Author: UncaScroogeMcD

  • A Bit Of A Chat with Ken Plume & Chris Hardwick

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    I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

    In this episode, I have a chat with quantum enthusiast Chris Hardwick about Moose, Fraggles, meth, bowling, Phirman, and gauntlets.

    For more Chris Hardwickery, go to Nerdist.com.

    Hope you enjoy…

    Download “A Bit of a Chat with Ken Plume & Chris Hardwick“:

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    Drop Ken a line HERE.

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    You can also find more of my interviews by clicking HERE.

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  • FREDagator: 2013-08-04

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    The first footage of Peter Capaldi as the new Doctor…

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  • Whotininnies 24: Putting A Cap On

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    Join Ken Plume and Glen Oliver as they take you on a journey beyond geekiness and nerdiness – Well, they pretty much just nerd out geekily and have a bit of a chat about Doctor Who and all things sci-fi.

    Whotininnies 24: Putting A Cap On
    Ken and Glen discuss the new Doctor, Peter Capaldi. SPOILER WARNINGS all around. As always, our theme is courtesy of Chameleon Circuit.

    Hope you enjoy…

    Download “Whotininnies 24: Putting A Cap On“:

    [audio:http://traffic.libsyn.com/whotininnies/whotininnies-24.mp3]

    SUBSCRIBE
    Subscribe to this Podcast via iTunes

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    Drop Ken & Glen a line HERE.

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    (Artwork by Molly Lewis)

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  • Win CRAIG FERGUSON: I’M HERE TO HELP on DVD!

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    In conjunction with New Wave Dynamics, we’re giving away four (4) copies of CRAIG FERGUSON: I’M HERE TO HELP on DVD.

    Contest ends at 11:59pm EST on August 14th.

    Enter the contest!
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    Official Rules

    No member of FRED Entertainment or their immediate families may enter.

    No Purchase necessary to win.

    Must be 18 years of age or older to enter.

    One entry per day, per person.

    All submitted entries must be received by 11:59pm EST on Wednesday, August 14th.

    The winner must allow 4-6 weeks after notification of win to receive the product.

  • Win THE MUPPET MOVIE on Blu-Ray!

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    In conjunction with Disney, we’re giving away a copy of THE MUPPET MOVIE on Blu-Ray.

    Contest ends at 11:59pm EST on August 14th.

    Enter the contest!
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    Official Rules

    No member of FRED Entertainment or their immediate families may enter.

    No Purchase necessary to win.

    Must be 18 years of age or older to enter.

    One entry per day, per person.

    All submitted entries must be received by 11:59pm EST on Wednesday, August 14th.

    The winner must allow 4-6 weeks after notification of win to receive the product.

  • Win TEENAGE MUTANT NINJA TURTLES: ENTER SHREDDER on DVD!

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    In conjunction with Nickelodeon, we’re giving away three (3) copies of TEENAGE MUTANT NINJA TURTLES: ENTER SHREDDER on DVD.

    Contest ends at 11:59pm EST on August 14th.

    Enter the contest!
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    No Purchase necessary to win.

    Must be 18 years of age or older to enter.

    One entry per day, per person.

    All submitted entries must be received by 11:59pm EST on Wednesday, August 14th.

    The winner must allow 4-6 weeks after notification of win to receive the product.

  • Win THE LEGEND OF KORRA: BOOK ONE – AIR on DVD!

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    In conjunction with Nickelodeon, we’re giving away three (3) copies of THE LEGEND OF KORRA: BOOK ONE – AIR on DVD.

    Contest ends at 11:59pm EST on August 14th.

    Enter the contest!
    Email:
    First name:
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    State/Province/Whatever:
    Zip Code/Postal Code:
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    Official Rules

    No member of FRED Entertainment or their immediate families may enter.

    No Purchase necessary to win.

    Must be 18 years of age or older to enter.

    One entry per day, per person.

    All submitted entries must be received by 11:59pm EST on Wednesday, August 14th.

    The winner must allow 4-6 weeks after notification of win to receive the product.

  • Weekend Shopping Guide 8/2/13: Rochester!

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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 FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

    (Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)

    Criminally unavailable on DVD in any proper and suitably loving presentation until now, the loveable chaps at Shout Factory have released The Jack Benny Program: The Lost Episodes (Shout Factory, Not Rated, DVD-$29.93 SRP), which brings together 18 episodes of the legendary comedian’s television show not seen since their original broadcast over 50 years ago. As if the material itself weren’t brilliant enough, the episodes have also been fully restored. Bonus materials include interviews, bits from Benny’s television specials, and Hearst newsreels. If that weren’t enough Benny for you (such a thing is not possible!), if you order direct from Shout you get a special bonus disc of The Horn Blows At Midnight – the live TV adaptation of the feature film, starring Jack as the trumpeting angel sent to destroy Earth.

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    And what better Jack Benny chaser is there than Craig Ferguson: I’m Here To Help (New Wave Dynamics, Not Rated, DVD-$12.95 SRP), the late night wonder’s latest stand-up special. And if you only know Craig from The Late Late Show and haven’t seen his stand-up before, treat yourself to this outing, as it starts strong and never lets up.

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    The art of animation reduced down to its most primal level is the magic to be found in Walt Disney’s Nine Old Men: The Flipbooks (Disney Editions, $60.00 SRP). The box set contains 9 squarebound flipbooks – each picking an iconic character or scene animated by Walt Disney’s legendary cadre of artists – Ward Kimball, Frank Thomas, Ollie Johnston, Woolie Reitherman, Les Clark, John Lounsberry, Eric Larson, Milt Kahl, and Marc Davis. They’re beautifully presented and deeply illuminating… So much so, that I’d love additional sets in an ongoing series.

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    While the show in many ways hasn’t aged very well with very uneven seasons, kudos must once again be paid to Paramount for the absolutely stunning restoration and high definition remastering job they’ve done for Star Trek: The Next Generation – Season 4 (Paramount, Not Rated, Blu-Ray-$129.99 SRP). It’s remarkable to see how different the show feels utilizing the original 35mm film elements rather than the video masters originally used for broadcast, plus the upgraded visual effects. To add to the package and the original DVD bonus features, they’ve again added a nicely candid trio of documentaries, plus deleted scenes, promos, a pair of audio commentaries, and a gag reel. And while you’re at it, be sure to pick up the single disc release containing both the season 4 cliffhanger finale and season 5 premiere, Star Trek: The Next Generation – Redemption (Paramount, Not Rated, Blu-Ray-$24.99 SRP), which also adds a wonderful little documentary featurette on Next Gen‘s Klingon origins and legacy.

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    After the abomination of the first film, it’s with great relief that, while not a particularly good film, GI Joe Retaliation (Paramount, Rated PG-13, 3D Blu-Ray-$54.99 SRP) scores a great deal of points in my book simply for trying to actually bring to screen visual elements and characters that made the original animated series such a mental mindworm in many a child of the 80’s… And yes, I mean Cobra Commander. So while it’s not great, it’s fun, and worth a spin for its move in the right direction. Bonus materials include an audio commentary, featurettes, and deleted scenes.

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    Toddlers can take another ride on The Magic School Bus with a pair of new releases – The Magic School Bus: In A Pickle (Scholastic, Not Rated, DVD-$12.95 SRP), which focuses on microbes and molecules, and The Magic School Bus: Revving Up (Scholastic, Not Rated, DVD-$24.95 SRP), featuring 3 discs of construction, farms, and energy.

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    I guess it all had to end eventually. Sadly, Justice League: The Flashpoint Paradox (Warner Bros., Rated PG-13, Blu-Ray-$24.98 SRP) brings to a pathetic close the last remnants of the Bruce Timm-era animated DC universe by ringing in the arrival of DC’s relentlessly imbecilic “New 52” universe with a bloody, gratuitous thud. Bonus materials include an audio commentary, featurettes, and bonus cartoons.

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    The budget-conscious folks at Mill Creek, mindful of just how precious your hard-earned money is, have dropped another clutch of reasonably-priced catalogue films and documentaries – the Charlton Heston narrated series Secrets Of War (Mill Creek, Not Rated, DVD-$29.98 SRP), the oil industry documentary The Prize (Mill Creek, Not Rated, DVD-$9.98 SRP), the organized crime documentary Gangster Empire: Rise Of The Mob (Mill Creek, Not Rated, DVD-$9.98 SRP), The Korean War (Mill Creek, Not Rated, DVD-$9.98 SRP), the 12-movie collection Flying Fists Of Kung Fu (Mill Creek, Not Rated, DVD-$9.98 SRP), the 12-movie collection Kickin’ It Shaolin Style (Mill Creek, Not Rated, DVD-$9.98 SRP), and the 4-movie Benji collection (Mill Creek Not Rated, DVD-$19.98 SRP).

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    For many years now, the folks at Diamond Select Toys have been putting out some quite lovely prop, action figure, and ship toys from the classic Star Trek franchise. Now, they’ve upped their game with the newly introduced Star Trek Select line – deluxe 8″-scale figures featuring interchangeable parts and diorama sets. Star Trek Select: Captain Kirk (Diamond Select Toys, $24.99 SRP) features an additional Khan figure and section of engine room set from their classic showdown in the episode “Space Seed”. The Star Trek Select: Spock (Diamond Select Toys, $24.99 SRP) gives you the ability to recreate the legendary Vulcan’s mindmeld with a Horta in “The Devil In The Dark”. Here’s hoping they get to more vignettes featuring other members of the crew.

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    And finally this week, we’ve got another truly stunning piece from the fine folks at Sideshow Collectibles. Well, technically it’s two pieces in one piece – namely the Premium Format R2-D2 & C-3PO ($749.99 SRP). That’s right – Sideshow has added the iconic droid duo to their already impressive line of 1/4-scale Star Wars premium format figures, and the results are incredible. Beyond the accurate sculpts and suitably weathered Tatooine scuffed paint jobs (the Sideshow Exclusive edition opts for their pristine appearance), the figures go above and beyond with light features on both characters – All of the dome lights on R2-D2 and C-3PO’s eyes. You even have the option of displaying them with their magnetic restraining bolts on. If you can pick these guys up, you won’t regret it.

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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…

    -Ken Plume

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  • Win DRAGONS: RIDERS OF BERK VOLUMES 1 & 2 on DVD!

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    In conjunction with Fox, we’re giving away a set of both DRAGONS: RIDERS OF BERK VOLUMES 1 & 2 on DVD.

    Contest ends at 11:59pm EST on August 7th.

    Enter the contest!
    Email:
    First name:
    Last name:
    Street Address:
    Address Line 2 (if needed):
    City:
    State/Province/Whatever:
    Zip Code/Postal Code:
    Country:
    Birth Month:
    Birth Day:
    Birth Year:

    Official Rules

    No member of FRED Entertainment or their immediate families may enter.

    No Purchase necessary to win.

    Must be 18 years of age or older to enter.

    One entry per day, per person.

    All submitted entries must be received by 11:59pm EST on Wednesday, August 7th.

    The winner must allow 4-6 weeks after notification of win to receive the product.

  • FROM THE VAULT: Bryan Cranston Interview

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    Conducted ~6/2003

    cranstonLong before he became Walter White on AMC’s Breaking Bad, Bryan Cranston was stealing scenes on Malcolm In The Middle after a long career as a jobbing actor.

