FRED Entertainment

September 15, 2006

Quickcast Commentary: 2010: The Year We Make Contact

Filed under: Quickcast Commentaries — UncaScroogeMcD @ 12:47 am

Always eager to try something different, we’re launching a new series of Quickcast Commentaries here at Quick Stop. Essentially, they’re audio commentaries for existing movies, TV shows, short films ““ whatever the case may be ““ that you can download and sync up to your own personal copies of said films, programmes, etc. In the future, we’ll be offering commentaries from writers, artists, directors, actors ““ a whole range of creators ““ on films they’ve worked on, films they love, or films they loathe. We hope it will be a fun little corner of the Stop, and we’re eager to hear your feedback.

This week, we’ve got a commentary for Peter Hyams’ 2010: The Year We Make Contact, featuring Quick Stop editor-in-chief Ken Plume and QS columnist (“Widge Goes Off”) Widgett Walls.

All you have to do is download the mp3 file below, cue up the film/episode/whatever on your TIVO, VHS, DVD, or computer, then hit play on the commentary (or you can download the free Sharecrow DVD player, which allows you to sync up commentaries on your computer). Hope you dig it”¦

DOWNLOAD:
mp3 Format (106 MB)

[audio:http://asitecalledfred.com/commentaries/qsecommentary-2010.mp3]

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Weekend Shopping Guide 9/15/06: Dunder-Mifflin

Filed under: Shopping Guides — UncaScroogeMcD @ 12:45 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

Jonathan Coulton is an evil, evil man who must be destroyed. That’s 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 CDs. Those include his first album Smoke Monkey ($10.00), his first EP, Where Tradition Meets Tomorrow ($7.00), and the first collection of his online songwriting experiment, Thing-a-Week ($10.00). You can purchase all of these discs, plus other merch, as well as partake of more sonic goodness at www.JonathanCoulton.com. That talented bastard. Dammit.

After a shaky first season finding their own voice, the second season of the US version of The Office (Universal, Not Rated, DVD-$49.98 SRP) came fully into its own, becoming a unique entity unto itself and a damn funny comedy to boot. What’s even better is that they did it without betraying the formula that made the original version of the show so successful – they just began writing for their own versions of the characters and have taken the arc into new territory. The 3-disc box set features all 22 episodes, plus deleted scenes, commentaries, NBC.com webisodes, fake PSAs, Olympic promos, a blooper reel, and more.

If you’re going to write a sequel to a classic comic book story, you damn well better make sure that you don’t drop the ball. Luckily, Don Rosa’s return to Carl Barks’s land of Tralla La – “Return to Xanadu” – is a worthy successor to The Master’s original tale (which featured Scrooge’s complete derailment of the idyllic – and moneyless – Tralla La-ian society via the introduction of a single bottle cap from a bottle of his nerve tonic). After being run off by the none-too-happy populace of the isolated Himalayan valley, Scrooge, Donald, and Huey, Dewey, & Louie find themselves returning to paradise by sheer accident – and their return is no less traumatic than the first time. You can find Don Rosa’s giant-sized epic in this month’s Uncle Scrooge #357 (Gemstone, $6.95).

Before it his a brick wall in its final season, Roseanne (Anchor Bay, Not Rated, DVD-$39.98 SRP) was must-see TV in my house, which was still going strong in its fifth season. Roseanne and Dan celebrate their 20th, Roseanne opens the Lunch Box (gotta love those loose meat sandwiches), Jackie & Roseanne’s dad dies, David movies in, Darlene turns 16… Oh, and even Tim Curry shows up. What’s not to love? All 25 episodes are uncut (please tell me we’ll eventually get a reissued, corrected season 1 set), and there’s both video commentaries with Roseanne and a Q&A featurette.

Like The Simpsons, Roseanne Barr’s eponymous sitcom made a beloved annual tradition of its Halloween episodes, all of which are collected on Roseanne: Halloween Edition (Anchor Bay, Not Rated, DVD-$14.98 SRP). That’s 7 episodes of spooky goodness, and you even get commentary from Roseanne.

Opting for a more manageable handling of the latest seasonal set, the fourth season of Spongebob Squarepants (Paramount, Not Rated, DVD-$36.99 SRP) gets a 2-disc Volume 1, featuring 20 episodes plus animatics for 2 episodes and a behind-the-scenes look at the denizens of Bikini Bottom.

And speaking of Spongebob, the voice behind the square-pantsed one – Tom Kenny – has co-written and co-produced a positively infectious album starring the denizens of Bikini Bottom, recast as the pop group “Spongebob & The Hi-Seas” who are appearing in concert on WH20 Radio. Before you go thinking The Best Day Ever (Nick Records, $13.98 SRP) is just some lame vanity project, let me tell you that the songwriting is positively infectious – Kenny is a huge fan of Brian Wilson and The Beach Boys, and the melodies and arrangement is in that vein… In fact, Wilson even provides backing vocals. Kenny’s love of the sound radiates in each track. Crikey, I think I love this album… And want a follow-up ASAP.

Never a fan of the series, I was surprised by just how much I enjoyed Beavis and Butt-Head Do America (Paramount, Rated PG-13, DVD-$19.99 SRP). Like South Park to come, it’s a sly little satire, all through the lens of its naïve leads. It’s been a long wait for this to finally hit DVD in a decent edition, but they pulled out all the stops, with an audio commentary, TV spots, shorts, a fight montage, trailers, and a look at the film’s score.

Titan Books has practically cornered the market on comprehensive, behind-the-scenes episode guide and companion tomes for science fiction shows, and they continue that with the release of the first volume for Joss Whedon’s Firefly (Titan Books, $19.95) – which features the uncut scripts for the first 6 episodes – and the official companion for the second season of Stargate Atlantic (Titan Books, $14.95 SRP). If that weren’t enough, they’ve also released the official companion for the first two seasons of 24 (Titan Books, $16.95 SRP).

Forming a triumvirate with Matlock and Murder, She Wrote, Diagnosis Murder (Paramount, Not Rated, DVD-$49.99 SRP) was must-see TV for the geriatric set, featuring Dick Van Dyke as the rascally doc that became involved with a disquieting amount of murders, proving that you should never be friends with Jessica Fletcher or come anywhere near Dyke’s Dr. Mark Sloan – at least if you want to make it out alive. The 5-disc set features all 19 first season episodes, plus the Jake and the Fatman episode that introduced Sloan.

It’s complete popcorn, but that’s the appeal of Lucky Number Slevin (Weinstein Company, Rated R, DVD-$29.95 SRP) – a bang-up dust-up that finds a young man named Slevin (Josh Hartnett) caught between two rival crime bosses (Morgan Freeman & Ben Kingsley), on the run from an assassin (Bruce Willis) and fending off the advances of his neighbor (Lucy Liu). It’s a pulpy romp perfect for a Fall viewing on a cold Saturday night. Bonus features include audio commentaries, deleted scenes (with an alternate ending), a making-of featurette, and the theatrical trailer.

As Mark Evanier is fond of saying, even sub-par Laurel and Hardy is better than no Laurel and Hardy. The three films found in the second Laurel and Hardy Collections (Fox, Not Rated, DVD-$34.98 SRP) are certainly not the boys’ best work. The three flicks featured are The Dancing Masters, The Bullfighters, and A-Haunting We Will Go, and all 3 feature commentaries with L&H scholars, featurettes, trailers, and Fox Movietone News footage.

Despite the inordinate amount of buzz it’s generated and the dedicated fanbase it’s engendered, I still can’t get into Grey’s Anatomy (Buena Vista, Not Rated, DVD-$59.99 SRP). Every time I’ve tried to sit down and watch an episode, I’ve come out the other side feeling like I’ve just viewed an overindulgent soap opera that consistently “borrows” plots and jokes from Scrubs. Still, there are legions of fans out there, and I’m sure they’ll devour the new 6-disc set featuring all 27 episodes from Grey‘s sophomore season, including four extended episodes, a cast Q&A, interviews, deleted scenes, behind-the-scenes featurettes, and more.

Some dismiss it as prog-rock pap, but I can’t help but get a warm and fuzzy feeling from Jeff Lynne’s completely bombastic orchestral tour de forces contained in every Electric Light Orchestra album. They’re just so unashamedly over-the-top that it’s hard to resist their goofy, catchy charm. Another trio of ELO albums have gotten the remastered treatment – Face The Music, A New World Record and On The Third Day (Sony Legacy, $11.98 SRP each) – with each disc containing a clutch of bonus tracks.

Any all-ages book of general knowledge and trivia that promises that the meaning of life can be found on page 42 automatically gets kudos from me, and the fact that the rest of Pick Me Up (DK, $29.99 SRP) is just as fun and informative – even for an adult. From a series of “what ifs” that explore the first two World Wars to naked mole rats to the reason no one can live forever (simple statistics), it’s chock full of so much fascinating goodness that once you pick it up, it’s hard to put down. I’ve always wanted to know what a Viking girl might post in her blog…

Akeelah And The Bee (Lionsgate, Rated PG, DVD-$28.98 SRP) reminded me of a sweet mash-up of Finding Forrester, Searching For Bobby Fisher, and an After-School Special. Young Akeelah Anderson has one dream – to make it to the National Spelling Bee, and like Pollyanna before her, she united all around her in her quest. Bonus features include deleted scenes, behind-the-scenes featurettes, a music video, and a gag reel.

While lesser lights of the DC animated universe (granted, I still can’t stand the latter), fans can pick up the complete second seasons of Teen Titans and The Batman (Warner Bros., Not Rated, DVD-$19.98 SRP each). Both 2-disc sets feature all 13 episodes, but the sole bonus features are season one recap featurettes.

With his recent expulsion from Paramount – and the fact that he’s nuttier than a Xenu fruitcake – Fox might be reconsidering their idea of placing a sticker touting the fact that Taps (Fox, Rated PG, DVD-$19.98 SRP) was his second film role. The film is still a nice little character piece, benefiting from a new special edition featuring a commentary from director Harold Becker, a behind-the-scenes featurette, a look at the origins of playing “Taps,” and TV spots. Time to start scraping those stickers off, tho.

With the merger of Disney and Pixar, I sincerely hope that we won’t see the awkward, cheapie likes of The Wild (Walt Disney, Rated G, DVD-$29.99 SRP) again, with its poor animation and lame script. Bonus features on the disc include deleted scenes with optional commentary, and a blooper reel.

In it’s soap-filled three seasons, Las Vegas (Universal, Not Rated, DVD-$59.98 SRP) has truly become a latter-day Love Boat, packed to the rafters with B- and C-list guest stars (the third season alone features Ron Jeremy, Rachel Leigh Cook, Dennis Rodman, Dean Cain, and more), all under the watchful eye of Captain Steubing, played here by James Caan. The 3rd season set features all 23 episodes, plus a time-lapse featurette on the building of the new hotel and a gag reel.

If chasing down individual figures in order to complete a set of your favorite bust-ups is just too time-consuming for you, then Gentle Giant has made your life a whole lot easier by packaging sets together – in fact, right now you can pick up the complete set of all 7 Star Wars: Bounty Hunters (Gentle Giant, $29.99 SRP), featuring brand-new sculpts of your favorite rogues, plus Darth Vader. You know you want them.

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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 coming weekend. See ya next week…

Trailer Park: Anatomy of Buzz – BORAT and the Technicolor PR Machine

Filed under: Trailer Park — admin @ 12:28 am

By Christopher Stipp

Archives? Right Here…

In a recent article for The New York Times, Sharon Waxman hits upon something I could’ve told you weeks ago: You’re not going to get traditional press for BORAT in any sort of fashion.

Many weeks ago I recounted my experience at Comic-Con when Sacha Baron Cohen announced this film’s triumphant decent upon movie theaters everywhere. The buzz surrounding this film’s screening was intense and should have been enough to make any PR campaign for this movie an easy sell with the right kind of push. One of the things, however, that I latched onto when I did some initial talking to those who were working the event was that Fox was looking for people to help promote it as any other under-the-radar kind of flick would want to have; people to talk about it; offering up the crew for interviews; any great word of mouth would help drive box office.

Thing is, though, there is an across-the-board shut-out of anyone even remotely involved with the making of this movie. As Waxman points out when she tries to get Sacha’s ear with regards to this movie, “Mr. Baron Cohen, who is appearing in Toronto as Borat, declined to be interviewed for this article and will be conducting interviews ahead of the film only in character” and, further, “20th Century Fox also declined to comment for this article or otherwise participate.”

So, why the disconnect with a movie that seems to barrel down its viewers wherever it plays? If you’d like to be 20th Century Fox and play the political card and defer to the movie’s outlandish jabs at nationalism and religious issues then you’re a rather insipid Neanderthal who perhaps needs to learn a little more than your ABC’s when it comes to modern economics.

If I’m a studio and I know that I have a lightning rod of a movie on my hands what sense does it make to shove it in the closet like the neighborhood idiot who’s not allowed to socialize with the rest of the kids? Movies try and fail at ever gaining awareness of their pictures, some only wish a pack of crazies would make something out of nothing but yet here we are with a movie that’s getting gagged if for no other reason than this is the grand design of the movie’s creator who has figured out the precise mathematical equation about when a movie’s hype has passed the bombing run that would guarantee a dead-on hit.

I don’t know what the answer is to this one but I do know that we are roughly seven weeks away from this film’s opening, the word-of-mouth couldn’t be better and just when it’s time to start getting people on record about the tumultuous production we get that Sacha is only going to do interviews in character. Larry Charles won’t break his vow of silence, nor will anyone involved in the making of the movie.

Believe me, I tried.

For something like this I understand the need to create the air of mystery around the movie’s content. I get it. It’s artistic. No big mystery there.

You just hope, as a passionate stumper for this film’s power as a film, that those involved know what they’re doing and this movie is allowed to donkey punch people in the chest with the force this flick is capable of providing.
If anyone else in the audience has a reasonable theory about what’s afoot with the odd silence with any member of the press for a film that could use every voice at its disposal I would be more than happy to entertain any conspiracy theory.

THE TRANSFORMERS (2007)

Director: Michael Bay
Cast:
Shia LaBeouf, Travis Van Winkle, Josh Duhamel, Jon Voight, Megan Fox
Release: July 4, 2007
Synopsis:
TWhereas the Earth is the home of a variety of organic-based lifeforms, the planet of Cybertron is the homeworld of a race of robots which have the ability to transform into other mechanisms, with each Transformer having its own unique disguise. The Transformers are divided into two separate camps: the good and just Autobots, who are led by Optimus Prime (whose disguise is a red 18-wheel semi truck); and the evil Decepticons, who are led by Megatron (who transforms into a gun; there’s a good deal of size-shifting involved with Megatron as well). With fuel supplies (called Energon Cubes) on Cybertron running low, both forces travel through space looking for a new source, which leads them to Earth, which from their perspective in rich in the minerals and chemicals they need. Disguising themselves as cars, airplanes, boats, etc. easily recognizable to humans, the Transformers engage in a secret war for control of Earth’s bountiful natural resources…

View Trailer:

* Large (QuickTime)

Prognosis: Negative; Nay, This Is A Dreadful Tease. What a puss.

I was talking with someone else, a lot of people actually, who were present and not present for the Comic-Con’s presentation of the TRANSFORMERS movie a couple of weeks ago. Now, while it was cool as all shit that the original voice of Optimus Prime was going to be the voice for the live action movie I was definitely put off by the fact there wasn’t so much as an inch of footage presented.

For those in the know, Comic-Con is perhaps one of the best places to get geeks amped about your production should you have a flick ready to roll out in the next year. You don’t need much to get this core demographic moist in their Jockey’s as Bryan Singer had literally just started shooting X-MEN 2 when he came to Comic-Con and presented a teaser trailer that just blew their minds. He left knowing that now he set the expectations and needed to perform. Michael Bay had already set in motion the events of Comic-Con 2005 when he had a tractor trailer set up on the main floor, adorned with the promise that the rumor was now a reality, and now, just weeks ago, he had a captive audience. He had the opportunity that a lot of studios wished they had so what did he do? Bay literally called it in. With a pre-recorded video message that essentially said, “Bullshit, bullshit, bullshit, this movie is going to be so cool, bullshit, bullshit, bullshit, I can’t show you a dick’s worth of footage, bullshit”¦” it was just awful. PR-wise the man’s lost to the idea of how to win friends or influence nerds. I was a marginal fan at best growing up but even I was pissed and disappointed for those who expected something more than they got.

And now we have this.

I’m not really sure what to make of it but I guess, as a teaser, it’s not too wretched. One of the things that I like is that the conceit that the events that transpire here on Earth have something to do with a rocket launch in 2003. If you had no idea that this was for the TRANSFORMERS the teaser would initially make you think you were seeing the sequel to APOLLO 13. You’ve got a very solid countdown with no voiceover, no cards to indicate something more than what this is.

“In 2003, the Beagle 2 Mars rover was launched”¦”

The lack of music or even Tom Hanks’ face somewhere in the opening five seconds lends itself to this teaser implying more than just this being a movie about megastars trapped in space.

I love, I really do, that the conceit about this being about a Beagle 2 cover-up is rendered with some of the most crisp, sharp looking video images of what should be the surface of Mars. Never minding that what actually got beamed back from the surface looked like a series of 5X7s pasted against each other we see here, in this teaser, that the REAL surface of Mars looks like the salt flats of Utah and that it looks damn nice to have a picnic with a few brews and a pack of wieners, not the inhospitable wasteland we’ve been led to believe it is. Please, it’s damn near laughable. I know it’s supposed to be the movies and the suspension of disbelief but this looks like it was shot right here in Arizona. I mean you can see blue skies for fuck’s sake; couldn’t have someone fixed this with a few strokes on their Apple or something? If a conspiracist ever thought to question how to fake a moon landing this would be it.

Attention to detail notwithstanding, I laughed a little when a card pops up and tells me that its last transmission was deemed classified. What, did the camera catch hillbillies in their Ford 350 doing doughnuts, kicking up dirt and dust, spinning to the sounds of Toby Keith, as some topless chicks in their Daisy Dukes toss empty beer bottles of MGD from the back of the pickup, revealing this hoax of hackery?

Oh, and I love it, I absolutely adore it, that as the teaser fades to a close, a completely inconsequential transformer making a cameo that is useless to even try and be excited about, that as the movie’s logo, The Transformers, appears on screen we also get, in an amply sized font, that this is a MICHAEL”¦BAY”¦FILM. Nice. Nice touch, ass; never mind all the people who you now have to depend on to bring the actual transformers to life and make you money.

I hope MICHAEL…BAY”¦understands what kind of opportunity he was afforded weeks ago and that coveting his footage was worth putting the cover on top of the boiling pot.

TENACIOUS D: THE PICK OF DESTINY (2006)

Director: Liam Lynch
Cast: Jack Black, Kyle Gass, Amy Poehler, Tim Robbins, Ben Stiller
Release: November 17, 2006
Synopsis: This is the story of a friendship that changes the course of rock history forever, of the fateful collision of minds between JB and KG that led to the creation of the precedent-shattering band Tenacious D, and of the two heroes’ quest to find the fabled Guitar Pick Of Destiny…

View Trailer:
* Large (QuickTime)

Prognosis: Negative. This is the movie that I’ve been waiting for, for over a year and a half?

I’m disappointed in this trailer for a lot of reasons but, and I think this speaks to the material, when you’ve got Jack Black doing a nut smash moment I am disappointed; it’s something I would expect from America’s Funniest/Best Staged Videos. It’s an easy laugh and speaks to a real uninspired master behind the switches.

I’d expect this sort of thing out of a lot of dollar theater hacks but this is the end result of waiting for as long as I have? The answer is yes and I’m not sure what more could be said above that.

At the very start of this trailer I was really expecting something special and unique. Some notable camerawork, unique cinematography or even the 5000 CCs of raw power that blew people away when they played live. Something!

“Prepare yourselves for the motion picture experience of the century”¦”

I thought having Jack Black doing his shtick-y deep rock and roller voice was a good idea until I heard him do it over the visuals we are presented with; it’s pretty limp. Sure, you’ve got Kyle Gass and Jack coming together on screen in this one moment where you can see the rise of the D but after seeing the two of them walk up the steps of the Guitarway To Heaven I am struck in the eyes by the fact that this feels like SCHOOL OF ROCK 2: The Lou Pearlman Years.

I guess I should be going crazy over their hardcore antics in small clubs and how they’re so rockin’ even in their own kitchen nook but it sort of feels tired. I’m not so much sold as I am wondering, “Haven’t I already bought this?”

We’re then introduced to the thrust of the film’s storyline: a quest to find the pick of destiny. I’m not sure if that should be capitalized as a proper noun but it kind of feels improper to give it that much weight after seeing Jack proclaim that this is their ticket to greatness. Jack’s assuaging to Kyle about its righteousness doesn’t really make me laugh as it does, however, give me a moment’s pause after seeing what Kyle is wearing: a shirt that spells out TRAIN WRECK; hmm, evil portent or cleverness disguised in the form of 100% cotton? Interesting thesis.

I’m not quite sure how to gauge Jack Black’s discovery of Sasquatch in the forest of some rich, acid-like trip or what it means to the overall story, per se, but I think it has something to do with the rather unnecessary car chase that’s inserted here as well.

Am I the only one losing their minds about what this has to do with the D?

About here is when Jack falls on a tree branch and squashes his nuts. I’m thankful that I am not left to linger too long on trying to understand how this bush league humor made it into this flick but I am hopeful, however, by the introduction of Satan. Who isn’t happy when the Lord of Darkness enters a movie? I count myself in favor of more movies with artificial renderings of his Lordship. Unfortunately, when I’m rooting for Satan and this is a movie when I should be basking in the glow that is Tenacious D I know there is something amiss in Rockville.

THE MOTEL (2006)

Director: Michael Kang
Cast: Jeffrey Chyau, Sung Kang, Jade Wu, Samantha Futerman, Alexis Change
Release: August 20, 2006
Synopsis: Puberty sucks, and nobody knows it better than 13-year-old Ernest Chin (Jeffrey Chyau). As he watches guests come and go, Ernest finds himself forever stuck at his family’s hourly-rate motel, where he divides his time between taking orders from his overbearing mom, cleaning up after whatever miscreants the motel may attract.

View Trailer:
* Large (QuickTime)

Prognosis: Positive. This trailer, if you can indulge me for a moment, feels like rain washing over a polluted sky.

In a filmic landscape cluttered, nay, clogged and congested, with pictures that want to show us what it’s like to be an adolescent it helps to know that there are flicks that seemed imbued with the promise that this isn’t going to end like a lot of other stories in its genre.

It’s damn hard to try and be original when someone already has told the story of youth in America and what it’s like to evolve at that stage in one’s life but this trailer is tender and firm with its presentation. No doubt that there are prescient notions of where we’re going to end up after we deal with the tropes of the bully story and the falling in love story and the dealing with one’s parents when all you want is for them to leave you the fuck alone story but what’s key here, and what seems to elevate this picture, is its belief that this is an original story all its own.

I could not be more pleased to take my finger off the Back button on my browser after getting through the first ten seconds of this trailer where we are introduced to our protagonist: a chubby kid who is screaming his hardest as he holds a box of Popeye’s fried chicken. After this young man’s concerned companion asks whether he’s “Ok” I determine this is not your average coming-of-age story. I don’t know why it amuses me, but it does.

After this I am jauntily carried to another solid 15 musical seconds where it’s established who produced this thing, the flicks that have earned them solid cred, and a real loose idea of what this movie is. I like it so much because we’re given tastes, not dollops, of information. The love interest here for our chubby bunny, played by a girl who just sparkles the moment we see her, and who also borders on the Bizarro-World kind of lady who is always attracted to the kind of physical profile that would be ignored by the same garden variety woman in real life, (e.g. King of Queens, According to Jim and every single movie where John Candy had a wife), seems like an excellent choice.

His trials and tribulations with his family also seem run-of-the-mill but there’s an air of something unique to a kid who is helping this same family operate an hourly motel; it changes the dynamic from a kid who rebels because he has everything and is a little piss ant teenager to one where he has something invested in the struggle to keep the family operation running.

The nameless sounding board for his inner consternation is an older dude, a brother perhaps, but regardless of his role within the family unit the use of him in the trailer here is really thought-provoking when we, as an audience, try to piece together this kid’s social circle.

The praises of this flick’s performance from the many different festivals it’s played at is presented wonderfully; it should be noted, as well, at how quick we’re shown from what festival it was from and how quick they get the hell on with things. It’s great to win but it should be the product, not the accolades, that gets you noticed.

We see our love interest again, the girl just bursting with believability as someone who really cares for our dude, the next moment we have her hanging out the side of a car window with chubby at the wheel. Bold, considering his age, and we easily transition to what is no doubt a highlight in his picture, to one where he stands, in a darkened room, crying just a little in front of his mother. I don’t know what to make of what happened but the trailer gives us just enough reason to think of a few things on our own to piece together what’s happening here. Real tension is a rare find in these mini-movies but you get it in these small, liquid-centered, bursts. It’s delicious.

What’s more about this trailer is that we’re not left to wonder what a series of quickly placed quick-cuts means in the overall scheme of things but we get equally timed snippets that round out this movie’s vibe.

Again, it’s hard to pimp a movie that deals with adolescence in a way that’s interesting or fresh to audiences but, I posit, this is a trailer that deserves some room on someone’s “To Look Further Into” list. In a landscape littered with pictures I just don’t have the time to research that label alone speaks louder than my words.

AURORA BOREALIS (2006)

Director: James Burke
Cast:
Joshua Jackson, Louise Fletcher, Donald Sutherland, Juliette Lewis
Release: September 15, 2006
Synopsis: Ever since the premature death of his father, 25-year-old Minneapolis slacker Duncan (Joshua Jackson) is content with shuffling aimlessly through life, hanging out with his lifelong friends, and ditching one dead-end job after another.

View Trailer:
* Large (QuickTime)

Prognosis: Underdog of The Week. Okay, let’s hit the high points first:

1) I know that the first reaction to seeing this movie’s poster is to turn tail and opt to watch the SPIDER-MAN 3 trailer another time is a right one. I mean, you’re all right on this; it’s God fucking awful and whoever designed it needs to have an inner tube shoved up their ass while someone else uses a foot pump to inflate it. BUT, at least watch the first minute of the trailer and be amazed by how discordant these two things are. Even the movie’s title is a little crap. Actually, it’s a whole lot of crap.

2) Holy Christ, you are not going to believe this but Scut Farkus, from the CHRISTMAS STORY, people, is in this movie. Does that automatically sell me on the movie? Maybe, but that’s reason enough, number two, to at least give the trailer a chance.

3) I had such low expectations for this trailer, the trailer of all things, because I saw Joshua Jackson was attached to the movie but, believe me or dis me, he’s solid. Surprised even me.

4) Really, this movie has a crap poster and a crap title. Ignore both.

The lead-in to this trailer is what really got me. We establish, quickly, that Joshua is unemployed, directionless and seems lost in his life. With the prodding from Steven Pasquale, one of the best reasons to watch Rescue Me, Joshua is asked to visit his grandparents where, as you can see from the crotchety-ness of Donald Sutherland’s old guy character, you can just tell that this movie is going to deal with how Joshua navigates a relationship with his elders. It doesn’t seem like much but the movie’s foundation is laid out for us; it’s an impressive feat, you understand, because there is no superfluous padding or glossing over what this movie is about.

