.

KP: Or someone will just start an account called “TheFakeDavidMitchell” on Twitter and just start posting all of your information…

MITCHELL: Yeah.

KP: In an attempt to lure you out…

MITCHELL: (laughing) Right.

If you enjoyed this interview, please take a moment to DONATE

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Ricky Gervais: Holiday Havoc

Filed under: Holiday Havoc — Tags: , , , , , — UncaScroogeMcD @ 2:38 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at FRED, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got a festive audio easter egg from my recent in-depth interview with Ricky Gervais. Be sure to pick up a copy of GHOST TOWN on DVD and Blu-Ray this holiday season…

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Download “Happy Holidays From Ricky Gervais“:

[audio:http://asitecalledfred.com/holidayhavoc/ricky_gervais_ken_plume-holiday_wishes.mp3]

Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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December 5, 2008

2008 Quick Stop Holiday Shopping Guide

Filed under: Holiday Havoc,Shopping Guides — UncaScroogeMcD @ 2:11 am

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It’s that time of year again, when sites the web-over compile helpful holiday shopping lists to guide you into the deepest, darkest pits of retail with a map that will hopefully get you out alive. Here now, without further ado, is the 2008 Quick Stop Holiday Shopping Guide (and if you see anything you like, support Quick Stop by clicking through the links and order from that fine online emporium, Amazon.com)…

I’ve banged on about for years, and I’m going to keep going virtual door to virtual door until the word gets out about QI. If you’ve never heard of the UK quiz program QI, you’re missing out on one of the funniest “educational” shows ever devised (the devisee being creator/producer John Lloyd, formerly of Blackadder, Not The Nine O’Clock News, and Spitting Image). The key to QI (which stands for “Quite Interesting”) is the central tenet of its philosophy – it’s not always being correct that counts, but being interesting (and funny). The interesting nature of a given piece of information spurs conversation and debate, eventually leading round to the learning of said informational nugget. Did you know that the Earth has more than one moon, for example? Or that otters kill crocodiles? Soon to make its debut on BBC1 (with its 5th season), it’s hosted by Stephen Fry and features a rotating panel of four comedians (one of which is mainstay Alan Davies) – and it’s one of the most hilarious shows I’ve ever seen… Honestly, you’ll laugh as much as you learn, and I still hold out hope a network in the US is smart enough to pick the show up uncut, as BBC America have been nothing but boobs about it (Hello, Comedy Central! Hello, Discovery Channel! Hello, PBS! Somebody!). Until then, you can grab a copy of both the first (A Quite Interesting Game) and second (Strictly Come Duncing) interactive QI DVD games (Warner Home Video, DVD-£18.99 each), the 2-disc, feature-laden DVD sets of the first three seasons – The A Series (2 Entertain, Not Rated, DVD-£19.99), The B Series, & The C Series (Warner Music Entertainment, Not Rated, DVD-£19.99 SRP each). Keep in mind that all five of which are available only for Region 2, so make sure you have a Region Free player. For those in the US, the very first QI Book of General Ignorance (Faber & Faber, $19.95 SRP) and the follow-up Book Of Animal Ignorance (Faber & Faber, $ SRP) are available, and they’re both brilliant tomes which collect much of the interesting information featured in the first four seasons into one handy volume, plus scads more of those aforementioned nuggets of intellectual goodness. Folks in the UK (and bright, industrious Americans who know how to use the internet, HINT HINT) can get their very own copies of both the inaugural QI “E” Annual and this year’s QI “F” Annual (Faber & Faber, £12.99 each), which make the perfect holiday gift for all ages. Last but certainly not least is the Advanced Banter: The QI Book Of Quotations (Faber & Faber, £14.99 SRP), which is the most interesting compendium of clever and memorable quotes you’ll ever lay your inquisitive mind upon. By all means, learn what all the hubbub is about (and stop by the official QI site at www.QI.com).

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And while we’re on the subject of Stephen Fry, let me take a moment to heartily recommend the DVD collection of his recent documentary series, Stephen Fry In America (West Park Pictures, Not Rated, DVD-£ SRP) – also available in a beautiful Blu-Ray edition (£39.98 SRP), both for Region 2 – which finds dear Mr. Fry traversing every State in the US in his London cab, exploring the Venn diagram of American and regional identity. At the same time, be sure you get a copy of the companion book, also titled Stephen Fry In America (HarperCollins UK, £20.00 SRP), which offers deeper insight and anecdotes from Stephen on his journey.

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Few could have predicted that over 25 years later, Ralphie Parker and his Christmas quest for a Red Ryder 200-shot Carbine Action BB Gun would be a must-see holiday tradition. Based on the childhood stories of humorist Jean Shepherd, its impact continues to grow – the sales of Leg Lamps have skyrocketed, people are more conscious of eye safety, and no one will ever pronounce “Fragile” the right way again. Now, the 2-disc special edition has been repackaged as A Christmas Story: Ultimate Collector’s Edition (Warner Bros., Rated PG, DVD-$39.92 SRP) which – in addition to the bonus features on the original release (an audio commentary, Jean Shepherd radio readings, a retrospective documentary, & featurettes) – contains themed cookie cutters, a cooking apron, and a photo-filled recipe book within a collectible cookie tin. And for you high-def enthusiasts, a Blu-Ray edition is also available ($49.99 SRP), which – instead of the cookie materials – sports a set of string of miniature leg lamp lights.

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My good friend Glen Oliver and I waited years – YEARS! – for a company to treat The Final Countdown (Blue Underground, Rated PG, Blu-Ray-$34.95 SRP) with the love and care deserved of such an enjoyable cult classic. We’d suffered through the heartbreak of mediocre releases that were so bad they almost broke us. We feared there would be no one out there that would give a fair shake to the tale of a modern aircraft carrier that, via a freak time storm, is given the option of altering the events of Pearl Harbor. Just when we thought no one would step up, a light shone on the horizon… A blue one, to be exact. Blue Underground gave fans a beautiful 2-disc special edition with wonderful sound and video, plus bonus featurettes and an audio commentary with Director of Photography Victor J. Kemper. Now they’ve gone one better and ported the whole kit and kaboodle over with a new, glorious high definition transfer to Blu-Ray. It’s a must-have. On behalf of Glen and myself – plus countless fans – many, many thanks to the fine folks at Blue Underground for continuing to give the flick due respect.

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Although the story is rather flat and doesn’t hold up to much scrutiny, Sleeping Beauty (Walt Disney, Rated G, Blu-Ray-$34.99 SRP) is the one Disney film that I watch just to admire the visual design (due largely to designer Evinyd Earle) and the incredible 2:55 widescreen canvas. The new 2-disc 50th anniversary edition is sparklingly clean and pops like a champagne cork. It’s also the first of the classic Disney animated films to get the high definition treatment – and it is a wonder to behold. I can only hope the other classics in the Disney library arrive quickly (though, knowing Disney’s history, it will be a long, slow trickle). Bonus features include a never-before-seen alternate opening sequence, deleted songs, a new making-of documentary, an audio commentary, behind-the-scenes featurettes, and much more.

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I admit – I tried to avoid the pressure to fall in lock step with the “It’s the second coming” crowd who banged the drum loudly for The Dark Knight (Warner Bros., Rated PG-13, DVD-$34.98 SRP). After seeing the film – and being disappointed by so many comic adaptations that litter the recent past – Not only is it a nuanced, brilliantly acted piece of cinema, it doesn’t stab the mythos or the characters in the back to achieve it. The 2-disc special edition features making-of featurettes, the film’s IMAX scenes, Composer Hans Zimmer on scoring the Joker, 6 episodes of the faux news program Gotham Tonight, galleries, trailers, and more. The 2-disc Blu-Ray edition ($35.99 SRP) sports all the same bonus features, but in high-def. The real jaw-dropper, though, is just how spectacular the film looks and sounds. If you have the option, go Blu-Ray.

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There were plenty of worrisome moments over the past few years, where it seemed like the wonderful Walt Disney Treasures line of collector-friendly vault releases were doomed. This uncertain fate was particularly heartbreaking as it would have put the release of the complete run of Donald Duck cartoons in jeopardy. Thankfully, though, we’ve made it to the end of the Duck’s theatrical run with The Chronological Donald Duck: Volume 4 (Walt Disney, Not Rated, DVD-$32.99 SRP). The 2-disc set contains all of the shorts from the years 1951-1961, which include some rare Cinemescope outings that have been gorgeously restored. The set also features a look at the Duck’s career in comics books, animator Eric Goldberg presenting the storyboards to an unproduced short, and audio commentaries on a pair of shorts.

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The second of this year’s Walt Disney Treasures sets focuses on the most beloved of all the Mouseketeers – Annette Funicello. This 2-disc set contains the complete run of The Mickey Mouse Club Presents Annette (Walt Disney, Not Rated, DVD-$32.99 SRP), a 20-minute serial that aired during the 3rd and final season of The Mickey Mouse Club and featured Annette as a country girl gone to live with her suburban relatives. In addition to an introduction from Leonard Maltin, the set also sports a tribute to Annette.

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Finally, the third and final release from this year’s Walt Disney Treasures wave contains the complete adventures of Dr. Syn: The Scarecrow Of Romney Marsh (Walt Disney, Not Rated, DVD-$32.99 SRP). Produced for Disney’s Wonderful World Of Color, this 3-part adventure aired in 1964 and starred a pre-Prisoner Patrick McGoohan as Dr. Christopher Syn, the midnight righter of wrongs. In addition to the 3-parter as originally aired, the set also includes the feature film assembled for theatrical release in England, Walt’s TV introductions presented in widescreen, a look at the history of the Dr. Syn character, and the reasons behind the creation of Disney’s satellite studio in England.

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In a perfect world, shows like Freaks & Geeks never would have been prematurely cancelled, but in a near-perfect world, at least creator Paul Feig has carved out a niche for himself as an author who successfully mines all of the social and physical awkwardness of adolescence and turns tragedy into comedy – first in his non-fiction essays on his own childhood, and now in the laugh-out-loud functional adventure Ignatius MacFarland: Frequenaut! (Little Brown Young Readers, $16.99 SRP). When the teased and tormented Ignatius MacFarland decides that space must be kinder than his classmates, he builds a rocket ship. Unfortunately, an accident transports Ignatius – not to space, but to another “frequency” (a parallel world), where former English teacher (and frequenaut) Chester Arthur has become a dictator. Can Ignatius and another trapped frequenaut, Karen, unseat the evil Arthur and find a way to return home? Read the book and find out!

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It was only a matter of time before the classic James Bond flicks made their high definition debut, and we’ve got a clutch of 6 to ring in the holiday season. You can whet your Blu-Ray Bond appetite with the fully restored Dr. No, From Russia With Love, Thunderball, For Your Eyes Only, Live & Let Die, and Die Another Day (MGM, Rated PG, Blu-Ray-$34.98 SRP each). While all of the bonus features are basically those found on the previous standard DVD special edition sets, many of the documentaries have been remastered in high definition. The picture quality is revelatory – they certainly beat any of those viewing you might have had on standard cable during your childhood holiday season. By all means – fire up the Blu-Ray player, pull over the ottoman, and have yourself a mini-marathon.

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Now that you’ve got the adults squared away, how are you going to keep the kids occupied? How about with the newly-revamped with sound FX silly skill game, Operation ($14.99 SRP)? How’s that? Or how about an electronic edition of Guess Who? ($24.99 SRP)? With tons of faces and characters to keep kids playing into late-adolescence?

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This holiday season, I feel compelled to guide you towards a handful of UK (that’s Region 2, so be sure you have the capability to play them) DVDs from some stand-ups you should be following. First up is the latest offering from comedian Jimmy Carr, who supplements his too-numerous-to-mention hosting gigs to periodically return to the stage for some pocket money. This year, it’s Jimmy Carr: In Concert (Channel 4, Not Rated, DVD-£19.99 SRP), which features 90 minutes of scathing jocularity recorded at London’s Bloomsbury Theatre. Bonus features include a collection of Jimmy’s best audience put-downs done in various animated styles, comic strips, and alternative subtitles (be sure to check out Scouse and Polish).

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If Jimmy’s humor isn’t pitch black and acerbic enough for you, then the first live DVD from Mock The Week regular Frankie Boyle might be what you’re looking for during the bleak midwinter festivities. Titled, wouldya believe it, Frankie Boyle Live (Channel 4, Not Rated, DVD-£19.99 SRP), his caustic wit is a wonder to behold, as it leaves absolutely no taboo unmolested. Bonus features include the behind-the-scenes tour diary “F**k You Scotland”, sketches from the BBC3 comedy Rush Hour, and additional audio material.

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Another Mock The Week regular getting his very first live DVD is Russell Howard. Imagine taking the Ritalin away from a hyperactive child, then sitting him down with a bowl full sugar. That, in a nutshell, is the comedic energy you’re dealing with here – and even better, it’s intelligent comedy that belies Howard’s age (he’s younger than me, the bastard). Bottom line – pick up a copy of Russell Howard Live (Channel 4, Not Rated, DVD-£19.99 SRP), which also features a behind-the-scenes tour diary.

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To further reinforce Mock The Week as a veritable breeding ground for launching inaugural stand-up DVDs, another regular gets his first with Michael McIntyre: Live & Laughing (Universal, Not Rated, DVD-£19.99 SRP). McIntyre is another of those virtuoso comedians whose ability to entertain feels like nothing more than reflex action – the reflex action of a ridiculously talented bastard who somehow must have sucked the talent from the rest of us (a statement meant merely to assuage my bruised ego, that so much funny should exist in one cheeky fellow). This disc also features the entirety of McIntyre’s Live A The Apollo appearance.

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We haven’t run out of Mock The Weekers yet, as the host of the show has also got his second stand-up DVD dropping this holiday season. Dara O’Briain Talks Funny In London (Universal, Not Rated, DVD-£19.99 SRP) finds the sharp Irishman unloading on a whole slew of new targets.

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Surely that’s all of the UK panel show regulars, right? Well, no, because 8 Out Of 10 Cats team captain and QI regular Sean Lock has got his very own debut DVD, Sean Lock Live (Universal, Not Rated, DVD-£19.99 SRP). And now I think that’s it. Quite a lot to buy, no? And you should get every one of them.

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Oi! I almost forgot that Bill Bailey has a new DVD out, from his last stand-up tour, in the form of Bill Bailey: Tinselworm (Universal, Not Rated, DVD-£19.99 SRP). Is everybody coming out with their stand-up DVDs this year? Well, make sure you add this one to the stack, ’cause it’s a right funny affair.

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And while you’re at it, pick up the Russell Brand Menage A Trois Collection (Universal, Not Rated, DVD-£39.99 SRP), a 3-disc set collecting two of the Forgetting Sarah Marhsall star’s stand up specials – Russell Brand Live & Russell Brand: Doing Life – as well as the first season of his hilarious observational series, Russell Brand: Ponderland.

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Prior to laying eyes on the Premium Format Indiana Jones (Sideshow, $279.99 SRP), I’d considered the Premium Format editions of Darth Vader and Obi-Wan Kenobi to be Sideshow Collectible’s greatest achievements in their deluxe line. I may have to revise that assessment, but regardless, Indy belongs firmly in their company. Not only is the costume tailoring and scale issue spot-on, the likeness captured in the sculpt has to be the finest representation of Harrison Ford yet in collectible form. Edition size is limited to 3,000, and it’s every bit worth the price of picking one up.

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However, if you can’t afford the big fig, a very nice alternative is Sideshow’s 12″ Indiana Jones ($89.99 SRP). The details are just as great – it’s just the size that’s smaller. It also has a much larger edition size, of 7,500, so you’re chances of snagging one are much better.

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If you’ve yet to spend some time with the addictive fun of Nerf Darts and their accompanying launchers, rectify that particular black hole in your life with the ultimate Nerf Dart launcher – the Nerf N-Strike Vulcan Blaster ($44.99 SRP). Like a Nerf Gatling gun, it automatically fires 25 Nerf darts in a matter of seconds from an ammo belt. Where were these glorious toys when I was a kid?

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Well, Nerf even has an answer for that, too, as they’ve produced an adult version of their blasters in game form, perfect for office conflicts of domestic disputes – the Nerf Elimination Game ($19.99 SRP). What you get are 4 single-shot Nerf blasters ideal for sneak attacks sure to make the daily grind, if not better, at least tolerable.

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While I still wait (it seems) in vain for the DVD release of Car 54, Where Are You? and Sgt. Bilko, I can at least console myself by watching the complete 4-season run of McHale’s Navy (Shout! Factory, Not Rated, DVD-$44.99 SRP each). It’s basically Bilko on the water, as we follow the naval misadventures of the crew of PT-73 – a crew that included Lieutenant Commander Quinton McHale (Ernest Borgnine) and Ensign Parker (Tim Conway). Forever plotting to get McHale’s crew tossed out is Captain Binghamton (the great Joe Flynn). Fun, fun stuff. Get it!

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For criminy’s sake – it’s taken forever, but we in the US have FINALLY gotten a box set containing all of the various travel documentaries hosted by Python Michael Palin in the uber-wonderful Michael Palin Collection (BBC, Not Rated, DVD-$249.98 SRP). The set features Hemingway Adventures/Great Railway Journeys, Full Circle, Pole To Pole, Around The World In 80 Days, Sahara, Himalaya, and New Europe. The titles are also available separately, if you just need to pick up the new stuff. Either way, GET THEM.

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Even though they’ve done just about everything possible (including throwing the kitchen sink at it) to tear down the beloved characters and stories of their relaunch, time and unfortunate editorial machinations have only made the Keith Giffen/J.M. DeMatteis/Kevin Maguire run of Justice League International look all the more enjoyable by comparison. Ignore all of that Uber Final Infinite Crisis of Something Or Another business and pick up the collected Justice League International: Volume One, Volume Two, and Volume Three (DC Comics, $24.99 SRP each), which collects the first 22 issues. You won’t regret it.

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Speaking of the League, Roger Stern and John Byrne re-teamed last year for a JLA story arc that’s now been collected in JLA: That Was Now, This Is Then (DC Comics, $14.99 SRP), which finds our heroes going toe-to-toe with an ancient foe that troubled them in their early days, and threatens to destroy them in the present.

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Try as we might, there’s not doubt that this holiday season will cause at least some small amount of aggression. How to deal with it, then? Why, your very own Hulk Smash Hands ($19.99 SRP)! Unlike the original Hulk Hands from a few years back, they changed the foam construction to stuffed cloth, I guess because even if it’s Nerf, a punch might hurt just a bit. These new hands are soft… Though even in the most heated holiday battle, I’m not exactly suggesting you wallop someone with them… Unless, you know, they deserve it.

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The first major HBO miniseries to make the transition to high definition is the Tom Hanks/Steven Spielberg produced Band Of Brothers (HBO, Not Rated, Blu-Ray-$99.98 SRP). The 6-disc set presents all 10 episodes in full 1080p HD. The 80-minute documentary “We Stand Alone Together: The Men Of Easy Company”, the making-of featurette, and footage from the Normandy premiere all carry over from the original DVD release, while the Blu-Ray edition adds picture-in-picture commentary from real Easy Company veterans.