    It was during the tail end of his Malcolm run that we had our in-depth chat. Here’s the original intro to the piece…

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    While most people will recognize Bryan Cranston as the affably befuddled father Hal on Malcolm In The Middle, more discerning viewers will remember his roles in From the Earth to the Moon, Saving Private Ryan, Babylon 5, and numerous others on TV and film.

    He’s also a writer/director/producer, having performed all three duties (plus acting) on his independent feature Last Chance, and directed an episode of Malcolm during this past season. He’s slated to directed three more episodes this coming season (including the season premiere).

    Last Chance has just been picked up by Showtime and will be making its premiere this Fall, with a DVD release planned as well.

    In addition, he’s also produced and distributed an instructional DVD for parents and their children on how to stay safe from abduction, called Kid Smartz.

    You can learn about Kid Smartz, Last Chance, Malcolm and more at Bryan’s official website, www.BryanCranston.com

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    KEN PLUME: You’re from California, originally?

    BRYAN CRANSTON: I am. I was born and raised out here. Born in Hollywood, believe it or not, and raised primarily in the San Fernando Valley, where I still live.

    PLUME: So this would be what, the ‘mid-50’s, and the ’60s were your formative years?

    CRANSTON: Yeah, well, ’60s and ’70s.

    PLUME: What was your childhood like?

    CRANSTON: It was great. My dad was a struggling actor, and my mom met my dad in acting class, with the likes of Mike Connors and Anne Bancroft – people like that, who were all young, struggling actors. Back then it was the late ’40s, I suppose, right around 1950. They met, they fell in love, they got married, and she quit so that she could raise babies. That was a pretty much expected thing back then. I do happen to know that she regrets that decision, feeling that she could have done both, and has longed to return. She’s now, God bless her, in the motion picture home, where she lives, and doing well. I recently wrote a little part for her in the next movie I plan to make, and she has one word in it. This was all by design – she would be offended by this, but her one word in it is, “Asshole.” So I’m going to get my mother to say, “Asshole.”

    PLUME: Are you working out any issues?

    CRANSTON: Yeah, I probably am. Like so many people, we don’t really know what issues we’re working on. It just made me laugh when I realized I could do this and not sacrifice anything. So I thought, “Okay.” I love to act, and I’ve been blessed with opportunity, so I’m just following it through. It’s like riding a wave. You go out and try to catch a wave, and you miss most of them. Once in a while, you catch one – and even when you catch it, you go, “Hey, this is a nice wave”… you still don’t know how long it’s going to take you. It could take you all the way into shore, which it looks like Malcolm is going to do. Then at the end of it, it takes you up, show ends… I’ll maybe sit on the beach for a little bit.

    PLUME: Or you could be caught in the riptide and never be seen again…

    CRANSTON: There you go – you could do a face plant. Exactly. I’ve been involved in those, where you think something is going to turn out good and it turns out just terrible, and all kinds of things. So it’s as fickle as anything I’ve ever been involved with. But somehow, someway, I think those who survive this business are able to find a sense of security built in this insecure world that we live in here. I’ve been doing this for 23 years, and for about 20 years exclusively as an actor. I haven’t done anything else. I find that remarkably rewarding, that that’s my chosen profession and I’m able to do it.

    PLUME: Do you think it’s just a function of coming to the realization that it is a fickle business?

    CRANSTON: There are certain factors that have helped me survive, as an actor. Because you ask any actor and they’ll be able to tell you, “My God, there was this guy in class that I worked with, I never saw him do anything professionally, but he blew me away whenever he worked.” There are people in class that are fantastic, there are people who start working that are unbelievably gifted, but don’t go the mile. The career is a marathon, it’s not a sprint, and you have to have that kind of mentality, that if your first couple miles, they’re not working out to good – just hang in there. Just keep going, if that’s what you indeed love to do. So my advice to young actors is only become an actor, professionally, if you have to. There’s probably a half a dozen people who will read that comment and go, “I know what he’s talking about. I feel that. I need to do this, I have no choice. But, to be an actor, because I’m pushed into that – it’s part of me.” Then, there will be the masses who go, “What the hell does that mean? Only become an actor if you have to? What is that? What an idiot.” And throw it away because they don’t get it. They see the external things surrounding an actor’s life, and the only actors that they see are ones that they admire or wish they could have a similar career to.

    PLUME: Which are the working ones…

    CRANSTON: Right.

    PLUME: Which is what, 5% according to the Guild?

    CRANSTON: If that much. I think it is something like under 5% make a living. Make a living – that means qualifying for your medical and dental plan – then maybe a half a percent of that make a very good living. So it’s not a business for anyone who has other desires. If you are thinking about making a killing financially, or getting in it for all the great women and this and that and the other, then you’re out of your mind. You would do much better to go to business school. Get a degree in business.

    PLUME: Why hang out at clubs when you can hang out at cattle calls?

    CRANSTON: There’s nothing more testing of your character than to endure one call after another, after another, after another where you see clones of yourself when you’re just starting, and you’re figuring out, “How do I get noticed?” You go through this whole painful retrospective, and the only way you can do it, the only way you can survive, is if you love acting. Then go act. Be in a play, do a student film, do something that allows you to act and find the joy in that.

    PLUME: I’m assuming that your parents were not exactly encouraging of you going into acting?

    CRANSTON: My dad wasn’t, because my dad was living the typical actor’s life, which was a hard struggle. I remember as a kid, back in the early ’60s, he would be in a good mood, and there were things going on and, you know, we bought a new car. And then the following year we sold that new car and got an old car. Okay, I don’t really get that, but kids are resilient. We’d have nothing to relate it to, and you don’t have a sense of underprivileged or privileged or deprived or anything. We were pretty much in a middle class society, and we’re living that life, and okay. One year we put in a pool, we had a built-in pool. Then I remember the following year my mother saying, “We can’t swim, because we can’t afford the chemicals that go in the pool.” “Oh, okay.” You have a flash of a sense that, “I guess this is what every kid goes through.” It’s only into your later teen years you realize, “Some kids don’t have that problem. Some kids kind of have it easier, have money or inherit money – Wow! What’s that like?” My whole family, like many depression era families, were raised on the ability to save a dollar – but they had no education, no background, into how to make a dollar. You got a job, get a job, hold a job – any job. Doesn’t matter, just get it. What’s a better job? A better job is one that pays more or it’s a little easier. That’s a better job.

    PLUME: So it was always thinking in the now…

    CRANSTON: Yeah, always thinking in the now, and save a buck, here’s a coupon, here’s an early bird special … here’s a garage sale, buy it there. Go to the Goodwill to buy some things. Do this, and so it was always a lower middle-class kind of mentality that I grew up with, and because of that, I went into an acting career concerned about, “Oh, I’ve got to save this, I’ve got to do this. Only drive this … I can get another couple years out of these clothes.” Thinking about that, “I need this job, because I’ve got to pay this bill, I’ve got to pay my rent.” It was nickel and diming my mind to the point where it would be intrusive to my art. I would start thinking and start obsessing about how I did. “How did I do at this audition? Did I do well? Do I think I’m going to get the job? Let me call my agent. Did you hear from them? Did they call you?” One agent one time said to me, “Bryan, listen. Believe me, they have my number. If they want you, they will call me.” “Yeah, yeah, yeah, I know. Did you get any feedback? Did they say they liked me? Am I closer?” I always just spent energy on this, until about 15 years ago, where I formulated a different point of view. That was, if I took all that energy on “Am I going to get a job? Who did they hire? Why did they hire? Why don’t they hire me? Oh my God, look who the competition is! He’s good. I’ve seen his work before. Oh God, I’ve really got to be good now, because …” and start psyching yourself out and this sort of thing. Instead of spending any amount of energy on that, I’d put the energy and the time on the work. Go back to the work. Your work starts when you get a phone call. You’ve got to read the script, because you’re going to be reading for the character of a barber and whatever… a college kid… whatever it is. You start putting together the ideas of your character, from that moment. You read the script to get a sense of the tone of the film or TV show, and you read your character to get a sense of tone of the character. Then, what I’ve always done is you start making a bouquet. I start, “What about an accent? Do I play with an accent? What about an affectation? This guy’s kind of full of himself. What about stance? Or something that he does…” And I start putting together little things like this, like gathering and making a bouquet. Perhaps now attitude, “Is he angry? Is he upset?” So I create this thing, “What does he look like? What does he dress like? How does he wear his hair? Where is he now?” I ask myself all these questions, and I would continue working on it until I felt that I would get the casting people or the producers in the room to go from having their heads rest in their hands, to picking up their head and noticing me. That I have to find something that’s that different, you know, that they would then be able to later on say, “What about that kid who did that weird thing.” Even if it was totally wrong, at least it’s something that makes a stand and says something.

    PLUME: That broke the monotony.

    CRANSTON: That breaks the monotony. You know, it had to be something that I felt no one else would do, because there are guideposts when you read a script. You go, “Okay, I know this guy. I know this guy. Okay.” Some people can then put the script down and go, “Okay, I know what to do,” and you’ll do what you expect to do. You’ll see the actors come in and do exactly what was written. I kept thinking, “I’ve got to do something more than what’s written. I have to go a step beyond that. Sometimes it would come to me right away, and sometimes it would take hours and hours and I’d still contemplate on it. But the energy was focused on the character, and building the character – as opposed to something that’s out of my control. I would then select my bouquet – throwing some flowers out and putting other flowers in, even at the last minute before you go in. I wouldn’t talk to anybody, I’d be alone and collect my thoughts and go into the room, present the bouquet to the people, leave it with them and you walk out. From that moment on, your job is done. I never thought about it. I would have a whole tray of scripts and sides that I would throw the things into. Not only would I not call the agents anymore, I wouldn’t even think of it. I would completely forget about it. I wouldn’t tell anybody about my auditions … I didn’t want to conjure up any kind of things I was up for, and “I think I’m really close to getting this.” It was just a waste of energy to me. Then, when I got callbacks – and I started getting more and more callbacks from things, because of my energy in a different place – I would have to try to recall, “Oh yeah, what was that?” And I’d go in that big box and I’d start fishing out, “Oh, there it is. Oh yeah, yeah, I remember this guy. Oh good, they want to see it again. Any notes?” “No, no, same thing.” “Okay.” Then I’d start working again, and that was my salvation. I simply took the axiom of not thinking for a moment about things that are out of my control. It’s not a part of acting, to wonder who they’re picking or why they’re picking someone is someone else’s business – it’s certainly not mine.

    PLUME: A watched pot never boils…

    CRANSTON: Exactly. I digress, but you asked about my father – he was an actor, and he started producing things and he did a series of commercials for the United Way, and PSA spots, and he put me in one. I had a great experience, and I knew from that experience that it was special. I was about 8 years old, 7 or 8, and I knew it was special. I didn’t quite know why it felt special, and I certainly didn’t say, “This is it!” at that age, but I knew something about that was special. I guess that sort of just stayed with me for many, many years. Then you go into high school, and I got into sports, and I was interested in girls, and everything’s kind of a mishmash of confusion and desires. Then I had a cognition around 21 or 22 that this is what I should do.