Now that we have a vague idea that Joshua is sticking around his older family the bits with his friends, and the relationship they have, seems more genuine than a lot I’ve seen come out of onscreen buds. Mix in the love interest with Juliette Lewis, a lady who I’ve seen in both attractive and way repulsive roles, and this movie has done the impossible: makes me actually aware of Joshua as a real actor and Lewis as a genuine love interest.

Amazing, I know.

About mid-way though this trailer we get a laid-back acoustical number that launches us into the second half of this movie which establishes the notion that Joshua takes up the role of handyman for his grandparents, showing genuine interest in the goings-on of his older relatives, while mixing in the tension that exists between his new lady and the supposition that even in small time employment Joshua is still lost in his life.

Hey, Scut Farkus!

There seems to be an almost Tuesdays With Morrie kind of schmaltz that’s embedded into this movie but I somehow look past this for the simple reason that there seems to be a lot more at work within the confines of this movie.

“The way that they are or the way they were?”

We end on an ON GOLDEN POND moment but, I would posit, we’re not left scratching our heads, not feeling sold into a movie that it is not and feeling like there is hope for this little movie that could. Once in a while a movie like this deserves a second look even when its poster and title suck ass.

 

Comics in Context #146: San Diego 2006 – A Hall Too Small

Filed under: Comics in Context — admin @ 12:27 am

 

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The following events took place at Comic-Con International in San Diego on Saturday, July 22 between 10:00 AM and 8:00 PM.

SATURDAY 10:00 AM
On Saturday I was to appear on a Comic Arts conference panel and do two book signings, so I wanted to look good. I felt I had put together an outfit that struck the right balance between professionalism and casualness. Having disembarked from my morning water taxi ride across the bay, I was heading towards the Convention Center when a female fan, whom I had never seen before, asked, “Why are you wearing a jacket on such a hot day?”

So maybe this is why Paul Levitz wisely dresses casually for Comic-Con: so he won’t get his fashion choices criticized to his face by strangers on the street.

When I went to my first event in Hall H on Friday, there was only a short line, and it moved quickly. This morning, there was not only no line for Hall H, but I was able to sit further down front than I ever had before. So why does Hall H have such a reputation for being hard to get into? Little did I then know.

SATURDAY 10:30 AM
Comic-Con’s Director of Programming, Gary Sassaman, emerged onstage, looking as dour as he had yesterday. “Welcome back,” he told the Hall H audience. “How many of you slept here last night?” He’s kidding, right? I looked at Mr. Sassaman’s face, magnified to brobdingnagian proportions, on an immense videoscreen and detected the faintest hint of a smile.

Sassaman noted that it was a “very hot Saturday morning.” (But he was wearing a jacket, too!) Then he said that today there would be “some special guests” and some “amazing, spectacular, and just plain adjective-less guests.” This alluded to the rumor that the lead actors of Spider-Man 3 were going to make a surprise appearance.

Sassaman asked the audience not to record the images from forthcoming films that would be shown on Hall H’s immense video screens in order to “share it with your 20 million friends on the Internet”; otherwise, Hollywood studios would no longer bring such preview footage to Comic-Con.

“You’re going to want to stay in here the rest of the day,” Sassaman told us. He’s encouraging them! He’s an enabler for the “campers”! But if I did not have commitments elsewhere at the Con this day, I would have been wise to follow his advice and remain there.

Then another familiar face, Jeff Walker, wearing a shirt labeled “Arkham Asylum Athletic Dept.” shirt, came onstage to present the day’s first Hall H panel: “Warner Bros. Presents 300,” the film adaptation of Frank Miller’s graphic novel about the Battle of Thermopylae, in which three hundred men from the ancient Greek city-state of Sparta, fought the vastly larger Persian army. First Walker introduced the film’s director, Zach Snyder. Then Walker brought out one of the movie’s stars, David Wenham, who played Faramir in Peter Jackson’s Lord of the Rings movies, and a woman sitting next to me let out a big cheer. The idea that comics conventions are invariably attended almost entirely by men has become dated. As if to offer further evidence, Walker introduced Gerard Butler (from the film version of Andrew Lloyd Webber’s Phantom of the Opera musical), who plays King Leonidas in 300, and female shrieks of joy erupted from the audience. (And, oh, yes, he was wearing a jacket.) After 300 opens, I expect that reporters on Hollywood will express surprise that such a violent film attracts a female audience, but this is clearly a chick flick of an untraditional sort. Finally, Walker introduced “the one and only Frank Miller,” who was again displaying his new wardrobe, this time including what looked like a large Western hat and a long, red jacket.

Snyder started off by showing us the trailer for 300, a live action film which astonishingly, powerfully captured the look of Miller’s artwork for the graphic novel. It was rife with violence and sexuality, and also featured lines that seem like catchphrases in the making: “This is madness!”, “This is Sparta!” (Maybe that explains Walker’s shirt.)

The audience reacted loudly and enthusiastically to the trailer. Once it was over, Gerard Butler, who hadn’t seen it before, said, “I want to see it again.” And so we did, right away.

Then Snyder said, in a deadpan manner, “So we were going for something warm and fuzzy. . . It’s a family thing.” Then he asked for questions from the audience. There was no immediate response, and a panelist (Wenham, I think) observed that we were “obviously flabbergasted.”

Stating that he drew the look of the film from Miller’s 300 comics, Snyder joked, “I had no ideas of my own.” Sharing the credit, Miller added that “Many of those backgrounds [in the 300 comics] were done by Lynn Varley,” his longtime collaborator. (Later during the panel Butler explained that the backgrounds in the film were computer generated: there were “cliffs that don’t exist, armies that aren’t there. Only the immediate surroundings are right there” on the set.)

Snyder declared that Miller’s 300 book “is awesome.” In order to make the movie, Snyder explained he said “Let’s do that [directly adapt the comics], not fuck it up Hollywood style.”

Miller responded, “And you didn’t. It’s really cool.”

Describing his preparation for such a physically demanding role, Butler said, “I trained really hard for this,” and “am still recovering.” He claimed, “I came out of this pretty much a cripple.” Miller wryly interjected, “He was ninety-three pounds when he started.”

Undeterred, Butler described the atmosphere on the set among all these actors playing warriors: “You have so much testosterone floating around there. At times you were willing to kill, willing to die.”

Since he was playing the king, Butler said that he “wanted to get the respect of. . .the other actors, so I worked my little buttocks off.” There was a cheer from the audience. Miller observed to Butler, “Your buttocks just got a cheer.”

Still undeterred, Butler asserted that he did “intensive training” physically which “goes a long way” towards giving him the feelings of “strength,” “determination,” and “sacrifice” that his role required.

Returning to discussing the visual style of the film, Snyder explained simply that “The graphic novel’s pictures. A movie’s pictures.” He told us that in discussions with his co-workers “I go, “˜We have a picture here; let’s just do the picture,” meaning the visuals from the comics. If someone offered an alternate suggestion for a shot, Snyder said he replied, “It’s cool. For something else.” After a while, Snyder told us, his collaborators got the idea.

In other words, the 300 movie is following the same strategy as the Sin City movie: directly recreating the look of the comics onscreen. In announcing Warners Animation’s forthcoming direct-to-video animated films of stories from DC Comics, like the “Death of Superman” arc, DC’s Paul Levitz indicated at Comic-Con that the videos would be based on the look of the original comics. Later that day there was a panel in Hall H about the projected movie adaptation of Will Eisner’s The Spirit, at which Miler was officially announced as its director. Although I had to miss it due to other commitments, I have since read that during the panel Miller asserted that he intended to present Eisner’s vision onscreen. Moreover, in stating that he would create the backgrounds via CGI, as in the Sin City movie, Miller explained that he wanted it to look as if “Eisner’s hand is drawing the movie.”

So this is a new trend, and (despite my qualms about no longer seeing Bruce Timm character designs onscreen) a welcome one, I think, demonstrating unusual respect for the original source material. Why shouldn’t a Fantastic Four movie, whether live action or animated, try to translate the look of Jack Kirby’s artwork to the screen?

Alluding on the scanty garb the cast wore in the 300 trailer, an audience member asked the actors about their reaction to the costumes or “lack of costumes you have to wear.” Again there were appreciative female shrieks.

Butler responded that initially “I never felt so stupid in my life.” When he first donned “that leather codpiece,” “I thought, how am I going to get through this?” He added, “But then you’re surrounded by sixty guys wearing the same thing.” By the end of shooting, Butler said, “You just want to look bigger than the other guys.”

“You win, Gerry,” said Wenham; “you’re the biggest.” (I just report what they actually said, folks.)

Wenham reported that after he was cast in the film, “I bought Frank’s book” and saw the first appearance of the character he plays: “He’s naked. All he basically wears in the book is a leather codpiece.” But Wenham assured the audience, “I did some training and it was okay.”

Miller addressed more cerebral aspects of 300. “I researched the hell out of this thing,” he told us. “I wanted to do the story since I was six years old.” Miller asserted that “The story is so compelling that I think each generation has to retell it.”

Another audience member asked Butler what he has in common with his character. Butler answered, “Being extremely intelligent. . . powerful. . .insane. . .charismatic–were all things I found I didn’t have.” Then he added, “I have no idea what I’m talking about.”

But there was a point behind Butler’s joking. “Seriously,” he continued, “you see things like honor and nobility [in 300]” that, he said, do not exist in “today’s society” and you “don’t have enough [of these qualities] in yourself,” but, Butler said, he “wants to have” them. Therefore, to act the role involved “getting in touch with what you gave yourself and then get in touch with what you don’t have.”

As for the story of 300, Butler commented, “Frank makes it so dark.” “Moi?” replied Miller in mock innocence.

Though the Hall H audience had earlier been warned what kind of questions would be inappropriate, there are invariably people who think the rules do not apply to them. The audience, however, polices its ranks. So it was that a female fan asked the actors for hugs; instead she got booed by the audience. Obliviously persisting in her stupidity, the female fan then asked the actors, “What’s your favorite color?” More booing ensued. But the actors played along. Wenham replied that today his favorite color was red. Butler said, “My favorite color is green.” Then he turned to Miller and admitted, “Nobody cares, I know.”

Another questioner, commenting on the sex scenes in the trailer, observed that the moviemakers “show the relationship between Greek men and Greek women, but will you show the relationship between the Greek men and men?” This, of course, alludes to ancient Greek openness towards homosexuality. Miller responded, “No. We call this fiction.”

Though she was not mentioned, it appears that Gerard Butler shares the attitude of The Incredibles‘ fashion designer Edna Mode towards capes. “Capes were a problem,” he complained. “After fifteen hours your shoulder was willing to fall off.”

“Spoken like a real Spartan,” commented Miller.

“It hurt,” Butler said emphatically. “And I got a little scrape on my shoulder sometimes.” (Whether Butler’s female fans in Hall H found this endearing or disillusioning, I have no idea.)

Wenham said the “hardest part [of making the movie] was the training,” claiming that “My normal day training is three minutes long.” Wenham added, “The capes were a cinch. I didn’t have difficulty at all.” Later during the panel, Miller referred to Butler as “Mr. My Cape’s Heavy.” Yes, amid all the jesting one-upmanship, the testosterone was thick enough to cut with the proverbial knife.

A fan from Greece asked Miller about going to Greece to research 300. “I did go to Greece,” Miller replied, stating that he had spent weeks there on a National Trust tour. He took “a side trip” to “the actual Hot Gates,” the site of the Battle of Thermopylae, but discovered it’s “not what it used to be.” The site “used to be a cliff over the sea.” The sea has moved over the years, and “now there’s a freeway” there. But Miller said he did visit “the mountain where the Spartans actually died,.” Miller concluded, “If I hadn’t sailed the Aegean and seen the cliffs, I don’t know how I could have done the story.” Butler interjected that “Six Spartans were killed crossing the freeway.”

As with the Stardust panel, I was struck by how much respect the panelists showed the creator of the original source material, an attitude one does not expect in Hollywood. Wenham referred to “a true legend, Mr. Frank Miller!” Butler chimed in, “Frank Miller, the man himself!” And thus arrives that new phenomenon: the cartoonist as alpha male.

Praising the movie, Miller asserted that “In seeing an early cut of the movie, everything looks timeless but very contemporary.” He pointed out that sometimes Snyder changed the speed of the cameras to make the Spartans look “superhuman” during the fighting. Miller summed up, “This feels like a very contemporary movie. It doesn’t feel like a stiff old relic. Zach did a terrific job.”

And then they showed the trailer for a third time, whereupon I headed out of Hall H to make certain I got to the next panel on my list in time. This was important since I was scheduled to be on this particular panel.

SATURDAY 11:30 AM
This was session eight of the Comic Arts Conference, the annual academic conference on comics, being held in Room 7B: “The Supervillain: from Antagonist to Protagonist: Celebrating the Supervillain in Today’s Comics.”

This panel was designed to publicize The Supervillain Book, an encyclopedia of supervillains in comics and other media, which made its debut at this year’s Comic-Con and will be officially published this fall by Visible Ink. The panelist included the book’s editors and principal writers Gina Misiroglu and Michael Eury, and CAC co-chairman Peter Coogan, scholar Alex Boney and myself as contributing writers to the book.

We had done a similar panel for CAC last year, during which, unexpectedly, a man in a Star Wars Sith costume sat in the audience; since Darth Vader was mentioned in our presentation, we acknowledged the Sith from the stage. When Gina, Alex, contributing writer Heidi MacDonald (alias the Beat) and I did a panel for The Supervillain Book at this year’s New York Comic Con, the Trickster from The Flash turned up in the audience. At this year’s Comic-Con Gina arranged for Lex Luthor (in an unconvincing bald cap) and Dark Phoenix (with a very convincing costume and admirably voluptuous figure) to interrupt Michael Eury’s presentation. He knew they’d be showing up, but I was as surprised as anyone there. I’m glad they didn’t interrupt my presentation, which more serious, in keeping with an academic conference, but they were still fun. (And if having villains show up during the panel seems over the top, consider that, as I later learned, during the Lost panel, which overlapped with ours, there was a “plant” in the audience who purported to be a character from a Lost website.)

My presentation was about how supervillains are used to dramatize the concept that the human psyche is split between good and evil. There are characters who embody this division through their multiple personalities, such as Two-Face in Batman, DC’s Eclipso, and the Incredible Hulk. Then there are supervillains who make the transition to becoming superheroes, such as Hawkeye, Quicksilver and the Scarlet Witch in the 1960s Avengers and Spike in Joss Whedon’s Buffy, or superheroes who journey in the opposite direction, like X-Men‘s Phoenix and Star Wars’ Anakin Skywalker. And then there are characters who walk an ambiguous path between good and evil. Do we see Marvel’s Punisher, a vigilante who kills criminals, as a hero or condemn him as a criminal? I offered as my concluding example Namor the Sub-Mariner, who was created by Bill Everett in 1939, and who now seems to me to be ahead of his time: Originally Namor was depicted as what we would now call a terrorist conducting a one-man war against New York City, and yet Everett and later writers have allowed us to see and understand Namor’s own point of view.

SATURDAY 1:00 PM
At the conclusion of the panel, we participants went down to the main convention floor to do a signing of The Supervillain Book at the booth area for Rory Root’s Comic Relief. We were joined by the Beat, and you can see a photo of her, Michael Eury and myself during the signing here (http://pwbeat.publishersweekly.com/blog/2006/07/26/sdcc-06-photo-paradeum-saturday/#more-239): it’s a fuzzy photo, but the Beat looks particularly pretty in it.

Unfortunately, the signing was at the same time that Kevin Smith, benevolent monarch of Quick Stop Entertainment, was scheduled to appear in Hall H. But I felt it was my duty to Gina to do this signing. I’ve never met Kevin Smith; I wonder what he’s like?

If one must venture onto the main floor on Saturday afternoon, at the height of the Comic-Con crowds, sitting at a booth is probably the best thing to do. Instead of trying to make your way through the hordes of attendees filling the aisles, trying to locate people you know, you can relax and watch the sea of humanity drift past. You can even find people as they go by. (Look! There goes George Perez!) So when Mister Freeze wandered by, complete with a Schwarzeneggerian accent, I called to Gina to have her get his attention. So Mister Freeze ended up posing in front of our booth, as did the Riddler, whom Gina stopped as he was going past.

Group signings of a book work like assembly lines: one writer signs his or her name on the book and passes it down to the next writer, and so forth.

SATURDAY 3:00 PM
Now I was over at the DK (Dorling Kindersley) Publishing booth, next to one of the entrances to the main floor of the convention, to do a solo signing for the new expanded third edition of X-Men: The Ultimate Guide. Here I was reunited with Bess Braswell and Rachel Kempster of DK’s New York office and Alex Allan from the main office in London, all of whom are friendly and supportive.

Since another DK writer was still signing at the front of the booth, I was seated on the side, so people walking through the doors to the convention floor passed right in front of me. This proved to be fortuitous, since, as I said, if you sit long enough at a good location at Comic-Con, people you want to see will pass by. Thus, within the hour, I was visited by my old friend, comics artist Bill Sienkiewicz and by my new acquaintance, Stuart Vandal, the British writer for the current Official Handbook of the Marvel Universe, and for the first time met comics artist Phil Jimenez, who, I was happy to discover, recognized my name.

I signed a number of autographs, but wondered about a long line of people in front of the DK booth, heading somewhere else. I asked one of the DK ladies, and she told me these people were lined up to get autographs from Carrie Fisher in the next booth over. I looked 180 degrees behind me, and, yes, indeed, there she was in the booth right next to ours, signing away at Star Wars memorabilia; she even felt comfortable enough at one point to remove her shoes and put her feet up. I was signing autographs next to Carrie Fisher: now there’s something I would never have imagined.

SATURDAY 4:00 PM
I was feeling a little guilty since I spent part of the previous hour chatting with the aforementioned comics pros who stopped by the DK booth, and besides, I found I enjoyed doing signings. The next panel I intended to attend didn’t start till 5, so I volunteered to continue signing for a little while longer.

After all, I’d had no trouble whatsoever getting into Hall H either on this trip or on last year’s trip, right?

This was a mistake.

SATURDAY 4:20 PM
There was now a line waiting to get into Hall H. This was an understatement. The queue extended through the section of the lobby outside Hall H, out the door, down the sidewalk, past the Convention Center down to the end of the block, then turned at a ninety degree angle and ran along the sidewalk for the width of the Convention Center, then looped back towards the front of the Convention Center, went up the sidewalk and finally ended in front of the Convention Center doors through which I exited upon leaving the DK booth. This was no mere line: it was a labyrinth.

Everyone in line was waiting to see the final Hall H presentation of the day, “Sony Presents,” which would preview the upcoming Ghost Rider movie and Spider-Man 3. Nicolas Cage, who plays Marvel’s Ghost Rider, was scheduled to be there, as well as Sam Raimi, director of all three Spider-Man movies, and, according to rumor, the lead actors of Spider-Man 3 too.

Well, I had no trouble getting through the line for last year’s King Kong presentation. Sure, the line was much longer this afternoon, but at least I was practical enough to get in line forty minutes early.

SATURDAY 5:00 PM
Still in line. But Hall H panels don’t always start on time, right? And I saw last year’s Ghost Rider preview in Hall H (although Cage didn’t appear at that one), so I didn’t care about missing that part of the presentation. It was Raimi I wanted to see. (Kirsten Dunst would make a nice bonus.)

SATURDAY 5:30 PM
This guy who worked for Comic-Con kept walking up and down along the line, telling us that we had no hope of getting into the Sony presentation. Everybody around me found this guy annoying, and so did I. Virtually no one left: Southern California fans are clearly as stubborn as New Yorkers about queues.

Besides, we had reason for hope: the line kept moving forward. It was like my experience waiting to get into New York’s Symphony Space to see Stephen Sondheim and Joss Whedon (see “Comics in Context” #77). In that case, the line moved to close up space when people gave up and stopped waiting. But this was not the case with this Comic-Con line: it kept on moving relatively quickly, and i saw few people leave.

Besides, it was so chilly waiting in line outside Symphony Space in March. It was pleasantly warm in the line outside Hall H, even considering I was wearing a jacket.

The annoying guy also kept telling us that there were “only 6500 seats” inside Hall H. What did he mean, “only” 6500? Hall H is considerably larger than any panel room that Comic-Con had only three years ago. The Metropolitan Opera House has 3800 seats; Radio City Music Hall has 6000. These are famously vast venues, and Hall H is more colossal still. Could it be that the ever-increasing audience for Comic-Con has already outgrown even the enormity of Hall H? Had the “campers” filled it up?

SATURDAY 5:45 PM
By now I had moved all the way through the line to a point roughly only nine feet from the door to the Hall H lobby. And here the line lost all forward momentum. I realized that had I left the DK booth at 4 PM, I probably would have gotten inside Hall H by now. As the saying goes, no good deed goes unpunished.

My fellow Quick Stop columnist Fred Hembeck is doubtless reading this and thinking: I can stand around doing nothing just as easily at home (and often do) without going to all the trouble and expense of flying cross-country. Point taken.

SATURDAY 6:40 PM
Finally I was inside Hall H, and the last panel of the day was about to begin! Could it be? Was I going to hear Sam Raimi speak? He was the last person on the Saturday schedule for Hall H, after all.

Gary Sassaman brought onstage the next speaker, who didn’t fit my image of Sam Raimi. This guy looked sort of like that Silent Bob character in those movies, except that (A) this guy didn’t wear a cap, and (B) this guy talked a lot, and so fast that I often couldn’t take notes quickly enough to keep up with him. Who is this guy?

Then this guy (for convenience’s sake, let’s give him an anonymous-sounding name, like Mr. Smith) started taking questions from the audience.

The first inquiry was about the status of the Green Hornet movie that “Smith” once planned to make. Smith said this wasn’t going to happen, because he is “not good at action” and instead “make[s] movies where people talk to each other.” He said that if he did a Green Hornet movie, the characters would “stand around talking about. . .pussy.”

The next fan said, “Thanks for all the trouble you took to get here.” Modestly, Smith replied, “All I did was sit in the car.” It seems that he was stuck in traffic, just as Snoop Dogg had been yesterday on the way to Comic-Con. Quick Stop editor Ken Plume has informed me that Saturday traffic between Los Angeles and San Diego is not usually this bad. It appears that Comic-Con is now so huge that it creates traffic jams between major cities.

Smith demonstrated a commendable paternal regard towards his fans. Observing that one questioner was accompanied by an attractive woman, Smith advised him, “You’re a comic book dude. Don’t dump the girlfriend. Very rarely,” he continues, would a male comics fan find a woman who would say, “I want to fuckin’ hang out while you fuckin’ talk to Spider-Man.” (Spider-Man just got mentioned, so I must be at the right panel, right?)

Then someone wanted to know about the dance number in Clerks II, which had just opened the previous day. Smith told disgruntled audience members to “Chill out. It’s a valid question.” Then he told us, “I’m the straightest gay filmmaker. Doing a musical is right up my alley.” He declared there was “a lot of gayness going in in the movie. I was going like Fosse!” (Well, actually Bob Fosse was very much straight but never mind.) “I always felt I was one cock in the mouth shy of being gay myself,” Smith informed us. Gosh, this is so different from the 300 panel.

Mr. Smith was like a skilled conductor and we in the audience were his orchestra. He told us he was going to bring out Clerks II actor Jason Mewes, and the audience got audibly excited. Then Smith told us, “I was just fuckin’ with you. He’s not here,” and the audience began to settle down again. Then, before emotions could die down, Smith broke into a big smile and said, “No! He is! Check it out!” And then out onstage came Jason Mewes, who looks like that Jay guy in those movies, but with short hair. And I thought: this isn’t Kirsten Dunst.

The next question returned to a previous theme: “Would you wear a kilt in public?” Smith responded, “The shorts I wear are practically a fuckin’ dress anyway.”

The next questioner was a deaf man who was accompanied by a sign language interpreter: the deaf guy wanted to know what Smith’s wife thought of the line in the Clerks II credits thanking her for “the pussy.” Smith observed, “Apparently even deaf dudes aren’t gentlemen anymore.” Pondering aloud, Smith said, “It’s so weird, cause you’re not looking at me.” Then he improvised an experiment, and got the interpreter to sign the following: “This isn’t Kevin talkin’ right now: For many years I’ve really wanted to suck your dick.”

Then Smith answered the “pussy” question seriously. “I think she realizes without me, who would fuck you?” I was beginning to detect this Smith guy’s inner melancholy. He lamented, “Why is it always, “˜Kevin, I respect you; Jason, I would fuck you?'”

The next questioner wanted to know how to get to work for Smith as an intern, inspiring him again to vent his inner pain: “All the interns I get are like, “˜I respect you.’ Mewes, on the other hand, takes interns all the time.” But then Smith confessed that there are no interns; “There’s like one dude who mans the phone, and it’s usually Mewes.”

I felt that Smith and I had something in common, until I remembered what his wife looks like. Okay, he’s way better off than me.

Speaking of his wife, another audience member wanted to know if it bothered Smith to have actor Brian O’Halloran kissing her in Clerks II. “No, it didn’t bother me,” Smith answered, though “if it was Affleck” it would have, because that would represent a “trade up.” Smith noted that “No woman wants to trade down. Why would she leave one fat bearded guy for another?”

Even so, Smith admitted being bothered that his wife ended up kissing O’Halloran for an hour while they were shooting the scene. “I can’t let O’Halloran have the record,” Smith asserted, so he tried to kiss her for even longer, but after twelve minutes, he gave up and said, “Fuck it, let’s fuck.” Smith then advised us that as far as he was concerned, “Kissing is a prelude to fucking.”

But I don’t want to give you the impression that this panel was just about sex. Smith also mused about the physical downside of growing older. “Honestly, it gets no better in your thirties,” he warned us. “Stuff starts falling apart.” Take this for example: “My shit was just too hard. I had hard core shit, like Jean-Claude Van Damme shit.” So Smith’s doctor advised him to start taking Metamucil, which had amazing results. “My shit has the consistency of Play-Doe now,” Smith reassured us. “It just flows out of me.” He counseled audience members in their twenties, “Start drinking Metamucil now. Protect your asshole.”

Now, really, do you get this sort of valuable advice about life at the DC and Marvel panels? I think not. Come back next week for my Comic-Con grand finale and you’ll learn still more from the mysterious Mr. Smith.

-Copyright 2006 Peter Sanderson

September 14, 2006

Music For The Masses: September 14th, 2006

Filed under: Music for the Masses — UncaScroogeMcD @ 5:13 am

 

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Welcome back, friends!  I’m so glad to see you again and I hope all is well with each and every one of you out there. For me, things are absolutely fantastic.  Know why?  That’s right!  It’s football season, baby, and I’ll tell you right now that makes me happier than John Michael Karr chewing on a pair of Dora the Explorer® panties.  Yes sir. . .like the proverbial pig-in-shit!!  And boy, I’m even more excited than usual this year because besides the normally full college football schedule (a quick aside to you CU fans out there. . .”HA HA!!  SUCK IT!!!), you now have the new NFL channel, double-header Monday Night Football on ESPN and Sunday night games on NBC.  I’ll tell you, my friends, there is more football on your basic cable television than you can shake a baby at (and yes, professor, I just ended that sentence in a preposition). 
 