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I admit – I was wary of Wall-E. Cars had left me a little cold (and the creepy, post-apocalyptic, human-less but made by humans world it was set in was just disturbing), but Ratatouille was more enjoyable than I thought it was going to be, and my faith in Pixar was ready to be fully restored. And it was. It helps that I experienced the film sitting beside my 4-year-old nephew, who was in the process of taking in his very first movie on a movie theater’s BIG SCREEN. It was a magical time from start to finish, and the DVD brings it on home. If standard definition is still your cup of tea, then I recommend the Wall-E: 3-Disc Special Edition (Walt Disney, Rated G, DVD-$39.99 SRP), featuring an audio commentary with director Andrew Stanton, deleted scenes, a sneak peek at “Wall-E’s Tour Of The Universe”, a look at Ben Burtt’s sound design work, the “Presto” short, a brand-new short following the frustrated robot Burn-E, a look into the workings of Buy n Large, behind-the-scenes featurettes, Leslie Iwerks’s feature documentary The Pixar Story, and more. For you high-def enthusiasts, the Blu-Ray Wall-E (Walt Disney, Rated G, Blu-Ray-$40.99 SRP) features all of the bonus features of the standard edition, plus the addition of picture-in-picture storyboards and commentary on “Burn-E”, pop-up commentary, video games, 3-D set fly-throughs, and Cine-Explore with Andrew Stanton. Take your pick, but be sure to pick up at least one.

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Kudos to Stephen Colbert for reviving the tradition of a pundit holiday special – just like the George Plimpton celebrations of yore – with A Colbert Christmas (Paramount, Not Rated, DVD-$19.99 SRP). Would you believe it’s full of festive musical performances and opinionated tidings? And a video fire? BELIEVE IT!

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The fourth season of Saturday Night Live (Universal, Not Rated, DVD-$69.98 SRP) is the last to feature what’s now considered the “classic cast”, as this was the final season to feature both John Belushi and Dan Aykroyd as cast members (they would soon be off making The Blues Brothers). As far as guest hosts go, the season is absolutely stellar, with the roster including the likes of Steve Martin, Eric Idle, Michael Palin, Carrie Fisher, Fred Willard, The Rolling Stones, Frank Zappa, Elliott Gould, Walter Matthau, and the infamous Milton Berle. Musical guests included Talking Heads, Peter Tosh, Van Morrison, The Grateful Dead, Bette Midler, James Taylor, The Doobie Brothers, and more. Bonus features this go round are limited to archival cast interview footage, but something is certainly better than nothing.

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The Brits have a knack for taking the tired old sitcom format, blowing it up, and creating some absolutely brilliant television. Those bastards. Most definitely to be included in their long line of triumphs is Spaced, a show about a pair of twenty-something slackers – Tim & Daisy (Simon Pegg & Jessica Stevenson) – who pose as a professional couple in order to get a North London apartment. Sure, Tim could be a comic book artist if he tried, and Daisy’s quite a good writer, but being successful in either of those careers would mean applying themselves… By, of all things, *working*. Gah! With a gaggle of off-the-wall friends and acquaintances, if you think of it as a twenty-something Seinfeld with a postmodern pop culture twist (there are frequent surreal diversions) you wouldn’t be far off the mark. After much legal wrangling, fans and soon-to-be fans in the US can now pick up Spaced: The Complete Series (BBC, Not Rated, DVD-$59.98 SRP). In addition to the audio commentary, outtakes, feature-length behind-the-scenes documentary, deleted scenes, trailers, raw footage, and galleries found on the original UK release, the US set also includes brand new commentaries featuring special guests Kevin Smith, Quentin Tarantino, Matt Stone, Diablo Cody, and more. Try out the show – I think you’ll be pleasantly surprised. Those clever bastards.

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Just when the summer doldrums were beginning to set in, I found out just why everyone has been fawning over Mad Men (Lionsgate, Not Rated, DVD-$49.98 SRP) – the AMC series about Madison Avenue ad execs in the early 60’s. The reason why everyone has flocked to it? Because it’s one hell of a great show. Check out the first season for yourself. The 4-disc set features all 13 episodes, plus audio commentaries, featurettes, and more. The first season is also available on Blu-Ray ($49.99 SRP), with identical bonus features.

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They took a little while to wade in, but the wait was definitely worth it when one of the first two high definition releases from the cinema mavens at Criterion is their already-stunning special edition of The Third Man (Criterion, Not Rated, Blu-Ray-$39.95 SRP). The picture is just a revelation – which is certainly welcome, considering what a mood piece the film is. Bonus features are carried over from the recent revised special edition, and include a pair of audio commentaries, an introduction from Peter Bogdanovich, an abridged recording of Graham Greene’s treatment, the outstanding 90-minute documentary Shadowing The Third Man, an hour long documentary on Graham Greene from 1968, the 30-minute Austrian documentary Who Was The Third Man?, The Third Man on the radio, an illustrated production history, archival footage of post-war Vienna, a look at the foreign dialogue in the film, and Joseph Cotton’s opening narration for the US version of the film. A must-have.

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The other Criterion release to go Blu-Ray is The Man Who Fell to Earth (Criterion, Rated R, Blu-Ray-$39.95 SRP). The film itself is an odd duck. One part allegory and one part sci-fi, it was also intended as a starring vehicle for the recently Ziggy Stardust-ed David Bowie. Amazingly, director Nicolas Roeg was able to craft a masterful tale that is at the same time both beautiful and enigmatic. In it, Bowie stars as an alien from a dying planet who, upon landing on Earth, becomes a reclusive millionaire enveloped by the decadent, self-destructive lifestyle he embraces. This special edition contains the uncensored, fully restored version of the film, an audio commentary (with Roeg, Bowie, and Buck Henry), a video interview with screenwriter Paul Mayersberg, video interviews with Candy Clark & Rip Torn, audio interviews, still galleries, trailers and more.

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When I was but a wee lad still fresh in this phenom called Star Wars and eagerly awaiting the release of Return of the Jedi (we knew there was a third one coming, because they went off to save Han), one of my favorite Christmas gifts of all was the Millennium Falcon. I still remember tearing open the box and then spending what seemed like hours putting all of the decals on before finally sliding the lock-legged Han & Chewbacca into the cockpit and navigating the starship around the room courtesy of the center handle (later that morning, all of my figures took turns playing holo-chess in the cabin area while Luke whacked the training ball around). I can only imagine the jaw-dropping joy that me from then would greet the new Millennium Falcon (Hasbro, $199.99 SRP) with now. First of all, it’s immense – this thing is over 3 times as big as the original toy, and was awkward for me, as an adult, to cart around, so modern kids are going to have plenty of grounded play. The detailing is pretty damn faithful to the actual models, and the increased size means they could finally get the proportions right. Also included are both a Han Solo and Chewbacca figure, both of which sit perfectly in the cockpit. Oh, and it’s positively packed with sound effects, putting the old school Falcon to shame. This is simply an amazing toy… For kids of all ages.

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If you still haven’t treated yourself to the complete run of Monty Python, now’s the time to pull the trigger and pick up The Complete Monty Python’s Flying Circus: Collector’s Edition (A&E, Not Rated, DVD-$159.95 SRP), containing the entire 45-episode run, plus the 7 discs packed with the German special, Monty Python Live!, additional Gilliam animations, documentaries, all of Personal Best DVDs, as well as a pair of brand new documentaries.

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It’s not Wall-E, but there’s plenty of wonderful production artwork to be found in the pages of Chronicle Books’ latest Disney “Art Of” book, The Art Of Bolt (Chronicle Books, $40.00 SRP). They’re always worth picking up and flipping through.

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Also from Chronicle, you can explore the fascinating history and groundbreaking output of a true videogame pioneer in Rogue Leaders: The Story Of LucasArts (Chronicle Books, $60.00 SRP). Started in 1982, over the next quarter century there would be plenty of landmark games, including Sam & Max, Monkey Island, and a bunch of games with Star Wars in the title. The book is packed with info and concept art, and is in many ways a nice blast from the past.

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As a good friend of mine says often – and practically lives his life by – a robot makes everything better. Make your holidays better with the i-SOBOT (Thinkgeek, $179.99), and incredible RC bit of technology that can actually walk, dance, do a handstand, play air guitar, and more. You can program the 6.5″ ‘bot, or use pre-programmed actions to awe and delight. Really, this little servo-filled bugger is amazing. Where was this when I was a kid?

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I’ve made no secret in the past of my love for the various vinyl Disney figures that Medicom has been releasing in Japan and that are, thankfully, now distributed in the US by Sideshow. The Medicom sculpts are always spot-on and put any of the domestic licensees to shame. For the holidays, I wanted to spotlight a trio of Vinyl figures based on the original comic book versions of Mickey Mouse ($47.99 SRP), Minnie Mouse ($47.99 SRP) and Pluto ($47.99 SRP). Nice, aren’t they? Oh, and let’s not forget Winnie the Pooh, too ($39.99 SRP)!

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Ask people what their favorite classic film is, and most often it’s a toss-up between Citizen Kane and Casablanca. Personally, I’ve always been a Kane-ite, but Casablanca is high up on the list. Even though the film has been on DVD for quite awhile, Warner Home Video worked their digital mojo, crafting a deluxe, fully-restored special edition. The film never looked better… in fact, it almost looked *too* good. The frame is so clean, I’d almost expected to see someone wearing a digital watch. Some purists don’t like this level of restoration, but I’m all for any process that makes a film look as good as it possibly can. That restoration is now beautifully packaged in the Casablanca: Ultimate Edition (Warner Bros., Not Rated, DVD-$59.98 SRP). It features the 2-disc special edition with an audio commentary from Roger Ebert, a second audio commentary with author/historian Rudy Behlmer, an introduction with Lauren Bacall, theatrical trailers, deleted scenes and outtakes (believe it or not!), “You Must Remember This” & “Bacall On Bogart” documentaries, “The Children Remember” featurette, the Looney Tunes homage “Carrotblanca”, the radio adaptation, a still gallery, and the premiere episode of the 1955 TV series. The documentary Jack L. Warner: The Last Mogul is also included. As if that weren’t enough, the set also sports a 48-page photo book, 10 one-sheet reproduction cards, archival correspondence, a passport holder, and a luggage tag. The one to get, tough, is the Blu-Ray edition of the set ($64.98 SRP) which is just draw-droppingly wonderful.

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If Casablanca has left you wanting a little more classic cinema to explore, then you might want to pick up (be careful, though – it’s heavy) the Murnau, Borzage, and Fox box set (Fox, Not Rated, DVD-$239.98 SRP). This absolutely incredible set the two surviving works that F.W. Murnau made with Fox from 1927-1930, Sunrise & City Girl, while his lost work 4 Devils is given an exploration in both featurette form and a lavish book included in this set. Murnau protégé Frank Borzage gets ten films in the collection – 7th Heaven, Street Angel, Lucky Star, Lazybones, They Had To See Paris, two versions of Song O’ My heart, Liliom, Bad Girl, After Tomorrow, Young America, and a reconstruction of the lost film The River. The set also includes the feature length documentary Murnau, Borzage, & Fox, and a companion book. This is simply a breathtaking set.

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If you’re holiday isn’t nearly bizarre enough, achieve the proper level of bizarreitude with Aqua Teen Hunger Force: Volume 6 (Adult Swim, Not Rated, DVD-$29.98 SRP). The 2-disc set features 13 episodes, 4 of which have never been seen before. Bonus features include featurettes, oddities, and the horror that is Terror Phone.

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Yeah, I’m a sucker for the Guinness Book of World Records. There’s just something so compellingly exciting yet sad about the various and sundry attempts at dubious immortality “achieved” by the people, events, and tragedies included in the 2009 edition (Guinness, $28.95 SRP).

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Trekkies wanting to wipe the pain of JJ Abrams Trek High can take some solace playing with their very own Original Series Star Trek Communicator toy (Diamond Select Toys, $29.99 SRP). Comparing it to my prop replica of the same, the sculpt is pretty darn good, and this even features authentic series dialogue from Kirk, Spock, McCoy, Scotty, & Uhura.

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Nothing says “perfect gift” like something with no practical purpose except to entertain, and that’s certainly the case with the Stickman Action Figure (Thinkgeek, $11.99), which allows you to pose the hapless Stickman and create your own custom caution sign. Mine is currently staring at the computer, traumatized by the economy.

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Home Movies is one of those shows that – despite making it 5 seasons – was cancelled before its time. Victim of apathy at Cartoon Network (a few influential individuals though it didn’t fit into their vision for the Adult Swim line-up), the animated adventures of budding filmmaker Brendon (Brendon Small) who, along with his friends Melissa (Melissa Galasky) and Jason (H. Jon Benjamin), crafted some truly Ed Wood-ian movies, was one of the most well-written character pieces ever to grace the small screen (be it live action or animation). The most vibrant character, though, would definitely have to be the kid’s gym teacher and emotional man-child, Coach John McGuirk (Benjamin, again), who had designs on Brendon’s single mother. Discover the series via the now comprehensive Home Movies: 10th Anniversary set (Shout! Factory, Not Rated, DVD-$129.99 SRP), containing all of the episodes plus audio commentaries, interviews, short films, easter eggs, a clapperboard, and a Coach McGuirk tote bag.

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For the little kiddies on your list, the Beeb have released the complete first and second seasons of their Disney Channel hit Charlie and Lola in one handy-dandy set (BBC, Not Rated, DVD-$79.98 SRP). The set features all 8 previously released single-disc volumes.

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I caught an episode of Yo Gabba Gabba! the other day, and if any show can rightfully claim the mantle of “Kiddie Show Beloved By Stoners”, it’s this intriguingly bizarre combination of music and costumed characters, If you doubt me, check out Yo Gabba Gabba!: The Dancey Dance Bunch! (Paramount, Not Rated, DVD-$16.99 SRP). The sole bonus is a “Meet The Dancey Dance Bunch!” featurette. Oh, and good times. The show’s first album is being released digitally on iTunes, as well – titled, shockingly enough, Yo Gabba Gabba.

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After her turn in the Christmas special “The Runaway Bride”, some were worried about Catherine Tate reprising her role of Donna Noble as the 10th Doctor’s new companion in the fourth series of Doctor Who (BBC, Not Rated, DVD-$99.98 SRP). I’m happy to report that those fears quickly dissipated right from the get-go, as Donna – and Tate – proved to be one of the Doctor’s finest companions in a season that saw the return of the Sontarans and Davros, plus a few more surprises to boot. The 6-disc set features all 14 episodes plus audio commentaries, deleted scenes, video diaries, the Children In Need special “Time Crash”, a retrospective featurette, Doctor Who Confidential, teasers, and trailers.

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I’m going to give you one reason – and one reason only – to pick up Cartoon Network’s Chowder: Volume 1 (Warner Bros., Not Rated, DVD-$14.98 SRP). However, it is a compelling reason, and one that can not be ignored. It refuses to be ignored! In fact, the reason will grab you by the collar and drag you to your nearest DVD emporium. That reason? One of the main characters on the show is voiced by none other than Dana Snyder. That’s right. Now do you see?

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If your idea of chestnuts roasting by the open fire is spending time with a vengeful Vietnam vet, then you’ll probably want a copy of Rambo: The Complete Collector’s Set (Lionsgate, Rated R, DVD-$49.99 SRP), featuring all four flicks starring Sylvester Stallone as John Rambo – First Blood, Rambo: First Blood Part II, Rambo III, and Rambo). The 6-disc set contains the feature-laden ultimate editions of all four films. Also available is a Blu-Ray edition of the set ($49.99 SRP) with identical bonus features, in uber-sharp high-def, but without the most recent film.

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I’ll be honest with you – Freaks and Geeks was a painful show to watch when it originally premiered (for far too brief a life) on NBC in the Fall of 1999. It was painful because I could relate to every bit of the awkward adolescence that the characters on screen were going through – my high school years were reflected in the tribulations of Sam and Lindsay Weir, and their assorted friends and enemies. Freaks and Geeks was the first (and so far only) show that presented the teenagers as they really are, and what high school is really like. And it was painful to see that on screen, because it dredged up my bitter memories of gym class, of disastrous social situations, and just the perpetual teenage ennui. But the beautiful part is that once you get past the pain it dredges up, Freaks and Geeks became a catharsis. It became a way of measuring your growth as a person against the mirror being presented on screen. And it was a damn good show, to boot. Well-written, funny, and emotional, it was… Well, it was life. Not a comedy, not a drama, and nothing as hackneyed as a “dramedy,” it merely existed as one of the most well-crafted shows ever to get slaughtered upon the network altar of quick returns and poor judgement. Credit goes to creator Paul Feig and producer Judd Apatow for giving us a glimpse of greatness, however briefly it shone. Of course, the coda on all of this is that we eventually got the long-awaited DVD set, collecting all 17 episodes (with their original period song-packed soundtracks intact) alongside a ton of bonus features. Originally a limited edition, now the general public can purchase the 8-disc special Freaks & Geeks: Yearbook Edition (Shout Factory!, Not Rated, DVD-$169.98 SRP). Packaged in a replica of the William McKinley High School Yearbook and containing 2 additional discs crammed full of cool bonus materials, the regular bonus features carried over from the 6-disc set are the audio commentaries – each episode features at least one audio commentary (while some feature more than one) from the cast, crew, executives, and sometimes the characters themselves.

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For the headbanging Adult Swim fan on your shopping list, there’s the uncensored complete second season of Metalocalypse (Turner, Not Rated, DVD-$29.98 SRP). The 2-disc set features all 19 episodes, plus loads and loads of features sure to blow your mind.

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Make the season shagadelic (yes, I just used that old chestnut) with the high definition release of The Austin Powers Collection (New Line, Rated PG-13, Blu-Ray-$74.98 SRP). That’s right – you can now get Austin Powers: International Man Of Mystery, Austin Powers: The Spy Who Shagged Me, and Austin Powers In Goldemember in all their Blu-Ray glory, featuring the same bonus materials as the standard editions. Groovy! (Yeah, I used that, too.)

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It’s a Yabba Dabba good time for Hanna-Barbera fans with Flintstones: The Complete Series (Warner Bros., Not Rated, $129.98 SRP), a colossal slab of a set containing the entire run of the Stone Age family’s classic 60’s series. Bonus features are identical to the previously released individual sets, but this package does come in a plastic case sculpted like the Flinstone’s TV set.

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Comprehensive box set fever has also hit Will & Grace (Lionsgate, Not Rated, DVD-$249.98 SRP), with the entire 8 season run housed in one massive, 32-disc block. If you’re thinking “But I already own all of the seasons!”, wouldn’t you know that they’ve gone ahead and put an exclusive bonus disc in the set with brand new bonus features.

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While kudos must go to Rhino for keeping the Mystery Science Theater 3000 DVD releases coming over these long years since the show’s cancellation, the show’s new DVD home – Shout Factory – has really elevated the game with their Mystery Science Theater 3000: 20th Anniversary Edition (Shout Factory, Not Rated, DVD-$49.98 SRP). They continue the Rhino precedent of releasing 4 episodes at a time spanning the 10-year run of the show – this set includes First Spaceship on Venus, Laserblast, Werewolf, and Future War – but they’ve also gone to town with the bonus materials. Not only is there a feature-length 3-part documentary on the history of the show, the 20th anniversary panel from the 2007 San Diego Comic-Con, and a compilation of all the show openings, but the whole kit and kaboodle comes bundled in a collectible tin with postcards AND a pretty damn spiffy Crow T. Robot figurine. Support this with your purchase, and keep the classic releases coming.

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Glad tidings from the folks at Cinematic Titanic (MST3K creator Joel Hodgson and alums Trace Beaulieu, Josh Weinstein, Frank Conniff, and Mary Jo Pehl) comes in the form of a fresh take on that horrid holiday perennial, Santa Claus Conquers The Martians (Cinema Titan LLC, $14.99). MST fans will remember it as a classic episode, and this new edition features all-new riffs that make it a must-get disc. Just make sure to lay off the candy canes and nog before you give the flick a spin, as the very sight of Dropo’s awkwardly unfunny goofiness is sure to make it all come back up.