    Continued below…

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  • A Bit Of A Chat with Ken Plume & Paul F. Tompkins 6

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    I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

    In this episode, I have another chat with actor, stand-up, gadfly, and sartorial dandy Paul F. Tompkins, about squeaky chairs, foreign audiences, tents, Thrilling Adventures, and ascot memorials.

    Hope you enjoy…

    Download “A Bit of a Chat with Ken Plume & Paul F. Tompkins 6“:

    [audio:http://traffic.libsyn.com/bitofachat/bit_of_a_chat-paul_f_tompkins_6.mp3]

    SUBSCRIBE
    Subscribe to this Podcast via iTunes

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    Drop Ken a line HERE.

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    You can also find more of my interviews by clicking HERE.

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  • A Bit Of A Chat with Ken Plume & Steven Moffat

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    I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

    In this episode, I have a chat with DOCTOR WHO showrunner Steven Moffat about writing, expectations, anniversaries, social media, and spoilers.

    Hope you enjoy…

    Download “A Bit of a Chat with Ken Plume & Steven Moffat“:

    [audio:http://traffic.libsyn.com/bitofachat/bit_of_a_chat-steven_moffat.mp3]

    SUBSCRIBE
    Subscribe to this Podcast via iTunes

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    Drop Ken a line HERE.

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    You can also find more of my interviews by clicking HERE.

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  • Weekend Shopping Guide 7/26/13: Schmilsson

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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 FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

    (Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)

    It hasn’t always been a fun ride being a Harry Nilsson fan. For many years, much of his catalogue remained unavailable on CD, save staple albums like Nilsson Schmilsson and Son Of Schmilsson. Then, starting in the UK and Japan, more of his remaining albums began to see the light of day, often accompanied by the stray, very tantalizing bonus track of an unreleased tune, alternate take, or demo. I recall many long years of desperately hunting these rarities and scraps amongst other likeminded fans on the interwebs, & the accompanying joy of each new discovery… And then wondering why more people weren’t familiar with this wonderful artist. Better late than never, the fine folks at Sony Legacy, with Andrew Sandoval and Rob Santos, have put together the definitive box set of Harry’s 10-year tenure at RCA – Nilsson: The RCA Albums Collection (Sony Legacy, $99.29 SRP). Containing 14 fully remastered albums – Pandemonium Shadow Show, Aerial Ballet, Harry, Nilsson Sings Newman, The Point!, Aerial Pandemonium Ballet, Nilsson Schmilsson, Son Of Schmilsson, A Little Touch Of Schmilsson In The Night, Pussy Cats, Duit On Mon Dei, Sandman, That’s The Way It Is, Knnillssonn – plus a trio of fully packed “Sessions” discs of unreleased tunes, demos, takes, and more, this is the set I dreamed would one day be a reality… And now it is. At its best, Harry Nilsson’s music is an open wound – A raw glimpse at life. It’s both the deep pain and glorious rapture of being alive. This set should be in your collection. Right now. And you’ll hear why I’m well and truly correct in my assessment of his genius.

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    And, if you’re keen to find out more about Harry, look no further than the newly released biography Nilsson: The Life of a Singer-Songwriter (Oxford University Press, $27.95 SRP). Author Alyn Shipton utilizes candid interviews as well as Harry’s own notes for his unfinished autobiography to assemble a fascinating portrait of a supremely gifted yet regrettably human artist.

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    Another few months have gone by, which means fans are spoiled by yet another wonderful collection from the fine folks at Shout Factory with Mystery Science Theater Volume XXVII (Shout Factory, Not Rated, DVD-$59.97 SRP), containing another clutch of episodes which fans thought might never see the light of DVD. This go round, we stretch back to the first season with The Slime People, then season 2’s Rocket Attack USA, season 4’s Village Of The Giants, and season 7’s The Deadly Mantis. Add on the regular clutch of wonderful featurettes, and you have another nifty treat for MiSTies.

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    Last month brought the high definition debut of the first two seasons of Adventure Time, and now another Cartoon Network insta-classic gets to make its snazzy high-def splash with the release of Regular Show: The Complete First & Second Season (Cartoon Network, Not Rated, Blu-Ray-$39.98 SRP). Bonus features include audio commentaries on all 40 episodes, the unaired pilot, animatics, pencil & CG tests, shorts, karaoke, interviews, commercials, and more.

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    Hot on the heels of the formal reveal of the upcoming theatrical sequel to How To Train Your Dragon comes the first pair of releases featuring the story links that set up that sequel – Dragons: Riders Of Berk: Part 1 & Dragons: Riders Of Berk: Part 2 (Dreamworks, Not Rated, DVD-$12.96 SRP each). While not as brilliant as the original film, they’re a fun romp with most of the voice cast intact.

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    It usually takes quite a well crafted movie to get me to watch a film about sports, and that’s certainly the case with 42 (Warner Bros., Rated PG-13, Blu-Ray-$35.99 SRP) – the recent biopic about the groundbreaking major league signing of Jackie Robinson to the Brooklyn Dodgers. The biggest surprise of all? Harrison Ford’s ace performance as Dodgers owner Branch Rickey. Bonus materials include a trio of historic and behind-the-scenes featurettes.

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    After witnessing the suicide of a woman who looks exactly like her, orphan Sarah decides to assume the dead woman’s identity and life – but finds a much deeper mystery in the first season of Orphan Black (BBC, Not Rated Blu-Ray-$34.98 SRP). Bonus materials include a clutch of behind-the-scenes featurettes.

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    The Infamous Five have been trading powers as we open Misfits: Season 3 (BBC, Not Rated, DVD-$24.98 SRP), but it remains to be seen if they’ve gotten anything worthwhile to fight an onslaught of baddies and zombies, with a little time travel thrown in for good measure. Bonus materials include webisodes and featurettes.

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    The pulpy guilty pleasure returns with the second season of Femme Fatales (E1, Not Rated, DVD-$29.98 SRP). Packed with guest stars like Robert Picardo and Vivica A. Fox, it’s like a film noir Love Boat. Bonus materials include audio commentaries, featurettes, deleted scenes, and more.

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    The BBC’s nature documentary division returns with another pair of must-see releases, this time in the aquatic predator realm – Hammerhead (BBC, Not Rated, DVD-$14.98 SRP) and Great White Shark: A Living Legend (BBC, Not Rated, Blu-Ray-$19.98 SRP), the latter of which is presented in stunningly beautiful high definition.

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    If you drain most of the campy fun (its one redeeming hallmark) and just keep the ridiculously over-the-top gore, then you get the recent remake of Evil Dead (Sony, Rated R, Blu-Ray-$35.99 SRP). Oh, and no Bruce Campbell. Big, big loss. Bonus materials include an audio commentary and a clutch of featurettes.

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    If you’re of a mood for a brainless action piece starring the increasingly leathery Sylvester Stallone as a New Orleans hitman bent on revenge, then queue up Bullet To The Head (Warner Bros., Rated R, Blu-Ray-$35.99 SRP), because it certainly ticks all of those boxes. Bonus materials include a making-of featurette.

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    How about some kid-centric release? Nickelodeon has a pair with Nickelodeon: Let’s Learn Colors (Nickelodeon, Not Rated, DVD-$14.98 SRP) and the Nickelodeon Double Pack of Dora The Explorer: Musical School Days/Blue’s Clues: Blue’s Big Musical Movie (Nickelodeon, Not Rated, DVD-$16.99 SRP).

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    While the last season was a bit shaky, the final season of Damages (Sony, Not Rated, DVD-$45.99 SRP) manages to reassert the legal thriller we all fell in love with as Patty Hewes (Glenn Close) and her ex-protégé Ellen Parsons (Rose Byrne) reach showdown point. Bonus materials include deleted scenes and outtakes.

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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…

    -Ken Plume

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  • Weekend Shopping Guide 7/12/13: I Wanna Be A Producer

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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 FRED Weekend Shopping Guide – your spotlight on the things you didn’t even know you wanted…

    (Please support FRED by using the links below to make any impulse purchases – it helps to keep us going…)

    While the bulk of Mel Brooks’ catalogue has been available in high definition, there’s been one title that’s been devastatingly absent – until now. The fine folks at Shout Factory have pulled out all the stops to give comedy fans a brilliant special edition of The Producers (Shout Factory, Not Rated, Blu-Ray-$29.93 SRP), looking and sounding better than ever. Bonus materials include the documentary from the original DVD release, a brand new interview with Mel, the theatrical trailer, a sketch gallery, and a deleted scene.

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    Directed by a young John Landis and crafted by the even younger Zucker Brothers, Kentucky Fried Movie (Shout Factory, Rated R, Blu-Ray-$19.97 SRP) is the pop culture-skewering prototype that would eventually be fully realized in Airplane! and Police Squad, but there works as a still-funny collection of comedy sketches. Bonus materials include an audio commentary and a feature-length interview with David & Jerry Zucker.

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    Those expecting a farce might be pleasantly surprised by the warmth of the comedy to be found in Admission (Universal, Rated PG-13, Blu-Ray-$34.98 SRP), about an overworked Princeton admissions officer (Tina Fey) who thought she had her life well-structured but is thrown for a loop when a former classmate (Paul Rudd) brings a brilliant student to her attention. Bonus materials include a featurette.

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    Already a quirky little gem, Fred Armisen & Carrie Brownstein’s Portlandia: Season 3 (VSC, Not Rated, Blu-Ray-$24.95 SRP) is when the little indie sketch comedy that could gelled into a fully realized offbeat world, proving its staying power. Bonus materials include the winter special, a Portland tour, and a pair of deleted scenes.

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    While the original animated adaptation was never terribly great, nostalgia made me leery of the new animated reboot of the Ninja Turtles. Well, my fears have been wiped away by the fun, funny modern take which perfectly preserves all of the necessary elements to the Turtle mythos. Want proof? Look no further than the latest episode collection – Teenage Mutant Ninja Turtles: Enter Shredder (Nickelodeon, Not Rated, DVD-$14.98 SRP). Would you believe Shredder is involved?

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    Taking the same sensibility once focused on Star Wars and applying it to the superheroes and villains of the DC universe? Sold. Luckily, that pre-sale was proven correct with the hilarious Robot Chicken: DC Comics Special (Adult Swim, Not Rated, Blu-Ray-$19.89 SRP). At a too-short 22 minutes, luckily the release is padded out with commentaries, featurettes, deleted scenes, and bloopers.

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    It’s not the equal of the beautifully executed Avatar, but there’s still plenty to recommend in the premiere volume of The Legend Of Korra: Book One – Air (Nickelodeon, Not Rated, Blu-Ray-$35.98 SRP), which throws viewers into the future of the Avatar spirit which now exists within the titular teenage girl. Bonus materials include audio commentaries, animatics, and a bonus short.

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    A victim (Noomi Rapace) seeking retribution for a crime blackmails a professional killer (Colin Ferrell) into aiding her plan for revenge in the tense thriller Dead Man Down (Sony, Rated R, Blu-Ray-$35.99 SRP). Bonus materials include a trio of featurettes.

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    Take a soaring high definition view of the northeast United States in the Smithsonian Channel’s Aerial America: New England Collection (Inception, Not Rated, Blu-Ray-$19.98 SRP), which takes a birds-eye view of Maine, Vermont, New Hampshire, Massachusetts, Rhode Island, and Connecticut.