Today, unlike in years past, we football fans have an unprecedented number of opportunities to catch not only some great match-ups, but more chances to scope that *cough* HILARIOUS *cough* Peyton Manning “porn-stache” commercial at every conceivable break, Bill Cower’s horrific under-bite jutting from the sidelines and onto the field of play and, of course. . . 
 

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. . .the wit and witticism of John Madden, pictured here on break during the recording of one of his four sayings featured in Madden “˜07.
 

In fact, the only thing about this new football season that I am NOT looking forward to is seeing more of Pink as “she” sings her homage to football during the opening of NBC’s Sunday night coverage.  I caught the song this week and from it, I can discern two things:  I sure as hell hope Joan Jett got some kind of compensation for that and, to paraphrase the immortal words of Austin Powers, “That’s DEFINITELY a man, baby!”Â Â  Seriously.  Large hands, Adam’s apple. . .huge, giant dick.  Sure, it’s made of rubber, has a big, brass buckle on the back and “Tonsil Train” engraved on the side, but it’s still a dick. 
 

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“I wanna see you in your pink tuxedo.  I wanna sink you with my Pink torpedo.”
 

So, I’m not sure what marketing genius thought up this move, but whoever they are, they dropped the ball in a major way because I am confident that I speak for most of the male, viewing audience when I say that we view “chicks” who can AND want to kick the living shit out of us as a general “turn off.”Â  Nice try, though.  And thanks, NBC, for not listening to the guy who wanted Clay Aiken to sing that opening.  We dodged a bullet there for the only choice worse than having Pink man-grunt her way through “Waiting All Day for Sunday Night” would have been getting your audience pumped up for football while sitting through Aiken’s “I Want You To Put A Vicious Hit On My Tight End.”
 

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Measure of a Man, huh? 
 

But enough about all of that.  Screw football for the time being, friends, for we have more important things to do like. . .well, like checking out some new releases.  This week, we spend some time with the new ones from Iron Maiden and the Barenaked Ladies.  Plus, Double A hits us with the new one from Method Man and we have a Dave Mathews concert review from a faithful reader.  Should be fun.  So, what do you say?  Let’s get to it, shall we??!! 
 

m4m-ima-sept14 Artist: Iron Maiden
Album: A Matter Of Life And Death
Bastard Love Child of: Black Sabbath and King Crimson.
Best for: Pumping up your “street cred” at the local Hot Topic by cruising in there with an ACTUAL concert shirt.

 

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No. . .this is not a scene from Spinal Tap II.  But it easily could be.
  

I’m not ashamed to tell you that, much like pubic hair, I came into Iron Maiden late.  Then again, having Iron Maiden in my life has never made a “clean wipe” a challenge, so maybe that’s a bad comparison.  Whatever.  I guess my point here is that I never gave Iron Maiden’s music a fair shake until well into my college years; always dismissing them as a “poor man’s Sabbath.”Â  Hey, fuck off.  I never said I was a smart man, Jenny.
 

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Needless to say, in the years since “my discovery,” I have actually become a big fan of the band, more so of the band WITH Dickinson, and have been anxiously awaiting the release of this, their 14th studio album, A Matter Of Life And Death.  So, right about now, you are probably asking yourself “was it worth the wait?”Â  Well, chuckle nuts, I’m glad you asked.
 

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Quite simply, this is the best Maiden disc in years.  Hell, I’d gladly argue that it is the strongest album that Maiden has released since the “˜80’s and it is EASILY one of the best metal discs I’ve heard this year.  I mean, sure, the band is getting a little long in the tooth, but it doesn’t show in the music.  Not in the least.  Dickinson’s voice is as strong as ever and the impressive, 3-guitar attack of Dave Murray, Adrian Smith and Janick Gers delivers enough punch to make your sphincter tighten.  I’m not sure what that really means. . .I just like the word “sphincter.”
 

The band has always had progressive leanings, but on this album, they lean a bit harder as they switch up tempos, keys and styles while galloping through the 10, epic songs on this 70+ minute disc.  All of the songs are engaging with soaring melodies and catchier-than-usual choruses, but my personal favorites include the slow-burning The Reincarnation of Benjamin Breeg, the punishing Different World and the driving The Longest Day.

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Simply put, this album is a must-have for any fan of good, old-fashioned, ass-kicking metal.
  

Rating:  4 out of 5
 

m4m-bnla-sep14 Artist: Barenaked Ladies
Album: Barenaked Ladies Are Me
Bastard Love Child of: They Might Be Giants and R.E.M..
Best for: Proving that the fully-clothed “˜Ladies are a hell of a lot of fun, too!

Man. . .I absolutely LOVE Barenaked Ladies.  In fact, if I had to guess, I probably spend a MINIMUM of 4 hours a day searching them out on free sites on the internet.  Hey, why buy the whole cow when you can get a sample of the jerky for free?  Know what I’m saying?   So, imagine my surprise, whilst chasing down a “golden shower” string, when I found a BAND named Barenaked Ladies.  No shit.  Here’s a picture of them. . .
 

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Settle down, now. . .I’m just joking.  The Barenaked Ladies are actually one of my all time favorite bands. . .even if they are Canadian.    They are a talented group of musicians, especially keyboardist Kevin Hearn and bass player Jim Creegan, who are funny, quirky and, hands down, put on one of the best, damn live shows I have ever seen.  I shit you not.  A live BNL show is NOT to be missed.  You’ll laugh, you’ll cry. . .it’ll become a part of you. 

That’s why I’m a bit perplexed by this new disc, Barenaked Ladies Are Me (Get it? Barenaked Ladies ARMY?).  You see, it’s not that goofy.  It’s not that quirky.  In fact, the damn thing is actually a very *CRINGE* mature effort.  What the hell, Ladies?  Where’s my Yoko Ono?  Huh?  How about my monkey?  You know I’ve always wanted a monkey.  Seriously.  I want one of you guys to explain just how in the hell I’m supposed to dance to the radio station that plays in my teeth if it’s playing this album?  Huh?  Fuckers.
 

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Yep, I’m sorry to say it, friends, but it appears that the Ladies are “all growed up” and all we are left with is. . .easily their most consistent effort to date.  Sure, the wacky humor has been trimmed back to dry wit and the “rocking” is MIA, but these songs do a better job of showcasing the band’s musical craftsmanship and songwriting than any of their other albums.  Oh yeah, and, lest we forget, in true BNL style, the songs are all catchier than Hep C.  Right, Tommy?
 

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Tommy says, “RIGHT!!”Â 

Even though the disc is more mellow in nature than previous BNL efforts, you should know going in that it is chock full of easily accessible tunes and that there are some real gems here. . .particularly, the album’s opener, “Adrift,” featuring some smart lyrics and incredible harmonies, the creative instrumentation of “Bank Job,” the nice and easy track. . .umm, “Easy,” which is also the first single and, my personal favorite, “Wind it Up.”
 

Obviously, long-time fans of the band will get more out of this disc than casual listeners, but if you are one of those people who shied away from this band because they were just too damn wacky, give this disc a chance.  I’m sure you’ll agree that it’s nice to finally see that these guys have grown up a bit.
 

Rating:  3.5 out of 5
 

 

doublea

 

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Im going to admit something to you dear Quick Stoppers that I’m not proud of.  I did not buy Method Man’s new album 4:21″¦the Day After on the day that it came out. Nor did I buy it the next Tuesday either.  It took me 10 days to finally get around to buying this album.  I like Meth, (the rapper, not the cough medicine derived drug that is produced in trailer parks across this great country).  I enjoy his music.  But there were so many other CDs and DVDs to buy in the last few weeks that I just kept pushing Meth further and further down my priority list.  Now, after giving this album a good listen, I wish I had picked it up on the day it came out.  I won’t go as far as to say this is the best rap album to come out this year, (Dr. Octagon is the best), but this is a very, VERY close second.
 

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With nightmares of the ill-fated and ill-conceived sitcom “Method and Red” running through my head, I listened intently to the songs on the disc.  The first thing I noticed that separates this album from just about every other mainstream rapper out there is the beats.  In a world of over the top beats where each song tries to be more complex than the latest hit, it’s nice to see someone take a step back and do it simply.  That’s what made Dr. Octagon good, that’s what makes 4:21″¦the Day After good.  Simple bass lines with simple melodies, often just a guitar or piano sample.  Makes for a nice, retro feel.  It also doesn’t hurt that Meth, or Mef, as he is often called, can rap.
 

Seriously, Mef can bust a rhyme quicker and better than I can bust a flimsy lawn chair.  All of the flows are smooth and the lyrics are tight.  It also doesn’t hurt that this album is very “Wu tang-y.”Â  Just about the whole gang is present and accounted for, with the only real exceptions being GZA and Ghost Face Killa.  Hell, even Big Baby Jesus himself, the Ol’ Dirty Bastard makes a posthumous appearance.  Another difference between this album and most other rap discs of late is that the guest stars don’t necessarily make the songs better.  The songs are good enough as they are, the guests are just the icing on the cake.  And being a gentleman of a larger stature, I likes me my cake and icing.
 

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There are no bad songs on this disc.  Of course there are the obligatory rap disc skits, but they don’t bog the album down.  They are short and seem more like song intros than actual skits.  The best songs on the album are “Fall Out” and “Say.”Â  Both follow the formula with simple beats and both are Mef solo and at his best.  “Fall Out” is more of a hardcore rap song while “Say” is more of a biographical song.  Out of all the many guest stars, the Dirty memorial song “Dirty Mef” is the best collaboration.  It’s nice to hear that the memory of ODB is everywhere on this disc.  Just about every song has a shout out to the Dirty, and seeing as he is one of my favorite all time rappers, its cool to see the memory kept alive. 

Rating:  5 out of 5

REVIEWS. . .

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 by Tommy Gunn     

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TEN HUT, SOLDIER!!

Now, ladies. . .

Normally, a Dave Matthews Band concert held in a modern day sports arena wouldn’t warrant much attention or acclaim.  DMB, though always good live, comes off much better in either smaller venues or outside.  But the performance at Denver’s Pepsi Center on September 12th bucked the status quo and was one of the better shows I’ve seen by Dave and Company.

With an opening act of Robert Randolph (who appeared again later with the group to close the show) and the guest addition of Rashawn Ross on trumpet, DMB concocted a production with great tempo and flow.  As Dave himself mumbled in the mike, “We’re just gonna eeeeease into it,” before launching into a handful of mellow tunes before laying into more upbeat tracks like  Grey Street.  Playing mostly well-known songs with a dash of newer titles, even the most casual follower of the Dave Matthews Band was able to sing along with the result being an arena that rocked for almost 2 hours.  

 Dave’s affection for Colorado is always genuine and despite the venue, they gave an A-grade performance to a very receptive crowd.  The technical crew deserves kudos for this show as the audio and, in particular the video, were dialed in and overcame the typical shortcomings of a cavernous Pepsi Center.  Of the 8 times I’ve seen DMB live, this was by far the best indoors and the energy rivaled previous epic performances at Folsom Field in 2001 and the legendary Red Rocks last September. 

AS YOU WERE!!!!

Nice work, Major.  Well, there you have it friends.  That’s going to do it for me and the gang this week, so, until next time, keep wearing it proud and playing it loud! 

Send your naked lady pictures, review copies, presents and assorted hate mail to:

M.C. Bell
P.O. Box 1222
Arvada, CO 80001
     

 E-MAIL THE AUTHOR | ARCHIVES     

The Fred Hembeck Show: Episode 72 – The Mark Gruenwald Show

Filed under: The Fred Hembeck Show — UncaScroogeMcD @ 5:09 am

 

 

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Back in the spring of 1987, I received a call from Jim Salicrup, my editor over at Marvel Age Magazine, for whom I’d been doing a monthly feature for a number of years already at that point. He informed me that Marvel was going to include the fan-friendly promo publication amongst that summer’s roster of Annuals, and he had a swell idea as to how to not only promote the line’s upcoming books, but to entertain the readers in the process: he wanted me to expand my “Fred Hembeck Show” schtick that I’d been doing upon occasion over an entire double-sized issue!

The concept was this: Cartoon Fred would come out on stage at this mock late-night chat-fest, welcoming all the biggies (i.e., characters with their own ongoing titles) onto the couch one page at a time. There’d be some (hopefully) comedic banter, and then, in tried and true talk show tradition, I’d direct the audience towards the clip our guests inevitably brought along. In this case, that meant each alternating page in this book was handled by the costumed do-gooders current creative teams, showcasing the near future plans slated for such mainstays as Spider-Man, Thor, and the Avengers.

It was an inspired notion, and despite the fact that I had little over a month to write, draw and letter (and you betcha by golly, there sure was a WHOLE lotta lettering!…) nearly twenty pages, it was one of the most fun things I’ve ever been assigned to do in comics. Naturally, cranking out the set-up material at such a hasty pace, I didn’t have time (nor really, any need, since Cartoon Fred got to play the smoozing host who loves EVERYTHING, no matter what you put in front of him!…) to co-ordinate any of my intros with the folks who were actually in charge of this impressive parade of iconic Marvel characters.

With one exception.

Mark Gruenwald.

Truth is, he was the one who called me. Neither of us could’ve imagined at the time that he was merely at the comparative outset of an epic decade-plus long run scripting Captain America (1985-1995, issues 307 through 443, save for 423), but it was a task for which his enthusiasm apparently never wavered, and that was especially true for what he had prepared for the then immediate future. Only, he felt that the upcoming events in the Star-Spangled Avenger’s life needed a little more oomph than my (by necessity) generic, already completed introduction provided. So he suggested that I take a few further panels on top of the page entrusted to him (and artists Tom Morgan and Joe Sinnott) to really get across the title’s exciting new direction.

This is what it looked like…

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Unfortunately, despite his near omnipresence at Marvel for nearly twenty years, that was the only time I ever worked with Mark Gruenwald (unless you count the fact that he’d done some production work for his friend, Dean Mullaney of Eclipse – color separations, mainly – on my first published collection, Hembeck: The Best of Dateline:@#$% back in the late seventies). We’d met up at conventions and parties on several occasions, but as I was never a regular New York City denizen, those brief encounters were few and fleeting. Still, he always seemed like a nice enough guy, and his going the extra mile to promote Cap’s book – and eagerly buying into the whole faux talk show conceit – really impressed me. It shouldn’t have come as much of a surprise, though – I’d long been a fan of his writing.

Now, some folks would tell you that Mark’s dialog wasn’t the best, and yeah, there were clunkers to be found lurking in his plentiful fully loaded balloons, but that always seemed a minor quibble at best to me. Y’see, there were always more ideas to be found in a single issue of a Gruenwald book than could oft times be detected in a full year’s worth of work from other, more ear-pleasingly glib, writers. And I’m not just talking about the nuts and bolts of the menace of the month – I was always impressed by the way Mark slowly but surely brought along the personalities of his always bountiful casts, having them interact in a surprising yet clearly logical manner. That above all is what I treasured about a Gruenwald penned episode – you could never quite predict where it was going, but it always made sense in getting there – and was true to the characters as established to boot. Little wonder then that far above anything else produced under the aegis of the regrettable New Universe experiment, Mark (and artists Paul Ryan’s) 32 issues (plus one Annual) of D.P.7 shines like a bright beacon of success amidst a gloomy cloud of failure.

And in the early nineties, when Marvel was cranking out books like sausages – bad sausages – and I was still on the freebie list, there were only four regular books I could stomach reading. Two were by Mark: Captain America, natch, and his 59 (of 60) issues of Quasar. (To stave off your curiosity, the other two were Walt Simonson’s F.F. and Peter David’s Hulk.) I always felt Mark’s books (save for the landmark 12 issue Squadron Supreme limited series) never quite got the props they truly deserved. Partially that had to do with the fact that Mark was usually paired up with solid, professional – but rarely flashy – artists, and partially because readers needed to immerse themselves in these continuing sagas to fully appreciate the thought and skill Gruenwald invested into his writing. Too bad. I have nothing but fond memories of his work.

Mark Gruenwald, as you probably know, passed away unexpectedly in August of 1996. Obviously, that was a great loss for everyone – his fans, the comics field, and most especially his family. Like I said, I barely knew the man, but if I can’t be counted among his personal friends, let me at least be happily identified as one his biggest fans.

The reason this all came to mind, oddly enough, was due to my MySpace page. I generally double post anything I write over there on my own Fred Sez blog. The advantage the MySpace page has is the ability for readers to leave their own pithy comments under my ramblings. Last week, in a brief posting pointing folks to the previous edition of “The Fred Hembeck Show”, the aforementioned Jim Salicrup, as well as an Italian fan by the name of Max Brigel, both chipped in their two cents, and after seeing himself sharing space with Jim and I, Max came back with this brief note…

Nice! Now, with you and Jim Salicrup, I’m almost on a Marvel Age page!! Ahh, those were the times…

Friend Max, it turned out, had good reason to wax nostalgic over the sadly long defunct Marvel Age, as he explained with his next posting…

Well, since I owe my career to the late great Mark Gruenwald I completely agree with that! I’ll tell you the story… because I didn’t have the chance to write it down anywhere last month, in the 10th anniversary of Gru’s passing.In 1990, I was only a fan of Marvel Comics (now I work for Panini Comics, which reprints Marvel for Italy/France/Germany/Brasil/Spain) and decided to check their boot at the Bologna Children’s Book Fair. Lo and behold: the great Gru was there, and when I saw him I couldn’t resist asking the hostess if I could speak a minute with him. Only later I discovered we were both born on the 18th of June (ditto for Alan Davis and Paul McCartney), so maybe there was a weird connection between us, but in 1990 I only exploited my knowledge of Marvel Comics.I remember pointing at him, even when I was speaking to the hostess, and he noticed, and asked me to sit in the Marvel booth so we could speak everything Marvel. And so we did for a few minutes (15? Maybe more…), but he didn’t mind answering all of my questions. If I had had more of them, he would’ve answered more: he was kindness! Then I thanked him and got back home with a precious knowledge of Marvel’s next moves.

A few days later I went to my comic shop and spoke freely to the people there about my encounter with Mark Gruenwald… “Why don’t you write it down? We’re printing a fanzine next month and your ‘interview’ will be priceless!” they told me. No sooner said than done, I rushed home and wrote everything with a pen (using my memory too) on a piece of paper: I didn’t have a computer back then!

The “interview” was indeed printed in the fanzine (“Glamazonia”) and I was so proud of it I decided to send a copy to an Italian editor of Marvel Comics (Luca Scatasta), just to thank him for his great work. When Glamazonia arrived in his bullpen, it created quite a sensation, and everyone started to remember my name: “He’s a letter hacker!” said the editor-in-chief, “He’s buying comics in the comic book shop where I used to work” said the secretary. You see: they needed another freelance editor because Luca Scatasta was only very part-time at the moment, and they decided to interview me.

The interview went very well, and so my first articles and editing job (basically I edited a couple of translations of Wolverine issues)… In short, I got my very first freelance job! And it was only the beginning of a (so far) amazing experience in Marvel editing which started in 1990 thanks to the great man I discovered with “Mark’s remarks” in Marvel Age!Two or three years after that meeting (dated 7th April 1990, as I recently discovered), I had the incredible honor to start editing the translations of every single Captain America Mark G. wrote! I also wrote cliff notes on characters he would have surely appreciated!

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This in turn inspired Jim Salicrup to share the following…

Well, this will be the longest comment ever on Fred’s MySpace page…First, here’s something I wrote for the latest issue of MoCCAzine, the newsletter for the Museum of Comic and Cartoon Art (www.moccany.org):“MoCCA Remembers Mark Gruenwald

“Peter Sanderson’s MoCCA Monday lectures on 1986: The Year That Changed Comics are incredibly insightful examinations of key important and influential comics and graphic novels. But Peter’s August 7th talk was extra special, and no, it’s not because Peter raced through his in-depth analysis of Marvel’s Squadron Supreme limited series in Speed Demon fashion (clocking in at a little over fifteen minutes compared to his usual norm of roughly two hours). What made this particular MoCCA Monday unique was that Peter had gathered together a group of special guests to talk about Squadron Supreme writer Mark Gruenwald, to commemorate the tenth anniversary of Mark’s death. Remarkably, this wasn’t the first time Mark’s death has been tied to the Squadron Supreme, as some of Mark’s ashes were actually blended in with the ink used to print the first trade paperback collection edition.“Speaking before the standing-room-only crowd, guests included Catherine Schuller, Mark’s widow, who read movingly from a eulogy Mark had written for himself years before he died, and Sara Gruenwald, Mark’s daughter who announced she has, despite her father’s advice, recently published comics of her own. Many of Mark’s co-workers were present and shared their favorite memories of Mark. Mike Carlin, Jim Salicrup, Glenn Herdling, Glen Greenberg, Tom Palmer, Carl Potts, and Tom DeFalco all spoke of Mark’s humor, practical jokes, and love of comics. Also in attendance were several of the current writers of Mark’s creation, The Official Handbook of the Marvel Universe, one of whom spoke and told of Mark’s impact on his generation of comics fans and professionals.“Videos of Mark’s convention appearances and Bullpen hi-jinks were shown, and to conclude the formal proceedings, a friend Henry O, performed one of Mark’s favorite Beatles songs, ‘In My Life.’ The guests and audience members, including many comics industry professionals such as Bob Budiansky, Renee Witterstaetter, Ken Lopez, and many others, all then got to mingle, enjoy refreshments, and continue to share their memories of the clearly much-loved Mark Gruenwald. Despite the potential of such an event turning into a very sad occasion, the mood was upbeat and fun the entire evening, making for a truly memorable MoCCA Monday.”And, if that wasn’t enough, here’s what I said at MoCCA that night…

“A Few Words About Mark Gruenwald

“Asking me to say a few words about anything is often futile, as I tend to go on endlessly about almost anything. And when it comes to Mark Gruenwald, I’m sure I could write a monthly ongoing solo comicbook series, as well as an ongoing team-up title. But tonight, I’ll give it my best shot to be somewhat restrained.

“Like most people I liked Mark as soon as I met him. His unique sense of humor and passion for comics was infectious. He was sort of combination of Bill Murray and Jack Nicholson – the bad boy with that endearing twinkle in his eye. In the time I knew Mark, we went from being the young fans that were breaking into comics to becoming what they like call ‘comics veterans.’ We went from being very close friends to colleagues with a tremendous amount of mutual respect.

“In the early days, we spent lots of time together talking about our respective hopes and dreams, usually while taking long walks through Central Park, up to his West Side apartment. We both passionately loved comics, but the reality of working at a major comics publisher could be, shall we say, very challenging.

“Rather than simply despair, Mark and I would always embrace the challenge of finding a way to please both our corporate masters and our own fannish desires. For example, Mark was always more of a DC fan than a Marvel fan, but did Mark let that stop him from writing the Justice League of America?“Mark wrote, with Ralph Macchio, the long-time Marvel editor, not the star of Karate Kid movies, Marvel-Two-In-One, a team-up title featuring the Fantastic Four’s ever-lovin’, blue-eyed Thing character, which I got to edit. Working with such top artists as George Perez and John Byrne, we got to have fun with such storylines as Project: Pegasus and the Serpent Crown Affair. While most of the time it was fun to work with Ralph and Mark, sometimes Mark would come up with ideas that I wasn’t able to appreciate at the time. For example, Mark once wanted to feature Moon Man, the older version of Jack Kirby’s Moon-Boy character from Devil Dinosaur. I didn’t quite appreciate Mark’s sense of the absurd at that point.“Later when looking for a villain somehow related to the ballet, to include in a strange comic I wrote, which actually featured Spider-Man, Fire-Star, and Ice Man watching a performance of the Nutcracker, I was thrilled to come upon a character Mark had created – a guy who was repeatedly rejected because he was too short to be a ballet dancer, so he somehow got his hands on a growing formula that turned him into the freakish Daddy Long-legs – a guy now too tall to be a ballet dancer.“Quite often, Mark would try to get a concept by me, by saying, ‘But Jim, there’s never been anything done like this in comics before.’ And unfortunately, I’d have to respond by saying, ‘Sometimes there are good reasons.’

“Mark also wrote a monthly Mark’s Remarks column for Marvel Age Magazine, the official Marvel fan magazine I edited for eight years. While most of the columns were in someway promoting something or other that Marvel was publishing at the time, I’d sometimes be surprised at how personal his column could become. For example, unlike me, who thought it was great that everyone had an opportunity to submit their work to Marvel for consideration, Mark was far more compassionate, and felt strongly for the many people who would inevitably be rejected.“In another column, where Mark was just listing random thoughts, one of his philosophical points had a profound affect on my life. It was a simple thought, appreciate the people in your life who love you. Back then I was a bit too full of myself, and taking the people who loved me for granted. Mark’s sincere advice, coming from such an unexpected source – a column in a magazine devoted to promoting Marvel Comics – made me think about how I was treating people in my life, and for that, I’m eternally thankful to Mark.“I remember one difficult time, walking Mark home on the night that Spider-Woman, a title he had been writing, was reassigned to another writer. Mark was crushed. He was pouring everything he had into that comic. I told him he shouldn’t let this upset him too much. That he should remain open to future opportunities. That life was full of creative challenges, and the specifics weren’t all that important – that he would continually find ways to creatively express himself. And he did.“Instead of allowing the job to shape him, Mark shaped his job to reflect him. I’ve always thought it was an editor’s job to construct an environment conducive to creativity. Mark took that literally and would redesign and rebuild his office in amazing ways. Mark’s life was a constant expression of his humor, compassion, love, and spirit.“As much as I enjoyed Mark’s comicbook work, I think Mark himself was his greatest creation.”

Max, I’d like to read that interview you did with Mark. It would be like spending a few minutes with my old friend yet again.

Thanks Jim – and thanks to both you and Max for granting me permission to reuse your heartfelt words here – I felt both pieces were just too good to be shunted away in the comments section of my MySpace page. If nothing else, it spurred me on to offer up this long overdue tribute of my own to one of my favorite latter-day mainstream scribes. We all miss you Mark, but you haven’t been forgotten. Not by a long shot. And if you folks are at all interested in reading an expansive collection of the earlier alluded to Mark’s Remarks columns, well, this whole sentence will serve as a link to get you there. Go ahead and take a look – there are far worse ways to while away the time on the Internet, after all.

(Not including Hembeck.com, of course!…)

Copyright 2006 Fred Hembeck (except for the material generously provided by Jim Salicrup and Max Brighel, used by permission)

September 13, 2006

Interview: John Hodgman

Filed under: Interviews — UncaScroogeMcD @ 12:37 am

-by Ken Plume 

hodgman-01.jpgOnce in a generation, a humorist will step forward whose thinking is so uniquely, sublimely outside of the box that a new box must be hastily constructed – usually out of found materials, since the process must be undertaken with incredible speed or risk losing so gossamer a genius. In this generation, that freak of nature is named John Hodgman, and he has written a book called The Areas Of My Expertise.