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When HBO’s brilliantly dark western Deadwood began its first season, the time was only a few weeks following the massacre of Custer’s troops in 1876. Into the lawless South Dakotan town rode two men – one a bitter ex-lawman, and the other a man looking to start a new life – and both ran afoul of the local heavy who owns half the town. What followed was an epic drama of operatic heights, and one you can watch in its entirety with Deadwood: The Complete Series (HBO, Not Rated, DVD-$179.97 SRP). The 19-disc set features all 36 episodes, audio commentaries, featurettes, interviews, and an exclusive bonus disc with creator David Milch discussing the season’s conclusion, a historical featurette on the real Deadwood, a Q&A with the cast & creative team, the Al Swearengen audition reel, and a 360-degree tour of Deadwood.

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Ah, but that isn’t the only HBO series you should be picking up. Empty out your wallet at the same time by snagging The Wire: The Complete Series (HBO, Not Rated, DVD-$249.98 SRP). That’s right – all 60 episodes of the epic tale in one 23-disc box, with an exclusive bonus disc filled with a trio of prequels and a gag reel.

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If you’ve been patiently avoiding the single-disc releases for the next seasonal batch of that happy chap that lives in a pineapple under the sea, then you’ll rejoice in your purchase of SpongeBob Squarepants: Season 5 Volume 2 (Paramount, Not Rated, DVD-$26.98 SRP), whose 2 discs feature 21 episodes.

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If you want your holiday gift-giving to be full of blood, battle, and none-too-thinly veiled homoeroticism, then you’re probably going to want to pick up the 300: Limited Collector’s Edition (Warner Bros., Rated R, DVD-$49.98 SRP). In addition to the original 2-disc special edition with an audio commentary and bonus materials galore, the set contains a brand new bonus disc with a look at the 300 legend and its filtering through history, graphic novel, & film. If that weren’t enough, you also get a 52-page photo/art book, 6 photo cards, and a lucite-encased lenticular display from the film.

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Every comic book series seems to be getting the snazzy deluxe treatment nowadays – with some bewildering choices – but certainly deserving of the honor is Mike Mignola’s Hellboy. The clothbound, hardcover Hellboy Library Edition: Volume 1 (Dark Horse, $49.95 SRP) contains the first two Hellboy mini-series – “Seed Of Destruction” and “Wake The Devil” – printed in oversize 12″x9″ with brilliant reproduction. The Hellboy Library Edition: Volume 2 (Dark Horse, $49.95 SRP) contains all of the short stories that made up the bulk of the late 90’s Hellboy material, including “The Chained Coffin” and “The Right Hand Of Doom”. There are even a clutch of bonus materials, including sketchbooks. Perfect for the library.

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The Day The Earth Stood Still (Fox, Rated G, DVD-$19.98 SRP) is director Robert Wise’s classic (and extremely relevant) tale of mankind’s first encounter with an alien being, whose enigmatic agenda leads a fearful world to turn to violence – even though the alien may be their only hope for survival. The new 2-disc special edition DVD features fully restored picture and sound, an audio commentary with Wise and Nicolas Meyer, a “film historian” commentary, featurettes, a 1951 Movietone Newsreel, still galleries, trailers, and more. A Blu-Ray edition is also available ($34.99 SRP), and is worth the addition to the library.

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I’ve spoken in the past of just how much I love the mental acrobatics of magician Derren Brown, but one of the sore points is that his specials have been absent from DVD even as his series have gotten released. Well, all of that is rectified with Derren Brown: The Specials (Channel 4, Not Rated, DVD-£29.99 SRP) – a 2-disc set that collects Russian Roulette, Séance, The Heist, and The System. Sadly, the set is missing the specials The Gathering and Messiah and has zero in the way of bonus features, but it’s still better to have something rather than nothing (with the hope the rest will come eventually).

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As a child of the 80’s, I was absolutely taken with Ghostbusters when it came out. I had the toys, I used to pretend I was a Ghostbuster, and before everything turned sour with Ghostbusters 2, I delighted in the Saturday morning adventures of the guys on The Real Ghostbusters. After a few disappointing single-disc collections from Sony, Time Life has hit the ball out of the park with the wonderfully packaged The Real Ghostbusters: Complete Collection (Time Life, Not Rated, DVD-$179.99). The 24 disc set features all 134 Real Ghostbusters episodes, 13 Slimer! episodes, episode introductions, visual commentaries, isolated music & effects tracks, featurettes, interviews, and much more. There’s also a set-exclusive bonus disc with the original promo pilot (with visual commentary), extended interviews with the cast and crew, the DVD promo trailer, a title card slideshow, the series bible, and storyboards for the pilot promo. Kudos must go to Andy Mengels, the special features producer, for putting together such an amazing package. Did I mention that all 5 volumes come packed in steelbook tins, housed inside of a box representing the firehouse?

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I’d say that watching George Carlin’s 14th and final HBO special was a bittersweet affair, but it seems like such an inappropriate word considering just how funny It’s Bad For Ya (MPI, Not Rated, DVD-$19.98 SRP) is, even compared to Carlin’s incredible catalogue of work. It’s certainly a good feeling to know that he went out at the top of his game in topics ranging from politics and religion to children and, yes, death. Bonus features on the disc include selections from the Archive of American Television’s 3-hour interview with Carlin, as well as his January 25, 1969 appearance on The Jackie Gleason Show. And, while you’re picking this disc up, be sure to snag a copy of the classic Carlin on Campus album (Laugh.com, $12.98 SRP), featuring such classic routines as “An Incomplee List Of Impolite Words” and “Baseball and Football”.

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A long time ago, not too terribly far away, there was a company that produced some of the most wonderful and faithful Star Wars prop replicas to be had. Sadly, due to corporate issues both various and sundry, the timeliness of the releases began to wane, and then the company decided to drop the license entirely. What became of it? Well, the core group who handled the license at that other company decided to strike out on their own, and they formed eFX Collectibles. Out of the gate, they’ve created a prop replica of the Star Wars Clone Trooper helmet circa Attack Of The Clones ($429) – which is unique in that all of the Clone Troopers in the film were digital, so this is the first “real” CT helmet. My feelings for the movie aside, right out of the gate eFX has done a stunning job on the helmet itself, which is fully padded (and fully wearable) and even features a red LED light on the back, as it did in the film. The edition size is limited to 1,000, so you’d better act fast. The company has some big plans for the future (check out their Ralph McQuarrie-inspired Vader helmet), and should be on your “will drop plenty of dough on…” list.

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I remember always looking forward to watching Mr. Bean whenever it would air on HBO (remember that?). Rowan Atkinson’s devilish character never failed to entertain. Like an ersatz Harold Lloyd, Bean is an almost silent physical comedy, and I’m delighted that all 14 episodes are on DVD in Mr. Bean: The Ultimate Collection (A&E, Not Rated, DVD-$69.95 SRP). If that weren’t enough, the set also features both Mr. Bean feature films – Bean: The Movie & Mr. Bean’s Holiday – and 9 animated episodes. Special features include the 40-minute documentary “The Story of Bean,” never-aired sketches “Bust Stop” and “Library,” the Comic Relief skits “Torvill & Bean” and “Blind Date,” a photo gallery, deleted scenes & trailers on the films, and more.

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For all of the dramatics found in the stage and screen versions of Frost/Nixon, the kinetics found in the actual interviews – collected for the first time on Frost/Nixon: The Original Watergate Interviews (Liberation Entertainment, Not Rated, DVD-$24.95 SRP). You can find out the mechanics of how the interviews happened in the film, but to watch David Frost set up a most ingenious honeypot and admit the failings of not only his administration, but also himself, is an amazing thing to behold.

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There’s nothing quite like seeing the stop motion magic of Ray Harryhausen in high definition, which is exactly what fun you can have with the Blu-Ray Ray Harryhausen Collection (Sony, Not Rated, Blu-Ray-$107.95 SRP), which features the deluxe special editions of Earth Vs. The Flying Saucers, It Came From Beneath The Sea, 20 Million Miles To Earth, and The 7th Voyage Of Sinbad. Also available is a Ray Harryhausen Gift Set (Sony, Not Rated, DVD-$80.95 SRP), featuring the standard edition DVDs of Earth Vs. The Flying Saucers, It Came From Beneath The Sea, and 20 Million Miles To Earth, plus an incredibly cool 12″ statue of the monster Ymir.

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Rights issues prevent regular Rifftrax commentaries from being released as physical DVDs with the movies they’ve riffed, but no such issues exist with the public domain short subjects Mike, Kevin, and Bill have been doing over the past year. What does that mean, exactly? That means we get almost 90 minutes of goofy fun with The Best Of Rifftrax Shorts: Volume One (Legend Films, $14.99). That’s 9 whole shorts on everything from patriotism and juvenile crime to proper shopping techniques and canine racism.

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Transformers fans both young and old will have something to snag this year, with the younger crowd enamored of the current Transformers Animated series able to get their very own talking, and incredibly large Roll Out Command Optimus Prime (Hasbro, $49.99 SRP), who actually begins his transformation process from big rig to robot as you roll him across the floor. The sculpting on the toy fixes most of the more awkward design deficiencies of the cartoon, but the main key here is that my nephew is intent on asking Santa for one of his own.

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For old-timers with too much nostalgia and cash on hand, there’s the 25th Anniversary Optimus Prime ($69.99 SRP) – a perfect reproduction of the original G1 Optimus that was the lynchpin of every kid’s Transformers toy collection. This is an exact repro of the Prime I owned – including the trailer and its launchable roller vehicle. It may not b accurate to the G1 cartoon designs (which was recently rectified with the wonderful Optimus Masterpiece edition), but this certainly brings out all the warm fuzzies in my pop culture-infused heart.

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You may not think “horror” when you think “holidays”, but John Carpenter’s The Thing (Universal, Rated R, Blu-Ray-$29.98 SRP) is certainly in a class of its own. You can now experience all of the arctic psychological terror in full high definition courtesy of the new Blu-Ray edition. The audio commentary from the standard release carries over, and interviews with the cast and crew are now integrated into a picture-in-picture feature.

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The “Judd Apatow” brand of comedy has always been hit or miss with me, but when it does hit a sweet spot – as it does with Forgetting Sarah Marshall (Universal, Rated R, Blu-Ray-$39.98 SRP) – it best exemplifies how many levels a good comedy can work on, from slapstick to true drama. Penned by and starring Freaks & Geeks alum Jason Segal, it’s the story of one schlubby man’s attempt to get over a break-up by traveling to Hawaii – and running right into his ex (Kristen Bell) and her new beau (Russell Brand). Will he find new love in Hawaii with a hotel staffer (Mila Kunis, who continues to grow as an actress the more I see her in)? What do you think? The extended cut Blu-Ray edition features a visual audio commentary, picture-in-picture behind-the-scenes footage, deleted scenes, video diaries, featurettes, a gag reel, karaoke, and more. While you’re at it, pick up the Blu-Ray edition of Apatow & Rogen’s Knocked Up (Universal, Not Rated, Blu-Ray-$29.98 SRP), featuring the unrated version of the film, an audio commentary, deleted/alternate scenes, featurettes, video diaries, gag reels, and more.

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If you’re not all politicked out this holiday season, then you might want to pick up the JFK: Collector’s Set (Warner Bros., Rated R, DVD-$39.98 SRP). Not only does the set feature the previously released 2-disc special edition of Oliver Stone’s film, plus the documentary The Kennedys: America’s Emerald Kings. If that weren’t enough, the set also contains a 44-page book of rare behind-the-scenes photos, photos, and reproductions of letters written to and from Kennedy. A Blu-Ray edition is also available ($34.99 SRP) containing identical bonus features.

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Fans of Jack Sparrow can now get the entire swashbuckling trilogy – The Curse Of The Black Pearl, Dead Man’s Chest, & At World’s End – in high definition courtesy of the Blu-Ray Pirates Of The Caribbean Collection (Walt Disney, Rated PG-13, Blu-Ray-$ 82.99SRP). The bonus features pretty much identical to the standard edition DVDs, but the visuals and sound are the real draw here.

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Eager to suck every last nostalgic dollar out of my long-suffering wallet, the re-launched classic GI Joe line that hooked so many kids in the 80’s is still going strong, with their lovingly updated versions of old school favorites. This year has brought – alongside the regular figures ($5.99 SRP each) – the addition of vehicles, including the Cobra HISS Tank ($14.99 SRP). And, just like in the old days, it comes with the Cobra HISS Commander figure.

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There are some flaws here and there, but I was incredibly impressed with The Incredible Hulk (Universal, Rated PG-13, Blu-Ray-$39.98 SRP). Whoda thunk that, oh, just being faithful to the character and its history would be the right way to go? WHO WOULD HAVE THOUGHT SUCH A BIZARRE NOTION WOULD BE TRUE? You know, besides intelligent people who aren’t Avi Arad or Tom Rothman. This flick erases the abysmal Ang Lee Hulk from memory, and sets a redo template I can only hope will soon be applied to Fox’s bastardized Fantastic Four and X-Men. The Blu-Ray edition features an audio commentary, deleted scenes, making-of featurettes, a gallery of comic images that inspired shots in the film, an interactive character dossier, and more.

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It’s certainly a case of diminishing returns, but the Brendan Fraser-led Mummy films are a far sight better than the cursed Kingdom Of The Crystal Skull, and there’s no better way to watch the technical hoo-ha at hand than via the Blu-Ray editions of The Mummy and The Mummy Returns (Universal, Rated PG-13, Blu-Ray-$29.98 SRP each). Bonus features include audio commentaries, behind-the-scenes featurettes, deleted scenes, outtakes, and more.

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Previously only available as a Time Life exclusive, now one and all can pick up the complete Man From U.N.C.L.E. (Warner Bros., Not Rated, DVD-$199.92 SRP). The classic 60’s spy series comes housed in the kind cardboard briefcase familiar to anyone who owned a portable kiddie record player, and contains 41 discs with all 105 episodes, plus the original color pilot, the feature One Spy Too Many, behind-the-scenes featurettes, retrospective interviews, award show excerpts, galleries, and more.

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Every once in a while, a truly spectacular, must-have catalogue release makes its way to DVD. Add to that exclusive list the Blu-Ray edition of the Cinerama epic How The West Was Won (Warner Bros., Not Rated, DVD-$34.99 SRP). Meticulously restored and remastered, the 2-disc special edition features a new commentary, a documentary on the film’s Cinerama experience, the theatrical trailer, a reproduction of the original souvenir book, photo cards, and a reproduction of the original pressbook. You even get the option to watch the film in “Smilebox”, which approximates the experience of seeing the film on Cinerama’s curved screen. Truly stunning, and a requirement for any film library.

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Just when you think that there can’t possibly be another collectible line that will hook you, along comes Mighty Muggs ($9.99 SRP each) – 6″ cartoony versions of all your favorite characters, from Darth Vader and Indiana Jones to Spider-Man and Captain America. As soon as you see one of these addictive little bastards, you’ll want them all. Devious!

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And just as subversively cute and irresistible are the various tiny, cartoony “Heroes” lines by Hasbro, featuring well-known characters in kiddie-friendly tooned-up forms and sold in ready-for-fun two-packs ($5.99 SRP each). Marvel Comics characters are featured in the “Super Hero Squad” line, Indiana Jones has “Adventure Heroes”, The Transformers are featured in “Robot Heroes”, and GI Joe has now got “Combat Heroes”. Forget the kids – how can you not pick up Lil’ Cobra Commander?

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You know, Will Smith’s I Am Legend is actually a decent adaptation of the Richard Matheson novel – up to a point. That point is when we leave behind Smith’s Dr. Robert Neville – who has stayed behind in a decimated New York City to try and find the cure for a virus that has wiped out mankind, leaving a small survivor base of violent humanity, the immune Neville, his dog, and the hope of more people out there somewhere. The film begins to flail about in the cesspool of Hollywood mediocrity when the crappy CG infected monstro-humans show up, with their implausible anaconda mouths and plastic skin. It’s a shame it all falls apart, because they had something there. See for yourself with the new I Am Legend: Ultimate Collector’s Edition (Warner Bros., Rated PG-13, DVD-$49.98 SRP), which features a new 3-disc edition with an audio commentary, deleted scenes (with optional commentary), the alternate ending that hews closer to the book, a making-of documentary, a look at the science of the film, a quartet of animated comics, and the theatrical trailer. In addition, the set contains a 44-page concept sketch book, 6 art cards featuring cities devastated by the plague virus, and a lenticular. A Blu-Ray edition of the set ($59.98 SRP) is also available.

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And now, because I have to shop for little nephews, how about a digression into some toys geared towards the little ones on your list? In fact, the first pair of items comes from that somewhat disconcerting yet oddly ingratiating Nick Jr. show The Wonder Pets. First off is the titular rescuers in their Fly Boat ($19.99 SRP). Featuring 3 removable heroes, lights, and sounds, it’s sure to delight junior fans. But if that’s simply not enough, you can also pick up “This Is Serious” Ming Ming ($34.99 SRP), a large plush that sings, talks, and shows off her rescue moves.

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For the slightly older kids, there’s the Go Diego Go Animal Rescue Railway Track Set ($49.99 SRP), which features 3 cars, track, rescue environments, and a Diego figure that is sure to make kids go “Thomas who?” And toy that comes with monkeys is definitely a keeper.

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He has yet to make the transition to the US, but Alan Carr – currently riding high in the UK – is a comedian worth keeping an eye on, should he make his way across the pond. Until then, I’d certainly recommend you pick up a copy of his first stand-up DVD, Tooth Fairy (Universal, Not Rated, £19.99 SRP), as well as his recent autobiography, Look Who It Is! (Harper Collins, £18.99 SRP), and keep an eye on him.

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Let pure evil keep your tootsies warm with the big and fluffy Evil Stewie Slippers ($11.99 SRP) that I’m sure will be embraced by the Family Guy fan in your family. Who likes evil. You know who that is.

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It’s goofy, but darned if my nephews don’t have a ball (no pun intended) with Gator Golf ($19.99 SRP). It’s like an executive putter for the preschool set, as kids can face off against each other by putting a golf ball into a giant orange alligator head, and you can save all the money you’d otherwise spend on a trip to put-put. A perfect gift!

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So there you have it… my humble suggestions for what to watch, listen to, play with, or waste money on this holiday season. See ya next year…

-Ken Plume

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December 4, 2008

Holiday Havoc: Trailer Park – Denis Leary Interview

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, Quick Stop’s own Christopher Stipp brings us an interview with Denis Leary…

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By Christopher Stipp

The Archives, Right Here

I’m awesome. I wrote a book. It’s got little to do with movies. Download and read “Thank You, Goodnight” right HERE for free.

He just had to be sick of answering the question.

As I read Denis Leary’s book WHY WE SUCK I remembered why I cannot suffer through a Dave Barry column. I’ve tried. I’ve had countless people try and recommend his musings as something worth reading but, let’s be honest, he’s basically a folksy Andy Rooney. Denis, though, gives you something to laugh at, not laugh with, and genuinely delivers on his promise at the outset of this book that there’s something offensive in it for everybody. Everybody. From opining on nicknames, that Mick Jagger’s “Nigger Lips” was apropos, to talking about the destructive nature of parents who toss their kids into acting at a young age, just read what his response would be if his own kids wanted to get into acting, Denis’ book is the one thing this year that has make me laugh out loud.