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    This week’s TV release from Paramount bring one old and one new. For the new, we get the complete first season of Unforgettable (Paramount, Not Rated, DVD-$59.98 SRP), about a woman with an otherwise flawless memory who teams up with an NYPD detective to solve her one blind spot – the murder of her sister. The vintage TV release is the ninth and final season of Matlock (Paramount, Not Rated, DVD-$49.99 SRP), starring the great Andy Griffith.

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    Hot Toys’ already stellar work seems to consistently shine the most in their various representations of Tony Stark’s Iron Man armor. The latest is the suit featured in The Avengers – specifically the Iron Man Mark VII ($249.99). Exquisitely engineered and screen accurate in every detail, it features working LED lights in the eyes, palms, and chestplate, a separate Robert Downey Jr. head, 3 sets of swappable hands, and a full complement of swappable battle-damaged armor pieces. If you’ve yet to take the plunge and get your own, there” no better figure to start with. You won’t regret it.

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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…

    -Ken Plume

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  • Party Favors: Yukon Ho!

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    ANCHORAGE – Drag queens are the new rock stars. They’ve officially replaced celebrity chefs as the new rock stars. The celebrity chefs should have lasted longer, but once Paula Deen had to cry on camera for forgiveness, their time was over. There’s no Rupaulogizes for a rock star. Rock stars haven’t been the new rock stars since the Doobie Brothers forgot to break up.

    RuPaul’s Drag Race on Logo is the place where the new rock stars rise up and tuck back. While other reality based gameshow get stale, RuPaul’s been able to elevate the show after 6 seasons. Why? Because the contestants really know how to give each other crap and emotionally open up on camera. This isn’t merely pro wrestling acting. They speak from the heart and talk to the hand.

    While Jinkx Monsoon won the title from the last RuPaul’s Drag, Alaska ThunkerF— proved to a plucky competitor. She grew on viewers over the season since at first she came off as a lesser version of her lover Sharon Needles, the previous winner. But she became beloved with her fashion sense, morbid sense of humor and her ability to impersonate Thurston Howell III. So when it was announced that she’d be appearing at the Pinhook Club in Durham, reservations were made.

    The club was small, packed and hot. Kinda like being smashed into a Bikram yoga studio except there was no space to bend. But the bodies made space for Alaska to bring her cool 49th State to the stage. In person, Alaska looks like the lost personality Toni Collete hid from us on United States of Tara. Amanda Bynes must so jealous of Alaska’s ratty blond wig collection. She knew how to brighten up the room without raising the heat index. And the crowd responded with the oddest gift ever given that wasn’t stalkerffic. Here’s a little footage I shot:

    Alaska did two sets during the evening. The one thing that wasn’t too obvious is her sweet comedic singing voice. She’s like Dean Martin in her ability to dismantle the serious nature of a song. She’s knows how to sell the punchline as you’ve seen in her musical tribute to Sarah Palin.

    After the show, I tried to talk to Alaska. However the loud club music made it impossible to say much to her. So we merely posed for a photograph that will ruin any chance of me running for politician. It’s the kinda picture that Nancy Grace would demand get run on the air if I ever got in a minor issue. The photo would make the home viewers swear that I sunk the Titanic. That’s how guilty we look. But that’s the only proper response to someone with dangerous rock star appeal.

    PEPPERONIS OFF

    Appearing with Alaska was Miss Marry Wanna, a burlesque performer who is not a drag queen. But she’s fabulous in her own way. What way can that be? How about dressing up as a pizza slice and stripping off her ingredients? Here’s a little video for those needing an excuse to order a pizza at this hour.

    Dean Martin would be so proud of her.

    EMPTY LOCKERS

    First they fired Dave Hester and now Barry Weiss is splitting Storage Wars for a spinoff series. Normally I’d suggest that the show can survive with new people, but everyone they’ve tested on the show has been an utter bust. It’s like they’re taking rejects from that TruTV Storage Stashers show. How do you just destroy a money making machine this hard? Maybe they can find Paula Deen in a locker?

    PONYS ON THE BIG SCREEN

    Thanks to the digital cinema, a movie distributor can be selective with their screening times without the burden and expense of striking 35mm prints, shipping them and having them shown only a few times a week. My Little Pony: Equestria Girls is having a selective release. In my area, the movie only plays around noon on Saturdays and Sundays at the Cineplexes. This makes sense since it takes the burden off a kids movie from packing in an audience at the 9:40 p.m. screening. The movie itself does have a twist worthy of a big screen release. Twilight Sparkle has her crown stolen by an evil pony who runs through a mirror into an alternate dimension. Even though her friends want to help, only Twilight and Spike the Dragon can go through the mirror. They arrive in a world where they are turned into a girl and her dog. It’s a major adjustment. She meets alternate version of her Pony friends in human form. To get her crown back, she has to win a school princess contest. But the evil pony has no plans on losing.

    I dragged along the daughter so she can give her opinion of the movie. She really got into the film and the music. She did get a little scared during the final battle scene. Here’s her big review.

    ORIGINAL HIPSTERS

    The Many Loves of Dobie Gillis: The Complete Series allows fans to fully appreciate the ground breaking, wall busting teenage sitcom without having to wake up extra early to catch it on Me-TV. Dobie (Dr. Goldfoot and the Bikini Machine‘s Dwayne Hickman) was a girl happy high schooler eager to find that special gal. He also craved to be rich and popular. He’s constantly frustrated reaching for his dream. His father isn’t exactly making him a spoiled brat with his grocery store earnings. His only real friend is the immortal beatnik Maynard G. Krebs (Gilligan’s Island‘s Bob Denver). He does have an idea of the perfect girl in none other than Thalia Menninger (Sex Kittens Go to College‘s Tuesday Weld). She’s superficial and rather greedy which is just right for Dobie. Problem is that her boyfriend is Milton Armitage (Shampoo‘s Warren Beatty). He’s rich, cool and popular. While he’s Dobie’s rival, Milton also represents everything Dobie thinks he needs to be. But he’s constantly reminded that he can better than Milton by Zelda (Sheila James Kuehl). The key to the show is Dobie has no problem talking directly to the camera about his situation and desires. He sits next to version of Rodin’s The Thinker statue to hash things out.

    Warren Beatty and Tuesday Weld only last the first season before they went off to become bigger star on the silver screen. But Milton’s legacy would continue with the arrival of his cousin Chatsworth Osbourne Jr. (Steve Franken). He proved to a greater snob looking to make Dobie look out of his league. The women that drove Dobie’s hearts nuts was a fine list including Marlo Thomas (That Girl, Barbara Bain (Mission: Impossible) and Yvonne Craig (Batman‘s Batgirl). The easiest charmer of the show is Maynard with his greasy mess of a sweat shirt and hip goatee. He’s all about the charms of the Jack Keroauc way of life except he doesn’t need to hit the road to find his kicks. He’s still enjoying his life in the hometown to split for Frisco or the Big Apple.

    The producers understood the worst thing for a youth oriented show is having the young stars grow old. Thus the four season run produced 147 episodes. They also understood that there was no way people would want to see Dobie be the eternal high schooler. So things changed around. During the second season Maynard and Dobie get drafted into the army. In reality Bob Denver had been drafted. During the episode with Michael J. Pollard (Little Fauss and Big Halsey), Bob was off getting his physical. However he was given 4-F rejection and returned to the show. Luckily the TV army wasn’t so picky and thus he served. After their tour of duty, the duo returned home and enrolled in the local junior college. No need to put Dobie near 4 year college gals. The show finished its run with Dobie’s charm intact. The Many Loves of Dobie Gillis remains one of the best sitcoms about teens.

    The bonus features include the pilot that was cut back for “Caper at The Bijou.” Clipped from the show was Yvonne Craig (Batgirl on Batman). There’s an episode of The Stu Erwin Show that features Dwayne and Sheila. Three episodes of Love That Bob! star Dwayne as the cool kid to Bob Cumming. This is what lead to his gig as Dobie. There’s a Coke Time Special which lets Bob Denver make the girlies squeal as he and Edd Byrnes give hipster talk lessons to Pat Boone. Pat remains unhip to this day. A color Dobie routine lets Dwayne sing about his love for his teacher.
    There’s also pdfs of scripts from Max Schulman.

    PRYOR LEGACY

    Richard Pryor: No Pryor Restraint: Life in Concert is the perfect boxset for anyone who wants to remember or discover the comedic genius. The 7 CDs and 2 DVDs focus on his time behind the microphone and not his spotty acting career. Over the course of 10 hours, Pryor changes from the next Bill Cosby into a comedy icon. He’s presented unfiltered by network censors or fettered by lame script writers. He’s a man who learned how to take the most painful parts of his life and make an audience howl at his pain. It really takes talent to make people not squirm at the story he set himself on fire in a suicide attempt. He makes the audience not feel guilt for laughing at one of the bleakest moments of his life. One of the final selections is his reflecting on M.S., the disease that would end his career and ultimately claim his life. Nothing was too personal for him not to share on stage. The 7 CDs pick the best moments of his dozens of Grammy award winning albums. They have also discovered unreleased routines and longer versions of familiar stories. Pryor is pretty raw with his language so don’t play these routines when Great Aunt Anna drops by the house. I won’t quote the titles of many of the routines since this column is not a Quentin Tarantino script. What makes this boxset essential is also the inclusion of all three major stand up movies Pryor did. Richard Pryor – Live In Concert was a major break-through since it allowed Pryor to be truly appreciated without having to tone down his material for network TV. The movie is hilarious in how Richard hits the stage before large part of the audience has returned to their seats for the intermission. He jokes about white audience members finding brothers in their seats. To show that his mocking of white audience members isn’t uncalled for, there’s a goofball at the front of the stage snapping pictures of Pryor. This guy is a massive goober who can’t take a hint when Pryor calls him out. He’s not even professional photographer since his camera is that little Kodak Instamatic your mom used. Shame there’s no bonus feature tracking down this guy. Pryor shakes off this interruption and slays the audience with takes on animals, funerals, boxers and Chinese food. He even talks about why he shot up his ex-wife’s car.

    Richard Pryor: Live On the Sunset Strip was eagerly anticipated since the comic had notoriously sent himself on fire. Rumors had swirled that the flames from a cocaine freebasing accident. He attempts to set the record straight in his special way. He’s really working the crowd at Hollywood’s Palladium. Richard Pryor… Here And Now (1983) was his last major stand up film. “Slavery &Southern Hospitality” is a routine that could easily be given today in the wake of Paula Deen’s P.R. disaster. The film gives more than just Pryor on stage.

    Richard Pryor: No Pryor Restraint: Life in Concert is a completely satisfying distillation of his live genius. This revitalizes his work after the tarnish his image took from The Toy, Brewster’s Millions and Superman III. The man truly had few peers when he hit his prime. His fearless nature made him dangerous yet extremely insightful. With the success of the Mel Brooks and Steve Martin collections, Shout! Factory must be the place where comedians need to visit to reclaim their legacy. Robin Williams ought to give them a call.