Mr. Hodgman is a man of letters (26, to be exact – and he used every last one of them to write this book) and a current guest correspondent on The Daily Show – his past is shrouded in mystery, though it may have involved editing, agenting, writing, and constructing the world’s largest popsicle castle.

Presented in the form of an ersatz almanac, his book is a hilarious journey into the secret Hobo culture (and the list of 700 Hobo names), the American presidents who had hooks for hands, plus little known facts about the 51 U.S. States, Lycanthropic Transformation Timetables (very important), and much, much more. Hodgman writes in an easily accessible, quite matter-of-fact style about matters most surreal – yet disturbingly plausible. Now that it’s available in a newly expanded paperback edition and audiobook form, you have absolutely no excuse not to pick it up. Mr. Hodgman’s family, and his myriad creditors, will thank you.

He is also currently on tour, accompanied by cyber-troubadour Jonathan Coulton. Like The Monkees before them, they could be coming to your town – check for dates at the official website, www.areasofmyexpertise.com.

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JOHN HODGMAN: So how are you?

KEN PLUME: I’m doing quite well.  I keep hearing all these wonderful things about you from all different contacts I have within the industry.

HODGMAN: Oh, that’s very nice to hear.  Glad that’s happening.

KP: So, I can either start with a serious question or an even more serious question.

HODGMAN: I think you should pick the one that you most want the answer to.

KP: Should I be afraid of the hobos, and where are they now?

HODGMAN: Is that the serious question or the more serious question?

KP: I’m really not sure anymore.  I think it’s the more serious question in this day and age.

hodgman-02.jpgHODGMAN: Well, as you may know, there are still people in the world who ride the rails, and ride box cars… Emulate the hobo lifestyle as it was sort of defined in the early 20th century.  But these people are hobo emulators – what we call in the hobo observation business “fauxbos” – instead of the true hobos, who left after 1941.  Some believe that, after Pearl Harbor, they gave up their wandering ways and joined the fight against our common enemy, Europe.  Others believe that they went to another planet or another dimension. Others think they just simply went underground and are waiting to come back.  But that’s not true.  Most historians agree that they probably went to another planet.

KP: So they were like the Heaven’s Gate of happy wanderers.

HODGMAN: Yes, but with success.

KP: But will they return?  Or have they abandoned us?

HODGMAN: Well, the point of the hobos in my book is that they are unknowable and simply… they represented a sort of subculture that is so far out of the mainstream that they are not understandable to civilized humans like you and me.  And so what they might choose to do and what they might not choose to do, it’s really a question that’s impossible to answer.  Should we fear them?  Well, you know, I would exercise caution if you were to go back in time and see one. Or if they were to come back.  You know, a hobo might just as soon sit and stare at you for several hours, or make you a hobo soup out of old soup that they collected for many months. Or they might try to stab you with a needle.

KP: So a hobo is just like my grandmother.

HODGMAN: (laughing) Well, I didn’t want to get into your grandmother, but you know, it’s the elephant in the room.  We might as well talk about it.

KP: Yes, well, I’m glad that you’re bringing up all kinds of bad memories now.

HODGMAN: Yeah.

KP: Along with the prospect of time travel, which I’m quite intrigued by.

HODGMAN: Yeah, exactly.  Time travel’s gonna… I predict it’s gonna be reality.

KP: If we were to extrapolate off the time travel aspect, you certainly had an interesting career prior to launching into writing.

HODGMAN: Yeah…

KP: It seems like it’s a certain kind of person that goes into agenting.  How would you describe the John Hodgman of, let’s say, even 10 years ago?

HODGMAN: Well, let’s see.  This is 2006.  In the year 1996 I was working at a literary agency in New York City called Writer’s House, very happily sort of deciding that I would not have to ever bother with actually writing anything myself because that is very… it’s very hard work.  Very time consuming, and I could live like a parasite off of other writers by representing their work and being their advocates to the publishing industry.  And also, while drinking their blood, also helping them in their careers and editing their works – which is something that I actually get a lot of reward from.  In 1996, we did not have the World Wide Web at the office yet, and I had AOL at home.  So in many ways my career – as I suspect your career – was at that point impossible.  No offense.  I mean, maybe you were running Quick Stop in 1996.  I don’t know.

KP: Yes, we ran it out of a small kiosk in Red Bank.

HODGMAN: Is that true?

KP: No.

HODGMAN: We had two Apple 2Es connected to each other in the garage.

KP: We would just share news between each other…

HODGMAN: In 1997, which was a more interesting year, we did get the internet at work, and we moved up from DOS – which is what we had been using – to Windows 95, and I found a website for the actor Bruce Campbell, and then my life really began to change. Because Bruce Campbell, who you may know is the star of Evil Dead 1 and 2 and Army of Darkness and several other… uh… B movies, which is a term that he uses proudly, answers all of his own email.  And I said, “Would you want to write a book?”  Because I was a big fan of Bruce Campbell.  And like many things that I was a fan of, I thought I was the one of maybe five or ten or fifteen in the world.  But I think what most people discovered when they found the internet was that they unknowingly were members of groups that were much, much larger who wanted to share information about things.  Meanwhile, Bruce Campbell emailed me back and said, “I always wanted to write a book about being a B movie actor.”

KP: This would be If Chins Could Kill?

HODGMAN: Yep.  And I said, “Great. If you want, I can try to represent it to you, or I could recommend an actual agent…” But Bruce is a very nice guy and let me do it, and I thought I had a big hit on my hands right away.  Took a long time to actually sell that book.  But when we did, it did turn out to be a great big hit – because that was the lesson of 1997, as far as I was concerned, that there were other people out there in the world who were just waiting to talk to one another about crazy things that they loved.  And as a result, I ended up meeting up with a bunch of people who were working on a literary journal and website called McSweeney’s, and began developing a voice in various little writings that I would do for them as a sort of semi-deranged publishing professional.  And eventually that became… Well, that was never successful and never made any money, but I began writing for magazines and began having to learn all of a sudden about… very quickly learn about hangover cures and chronic knee pain and the history of vodka and all other sorts of things you need to know. All the other things you need to know when you’re writing front-of-the-book pieces for magazines.  Just trying to get a foothold.  And pretty soon I decided that I wanted to leave book publishing as an industry and try to write, and that’s when I started writing a column for the McSweeney’s website called “Ask A Former Professional Literary Agent,” where I would dispense advice on publishing as well as on hangover cures and chronic knee pain.  And more and more developed a voice that would become the voice of me and the book as you know – a world expert on every subject.  Which is really just my voice, the kind of voice that I like to use when I’m talking to people or writing things for myself – but because I had met via technology and good fortune a lot of other people who liked this sort of voice, I could find an audience and develop it.

KP: Was there anything that surprised you in that transition?

HODGMAN: Is there anything that surprised me?

KP: In your transition, now being in the position of those who you had once represented…

HODGMAN: Oh, well, I mean, I was surprised at how quickly I transformed into a desperate, loathsome, needy person. 

KP: You were expecting the process to be a lot slower, then…

HODGMAN: Well, yeah, perhaps I expected it to be slower.  Perhaps I expected that because I had worked in publishing and I worked with authors, and while I loved them, of course I never wanted to speak to them or deal with them in any way, and their small problems and their desire for money and free lunches and everything else.

KP: So here’s where the hobo fascination comes in…

HODGMAN: Yeah, perhaps.  But I ended up being represented by an old colleague of mine from the agency.  So this is someone I knew when I was a publishing professional and a respectable person who wore clean clothes and was taken out to lunch.  And then I became a client and a writer and the transformation was so complete and, like, awful… I could hear myself become this whining creature of pure need and desire, calling up, “Yeah, this royalty statement is five cents off!  I can’t stand for this.  And tomorrow I have to take a shower.”  I was really aghast at myself, I have to say.

KP: So, when you’re so completely submerged in irony like that, is there any way to pull yourself back up and sort of dust yourself off and realize where you are at that point?

HODGMAN: Where I was at what point?

KP: At the point of which… was there a realization point that, “My god, I’ve become them…”?

HODGMAN: There was probably one particular conversation but I’m sorry that I can’t remember what it was.

KP: You could make it up.

HODGMAN: Yeah, I know I could.  But it’s better when it’s true.  The thing about my book is that there’s a lot of truth in it. And I would say most of the things… it’s primarily a book of fake trivia, but I never wanted it to be pure absurdist non sequitur.  When I was answering questions as “Ask A Former Professional Literary Agent,” someone would ask me questions about chronic knee pain and I would want to know about chronic knee pain before I answered the question, so I could talk about the Patello-Femoral Syndrome.  Do you know what I mean? Having a ring of plausibility or even actual plausibility, I think, was what was interesting to me, and then following that plausibility to absurd extents is sort of where I really gained pleasure from it.  So I’m actually not very good at making things up. Just sort of coming up with things.  Where I feel like I gain pleasure – and this is another area where I would not be able to live without the internet – is coming across some bit of folklore or some weird urban legend on an urban legends page, or some shared cultural memory that I’d forgotten about – about, you know, like Star Blazers from when I was a kid, or whatever – and realizing that people are thinking about this, and then suddenly seeing a joke that I had never thought of.

KP: I think the book wouldn’t work if it didn’t have that solid foundation… That plausibility for absurdity to build upon.

HODGMAN: Right.

KP: You unfortunately see people who go off on flights of fancy without any ground beneath them, and you really can’t buy into that absurd world they’re trying to build – whereas with your book, instantly when you get into it you realize that there is a solid ground to stand on before you take off.

HODGMAN: Well, I’m glad you feel that way.  I’m not surprised to some degree that people have gotten so much pleasure out of the hobo section of the book, because it is crazy.  The hobos did not take over the United States government, but I think that there is a…

KP: I could have sworn I saw bindle during the State of the Union.

HODGMAN: Yeah. I saw that too.  Turns out it wasn’t a bindle.

KP: It was just a sack

HODGMAN: I think people are fascinated with hobos.  I think I’m one of a generation of people who sort of 15… or… yeah, 15 or closer to 20 years ago were in elementary school sort of learning about hobo symbols and just being fascinated by this subculture that seemed to have existed, and does it exist now still…

KP: The section of the book I enjoyed most is the section on the 51 states.  Which really is exemplary of that idea you were describing, of the fact that it has to have some grounding in the reality of each of those states for the humor and the absurdity to play off of, or else the joke is lost.

HODGMAN: Yeah, I was just thinking about that, because I spent a lot of time during writing that with an old book called The National Geographic Picture Atlas of our 50 States, which is from the 70s. An old sort of kid’s textbook from the 70s with… let’s see a fact… I have it here.  For example, in Ohio, they mine coal, petroleum, stone lime, natural gas, sand and gravel.  Sort of general little bits of propaganda for each state.  So I spent a lot of time with that and I really found it really funny and fascinating and weird, what states are known for.  I think I make a reference to the famous glittering marble mines of West Virginia, and I think not many people are gonna know, except maybe a few people, that West Virginia is the center of the marble industry.  I don’t mean marble, but marbles. They make glass marbles for playing with.

KP: It would have been great if that were the case.

HODGMAN: Well it was the case around the time in the late 70s when this book was published.  So who knows if that’s gonna ping against someone’s actual experience out there, but…

KP: I’m envisioning this great marble empire of the west.

HODGMAN: Yeah, exactly.  And of course, West Virginia with its mines is one of the gateways to the world beneath the earth’s crust and the empire of the mole men, who are going to play a very big role in the second book.

KP: What is the current status of the second book?

HODGMAN: I am beginning to write it.  Ideally in about a year it will be written.

KP: Is writing a difficult process for you?

HODGMAN: No, in this case… I find writing to be very anxiety producing for me, which is part of the reason why I tried to avoid it for so long.

KP: Where does that anxiety stem from?

HODGMAN: When I write something, I don’t really know what’s happening.  And I never… when I have an idea it suddenly happens, I write it, and if I like it then that’s good.  But the moment that it’s over, I can’t remember how I… it seems impossible that I could have had that idea.  And not even necessarily a good idea, you know, it just seems… there’s a chemistry in my brain that is a little misaligned, I guess, because it just… the idea of sitting down now just talking about it, sitting down like writing a sentence – like, I don’t know how to do that, and then something just sort of happens and I do it, and then after it’s done like I don’t know who wrote that.

KP: So, creativity for you is a spontaneous process…

HODGMAN: I think it involves a certain amount of auto-hypnosis and a measure of, I think, possession by an ancient prehistoric star-traveling spirit that I call Gobus.

KP: So, in other words, you’re the one who’s been hogging Gobus.

HODGMAN: Yeah, I’ve been hogging Gobus for a long time, and I know…

KP: You bastard.

HODGMAN: Well, he’s no picnic, let me tell you.  A lot of people want Gobus, but when he comes in, he eats up all the crackers in the house.  And then doesn’t do the dishes.  He’s kind of a pain in the ass.

KP: So he’s like John Belushi as “The guest who wouldn’t leave”…

HODGMAN: That would be very nice, but no.  More like Jim Belushi.

KP: How did The Daily Show thing come about?  Because obviously you were originally a guest in November of last year.

HODGMAN: Yeah.

KP: But now you’re a regular contributor…

HODGMAN: Well, I’ve been on a few times and I hope to be on again, though nothing is certain.  We seem to all like each other pretty well and I’m a huge fan of the show.  So, knock wood, I’ll be back again.

KP: I think it was fascinating comparing your first and second appearance, and seeing the audience’s learning curve in understanding exactly what you were doing with the delivery of the humor.  Did it seem that way in the studio, that the audience wasn’t quite sure how to take it?

HODGMAN: Well, no. From my point of view, in all three cases that I’ve been on the show as a guest and the two times sort of contributing, it was all just a complete blur to me, those moments that I was actually on stage.  It goes so quickly and it’s so sort of very difficult for the brain to process that you’re actually doing it.  Particularly if you’re a fan of the show.

KP: Did they approach you?

HODGMAN: Yeah. I had met the executive producer socially one time, a couple times before I was on the show as a guest. So we had been in touch.  We knew each other.  He made some very flattering noises about having me back some time to do something on the show. And then all of a sudden he called me on Friday and said, “Can you work up something for Monday on the Iran nuclear capability issue?”  And I said, “Okay.”  And the next thing I knew, there I was.

KP: That was also on the heels of the thing you did with They Might Be Giants.

HODGMAN: Yeah.  ‘Cause They Might Be Giants was also a similarly surreal experience for me because I’ve been a fan since I was a kid of They Might Be Giants, and I had met them through McSweeney’s. McSweeney’s had done an issue with the original CD from They Might Be Giants, and so they had done some joint readings together.  At some point in the history of McSweeney’s I got tapped as the occasional emcee of various literary events, so I had this completely surreal experience, for example, of emceeing these They Might Be Giants/McSweeney’s readings in Chicago and London.  Just very, very weird.  And I remember when we went to London in 2003 to do it at the Barbican, which was this huge house, 1000 seat house that was full, and I could believe it. And my wife came with me, and the morning after the show we’re sitting in this cheesy Euro hotel eating bad three-day-old croissants.  My wife, with whom I went to high school, also liked They Might Be Giants.  She’s like… just having difficulty understanding that I’m sitting here eating breakfast with They Might Be Giants.  It’s very weird.  And the whole experience has been like that.  Just a very unbelievable adventure.

KP: if you were to pick one thing that’s been the most surreal that you’ve been able to do, what would you point to?

HODGMAN: In life or with regard to the book?

KP: Either/or.

hodgman-05.jpgHODGMAN: I think it would had to have been… I think that moment in London, playing at the London Barbican, which is a huge performing arts center in London, and introducing Zadie Smith and Nick Hornby and They Might Be Giants and Arthur Bradford and Dave Eggers.  It’s like, “What’s going on?  How did this happen?” That was a moment where you felt a learning curve.  Then, of course, all those people knowing who I was, and I went out and just started talking about radio attack ads – which is a piece that ended up being in my book – and doing that piece, and I could feel this audience of 1,000 people suddenly get it all at once, and then they really got it and they really liked it.  You know, it was very much like writing, actually, because I could not for the life of me write out what it was that I wanted to say on that event. Then two seconds before I went on stage I knew exactly how I wanted to set up the radio attack ads piece.  It was like channeling Gobus, you know?

KP: Creatively, where are you most comfortable?

HODGMAN: Creatively?  You mean physically in the world? 

KP: Or in a creative fashion.  Is it writing? Is it being in front of an audience?  Where do you feel most at ease and most creative and fulfilled?

HODGMAN: There’s a difference between where I feel most at ease and creatively most fulfilled.  I feel most at ease sitting on a couch watching TV or watching a movie or hanging around with some friends.  I don’t… the writing is pure dis-ease from then, and the performing as well.  But, of course, it is the most creatively fulfilling thing that I could do, because without it, where would I be? I don’t know.  I wouldn’t have that memory of going to London, or whatever.  Being on The Daily Show…

KP: Is the hurdle higher to sit down and write, or to walk out in front of an audience?

HODGMAN: Um… I’d say they’re about the same.  Usually when I’ve gone out to an audience, I’ve already written what it is that I’m gonna say, so, you know, basically what I’m doing is reading dictation from the time traveling spirit known as Gobus, you know?  I guess it’s probably… sitting down to write is a little more anxiety producing, but of course there is less concern about your pants falling down, ’cause who cares if that happens when you’re writing.

KP: Well, then it’d just be vaudeville for no one but yourself.

HODGMAN: Right, exactly.

KP: What would you say has been your worst experience writing, and your worst experience performing in front of an audience?

HODGMAN: Well, every experience of writing is my worst.

KP: Is there any writing experience that has actually gone surprisingly easy?

HODGMAN: Yes.  This book was a surprisingly easy thing for me to write.  It was a surprisingly enjoyable thing for me to write. Even though it was nerve wracking in the same way, and even though each time I would sit down to do it I’m like, “What am I doing?  How do I write sentences?”  You know, that whole experience.  But for the most part it was very enjoyable and I’m very excited to be back involved in writing the next one. So that went well.  But otherwise, generally speaking, each time I sit down to write it’s the exact same complete anxiety.  Total pancellular anxiety.  It makes writing sound very glamorous, I’m sure.  My worst experience performing… gosh… I don’t know. There are plenty of things where I feel like I didn’t really get where I wanted to be.

KP: Have you ever walked out and – comparing it to the London experience – where an audience just didn’t click at all?

HODGMAN: Yeah, but I’m not gonna tell you about it!  Because I think I feel things much more differently.  I’m glad to say that there have been no unparalleled, unquestionable disasters.

KP: So no one’s run you out of town at this point.

HODGMAN: No one’s run me out of town.  No one’s, like… my pants have not fallen down, I haven’t completely blown my lines.  For the most part I’ve been very lucky in that even if it’s only a few people and that’s happened, you know…

KP: It’s a hell of a night where they all happen at once – you forget your lines, your pants fall down, and then they run you out… which would be very difficult with your pants down.

HODGMAN: Yeah, exactly.  I wouldn’t be running, exactly.  Well I guess for me it’s probably about as fast as I move anyway.  No, I’ve been very lucky that even when the crowds are very small – and that happens fairly frequently on book tours and that sort of thing – people are extremely gracious and nice and responsive. And if they don’t get it, I don’t really blame them.  It’s usually because… it has something to do with talking about hobos.  Maybe I’m talking about weird esoteric Muppet trivia, for example.  I’m sure you’ve experienced, in your life, that not everyone gets it the same way that you do for me.

KP: Are you surprised at all by the attention and the accolades you’ve gotten?

HODGMAN: It is very gratifying and I think that probably, you know, things… books or comedic sensibilities, they have their own audience, and I think for me this book was really gonna… I was gonna work very hard to promote the book and just test to see just how large the audience is out there for deranged fake trivia.  And I had sort of steeled myself for the possibility that the audience, while very gracious and people that I like, might not be more than a couple thousand people, you know?  And then I was gonna have to sort of, you know, focus on other kinds of writing professionally and keep doing this on the side.  So I was very happily surprised in many ways that it seems to touch a diseased part of many more brains than that.

KP: Is there anything about the attention that you regret?

HODGMAN: No.  Oh, I’m sorry that the book isn’t longer.  One of the jokes of the book was that it was… like the 700 hobo names, it was going to be so massive and comprehensive-seeming as to be almost incomprehensible. 

KP: You should have just printed the book twice over and bound it together.

HODGMAN: Yeah, that would have been a way.  But you know, instead I decided to write two more and make them all part of the same book.

KP: So when should the next book be out?

HODGMAN: Hopefully it’ll be written by the beginning of next year and then it would come out a year from this fall. More Information Than You Require will come out in 2007.  Fall of 2007. One of the things that is important to understand about the three books that will ultimately complete The Complete World Knowledge is that they are not a trilogy in the same way The Lord of the Rings is not a trilogy, but one long novel that is sometimes published in three parts.  And similarly, the second book, More Information Than You Require, and the third book, That Is All, will be all part of one complete, deranged whole.  And if I have my way, the page numbers of the second book will pick up exactly where the page numbers of this book left off, and so on.

KP: So eventually we’ll see a compendium of all three.

HODGMAN: Yes, and then a “Page a Day” calendar and maybe some themed cruises and lots and lots of matchbooks.

KP: And when will the animated series be premiering?

HODGMAN: I don’t know, you should talk to your friend Jackson Publick about that.

KP: So, now, what can we do with the uranium we were talking about?

HODGMAN: What can we do with it? ‘Cause I’ve got a lot of it here.  A lot of enriched uranium.

KP: No one has had, like, a Tupperware party for uranium.

HODGMAN: I know.

KP: Have you thought about that?

HODGMAN: I was thinking about it.  You can put me in touch with the world leaders who need it.  I’d like to get some of this stuff out of my house, because I need to get my office back, you know what I mean?

KP: I can get you Muppeteers but not world leaders.  Although you never know what you can do with a uranium powered Muppet.

HODGMAN: Well, you can entertain some children and then blow them up, I guess.  And adults alike.  I didn’t mean to limit it.

KP: I know. But back to the book – you know, as soon as I got my hands on it, I called up people and read them portions.  It seems like a book that people want to share with other people.

HODGMAN: It’s a book of many, many small portions. It is not designed necessarily to be read from start to finish, but more to be dipped into and appreciated over time, lest you see the underlying con of the whole thing.

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Brat-halla #145: Norse Force – Blushing Problems

Filed under: Brat-Halla — UncaScroogeMcD @ 12:35 am

by Jeffery Stevenson and Seth Damoose with colors by Anthony Lee

Larger Comic Version | ARCHIVES | OLDER ARCHIVES

Brat-halla #145: Norse Force - Blushing Problems

For extras, visit the Brat-halla Web site!

Check out the preview to the Image comic Jeff writes…

E-MAIL WRITER | ABOUT JEFF | ABOUT SETH | BRAT-HALLA BLOG | BRAT-HALLA FORUM | ARCHIVES

September 12, 2006

Widge Goes Off #11: The NyQuil Has My Face!

Filed under: Widge Goes Off — widge @ 3:16 am
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widgepic.jpgWelcome back. All five of you. Yee-hah.

[CONTENT WARNING] This podcast contains foul language and a self-medicated host, hopped up on NyQuil and Twinkies.

DOWNLOAD: mp3 Format (21.3 MBs)

As for your Monday Morning Quarterbacking session, well…I’m bored. So I went through it in the podcast. Find the full skinnee at Box Office Mojo.

Cinematical’s article on Mummy 3 is here.

Amazon Unbox is here.

Heroes is here. I just noticed how much their “group shot” is a Lost ripoff. Ha! And…wait, what the hell? I mentioned it in the WGO as in trouble, but Joey is already cancelled! Awesome! This just in–Joey is still cancelled! Christ, I’m tired…

Special thanks to Exit Mindbomb for letting me use “Godzilla Will Rule You” from their album Happy Accident for my new WGO music. Check them out on MySpace here and I tried to link up as many songs as I could here.

Widgett Walls is the chief cook and bottle washer for Needcoffee.com. He’s also the author of Mystics on the Road to Vanishing Point and Magnificent Desolation. His personal blog is at OneTusk.com, which he updates when he feels like it. He lives and works in Atlanta, Georgia. He hardly ever sleeps.

Toy Box: FANtastic Exclusive 2006

Filed under: Toy Box — admin @ 3:13 am

 

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One thing that there’s no shortage of is San Diego Comic Con Exclusives.  It’s become a requirement for any company, no matter how big or how small, to have some sort of exclusive offering for the show each year. 

The Four Horsemen are a group of artists you should know well.  They’ve done some amazing work for companies like Mattel, where they worked on the Masters of the Universe line, the Batman comic line, DC Superheroes, and even the initial Harry Potter series.  This gang of four extremely talented artists met first at Mcfarlane Toys, where they produced some amazing stuff.

Just like you’d expect from a bunch of really creative people, the Four Horsemen came up with a new idea for this last summer’s SDCC.  They brought the fans and collectors into the process of creating an action figure, from the concept to completion, and called it the FANtastic Exclusive 2006.  At most of the steps in the process, including selecting the theme, the actual figure, and various other items, fans were allowed to vote on their favorites.  They helped set the direction and scope of the exclusive, and they were even rewarded by the Four Horsemen when the line was distributed.  Along with the SDCC exclusive, they produced several variants that were distributed by several of the major collector websites.

Tonight’s review covers the SDCC version, the minotaur (although he’s not, technically) called Xetheus.  He hails from a planet called Mynothecea – and he’s basically a big, mean heffer.

“Xetheus: Champion of Mynothecea”

 

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Okay, that’s cool and all, but you didn’t know about the whole voting thing last year.  Never fear – they’re doing it again for 2007!  Voting has already begin for the overall theme of the exclusive, so head over to the website and let your voice be heard!

Packaging – ***
The Horsemen went with a traditional cardback/bubble package, but spiffed it up considerably with great Seventh Kingdom (the name of the in house line from which the Big X hails), along with the FANtastic logo.  There’s no wasted space, and the bubble and card are both quite compact.  A nice example of exclusive packaging that does the job, and looks good doing it.

 

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Sculpting – ***1/2
If you’ve never thought the bovine branch of the farm animal tree was particularly tough, think again.  You know those bulls that run in the streets, chasing morons?  Xetheus here could have them for lunch, with a little steak sauce.

 

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The detail work is excellent, with multiple textures to indicate various material and furry skin.  The various ABS and PVC plastics that were used work extremely well to mimic the boney horns, leathery clothing, and metal blades and armor.

The sculpt complements the articulation fairly well, and he stands great on his own even with the small hooves.  The hands are sculpted to hold the accessories, and work well with both large weapons.

The scale is around 7″, although he does seem just a hair on the small side for a cow in that scale.  I think he really fits in better with 6″ scaled human lines than the straight 7″ lines.  EDIT – yep, he should be considered really in a six inch scale, which as you can see from the final comparison photo, makes him quite a bit larger than a standard human in that scale, as you’d expect.

I do have one question though – why does everybody keep refering to this guy as a minotaur?  Minotaurs have the legs of a man, and old Xetheus here definitely does not.  He’s a bipedal bovine, something not seen in our ancient mythology.