A lot has been made of whether Denis’ act is just that, certainly his wife’s own outing of Denis as a genial family man who eschews the trappings of popularity and famousness, whether he’s act mirrored too much of Bill Hicks, but I frankly have felt Denis is a comedic powerhouse. I remember buying his first CD (remember when they came in longboxes?), watching every movie he put out (I’m still worked up over TWO IF BY SEA but he made up for it with THE REF) and being amazed by his television work on The Job and Rescue Me. Now, Rescue is bar none one my favorite shows on television and as well as it should be; it’s well acted, sharply written and it has genuine laughs. So, when it was time for this book to come out I was all over it. His writing is wicked funny, he has some really honest points about parenthood, celebrity and where else are you going to find a chapter entitled Matt Dillion is a Giant Fag? It was another one of these suggestively titled chapters, Autism Schmautism, that stirred a controversy when a paragraph was taken out of context and made its way into the irrelevant arena of people pontificating on nothing more than hearsay.

We open the interview with us talking about the incident that seemed to be inescapable. The book is out now and comes recommended as the funniest thing you’ll read all year.

CHRISTOPHER STIPP: Can you explain what happened with the recent flap about your chapter entitled Autism Schmautism? I read the chapter and if anyone possessed an ounce of reason they would see exactly what you were getting at. You absolutely were not belittling this condition.

DENIS LEARY: It was a paragraph that was taken out of context by the New York Post and then raced across the Internet, so yes, people are led to believe that I was talking about actual parents of kids who have actual autism.

I released a private statement by email to a lot of the parents that emailed me and I put a public statement out but I never apologized for what I wrote but I asked people to give me the benefit of the doubt and I apologized for the effect the released paragraph had on people because, look, I always answer to myself, my kids, and my wife but when it comes to comedy, there is no comedy in saying, which I never said, “there is no such thing as autism” or that “autism doesn’t exist.” I never said either one of those things although that was actually listed in many newspapers and on online.

There is a ridiculous aspect to people in this country who are so desperate to explain away their kid’s bad behavior and their own bad parenting by getting low-level versions of autism diagnosis and that’s what I was talking about because in the same chapter the paragraph after the one that was quoted by the New York Post, I talk about ““ specifically, one autistic child that I’ve known for years and her parents struggle with it and again, I’m not a real doctor, I wouldn’t define autism but I like discussing it. I know people who have dealt with it and know how difficult it is. The idea that other people in America would actually seek Special Needs designation for their kids, to me, was ridiculous and that’s what I was going after. I’ve said it this morning and I’ve said it before. Publisher’s Weekly did a review of the book, they always do every review, and thank God they gave me a good one. They talk about the book and called it wildly entertaining and gave it 3 or 4 stars but that was a week before the New York Post thing and it just kind of struck me as odd that if they thought I was making fun of autistic children why didn’t they mention it because someone read the entire book?

And so now it will be very difficult for people to ever realize what I was talking about and some people will never, ever buy the book but now that it’s my turn to speak I hope it’s obvious to people what my point of view was and that there is no comedy to be found in the other point of view. My point of view was, and by the way, there are people in the autism community that have been complaining about this issue for years which is where I became aware of it and came up with the idea to write about it. You know?

CS: Right. It’s hilarious. It’s clear as day as what you are saying and shocking to me that people are coming out of the woodwork when in fact they probably haven’t read it or considered actually reading the whole thing.

LEARY: I think what happens to a lot of people, and again, I don’t blame them is they saw this paragraph on the Internet and said, “What is wrong with this guy? Why is he making fun?” And once you start that fire, it’s a very difficult fire to put out. I had a lot of my friends who have kids with autism who were just banging the doors down saying they wanted to come out and speak on my behalf and I said you know what?I don’t want you to do that. I didn’t ask you to give up your privacy and go out and defend me. I can do it myself.” I just hope that some of these people that ran down to the center of the village with a torch in their hands will be just as willing to read it and if they are wrong, turn around and say “You know what, I misjudged it” but I don’t hold any hope out for that happening. It’s not a great comparison but when they announced that Daniel Craig was going to be the new James Bond, everybody in the world went after that guy and once the fist movie came out everyone realized that he was an unbelievably great James Bond. Very few people took the time to say, “I was wrong about the James Bond guy.The press doesn’t like to come out and say they were wrong basically.

CS: And that’s funny you bring that that up. It leads right into something I was very surprised by, and really respect that you kind of went in thinking that Oprah was going to be a target, and ended up saying “You know what, I was wrong about that” and ended up genuinely enjoying the experience of delving into it further.

LEARY: Hey man. I got to tell you I was hell bent for leather on her and every single thing I tried ended up falling apart and I end up with the complete opposite point of view. By the time I found out you could break your penis and that Oprah about 6,000 entries about what happens if you break your penis ““ I’m like, “Wait a minute. Why isn’t this stuff on SportsCenter? Oprah is in charge of our penis’s? What’s going on here?”

(Laughs)

CS: It raises some fundamental questions about the cult of personality that she’s developed.

LEARY: I tell you something. There is a reason that she is elevated to the cosmos of television and the media because she has control of almost all the information you will ever need about anything. I’m telling you, if Jesus comes back tomorrow he’s going to be on Oprah. Forget Larry King, forget the Today Show. He’s going to be on Oprah and he’s going to be on Oprah for about an hour.

(Laughs)

CS: A couple of my favorite other chapters in this book was the combo of the “Self-Esteem This” and “Matt Dillon is a Giant Fag.” One of the reasons I responded so well to it, I believe, was when you and Lenny Clark were on local television during a Red Sox game. Mel Gibson was freshly put into rehab and the two of you were just riffing watching the Boston Red Sox. I think that those few minutes, after they made their way around the Internet, just proved everything that you were talking about with regard to tolerance and ignorance.

LEARY: It was just one of those organic things that happened because we were talking about Kevin Youkilis and his nickname at the time was the Greek God of Walks. I was asking an honest question “Is he Greek or what is he?” and they started talking that he was Jewish and the next thing you knew we were talking about a couple Jewish players and there was a great play made by a Jewish player and it was the week that Mel Gibson ““ his anti-Jewish tirade. It was just one of those moments in time. I ended up writing a song called the Mel Gibson which we played at quite a few charity gigs after that. I don’t know, it was just kismet.

CS: One thing I did pick up while doing some research was your mother’s influence. The conversations that you have within the book, it kind of took on a life of their own. How did that come about?

LEARY: My mother has obviously been a big influence in my life and my brothers and sisters and everybody so I just thought if I’m going to be talking about raising kids in America and what I think is wrong with a lot of the ways in this country that we treat and raise kids, my mom is just, as I say in the book, there has never been a day that she has been on this earth that she isn’t who she is. She never drank. She never smoked. She was always at home. She was highly aware of everything that we did and if she wasn’t aware, when she found out you had to answer to her. So I think she’s just a really common sense woman and I wanted to put her take on America ““ she’s got a really great take on what it is to be an American because she came here as an illegal immigrant with nothing and she loves this country and is not afraid to express her opinions. She has been, because of me, been around some very famous people and she walks right up to famous people, whether is Conan or Bobby Orr or whoever ““ she says whatever is on her mind. We were at a charity event and Bobby Orr was there.

My mother loves Bobby Orr.

As a young hockey player he had a weird haircut and dressed a little down when everyone else would wear a suit. My mother walked up and said, “Why can’t you be a little more like Bobby Orr? Look at him. He’s got a short haircut. He doesn’t look like a slob.” We are just laughing our asses off because when somebody’s mother is talking to you, you feel like you are talking to the virgin mother. So I wanted to include her in the book so people could get a taste of what it was like around my house.

CS: What separates this book apart from many other non-fiction narratives is that you have that sort of commentary but also that point of reflection. You talk about growing up and how your parents taught you to be centerted and grounded as you point a finger at those who want to coddle their brood to the detriment of knowing how life is really going to be like.

LEARY: There was no self-esteem crap. If you wanted to win a trophy, you actually had to win. If you wanted to learn how to hit a baseball you actually had to have a ball pitched at you and you had to hit it. There was no hitting it off a tee. It was just all that stuff ““ just common sense when raising kids. No one is going to hand you anything. You actually had to go out and get a job and earn it. There was no being spoiled around our house. You got one big present and one small present at Christmas time and got a cake on your birthday. You never felt like you weren’t loved. You always felt like you were loved but you were also accountable. You were accountable to your parents and the rest of the family. It’s the age old thing, if you got smacked by the nuns at school, there must have been a reason why you got smacked.

CS: Exactly. You are obviously a celebrity and you’ve had your kids who are now are moving towards college years. What is it about our culture that every kid needs a trophy and every kid needs to feel entitled? Can you explain why or where this has all come from?

LEARY: There has been a wave of parents who have kids but don’t necessarily want to spend time with their kids and selfishly they work on their career, and their free time, and their hobby. But the problem is when you have children, children do what they are supposed to do and take over your life. So what you do for a living, hopefully you like but whatever it is you do for a living, the money is for the children and whatever you do with your free time the children are the first thing that should come to mind; there are a lot of people in this country who have kids and that is not necessarily the truth. They put the kids in day care, not because they have to because both parents are working, but because they want to and they want to have their free time.

You can’t have it both ways.

That’s where a lot of these kids come up with self-esteem issues because the kids are never around their own parents and when the parents are around they feel they have to say yes because they are never around enough time with the kids and the next thing you know it’s the kids who think they can get away with everything because the parents never yell at them. To me it’s a pretty simple mathematical formula. We all know what the rules are and you are supposed to teach them to your kids and that produces a hopefully pretty productive citizen. You are not just supposed to hand the kid everything and tell them it’s OK to do anything they want and never learn to lose.

Hey, losing sucks. So learn it really early so you never want to lose. If we didn’t have losing, we’d have two presidents right now. John McCain and Barack Obama. Doesn’t work.

CS: Right. And that leads into your bit about celebrity culture. Shows like Sweet 16, celebrities like Anna Nicole Smith, somehow there is a subset of Americans who love to celebrity worship and dote on these people who don’t live by any sort of rules to begin with.

LEARY: If Anna Nicole Smith gave us nothing she will, at least in my book literally and figuratively, be famous for having taken a narcotic lollipop out of the hands of sick children and turned it into an adult drug. Apparently, I think I say this in the book, she out Elvised Elvis. If Elvis knew there was such a thing as a narcotic lollipop, he would have tried desperately to live another 10 years so he could have had one in his mouth. I think not only is it amazing that she was sucking on narcotic lollipops, which they give kids who have cancer, but I’d like to name a band after Narcotic Lollipop. As a matter of fact, later today I’m doing the Daily Show and I’ve printed up a Narcotic Lollipop t-shirt that looks like a band shirt and I’m going to wear it on the Daily Show just to try and start a trend.

(Laughs)

CS: The book itself, the way it reads is great because it balances both your past growing up and your present with commenting on current events in popular culture and sociological issues that society is dealing with. When you were writing this was there any sort of overriding thing that you didn’t want to sound too preachy? How did you go about laying it all out by saying, “I want to make this fun and entertaining but I definitely want to get some things off my chest”?

LEARY: Well I tried to be organic. As a comedian I’ve always tried to work ““ if I go on stage for half and hour or 40 minutes I talk things out in front of an audience. I might have 5 words written down on a piece of paper and that would mean 40 minutes of material for me. If the audience is good, I’ll just keep spinning through these ideas I have in my head. So in book form, I had to be sure I was formalizing things and some other things popped into my head as I was going. When I finally started to sit down to write it, it was during the screen writer’s strike, so I had three months to write it and I wrote it in order as I went so it just seemed to flow.

CS: As you were writing it, were there some things that just didn’t make it into the book or was everything you wanted in this book?

LEARY: No. I think there was a lot of stuff. I’m never satisfied with a project. Whether it’s a movie, or an episode of Rescue Me or whatever. I could always go back and add more but when I was done, I felt like, like my mother talking to Dr. Phil seemed like a great ending.

CS: That was. It certainly wrapped up the book in a nice package. Looking at it now, was the experience at least a good one for you from a creative standpoint?

LEARY: Yes. I loved it. I thoroughly enjoyed it. The process was difficult to get used to but once I got into it, I really enjoyed it.

CS: If I had one more question…looking forward, now the book and with Rescue Me going back into production, how do you look at where you come from since starting eons ago in clubs and now being an established author, Emmy nominated television star? Is there anything left that you want to achieve? Some guys feel they have accomplished it all and just disappear, do you still have a fire to keep doing something else?

LEARY: Yes, definitely. I don’t have that problem. I’ve got a couple ““ my hero has always been and especially once I’ve worked with him and picked his brain, I didn’t know anything about making movies or how to do it but Ted Demme was my partner in crime and his uncle Jonathan and Robert De Niro, in particular, were two guys very early in our careers who pulled us aside and said, “You guys need to start production companies and learn how to do this and this and this.” And I’m really glad I learned so I can self-generate. I had to learn how to act on film because I was a stage actor and comedian, I had to learn how to write and produce and when I worked with Bob and I was a huge fan of his and picked his brain I realize now that I watched that guy do his work as an actor and director and I got a couple projects in my back pocket.

I always wanted to do a Rock “˜n Roll movie because I have a comedy band, but the guys who are in my comedy band are the same guys I was in a real band with when I was a teenager so I’ve always wanted to do a Rock “˜n Roll movie about a guy, like what if Mick Jagger or Sting or a guy like that hadn’t made it? I know a couple guys who are really talented rock guys but nobody knows. They are 50 years old and still do it for a living but they still have to hustle. So I always thought that that was an interesting idea to make a funny movie about a guy who was supposed to be Mick Jagger but didn’t get the break. So I have things like that. I have a gangster film I want to make, so I’ve got other stuff I want to do and I’ve been lucky enough to play dramatic roles and comedic rolls.

Hey, I’ve worked with Dustin Hoffman, De Niro and Clint Eastwood. My old man would not have believed that I made it that far. So I’ve been to the top of the mountain as far as I’m concerned. Everything else from here on end is gravy. I got to do the George Carlin Mark Twain memorial tribute last Monday with Jon Stewart and Lewis Black and Jon and I were looking at each other and even called each other the next day and said, “This is ridiculous man. This is one of the guys that made us go into comedy and we are at his wake.”

So, I’m not asking for anything else. I’m good where I am. I was supposed to be driving trucks.

CS: Thank you, Denis, for your time. I’ve been a fan…

LEARY: Yeah, well then tell Kevin Smith to put me in one of his fucking movies!

(Laughs)

December 3, 2008

Holiday Havoc: An Evening With John Hodgman & Ken Plume

Filed under: A Bit Of A Chat With Ken Plume,Holiday Havoc,Interviews — UncaScroogeMcD @ 1:06 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at FRED, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today, we’ve got an in-depth conversation between minor television celebrity, PC, and literary trivialist John Hodgman and Quick Stop’s own Ken Plume. We present this as an audio feast for the ears, as this one titan of culture and one Ken Plume touch on matters historical, digit lossical, musical, and those involving the band Cameo. Be sure to pick up a copy of Mr. Hodgman’s new book, More Information Than You Require

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Download “An Evening With John Hodgman & Ken Plume“:

[audio:http://traffic.libsyn.com/bitofachat/an_evening_with_john_hodgman_and_ken_plume.mp3]

Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

If you enjoyed this post, please take a moment to DONATE

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December 1, 2008

Holiday Havoc: A Brian Blessed Christmas

Filed under: Holiday Havoc — UncaScroogeMcD @ 12:03 am

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

We kick off this year’s Holiday Havoc with a very special track presenting a unique holiday reality wherein the most exuberantly bombastic and gloriously hammy of actors records what can only be described as a holiday classic in the making. Without further ado, Quick Stop Entertainment presents “A Brian Blessed Christmas” ***”¦

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Download “A Brian Blessed Christmas“:

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Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE


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***No, this isn’t really Brian Blessed.

December 31, 2007

Ken P. D. Snyde-Cast #30: Year In Revue

Filed under: Holiday Havoc,Ken P.D. Snydecast — UncaScroogeMcD @ 11:02 pm

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Adult Swim’s Dana Snyder and FRED’s Ken Plume set out to have a literate conversation between two pals, but inevitably devolve into a verbal, and funny, free-for-all full of bickering, infighting, and the special kind of male bonding that comes from conflict expressed through the podcast medium.

Actor/comedian/raconteur Dana Snyder, you’re certainly aware, is Aqua Teen Hunger Force’s Master Shake, Squidbillies‘ Granny, Minoriteam’s Dr. Wang, and The Venture Bros.‘ Alchemist. Available for weddings and bar mitzvahs (bat availability pending), you can keep tabs on him via his website, www.eyeofthesnyder.com.

Ken Plume is the editor-in-chief here at FRED. He is a friend of Dana’s, as well as his arch-nemesis.

VISIT THE SNYDECAST EXPERIENCE

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KEN P.D. SNYDECAST #30: Year In Revue – Dana & Ken return after another of their epic absences with a special look back at the year, plus a pledge for the year ahead.

[CONTENT WARNING]: This podcast may contain some foul language and horribly off-color jokes. Don’t say we didn’t warn you.

DOWNLOAD: (right click to save)
Episode #30 (MP3 format)

[audio:http://traffic.libsyn.com/snydecast/ken_p_d_snyde_cast-30.mp3]

SUBSCRIBE
Subscribe to this Podcast via iTunes

Got something to say? E-mail Dana & Ken at the Snydecast mailbag.

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CLICK HERE FOR THE SNYDECAST ARCHIVES

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December 30, 2007

Holiday Havoc: Lucy, Daughter Of The Devil

Filed under: Articles,Holiday Havoc,Lucy Daughter Of The Devil,Quickcasts,Video — UncaScroogeMcD @ 10:48 pm

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Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

Not us.

Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

Ain’t that cool?

Today we’ve got an exclusive video from Satan himself, the pere of [adult swim]’s Lucy, Daughter of the Devil. With the help of creator/producer Loren Bouchard and a select group of elementary school students, Satan shares some of the holiday seasonal “Letters to Satan” that he gets (which makes a nice compliment to Satan’s special holiday recipe from the past).

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Download “Letters To Satan 2007”:

 

  • Large (560 x 420 – QuickTime – 3.78 MB)
  • Small (320 x 240 – QuickTime – 1.73 MB)
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    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 25, 2007

    Holiday Havoc: QI & Stephen Fry

    Filed under: Articles,Holiday Havoc,Interviews,Quickcasts,Video — Tags: , , , — UncaScroogeMcD @ 12:24 am

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    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today, not only do we have an extra special holiday sampler of the brilliantly funny UK quiz show QI, but we also chat with host Stephen Fry.

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    If you’ve never heard of the UK quiz program QI, you’re missing out on one of the funniest “educational” shows ever devised (the devisee being creator/producer John Lloyd, formerly of Blackadder, Not The Nine O’Clock News, and Spitting Image). The key to QI (which stands for “Quite Interesting”) is the central tenet of its philosophy – it’s not always being correct that counts, but interesting (and funny). The interesting nature of a given piece of information spurs conversation and debate, eventually leading round to the learning said informational nugget. Did you know that the Earth has more than one moon, for example? Or that otters kill crocodiles? Hosted by Stephen Fry, it features a rotating panel of four comedians (one of which is mainstay Alan Davies) – and it’s one of the most hilarious shows I’ve ever seen… Honestly, you’ll laugh as much as you learn. Be sure to visit QI on the web at www.QI.com.

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    stephenfry-02.jpgFar from being a stuffy intellectual, a loathsome toff, or a smug git, Stephen Fry has managed to walk the fine line of being not only a wonderfully intelligent man who unashamedly exhibits said intelligence, but also a very funny performer and an all-around humble and likeable guy.