    BLU-RAY HEAVEN

    The Producers is finally given the 1080p love. This was Mel Brooks’ first film and showed that comic writer wasn’t a joke when given the director’s chair. Zero Mostel is a producer of bad Broadway plays. He has a network of little old ladies that he seduces so the back his projects. Gene Hackman arrives to check the books and realizes that Mostel had slightly oversold the number of shares in a play. But ultimately this doesn’t matter since the play bombed and there was no profit to split up with the investors. This minor book keeping error turns into the seed of the greatest crime ever sold. Hackman realizes they can seriously oversell the number of shares in a movie, make the play for cheap and pocket the extra money when it gets shut down from lack of ticket sales. The duo seek out to produce the most horrifyingly bad spectacle in Broadway history. Can their plan work? The film remains pure genius thanks to how Mostel and Wilder work off each other with Brooks’ words. Dick Shawn’s audition remains legendary. The film became a Broadway musical, but didn’t bomb. The previously released Mel Brooks Collection on Blu-ray was missing The Producers. Now you can rectify that situation. The new transfer looks great. It brings out the detail in Gene Wilder’s hair. The bonus features include two documentaries about the making of the film. There’s also a deleted scene, production sketches and the original trailer. Here’s the trailer to let you know of the brilliant weirdness to expect.

    Heavy Traffic marked Ralph Bakshi as an animation icon and not merely the guy who adapted Robert Crumb’s Fritz the Cat to the screen. This was his type of story. An underground cartoonist living in his parents’ Brooklyn apartment spends his days sketching and playing pinball. His life slips between live action and animation. Things seem to be going right for him when he finally gets a girlfriend. However it upsets his mobster father to no end that his new girlfriend is black. He gets so furious he attempts to use his co-workers to put an end to the romance. Will the son put up with this family feud? How much of this story is real versus a concept for the cartoonist’s next work? The amazing thing is a scene where Bakshi draws the Jawas years before Star Wars. Bakshi achieves a fragile dream state on the screen within the confines of gritty animation that blurs into reality. It’s a perfect film to get lost inside. The 1080p image brings out the details in his animation. When he does a scene using flip sketches, the blue pencil marks are easy to spot. There’s no bonus features although you can pick up Bakshi’s Unfiltered book to discover what it took to make the film.

    Cohen & Tate is one of those obscure films of the ’80s that deserve a home video revival. This is a tight thriller about kid (Harley Cross) who witnesses a mob hit. His family gets put under witness protection except the cops are no help against hitman Cohen (All That Jazz‘s Roy Schneider) and Tate (Adam Baldwin, Animal Mother in Full Metal Jacket). The two men are hired to bring the kid to a mob boss for questioning. The kid does his best to escape the murderous duo since he might not survive the mob boss. His best chance at survival is to turn the hired killers against each other. Can the little kid pull it off? It’s really strange to have no memory of the movie being released, but at least I can rediscover it on Blu-ray so it looks theatrically proper. Tension looks so good in 1080p. Director Eric Red had just come off writing the scripts to Near Dark and The Hitcher so he knew how to create an unnerving road flick. There’s an interview documentary that mainly features Red, Cross and cinematographer Victor J. Kemper (The Friends of Eddie Coyle). Red talks away on the audio commentary. They found nearly 20 minutes of deleted scenes that include a few gruesome moments. Cohen & Tate is a film that’s worth reviving on a hot summer night.

    The Kentucky Fried Movie is 82 minutes of comedy sketches from John Landis, David Zucker, Jerry Zucker and Jim Abrahams. What happens when the director of Animal House hooks up with the creators of The Naked Gun? Mayhem. Lots of mayhem. In this case an R-rated sketch comedy that spoofs Bruce Lee and Irwin Allen. This was one of the classic midnight movies that ran in the late ’70s next to The Rocky Horror Picture Show at the local duplex cinema. Even after all these decades, KFM is finger licking good. “A Fistful of Yen” is the perfect spoof of Bruce Lee’s Enter the Dragon. You’ll see the best mock Kung Fu fighting until Jackie Chan arrived in America. The massive highlights of the movie is Russ Meyer vixen Uschi Digard breasts pressing up against the glass of a shower stall during “Catholic High School Girls in Trouble.” This was one of the best comedy anthologies to come out during this era where performers could get good and raunchy. “The Wonderful World of Sex” remains pure gold. The bonus features includes the commentary track featuring Landis, ZAZ and producer Robert K. Weiss from the previous DVD incarnation. There’s also an hour long video interview with the Zuckers that guides you through their career that was devastated by BASEketball. The Kentucky Fried Movie deserves to be in your Blu-ray player for a midnight showing this summer. You can take my word or listen to producer Samuel L. Bronkowitz.

    Here’s an interview I did with Bob Collins, who shot a few of the sketches in The Kentucky Fried Movie. He had previously worked with John Landis on Schlock. Collins would go on to win three Emmys for his cinematography including one for the pilot of Miami Vice. He’s responsible for the opening credit images. Thanks to Brett Clark for making the interview happen.

    Tower Block reminds people that a good reason to move is witnessing a murder. The residents of the top floor of an apartment building refuse to leave and let their place be redeveloped. Even after they witness someone getting murder in the hallway, they don’t want to leave. They also don’t want to assist the cops in the investigation. This all comes back to haunt them when a sniper starts picking them off in through their windows. Who is getting an aim on them? Is it the previous killers or maybe the redeveloper wanting to force them out of the building via bodybags. The neighbors band together to uncover the killer. But will they figure it out before the last one gets picked off? You might want to watch this film with your curtains drawn and the lights off. The bonus features include a commentary track and behind-the-scenes interview.

    The Power of Few brings the power of Larry King to 1080p. I’m not sure why he’s not given co-starring status with Christopher Walken and Christian Slater. The King is all over this film. Walken’s performance gets pushed when he has to tangle with the King. This is a fine little out of control movie that mixes a grocery store robbery with the Shroud of Turin heist. Rumors spread that people want to clone Jesus off the cloth. It is interesting to see Walken and Slater somewhat together again. They were the glue for True Romance along with James Gandofini. Now they have a chance to bring back the magic minus James. Instead we get Anthony Anderson sporting him some Mike Tyson face ink. The bonus features include interviews with the stars and deleted scenes. The 1080p image lets you play the game of following Walken’s eyes to where he’s hidden his lines on the set. The box features one of those smart phone scan squares so you can watch the trailer while browsing in the home video section of your favorite store.

    DVD SHELF

    Mighty Morphin Power Rangers: Season 3 has all 33 from the final season of the original incarnation. “A Friend In Need” continues the battle between the Rangers versus Rita Revolta and Lord Zedd. However there’s even more evil when Rito Revolto arrives on the scene. He’s a bony scary character. This guy really tested small fans ability to stomach the action. As a wicked trio, they smash the Power Rangers by destroying their ThunderZords. But you can’t keep the Rangers down that way. They’re going to get some ninja powers somehow. This is the sad time when the Pink Ranger (Amy Jo Johnson) splits for a gymnastics career in Florida. How could she have left them for the life of being merely a gymnast? And isn’t she extremely old to be competitive in a sport that often features a fetus on the uneven bars? But there would be no missing Pink Ranger when a new girl takes on the identity. She’s Australian so all the boys like her accent and adventurous spirit. The most shocking part of these episodes is how Bulk and Skull no longer care about outing the Rangers identities. Why? Because they have a new dream of being cops. What’s the point of being a cop in this show since only the Power Rangers can keep things safe in the town? The series didn’t quite end with this season. The new version would be called Mighty Morphin Alien Rangers.

    CSI: NY – The Final Season brought to an end the ninth season with only 17 episodes. They ended 3 episodes short of 200. How could they have been denied that milestone? What villain could have been so cruel? Perhaps the suspect is a network executive that can cover their tracks from Mac (Gary Sinise) and his crew? It was fun while it lasted. “Reignited” and “Where There’s Smoke…” has them tracking down an arsonist bent on revenge. They have to drag Rob Morrow (Northern Exposure) into the manhunt. “Unspoken” is a concept episode so that there’s no dialogue in the first half. They merely communicate through Green Day’s new songs. Shame they didn’t pick The Killers. “The Lady In the Lake” has the crew drain a lake while looking for a murder weapon. Instead they double their work by finding a different body. “Clue: SI” turns their investigation into a board game. “Command + P” uses a 3-D printer to make the murder weapon. That’s worse than being drowned in spam mail. “Seth & Apep” marks the final CSI crossover since CSI: Miami was killed last season. “Today Is Life” wraps up the series with a moment the fans have been waiting a few seasons to happen. No need to spoil, but it helps bring a little bit of closure without being too overly dramatic. There’s quite a few bonus features although no major farewells from the cast. They understand that this show can’t really end cause crime doesn’t stop in the Big Apple. There is a gag reel and a few deleted scenes for those wanting just a little more time with Mac. Hard to believe we’re back to just one CSI.

    Matlock: The Ninth and Final Season brings to an end Andy Griffith’s amazing TV legal career. He was able to bring his successful show back to North Carolina and prove the state was able to handle episodic TV as well as movies. He blazed the trail that allowed Dawson’s Creek and Homeland to be Tarheel based productions. It’s sad that his time in the courthouse ended, but he had 17 more cases to go. This final season has him reduce his staff down to investigators Cliff Lewis (Daniel Roebuck) and Jerri Stone (Carol Huston). There’s no major guest stars this season as either victims or suspected killers. If you look very carefully, you’ll spot my brother Matt in the final courtroom scene for “The Scam.” He said that if you looks at Andy while he was on the set, you’d be fired. While this seems harsh, Andy needed to get work done and not have the people staring at him like he’s a steak on the grill. “The Accused” puts a journalist behind bars for whacking a mobster. “The Scandal” has an attorney kill her boss. She needs Matlock to prove the guy was sexually harassing people and she shouldn’t be the only suspect. “The Dare” lets Matlock solve the perfect murder that’s been set up by Terry O’Quinn (Lost). When it comes to the mystery of who ended Matlock, the answer is Andy. He was nearly 70s and was ready to end the grind and enjoy life in Manteo. At least now his complete Matlock legacy is out on DVD for people to enjoy with their hotdogs. The bonus feature is episodic previews.

    Unforgettable: The First Season should have been the complete series except it’s going to be back on CBS this summer. The show was canceled at the end of its freshman run in 2012. A few cable channels were interested in keeping the show on the air, but the network stopped that when they remembered the show. Unforgettable follows the amazing memory skills of Carrie Wells (Without A Trace‘s Poppy Montgomery). She has hyperthymesia, which lets her remember everything about a certain date. The only day she can’t remember is when her sister died. Her skills are brought onto the police force by ex-boyfriend Lt. Burns (Nip/Tuck‘s Dylan Walsh). She had given up police work, but was needed for a big case. “Up In Flames” tests her amazing memory when she must remember the details of a crime scene that went up in smoke at the start of the investigation. “Golden Bird” features Marilu Henner (Taxi) as Carrie’s aunt. What’s interesting is that Marilu has hyperthymesia and serves as a consultant. The season ends with Carrie getting a lead on her sister’s killer. Unfortunately, the killer wants a bit of closure by going after Carries. The new season starts July 28, so you can watch all 22 episodes in case you’ve forgotten a detail or two.