Paint – ****
If there’s one thing better than the sculpt, it’s the paint.  As I’ve said many times, a great paint job can make even a mediocre sculpt shine, and when you put one on an excellent sculpt – as is the case here – you have the makings of a dynamite figure.

While the textures of the various parts are important to make them appear as though they are made of different materials, the real key is the paint.  To get the horns to look like horns, the blades to look like metal, or the loin cloth to look like material, it requires just the right application of paint.  They’ve done a fantastic job with this figure.  Notice I didn’t get all corny and say FANtastic?

Now there might be an issue for some folks with the basic pallette they chose. I’m betting blue won’t be everybodies cup of tea for your basic butt kickin’ bull, but there are the various other variants to choose from.  And you can rest assured that the technical application of the paint is top notch on all of them.

Articulation – ***
Xetheus has plenty of articulation, and almost all of it works in concert with the sculpt.  There’s the ball jointed neck, ball jointed shoulders, pin chest, cut waist, pin elbows, ball jointed wrists, ball jointed hips, double pin jointed knees, and ball jointed ankles. The ball joints at the shoulders and hips are the best kind, jointed on both sides of the ball and allowing for the maximum amount of articulation, and having ball joints at the wrists and ankles is just icing on the cake.

 

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Most of the joints are tight, although I did have a little trouble with the ankles and knees.  Their weakness is probably due largelly to the weight of the body they are holding up.

Accessories – ***
There are three accessories, which for an exclusive is at least two more than we usually get.

 

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Xetheus has two weapons – a very large double ended contraption that would turn his opponents into T-bones and Porterhouse cuts pretty quick, along with a smaller, one handed double bladed knife-like implement of death called the H-Blade. Both of these weapons are very reminiscent of Klingon like blades.

X can hold them great, and pose with them in some pretty deadly looking stances.  The weapon comes apart, and can be carried on his back in a nifty sculpted bull horn attachment.

He also comes with a third accessory, that looks an awful lot like a baby rattle to me.  I have no idea what it is, although I’m betting it attaches to him someplace… EDIT – thanks to the fine folks at 4H, I now know that it’s a totem symbolizing his deity, which is also represented on his chest plate and knee pads.  He’s a very religious cow.

Fun Factor – ***
While these are designed specifically as toys, you can certainly see that’s where they get their inpiration.  They are fairly sturdy, with the exception of a couple joints, and the accessories make them even more fun for kids in that 8 – 10 range.  Who doesn’t need a barnyard animal to battle the evil forces?

Value – ***
Most con exclusives are merely repaints of existing figures, and run around twenty bucks.  Here you get a new character, that was influenced by you (as long as you did your civic toy duty), with great sculpting and paint, along with good articulation and accessories.  What more could you ask for?

Things to Watch Out For –
Not much.  A couple of the joints are a little weak, but that’s about it.

 

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Overall – ***1/2
Exclusives are like any other figure – there’s everything from the most awful crap to the finest craftsmanship.  When it’s a figure from the Horsemen, odds are good it’s closer to the amazing than the awful.  Xetheus is a very cool design, treated with real care and attention by a group of guys that clearly love their work.  Oh sure, it’s not some fancy smancy license of the hour, but it’s definitely creative.  And the addition of getting fan input really takes this exclusive a level above the majority.

Where to Buy –
Well, since this was a con exclusive (and the other five variants were all website exclusives at different sites), the options are a tad limited.  However, you can order this regular version direct from the Store Horseman (cute, huh?) for $20 plus shipping, or you can order the super limited (only 250) variant they just announced, The Royal Guard, also ONLY at the Store Horsemen.

Related Links
One of last year’s Four Horsemen SDCC exclusives was Commader Argus from their in house M.A.G.M.A. Corps line.  And of course, you want to get your vote in for next year’s FANtastic Exclusive.

 

DVD Late Show: Back to the B’s

Filed under: DVD Late Show — UncaScroogeMcD @ 3:10 am

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September 12, 2006

You would not believe the summer I’ve had.

Not to get into gory details, but two of the most painful conditions it is possible for a guy to have hit me in rapid succession early in August, accompanied by various other debilitating and lingering ailments. I didn’t watch many movies last month, nor, if truth were told, have the mental clarity and concentration to coherently write about them.

However, it appears that the worst is now over. I’m about neck-deep in missed deadlines, but I’m slowly clawing my way out. With luck ““ the good kind, for a change, I hope ““ I’ll be able to get back to that weekly schedule for the column that I was achieving earlier this summer.

Anyway, today, I’ve got a few short reviews to tide you over until next week, which will be a full-fledged, full-service Late Show, crammed with B-movie goodness.

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Classic Media has done a great service for fans of kaiju eiga and, specifically the Big G, with their release of the original, uncut, Japanese version of GOJIRA (1954), paired in an attractive new DVD package with the American version, known as GODZILLA, KING OF THE MONSTERS (1956).

American nuclear testing creates a towering prehistoric monster with radioactive breath, which heads straight for Tokyo, leaving devastation in its wake. Japan’s only hope of defeating the creature lies in the Oxygen Destroyer a weapon as potentially deadly as the A-bomb itself. Can Dr. Serizawa, the Destroyer’s inventor, be persuaded to use the weapon before it’s too late?

Directed by Ishirô Honda, GOJIRA is a dark, occasionally moving, anti-nuclear allegory with powerful performances by a top-flight Japanese cast. The script is excellently constructed, never losing sight of the human stories that might easily have been lost in the devastating spectacle of the primeval giant’s fury. Played utterly straight and with complete sincerity, the film ““ while derivative of American efforts like THE BEAST FROM 20,000 FATHOMS ““ has an emotional weight unique in the genre. Only the Japanese have suffered the consequences of a nuclear attack, and the memories of Nagasaki and Hiroshima were still very vivid in 1954. The scenes showing the wounded victims of the creature’s first Tokyo attack, lying en masse on hospital floors as they slowly die from radiation poisoning, have a verismilitude that could only have come from real-life experience.

The U.S. version, GODZILLA, KING OF THE MONSTERS, is a pretty effective creature feature in its own right, but much of the human suffering and character drama has been cut out, replaced with new footage of actor Raymond Burr, playing an American journalist on the scene. Although the structure of the movies is quite different, played out mostly in flashback, the movie is still quite grim. Burr’s scenes are really quite expertly integrated into the Japanese footage, with excellent use of body doubles and carefully matched sets and lighting. Burr, too, deserves credit for playing the role very straight, describing the devastation his character witnesses with credible conviction.

Classic Media presents GOJIRA for the first time on American home video in fine form. Although the print ““ direct from the vaults of Toho Studios ““ shows considerable wear and damage, due to the inferior stock used, the transfer is as fine as modern technology could make it. There are still scratches and specks riddled throughout, but the image is mostly sharp, with solid blacks and good contrast. The movie also uses lots of stock footage of the military, and when that film appears, it is noticeably inferior to the rest of the footage. Overall, though, the transfer is excellent for a movie of this vintage. The print of GODZILLA, KING OF THE MONSTERS, is okay, but looks about the same as it has on every previous domestic video presentation: slightly washed out and grainy.

GOJIRA includes clear English subtitles accompanying the original mono audio soundtrack, while GODZILLA keeps its familiar English mono tracks. Both films include informative, detailed audio commentaries by Godzilla scholars Steve Ryfle and Ed Godziszewski, and there are two featurettes, one focusing on the development of the original film story, the other on the film’s elaborate special effects.

The two films come in a classy, attractively designed “hardback” clamshell, and the package includes a 16-page booklet with extensive liner notes.

For fans of kaiju films or serious students of science fiction cinema, Classic Media’s GOJIRA/GODZILLA, KING OF THE MONSTERS may be the most important DVD release of the year. And if that’s not enough to be grateful for, they’ve announced similar editions of other Godzilla and vintage Toho kaiju films in the months to come.

Highly recommended.

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Hungarian actor Peter Lorre made quite a career for himself in sinister character roles, but probably his most offbeat characterization was that of Japanese detective/secret agent, Mr. Moto. In eight films for 20th Century Fox, Lorre played the devious, crime busting jiu-jitsu master and Fox Home Video has just released four of these classic B-movies in THE MR. MOTO COLLECTION VOL. 1.

The first film in the set, THINK FAST, MR. MOTO (1937), introduces the Japanese sleuth as a San Francisco importer/exporter who takes it upon himself to track down and break a diamond smuggling ring operating out of Shanghai. Atmospheric, moody, and filled with devious characters, it’s a strong start to the series.

The second disc, THANK YOU MR. MOTO (1937), finds our hero in China, searching for the tomb of the legendary Genghis Khan. Disc three, MR. MOTO TAKES A CHANCE (1938), finds the inscrutable secret agent deep in the jungles of Cambodia, posing as an archeologist. In the final disc in this first set, THE MYSTERIOUS MR. MOTO (1938), Lorre’s character heads for London, where he attempts to destroy an organization of professional assassins.

Each film is presented full frame with cleaned-up mono sound. Fox has done a marvelous job restoring these early thrillers (each disc has a restoration comparison), and has packaged them together in a smart box set. Each disc includes a featurette focusing on a different aspect of the series’ production ““ including profiles of Lorre and series director Norman Foster.

I love these old B&W mystery series, and Fox is to be complimented not only for releasing them on DVD, but putting the effort in to restore and present them properly. A great set, and well-worth buying if you’re a fan of classic Hollywood mysteries. I can’t wait for Volume Two.

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I haven’t actually watched a new Jean-Claude Van Damme movie since KNOCK-OFF, I think. While there was a time when I made an effort to see each of the Muscles from Brussels’ movies ““ I particularly liked BLOODSPORT, DOUBLE IMPACT, HARD TARGET and MAXIMUM RISK ““ his transition in the early 90’s from theatrical action star to direct-to-vid leading man left me behind, I’m afraid.

Well, Sony Home Video just sent me the latest action effort from the man, a surprisingly involving little flick called THE HARD CORPS (2006).

Van Damme plays Phillipe Sauvage (gotta love those movie names), a Desert Storm vet suffering from post-traumatic stress disorder after serving in Afghanistan and Iraq. Through a somewhat contrived series of events, he is hired as bodyguard for an ex-boxing champ-turned-philanthropist (Razaaq Adoti). Unfortunately, an ex-con rap music producer with a grudge has marked the former boxer for death, and Sauvage finds himself trying to protect an uncooperative client in the midst of a hip-hop shooting war.

There’s not really all that much action in this one ““ maybe one hand-to-hand bout and a couple of gunfights, but what there is fairly well staged. Direction (by Van Damme vet Sheldon Lettich), production values and cinematography are surprisingly slick for a direct-to-DVD flick, and the story (despite how it may read above) is actually quite interesting and well executed, with solid performances by most of the cast, especially Vivica A. Fox and Adoti.

Van Damme mumbles his lines and delivers them in his usual stilted manner, but since his character is supposed to be emotionally damaged, it sorta works.

Setting Van Damme down into the middle of a hip-hop gangsta war makes for some interesting character bits and gags; I particularly liked a scene where his character is training some young bodyguard recruits how to shoot properly, berating them for holding their guns sideways. Sure enough, in the final gunfight, only he and his team seem able to hit anybody, with the bad guy gangstas shooting their sideways sidearms wildly.

Sony Home Video’s bare bones DVD offers the feature in a crisp1.85 anamorphic widescreen transfer with Dolby 5.1 audio. The only extras are trailers for other recent and current Sony action releases, including Van Damme’s SECOND IN COMMAND.

Ultimately, I found THE HARD CORPS (the name that Van Damme’s bodyguard team is given by their employer), to be an entertaining diversion, and far better than I expected it to be. It’s not a classic ““ but it’s one of the man’s better movies.

Next week, I’ll have a big ol’ bunch of reviews for you ““ nearly a month and half’s worth, actually ““ including the softcore thrills of FELICITY, the vintage sci-fi of THIS ISLAND EARTH, the video game horrors of STAY ALIVE ““ plus: I WAS A TEENAGE MOVIE MAKER, 9 DEATHS OF THE NINJA, the VICE ACADEMY Trilogy… and did I mention pirates?

Comments about this column or DVD-related questions? Feel free to contact me at dvdlateshow@atomicpulp.com.

September 11, 2006

Interview: Robert Vaughn

Filed under: Interviews — UncaScroogeMcD @ 1:36 am

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-by Ken Plume

vaughn-01.jpgIf there is a master list of actors whom you immediately identify whenever they show up on screen, Robert Vaughn surely has a secure place on it. From The Magnificent Seven to The Man From U.N.C.L.E., from The Towering Inferno to Superman III – you know, the list just goes on an on, in a career spanning nearly 50 years.

His latest foray is the BBC drama Hustle, the first season of which has just hit DVD. Like Ocean’s 11 with a multigenerational group of cons substituting for the fabled thieves, Hustle one of those confection dramas that you devour greedily, enjoying the dramatic cake and the sweet character icing all in one go, unable to stop with just one episode. Maybe the cake metaphor was a bit much, but this is still an amazing show, if only for Vaughn’s performance as an aging con with much wisdom to impart to the young, sometimes foolishly cocksure, turks.

We had a chance to chat with Vaughn about his life and career…

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KEN PLUME: I guess the first question I have to ask you is – this many years into your career, what exactly does it take for a part to excite you?

ROBERT VAUGHN: Well, the first thing I consider is where it’s going to be filmed.  Then I find out how much money they have, and then I read the script.  In some 125 movies I’ve done over the last 50 years, I’ve been on some disastrous locations which I would never want to return to for any amount of money.  So always make sure to check that out. In the case of the current show, it’s filming n London, which is my second home.  I lived there off and on since the late 50s.

KP: You’ve done quite a bit of work there, as well.

VAUGHN: Yes, I did a series there for three years in the 70s, and I’ve done various other films like Julius Cesar with Charlton Heston, Jason Robards and Diana Rigg. In various periods in my life I’ve lived in London, and we’re living there now until we finish Hustle, whenever that happens.

KP: Hopefully no time soon.

VAUGHN: I hope not, because I’m really enjoying it. I love doing it.

KP: When you talk about locations, and I’m not asking you to name names, what is it that makes for a bad location for you?

VAUGHN: Well I can tell you quite clearly what I feel is a bad location.  I’ll just cite three different pictures.  One I did in Caracas where I was under house arrest and couldn’t get out of the country, and eventually I had to put on a costume with my wife and my dog, a Mexican and Spanish costume, and sneak into the airport – and I had to take the first flight out of Caracas that I could get, and it was to Barcelona, not to the United States.  So my dog and my wife and I wound up in Barcelona and came back to the United States after having been under house arrest for several weeks in Caracas because the producers of the film were in jail.  That was one instance.  Another instance, I did a film in Prague, Czechoslovakia, and it was invaded by the Russians at the time I was filming, so once again I’m under house arrest.  Nothing could be done about that.   It wasn’t anyone’s fault.

KP: Well, except for the communists.

VAUGHN: And then I did another film in Yugoslavia where there were only four Americans in the cast. The rest were all Yugoslavians, and it was a three month shoot and I literally had no facilities at all. I had a tree to go to the bathroom behind.  It was Robert’s tree…

KP: That’s because they have a strong guild.

VAUGHN: They did not serve food that was edible.  In other words, they treated actors like trees, like chairs. I also did a film in Peru where I had a 24 hour bodyguard because The Shining Path, the Maoist guerillas, were kidnapping Americans right around when we were shooting on the top of Machu Picchu, the large mountain outside of Lima. That’s just a handful.

KP: So, really, it’s just locations that produce anecdotes that you don’t like…

VAUGHN: Oh absolutely, no question.  Also, as the years go by, it puts unnecessary strain on my brain and my heart and I don’t want to experience that anymore.

KP: No, we definitely want you working for quite a few more of those years that stress would take away. We particularly want to keep you out from under house arrest or a communist invasion.

VAUGHN: Yeah, enough of that.  I’d like to be under house arrest at Buckingham Palace.

KP: You’ve also been an actor over the years that hasn’t been afraid to make the transition back and forth between TV and film…

VAUGHN: Yeah, I was very lucky, because many actors that had great success in television series seem to disappear off the map, the acting map, and I was fortunate enough that the first movie I did after The Man from U.N.C.L.E. was a picture called Bullitt with my old friend at that time, Steve McQueen.  We’d known each other at that time for eight years.  We met doing The Magnificent Seven.  So that picture, Bullitt, was one of the top ten grossing pictures of 1968, which is the year that U.N.C.L.E. went off the air, and I went on into other motion pictures, and Towering Inferno and Superman III, and on and on and on – but lots of times that doesn’t happen.  Most of the time it doesn’t happen to actors who’ve had a successful television series, but I was very fortunate.

KP: Particularly at that point.

VAUGHN: It was particularly having Steve as a friend at that point.  He was producing the picture and he wanted me in it.

KP: Well, it’s good to have connections.

VAUGHN: Yes.

KP: Especially at that point in the industry, it was not an easy transition for an actor to make, to go from TV to film.

VAUGHN: Oh no, very definitely. I think the only two people who had done it at that time were James Garner and Steve McQueen.  Other people did it as time went on, but most of the other actors, 90% of them, either disappeared altogether or reappeared many years later in some lesser vehicle.

KP: I also find it fascinating that during the 70s you pursued and attained a PhD.

VAUGHN: Yeah, I got my doctorate in June of 1970.  I’d been in graduate school all through the 60s.  I got my masters degree in 1960, and then during the 60s I did get my doctorate. USC, where I got my doctorate, were very kind to accommodate me in terms of my work schedule in television.  Somebody let me off the hook in terms of certain time limits that would normally be put on somebody getting a PhD.  They allowed me some flexibility – which was certainly alright with me, and I was able to complete the work.  My doctorate dissertation, I revised as a book titled Only Victims, that dealt with Hollywood blacklisting.

KP: It’s a topic and attitude  that seems to recur every once in a while in more insidious forms.

VAUGHN: Yes.  I don’t think it’s ever going to reoccur again in exactly the same form, but there are still cases when people, even now who are supporting the war in Iraq, who are to some degree at least graylisted in Hollywood because Hollywood is a predominantly liberal community.

KP: You obviously have been very political over the years. I was surprised to find that you were asked to run for governor in the 70s.

VAUGHN: Actually it was Senator.  And it was the Peace and Freedom party. It was made up of a lot of people, Black Panthers, so I declined.

KP: But at least you felt honored to be asked, right?

VAUGHN: Yeah, right.

KP: I also have to ask what the status of your autobiography is…

VAUGHN: I’m looking at part of it right now.  I’m waiting… there are two publishers that are down to the wire that I’m meeting with, and my projected manuscript handing-in would be the Spring of 2008, and that would be exactly my 50th full year in the motion pictures and television business.  So it’d be released on the 50th anniversary of my life in Hollywood.

KP: Does it have a title?

VAUGHN: It’s currently titled A Fortuned Life.  And it’ll have a picture of me on the front and a picture of me on the back and my name on the top of the book and the title will be probably smaller than my name. 

KP: It’ll should just be a picture of you.  You don’t have to put your name on it at all.

VAUGHN: I hadn’t thought of that.  Maybe I’ll check that out.

KP: How exactly did Hustle come about?

VAUGHN: In May of 2003, my wife and I had scheduled a visit to Scotland, where we had never gone even though we lived in England many, many years off and on.  Every time we had made a preparation to go to Scotland, something had canceled it with work or I had to come home for something.  So we had this trip to Scotland planned. Five days in May. And about a week before we were to leave, I got a call from my British agent, Jean Diamond, and she said, “Are you coming through England any time in the near future?” And I said, “Well, oddly enough, I’m coming through in about a week on my way to Scotland.  Stopping in London.”  “Oh, wonderful,” she said, “The BBC wants to have lunch with you and tell you about a new series they’re doing about con men.  And we’ll set it up.” So they did indeed set it up and I had a lovely long liquid lunch with all the producers and directors, and a great deal of hugging and kissing, we will know each other forever at the end of lunch, and all that kind of thing.  So we went to Scotland and I didn’t hear anything back.  In the meantime, they sent me three of the scripts for Hustle.  They also sent me a videotape of a series they did called Spooks, in London, which is MI5 in America.  This is the same production company that did Spooks – and is doing Spooks, because it’s still on the air.  So I looked at the scripts, which I thought were wonderful – best scripts I’d read in years – and I loved the production values on the television shows that they sent me.  So I said to the agent, “Green light. Absolutely.  London is definitely a fine location for me, I’m very happy there.”  So time went by and May went into June and June went into July, and I basically forgot about it because that happens quite often. There’s nothing unusual about it.  There’ll be a great deal of movement and then all of a sudden it’s quiet.

KP: And you got a lunch out of it.

VAUGHN: Yeah.  So in August, we had a huge blackout as you may remember, on the East Coast of America all the way from Canada down to North Carolina.  Well, we knew from prior experience in the house that we lived in, in Connecticut, that when we had a blackout that affected us, which was fairly often, there was one phone in the garage that seemed to work while all the other ones did not work.  So we were sitting there in the dark. It was about 9:00 at night and it was 2:00 am in London, and we’re watching television – a battery operated television – by candlelight, but we’re very used to it.  It’s nothing unusual for us.  And the phone rings in the garage.  And so I went to the garage because it was only about 20 feet away.  I picked up the phone and it was my agent, Jean Diamond, and she said, “They want you… they started shooting last Wednesday on Hustle and they want you there to shoot on Wednesday.  So you have to take the flight out tomorrow night.”  And I said, “Well, wait a minute. We haven’t even talked a deal.” And she said, “Don’t worry. They’ve already started shooting, they don’t want anybody else – they want you.  And get over here.”  So I did. I arrived Tuesday morning and started filming Wednesday morning, and that’s the story of Hustle.

KP: Well, that’s a great way to be wanted. 

VAUGHN: Even though I didn’t know I was hanging in there, apparently I was and didn’t know it.

KP: It’s good when you’re contacted and it’s a fait accompli.

VAUGHN: Yeah!  Right.

KP: And then stepping into the role, what is it about the character that you found appealing?

VAUGHN: Well, the day after I started filming, which was on a Wednesday, I was overwhelmed at my hotel with calls from the British press wanting to interview me.  Everybody wanted to know what I thought of the character of Albert Stroller, and I, since I hadn’t actually given it zero thought – since I hadn’t planned on doing it – I said, “Well, look at it this way.  Suppose my character from The Man from U.N.C.L.E., Napoleon Solo, after leading this glamorous international adventurous life, retired on his government pension. And realized after a while he couldn’t live that life anymore.  What could he do that was still within the confines of the law that could take advantage of his knowledge of everything from women and cars to jewelry to international events, gambling and so on? He said, ‘Well, why not be a con man?”‘  So I just made this up as I went along.  But that’s what’s now playing in all the columns in the U.K.  That I’m playing Napoleon Solo, the later years.

KP: Wait a second… You make stuff up when you talk to the press?

VAUGHN: Well, I made it up at that point because I had nothing to say.  I hadn’t given it any thought.  So I told them in advance I’m just winging this as I go along, so bear with me.  And everybody took it for gospel and that’s what it was. And what it remains today.  Napoleon Solo, but he is now called Albert Stroller.

KP: Has that now legitimately become your hook into the character?

VAUGHN: Well basically, yeah, because it’s the kind of role that just lends itself to, I’m wearing a tux most of the time, I’m in gambling casinos, I do deal with various lovely ladies from time to time – so it is, in effect, a later version of the character I played in The Man from U.N.C.L.E.

KP: It’s amazing how many roles you’ve performed that have found you in a tux.

VAUGHN: Yeah, my wife said I’m the last three piece suit/tux actor still around.  I wear it very often.  In Hustle I wear a three piece suit with a double breasted vest.

KP: Maybe that should be the subtitle for your autobiography.

VAUGHN: Yeah.

KP: “Last of the Three Piece Suit Men.”

VAUGHN: Exactly. I’ll get it in there somewhere, I’m sure.

KP: Nothing ever goes away.  The Man from U.N.C.L.E. should be on DVD soon, even…

VAUGHN: Yeah.  As a matter of fact, last year I did a whole day of filming for the DVD of the first year which was going to be… I think it was coming out this fall.  And I suddenly found out that after I’d done all this, the company that I was doing it for didn’t actually have the rights to the DVD.  And they still don’t have it, and I think someone else in the meantime got the rights to it, so it should be coming out this spring now under a different brand than the one that I worked for.

KP: Hopefully they’ll be able to repurpose the footage they shot with you.

VAUGHN: I hope so, yeah, because it really was literally an entire day of them asking me questions while I was on camera, and they just drilled me for eight hours about the show.

KP: Maybe they just used it as a great way to meet you.

VAUGHN: (laughing) Well, it’s a fairly expensive way.  Lunch would be easier.

KP: And your season of The A-Team will be out soon as well.

VAUGHN: Oh, The A-Team!  I didn’t know that.

KP: It’ll be out in a few months.

VAUGHN: Oh, is that right?  I didn’t know.  Well, I just did the last year.  I didn’t do the whole… however many years they were on. I only did the last two.

KP: So really, with the release of that and Hustle, and The Man from U.N.C.L.E., this could be the year of Vaughn.

VAUGHN: Yeah, I hope so.

KP: Are there any other projects that you haven’t been able to do yet that are kinda personal that you love to be able to do?

VAUGHN: The only thing that I have always wanted to do – and now it’s too late to do – was I wanted to do My Fair Lady onstage.  A couple years ago I got a call from the president of Los Angeles City College, where I had gone to school in the early 50s, and they were having the 75th anniversary of the school, and they wanted to put all their budget into some big production of some kind and wanted to know if I’d be interested in doing anything.  And I immediately suggested My Fair Lady, and they said, “That’s wonderful. Do you think Jim Coburn would do Pickering?” And I said, “Well, I see Jim fairly often and I’ll mention it to him.”  So fade in, fade out, they did get together with a lot of money to do the production, and Jim passed away, and then the woman who hired me – who was the president of the school – got a new job as chancellor of all the junior colleges in Michigan, and so she was out of the picture. So it never happened, and now I’m sure it never will.  It’s too late in life for me to do that.

KP: You would have made a great Eliza, though.

VAUGHN: (laughing) Well, you’d have to get an elderly Eliza, or middle-aged, at least.

KP: I think you’re underestimating your ability to still carry off the role.

VAUGHN: Oh, thank you very much, that’s very kind of you.

KP: So really, doing that… is that something that you’ve always harbored a desire to do?

VAUGHN: Yes. I saw the original production on Broadway with Rex Harrison. I also saw, that same year, a production of Inherit the Wind with Paul Muni playing the lead on stage, and I remember at the time I said, “I must put this in my mental checkbook that I will someday be these two parts.”  And I did do Inherit the Wind with E.G. Marshall at the Papermill Playhouse in New Jersey about 15 years ago, so I did get a chance to do that. But unfortunately, I didn’t get a crack at My Fair Lady.  I learned all the songs and I spent a lot of time preparing for it, and unfortunately, I didn’t get a chance to use my efforts.

KP: Well, maybe you can do just an audio version of it.

VAUGHN: Yes.

KP: Release your own cast album for it…

VAUGHN: Yes…

KP: At least all the preparation won’t go to waste.

VAUGHN: Well, we shall see.

KP: It’s been a real pleasure speaking with you.