    From out of the fertile ground of the Cambridge Footlights – alongside fellow ‘lighters Hugh Laurie, Tony Slattery, and Emma Thompson – Fry soon planted himself in the burgeoning comedy scene of the 1980’s alongside comedy partner Laurie, a teaming known by the rather straightforward sobriquet “Fry & Laurie”. By the end of the 1980’s, with Fry & Laurie fast becoming beloved members of the funny firmament, Stephen branched out into playwriting before moving into screenwriting, directing, acting, hosting, just plain bookwriting… Really, there’s not much he hasn’t done.

    Since 2003 – and over the course of 5 series and counting – he’s served as host/schoolmaster of the panel show QI.

    In the not-to-distant past, I had a chance to chat with Stephen about QI – and as a holiday treat, we finally present that interview to you, the merry masses…

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    KP: So, I suppose we should start at the beginning – how did QI enter the picture?

    stephenfry-04.jpgFRY: Well, through John (Lloyd). Through his remarkable persuasive powers. I’ve known him for years and years. Really, he was a great hero. When I was at university – he had been, like me, at Cambridge in the Footlights club, which is a famous club at Cambridge. It produces comedians, and has done so for over 100 years. John Cleese and Peter Cook and Ali G – and myself, Emma Thompson, and Hugh Laurie were all in the same year at Cambridge, and we were all in the Footlights as well. And as I say, it’s that sort of Python tradition. And John Lloyd had been in about five years before me. Same time as Douglas Adams who wrote The Hitchhiker’s Guide. They were very good friends. John had become well known to those of us aspiring toward the comedic world because of a TV series called Not The Nine O’Clock News, that he produced. When we left university, I sort of got to know him a bit.

    KP: There’s somewhat of a history with Footlights of the alumni sort of lifting up and providing opportunities for those that come afterward, isn’t there?

    FRY: Yes indeed. It causes extreme annoyance to those who were not at Cambridge. It’s often regarded as a kind of closed shop, a kind of Mafia, but it’s really just because we’re all very insecure and like working with people we know and trust, I suppose. But he did this series Not, as I say, and then Blackadder started and he asked me to be in the second series, where I played a character called Melchett, and then in the third series in one episode, and then did all the fourth series, as well. We just became friends, really. We’d go on skiing holidays together and that sort of thing. And then a few years ago he started to talk about this idea he had about this whole quite interesting thing, and at first I just thought, “Well, that sounds interesting. It’s a bit sort of Ripley’s Believe It or Not.” But knowing his track record as the best comedy producer of his generation, I kind of thought he must have some television ideas – because for him it’s a whole empire. It’s not just television – it’s books, it’s probably films, and god knows what else.

    KP: I think it’s an action figure at this point…

    FRY: Yeah. (laughing) So, he took me to lunch in a very fine restaurant of my choosing, and…

    stephenfry-05.jpgKP: So, you know how to play the game as well…

    FRY: Oh, absolutely, absolutely. And he asked if I would be in it. Either as a regular guest or as the host, and I said I’d rather be a regular guest than a host – not really knowing much about hosting and whether it was the kind of thing I wanted to do. And we did a pilot for the BBC, and he said, “Well look, for the pilot, can you be the host? Because we just can’t think of anyone else who could do it.”

    KP: So he’s actually quite sly about the way he set this up…

    FRY: Absolutely, yeah, indeed. So I did it for the pilot, and then it just seemed natural… everyone seemed to like it and said, “Well look, you must do the series. It goes through June.” So I said, “Well, okay then.” And I did it through the series. And, actually, I quite enjoy doing them, being the sort of beaming host of or, indeed, the vicious host, depending on how you look at it.

    KP: Obviously, for years you’ve done panel shows. How would you describe the difference, from your perspective, to now be in the presenter’s seat?

    FRY: Well, on the one hand there’s less onus on you to come up with witty remarks. On the other hand, there’s a strange onus on you to keep order. It’s bizarrely like being a schoolteacher, which I was very briefly before going to university. In what we call your gap year – which is the year between school and university where people like to go off usually and do the Inca trail in Peru or lounge around on Leonardo DiCaprio style beaches in Southeast Asia – but I instead taught at a prep school in England. And it’s like that. It’s like having a class of unruly people, and I feel it’s my duty to drag them back to the subject. But, on the other hand, of course, let them be amusing as well. So it’s a peculiar feeling. But it’s fun, and actually that sort of personality distinction between myself and Alan in particular is part of the fun of it, really, is that I treat him like a naughty puppy or a bad school boy.

    stephenfry-06.jpgKP: Who knew you would develop into an amazing comedy duo?

    FRY: Yes, it does seem like that. It’s great fun. We record… I don’t know how long we record. John probably knows. It’s only about an hour, from which they have to get a half an hour, of course. And because we do 12 in one series – which is a lot for an English series, although it’s nothing for an American series – it gets into a nice rhythm.

    KP: Did you know right off the bat that there was a rapport between you and Alan?

    FRY: No, no, not at all. I’ve known him – met him at industry parties, award ceremonies and things – and he seemed a very nice chap and I liked him, but no, it just did seem to work. Of course, you know he plays a lot dumber than he really is, and I play a lot smarter than I really am! (laughing)

    KP: With the benefit of the prompter, I’m sure.

    FRY: Yes, absolutely. I’ve got all the answers, but usually, obviously, the point is not to… if everyone just knew the answer it would be a very dull game. The idea is to vamp and busk and generally, as it were, scatting on the subject. And the great thing is that now it’s well established, people who’ve not done it before will have seen it on television and be less scared of it. Because when it started, when we had a newcomer they were very nervous that they wouldn’t know enough, or that they had to be funny. I think what makes it fun for everyone to be on… well, there are a number of things. One is that it doesn’t address any of the boring issues that other television addresses, i.e. the celebrity culture and pop culture and contemporary politics and so on. It is genuinely… you have weird conversations about strange insects or about the nature of the universe or a chicken that lived five years without its head.

    KP: Very much about the tangent…

    FRY: Exactly, exactly. And that’s a relief, though. And people don’t have this enormous feeling that they have to come up with smart one-liners all the time. That it’s wonderful when people are funny, but it’s also wonderful if they genuinely know something interesting. You know, and sometimes the audience enjoys that more than anything else. Some odd fact may remind them of another odd fact, because everybody does know odd things. But off the top of their head they won’t know them. You need to be reminded. It’s like priming a pump.

    KP: Alan mentioned that Hugh (Laurie) was quite nervous about doing the show…

    FRY: Oh yes, indeed he was, yeah. He’s always nervous, Hugh, mind you.

    KP: From what Alan related, he had a performance anxiety that he wouldn’t be able to keep up with you…

    stephenfry-09.jpgFRY: (Laughing) That’s nonsense! A, he can keep up with me, plus – I mean, he’s so brilliant, Hugh. And also, of course, he has so much charm that he’s always absolutely brilliant anyway.

    KP: I think, now – by law – he belongs to us in America now.

    FRY: Yeah, he certainly does, doesn’t he? Yeah. I’ve only seen four episodes, I think, but he’s terrific. Really wonderful.

    KP: I’m surprised they haven’t scheduled your stunt casting as the hospital administrator, or something…

    FRY: Well, funnily enough, when I talked to him he said, “You’ve got to come and do an episode.” I said, “I’d like to be the visiting doctor from London who’s even nastier than you are. Who makes you look like a pussycat.”

    KP: I can’t even imagine that… unless you went around performing unnecessary amputations or something, I can’t imagine a more unpleasant sort than what they’ve made his character out to be. But in a loveable way.

    FRY: Yeah, exactly. Exactly.

    KP: When you look at something like that, as far as a career trajectory, did you ever have a plan for where your career would go, or where you thought it would go?

    FRY: Never. I’ve never had a career plan or trajectory in my life. I rather enjoy the fact that I have no idea what’s going to happen next in the world, and everything’s a constant surprise. I’ve never planned more than a few months ahead. I just do or don’t do things according to mood, really. I sometimes think, “Well, if I concentrated on one thing, if I decided to be just a writer, or decided to be just a comedian, or just an actor,” I might have had more conspicuous kind of success, but I don’t regard success as meaning anything… Happiness is the only success I’m interested in, really. Rather than the kind of reputation type of success. And QI‘s just something that is fun, and it’s nice… it gives pleasure to people in a very particular sort of way. I like the fact that taxi drivers talk about it. And they say, “Oh, I thought it was going to be too poncy for me…” This very English word – too kind of “artsy-fartsy”, as you would say, I think. But they enjoy it. Because, as I say, everyone does know things that they don’t know they know, and it’s a good program, and so it gets a huge mailbag, of course, because people would say, “Oh, this reminds me of something I was told…” And, of course, people love telling me that I’m wrong.

    KP: Yeah, including Alan.

    FRY: Indeed, absolutely! Absolutely.

    KP: He mentioned that you were generally uncomfortable with the Boxing Day episode at the end of Series 2, with the tables being turned and you being placed in the hot seat under his questioning…

    FRY: Well, I just thought it was a bit… well, not exactly self-indulgent, but I was just worried that it was a bit… yeah, I mean, it looks as if we were too pleased with ourselves in a strange sort of way, as if we were making an assumption in taking for granted that people would so buy into our characters that they would be amused by something that might amuse us. So it was probably oversensitivity on my part.

    KP: See, Alan’s take on it was you just desperately didn’t like being put in that position.

    FRY: (laughing) Maybe that’s true! Maybe that’s probably the horrible truth of it, is that I don’t like not being boss.

    KP: And the problem that Alan had was that you happened to get the first couple of responses correct…

    FRY: Yes, quite. He wanted to humiliate me! (laughing) The tradition in grand English country houses is that the Duke and Duchess serve the staff, the servants, their Christmas lunch. That’s a very English tradition, that. So it’s that sort of equivalent. I become the school boy for one episode.

    stephenfry-03.jpgKP: Does it feel different to you? For years you’ve done panel shows, but being the host, was it a completely different feeling to then be put on the panel?

    FRY: Yes it was, actually. I mean, very strange, because you suddenly feel a whole different part of your comic mind is being asked questions, as it were, that you know you have to come at from a different place. Because you think, “Well now, do I interrupt here? Am I silent? If I’m silent too much people think I’m sulking. If I talk too much, they think I’m trying to take over everything.” So a rather bad bout of self-consciousness comes over one. (laughing)

    KP: Do you find that you became slightly more frustrated with the panelists at times during the first series? I remember in particular the “how many moons” episode…

    FRY: Oh, (laughing) absolutely! Yes, I see it as partly in a comic sense, but also partly in a quite serious sense to be my function, is to stop this kind of anti-science nonsense that is so prevalent amongst some, and try and sort of bang the drum for rational thought. Which is a bit like Hugh in House, actually. Try and be rational and basically push the palm of your hand hard into the face of those who doubt the value of logical thought.

    KP: I think, to some extent, Rich Hall saw a bit of an opening and a way to needle you on that.

    FRY: He did indeed. He’s brilliant at that. He’s an extraordinary figure, Rich, isn’t he? I mean, talk about dry. I don’t know anybody who’s dryer than Rich Hall.

    KP: Someone I’m glad who has found a life outside of the US.

    FRY: Yes, absolutely. Is he well known in America? I’ve never been quite sure.

    KP: Well, I remember watching Rich on Not Necessarily the News in the 80s. Which is where he really made his mark. And then, much like the US does with other things, we kind of cast him off unceremoniously.

    FRY: Right. And he has his Otis Crenshaw character as well, doesn’t he?

    KP: Yes.

    FRY: Have you seen that? Yeah, he’s kind of a trailer park character…

    KP: I’m quite glad that he has an aftermarket in the UK, and you respect him as much as we foolishly did not.

    FRY: Indeed.

    KP: We tend to be quite disposable, and you guys actually tend to respect intelligence and talent.

    FRY: Oh indeed. Yeah, we do.

    KP: Which I’m sure you’ll see, because at some point we’ll even be foolish enough stop liking Hugh, as well.

    FRY: Oh ho ho, please. He’s so sweet.

    KP: It wouldn’t be my choice.

    FRY: No, I hope not. Well he’s got to do another 22 in a few months, so he’s going to be there for a long time.

    KP: Can you envision a season lasting that long?

    FRY: No. And they work so hard on it. I’m doing this movie at the moment here in Berlin. It’s a studio picture. It’s Warner Brothers and it’s got a big budget and everything. So everything’s nice and slow. Here I am in my dressing room chatting to you. I get a nice Mercedes driving me in every morning and get nicely looked after and my own personal assistant who cleans my ashtray and brings me coffee whenever I want it and books me theater tickets if I’ve got a free evening and so on. Hugh, who is the star – and I’m only just a supporting actor – Hugh, who is the star of his own TV series, he has to drive into work, which all people do in TV. He shares a two-way trailer. I mean, he has his own section of it. And he gets almost no time in his dressing room in his trailer because people between shots are running, the whole crew is running around to do the reverse shot and they’re running to do the next shot. And they’re firing people who are a bit slow because they have so much to do. Eight, nine, ten pages a day. You know, we’re doing half a page today, and this is quite a lot of special… not special effects, but stunt work in the one I’m doing today. But give me films any day. They’re so much more relaxing! (laughing)

    KP: Plus he gets to juggle the American accent…

    FRY: Yes, which he does a very good job with – at least to my ears he does, and I think to a lot of Americans he really does do a good job.

    KP: I think it’s always a nicely disconcerting moment when interviewers actually hear his natural accent in interviews…

    FRY: Yes, indeed.

    KP: As someone who’s observing it and has occasionally dipped his toe into it, do you see a reticence for the US audience to accept British actors on their own terms?

    FRY: I think the fact that Hugh was probably best known to American audiences for Stuart Little, in which he also played an American, has made it quite easier for him, because I think with the exception of the Masteripece Theater-type audience who would have seen him as Bertie Wooster in Jeeves & Wooster, most of them will say, “Oh, that’s the guy who was with Geena Davis in Stuart Little,” and they’ll feel quite sort of… maybe feel he almost is American or, if he is English, then he probably grew up in America. Whereas if it was an obvious English actor like Hugh Grant doing it, I think they would find it rather hard to accept. It’s a tricky one. We love… we don’t mind Renee Zellweger doing an English woman, or Gwyneth Paltrow…

    KP: But you did mind Dick Van Dyke.

    FRY: That was terrible, because it was just so… Just so bad. An unspeakably bad accent. I mean, he can’t have had a dialogue coach. It was just shocking.

    KP: (laughing) But he tried…

    FRY: He tried, bless him… yeah, and, you know, he certainly was a good hoofer and he could move around and so on and, you know, I’m a big fan of his and all the rest of it, but dear me. (doing bad accent) “‘Ello Mary Poppins!”

    KP: Well, that shows you the full range of what we have to offer.

    FRY: (laughing) Yeah. But, you know, don’t… I sometimes get quite cross with Americans for selling themselves short. You’re the country that gives us The Simpsons and West Wing and things like that. There’s some really intelligent writing and performing and brilliant TV going on as well as the dregs. There’s some fantastically smart people working in television. Aaron Sorkin and people like that, David Kelly, and many of the others are really – they’re just incredible, what they put together under the pressure they do. Even things like CSI are so much better than they need to be, if you know what I mean. Obviously, after that fourth and fifth series, they tend to get more sentimental and formulaic and so on, but they’re very well constructed and very impressive pieces of craftsmanship. And at their best, like West Wing and The Simpsons, quite brilliantly written.

    KP: Another thing I regret, and QI is an antidote to that, is that we tend to be so intensely disposable because of the glut of information that we have delivered to us…

    FRY: Yeah.

    KP: Just a all of this mass media coming at us.

    FRY: Yeah.

    KP: Whereas, especially with performers – and QI being an example of that – there really is an appreciation for solid, intelligent performers in the UK that I just don’t think we have over here.

    FRY: Yes, absolutely. That is an advantage we have, no question. Yeah. It would be interesting to see what would happen if the Americans took the format, to see what you would do with it. Whether it would become more a series of one liners, whether there would be script editors. We don’t have that. I get the questions and that’s all I do, and I just say “Hi” and ask them. And the contestants… “Contestant” is not the word… The performers come along and respond to them. Some of them would like to know roughly what subject might come up beforehand, but nobody writes gags for them. Nobody tells them what to say. That’s the fun of it. I think the audiences know that somehow. They know whether something is prepared or not. And I’d be interested to see if American performers would allow that.

    KP: It seems – particularly your role within it – a very British thing compared to the US, since we really don’t have the same kind of headmaster-type role in our upbringing.

    FRY: No. You have issues with authority.

    KP: As you’ve seen with Rich.

    FRY: (laughing) Right! Exactly! (laughing)

    KP: Can you imagine hosting an American version of the show?

    FRY: It would be interesting. I would be treated, probably, like King George the Third, as someone who had to be… you know, have my tea poured over the side of the ship! (laughing) (doing American accent) “We fought a goddamn war to get rid of your kind!”

    KP: Yes… The final segment every week would be them switching places with you.

    FRY: Yeah, I mean, look at Anne Robinson on The Weakest Link. I mean, it lasted about a series or two, didn’t it, before people got fed up with this bitch from England…

    KP: I think it was just the intensity with which it was sold.

    FRY: Yeah, I think it was overdone, wasn’t it? It was ridiculously overdone.

    KP: To the point where, I think at one point they were airing it three or four times a week.

    FRY: Oh, dear god.

    KP: Eventually we had The Weakest Link: County Commissioners special.

    FRY: (laughing) Yeah, enough already!

    KP: You can only have so many variations of a game show.

    FRY: Yeah, quite.

    KP: But there’s also just the concept of the entertainer-based panel show, which really doesn’t exist here in the US. Bill Maher tried to do it with Politically Incorrect, but we really don’t have… I mean, in the UK there is that deep history of the panel show and game shows.

    FRY: Yes, there is. That’s right, absolutely. Lots and lots and lots. And I don’t know what it is. I don’t understand what psychological national characteristic is called in that gives it this kind of obsession, or at least history of it. Who knows what it says about you?

    KP: You’re someone who’s endlessly interested in being on these shows… What is the appeal, to you, of the panel show?

    FRY: Well, the fact that it’s simple and easy. I turn a lot more down than I do, but I do the odd episode of Have I Got News For You, which is a topical one, and I’ve done it about four times and it’s been going for 12 years. I’ve done a few others. And I love doing them on radio. They are enormously enjoyable.

    KP: Like Just A Minute

    FRY: Just A Minute, exactly, and I’m Sorry I Haven’t A Clue, which is a wonderfully silly one but very enjoyable. But yeah, I mean, it’s a pleasant way to spend an afternoon in a studio with… you know, (laughing) I don’t know what the answer is, I suppose. It used to be, before television took over the world, that’s how British people would disport themselves after dinner. They would play games. What’s called house party games. Games like Just A Minute all come from that. They were “parlor games” is the phrase, isn’t it? And a lot of the best games on television come from parlor games like that. There’s that play by Noel Coward, Hay Fever, which has got that classic scene in the middle where they all play this game called in the manner of the word where someone goes out of the room and everyone in the room has to think of an adverb – like “slyly”, or “astonishedly”, or whatever it might be. And then the person comes in and they ask questions, and they all have to reply in the manner of that word. And then he has to guess what the word is. And there’s this fantastic scene of violence and emotional sort of thunderstorm in Hay Fever because one of them feels humiliated because he doesn’t know the word “archly” or something, and they get in this terrible fight about it.

    KP: So this is what a repressed populace plays during a blackout…

    FRY: It would seem exactly that – rather than actually just getting straight down to it, as I’m sure you Americans would.

    KP: As opposed to expressing emotions through parlor games…

    FRY: Yeah, (laughing) that seems to be it.

    stephenfry-08.jpg

    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 23, 2007

    Holiday Havoc: The Venture Bros.