    Quincy, M.E.: Season 6 brings another 18 bodies onto his coroner’s office. There are few shows as charmingly addictive as Quincy. By this point Jack Klugman (The Odd Couple) had achieved a comfort level that made this feel like a reality show as he sliced open bodies. He had achieved a bit of respect from Dr. Robert Asten (John S. Ragin). Sam (Robert Ito) was still a bit leery of Quincy’s more unorthodox approaches to solve a case. Somebody has to give him a little resistance in the office to keep him from being a God amongst medical examiners. “Last Rights” has Quincy pressured to declare a kid drowned instead of overdosed on drugs so not to upset the mother. Can he lie like that? “A Matter of Principle” shows a bit of innovation when Sam comes up with a technique to measure bite mark pressure on a victim. “Stain of Guilt” has Quincy brought on set to be the technical advisor of a real murder depicted in the film. He gets in trouble when he starts to investigate what’s the real truth. Is this merely a ploy to get his name on the rewrite script by changing the third act? “Dear Mommy” gets Quincy wrapped up in a not so ancient mystery. There’s a smuggling operation that might be using a mummy their mule. “Headhunter” reminds people to not take aspirin since a stewardess gets worse than a headache. Quincy is just one of those characters that’s yet to be matched on any of the procedurals that dominate the networks. Only two more seasons until it’s all out on DVD.

    MADtv: The Complete Third Season proved that the Saturday Night Live rival could swap performers and strengthen itself. People were concerned with the departures of Artie Lange (for rehab) and Orlando Jones from the cast. Little did folks realize the departures would quickly be forgotten with the arrival of Will Sasso, Alex Borstein and Aries Spears. The third season marked the last when the magazine played a part in the show. Alfred E. Neuman’s face would be less prominent. There would be no more “Spy Vs. Spy” cartoons after this season. Not every episode this season had a guest host. But where can you go after a season with Don Most, Pam Grier, Bret Hart, Phyllis Diller and Anna Nicole Smith? Who needed guest hosts when Ms. Swan arrived with her view of the world? Sasso scores right away with his amazing Kenny Rogers impersonation. There’s an I Love Lucy spoof that has Lucy and Ethel pushing cocaine for their pimp. Pam Grier introduces us to an all-black superhero show. There was a reason why people didn’t feel too guilty for turning over to Saturday Night Live halfway through watching MADtv back in 1997.

    Wolverine: Origin finally nails down how the X-Man got his claws. For nearly 30 years, Wolverine’s past was kept a mystery without only a few elements cropping up in a frame or two of a comic book. Then in 2001, the secret of his past was revealed with the collaboration of writers Paul Jenkins, Bill Jemas and Joe Quesada. Illustrators Andy Kubert and Richard Isanove brought out the early images. Turns out Wolverine is much older than believed. He was born in Canada back in the late 1800s. He was a sickly boy. Turns out there was a lot of turmoil in his including a strange and vicious groundskeeper who might have a clue to his nature. The six part series was adapted by Marvel Knights Animation which means the original panels and artwork are brought into motion. The characters now speak instead of just float word balloons. This is good for fans of the Wolverine movies that aren’t much into sitting around and reading comic books for fear that they’re devaluing the investment. The bonus is a retrospective with the creative team.

    Blood Runs Cold is an icy horror flick. Winona (Hanna Oldenburg) is a successful musician who just wants a little peace and quiet to recover from life on the road. She needs a bit of calm so she can recharge her creative energy. It’s a little woodshedding in a remote cabin during the deep of winter. Who would bother her in such a remote location? How about an ax wielding maniac who might be some supernatural undead creature that isn’t bothered by the cold? So much for working on that new album since Winona might be a deep cut herself. This is the kinda slasher film that is best watched during summer so you don’t walk out in the cold and keep looking for an ax carrying freak chasing after you. The special feature is a short about making the movie in Sweden.

    The Jungle Book, Adventures of Mowgli: Complete Collection is all 52 episodes from 1989 Japanese series. Runyard Kipling follows the life of a little boy who is raised by wolves in the Indian jungle. Things go well until he gets a little bit too big. The wicked tiger Shere Khan wants to take out the boy for good. His only hope is for the panther Bagheera and Baloo the bear to get him back to the humans. They don’t want their pal turned into Tiger Chow. This isn’t quite the Disney version of the tale since there’s no big musical numbers and Mowgli has a haircut that gives him a wolf tail look. The Nippon Animation series has supposedly never been aired in America before so this is a treat for folks who have merely read about the series. The show does wrap up in the 52nd episode so you won’t be pondering how it ends. The series is presented in full frame. This is perfect for people who prefer their Kipling without songs or kids who just want more of how Mowgli survived in the jungle.

    The Garfield Show: Pizza Dreams reminds us that the lazy cat doesn’t only live by eating lasagna. He can also handle a good pizza pie. Who doesn’t like pizza? Now they make pizzas glutten-free with non-dairy cheese and faux tomato sauce so diet restrictions won’t prevent that love. Garfield has no restrictions to his diet. He just wants big slices in his pie hole. There’s six 12-minute episodes on the compilation DVD which also feature Vito, the pizza restaurant owner and chef. Garfield outwits Jon’s cruel cat diet in “The Spy Who Fed Me.” An alien clicks off gravity in Jon’s house for the “Gravity of the Situation.” “Master Chef” involves hunting down the man who makes a perfect lasagna. Garfield fears that eating dog food will turn into a mutt during “Fido Food Felin.” Garfield does his best to take advantage of Vito’s speedy pizza delivery service in “Great Pizza Race.” “Love & Lasgna” brings the wrecking ball for Vito’s pizza parlor. Can a single cat save the man’s dreams and life work? The bonus feature is five short cartoons featuring Garfield torturing Odie and others in less than a minute. This should only be played in the car if you plan on picking up a pizza with the kid. It must be noted that Wally Wingert does the voice of Jon.

    Martha & Friends: Summer Fun is another visit with the animated 10-year-old version of Martha Stewart instead of the 71 year-old one. She might be younger, but she’s still crafty. She enjoys sharing her entertaining skills with her young friends. “Martha’s Fourth” has her explain how to have a fun patriotic holiday no matter what the situation. “Martha’s Back to School Party” is a lot less wild than Rodney Dangerfield’s Back to School. She knows what can be done to excite classmates and her new teacher. There’s four short webisodes. There’s even Martha explaining crafts to the kids including Scrapbooking, card making, paper lantern constructing and s’mores. There are instructions on how to make a seashell wind chime. This is a perfect gift for grandparents to give their grandkids in the hopes of getting a cool wind chime in return.

    Dynasty: The Seventh Season – Volume One and Volume Two brings 28 more episodes of back stabbing, cold calculating and brazenly open Carrington soap opera action to Denver. The season picks up with Alexis (Joan Collins) not satisfied with financially crippling Blake (John Forsythe). What is the guy to do to recover? Alexs boots him out of his mansion. Is he really that broke with Krystal (Linda Evans) by his side? His memory is rather week since he can’t tell that Amanda has swapped bodies so she’s now Karen Cellini and not Catherine Oxenberg. The press views him as a desperate man. The media swears he’s torched his massive hotel for the insurance money. This leads to him getting distracted and crashing his car. Krystle takes the worst of that accident. When doesn’t she? There’s a subplot about the family getting a heart. The big season cliff hanger is another wedding gone wrong. Who will survive to Season 8? Why would anyone go near a wedding with the Carringtons involved? Shouldn’t that be a massive warning? It’s like seeing Robb Stark’s name on the wedding seating chart. Don’t go! You can get both volumes packaged together.

    Bonanza: The Official Sixth Season – Volume 1 & Volume 2 brings to an end the eldest Cartwright son’s time on the Ponderosa. Pernell Roberts wasn’t too happy playing Adam Cartwright. He was ready to bolt at the end of season five. Why would he split a hit show? Cause he wanted to return to the legit stage and play a multitude of roles. Being a Cartwright turned out to be a year round job with rarely a week off since if the show wasn’t in production, the cast was zipping around the globe promoting the series. It’s not like he had a Twitter account to do his heavy work. He wasn’t exactly pulling a David Caruso since he appeared in nearly 200 episodes by the time he rode off into the sunset. “Thanks for Everything, Friend” has Rory Calhoun save Adam’s life. But he quickly proves to be a pal with issues. Tom Skerrit (Alien) gets in trouble. George Kennedy makes another appearance in “The Scapegoat.” “The Underdog” is none other than Charles Bronson (Death Wish) as a part Commanche employee dealing with prejudice. People think he’s a horse thief. “A Good Night’s Rest” has Ben looking for a quiet place to sleep. The bonus features including Allan Sherman and Lorne Greene doing an early form of rap music. Lorne unleashes the power of “Ringo.” The good thing for Pernell is that he’d eventually return to TV as the star of Trapper John, M.D. that ran for 7 seasons. He’d also be remembered as a Cartwright since all of his episodes were in color so he didn’t get snubbed in syndication like Dennis Weaver’s contributions to Gunsmoke.

  • A Bit Of A Chat with Ken Plume & Tony Way 4

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    I’m Ken Plume, and soon you’ll be listening to “A Bit Of A Chat” with me, Ken Plume.

    In this episode, I have another chat with writer/actor Tony Way, about mustering knights, randy queens, Merchant Ivory action figures, and Sir Tony.

    You can visit his official site at www.tonyway.co.uk

    Hope you enjoy…

    Download “A Bit of a Chat with Ken Plume & Tony Way 4“:

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    SUBSCRIBE
    Subscribe to this Podcast via iTunes

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    Drop Ken a line HERE.

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    You can also find more of my interviews by clicking HERE.

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  • FROM THE VAULT: Craig McCracken Interview

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    Conducted ~6/2002

    mccrackenHis name may not be well-known, but Craig McCracken is the creator of the massively successful Cartoon Network hits The Powerpuff Girls and Foster’s Home For Imaginary Friends.

    It’s been 10 years since Blossom, Bubbles, and Buttercup first began their non-stop struggle to keep the fine citizens of Townsville safe from villains various and sundry, and even Foster’s Home has just come to an end.

    I originally spoke with Craig in the run up to the big screen release of Powerpuff Girls: The Movie. We chatted at a time when the writing was on the wall that Warner Bros. had no idea how to market the film, and Craig’s fears about the campaign were realized with a poor box office showing.

    Here’s my interview with Craig… Hope you enjoy…

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    KEN PLUME: What were the difficulties in bringing the show to the big screen – especially since, I’m assuming, it wasn’t a Disney-sized animation budget…

    CRAIG McCRACKEN: No, it wasn’t. Basically, it was just keeping the tone and the feel of the show. The shows are either 11 or 22 minutes and they move pretty quickly, and that’s part of the charm of them – so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format. It was a challenge to not make it feel like a totally different animal. It feels like this still is Powerpuff – just longer.

    PLUME: How long did it take to arrive at a story that would sustain a feature?

    McCRACKEN: We came up with two stories. It took us a couple of months… we came up with two different ideas – one that was purely an action show, and then on that was more of a subtle character piece. The network liked both of them , so basically what we did is created a hybrid of the two ideas – and thus we have the movie that we just finished.