VAUGHN: Thank you very much.

KP: And I wish you the best of luck and can’t wait to see what comes next, and I can’t wait to read your autobiography…

VAUGHN: Thank you very much, Ken…

 

Spook’d #94: Extreme Lair Makeover – Mega-Ass

Filed under: Spook'd — UncaScroogeMcD @ 1:35 am

by Jeffery Stevenson and Seth Damoose with colors by Anthony Lee

Larger sized comic | ARCHIVES | OLDER ARCHIVES

Spook'd #94: Mega-Ass

To see Spook’d host Alastor’s blogging silliness and more fun Spook’d stuff,visit the Spook’d Web site!

Check out the preview to…

E-MAIL WRITER | ABOUT JEFF | ABOUT SETH | SPOOK’D BLOG | SPOOK’D FORUM | ARCHIVES | OLDER ARCHIVES

Disclaimer: All material in Spook’d is fictitious and intended solely for the purpose of entertainment. Names are fabricated and any similarity to real people or places is purely coincidental except in those cases where public figures are being satirized.

Nocturnal Admissions: TV Review, Storm leaves Rock Star

Filed under: Nocturnal Admissions — UncaScroogeMcD @ 12:55 am

 

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So Storm is gone. 

And it’s kind of a relief. For one thing, watching the show is no longer necessary. It makes for two and a half less hours of TV to watch next week. And second, careful scrutiny of the program made it clear that Storm has been yearning to get off it for weeks. No longer will she have to tout the sponsors in her spontaneous “reality” dialogue or act “surprised” if Dave wants to back her up on a song.

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Except that apparently one never truly “leaves” this show. A member of the show’s rejects will be voted by the viewer to return for the finale; and there will be a Rock Star tour with House Band.

Like many other followers of Rock Star, I’m fairly confident that Toby is going to “win.” The Australian lad has been something of a dark horse, who didn’t really emerge as a front runner until the field was greatly reduced. Also, I think that Storm made it her project to groom him to win, giving Toby secret counseling and stage tips. His act is much more lively now, mimicking Storm’s brazen audience participation. Also, Toby’s original song was better than any of the Super Nova originals. They’ll need that.

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It must have been a great disappointment to Mark Burnett that most of the rock star aspirants got along so well. The only one who really fell for the “reality” TV manipulation was Dilana, who still thought it was a contest as late as three weeks ago, and not an audition show. But the producers didn’t understand that either. People don’t tune in to see the “reality” drama. They’re tuning in for performances by a group of highly if unevenly talented professionals. Variety shows were common during the early years of television but today they have to be sneaked on in the guise of a competition or audition, and it’s clear now that if the show is highly focused, as in this case, on rock and roll, or what passes for rock and roll, it will drawn intense attention from a deep segment of the much coveted young audience.

In the local media here there was a Storm Watch on the local CBS news affiliate, there were nightly broadcasts of the show episodes in Dante’s, the club where Storm and the Balls played every week, and numerous interviews in the Storm-whoring local press. Presumably she will return to Portland, but why bother? She’s too big for the town now, which she is not really “from” anyway (she’s only lived here for four or five years). After all, Storm emerged as the real star of  Rock Star, and her fame, a long time coming, could go in many different directions right now, toward more TV, or movies, a record deal, whatever she wants, even writing a book, at least right now, while she’s hot. I wonder if Warren Beatty has called her yet, the ultimate sign that a female personality has arrived.

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Speaking of which, recall Beatty’s comments about Madonna’s life on screen in the rockumentary  Truth or Dare? Storm  is the new Madonna, perfectly comfortable in front of the camera as it records her life. She’s the harbinger of a new age, the post-television child, grown to womanhood as an “object” who has seized back “the gaze” that the ladies in the quarterlies talk about and owns it.

 

Scrubs Blog – Picture This

Filed under: Production Blogs,Scrubs Blog — UncaScroogeMcD @ 12:53 am

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Yes, things are still awfully busy now that production has resumed, with everyone running around a bit right now – so we’ve got another week of behind-the-scenes pics from around the office…  

 

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A farewell cake made for our former make-up artist, Darla Albright, who left to form her own company, Air Craft Cosmetics.

 

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Even Floating Head Doctor makes an appearance for cake. 

 

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Mr. Darcy, after his failed Chicken Little audition. 

 

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Ken Jenkins and his feathered friend. 

 

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Producer Danny Rose has a tender moment with Mr. Darcy 

 

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Rocky the orangutan and utility soundperson Anna Wilborn. 

 

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Assistant Production Office Coordinator Jared Weisfelner and Rowdy check out the set from the 3rd Floor dressing room during the end of shooting for Season 4, while Mr. Darcy checks out Rowdy.

 

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Rob Maschio being rigged and covered up during his big dangling scene.

 

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Colin Farrell romancing the girls of Scrubs, Jen Holt & Liz Newman, while Jared tries to horn in on his action. 

 

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1st A.D. Franklyn Gottbetter, dreaming the impossible dream.
 

 

 

 

 

Nocturnal Admissions: DVD Review, House, Season 2

Filed under: Nocturnal Admissions — UncaScroogeMcD @ 12:14 am

 

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The first episode of season three of  House aired the other night (is it already season three? I remember when the show was advertised relentlessly during a Superbowl weekend). The first thing you learn from it is that Greg House (Hugh Laurie) can walk. In fact he can run, and later on in the episode he skateboards. This is a different status from where we left him at the end of last season, hallucinating long philosophical conversations with the man who shot him. In 3.1 we learn that the police have not apprehended House’s assailant, nor learned why he attacked the doctor in the first place (a set up, perhaps, for a later Sweeps Week broadcast). Meanwhile, Cuddy (Lisa Edelstein) injected House with a serum that might cure his bum leg artery, that which keeps him in continual pain and, presumably, with an acerbic disposition.

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Meanwhile, Dr. Allison Cameron (Jennifer Morrison) has a new fuller haircut, a kind of throwback to Barbara Feldon as Agent 99. It makes her looker cuter and softer, with its forelocks and feathered look. Yet her character is a lot tougher. She stands up to House, says no, and views him with the impatience, contradicting the conniving lies he presses on family members. The other two doctors in the fellowship to study with House, doctors Eric Foreman  and Robert Chase (Omar Epps, Jesse Spencer) didn’t have a whole lot of airtime, but Cuddy did, even sharing with House a sort of bedroom scene, while also proving to be a stronger opponent of House’s. Robert Sean Leonard, as Dr. James Wilson, continues his role as reverse court jester; court bucket of cold water, I guess you could call him.

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The opening sequence, in which a guy in a wheelchair rolls himself into the swimming pool, a mega version of what Bill Murray does in  Rushmore. It’s a sequence that attempts to take you into the mind and sensations of a quadriplegic, showing the world from his POV, and which concurrently conveys a great deal about his family dynamics. The ep lured a big star in the form of Kathleen Quinlan, who is married to someone I knew in high school, but her role ultimately is as ephemeral as those of all guest stars, as we watch week after week after week House ponder then solve a medical mystery whose confusing symptoms send the team down one wrong path after another.

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Coincidentally,  House M.D.: Season Two  was released on DVD on Tuesday August 22 (retailing for $59.95), so House obsessives could have caught  up with or relived the second season in anticipation of the third. My complaint about the second season was that it got bogged down in whether or not House was going to lure back his ex-wife, Stacy Warner (Sela Ward). This was a totally annoying and irrelevant subplot, because essentially we don’t care why House is the way he is, and don’t necessary want him to change or be happier. We prefer him to be sharp enough to crack wise at his bosses and colleagues the way we are never quick enough to do in the real world at our terrible jobs.

Yet the romantic subplot, such thin gruel compared to the sexual musical stock closets of  Grey’s Anatomy, was itself a solution to the problem of the first season, which is that every week it is just about the same thing, even time-able by commercial breaks. There is the  Six Feet Under prologue, where someone collapses somewhere. There is the jaunty opening sequence, which finds House annoying his hospital somehow. There are the three early diagnoses coupled with family problems and home invasions by the staff looking for clues to what makes the patient ail, which take us to the 45-minute mark. Then, finally, there is the resolution to whatever personal subplot is offered up, during which House has the brainwave that solves the A story medical mystery, or also the B story if that one has dragged out this long (in the case of the 3 premier, noticing that a quadriplegic’s toes show signs of scurvy, at the 17 minute mark).

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This repetition is one of the reasons that friends of mine have dropped the show. Yet I continue to watch it when I can, despite being terrified of hospitals and medical procedures. It’s because the mysteries are so dang clever.  House is one of the few network shows that demands the viewer keep up. Moreover it shows people thinking, crisis-born thinking, and then the product of that thought. It’s also one of the few shows that has an unrepentant unpleasant person as its central character. House is the WWF of medical dramas, where the villain is the protagonist.

Seeing season two again in a short amount of time only highlights the repetition factor, but also emphasizes the braininess quotient, but then again also the misguided subplot element. This six-disc set has all 24 episodes from the second season, with a small parcel of supplements.

House shore

 

They begin with an audio commentary by creator David Shore and producer Katie Jacobs, which is mainly nuts and bolts stuff (House has a cold for the episode; did Laurie really have a cold? No) and they are reunited for a yak over the season finale, “No Reason,” where they don’t really get into the philosophical implications of one of the most complex TV shows ever aired. There is also some alternate takes, a blooper reel, and “An Evening with  House,” an 18-minute shat with the cast and crew at the Academy of Television, Arts and Sciences, with Shore, Singer, Laurie, and the rest of the cast, which concentrates most on the show’s origins.  Finally there are trailers for  The Office, Las Vegas, BSG, and Inside Man. The transfers are excellent and each episode has five chapter scene selection.

House Laurie

 

“Thank you” is the theme of the season premier, and it ends with a “miracle cure” that I would be curious to know complies with medical science. Still, it’s affecting, and sets up the season to follow as one in which House will battle with his drug addiction, with his “relationship” with Allison, and his need to alienate everyone around him. All that’s missing so far from  H3 is a villain; but  House hasn’t been too good at villains, especially if you remember the straw man from S1. The show is better when it concentrates on the brainy matter of medial mysteries.

 

September 8, 2006

Quickcast Commentary: Star Wars Episode III

Filed under: Quickcast Commentaries — UncaScroogeMcD @ 7:09 am

Always eager to try something different, we’re launching a new series of Quickcast Commentaries here at Quick Stop.Essentially, they’re audio commentaries for existing movies, TV shows, short films ““ whatever the case may be ““ that you can download and sync up to your own personal copies of said films, programmes, etc.

In the future, we’ll be offering commentaries from writers, artists, directors, actors ““ a whole range of creators ““ on films they’ve worked on, films they love, or films they loathe. We hope it will be a fun little corner of the Stop, and we’re eager to hear your feedback.

To kick things off, we’ve got a commentary for George Lucas’s Star Wars Episode III: Revenge of the Sith, featuring Quick Stop editor-in-chief Ken Plume and QS columnist (“Widge Goes Off”) Widgett Walls.

All you have to do is download the mp3 file below, cue up the film/episode/whatever on your TIVO, VHS, DVD, or computer, then hit play on the commentary (or you can download the free Sharecrow DVD player, which allows you to sync up commentaries on your computer). Hope you dig it”¦

DOWNLOAD:
mp3 Format (128 MB)

 

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Take Me Home Blog #9 – Reclaiming September

Filed under: Production Blogs,Take Me Home Blog — UncaScroogeMcD @ 7:05 am

 

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“September, a time of in-between,
a lazy month of nothing.”
-Red House Painters, from the song “Michigan”

BIG CHANGE IN LITTLE RUSSIA
I bought a light meter this week off of Craigslist. After spending the weekend in an eBay frenzy (regret, coupled with unsatiated hope), I found this photographer who was moving to China with his wife and selling his equipment. This was at his studio on the east side of Hollywood, a part of town that somehow mingles Thailand with Russia. The studio was the type of great apartment that can be found, on rare occasion, inside one of the city’s millions of sad, dank apartment complexes.

“China, huh?”

He nodded.

“Big change,” I said.

He shrugged. “It’s time.”

Of course it is. Afterall, this is September. A month that, up until five years ago, was marked by it’s sheer unimportance.

SEPTEMBER
It’s a month of transition, isn’t it? We head back to school, back to work. The end of baseball, the start of football. The unveiling of many unfortunate television shows. The return to “important” films after a summer hiatus of explosions and sequels. The last fits of heat. The first scents of changing leaves.

If not for what happened on September 11th, 2001, this month would go unnoticed, dormant. Ushered in by Jerry Lewis and his timeless antics. Instead, we’re left to endure a string of “America Remembers” specials, salutes to the many brave and innocent whose lives were taken on that day. Not to say these don’t have a place (how, afterall, would we remember without the sweeping melodrama of the newsreel montage?). But every year at this time, you can feel the media gearing up for another assault. “‘Pet Goat’ Schoolkids Remember 9/11” is the headline on Yahoo. You get the feeling not even the media wants to jump back into this. And who can blame them?

FORGET 9/11
Hey, where’d I put my glasses? Have you seen my keys? Did terrorists ever bomb the World Trade Center? I don’t think it’s going to slip our minds. It’s not something we misplaced exactly. Rather, it has become an intrinsic part of our national lexicon, our heritage. It will be more than “remembered”; we’re still trying to figure what it’s done to us.

Are we more anxious? Fearful? Proud? Have these always been American traits, magnified by hysteria? We’re STILL responding to the attacks. We will be for decades.

PRETTY PLEASE
So I’d like to posit this: can we have our month back? We’ll give Katie Couric the day. But the whole month? How long did it take after Pearl Harbor before we gave December back to the holidays? If anything, 9/11 is an extension of what September has forever been: a symbol of change. The Great Transition. A period of repose, where we can forgive our past for the firm grip it’s had on us, let the future dangle a little further out there, and turn our attention to the here and now.

SO WHY THE LIGHT METER?
This has been marinating in my brain for the last week because with TAKE ME HOME pushed back I’ve turned my attention to a short film. It’s an adaptation of a chapter from Sherwood Anderson’s WINESBURG, OHIO (the book I mentioned not too long ago). It’s a wonderful little story and a project I’m going to helm on my own. Rather than spend the rest of autumn kicking myself for the financial missteps of TAKE ME HOME, I wanted to turn my attention to something within the realm of possibilities. My aim is to shoot it at the end of October back in Ohio. I should have something to show you all by the end of November. It’s a project I’m proud of, and one that I think will ready me for the feature. If anything, it’s something to do “in the meantime”. A transition, if you will.

-Sam Jaeger

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Nocturnal Admissions: DVD Review, Commander in Chief, Part 2

Filed under: Nocturnal Admissions — UncaScroogeMcD @ 7:00 am

 

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So we end up right back where we started from.

 

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During the evolution of  Commander in Chief‘s first half-season, the villainous and ambitious Republican Florida rep and Speaker of the House Nathan Templeton (Donald Sutherland) went from an undermining enemy of politically independent President Mackenzie Allen (Gena Davis) to a close advisor, helping her through a crisis with North Korea. He almost became a friend, and Allen invited him to Thanksgiving dinner, where she handed over a tape of a racist speech he gave in the 1960s. Also, First Gentlemen Rod Calloway  (Kyle Secor) went from an emasculated House husband  to a close advisor, and Richard ‘Dickie’ McDonald (Mark-Paul Gosselaar) had been hired to do polls and be a close advisor, this change in a bid to match some of  The West Wing‘s insider sassiness. Also, Jayne Murray (Natasha Henstridge), Templeton’s chief of staff, had quit and moved on to a job as a consultant or lobbyist.

But by two or three episodes into the second half of season one, after Steve Bochco was summoned to save the show after its creator Rod Lurie, was dismissed, suddenly we are right back where we started from. Templeton was once again an outsider plotting to undermine the president as part of his own ambition for the highest office; Murray was back as his assistant, sitting by his side and saying the mean things he can’t say while receiving the benefit of his sage wisdom about political infighting. And the First Gentleman receded back to his old desk in the emasculation chamber, after an unmemorable phases as a co-chief of staff. And the pollster did hardly anything except stand around and speak a few irritating truths before getting fired and ending up working for Templeton.

 

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And then there was yet  another confirmation hearing, this one for the Attorney General to match the earlier battle for the vice president. The show was beginning to repeat itself and it was only 15 episodes old. Meanwhile Bochco left. Putting  CiC out of its misery was probably the best thing the network could do for the show, although apparently Lurie is doing a TV movie based on the series (perhaps it will come in a white box to match the first two’s blue and red). 

I would mark that as a mistake. One of the problems with  CiC is that it was terribly cast. If   The West Wing tended to the wry insider joke Liberal casting, then  CiC was driven, after some initial problems, such as getting Joan Allen, whom Lurie wanted for the lead, to drawing on the well of old familiar TV faces and supporting actors, such as Polly Bergen and Adam Arkin and Robert Joy.

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Even more so than movies, where it is an issue of the highest order, good casting is crucial to a TV show. For one thing, a popular series is going to last for at least 10 years and people are prone to getting sick of mannerisms or people who are slightly off. Remember how for a long time viewers were mad about Helen Hunt? Now just the memory of her speaking style in the show inspires cringing. Sutherland was never quite right as the nefarious Speaker, Secor was way too soft, and Davis never warmed the viewer to her role. If I could have shuffled the deck for them, I would have put Peter Coyote in as the First Gentleman (instead of as VP), or made Natasha Henstridge the president. 

Be that as it may, the second half of  CiC creeps uninterestingly to its denouement, which consists of a debate between Allen and her nemesis. The eight episodes are strung across two discs, but unlike the previous release, which came out on June 27th and also retailed for $29.95, this half has some supplements. There are also audio commentary tracks by Rod Lurie, over the pilot, which is duplicated on this set (and in which he does not discuss the show’s troubles), and by writer and producer Dee Johnson over the “The Elephant in the Room,” the episode in which Allen suffers an appendix attack and Templeton becomes president for a day. Johnson basically walks the viewer through what the producers wanted to convey about Allen and others, that she is vulnerable, that she can be short with her staff, why there is no flashback in the story,  and so forth. There is no reference to the show’s cancelation, its troubled history, or its future. Also on hand is a six minute interview with Davis, shot obviously during the early days of the show,  20 deleted scenes, and bloopers that end with a joke shot of Davis vacuuming the Oval Office rug and show Davis as someone fun to work with. Finally there is a host of trailers for other BV shows and movies.

The question is whether fans of the show, such as they are, will be willing to spend as much as sixty dollars for something the equivalent of which or more can usually be had for forty. It’s moments like these when I realize why the DVD business is going “soft.” It’s because DVD distributors are either reselling the same thing over and over in different packages, or trying to squeeze the last bit of revenue out of failures, such as this show and numerous other cancelled programs that have recently flooded the market.

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Commander in Chief 2-Disc Inaugural Edition Part 2 comes in nice 1.78:1 anamorphic widescreen transfers, with Dolby Digital 5.1 audio and eight-chapter scene selection. It hit the street on Tuesday, September 5 for $29.95.

 

Melonpool Quickcast #12: Star Trekkin’

Filed under: Melonpool Quickcast — admin @ 6:04 am
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-By Steve Troop

Based on Steve Troop’s classic webcomic of the same name, the Melonpool Quickcast features puppet versions of Troop’s alien cast, who are desperately trying to make heads or tails out of Earth culture.

Mayberry Denise

To celebrate the 40th anniversary of “Star Trek,” Mayberry interviews Denise Crosby (Tasha Yar from Star Trek: The Next Generation), and Star Trek: New Voyages alums John Kelley (Dr. Leonard “Bones” McCoy) and Jeff Quinn (Mr. Spock) at the 2006 Dragon*Con!

Also, watch for Special Guest Star, George Takei (Mr. Sulu from the original Star Trek)!

Don’t forget to comment on this and other Melonpool Quickcasts over at the official Melonpool Quickcast Forum!

Melonpool Quickcast #12: Star Trekkin’:

  • Large (560 x 420 – QuickTime – 20 MB)
  • Small (320 x 240 – QuickTime – 9 MB)

Weekend Shopping Guide 9/8/06: Brazil

Filed under: Shopping Guides — UncaScroogeMcD @ 1:23 am

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The weekend’s here. You’ve just been paid, and it’s burning a hole in your pocket. What’s a pop culture geek to do? In hopes of steering you in the right direction to blow some of that hard-earned cash, it’s time for the Quick Stop Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

For years, Criterion’s 3-disc Brazil box set was the epitome of what the format had to offer, in terms of presentation and bonus materials (not one, but 2 cuts of the film, plus documentaries and deleted scenes, and more). As I became more aware of the technology, I realized that this amazing set had a single Achilles’ heel – the film itself was presented in the (then standard) non-anamorphic letterbox format. Seeking to rectify that one drawback, Criterion has released a new 16×9 anamorphic HD transfer of the film (Criterion, Not Rated, DVD-$29.95 SRP), while retaining that particular disc’s audio commentary with Gilliam and Jack Matthews essay – in other words, it completely replaces the now-outdated disc in that great box set. The transfer itself is absolutely stunning – in fact, when I spoke with Gilliam about it, he remarked it was so good that he was horrified to find that it revealed the wires during the dream sequences (don’t worry – they’ve been erased). Pick this disc up. Now.

The much-anticipated release of the second season of Jim Henson’s Fraggle Rock (HIT, Not Rated, DVD-$49.98 SRP) is a bittersweet affair, coming almost a year after the untimely passing of Muppet writer Jerry Juhl, an amazingly gifted scribe who gave voice, heart, and humor to Henson’s creations for over 30 years, which included guiding Fraggle Rock as its head writer. Thankfully, the producers of these DVD sets were able to conduct interviews with Juhl before he passed – and I’m thankful that we still have his remembrances. In addition to the 24 episodes comprising season 2, the 5-disc set also contains additional interviews, as well as a tribute to the late, great, very much missed Jerry Juhl.

Jerry Seinfeld cites it as the primary influence for his own show, and anyone who views the episodes featured in the inaugural season of The Abbott and Costello Show (Passport Video, Not Rated, DVD-$39.98 SRP) will clearly see the precedent it set for a comedy set in New York City and almost entirely about characters and everyday events, rather than your typical sitcom fare. It was also anchored by an amazing comedy duo who managed to reinvent themselves for the small screen without falling into the trap of other comedians making the transition, who seemed to believe they were back on a vaudeville stage rather than pioneers on a brand new medium. I can’t recommend this 5-disc set highly enough, which also features Lou Costello’s rare home movies, interviews with the duo’s children, and the DVD premiere of the Abbott & Costello short film 10,000 Kids and a Cop.

There’s something quite sad about the fact that Rhino has begun releasing the entire Monkees catalog as newly-remastered 2-disc deluxe editions, complete with both the mono and stereo versions plus bonus tracks, while the remastered Beatles catalog remains MIA. However, back to the subject at hand. Despite all the criticism they’ve taken over the years, I still think that the Monkees are a completely underappreciated act that have been unduly maligned – I mean, did Elvis write his songs or play any instruments? The Monkees did both (Michael Nesmith’s tunes being some of the standouts), in addition to recording tunes from songwriters like Boyce & Hart, Harry Nilsson, Neil Diamond, and more. The first two deluxe editions are their debut album, The Monkees, and its follow-up, More of the Monkees (Rhino, $24.98 SRP each).

Celebrating 75 years of Disney comic books, Disney Comics: The Classics Collection (Disney Editions, $49.95 SRP) features the original comics adaptations of Snow White, Bambi, Peter Pan, Alice In Wonderland, Dumbo, and a very odd adventure with Dumbo and the Seven Dwarfs. It’s a beautifully presented volume and a nice bit of nostalgia.

There was a time when I feared that the cancellation of Mystery Science Theater 3000 and the steady loss of rights to the various films featured in past episodes would mean I’d never get an official release of a series I loved so much. But with the release of the 10th MST3K Collection volume (Rhino, Not Rated, DVD-$59.95 SRP), it seems my fears were unfounded. The latest set features Teen-Age Strangler, The Giant Spider Invasion, Swamp Diamonds, and even Godzilla Vs. Megalon. We’ve also got outtakes and a video jukebox, but the real plus is that Godzilla flick – whod’ve thought they’d ever get the rights back to one of those? Where’s my Gamera?

In what seems like a bit of a drawn-out sentence, the 6th and final season of Oz (HBO, Not Rated, DVD-$64.98 SRP) makes its way to disc, with plenty of surprises awaiting the prisoners and keepers of Oswald State Penitentiary in the final 8 episodes. The 3-disc set features a trio of audio commentaries, deleted scenes, original cast audition tapes, and an extended cut of the finale.

Like Ocean’s 11 with a multigenerational group of cons substituting for the fabled thieves, Hustle (BBC, Not Rated, DVD-$34.98 SRP) is one of those confection dramas that you devour greedily, enjoying the dramatic cake and the sweet character icing all in one go, unable to stop with just one episode. So maybe the cake metaphor was a bit much, but this is still an amazing show worth a spin, if only for Robert Vaughn’s performance as an aging con with much wisdom to impart to the young, sometimes foolishly cocksure, turks. Bonus features include cast bios and a making-of featurette.

Despite their claims, it was disappointingly obvious as the second season progressed that there was no master plan in place for Lost, and that padding of what was most likely intended as a 3 season arc was creeping in. You can watch the faltering of a once-brilliant series via the 7-disc season 2 set (Buena Vista, Not Rated, DVD-$59.99 SRP), featuring extended episodes, all-new flashback sequences, examinations of some of the show’s mysteries and revelations, deleted scenes, behind-the-scenes featurettes, bloopers, and more.

Fully remastered and available on DVD for the first time in the US, monster movie fans (and aficionados of a certain big lizard) can finally lay their hands on a near-pristine print of the original Japanese version of Gojira (Classic Media/Toho, Not Rated, DVD-$24.98 SRP). The 2-disc special edition also features a restored edition of the American version of the film, which introduced the English-speaking world to Godzilla, King of the Monsters and his archenemy, Raymond Burr. The set also features a look at the construction of the Godzilla suit, audio commentaries by Godzilla historians Steve Ryfle & Ed Godziszewski, a featurette on the story development, and the original theatrical trailers.

I love books that you can pick up, flip upon to a random page, and be instantly entranced by whatever you discover there. A recent tome fitting that particular bill is Silent Traces: Discovering Early Hollywood Through The Films Of Charlie Chaplin (Santa Monica Press, $24.95 SRP). As the title suggests, it’s packed with photos and film frames detailing the locations both then and now of those Chaplin flicks. It’s a wonderful journey back in time, and it makes me feel good to know that some of these locations are still around.

I admit that I’m one of those people who is profoundly disinterested in viewing dramatizations of any of the events surrounding the events of 9/11, and that includes the doomed passengers and heroic actions depicted in United 93 (Universal, Rated R, DVD-$30.98 SRP). Writer/director Paul Greengrass has crafted a dignified, almost sterile, dramatization of that fateful flight that ended in a Pennsylvania field. As usual, make sure you seek out the 2-disc limited edition, which features additional behind-the-scenes features and interviews (mainly a feature on the military and civilian response teams) in addition to a commentary with Greengrass.