    Filed under: Articles,Holiday Havoc,Quickcasts — Tags: , , , — UncaScroogeMcD @ 10:58 pm

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    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    It’s Christmas, and that means the fine folks over at AstroBase Go – Jackson Publick and Doc Hammer – have put together another special Venture Bros. holiday tune exclusively for Quick Stop…

    In 2004, The Monarch & Dr. Girlfriend gave us their take on the Bowie/Crosby “Peace on Earth/Little Drummer Boy“, while 2005 brought the tender trio of The Monarch and Henchmen Nos. 21 & 24 belting out Dolly Parton’s “Hard Candy Christmas” during The Monarch’s incarceration, and 2006 delivered the epic “Venture Aid 2006

    This year, The Monarch & Dr. Girlfriend follow in the vocal footsteps of Shane McGowan and Kirsty MacColl by putting their own spin on the epic holiday classic “Fairytale Of New York”…

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    Download The Monarch & Dr. Girlfriend’s “Fairytale Of New York“:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    Holiday Havoc: Paul Dini & Rashy

    Filed under: Articles,Holiday Havoc,Monkey Talk,Quickcasts,Video — Tags: , , , , , — UncaScroogeMcD @ 2:09 am

    holidayhavocheader.jpg

    holly.jpg

    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today, we’ve got a special edition of Paul Dini’s “Monkey Talk”, which finds Rashy and his little brother, SuperRica, swingin’ it Vegas-style for the holidays…

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    Be sure to check out Rashy’s official site at LittleRashy.com“¦ And while you’re at it, be sure to check out Rashy’s “mom”, Misty Lee, at MistyLee.com

    Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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    December 21, 2007

    Holiday Havoc: The Sound Of Young America

    Filed under: Articles,Holiday Havoc,Quickcasts — UncaScroogeMcD @ 10:54 pm

    holidayhavocheader.jpg

    holly.jpg

    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today we’ve got an exclusive holiday special courtesy of Jesse Thorn and The Sound of Young America.

    The Sound of Young America is, as it describes itself, “a public radio show about things that are awesome.” Hosted by the aforementioned Jesse Thorn, it features interviews, music, comedy, and conversation, presented with a healthy dose of postmodern fun and fancy free.

    Head over to MaximumFun.org and give the show a listen, but not until after you give this little year’s holiday festivities a cyber-spin…

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    Download “The Sound Of Young America Holiday Special 2007“:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    Holiday Havoc: Mitchell & Webb

    Filed under: Articles,Holiday Havoc,Quickcasts — UncaScroogeMcD @ 12:10 am

    holidayhavocheader.jpg

    holly.jpg

    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today, we’ve got an exclusive sketch from UK comedy duo Mitchell & Webb – a little piece called “IT Helpdesk”.

    Chances are, to most Americans, the names David Mitchell & Robert Webb mean very little… unless, of course, they have a friend, relation, or acquaintance by that name. I speak, however, of a pair of brilliant comedians by the sobriquet Mitchell & Webb who currently ply their trade in the sceptred isle of England.

    A cursory glance at the offerings on YouTube will bring you up to speed on Messrs. Mitchell & Webb – who, since their Cambridge Footlights days, have written and starred in Edinburgh Fringe productions, radio (That Mitchell & Webb Sound), a live tour, and a trio of sketch shows (Bruiser, The Mitchell & Webb Situation, and That Mitchell & Webb Look – the latter two of which are currently available on DVD). They’re also the stars of the Britcom Peep Show (about to begin its 5th season), the feature film Magicians, and were cast as PC (Mitchell) & Mac (Webb) in the British versions of the popular Macintosh ads.

    Check ’em out… But first, check today’s Holiday Havoc from Mitchell & Webb…

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    Download Mitchell & Webb’s “IT Helpdesk“:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 20, 2007

    Holiday Havoc: Jonathan Coulton

    Filed under: Articles,Holiday Havoc,Quickcasts — Tags: , , , — UncaScroogeMcD @ 12:10 am

    holidayhavocheader.jpg

    holly.jpg

    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today, we’ve got an exclusive track from cyber-troubadour Jonathan Coulton – an evil, evil man who must be destroyed.

    Why this call to action? Because he’s immensely talented, an amazingly gifted songwriter, and his incredible creativity both intimidates a normal, ungifted person like myself and drives me to distraction with catchy tunes and wordplay.

    Damn him to hell, I can’t stop listening to his music.

    That includes his first album Smoke Monkey, his first EP, Where Tradition Meets Tomorrow, and the complete 4-disc collection of his online songwriting experiment, Thing-a-Week.

    You can purchase all of his discs, plus other merch – as well as partake of more sonic goodness – at www.JonathanCoulton.com. While you’re over there, be sure to check out all 52 Things – and pick up his CDs. And pledge your life to him. That talented bastard. Until then, here’s an exclusive live version (performed at Johnny D’s in Somerville, MA) of his nontraditional Christmas tune “Chiron Beta Prime,” with a little help from professional singing persons Paul & Storm and a “robot” assist from “Scott”…

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    Download Jonathan Coulton’s live version of “Chiron Beta Prime“:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 19, 2007

    Holiday Havoc: Opie & Anthony

    Filed under: Articles,Holiday Havoc,Quickcasts — UncaScroogeMcD @ 12:05 am

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    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today we’ve got a trio of “From The Archives” tracks from our good friends at Opie & Anthony, featuring Kevin Smith, Jason Mewes, and Jim Norton. Also included is the now legendary dust-up between Kevin and the late Joel Siegel.

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    Download Kevin Smith & Jason Mewes on Opie & Anthony:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 17, 2007

    The Fred Hembeck Show: Episode 102 – Deck The Howls

    Filed under: Holiday Havoc,The Fred Hembeck Show — UncaScroogeMcD @ 3:53 am

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    THAT should silence the critics who’ve said The Fred Hembeck Show has lost its bite!Well, gang, until next full moon – or thereabouts – stop on over at my Fred Sez blog to keep up on my latest doin’s! Adios for now!

    So, see you next time – WHENEVER that may be!!

    Copyright 2007 Fred Hembeck

    December 12, 2007

    Holiday Havoc: Billy West

    Filed under: Articles,Holiday Havoc,Quickcasts — UncaScroogeMcD @ 2:17 am

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    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today we’ve got an exclusive holiday skit from the one, the only – voice actor extraordinaire – Billy West, the voice of Futurama‘s Fry, Farnsworth, Zoidberg, and Zap Brannigan, plus Ren & Stimpy, Popeye, Bugs Bunny”¦ cripes, this list could go on awhile”¦

    Billy sent over a sketch that originally appeared on the long out-of-print CD Christmas Party With Eddie G. In this series of sketches, Billy plays all three of the latter-day Stooges – Moe, Larry, and Curly Joe DeRita – as they attempt to record the track “The Twelve Days Of Christmas” in a session from the late 50’s. You can find Billy on the web at www.BillyWest.com

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    Download Billy West’s “3 Stooges Christmas Recording Session“:

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    Check out the rest of this year’s “Holiday Havoc” HERE

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    December 11, 2007

    Holiday Havoc: Rifftrax

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    holly.jpg

    Some people hang the holly, others decorate the tree, and a few even terrorize the neighborhood with off-key caroling.

    Not us.

    Here at Quick Stop Entertainment, we’re celebrating the holiday season by giving a little something back to you, our readers (you know who you are).

    Every weekday leading up to the holiday break, we’ve got uber-exclusive gifts provided by a whole range of artists, actors, comedians, and studios. One a day, straight from them to you (and you can check out last year’s fun here).

    Ain’t that cool?

    Today, we’ve got an exclusive Holiday Havoc gift from Michael J. Nelson, Kevin Murphy, Bill Corbett ““ formerly of the legendary Mystery Science Theater 3000 and authors of numerous best-selling & very funny books and plays ““ and the rest of the team at Rifftrax.

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    If you’re unfamiliar with Rifftrax, they’re essentially downloadable audio commentaries that you can play back on your mp3 player of choice, which you then sync up to your very own DVDs of such classic (and not-so-classic) films as Lord of the Rings, The Phantom Menace, Roadhouse, The Fifth Element, and even Star Trek V. Even better, the commentaries feature that patented humor we’ve all been so desperately needing back in our lives.

    You can purchase these commentaries and many more directly from Rifftrax.com for only a few dollars, and additional titles are being added to the library constantly.

    Today, however, we have that special gift just for our Quick Stop readers ““ an exclusive holiday greeting from Mike, Kevin, & Bill!

    Check out the rest of this year’s Holiday Havoc – and past Havoc – HERE

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    December 10, 2007

    Holiday Havoc: Jeff Smith

    Filed under: Articles,Holiday Havoc,Interviews — UncaScroogeMcD @ 7:16 am

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    by Ken Plume

    jeffsmith-02.jpgNavigating the treacherous waters of launching an independent comic book series into the already crowded marketplace of the early 1990’s – one still dominated by the “Big Two” companies, Marvel & DC – could be seen as a foolhardy endeavor. That said comic would be a success in those circumstances – particularly when it was kid-friendly black & white book in the age of bloody antiheroes – seems even more insane.

    But then came Jeff Smith’s Bone. And it was a success, entertaining kids and adults alike with its sweeping tale of the three Bone cousins – Fone, Phoney, & Smiley – who find themselves in the middle of “interesting” (and dangerous) times in a mysterious valley after being run out of their home town of Boneville. Over the course of 55 issues from 1991-2004, Smith told his epic tale from start to finish – a rarity in an industry with so much failure – and told it his way. After wrapping the run, the entire series was released in a massive omnibus edition, before Scholastic picked up the license and has been releasing the 9 “chapters” comprising the tale in beautifully colored volumes (by colorist Steve Hamaker) under their Graphix imprint.

    Following Bone, Smith took on one of the cornerstone heroes of the DC Universe – Captain Marvel – for a mini-series titled Shazam: The Monster Society Of Evil… Which was a huge success, as well, and has been collected in a deluxe hardcover edition.

    Next up is another creator-owned series, RASL, a stark sci-fi tale about a dimension-hopping art thief, which is due to begin in 2008.

    You can visit Jeff and Cartoon Books on the web at www.Boneville.com.

    Here now is our chat with the man himself…

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    jeffsmith-03.jpgKEN PLUME: First off, I wanted to mention that I just saw the hard cover collection of Shazam: The Monster Society Of Evil, which is a beautiful presentation of a wonderful series..

    JEFF SMITH: They just really went for it. It was all their idea, too. Just the beautiful… it’s oversized. They actually shot new film for every single page because they enlarged the interior artwork. It’s larger than the original comics. They just really put some care into it, and I was blown away.

    KP: Just the idea of doing the dust jacket as a fold-out poster…

    SMITH: Again, they came up with that. They kinda liked how I had made a puzzle out of the back covers. Because I was trying to do some old, kinda fun secret codes and puzzles and stuff. And they thought, “Well, how can we repeat that in the collection?” And that’s what they came up with, is that unfold the dust jacket and have it double sided and, oh man, they just really went to town.

    KP: I think it’s one of the first trades that I’ve picked up that’s actually *fun* to pick up.

    SMITH: Yeah…

    KP: Above and beyond just the story.

    SMITH: Yeah. Well, good. That’s what a trade should be. Because, of course, it had all the extra stuff in it, too, almost like a DVD behind the scenes extras and stuff. It had like 40 pages of that. That was unbelievable.

    KP: The development stuff certainly was fascinating to see, the sort of permutations that it went through. Actually, how little permutation it went through from your original conception…

    SMITH: In some ways, yeah. Well, actually, you’re the first person I’ve talked to since it came out. What did you think of all that? You said you liked the package in general…

    KP: I liked the package, and it’s great to read the stories again straight through…

    SMITH: Does it change it?

    KP: The experience itself?

    SMITH: Yeah. Bone, when I collected it – I’ve been serializing it for, like, 12 years, so I knew that when somebody sat down and read it all on one go it would be an entirely different experience. But I wondered if even something as short as this, if collecting it together would be the same kind of thing…

    KP: Well, I think the difference is that it feels like such a complete package – it’s just these four issues for the whole run. Whereas with Bone, I remember buying the very first collection. That was the way I got into it… you just simply couldn’t find the original issues.

    SMITH: Right.

    KP: So I remember back in – it would be what, ’92, buying the first collection?

    SMITH: Yeah, something like that. ’93.

    KP: And knowing that the story was gonna continue for quite a bit after that meant that you really didn’t have a sense of closure.

    SMITH: Yeah. So it didn’t change it that much to read it through…

    KP: No, I think it was just fun to go straight through – and, obviously, the presentation itself… It’s nice to hold a single volume that’s got a heft to it. But no, I think the story was fun right off the bat.

    SMITH: (laughs) Okay.

    KP: It’s certainly more satisfaction to know that you’re not gonna have to wait.

    SMITH: For 12 years, yeah, no doubt. I feel the same way. I’m very pleased I’m not gonna be working on it for 12 more years.

    KP: (laughs) That you know of.

    SMITH: That I know of, right.

    KP: Well, I think you certainly left the door open for yourself.

    SMITH: Yeah. And DC’s made it very clear that the door’s open for the return of the Monster Society of Evil.

    KP: Did you enjoy the experience? How did it compare to Bone, since this is the project you did immediately after wrapping that up?

    SMITH: I actually enjoyed the experience a lot. When they first approached me with it near the end of Bone, I was a little hesitant. But when I started to do some research into the old golden age comics and tried to figure out what was it about Captain Marvel that clicked with so many people back in the golden age, I got interested in the character and I got interested in kind of the simpler, more clean lines of not only the drawings, but just of how the stories were done. Everything was just much more pared down to, he’s a little boy, he has a magic word, and then he can fly and bullets bounce off of him and he can stop criminals. I mean, it’s just that… that’s they key. And I thought that was… that appealed to me. And as far as coming off of Bone to do something, I needed to do something in between Bone and whatever else I did. Because mentally it would be just very difficult to just stop something that I’ve worked on for 12 years and launch into a new one. Not just for me but, I think, for anybody reading it, because anything I did would be compared to Bone, favorably or unfavorably, and I felt like it would be a good break. It would be a little breather for me if I could do a shorter project. (laughs) A 200 page comic book – which is a shorter project to me, but probably to nobody else. But I felt like that would be a nice little palette cleanser, so to speak, for me. And I enjoyed it quite a bit. Working with DC was good. I had fun. Being a 9-year-old and drawing superheroes who could fly. It was great.

    KP: It almost seemed like the equivalent of a band coming off their fantastic debut album and deciding to do an album of covers.

    SMITH: Well, not really. It’d be more like just deciding to come out with just a single, a 45. I don’t know what you call them nowadays.

    KP: I guess a CD single.

    SMITH: Yeah, a CD single. Because, I mean, Captain Marvel compared to Bone is just a sliver. It’s a single compared to an album. That’s exactly what it was. That’s exactly… that’s a really good analogy. I just did my big debut album, and then I just did a little cover single just for fun because it was something I liked and I thought it would be fun.

    KP: And less pressure, would you say?

    SMITH: Oh yeah. Well, mentally, for me, there was pressure. There probably wasn’t less pressure. I think everybody was ready to pounce on me if I’d have screwed it up. (laughs)

    KP: What kind of criticisms did you see as potential coming your way?

    SMITH: Oh, I don’t know. Just whatever the criticism… you know, there’s always…

    KP: The only thing that I’ve ever heard anyone every say is, “We wish the stuff would come out faster…”

    SMITH: Yeah. Well, I can’t do anything about that.

    KP: I’ve yet to run across someone criticize the work itself.

    SMITH: Oh, that’s good. Let’s just keep it that way.

    KP: I think it was good, as far as Monster Society was concerned, that it was planned that nothing would be solicited until it was ready to go.

    SMITH: Yeah, and that ended up… I actually asked for that up front. Because I didn’t really know how long Bone would take to finish – and it wasn’t so much that Shazam took me a long time, it was that Bone took me a long time. Because finishing Bone, at the end, was extremely difficult. I wanted to make sure all the story thread – all the plot points – all worked and meshed together at the end but didn’t feel forced or like a Hollywood pat type of an ending. And it actually ended up being very, very difficult and took me about two years longer than I actually thought. One of the reasons I have that reputation for being slow is, especially the end of Bone, where I was… it took me two years to put out, like, five issues.

    jeffsmith-04.jpgKP: Well, there was the sense that – almost from a story perspective – that the ending arc was almost like pulling teeth for you.

    SMITH: It was, it was. I mean, I think a lot of people thought maybe I just really didn’t want to say goodbye to the characters and the world, but really it was just incredibly complicated to get everything to work out, and work out the way I really wanted it to.

    KP: Was there ever a point where you thought that wouldn’t be the case?

    SMITH: Yes. Oh yeah. That whole two year period where I was tearing my hair out. I was like… I would write the whole ending, two or three issues, and then… not actually draw it and ink it or anything, but I’d write it. And then I’d realize something very important had been left out, and I couldn’t weave it back in. I’d have to throw it away and start over again. And I would just write it over and over again.

    KP: Is there a piece of the puzzle that was particularly difficult to try and get placed?

    SMITH: Well, I can’t remember off the top of my head. Yeah, I don’t remember… it was usually Phoney Bone’s little story. Stories were difficult to weave in. But they all were. There were so many relationships that had to be fulfilled, and so many character stories to tie up. And some of them were more important than others. And some, frankly, I couldn’t actually figure out how to make them fit in, and so I just let them go. I actually think that adds to the book’s appeal at the end, because that’s more real. Not everything is resolved.

    KP: Right. When you talk about an arc of such an epic length, I certainly didn’t feel that I was unsatisfied at the end. Do you have the same feeling when you reflect back on it, that you pretty much did what you wanted to do?

    SMITH: Yeah, I feel pretty good about it. It almost killed me, but I did it as best I possibly could. And I feel a good sense of accomplishment when I can just hold that 1300 page black and white book and then put it on the shelf. Yeah, it was… I just look at it and think, “Damn, that was a lot of work.” (laughs)

    KP: When did you get the sense that Bone was becoming a sort of evergreen tale?

    SMITH: I actually never had that sense, really, while I was making it. It’s more as I just watched it continually go back to print, and just keep selling. I’m just kind of amazed and happy.

    KP: I would assume happiness would be a part of it…

    SMITH: Yeah, yeah. And we’re just going back to the 10th printing on the one volume edition – which I can’t remember how many that is, but it’s going to be another 10,000.

    KP: One of my big regrets is not having the funds to buy that beautiful hardcover edition that you did.

    SMITH: The limited edition, I know. We did the gilded edges with the cloth ribbon and the gold inlay. I don’t think that’s the right word… embossing. We did 2,000 copies of that.

    KP: I remember staring at them at Comic-Con. Those wonderful stacks.

    SMITH: I forget how much they were. They were like $125 bucks a pop. When we arrived in San Diego and unloaded however many we brought – I can’t remember, like 50 of them that we brought to the show out of the 2,000. And we stacked them up and couldn’t believe how big the pile was. Plus, we had all the paperbacks. And we thought, “Oh man, we’re gonna send all this back home. Nobody’s gonna buy this many books at this price, and it’s gonna cost us an arm and a leg to ship them home,” like, “Ah, man.” Now, of course, we sold them within 2 days, and the limited edition ones – when we put them in the catalogue – I think they sold out the first day. Now I wish we’d have done five thousand. But before, ahead of time, we were really nervous. We didn’t know if we were gonna get stuck with all these.

    jeffsmith-05.jpgKP: Are there any thoughts of doing a second edition of the hard cover?