    PLUME: And it’s essentially a prequel…

    McCRACKEN: Yes, it’s a prequel. It tells the story about how the girls were born with superpowers, but they weren’t necessarily heroes at the beginning of this movie, so the movie is about the events that happen in their life to make them decide to be heroes.

    PLUME: I’m assuming Mojo Jojo was a given as the villain…

    McCRACKEN: Yeah… Yeah… For me, definitely. He’s like the catch-all villain – he can be really silly if he needs to and evil if he needs to. He works on a lot of levels.

    PLUME: I was reading the Animation Blast website the other day, and I found Amid’s take on the poster interesting, seeing as how the writers listed are artists and not screenwriters – as has been the recent way of doing things in the animated feature realm…

    McCRACKEN: Yeah, definitely…

    PLUME: How hands-off in the process has Cartoon Network been? They seem to exist in this little bubble of creativity in a raging storm of something less than that throughout Hollywood…

    McCRACKEN: Yeah! We didn’t have any screenwriters. I don’t believe in scripts – if you’re going to write, then you also have to draw, if you want to work on Powerpuff. That’s what we did with the movie – all the guys who wrote it are the same guys who storyboarded it and visualized it, figured out all the shots, and basically made the movie. So it was being written and boarded at the same time – basically like they used to make animated movies.

    PLUME: Before they forgot…

    McCRACKEN: Before they forgot, yeah…

    PLUME: How would you say that method enhances the end product?

    McCRACKEN: There’s a lot you can do without words. You can say a lot with pictures. It’s a visual medium – and especially with animation, you can do a lot that you can’t do in live action. Because it’s drawings, you can kind of go anywhere and create anything you want. It really just gives you a sense of when you need to have dialogue and when you don’t, and if your pictures are telling the story, you don’t need to have all this talking. A show like Samurai Jack – that Genndy is doing – is a testament to that, where there’s hardly any dialogue in the whole show, but you can totally follow it because the visuals are selling that. I think a lot of times, in my experience, scriptwriters fall in love with their words and feel that they need to describe everything. There’s a lot to be said for a visual way of telling stories.

    PLUME: How would you describe the atmosphere at Cartoon Network? Why are these kinds of projects allowed to flourish there and not at, say, Nickelodeon?

    McCRACKEN: Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don’t know how to draw. They’re just kind-of frustrated artists who wish they could draw cartoons, but they don’t – so they go to a network where they can say “yes or no” to good ones getting made. They trust us as creators and give us a lot of freedom to do what we do, and they basically say, “Look… We don’t know how to make cartoons. You definitely do, so you go ahead and do that and we’ll put them on the air”. They love animation.

    PLUME: Is there a definite sense amongst you all of operating in a bubble?

    McCRACKEN: Yeah, pretty much so. We’ve been working this way for a number of years, so we’re pretty happy with the system we’ve got here and the way things work. I’ve even had my agent saying, “Well let’s try to shop you around and do this…” And I’m like, “Well, I’ve got freedom here. I can make the cartoons that I want to – why would I want to go somewhere else? Where every decision has to be made by committee?” That doesn’t appeal to me.

    PLUME: Was there any hint of that committee approach while you were working on the movie?

    McCRACKEN: Not at the beginning. Near the end, as we were finishing it up, there was a little more involvement – just because this is such a big investment from the network’s point of view, that they were like, “We want to make sure that everybody’s on board with this movie and there’s nothing in it that could be problematic.” There were a few edits that had to be made from Warner Bros standpoint, but nothing so disastrous that it affected the final film.

    PLUME: Content editing?

    McCRACKEN: Not so much content – moreso pacing. The movie is really fast and it moves along really quickly, and I think there were just some parts where Warners wanted to keep it going a little. They felt like it maybe got a little slow in certain parts. There were a few content things, but nothing major.

    PLUME: So where’s the advertising for the movie?

    McCRACKEN: Good question!

    PLUME: Every time I turn around, there’s another Hey Arnold! ad, but no Powerpuff

    McCRACKEN: You know, I’ve been wondering the same thing myself. I don’t see any posters, I don’t see any billboards, the only commercials I’ve seen are the one’s Cartoon Network’s been airing. In theory, Warner Bros is putting $20 million into promoting this movie. The movie comes out in 15 days – hopefully I’ll start seeing it.

    PLUME: I was speaking with someone earlier about the film, and they said, “When is that coming out?”…

    McCRACKEN: Yeah, exactly. I’m hoping that word-of-mouth on the film – people seeing it and liking it – that that will drive more people to the theaters, because I haven’t seen the billboards or the posters or anything.

    PLUME: Do you worry about it opening opposite Men In Black II?

    McCRACKEN: A little bit, yeah… I mean, there’s been lots of billboards and posters and ads for that movie for a number of months! I think everybody knows that’s coming out. It’s somewhat of a different audience, though, then the Men In Black audience.

    PLUME: Do you have any fears – quite valid, with Warners’ history – of this being another Iron Giant?

    McCRACKEN: I hope not… I hope not… That was some of my initial fears when we originally got involved with Warners, was that they haven’t had a lot of success with their animated films. Hopefully they’ll see the potential with this one. The one thing we have going for us is that we’re already a proven property, and so hopefully that will help us at the box office – that people know what Powerpuff Girls is, whereas Iron Giant was a new thing.

    PLUME: Of course, here’s hoping that there’s some advertising to remind people when it comes out…

    McCRACKEN: Yes! I would… I’m waiting for it… Maybe July 2 we’ll start seeing everything… The day before it comes out…

    PLUME: Hopefully it’s not July 10…

    McCRACKEN: Exactly! Post-promotion…

    PLUME: “By the way, did you know this movie opened last week?”…

    McCRACKEN: Exactly!

    Continued below…

  • FROM THE VAULT: Rowan Atkinson Interview

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    Conducted ~7/2003

    atkinsonWhat comedy fan doesn’t know the name Rowan Atkinson?

    Whether it’s the snide Blackadder or the simple Mr. Bean, Atkinson has earned his comic stripes.

    I got a chance to speak with Atkinson when he was promoting the spy spoof Johnny English – a film about a completely inept British agent called into action after an explosion kills all of MI5’s competent agents, leaving English to save the country.

    I’d long been under the impression that Atkinson did not like doing interviews, and could be a bit of a prickly pear (in fact, I was warned of such by the publicist for the film, prior to the interview). When I’ve gone into an interview with those preconceptions, they’ve usually been quickly dismissed as soon as we get to chatting – and Rowan was no exception.

    However, I did feel a bit of pressure throughout, as I got the sense that he didn’t suffer fools or puff pieces. Since I hoped I wasn’t the former and definitely wasn’t interested in the latter, I think things went well. You be the judge…

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    KEN PLUME: What aspects of the Johnny English character appealed to you enough to make a feature film? Because originally it was a character in a series of commercials, right?

    ROWAN ATKINSON: Yeah, we made it for these commercials for a credit card in Britain. We did the campaign for about 5 years, and we must have made 13 or 14 commercials. They’re only one minute commercials, but they all had a filmic quality to them, even though they were just commercials and had a slightly ridiculous character in it – who at the time was called Richard Latham, and we rechristened him Johnny English for the sake of the movie, because it’s a name people are more likely to remember. And I did like the character, and I liked the feel of the commercials – they felt like, as I say, mini-movies. So it felt like quite a logical progression to think of maybe the character – and above all, the relationship with his sidekick, called Bough – his relationship with other people is always very interesting. In the end, what he needs by his side is the voice of reason to provide a sort of comic contrast to his flights of fantasy, which he indulges in so much… The biggest flight of fantasy being that he’s really good at his job – and that’s the role that Ben Miller playing Bough in the movie and Natalie Imbruglia playing Lorna in the movie fulfill, really. They are the voice of reason.

    PLUME: Similar to the dynamic that existed within Blackadder?

    ATKINSON: Yeah, except that, I suppose, as Blackadder I was the voice of reason and Baldrick was the guy with the flights of fantasy – but yes… I like partnerships. I mean, Mr. Bean was conspicuously not a partnership – although, yet again, it’s valuable to have straight men or the authority figures that Mr. Bean interacted with in a very funny way, because he’s sort of such a natural anarchist. But at the same time, Mr. Bean is a very, very self-contained character because he’s so sort-of introspective and so selfish and self-centered that there’s no particular need to have another person in the scene to make him funny – whereas something we discovered quite early on is that Johnny English really is only funny when he’s got an audience of some kind. Or when he’s got somebody to interact with… either a group of people in a room in front of whom he can make himself look ridiculous with great ease or a partner – someone to sort of…

    PLUME: Bounce off of?

    ATKINSON: Bounce off, exactly.

    PLUME: What were the difficulties in expanding the character out in order to fill a film?

    ATKINSON: Well, yeah, this is always the difficulty. It’s the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character. In TV, and in particular in commercials, you don’t really need to explain very much at all – you just say he’s a spy and he’s a little bit theatrical and overblown and smug and he’s not very good at his job. And you don’t sort of ask any questions about that sort of thing in a commercial – but as soon as you get to a movie, and you’ve been with the character for 30 or 40 minutes, then you start asking questions like, “Why is he allowed to have this job? How has he managed to hold this job down for so long?” And that’s why at the beginning of the movie, for example, we tell the story of the fact that he is no good and everyone knows that he’s probably not very good, but he’s given the job because suddenly there’s nobody else. So he’s thrown into it, and that kind of explains why he’s there and why he’s got it. Of course then the movie actually goes on to justify why he could return. He could return in another adventure because – against all the odds – he succeeds, and that’s rather a fun aspect of the character in that even though he’s a bit of a fool and self-deluding and all those other things, he’s weirdly committed… weirdly brave, I think. He’s brave and committed and good-hearted, and he genuinely wants to save Queen and Country – it’s just that he’s got this very overblown view of himself. And that’s what provides the comedy.

    PLUME: When you talk about expanding the character for the purposes of film, what were the lessons you learned in that regard from the Bean movie?

    ATKINSON: Just that you have to explore more facets of the character. You can’t just have a single attitude. The great thing about sitcoms, for example, is that you can get away with a character with, really, one attitude – like Blackadder is just a relentlessly cynical man. And that’s the joke. And he’s cynical and negative in a very witty way. We would have the same problem if we tried to make a Blackadder movie – I think if you just had a relentlessly cynical man who never acknowledged the ramifications of his own actions, etc. etc., then I think it would be a very odd movie. That’s what we had to do with Mr. Bean – we had to get this very, very selfish and kind of autonomous character to acknowledge that maybe he’d done something wrong 2/3 of the way through the movie, and then the last 1/3 is him trying to put things right again. So we had to give him feelings – which actually wasn’t very easy, in which I slightly regret it in many ways, in terms of the character’s history. Because I like the fact that he’s a natural born anarchist who doesn’t give a damn about anybody else – and I quite like that aspect of Mr. Bean, but we had to kind of dilute it, or explore the possibilities. And similarly, with Johnny English, he couldn’t just carry on walking through scenes where he thought “this” and it turned out “that”. We had to have him reach the point when he was fired – which he is – from the job, and then he becomes somebody slightly different. Suddenly he’s a kind of man-on-the-run, and the establishment that he’d worked for and fought for for so long suddenly abandoned him and declared that he was no good and regretted ever putting him on the case. And that’s quite a nice character thing, when you can see him pick himself up, brush himself off, and start again – and then eventually he succeeds and everyone loves him by the end. So it’s a pretty tried and tested formula, but it was a very important thing to do with the character.