I’m sure there was a story in there somewhere, and a pretty good one, but I spent the entirely of District B13 (Magnolia, Rated R, DVD-$26.98 SRP) marveling at the art of Parkour, wherein amazing physical specimens navigate urban landscapes through constant motion – including scaling buildings. The film itself has something to do with a lawless section of Paris in the near-future, and an undercover policeman sent in to the walled area. Bonus features include outtakes, a making-of featurette, and extended fight scenes.

Although presented in paperback form, Viking Studio’s new series of illustrated novels pairs classic literature with modern comic artists for a refreshing spin on material that should be a cornerstone of any self-respecting home library. The novels are presented in their entirety, with periodic illos from the artists. The first two releases are Bram Stoker’s Dracula, with illustrations by Jae Lee, and Charlotte Bronte’s Jane Eyre, with illustrations by Dame Darcy (Viking Studios, $21.95 SRP each).

Do I still have to be embarrassed for actually laughing at – and liking – Jackass: The Movie (Paramount, Not Rated, DVD-$19.99 SRP)? Does that make me some kind of sad, pathetic person that I got a kick out of watching idiots do moronic things to both themselves and others? If you prick me, do I not bleed? Well, you can now peep an extended unrated cut of the flick just in time for the sequel’s release, which also contains much of the bonus features from the original release, including commentaries, deleted scenes, a making-of special, and additional footage.

How sad is it that the arrival of another 12 episodes of the original heroes on the halfshell gets me so geeky giddy? That embarrassing reaction greeted Teenage Mutant Ninja Turtles: Volume Five (Lionsgate, Not Rated, DVD-$14.98 SRP). Sad. So very sad. I feel like getting a pizza.

Okay… With Scary Movie 4 (Weinstein Company, Not Rated, DVD-$29.95 SRP), we have finally reached the limits of the Scary Movie franchise. No matter how much love I have for the still comedically brilliant Anna Faris, I simply can not see myself wringing any more enjoyment out of this franchise after this tired, strained affair. Maybe I’m wrong about the series’ future, but rest-assured, it needs a radical rethink (or at least a better script). The unrated special edition features an audio commentary, interviews, behind-the-scenes featurettes, deleted/extended scenes with optional commentary, and a blooper reel.

This week’s soundtrack is the album for Hollywoodland (Decca, $18.98 SRP), which features 14 standards from the 50’s – including tunes like “At Last,” “Elephant Walk,” “The Girl Can’t help It,” “The Great Pretender,” and more. I’m still on the fence about Ben Affleck as George Reeves, but the soundtrack disc is worth a spin.

Make Buffy a guy, and you’ve essentially got the premise of The WB’s… sorry, The CW’s… Supernatural (Warner Bros., Not Rated, DVD-$59.98 SRP), as a pair of supernatural-fighting brothers – one of which wants nothing more than a normal life – are pulled together on a quest to find their missing father. Like most W… CW shows, it’s a light confection sans particularly sharp writing. You can catch up on all 24 episodes via this 6-disc set, which also contains a pair of commentaries, extended scenes, behind-the-scenes featurettes, a still gallery, and a gag reel.

After four seasons and an indelible mark upon the culture psyche, ALF (Lionsgate, Not Rated, DVD-$39.98 SRP) wraps up its run with a memorable finale, as well as another 23 episodes across this 4-disc set. Is this the end of ALF? I hope not…

Not nearly as blasphemous as I was dreading, the preschool modernization of Gerald McBoing Boing for new sound-filled adventures is actually quite fun and clever, and has become required viewing for my young nephew. Now that there are 2 DVD volumes of his adventures available (Classic Media, Not Rated, DVD-$12.98 SRP each), I’m sure they’ll be in the Bob the Builder rotation.

He’s been incommunicado for a bit, but Norm MacDonald returns in fine form with a new stand-up CD, Ridiculous (Comedy Central Records, $12.98 SRP). It’d be nice if the wait for a follow-up wasn’t nearly as long an absence.

Lately, I’ve been plowing my through the “Smart Pop” series of completely unauthorized – but utterly engaging – series of pop culture analyses put out by Benbella Press ($17.95 SRP each). Basically, they’re collections of essays on a given pop culture subject, analyzing the given subject in some interesting ways – social, cultural, economic… All across the board. So far, they’ve released Getting Lost (edited by Orson Scott Card), The Man From Krypton (edited by Glenn Yeffeth), The Unauthorized X-Men (edited by Len Wein), Star Wars On Trial (Edited by David Brin & Matthew Woodring Stover), and Boarding the Enterprise (edited by David Gerrold & Robert Sawyer).

Even after months of tinkering and rejiggering, Geena Davis returned to finish out what would be the final episodes of her tenure as President of the United States in ABC’s Commander-in-Chief (Buena Vista, Not Rated, DVD-$29.99 SRP), the final 8 episodes of which are collected in this second 2-disc volume (leaving many to still wonder why they weren’t all collected in a single 4-disc set). Bonus features include an interview with Davis, deleted scenes, and bloopers.

Finally, how about a look at Gentle Giant’s uber-cool 1/6-scale Boba Fett statue, standing approximately 12.5 inches of bounty hunting badosity ($185.00 SRP)? The edition size is limited to 6500 pieces, so grab yours now before the secondary market puts a gun to your head and robs you blind.

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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 coming weekend. See ya next week…

Comics in Context #145: San Diego 2006 – Masters and Eisners

Filed under: Comics in Context — admin @ 1:15 am

 

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The following events took place at Comic-Con International in San Diego on Friday, July 21 between 5:30 PM and 11:30 PM.

FRIDAY 5:30 PM
“This is a snake-free zone,” proclaimed Michael Dooley, the moderator of the panel “Masters of American Comics,” about the landmark museum exhibition of the same name. Apart from people recording the panel with video cameras, including the ubiquitous Mike Catron, there were a mere eighteen people seated in the audience in Room 8 when it began. Mr. Dooley was implying that everybody else was attending a competing event going on at the same time over in the notorious Hall H dealing with that new threat to air travel security: “New Line Cinema Presents Snakes on a Plane,” complete with a personal appearance by Samuel L. Jackson. There was even going to be a “snake wrangler” onstage with live snakes from the movie. Snakes at a Comic-Con! (But I note David Letterman’s observation following the revelation of the Heathrow Airport terrorist plot that the threat of airborne serpents no longer seems as bad or as funny.)

I confess that I was tempted to see Mr. Jackson in person for myself. But I decided that the “Masters” panel was more important.

Dooley, the co-editor of The Education of a Comics Artist (and brother of former DC editor Kevin Dooley), commended us for being an “elite audience” and observed that at the “Masters” panel they would be “talking about comics at the Comic-Con, not action movies.”

“Masters of American Comics” is an exhibition that showcases the work of fifteen leading cartoonists, ranging from the early 20th century into the present day: Winsor McCay (Little Nemo in Slumberland), Lyonel Feininger (Wee Willie Winkie), George Herriman (Krazy Kat), E. C. Segar (Thimble Theatre Starring Popeye), Frank King (Gasoline Alley), Chester Gould (Dick Tracy), Milton Caniff (Terry and the Pirates), Charles Schulz (Peanuts), Will Eisner (The Spirit), Jack Kirby (Fantastic Four), Harvey Kurtzman (the original MAD), Robert Crumb (Mr. Natural), Art Spiegelman (Maus), Gary Panter (Jimbo) and Chris Ware (Jimmy Corrigan).

This show debuted last year in Los Angeles, and was so colossal that it was divided between two museums: the Armand Hammer Museum at UCLA and the Museum of Contemporary Art. “Masters” spent the summer in reduced size at a single venue, the Milwaukee Art Museum, but starting September 15 will be divided again between the Jewish Museum in Manhattan and the Newark Museum. There is also a comprehensive catalogue of the exhibition published by Yale University Press.

The panelists in San Diego included comics historian Brian Walker, who was co-curator of the exhibition (for reviews of his recent books on the history of American comic strips, see “Comics in Context” #66 and 71); Claudine Dixon of the Hammer Museum; and publisher/cartoonist Denis Kitchen and cartoonist/comics historian Craig Yoe, both of whom lent original artwork to the show.

As Dooley told the audience, the story of “Masters” actually began with another museum exhibition, the infamous “High and Low: Modern Art and Popular Culture” show, curated by Kirk Varnadoe and Adam Gopnik, that was held at New York City’s Museum of Modern Art a decade and a half ago. This exhibition “put great works of 20th century art” “side by side” with comics, advertising art, and even graffiti. Dooley said that “art people thought it was a desecration,” while “comics people were resentful at the secondary status given to [their] medium.” (That’s exactly why I didn’t go to “High and Low,” although now I wish I had.)

Dooley showed on screen Art Spiegelman’s “High Art Lowdown,” his critique of “High and Low,” done in comics form. In it Spiegelman quite bluntly asked why he and his friends (presumably the alternative cartoonists from his magazine Raw) weren’t in the show, as well as inquired about the absence of the early 20th century German artist George Grosz, whose illustrations, employing caricature, are now considered fine art, but are also arguably cartoons.

Spiegelman went further and invited museum curators to visit his studio, One of them was Ann Philbin, who was then the director of the Drawing Center in New York City, She agreed that the comics medium deserved museum exposure. She later became director of the Hammer Museum, where she instigated the “Masters” exhibition.

Claudine Dixon, the show’s catalogue coordinator, told us that she and the show’s coordinating curator Cynthia Burlingame were “drawn in against our will”: and “had no idea what comic art was about.” “I learned a lot in a year and a half,” Dixon said, and liked a lot of what she saw.

Walker said that he met the show’s other curator, John Carlin, in the early 1980s when Walker was working at the Museum of Cartoon Art in Rye, New York (which is someday to reopen as the National Cartoon Museum at the Empire State Building) and Carlin and Sheena Wagstaff were guest curating an exhibition “The Comic Art Show” at the downtown branch of the Whitney Museum of American Art in Manhattan. (I did attend this show, and recall being exasperated by its seeming premise that comics were not art, but that artists could create fine art by appropriating imagery from the comics. The work of Roy Lichtenstein provides the best known examples.)

Carlin invited Walker to work with him on the “Masters” show. From curating about sixty-five past exhibitions on comics, primarily for the Museum of Cartoon Art, Walker knew where to find collections of original comics artwork. The “Masters” show borrows from fifty different lenders, ranging from private collectors like Yoe to institutions including the Library of Congress and Ohio State University. (Later during the panel Walker said that he “kept running into dead ends” looking for Kirby originals. Someone asked if some collectors of Kirby artwork were wary of lending it out because so much of Kirby’s art had been stolen. “I couldn’t say,” Walker replied, perhaps diplomatically.)

Then Walker turned to what he called “the most controversial” aspect of the show: the selection of the “Masters.” (Most notably, there have been complaints that no women cartoonists were included. Herriman was African-American, so the show can’t be accused of confining itself to white guys. But to my mind the insistence on including female cartoonists smacks of political correctness. The criteria that the show’s organizers set for inclusion, as described at the panel, make sense to me.)

Rather than display works by hundreds of comics artists, it was decided to concentrate on fifteen cartoonists. A “lengthy” list of possible candidates was compiled. One of the goals was to “tell the story of the development of comics in the 20th century” through the specific artists who were selected. Another criterion was that each artist must have achieved “technical mastery.” Yet another was “formal innovation”: the organizers sought to determine “which artists most added to the form of the medium.” In other words, which artists proved most innovative in crafting the visual language of comics?

In the end, Walker asserted at the panel, the list of fifteen “Masters” was achieved through “compromise consensus.” In an online interview (http://journal.aiga.org/content.cfm?ContentAlias=%5Fgetfullarticle&aid=1398198) Walker had stated that “John [Carlin] helped me understand in the beginning that, in this type of [museum] environment, you really have to search for examples of work that are the most visual – graphically powerful – and not just the first time that Little Orphan Annie’s dress appeared or something. I’m probably a little more content-oriented, and he’s probably a little more form-oriented.” Walker told us at the panel that “Storytellers like Harold Gray [Little Orphan Annie] didn’t reinvent the form” and so they were not included. He said that Carl Barks (Uncle Scrooge) had also been on the list of possible artists, but “was not that innovative in layouts or design.” On the other hand, Lyonel Feininger, “whose comics career was only nine months long” did such “incredible” artwork that he was chosen. Walker said he had successfully advocated putting Milton Caniff in the show over the objections of Spiegelman, who had “a lot of input” into the selections. On the other hand, Walker told us he had “argued” for including Walt Kelly (Pogo) but failed. This show, it seems, is only about the visual dimension of comics, not abut comics as literature. Examining the idea of comics as the combination of words and pictures, or as Walker put it, “storytelling,” will have to wait for another show.

We were also told that at the opening of “Masters,” Spiegelman had said that they “should start working on “˜Masters II.'” In other words, one could tell the
story of American comics in the 20th century through an entirely different group of fifteen cartoonists. Later, an audience member asked “does this codification of Masters”–this designation of fifteen great cartoonists– “make it impenetrable” for other comics artists? Walker replied that “I hope this group of fifteen isn’t set in stone,” and that people don’t assume that these are the only cartoonists worth serious attention.

During much of the panel we were shown examples of each Master’s work from the exhibition, projected onto a screen, and even photos of the museum galleries in which the original artworks were displayed in Los Angeles.

Dooley informed the audience that the “critical reaction” to “Masters” was “a lot more favorable than” it had been to “High and Low” a decade and a half ago. Walker enthused that “the response to the exhibit was overwhelming,” leading to numerous articles in the media.

(Oddly, Walker remarked that “Art Spiegelman is not crazy about having his art exhibited at the Jewish Museum,” which is hosting part of “Masters” in New York, but Walker did not explain why. Then this week I read in New York Magazine‘s ” “Fall Preview” issue that Spiegelman had withdrawn from the show. If this is true, I wonder why.)

After the “Masters” exhibition opens in the New York area, I will be writing further about it in this column. This is a landmark event. Back in the 1980s the Whitney Museum held a brilliant exhibition on Disney animation art, but the world of art museums did not follow its lead; perhaps it was too early. Over the last several years, however, there has been increasing interest in the media and academia in the comics medium. Perhaps “Masters” is arriving in the New York area at a propitious time. I am interested in seeing how New York City’s art critics react to “Masters.” contemporary alternative cartoonists like Crumb and Spiegelman have already won favor in the fine art world. Will “Masters” open the eyes of the art world to the great works of American comics throughout their history?

Towards the end of the panel we were told that at the opening of “Masters” in Milwaukee, Kitchen had spoken with representatives of two museums who said they were interested in acquiring comics art for their permanent collections. Dooley asked, “Is this a watershed moment?” Will institutions such as art museums now compete with collectors to buy artwork by leading comics artists, thereby driving up the prices? Kitchen replied that he thought it would be a good thing if museums began collecting comics art and “I hope it’s a trend.”

And that is why this panel, with its miniscule audience, may prove to be the most historically significant at the 2006 Comic-Con. Graduate students of the future, take note. It’s not just that it predicted skyrocketing prices for original comics art by the greats. It’s the reason that those prices will increase. We may be on the brink of a new era of serious appreciation of comics by the world of fine art curators, scholars and collectors. “Masters of American Comics” might well prove to be the tipping point.

We were told at the panel how popular the “Masters” show was at its Los Angeles venues, and I believe it. So it’s strange, and perhaps telling, that there was such a dearth of people at Comic-Con who were interested in attending a panel about a museum exhibition that takes the comics artform seriously.

On the way back to the Convention Center, I saw Captain Jack Sparrow, lead character of the Pirates of the Caribbean movies, for the first time during my San Diego trip. It turned out that there were many Captain Jacks at Comic-Con, and, I am informed, many of them were disguised women.

FRIDAY 8:30 PM
“They don’t really need this big a room,” a woman behind me told the guy she was sitting with. I was seated in Room 20, the second biggest panel room at Comic-Con: the room can hold thousands of people. The 18th Annual Will Eisner Comic Industry Awards (named after one of the Masters of American Comics) were about to commence. Not counting the comic industry professional elite at the tables in front of the stage, I’d say there were roughly only two hundred people sitting in the audience when the ceremony began. Keep in mind that there were over a hundred thousand people at this year’s Comic-Con.

Why did so few people show up? Weren’t most Con attendees interested in seeing so many big names in the comics business? Weren’t they interested in learning who won? After all, the Comic-Con program refers to the Eisners as the Oscars of comics!

Indeed, the Beat told me that this year there was actually a video interviewer who was asking pros heading into the Eisners that familiar red carpet question, “Who are you wearing?” Now, I don’t expect that any of us proles who were sitting in the audience should dress up for the Eisners, but I have higher expectations for the pros who appear onstage or who sit at the tables up front. Will Eisner set an example by wearing a suit to the ceremony. But in many cases what happens is that the women dress up and the men dress down.

A prominent exception was the evening’s host, Bill Morrison, who was dressed formally and impressively. He was matched by his wife Carol, an attractive redhead in a yellow gown, who, as he put it, served the familiar award ceremony role of the “one beautiful woman who takes the winner offstage the opposite way in which he was going.” Morrison is creative director of Bongo Comics, which publishes Simpsons-related material. Introducing him, Comic-Con’s Jackie Estrada observed that “about anything you’ve seen with Matt Groening’s signature on it, Bill actually drew.” Ah, so ghosts still walk among us in the comics business.

The “Masters of American Comics” exhibit may ignore the writing component of comics, but the Eisners do not. The first award to be announced was the Bill Finger Award, which was inaugurated last year as a lifetime achievement award for comic book writers. Presenting the award were the late Bill Finger’s colleague, Jerry Robinson, who instigated the creation of the award, and Mark Evanier, who was a full pound lighter than he had been the day before. (Like Earth’s polar ice cap, Mark is disappearing at a disconcertingly rapid rate.)

Jerry Robinson reminded the audience of Finger’s “enormous creativity,” “love of the business,” and “perseverance in the face of the trials and tribulations of being unrecognized for his work.” Robinson observed that there are now “few survivors who remember him [Finger]” and that a reason for instituting the award was “to have new writers and young writers know of his accomplishments.”

Evanier continued along this theme, pointedly remarking in the presence of the comics business’s elite that “Bill Finger’s name is not on his greatest creation,” adding, “I wonder who that is.” (That co-creation is Batman; see “Comics in Context” #94.)

The plan is that each year two FInger Awards will be given out, one to a living recipient and the other to a deceased writer. This year’s posthumous prize went to Harvey Kurtzman. Evanier praised his work in the 1950s on EC’s Two-Fisted Tales and Frontline Combat as the “best war comics” in the medium’s history. “Then,” Evanier continued, Kurtzman “came up with MAD,” working on its first twenty-four issues, which Evanier declared to be the “single greatest body of humor writing ever,” which he said influenced movies, television and stand-up comedy. The award was accepted by Kurtzman’s daughter Nellie, who proved that the proverbial apple did not fall far from the tree in her acceptance speech: “My father got the finger from the comics industry many times in his career, but this is the first time I’ve been pleased about it.”

The other Finger award went to Alvin Schwartz, a Superman and Batman writer from the Silver Age of the late 1950s and early 1960s, whose health precluded his attending the Con. Schwartz is an obscure figure in comics history, but his most celebrated co-creation is not: Bizarro. Unlike other comic book writers of his period, Schwartz apparently recognized that superhero stories could have mythological and psychological subtexts. In the recently published book Superman Cover to Cover, Schwartz reveals that he conceived of Bizarro as what the psychologist Carl Jung would call a “shadow” figure for Superman. At the Eisners an excerpt of a videotape from Mike Catron’s invaluable collection, showing Schwartz on a 2001 convention panel speaking about Bill Finger. In it Schwartz contends that “mostly his [Finger’s] anger was repressed,” but the story of “the creation of Batman through the death of Bruce Wayne’s parents. . .was Bill’s psychological way of getting rid of his [own] parents.” I suspect that comics historians might find it rewarding to reinvestigate Alvin Schwartz’s superhero stories.

At one point Bill Morrison declared that this was “Couples Night” at the Eisners. The next presenters were examples of that: Amanda Conner, looking fetching in a silver dress, and Jimmy Palmiotti, wearing a black shirt with a palm tree motif. Among the awards they presented was the one for Best Digital Comic. (“Some guys don’t know what that is,” observed Palmiotti, who explained it as simply as he could: “That’s on a computer.”) The winner was PVP by Scott Kurtz, who was genuinely funny in his acceptance speech: after profusely thanking his wife, he added, “I also want to thank my girlfriend Nancy, because she made my marriage possible.” But Kurtz also gave the most moving acceptance speech, and broke into tears as he said the Eisner voters “make me feel included, like one of the cool kids.”

I’m not going to list all the Eisner recipients, since you can easily find that information elsewhere on the Net. I’ll just mention a few that I found interesting.

Accepting his award for best lettering, Todd Klein said, “This is one place I can come where I don’t have to explain what I do [and] that they actually still make comics.” Perhaps Mr. Klein still hadn’t gotten the memo that the comics, or should I say graphic novels, are recognized by the mainstream media as hip and cool. Or perhaps he was reminding us that the public at large still has little awareness of the continuing existence of comic books, much less their cultural value.

Nisha Gopolan, comics editor for Entertainment Weekly (in an attractive miniskirt) and Calvin Reid, my uberboss at Publishers Weekly‘s Comics Week (no jacket), presented the Eisner Award for Best Reality-Based Comic to Nat Turner by Kyle Baker, who showed up onstage wearing white shorts. (What did I tell you about the casual fashion styles of male Eisner attendees?) “I’m doubly thankful tonight,” Baker said in an effectively understated delivery, “in part because I just walked in ten minutes ago.”

Next Reid and Gopolan announced that the winner for “Best Archival Collection” of comic books was Absolute Watchmen, collecting the series by Alan Moore and Dave Gibbons. Apparently Gibbons wasn’t at Comic-Con, and Moore nearly never seems to leave Northampton, England nowadays. I did see Moore’s fiancee, Melinda Gebbie, at the About Comics booth, where the completed edition of their collaboration, Lost Girls, was making its debut. But I recall noticing how uncomfortable Moore looked when I saw him accepting awards at a comics convention in London back in the 1980s, so it was no surprise to me that Gebbie didn’t accept this Eisner on his behalf.

Instead Len Wein, as the original editor of Watchmen, went up to accept the award He told the audience that he had worked on “probably no project that was more challenging and gratifying than Watchmen.” Len Wein isn’t very visible in comics nowadays, but it was he, as an editor at DC, who hired Moore to write his first major American project, Swamp Thing, which Wein himself had co-created. Moore’s Swamp Thing, and his writing in general, is vastly different from Wein’s own work, but Wein nonetheless recognized Moore’s talent early on and encouraged him in breaking new ground in American mainstream comics. Len Wein is therefore an unsung hero in the history of the comics revolution of the 1980s, and it was absolutely appropriate that he got to take a bow by accepting this award.

The next pair of presenters were newlyweds Paul Dini and Misty Lee, who were introduced as the creators of “Monkey Talk” here at Quick Stop Entertainment, among their other credits. (Quick Stop got a plug in front of the Comics Elite! Huzzah!) This was the first time I’d ever seen Ms. Misty in person. But though she is a stage magician with a renowned resemblance to Zatanna, she came onstage in a long, white gown, not in a tuxedo and top hat, and did not pronounce a single word backwards. Nor, alas, was “Monkey Talk” co-host Rashy anywhere in evidence.

Winning as Best Cover Artist for Fables and Runaways, James Jean reminisced onstage that Amanda Conner, when she worked at a comics store, “sold me some of the first comics I ever read.” Considering that in the 1980s I encouraged Amanda in pursuing her comics career, and that now James Jean looks up to her as a helpful elder, I suddenly felt old.

Another general observation I have about the Eisners is that most of the speakers who think they’re being funny aren’t. There were exceptions to this rule, but, to my surprise, the next presenter wasn’t one of them. This was Dean Haglund, the comedian who is best known for playing Langly, the longhaired member of the Lone Gunmen on The X-Files. (His hair, by the way, is now short.) I saw Haglund perform at an “X-Files Expo” back in 1998, and he was quite funny, but not tonight: he didn’t seem to have a feel for the sensibility of this Comic-Con audience, and his jokes unfortunately fell flat. But he was right about one thing: “It’s a long night, isn’t it?” he asked the audience. Is this one reason so many Con attendees stay away?

Haglund announced the award for Best Comics-Related Book to the Eisner/Miller book of their transcribed conversations. Accepting were Charles Brownstein of the Comic Book Legal Defense Fund; Dark Horse editor Diana Schutz, looking glamorous in her long blonde hair and black dress, and Frank Miller, whom I didn’t recognize until he spoke. He has suddenly (as far as I know) adopted a new look, that strikes me as being a contemporary updating of a 1930s or 1940s period style: he had on a light gray suit and a white fedora.

Haglund also announced that there was a tie for the winner of “Best Publication Design”: Chris Ware’s Acme Novelty Library Report to Shareholders, and Sunday Press’s Little Nemo in Slumberland, which reprints the Winsor McCay classic at the enormous size in which it originally appeared in newspapers. Accepting on Ware’s behalf, Chip Kidd of Pantheon Books (in a suit!) said that “Chris would’ve voted for the Nemo book” and that “He’s very sorry he won this award and he apologizes profusely.” That prepared line didn’t fit the possibility of a tie, but it was pleasingly witty nevertheless. And while the organizers of “Masters” have presented McCay and Ware as equals, it’s rewarding to learn that Ware knows better.

Maggie Thompson of Comic Buyer’s Guide performed her annual duty of presenting another familiar component of industry awards shows: the “In Memorium” segment, listing significant figures who had died over the previous twelve months, such as comics artists Jim Aparo, Jack Jackson, and Alex Toth. I was shocked to learn from her presentation that Selby Kelly, widow of Walt, had passed away; somehow I’d never found out about this. Thompson included the late Joe Ranft, head of story at Pixar, and that seemed right, since animation is another form of cartoon art. But she also included Robert Wise, the director of the film version of The Sound of Music (1965) and co-director of the West Side Story movie (1961). What was he doing on the list? Wise did appear at Comic-Con years ago, and he directed the first Star Trek movie (1979) as well as the science fiction classic The Day the Earth Stood Still (1951). Perhaps his inclusion was yet another indication of how Comic-Con is metamorphosing into a Movie Con as well.

Watching the “In Memorium” tribute a macabre thought suddenly hit me: will I be included in this tribute someday?

The Bob Clampett Humanitarian Award was presented by the late animation director’s daughter Ruth to Publishers Weekly‘s Calvin Reid for being an “advocate of our medium” to librarians and others in mainstream culture. Calvin is a genuinely nice guy (and I’d say so even if he wasn’t my editor, trust me), though I’m not sure that his support of the comics medium really counts as humanitarianism. Maybe there should be an award specifically for spreading the word about the artistic value of the comics medium to the world at large. But until there is, the Clampett Humanitarian Award will do. Overjoyed, Calvin laughed that he “didn’t expect this”: indeed, his wife had already left the ceremony. (In retrospect, this must be one reason why he was asked to be a presenter: to ensure he would attend this underattended event.) But he seemed thrilled that “I’m a part of this now,” meaning the world of comics.