    SMITH: No, that was a collector’s edition. And out of respect for the people who bought it, that’s it. That’s for them.

    KP: Or maybe not gilded or deluxe to the extent that that edition was, but another hardcover edition of the collection?

    SMITH: No. Maybe when we finish the color, we may try to do some kind of a color collection. But of the black & white one volume edition, that’s the baby.

    KP: I’ll keep hoping for eBay. It must be nice to have that hefty a volume in existence, knowing you created that…

    SMITH: Yeah. Well, that’s what I wanted in the first place. I honestly believed, from the time I was a kid, that comics could support that kind of a long, epic story. When I was a kid, I used to like pulpy adventure things like Conan and Doc Savage and Tarzan or Sherlock Holmes, or whatever, but still – compared to comic book stories, those were pretty long stories. And then as I got a little older, I got into bigger books like The Odyssey and King Arthur and even Lord of the Rings. And I knew that that long-formed story could be sustained in a comic book. But I just didn’t see it anywhere. And, of course, when I was at that age there was nothing in American comics like that. But boy, I wanted it. I wanted an Uncle Scrooge story that was really that big. I wanted it – and now, having done it, yeah, it was something that I felt needed to be done. (laughs) “Okay, check.” (laughs)

    KP: And obviously you’ve done quite a few meet & greets and talks and conventions. It seems, from an outside perspective, that everyone was pretty well satisfied with the arc of the story, the conclusion, and it doesn’t seem to me that there’s as major a call of, “Are you going to bring them back, are you going to bring them back, are you going to bring them back?”

    SMITH: Well, my experience is not quite that. (laughs) I get asked, “Are you going to do more,” almost on a daily basis. The two questions that I get asked every day almost are, “Are you gonna do more Bone books,” and “Is there gonna be a Bone animated movie?”

    KP: That’s because there was that long tease years ago with the whole Nickelodeon thing.

    SMITH: No no, I don’t begrudge anybody asking me either of those questions.

    KP: That’s what you get for putting out a flip book years ago.

    SMITH: Yeah, (laughs) Well, I would love for there to be an animated movie. It could happen. Eventually someone will come up to me who’s the filmmaker that can do it, and I’ll say, “Go.”

    KP: That can do it on your terms.

    SMITH: It doesn’t have to be on my terms, but it has to be someone who I think will do it justice.

    KP: Do you perceive it as an arc of films?

    SMITH: I assume so. I don’t see how you could do the whole thing in one movie. You’d have to pick a certain point to get to, and then – if it’s successful – do more.

    KP: The film was in development, if I remember correctly, in the late 90s, and obviously the story wasn’t finished in published form yet. It was in your head, at least where you were going with it. What was going to be the arc of that original first film?

    SMITH: I think it was going to be like get to the end of the cow race or try to get to the end of the third or fourth book. Something like that. With the idea that it would be a self-contained movie, open for sequels.

    KP: Was that the intention on their end as well? Were they looking for a franchise out of it?

    SMITH: Yeah, sure, of course they were. (laughs)

    KP: At what point in that proceedings did the communications deteriorate as to what everyone’s goals were?

    SMITH: Well, you know, everybody gets into it hoping to actually make a really great film. Nobody was trying to scuttle the whole process. You get into these meetings where there’s people with all sorts of interests involved, and you’re not always going in the same direction. It broke down pretty quick, and we just ran out.

    KP: What were the warning signs?

    SMITH: Well, there were many. I think a couple of big ones were, I started getting notes… I was writing scripts and turning them in and I was getting notes that came from out of the blue. “No character in a Nickelodeon movie will ever say ‘Shut up’ to another character.” And I just think, “Well, that’s a fairly random note.” They say “Shut up” in Disney comics. And then, of course, there was the whole infamous discussion of having pop music, like Britney Spears songs, in the movie. Which I don’t know if Britney Spears had anything to do with it. It was more like a record label talking to Paramount and suggesting such things. But that just wasn’t the kind of movie I wanted to have. So it was that kind of stuff.

    KP: Was it an amicable split in the end?

    SMITH: Kind of, yeah. They realized we had gone pretty much in different directions by the end. I think we started off kinda heading down the same path, but reality hits when you’ve got to justify millions and million of dollars and the record label offers you millions and millions of dollars towards the production if they can get some of their songs in it. And then the director won’t let you – or me… I wasn’t the director yet, but I was going to be. It just became what it became.

    KP: How much work had been done, pre-production wise, on the film?

    SMITH: Nothing. Two years just having meetings.

    KP: Do you…

    SMITH: Do I consider that a monumental waste of time? That’s why I took two years off. I took, like, a sabbatical on Bone. And I was going to take two years off, and I ended up only taking a year off because I thought, “Holy moly, this is a huge waste of time. I’ve got to get back to making comics. I hope I can come back to making comics.” Because a lot of people will get distracted like that, and then they can’t get going again. So I was very lucky to be able to pick up and get my readers back.

    jeffsmith-06.jpgKP: So there was definitely concern that any time away might find people moving on?

    SMITH: Yes, of course. I mean, why wouldn’t I be worried about that? The readership and the retailer support in this business is fragile and complicated, you know?

    KP: Right.

    SMITH: And a lot of it’s based on trust. And I don’t have the greatest reputation for timeliness, but I try to be respectful of my reputation of delivering a good comic book of some kind of quality level, and that the retailers will be able to sell it. And I just didn’t want to lose that.

    KP: Was there any point, besides that time, that you ever felt that losing that reputation and quality was a possibility?

    SMITH: You mean just in the 12 years I was doing Bone?

    KP: Yes…

    SMITH: Well, sure. I think every issue. I mean, you’re always looking at the sales charts and trying to figure out where you place and are you slipping or are you staying with the pack… That kind of thing. You’re always keeping track of that. I was, anyway.

    KP: Was there any time that you seriously thought that things could go under? I mean, obviously Bone was one of the lucky titles that weathered the implosion of the mid 90s.

    SMITH: Yeah. Well, there was a bad point in the mid 90s when all the stores were going out of business and the retailers were going out of business and distributors were going out of business. We were selling a lot of Bone comic books directly to individual stores. And as they went out of business, we got left holding a lot of invoices that weren’t going to get paid. So yeah, that was pretty worrisome. I mean, I survived it.

    KP: The one good thing that you had going is that you moved very quickly into merchandising, very early on.

    SMITH: Yeah.

    KP: When the book really started to catch on. So I’m assuming that that was always a nice buffer to have.

    SMITH: Yeah. The merchandising has never made tons and tons of money, so it’s never really driven any decisions that Vijaya and I have made. But it’s awful fun. I love having these little Bone statues and toys and lunchboxes. And usually someone will approach us who makes those kind of things and start that all off. And I view it as promotional items. Like, if somebody sees a Bone lunchbox in a comic book store, I think they’re a little more likely to notice it on the book shelves and pick it up.

    KP: Is there any piece of merchandise that you still haven’t done that you’ve been wanting for years?

    SMITH: We just, just made a Bone stuffed toy. Plush. It’s like 13 inches tall. And I can’t believe we never did that before. And we’re selling them like hotcakes!

    KP: Now, was that just circumstantial that it never happened?

    SMITH: I don’t know. I don’t remember saying, “Let’s not do it.” It just didn’t really come up. And we just finally thought, “Well, let’s do it.” We’ve got the Scholastic book, which is taking Bone and aiming it more towards kids. It sells not just in comic book stores, but in the children’s sections and the graphic novel sections in Borders and Barnes & Nobles. And, in fact, Borders picked up a huge amount of those stuffed animals and are selling them in their stores.

    KP: Are there plans to do a Phony as well?

    SMITH: Not yet. We’re still checking to see if that…

    KP: That that’s viable?

    SMITH: Yeah.

    KP: Well, they certainly look nice, and it’s very hard to pull off rounded characters in stuffed form.

    SMITH: Oh man, and every show I’ve been to and kids pick them up, I take pictures because the kids just squish ’em. I mean, just smash their faces into them. It’s amazing. I have lots of good pictures of them on my website of kids just clutching him right to their chin. It’s really nice.

    KP: Then you have to remind them that they have to pay for them.

    SMITH: Yeah! (laughs) Well, usually by the time I see them, mom and dad have already bought it for them and unwrapped it and hugged them and paid for it and everything.

    KP: Do you foresee it being difficult to keep up with demand, as far as production, on those?

    SMITH: Well, I don’t think it’s quite reached the Garfield suction cup to your car window stage, so I’m not too worried about it yet.

    KP: So are you desperately waiting for those “Bone on Board” signs?

    SMITH: Yeah, right!

    KP: That could be the comeback of the craze. At what point did the convention schedules start being as crazy as they’ve become for you? Because you just completed your big world tour…

    SMITH: Well, actually, it’s always been pretty crazy. In, like, ’92 I started going to just about every comic book show that there was. I didn’t go to the little Holiday Inn ones, the swap meet type, but I went to just about every one as much as I could possibly fit into my schedule and still do the comic book. And only recently, in the last five years or so, slowed down and have just gone to like three or four. But still, three or four big shows a year takes it out of you, and of course one or two over in Europe every year, as well. That’s one every other month, at least. You’re referring to the world tour I just went on that was for a whole year. That was exhausting. I went to 11 countries. Spain and France twice. Launched Bone simultaneously in, like, 15 languages in the new color edition. All while I was wrapping up the Shazam miniseries. So I’m beat! It was fun, though. I started the world tour at the Frankfurt book fair in Frankfurt, Germany. And that’s the largest book event on the planet. Every publisher’s there. It’s not just comic books – it’s all books.

    KP: It’s literally acres of books and publishers, isn’t it?

    SMITH: It’s literally acres of book stalls and publishers and buyers. It’s an amazing thing. In fact, Vijaya went there the year before the tour to meet with publishers in all the different languages and make deals and so she set the whole tour up like a year in advance. Then, when I finally went and launched it, a lot of the publishers were there, and it was really great. And then I ended the tour a year later, just two weeks ago, at SPX. So I went from the world’s largest book fair in Frankfurt to the Small Press Expo in Bethesda.

    KP: Yeah, but what was the Karaoke like at Frankfurt?

    SMITH: (laughs) They don’t get it.

    KP: I can think of no better way to end it.

    SMITH: Very good.

    KP: So, reaction wise, is there anything that really surprised you on the trip?

    SMITH: Well, I’ve slowly been amazed of the changing audience. I know when I let Bone go to Scholastic and colorize it, it would reach more children. But even before that, in the late 90s, there began this change. Neil Gaiman, with the Sandman books, started bringing, like, I remember more goth chicks started coming to conventions. But mostly it was just us guys, right?

    KP: Right.

    SMITH: I remember being on panels at comic book shows and just looking around and going, “Guys, wouldn’t it be more fun if there were, like, women here?” Because there were just none.

    KP: At which point the audience just giggled nervously.

    SMITH: Yeah, (laughs) Well, no, I don’t think so. They just kinda looked at me like, “Why? We’re talking comic books!” But something changed in the late 90s, and I just started seeing young couples, and even two girlfriends coming to spend the day getting their comics, and families. Parents bringing their kids. That did not happen in the early 90s. I never saw that. Not even in San Diego. I mean, in San Diego you might see a kid who’s dressed like a Klingon with their dad who is dressed as a Klingon, but that was it. And especially, like, in the last three years it’s really changed. It’s remarkable how mainstream comics have become. A lot of that is because of graphic novels, which are a more familiar form of literature. A square spine with a single story with a beginning, a middle, and an end. That’s something people can pick up and relate to. The material is more diversified. It’s not all just angst ridden superheroes, it’s now all sorts of things.

    KP: It’s always been a case with comics that if you build it, they’ll come. And there was nobody building anything for such a long time for a diverse audience.

    SMITH: I think that’s true. I think Manga helped, too. Manga proved that kids wanted to read comic books.

    KP: Despite what some people like Joe Quesada might say.

    SMITH: What did Joe Quesada say?

    KP: He made an infamous statement a few years back that he didn’t believe that 10 year olds read comics.

    SMITH: Yeah, well, Manga proves that they do read them. And, in fact, with Bone – they’re reading Bone by the millions. It just has to be made for kids. You just have to think about them. But they want to. I don’t want to zero in on Joe. There definitely was a prevailing thought in comics.

    KP: From a business perspective, the other stuff sold, and there was an audience for the limited range…

    SMITH: Everybody thought that kids were being peeled off by MTV, by video games. And Manga and some of the new graphic novels have proved that’s not the case.

    jeffsmith-07.jpgKP: And Bone.

    SMITH: If you just give them something… well, yeah, Bone is one of the…

    KP: You were, for a long time, a lone island in the sea.

    SMITH: Yeah. But kids do like it. Kids just want entertainment, and they want smart entertainment. They don’t want just… well, actually… I don’t know where I was going with that.

    KP: Have you ever thought, at any point, as sort of like an introductory thing, doing a pocket Bone?

    SMITH: I’m not sure what that means.

    KP: Smaller type stories.

    SMITH: You mean like drawing some quickie Bone comics and then physically make them small?

    KP: Yeah, exactly.

    SMITH: No, I never thought of that. (laughs)

    KP: I remember, as a kid, there was this period where Marvel did them. You actually had these almost pamphlet size, probably quarter size comic books that literally you could put in your pocket.

    SMITH: Interesting. No, I never thought of that. Sounds like work to me.

    KP: Or just repurposing of existing material.

    SMITH: Yeah, I know what you’re saying. You’re saying, “Think about things kids would like.” I absolutely agree with that. For me, Bone is done. So I’m probably not going to do anything more with Bone beyond finishing coloring it, and that’s about it. But I agree with you; that is the trick. And we did that, in a way, taking the comic book Bone – which is black & white and underground – and colorizing it and shrinking it to, like, Harry Potter size. That is exactly what Scholastic did. They kind of not only redesigned and repackaged, but repurposed the comics with kids in mind. The covers we did on the new Scholastic books are not the way I would have done them at first. If you look at all the Bone collections, or even the comic books, Bone is usually pretty small. He’s usually a little character lost in a big world, a big background. Which is kinda how I think of the book. In even my one volume edition, which is out now, it has a little small guy next to these big giant trees and rocks and stuff. But with Scholastic, they convinced me that I should do it in a more kid-friendly way. “It’s called Bone – show us Bone. Put him big on the cover.” And I just went, “I don’t know what you’re talking about.” So I drew him, like, really big, and I said, “That’s it, thank you.” And these covers – I mean, if you look at the six Scholastic covers that are out and just sit them on the floor in front of you, they’re candy. They’re beautiful. So Scholastic did actually think, and kind of redirected the books towards the kids.

    KP: Have you ever received any sort of Dylan going electric reaction to the colorization?

    SMITH: I’ve received that all the time for everything I do. (laughs) When I went to Image, going to Scholastic, doing the Trilogy Tour – everything was, “You’re always selling out.” “You’re always doing the quickest, easiest thing,” or whatever. I’ve been catching that hell the whole time.

    KP: Where would that generally come from?

    SMITH: Just the crowd. Do I remember who said it to me?

    KP: No, I mean is there a certain type?

    SMITH: No, it was pretty 100% encompassing.

    KP: What move generated the most sort of, “What are you doing?!?” reaction?

    SMITH: I’d have to say the Image move was huge, because it was during that period when Image had created a certain kind of reputation for itself, and I had created an entirely different reputation for myself, and to me it was just, “There’s, like, six independent guys, I’m an independent guy, and we can work together and do something for each other.” And it was good, because that was that period when everybody was not paying anymore. So Image was able to help me out through that. But yeah, I got a lot of crap for that.

    KP: Also, you got some criticism for being in Disney Adventures, which would have been the first time it was colorized.

    SMITH: Yeah. It’s just anytime you step out of your box, people are going to go, “What’s he doing?”

    KP: “How dare he try and make money.”

    SMITH: I definitely never believed that an artist should be starving in the garrote.

    KP: Which is what a certain segment of the audience expects from what they deem an independent comic.

    SMITH: Well, the comic is the comic. The comic has never been drawn one way or the other or directed one way or the other in any effort to be successful or to make money. It was always only story driven. That’s what it was, and that’s what it was. If that worked, fine. And outside of the actual comic I would try different things… like plugging in my electric guitar, exactly. But, like Dylan, I don’t look back. Don’t look back. This is the direction. Go forward with it.

    KP: Has anyone approached you about doing new material for the collections?

    SMITH: Well, of course. Oh, you mean actually putting new material in the…

    KP: Right.

    SMITH: No, no. No, they were quite happy to do whatever I wanted to do, pretty much. They had hired Art Spegelman and Francois Mouly as their consultants on setting up this new children’s book line, Graphix. And, in fact, I was under the impression that Art and Francois were actually going to be the editors of this new group. Although somehow they didn’t work that out. They had a separate deal for me. But in the beginning, I was talking with Art and Francois about how to redo these books, and it was Art who felt that the books should be in color. Just take those original nine books and colorize them.

    KP: You had been working with colorist Steve Hamaker before this…

    SMITH: Yeah. Steve was a toy designer, though. And although we did do one color thing – the 10th anniversary of Bone #1, we did in color. Just to kinda see. And it was okay. People kinda liked it. But it wasn’t enough to convince me that we should re-launch the whole series in color. But…

    KP: Am I correct that he was a designer for Resaurus?

    SMITH: Yeah, which was a toy company based in Columbus, Ohio here, but really launched fast and big and got into the toy business almost overnight.

    KP: Oh, I remember quite well.

    SMITH: Yeah, it was really nice. But they crashed and burned just as quickly.

    KP: In fact, Resaurus did the Iron Giant toys…

    SMITH: I don’t remember. I think they did Godzilla.

    KP: They also did the first wave of Bone toys…

    SMITH: Yeah. But then the company went down as fast as it went up, and when that happened we just scooped Steve up. And one of the talents he had was he’s a computer whiz and he’s really good at color. It just all kinda came together.

    KP: What was your reaction when you first saw one of his pieces?

    SMITH: I liked it at first. I always thought it was good. But to be honest, when we first started coloring it, I kinda thought it was just that. Coloring it. “This is just putting a layer of color on it just because there are some people who just won’t look at a black & white comic.”

    KP: Did you feel kinda Ted Turner-ish?

    SMITH: Yeah… Well, not that bad. (laughs) Now, though – we’re coloring the eighth one now… even though only six are out, we work way ahead. And at this point, Steve has become so good at it, that I have a very different feeling about the color books. We work together with each scene. We started, in the second one, looking for ways to use the color to be part of the storytelling. To try to put in shadows and different times of day. Golden skies or purple skies. It started to change everything. I got very interested about halfway through the second book when we could suddenly show depth and direct people’s eyes to the right place with color. At this point, the books are… they’re actually better in color than they were in black & white. And I didn’t think I would ever really say that. But they’re a different animal and they’re better. I think the black & white one volume will always be my baby. That’s closest to my heart. But I think the color books are better comics.

    KP: So it’s a wonderful addition to the family.

    SMITH: Yeah.

    KP: Not a replacement, in your eyes.

    SMITH: No. That’s been one thing that was kind of unexpected, was being able to have both versions. There’s the black & white one volume for kind of the original Bone audience – the comic book store people or the graphic novel collector. And then there’s this kind of more mainstream mass market version for kids and new readers. And I like them both, and they both sell in the same stores. You can go to a Barnes & Noble and you can see it in the graphic novel section – the big fat one, black & white – and you can go back to the children’s section and find the color one. And the two audiences don’t seem to affect each other. Like, the sales of the one don’t suffer because of the other one. They’re just two different audiences for the same work.