British writer Grant Morrison, also won awards at this year’s Eisners. He was definitely at the Con, so why didn’t he show up at the Eisners? It’s bad news when not even nominees attending Comic-Con show up.

In contrast, another Brit, artist Mark Buckingham, one of the recipients of the “Best Serialized Story” award for “Return to the Homelands” in DC/Vertigo’s Fables, exulted onstage that after “twenty years in the business” he “finally made it to Comic-Con.” He enthused about “how amazing and unlike anything in the world this is.” I wonder if he’s been to major European comics festivals such as France’s Angouleme and Italy’s Lucca. It’d be nice to think that the San Diego Con has outdone them.

Finally, Sergio Aragones, as always, announced the six new additions to the Eisners’ Hall of Fame.

First was the late Floyd Gottfredson, who wrote and drew the Mickey Mouse comics from 1930 to 1975, and was to Mickey what Carl Barks was to Donald Duck. A representative of Walt Disney Studios accepted, and I found that rather sad, since it suggested that Gottfredson has no living heirs.

The next new Hall of Fame was the late William Marston Moulton, the creator of Wonder Woman. (Shouldn’t Moulton be designated as “co-creator,” since he didn’t draw her?) Accepting on behalf of the Moulton family was their lawyer, Edgar May, who had appeared at the stamp ceremony the day before.

Reading remarks composed by Moulton’s son, May told us that William Marston Moulton had believed that “women were the more powerful sex.” There were cheers from the audience. May unwisely interjected, “I’m not convinced,” whereupon he was loudly booed.

Cartoonist Mark Bode accepted on behalf of his deceased father, the late underground cartoonist Vaughn Bode, creator of Cheech Wizard. The younger Bode reminisced about his father, who died when he was a boy, in a somewhat rambling but nonetheless affecting speech.

Dody Manning, the widow of Russ Manning, artist on Tarzan and Magnus, Robot Fighter, went to the opposite extreme, saying simply, “Thank you all., Thank you very much.”

One of the few female comic book artists of the Silver Age, Ramona Fradon, co-creator of Metamorpho, wasn’t in San Diego, so DC president Paul Levitz accepted for her, confessing that as an assistant editor he “had a crush” on her.

Then came the final addition to the Hall of Fame, Silver Age writer/artist Jim Steranko, in person, with silver hair, dark glasses, and a dapper white suit, in sharp contrast with other, all-too-casually dressed men participating in the ceremony. “I thought I was up for the Rob Liefeld Humility Award,” Steranko said; this joke didn’t go over. “I know this is the Moby Dick of award ceremonies,” he continued (More Tolstoy than Melville, I think), “so I’ll only keep you a moment.” Then he said something the audience very much liked: “I accept this award in the names of all the nominees tonight till they get their own gold.”

I still wonder why so few people showed up at the Eisners. As I observed last year (see “Comics in Context” #97), many of the nominated stories and series tend to be relatively obscure. I certainly don’t believe that artistic merit is necessarily commensurate with the level of sales. But is it possible that that the Eisners voting reflect a minority taste that is too idiosyncratic and unusual for the awards’ own good? Or is it that, as the attendance for the “Masters” panel showed, there still just aren’t enough people who take the artform truly seriously?

Towards the end of the ceremony, I turned around to check on the couple who were sitting behind me at the outset. They were gone.

FRIDAY 11:00 PM
After the Eisners, I engaged in some of the traditional milling about just outside Hall H, where live musicians were performing even before the annual post-Eisnerian party was about to start. I considered staying, since it might be my only opportunity to see some people, but it had been a long day, I was tired, and I still had to make my way back to Coronado Island. Maybe next year.

Copyright 2006 Peter Sanderson

 

Trailer Park: The Reports of Box Office Death Have Been Greatly Exaggerated… Ignorance and Stupidity To Blame

Filed under: Trailer Park — admin @ 1:14 am

By Christopher Stipp

Archives? Right Here…

LOS ANGELES, California (AP) — The Hollywood hand-wringing of 2005 has been forgotten. After a dismal box-office year and gloomy prophecies about its future, the movie business has rebounded with a solid — though far from spectacular — summer season.

One of the things that I love about my job here is that I have virtually no one listening to a word I say. I know it’s de regur on talk radio to be contrarian in order to get people all sorts of riled up, I can tell you that the real aim of politics is not effecting change but to make a career on stumping with sound bites, that a lot of stories are written without a clear respect for due dillegence and I can also tell you that this week marks a year since I wrote this column on the premature Chicken Little bullshit about the demise of modern cinemas.

I don’t suppose myself to be a very erudite person when it comes to the film industry. As a person I am able to churn out these columns on a weekly basis and, beyond that, keep a close eye on the major stories that break on a daily basis with regard to Hollywood happenings. I don’t read Daily Variety, I don’t ingest every story that The Hollywood Reporter puts out and, I hate to admit this to such a devoted crowd, I have a life beyond all this glitz, glamour and childish infighting. Movies aren’t the end-all be-all and, really, there is a world that’s worth being intensely interested in if you give it the chance and I think that’s why I responded last year with such vehemence regarding a lot of editorials on the dismal outlook of the movie as an art form. “It’s DVD sales!” “It’s the Goddammed Internets!” “It’s the decreasing choices people have because no one makes good movies anymore!” “It’s the lack of frontal male nudity!”

The fact of the matter is that in any healthy, economic endeavor you can expect that growth won’t always reflect greater and greater returns and that, at times, (gasp! clutch the pearls!) a dip can sometimes be a good thing for an industry. The lesson to be learned by seeing, really, what this mild stabilization was, not the catastrophic descent into Dante’s Inferno, is that there are some market forces driving these things. Is it a reflection of the quality of movies being made? Perhaps. Is it the lack of male nudity? Maybe. What I do know is that the movie industry needs to evolve with its client base. That doesn’t mean studios need to start offering downloads of their flicks mere weeks after their release and it doesn’t mean it needs to start thinking on appropriate action to take against Ming Na and his bootleg franchise deep within China’s mean streets; just be cognizant of what people respond to with their money. I figure it’s an easy enough strategy as open markets take care of themselves when all the variables are still equal but what the hell do I know? I loved BORAT and wish I could sink my life’s fortunes on the success of that movie so take all this blow-hard sassy talk with a few ounces of sea salt.

I’m still trying to wrap my head around how RV made the kind of money it did so until I figure out who the hell was reponsible all these pundits decrying the death knell for modern motion pictures can nuzzle on my sac.

In other, less head-shaking, opinions I have this week I have to suggest a movie. It’s not often when I chance upon something worth noting and usualy I keep these kinds of things to myself but I could not let another week go by without putting a rubber stamp embossed with an “APPROVED” in large Times New Roman font and red ink across LITTLE MISS SUNSHINE. If you have a lady at home, or dude, I’m not one to meddle in these sorts of things, I can tell you that this is a date movie you both can agree on. It’s hard to find something that won’t leave you poking at your eyes with a spork but I have to give it up where it’s due. The entire cast is endearing, the story, while not all that compelling, is firm and the ending is good enough to be placed on the endings that won’t leave you wondering where it is you left your brain after having to sit through it. My vote, though, has to go to Alan Arkin for his turn as the family’s elder statesman. Although most would include him as a footnote in the movie I have to slide all my kudos his way. While the direction is remarkably flat, uninspired and fairly rote, Valerie Faris and Jonathan Dayton suprisingly letting me down in ways that their music videos just never did, it’s the really the people that inhabit this film which turn this little indie into a little indie that could. It’s not going to change the world, your outlook on it or make you question your existence but it is very worthy of your cash and that’s enough reason for someone like me.

THE PROTECTOR (2006)

Director: Prachya Pinkaew
Cast:
Tony Jaa, Mum Jokmok, Xing Jing
Release: September 8, 2006
Synopsis:
THE PROTECTOR is the highly anticipated full bodied action film starring International Martial Arts superstar, Tony Jaa (Ong Bak). His world shaped by ancient traditions, a young Thai fighter (Jaa) is called to defend his people and their honor after outsiders ruin all that is sacred. Fueled by desire to protect a way of life and avenge the wrong done to his family, he will bring the fight to their city. This film is also known as TOM YUM GOONG.
View Trailer:

* Large (QuickTime)

Prognosis: Quasi Positive. When is anyone going to realize that trying to pepper my action trailers with exposition and helpful back stories of those in the movies is like going to whore only to have to listen to her blither on about how her day has gone before she’ll let you pitter-patter get-at’er?

Yeah, it’s like that.

I appreciate the effort, I do, especially in a movie starring Tony Jaa who, I might add, has made a tsunami sized impression into the hearts and minds of action aficionados state-side, but cut it. Get rid of it. I could care less about the road traveled by Jaa in order to become the ass-kicker exemplar of his peeps, I want to feel the noise and pain dropped down on my senses like a donkey punch to the gooch. But, since it’s there, I should point out why it just doesn’t do anything for those looking to blaze a few bucks at the megaplex.

First, talking about Jaa’s preferred form of martial arts, which seems to involve elephants and chicks who practice Tai-Chi in the mud, is kind of needless. Unless we see Jaa picking these skills up while practicing them on the scabbed and dirty underclass, delivering punches or exacting pain on the willing like it was free wet T-shirt night at the local nudie bar, I couldn’t care less. Actually, I could.

When we get to the emotional crux of how Jaa comes to be so consumed with ass-kickery of the Nth order I’m a bit let down. We just dwell on some hokey imagery of an old man dying in Jaa’s arms. Yes, this is perhaps needed in order to explain why he’s going from 0 ““ Pissed but we’re taking too long to get to the chewy center of what comes after all this explanatory BS.

It’s not until we are damn near a ¼ through this thing before we see Jaa leap in the air and deliver a double leg kick to two perfectly centered, perfectly equidistant, perfectly choreographed bad guys and that is really what’s at issue here. If we could get to the visuals first, fill in the back story later, I would be much more pleased at what follows and what follows is a whole lot of nonsense.

Who would ever ride their motorbike down an abandoned building’s narrow hallway and, if you were to do it, are you really the type to wear a helmet only to give Jaa the opportunity to sail over your swiftly approaching body and yank your ass off the seat by said helmet? I am delighted to ensconce myself in these sorts of perfect opportunities. To wit, Jaa cruising down a river that screams out pollution of the fecal variety only to be met with a helicopter that is loaded for bear and hovering mere inches above the water’s surface. This gives Jaa, again, the great opportunity to somehow situate one speedboat on its side while another swift moving boat conveniently launches into the body of the helicopter. It’s crap, sure, but I for one love it.

Oh, and who can deny the perfectly scored middle of this thing when some faceless, nameless opponent decides to fight hand-to-hand with Jaa in a room that’s a few inches deep with water? How the hell did this happen and why are we here? Who cares, right, when the result of these elements results in some more kinetic martial arts? By the way, I feel it’s my duty to also inform you that we also get a near subliminal flash of a lady’s skivvies and ample, ample, cleavage for no good reason at all; whatsoever. No need for it. But, hey, two thumbs up for the thought and much appreciated.

I am also a big, big fan of the moment here in this preview where Jaa screams out loud, with some muscle-bound whitey doing the same, the two of them yelling and running towards one another, with Jaa delivering a sweet double knee impact to this dude’s chest. The 13 year-old in me squeals with adolescent delight.

I’m not sure why or how you would get an off-road ATV on the second floor of an abandoned building, the same way that mo-fo on the motorcycle thought it was a good idea, but, again, this dude is also wearing a helmet for reasons that I realize but seem awfully absurd when you think of their line of work, but it all doesn’t matter when you see Jaa run and vertically run up the plate glass window in breathless slow-motion as ATV guy doesn’t think to throttle it back some before tossing his dumb ass out the window.

Again, it’s better if you don’t think these things through too hard.

THE DEPARTED (2006)

Director: Martin Scorsese
Cast: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson, Alec Baldwin
Release: October 6, 2006
Synopsis: The Departed is set in South Boston, where the state police force is waging war on organized crime. Young undercover cop Billy Costigan (Leonardo DiCaprio) is assigned to infiltrate the mob syndicate run by gangland chief Costello (Jack Nicholson). While Billy is quickly gaining Costello’s confidence, Colin Sullivan (Matt Damon), a hardened young criminal who has infiltrated the police department as an informer for the syndicate, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the gangsters and the police that there’s a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy ““ and each must race to uncover the identity of the other man in time to save himself.

View Trailer:
* Large (QuickTime)

Prognosis: Negative. Okay, I tried not to laugh. It was the second time I went through it and I couldn’t help myself.

I remember when I watched CAPE FEAR, seeing Robert De Niro getting all sorts of ripped inside his cell right before he brought hell with him into the world, or even TERMINATOR 2 when Linda Hamilton was showing ladies that doing a few dips could help that turkey gobbler which used to be their triceps, I was impressed. Physical toughness is a way to imply toughness of one’s character. Sure it’s shallow but it’s an effective way to express certain traits of an individual without having to explain it. That said, though, when the Rolling Stones start playing in the background and the trailer opens with Jack Nicholson slowly walking across what looks like a service garage I’m all straight faced and into the vibe. When I see Leonardo DiCaprio doin’ dips in his cell block, looking like his hypopituitarism is severely preventing any muscle development of any kind except that one eyebrow muscle that always gets a workout, I laugh a little.

Please. Have him put his shirt back on. No one believes he’s any threat to anyone else besides the Lollypop Kids and even then he’s not statistically favored.

Now, I get that we’ve got Matt Damon on the side of the po-pos, along with Leonardo who’s going to deep, deep, deep undercover (I still like that movie”¦poor Eddie) and I guess the point is that they’re on the hunt to bring down Nicholson. I also see that for a man running such a large crime syndicate Jack has some of the best dental work that illicit activity can buy. I’m very impressed.

Leo is frontin’ like he shits nails as he sits in his boss’ office as he’s told that his assignment is only going to pay him minimum wage but that there’s bonus opportunities available. I think this is supposed to be comedic but I’m too intrigued in the jaunty banjo-like music playing in the background to notice. Marky Mark gets into the jollyness as he cracks wise, Leo comes face-to-face with our crime boss, a sacrificial lamb, really, as who the f u c k believes that DiCaprio could hold his own with the exception of his ankled (wink, wink) and I am all sorts of confused at the change in tempo.

The trailer downshifts into a hip-hop, FOUR BROTHERS, kind of beat and we run pretty quickly into the particulars of Damon’s job. It’s nice to hear his Bean Town accent again, and I apologize that I laughed again when I heard it come out of his mouth, boorish of me I know, but of all the dialogue we are allowed privy to we get, “There are parts of my job I can’t talk to you about.” Great. Is this OFFICE SPACE where Peter can’t tell his lady about his secret plan to rip off Initech? No, seriously, he can’t.

We get that Matt is on the hunt for the cop that’s in Nicholson’s crew. Long story short: Damon is on the take, has kept Jack out of jail all these years and if Damon can’t find out who it is then Matt gets capped. Okay, how’s this, why not just kill the cherub that obviously could play the human version of One of These Things Are Not Like The Others?

The tempo shifts, again, and we’re launched into an oldie but goodie that’s set against a backdrop of dudes hitting one another, guns, explosions, hey, there’s a guy falling from a building, a lot of bombast from Leo that’s kind of cute and there’s an uncomfortable feeling that there will be a lot of dead people by the end of the movie.

The trailer feels a little bush league and there’s not a lot of wow to it but I know people will give Marty a pass solely because it’s Marty and, holy shit, the man can do no wrong. There is, however, fistfuls of wrong in this ad.

SCHOOL FOR SCOUNDRELS (2006)

Director: Todd Phillips
Cast: Billy Bob Thornton, Jon Heder, Jacinda Barrett, Michael Clarke Duncan, Dan Foglere
Release: September 29, 2006
Synopsis: In SCHOOL FOR SCOUNDRELS, Jon Heder plays Roger, a beleaguered New York City meter maid who is plagued by anxiety and low self-esteem. In order to overcome his feelings of inadequacy, Roger enrolls in a top-secret confidence-building class taught by the suavely underhanded Dr. P (Billy Bob Thornton). Aided by his assistant, Lesher (Michael Clarke Duncan), Dr. P uses unorthodox, often dangerous methods, but he guarantees results: Employ his techniques and you will unleash your inner lion. Soon enough, the teacher sets out to infiltrate and destroy Roger’s personal and professional life. Nothing is off limits for Dr. P, not even the object of Roger’s affection. In order to show Amanda Dr. P’s true colors, Roger must rally his new friends and find a way to beat the master at his own game.

View Trailer:
* Large (QuickTime)

Prognosis: Negative. What the hell?

Is this ANGER MANAGEMENT lite because this trailer just drips of uninspired tomfoolery, pratfalls and getting-smacked-in-the-nuts physical humor that should play well with the local yokels of Branson, Missouri, but should cause those who thought Todd Phillips was capable of razor sharp comedy just sigh and realize he’s dead-set on using one blade with no plans on changing it.

I think what’s wicked bad here is how we start off. I realize from the time Jane Austen could put pen to paper the notion of women and men not knowing how to come together in a way that’s anything less than awkward is just a trope that will never die but are we all that dense that we have to spend so long in the beginning to establish this?

Jon Heder, passing out from the complete and total and oh-my-gawd intensity of talking to a Real World starlet (how is she still getting work? I bet Milla Jovovich is pissed someone is taking all her 2nd tier roles), is socially inept and horribly incapable of acting like a positive contributor to the human race. He’s got no spine and needs one. Enter, stage left, David Cross, who tells him there is a class that hands out spines (wow, the timing!) and he should check it out. My buddies would relentlessly bust my balls until said spine would come in but since this is a movie our character is motivated by seeking 3rd party help let the wackiness ensue!

I give the trailer credit for allowing Thornton to use the pejorative “retard” to address the class of useless losers assembled to take this guy’s class; impressive as it is bold considering some group that will find that offensive.

So, establishing that this movie will need physical humor to set its jokes off we need a novel new way for dudes to hurt themselves in order to be amusing to the rest of us. Again, the trailer is heavy-handed in its presentation of this but the extended moment here of guys popping off a few paintballs at each other’s balls will ensure a few movie tickets are sold to that core demographic. Well done, sirs.

We move on through the movie’s progression, Heder actually grows a pair and gets the girl, but something happens as Thornton decides to movie in on his lady. Again, wasn’t this the basis for another directorially static production by a different name: ANGER MANAGEMENT? Enrage the other and watch all the zany things that are going to happen as a result? This isn’t a rhetorical question as the answer is yes to both queries.

So, the game is on between these two alpha males and, just like the paintball, (gasp!) we get more balls aimed at another dude’s balls. Great. I’m sure this is a quality comedy if all the physical humor involves high velocity objects entering another man’s twig and berries. Now, before I break bad completely on this flat, limp and uninspired comedy, I will give it a compliment. The scene of Heder and his cop buddies in the elevator who decide to try out a can of mace? The way they all retch and scream as the fumes and liquid invade all of their senses? That, friends, is funny. Nut smashing is so America’s Home Videos. Raise physicality to another level.

JACKASS 2 (2006)

Director: Jeff Tremaine
Cast:
Johnny Knoxville, Steve-O, Bam Margera, Chris Pontius
Release: September 22, 2006
Synopsis: Chris Pontius, Johnny Knoxville, Steve-O, Bam Margera, and the whole crew are up to it again with the sequel to Paramount’s 2002 highest grossing film Jackass: The Movie.

View Trailer:
* Large (QuickTime)

Prognosis: Shamefully Positive. I’ve got complaints, sure, but you know what I actually spent my money three times to see the first film. I can honestly state that since this movie’s release I hadn’t laughed as hard as I have at it until BORAT came around. It’s been a long time coming since the world has been given a full theatrical reason to bust a kidney or spleen from obnoxious and boorish behavior of fully grown men but I, for one, am hoping the second installment has the same element of surprise as the first one.

But first of all, come the fuck on.

This is the trailer and I have to endure nearly a ¼ of this thing’s running time just so Paramount and MTV Films can have their lame ass logo linger there, preventing me from getting some more of that infantile goodness?

“When it was released in 2002, People were outraged”

Yeah, easily forgiven as my man, the one who narrates most all of PBS’ Frontline shows (public television representin’, yo), uses his steely pipes to really drive home the absurd nature of how grandiose the first movie was.

“A new low” – Washington Times “¦. “A plunge into depravity” – Toronto Star

I like ads like this. The ones that flip pull quoting on its ear no matter how easy the joke is. This film embraces its obvious audience and I can’t imagine why any frat boy or 13 year-old kid wouldn’t find this an extra incentive to see the movie. Smart.

And just at the point where I was about to get ornery with there being no new footage I find, and I’ll just be upfront about it, I start giggling in that degenerative way when you know that 50% of the population is not about to get what is about to happen, I am looking at those possessing an XX chromosome here, as Knoxville sports a blindfold and then gets the horns of an attacking bull. Nice.

Party Boy pops up, always good for those moments when you need to stray into borderline homosexuality, as is the mark for all good male comedies; Steve-O offers his body to the science of human pincushioning; some asshole with more nuts than brains gets violently (read here: awesome!) yanked off a pier with a LOT of force; some fool decides to get wild with a fast moving shopping cart by riding one straight into a wall; I laugh out loud as Knoxville rides a bike strapped with a propellant of some kind; and I can’t believe that Don Vito, a much beloved side character from Bam Margera’s sideshow, is going to have a tooth yanked by having it attached to a string with the other end tied to a speeding car.

This movie fulfills some need in me; I admit it. I don’t know what that says about me as a person but when I see dudes behaving like this I can’t help a) to not care b) salivate at the notion that this movie is damn near here and c) watch this trailer again a couple more times.

 

September 7, 2006

The Fred Hembeck Show: Episode 71 – The Doctor Is In

Filed under: The Fred Hembeck Show — UncaScroogeMcD @ 4:45 am

fredhembeckheader.jpg

Think you could possibly imagine the late Rodney Dangerfeld decked out in a long red flowing cape, making funny gestures with his fingers?

That pretty much describes Dr. Strange back in the earliest days of Marvel’s sixties revolution. Because, in the forty-five issues featuring the work of his visual creator, Steve Ditko, within the pages of Strange Tales 110-146 (editor Stan Lee was apparently so unsure of the character’s initial appeal that after a mere two episodes, he held the Master of the Mystic Arts out of the next two issues in a rare instance of wait-and-see judgment), the good Doctor was afforded little respect and but a single cover all to his – and Ditko’s – own.

One.

Uno.

And not only was it the enigmatic illustrator’s last foray into Doc’s dark dimensions, he didn’t even actually draw it!

Well, yeah, okay, he did – but he clearly never INTENDED what was ultimately fronting the July 1966 issue of Strange Tales to be the book’s cover.

Here – take a look…

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Nice, huh?

So was the interior story’s art – some of which might’ve looked mighty familiar to readers who’d immediately flipped open to Ditko’s baldly titled swan song after falling under the spell of that powerful cover.

Like this panel on page four…

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And then, a page later, the sight of the Doctor on this impressive full-page tableau no doubt caused many a fan to experience an immediate sense of deja vu…

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Take another, closer look at the masterful bit of production that is the cover of Strange Tales #146. Our hero was flipped, tilted and slightly enlarged (most noticeable on the leg shadings), while the ever inscrutable Eternity had his right arm flawlessly extended by some long forgotten Bullpenner (who also added some big black blobs of ink to flesh out the composition). A nice job, aided immensely by its rich color scheme .

I noticed all this recently when I decided to cobble up my own version of this Marvel Age classic…

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Dig this – Dr. Strange made it onto only eighteen of the Strange Tales‘ covers published during the Ditko era! Eighteen out of forty-five opportunities! Yeesh! The first one wasn’t until eight months in, either, on Strange Tales #118, and of that meager total, nine (including the big finale) consisted of small, smaller, and really teeny-tiny Ditko vignettes pasted up (check especially 137 – and all of the rest – over on this page at the Grand Comics Database). Eight of the others fell to the responsibility of lead feature Human Torch/Nick Fury cover artist, Jack Kirby – and as for the lone remaining one, well, we’ll get to THAT one later. More than once, Stan plastered a lamely apologetic blurb like the one found on the front of number 134: “Of course Dr. Strange is in this issue too – but we couldn’t find any place to put him on the cover!”.

Yeah? Well, I’m thinking maybe you coulda tried a little bit harder, Stan.

As it was, even with Kirby at the helm, Doc only managed to score equal or better pictorial billing on two of the King’s covers: 123 and 130. I’ve already drawn my own versions of both, writing them up to boot. (You can see for yourself by checking out these links to my gushing over the sublime delights of Strange Tales #123 #123 – and bitterly complaining about the Sorcerer Supreme upstaging the Beatles on the cover of Strange Tales #130 #130!)

No, Doc was afforded very little respect during the Ditko days, but after recently looking over all these covers, I think I’ve FINALLY figured out a mystery that’s been bothering comics fans for forty years now – why exactly DID Steve Ditko pack up and leave Marvel with no clear cut explanation back in mid ’66?

I’m thinking maybe it was THIS cover than pushed him over the brink…

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C’mon, how lame was THAT? Yeah, yeah – there must’ve been some sorta monumentally insurmountable deadline crunch for Stan to stat the splash page of that issues S.H.I.E.L.D. story into the hands of a less-than-enraptured seeming Dr. Strange (drawn by future Doc artist, Marie Severin) – but even as big a fan of the Fury feature as I was at the time, it still just looked silly to me. Imagine then how Mr. Ditko, with his very specific views, reacted when he first spied this image:

“‘Almost everybody reads S.H.I.E.L.D.!”? I don’t think so, I don’t think so at all! Trying to suggest that we unmask the Green Goblin as Norman Osborn was bad enough, but THIS time, Lee has gone way, WAY too far! That’s it – I’m leaving!”

Well, y’know, it MIGHT’VE gone down like that – who can truly say?…

And as for this episode of “The Fred Hembeck Show”, in the words of that final Ditko Doc entry, yes friends, you’ve reached the end at last!

(If you haven’t already zipped on over there, check out Hembeck.com when you get the chance!)

Copyright 2006 Fred Hembeck

September 6, 2006

Widge Goes Off Giant-Sized Annual #1!

Filed under: Widge Goes Off — widge @ 3:15 pm
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widgepic.jpgWelcome back. We survived DragonCon 2006, and as a result we provide you this very odd Giant-Sized WGO Annual with a slew of guest stars.

[CONTENT WARNING] This podcast contains foul language and a bunch of exhausted, punch drunk geeks.

DOWNLOAD: mp3 Format (66.9 MBs)

As for your Monday Morning Quarterbacking session, well…Jesus, did you see the box office? Boring as hell. Never mind. Go check out Box Office Mojo.

Special thanks to Exit Mindbomb for letting me use “Godzilla Will Rule You” from their album Happy Accident for my new WGO music. Check them out on MySpace here and I tried to link up as many songs as I could here.

Widgett Walls is the chief cook and bottle washer for Needcoffee.com. He’s also the author of Mystics on the Road to Vanishing Point and Magnificent Desolation. His personal blog is at OneTusk.com, which he updates when he feels like it. He lives and works in Atlanta, Georgia. He hardly ever sleeps.

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