    KP: Do you see one or the other as being the definitive edition? If one had to go out of print…

    SMITH: For me, it would be the black & white one volume. Because from the beginning, since from the time I was 9 years old, I wanted a big fat black & white comic just like that. Because I would read these collections of Peanuts and Pogo comic strip collections back in the late 60s. And I thought, “That’s what I want.” But I want it, like, three times as fat. So that’s it for me. I did it, and that’s it. That’s what I wanted and that’s it. That’s what it is. And so that, to me, is really the ultimate one. There’s plenty of 200 page color collections, graphic novel collections. But there’s only one 1300 page single story collection, and that’s Bone, the one volume edition.

    KP: That could potentially give you a hernia.

    SMITH: (laughs) Or you could strap one to each of your feet and you could dust the top shelf.

    jeffsmith-08.jpgKP: One thing I do miss in the one volume edition, which was always a fun part of picking up each new issue of Bone, was the letter section.

    SMITH: Yeah. To be honest, I miss that also. I mean, I don’t miss it in the collection. I don’t think it really had anything to do with the collection. But I miss it as a cartoonist. When I was working with Bone, it was serialized, and each comic book would come out, and then two or three months later the next one would come out, and I would get feedback and letters in between. So I knew what I was doing that was working – or conversely, if I did something that was not working, people would write me letters and tell me that, too. And I could adjust. I would work towards their expectations – or even to thwart them.

    KP: Is there anything in particular you remember as being affected by the response?

    SMITH: Oh, everything. I mean, everything was really that way. Bone wasn’t that tightly plotted. I knew what the big turning points were. Bartleby coming back, I think, was… Bartleby is the little Rat Creature cub that befriends Smiley Bone, and Fone Bone takes him up to the mountains to try to give him back to the Rat Creatures to take him home. And I think, in my original outline, they were going to let him go. That was it. Because that story was a whole big arc about meeting this giant mount lion Rock Jaw and learning more of the expository parts of the back story. But the reader reaction to Bartleby was so strong… people just wanted him. Plus, I would go to comic book shows, and people would always ask, “Draw me Fone Bone,” or, “Draw me Smiley Bone,” or, “Draw me Phoney Bone,” and all of a sudden people were like, “Draw me Bartleby.” That reaction, as I’m writing the story, as I’m making the comic pages – to have people react that strongly to a character, that changes it. And I started toying with the idea of, “How can we bring him back?” And he came back in and actually became a huge part of the story, I think. And became one of the strongest events in Smiley Bone’s life. In the book. That’s one example. There’s dozens and dozens of others.

    KP: I think that was the first time you saw something beyond being just a sly comic relief out of Smiley.

    SMITH: Yeah. Which I think was a really kind of an unexpected, fun thing to have happen. As opposed to that was my experience with Shazam. Where I wrote all four issues up front to show it to DC – to my editor there, Mike Carlin – so they could okay it. “This is your character, are you cool with all this?” And they were. So that’s four issues, the whole story, 200 pages. Written to the panel. And then I drew it. And was done with it. I was working on the last issue when we started publishing them. So it was done. I couldn’t get reactions from people. I had no feedback. Well, I mean, I got lots of feedback. I think, mostly, people liked it. Some people didn’t like it that Captain Marvel and Billy were a little more separate than they’ve usually been portrayed. But things like that – I mean, I didn’t get that feedback and couldn’t roll with it and fold it into the story in any way. It was just, like, “The story’s done. Here it is.” And you know what? Between the two ways of working, I would pick to get the feedback. It was much more fun and organic, and more enjoyable, for me.

    KP: Is there anything – now that it’s completely finished and you’ve been hearing what people thought of it – that you would have gone back and adjusted if you’d had that feedback on Shazam?

    SMITH: With Shazam? Well, yeah, probably that one thing. I got the idea that people didn’t like it that Billy and Captain Marvel were… I don’t even… how am I… see, it’s so complicated I can’t even explain it.

    KP: They wanted the wish fulfillment of essentially Captain Marvel being an older Billy.

    SMITH: Yeah. Which I think he is. I still think he is.

    KP: There’s nothing in your story that says that he isn’t.

    SMITH: You’re right. Exactly. I think people think, “Okay, he’s little Billy Batson. He says “Shazam”, and then he just grows into his older, adult, powerful self. What I didn’t like about that version was then he kept his little kid brain. Which I thought completely went against everything the Captain Marvel comics ever had been. So in my version I was just like, “Well, this power comes to Billy,” and I did think that it was still Billy Batson growing up into an adult. But I just thought that he had the spirit in him of this protector spirit Shazam that has gone through civilizations from the beginning of time. It was in the wizard. And so whoever had the power of the magic word, that would transform them. You know what I mean? I think that when Mary got the power, she didn’t turn into a man. She turned into her, with powers. But she just got a little branch of the lightning, so she didn’t transform into an adult. She just got some of the powers. So, by the same token, when… with the Black Adam character, it’s sort of like an earlier version. He doesn’t look like Captain Marvel. Because he looks like the person he’s in. So there’s something, had I gotten the feedback where people didn’t like the word “host”, I probably would have changed that and made it… I would probably have kept it the same way I have it, but I would have folded it into the story more so that you were aware that this is actually Billy as an adult. He just actually is smart as an adult.

    KP: It struck me that as Billy gets older and has been Captain Marvel longer, there will be a merging of that “other”, older, consciousness.

    SMITH: Oh yeah, if I kept doing the story… I mean, I was doing that. I thought I was making it very clear that their two personalities were merging. But I did think that the magic power had some personality. There was some…

    KP: Some sentience of its own?

    SMITH: Yeah, that was moving around. I didn’t think I made that up – I felt like I got that from the original comics. If you watch the old movie serials and stuff, it’s pretty clear that he’s a guardian from the realm of eternity.

    KP: Right. This is obviously a preexisting power that’s been passed down and has obviously some kind of sentience of its own.

    SMITH: Right, right.

    KP: I thought you pulled it off. I can see where some people might have thought that you went in a different direction than you actually did.

    SMITH: Right, right. But what we’re talking about is, like, had I been doing it the way I did Bone where I would have gotten letters after each one, I could have addressed it and made it clearer… because I actually agree that it should be Billy. That’s Billy as an adult. And I could have made that more clear.

    jeffsmith-09.jpgKP: You talk about how tightly written this already was before you went in. Were there any happy surprises – like a Bartleby – that came in just within your own development of the story?

    SMITH: Well, when I wrote it I had a lot of fun discovering things – like Mary being so young. I thought that was kind of exciting and fun. And, of course, then the idea of Tawkey Tawny. I discovered the old Persian myth of the Ifrit, who could just change back and forth. A shape changer from animal to human, human to animal. And those kinda things, I thought, were just fun. But no, there were no surprises, because I had the whole thing all written and just sat down one day and drew it for, like, a year.

    KP: I think a lot of people – in the feedback that I’ve read personally – were interested just how political you made the story, as well.

    SMITH: That’s a good point you bring up. I think people made too big of a deal out of that, to be honest.

    KP: I never got the sense that I was being clubbed over the head with, “Oh no, there’s political overtones to this.”

    SMITH: Yeah. No, I thought… part of my whole approach to this character, Captain Marvel – and Billy Batson – is that one’s a little kid, and he’s helpless, homeless… and the other is Captain Marvel. He’s the most powerful being in the world. He can fly, bullets fly off him. They’re complete opposites. So it was interesting from a story idea to put Billy in situations where he had to deal with the adult world. And sometimes it was like, on the business world and with the media – with the reporter and her boss – and then I had him deal with corrupt politicians. So there’s no question that I put in Heartland Security – I am taking some pretty easy shots at some of those things that are happening. And some people just don’t think you should even have that in it.

    KP: But it’s one of those things… As with any children’s literature that’s written at a certain level – and I think you do write excellent children’s literature – is that it works on multiple levels. The kids are not going to see who exactly you were alluding to when you talked about how Sivana lost his seat to the widow of his opponent… (laughs)

    SMITH: Right, right.

    KP: A kid’s not going to know what that references, but an adult reading will go, “Oh, well, I appreciate the extra layer that was put in there.”

    SMITH: For me, I just saw that story and I thought, “Now that’s the perfect example of government corruption. And I’ll just use that to set the story up.” I do think you have to talk about things that are going on. What else do you write about? But on the other hand, ten years from now, that is purely going to be a story about a little kid trying to deal with government corruption. It’s not going to be specific at all.

    KP: Right. And, like I said, it’s going to be – for the ones who know what you’re alluding to – it’ll be like an extra, “Oh, that’s interesting you worked that in.” But it doesn’t affect the story one way or the other. So I was surprised by some of the criticism. I guess that with anything that deals with that, there are gonna be people that are gonna be touchy on it.

    SMITH: Yeah, exactly. And that’s fine with me. I’d be more worried if I didn’t say anything about stuff going on in the world.

    KP: Was anyone critical of – in what ostensibly was an all ages book – the use of the word asses?

    SMITH: I heard one person tell me that their librarian wouldn’t let it in the school library because of the word ass. But that’s just anecdotal. I don’t know if that was true. That’s pretty lame, though, if it’s true. (laughs)

    KP: Yeah, we all know how the occasional school library operates…

    SMITH: “No character shall say ‘shut up’ to another character in a Nickelodeon movie.”

    KP: Yeah, well, they dropped that rather quickly.

    SMITH: Did they?

    KP: I’m pretty sure there’s at least a couple of shut ups in Jimmy Neutron.

    SMITH: I have no idea.

    KP: And I’m pretty sure there’s some in the SpongeBob film. Certainly in the series. But you can never guess, in the roll of the dice, which executives you’ll get…

    SMITH: Exactly.

    KP: But, back to Shazam, are there ideas percolating as to, if you were to move it on, where it would go?

    SMITH: I definitely could picture a return of the Monster Society. That would come back and do the story that’s more like the original serial which is, now that we know who Mr. Mind is, we don’t just chase and battle monsters. That would be fun. Whether or not I’ll really do it, I’m not quite sure. We’ll see.

    KP: What aspects of it leave you on the fence? Other than just having the time to do it…

    SMITH: (laughs) I have my own things I want to do. DC was very good to work for. I have no complaints. They were patient beyond belief. They were encouraging. They were just great. I had no problem with them at all, and I would do it again – except I want to do my own stuff. They offered me if I would do the series, if I wanted to draw covers or anything I wanted to do. I said what I wanted to say with Captain Marvel in that book, and I think I’m going to do something else now.

    jeffsmith-10.jpgKP: And speaking of that something else, where did the initial conceptualization of RASL originate? How far back does that go?

    SMITH: Around 2000 I started thinking up a science fiction story. And it was originally what I wanted to do right after Bone. My original idea was this guy who could move forward and backwards in time just a little bit, but between parallel worlds, and he would somehow end up in our world, and warn us that – this is in 2000, mind you – he was gonna meet someone, a woman, and they would fall in love and he was gonna say, “I know what happens in your future. There’s religious fanatics are going to blow up buildings in downtown Manhattan.” And then 9/11 happened, and suddenly I was like, that story was… I couldn’t do that story, obviously, and that kind of threw me off. However, since then, I’ve taken the same character, and sort of the same sci-fi premise, but I’ve completely changed it. It’s no longer about that. About religious fanatics and bombs, or anything like that. But it’s a new scenario that has developed, where he’s an art thief, and for enough money – I’m talking, like, stupid money… like Bill Gates money… you can pay him to go to another parallel world, steal the Mona Lisa, bring it back, and you can hang your own Mona Lisa up in the living room. But it’s expensive because it hurts a lot to go between the worlds. It tears him up to the point where it takes him days to recover. Days of drinking and smoking and womanizing and gambling. Then he can go about his business, make his grab. He can steal whatever he’s after. But then to get back, he has to completely clean his mind and his body and become almost Zen centered in order to come back. And, of course, coming back hurts like hell and he has to start the whole process over again of womanizing and pleasures of the flesh and all that.

    KP: At the point that we pick him up, how long has he been doing that?

    SMITH: He’s been doing it for about 10 years when we pick it up. But things are starting to go wrong… I’m going to change that…. I’m gonna say he’s been doing it about three years. He gets more time out of it because there’s a little time drift. So he can do some things longer than others. But it’s been really, in reality – if there is such a thing – he’s been doing it for about three years. But things are starting to go wrong.

    KP: Wrong physically?

    SMITH: He used to be able to go to different worlds and steal the same thing over and over again. Because he knew how to get around everything. He didn’t to like set up the whole gig over and over again. So he could just go to a different world, but he knew how to get past all the alarms and stuff.

    KP: Almost like a Groundhog Day sort of thing…

    SMITH: Yeah, yeah, but he liked it. That’s how he made his living. But things are starting to go wrong. He’s changing things by doing it. So this starts up, he’s been doing it for about three years, and something’s gone wrong. And it’s a big gone wrong, and that’s what starts the story.

    KP: Now, do you have a full arc in mind, or is this just an ongoing series?

    SMITH: It’s an ongoing, but like Bone it…

    KP: You have an idea of where it’s going…

    SMITH: Yes – there is a plan for a beginning, a middle, and an end.

    KP: Visually, how different is it from what you tried to do with Bone?

    SMITH: To me, it’s no different. I’m just drawing it as good as I can draw it. But I’m pretty sure – with how surprised everybody was at how Shazam – they’ll think this is very different. Do you know what I mean?

    KP: For you, personally, how does it feel? Does it feel like it’s still the same wheelhouse?

    SMITH: Yeah. I’m just drawing it as good as I can draw it. I can’t draw any better, I can’t draw any different. I’m just drawing it.

    KP: Is RASL going out in black & white or color?

    SMITH: It’ll start off in black & white. That’s the plan. It’ll come out, like, four times a year in a standard comic book size. It’ll be about 36 pages, and $3.50 is the price we’re gonna put on it. And then once a year we’ll collect it in a large size. Did you see the big… I can’t remember if I saw you in San Diego or not. Did you see the oversized preview of RASL we had?

    KP: No. I heard about it, though.

    SMITH: Well, it was big. It’s, like, 11×17. I think we’ll do some large black & white collections like that. And then, when the whole thing is done, if I think there’s a market for it, I think we’ll do a one volume in color. We’ll color the whole thing. And then that’ll be sort of like the mass market one we keep in print. But that’s a long ways from now. This is definitely self-published black & white.

    KP: Is there anything that’s surprised you about the process so far?

    SMITH: No.

    jeffsmith-11.jpgKP: Or does it feel like what you’re used to?

    SMITH: It’s fun. I’m having fun. Part of the story takes place in the desert, so I went to Arizona for a couple weeks, and I just went out into the desert where it’s just, like, really, really dead quiet, and hot as blazes.

    KP: Deserts normally are.

    SMITH: Yeah. Well, it didn’t surprise me. The quietness surprised me. I mean, it is quiet. Like, when a bird would fly over you, you hear it. It’s that quiet. Every now and then you’ll scare a grasshopper, and it flutters over and man! It’s so loud.

    KP: Like a jackhammer?

    SMITH: Yeah. But I was really able to think. So I was looking for… I mean, I had all the story worked out, but there’s always that little something you gotta figure out – “What’s this one little thing that’s gonna really make this story worth telling?” And I thought of something that would make it interesting for me, and I’m ready to go.

    KP: And what was that thing?

    SMITH: Well, I can’t tell you that.

    KP: I was figuring you were setting it up not to tell me.

    SMITH: (laughs) Yes, I’m setting it up for you to have to go get the book…

    KP: And when’s the first issue out?

    SMITH: February.

    KP: So it’s going to be a quarterly.

    SMITH: Yes. That’s the plan right now. Hopefully 36 pages of black & white story.

    KP: Are you bringing back a letters column?

    SMITH: Yes, we’ll have a letters column as soon as we get some letters. So if anybody’s reading this, write me.

    KP: I guess they could even write in about the preview you put out.

    SMITH: Yeah, they absolutely could. And, in some ways, the letters page has kind of gone onto the blogs and the websites and stuff. You can start up a MySpace page for RASL

    KP: (laughs) Where people can request for art to be stolen?

    SMITH: Yeah.

    KP: If there was one piece of art that you could hire him for, what would it be?

    SMITH: For me?

    KP: For you.

    SMITH: There’s a couple of Picassos that I really would love to have. But I think, if I had to, I would ask him to go to the Musee Orsay and get me one of the Monet series, where it’s just like a church steeple in different light. Have you ever seen that?

    KP: Yes.

    SMITH: That’s what I would want. RASL, go get me some, man.

    KP: And where would you hang it?

    SMITH: Oh, right in my studio. Right in front of my desk. Right above my Walt Kelly original. I have a Pogo daily strip hanging above my desk.

    KP: If there’s a piece of comic strip art that you would hire him for, what would it be?

    SMITH: Well, I’ve got a Walt Kelly daily. I guess I’d really love to have a Krazy Kat Sunday.

    KP: A big, massive, full piece…

    SMITH: Oh yeah.

    KP: Sounds like you could keep him busy.

    SMITH: Oh yeah. Yeah.

    jeffsmith-12.jpgKP: And the complete Pogo collections you’re designing are coming up…

    SMITH: Yeah, well, we’re working on that.

    KP: Which certainly must be a bit of dream fulfillment for you.

    SMITH: Oh, it is. I can’t wait. I’ve been wanting this book since I was a little kid. I always wanted to be able to read the entire run from the beginning. I can’t wait. And I have read the first book, and it holds up. In this first Pogo collection, it starts off with just the silly animal jokes, but it quickly becomes… it talks about suspicion and McCarthy era stuff, and there’s a trial of Albert who is blamed for the disappearance of a little pup dog just because he’s an alligator and everybody assumes that he would eat it. There’s sort of this leading to conclusions…

    KP: Yeah, but none of that is relevant today!

    SMITH: (laughs) Yeah, none of that. No, it’s absolutely beautiful and it holds up and I can’t wait. We’re behind now. We’re having trouble finding good source material because Kelly’s syndicate went out of business. Unlike Charles Schulz’s – United Features – which is still around. There’s gonna have to be an announcement soon about… because it’s obviously not gonna come out this year like it was originally supposed to. But we’re looking. We’re working on it and we’re not giving up.

    KP: Well, it’s better to do it right than to rush it out.

    SMITH: That’s exactly right.

    KP: And so, I guess the last thing I’d have to ask is, how many ideas would you say you’re still percolating about beyond RASL?

    SMITH: I’ve got a couple more. I’ve got a couple more.

    jeffsmith-13.jpgKP: Oh, and when are we gonna see more Bone?

    SMITH: (laughs)

    KP: See, I had to at least throw it out.

    SMITH: There’s still three more volumes coming out. If you’re a kid and you read it in color, you’re still waiting. You don’t know how it ends yet.

    KP: That should be what, the next year and a half?

    SMITH: The last one comes out in 2009, yep.

    KP: And how are you going to mark that finale?

    SMITH: Oh, I’ll probably do another tour. (laughs)

    KP: You’re like a shark now.

    SMITH: Yeah. I just swim, promote Bone, and make little sharks.

    KP: Well, soon you’re gonna be swimming for RASL.

    SMITH: Yeah, that’s right. I’ll have to start doing that very soon. Well, I’ll consider this the first, how about that?

    KP: I feel honored. And I wanted to remind you that I’m one of the few people who were ever paid to work for Cartoon Books in flip books. I’m not sure if you remember that.

    SMITH: No… What did you do?

    KP: I worked your table in Charlotte.

    SMITH: Oh, we paid you in flip books?

    KP: Paid me in flip books.

    SMITH: (laughs) You know what, I am always looking for people that I can pay in flip books.

    holly.jpg

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