    PLUME: Would you say that it was easier to adapt Johnny English than it was to bring Bean to the big screen?

    ATKINSON: Hmm… That’s a good question… I don’t know. About the same. I think maybe Bean was a bit more difficult, actually. I think, in many ways, we had to compromise the character more.

    PLUME: Do you think those compromises affected the audience reaction to the film? It seems a lot of people were split on either loving or hating the Bean film…

    ATKINSON: Yeah, I know what you mean. I absolutely know what you mean. I don’t know, is the answer. I probably haven’t done enough listening or enough research into what people thought, but I think undoubtedly there is an aspect to Mr. Bean which is rather fun in short doses. It’s fun just to see him selfishly pursuing his own agenda – which he does so readily. I think the movie, because it had to have a story and involve other people – when we decided, rightly or wrongly, that we wanted him to acknowledge the consequences of his actions, it meant that you did end up with a compromised version of the character. So I would agree. Whereas with Johnny English, I don’t think we’ve compromised the character at all, actually. I think we’ve just given him a firmer grounding in reality.

    PLUME: In recent interviews, you’ve mentioned the desire to revisit a film version of Bean…

    ATKINSON: Yeah…

    PLUME: How different would that be from how you handled the first film?

    ATKINSON: Hmmmm… These are extremely good questions that you’re asking me, if only because I was thinking about this this morning, because I’m kind of in a quandary – because Johnny English, thankfully, internationally… and whatever it does here, we don’t know… but internationally it has been very successful, so they’re already talking about, “When are you going to sit down and write a sequel?” Which is flattering and sweet and we might well do it. But, of course, I’ve always had this hankering to do more Mr. Beans someday. I didn’t want to do it straightaway, which is why we went off on the tangent of Johnny English – but if we sat down again, I don’t know. You see, whether I should just do half-hour TV episodes, or whether you could make a movie that was more episodic – more self-consciously episodic, that was a kind of “sketch movie”… more like an Austin Powers movie, where the story is not particularly important, nor is the interaction of the character with the story that important – you just enjoy the jokes for what they are.

    PLUME: So it’s a matter of acknowledging that it’s a character with a clearly defined character that’s not going to vary much?

    ATKINSON: Yes, exactly. I think it’s sometimes better if he doesn’t vary very much… or whether you give it a different kind of conceit… Mr. Bean sits down to write his autobiography, and he remembers all the marvelous moments in his life.

    PLUME: Which would allow the character to remain true to its episodic strengths…

    ATKINSON: I think the character does tend to suit an episodic thing, because what’s fun about him is that he doesn’t care about anyone else, and it’s very difficult for a main character – a lead character – in a movie to not care about anybody else.

    Continued below…

  • FROM THE VAULT: Carl Reiner Interview

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    Conducted ~10/2004

    reinerBe it his work with Sid Caesar on Your Show of Shows, the creation of The Dick Van Dyke Show, numerous “2,000 Year Old Man” pairings with Mel Brooks, Steve Martin’s classic comedies, or any number of accomplishments too long to list, Carl Reiner is a true comedy legend.

    He’s penned quite a few books (his Enter Laughing is a must-read), plays, and films. He’s like a Renaissance man sans the puffy shirt. He even made a return to films as a key member of the gang in the Ocean’s 11 franchise.

    I leapt at the chance to chat with Carl, even if it was originally intended to be a fluff piece on the short-lived Dreamworks CG show Father Of The Pride. Would you pass up an opportunity like that just because the show it was attached to was an unwatchable mess (through no fault of Carl’s, it must be said, as he just provided a voice).

    It was a truly memorable experience talking to Carl – particularly memorable was the technical gaffe that erased the last 10 minutes of our conversation. I would have been disappointed if I had walked away from it without at least one embarrassing anecdote.

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    KEN PLUME: It’s a pleasure to be speaking with you…

    CARL REINER: Yes, how are you!

    PLUME: I’m doing well – hope you’re doing well…

    REINER: Yes, but just give me your name again…

    PLUME: Ken Plume…

    REINER: Ken! That’s all I need… I’m not gonna call you Mister….

    PLUME: Should I call you “sir” ?

    REINER: Yes, please… Absolutely…

    PLUME: Well, it’s a pleasure to be speaking with you, sir…

    REINER: Thank you… You’ll have to amend that after we finish – you’ll say, “I was mistaken at the beginning,” or “It’s just what I figured.”

    PLUME: Even if I was mistaken, I would never admit it…

    REINER: Never! You’re an honest man… An honest man! A man who wants to be honest, anyway…

    PLUME: I try… I often fail, but I try… You’re one of two people that I’ve wanted to interview for years…

    REINER: That’s what you say every time you open a conversation…

    PLUME: No, honestly! I’m being truthful now…

    REINER: Oh, okay…

    PLUME: You and Mel Brooks…

    REINER: Oh, well, I agree with that. I would rather speak to Mel Brooks than anybody I know. I’m not kidding! I mean, we speak on the phone once in awhile… A couple of days ago, he was going to London… and I never come away from the phone after speaking with him that I’m not laughing.

    PLUME: I’ve tried for years to get interviews with both of you, to little success…

    REINER: Well, you’ve got the second level…

    PLUME: Right now, you’re tops…

    REINER: The best you can do right now!

    PLUME: Touché! So I have to ask – is there anything left that you haven’t done, that you’d still like to do?

    REINER: Yes… It’s something that I don’t think I’ll ever do now. When I was very young, and I heard Enrico Caruso sing “Pagliacci,” I said, “That’s what I want to do with my life! I want to be an opera singer!” I was 7 or 8 years old, and I had a wonderful voice. As a matter of fact, I sang in Broadway musicals. The only thing I’m missing is I have no rhythm and I sing off-key often, if there’s no music helping me. So if I had different genes or if someone could infuse a gene – or maybe the stem cell thing will find a gene for me – to make me so that I could sing. I would probably have a different career than I think I would want, and if I did have it, I’m sure it wouldn’t be as good as the one I have!

    PLUME: Maybe you should just get a small electrical device implanted to shock you into tempo…

    REINER: (laughing) Yes! As a matter of fact, in my first Broadway musical – Call Me Mister – the show opens on a bunch of guys, G.I.s, onstage in a military formation, and offstage you hear, “Sound off!” and they have to go, “One, two!” But I have to hit the right note, because they’re going to sing in the key I give them. I said, “Jesus Christ, I’m gonna goof it!” So they arranged for a trumpet to hit that note right before – “BAAA-RUUMPH” – so I never missed it. But if that trumpet weren’t there, I don’t know what would have happened…

    PLUME: It would have been a whole set of keys…

    REINER: Yeah!

    PLUME: In listening to the opera music, was it the performance that drew you in, or just the music in general?

    REINER: You grow up with what’s in the house, and your tastes are honed by that, and my father liked classical music. He listened to the Saturday afternoon operas from the Met, and he had these red seal records – one-sided records – and Caruso was one of the ones he had. And this was a soaring song – if you know “Pagliacci,” it soars. It makes your hair stand up! And I was thrilled by it, and I never lost the interest in hearing a good tenor belt opera.

    PLUME: Do you in any way regret not being able to pursue that?

    REINER: No, I don’t regret it. As a matter of fact, I had the best of two possible worlds – comedy and opera – when I did Your Show of Shows. I could always sing opera recitative, fake recitative, and when we got Earl Wild as the pianist, and he found a way that we could do operas – because you can’t follow recitative. I mean, how are you going to get an orchestra to play in the key you’re singing? But he did a brilliant thing… He said, “We’ll do the operas in the style of…” In other words, say if we did a Verdi opera, he d said, “We’ll take a song…” I remember the first one he suggested, which was “Santa Claus is Coming to Town” done in the style of either Verdi or Mozart. (Click here to hear the clip) The orchestra could be playing the key and we’d be singing gibberish, but “in the style of….” So I got to sing opera on Your Show of Shows, and it was very satisfying for me and, I think, for the audience! Did you notice I was singing fairly on key?

    PLUME: (laughing) I did notice that…

    REINER: (laughing) Yeah, okay… Just checking…

    Continued below…

  • FROM THE VAULT: Armin Shimerman Interview

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    Conducted ~5/2003

    shimermanTo Star Trek fans, Armin Shimerman is the actor behind one of the most memorable characters to ever inhabit that universe – Deep Space Nine‘s Ferengi extraordinaire, Quark.

    To Buffy fans, he will always be the ill-tempered Principal Snyder.

    He’s also a distinguished stage actor and author (check out his Merchant Prince series), and was another in the long line of my in-depth interviews done on a whim.

    I do, however, recall that this whim had its origins in a DVD-fueled binge of both Buffy and Deep Space Nine. Usually these types of immersive binges would lead me to begin tracking down various creators and castmembers of said shows and flicks. That was certainly the case here – and thankfully, I found a wonderful, down-to-earth, fascinating guy, and I hope that translates to print in the interview below.

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    KEN PLUME: Am I correct in understanding that you’re originally from Lakewood, New Jersey?

    ARMIN SHIMERMAN: Yes … a small town in the mid-section of New Jersey, Ocean County. It was a great, great childhood and it was a terrific town – probably still is. I haven’t been there for decades. I keep waiting for them to invite me back to be sort of a VIP at one of their parades, but it hasn’t happened yet.

    PLUME: So now you’re dropping hints…

    SHIMERMAN: I am.

    PLUME: How would you describe small town life in the ’50s?

    SHIMERMAN: In the ’50s, yeah. Well, we went to a very small school. The town was dominated by the lake – it froze over in the winter and you skated on it in winter and you swam in it in summer. We kept the doors wide open, everybody knew everybody else… it was a small town. It had a lot of history, so we were always discovering new things about the town. That was kind of wonderful. We were right next door to Lakehurst. Most of my youth I watched the blimps fly over, because it was one of the last dirigible naval bases in the country. So we just grew up with blimps flying over all the time. When I look back on it now, I was very blessed to have been born there and to have grown up there.

    PLUME: It almost seems like a stereotypical, ’50s childhood in a small town.

    SHIMERMAN: It was. We had some problems, surely. My family was not very well-to-do, and I came from a divorced family and we were always struggling to make ends meet. But my brother and I never knew about that – my mother and my grandmother took care of that, sort of kept that from us. We had good friends, and great neighborhoods, and it didn’t seem to matter. It didn’t make any difference.

    PLUME: And you were the first generation American citizen in your family, right?

    SHIMERMAN: My mom was first generation on her side, but on my father’s side, I was indeed the first generation.

    PLUME: Was there a certain view that you attained via that, as far as a certain way of viewing the country or the way you fit in?

    SHIMERMAN: It wasn’t so much viewing the country, but because my father had struggled all of his life and actually had done well in his struggles, although he was always poor, he and my mother – my mother primarily – taught me to be self-reliant, to look towards goals, to try to achieve the best I could. One of the great things about the small town I was in was it had a terrific school system and my teachers were wonderful. They taught me a great deal, and with the tools that they gave me, when I finally moved to Los Angeles in my junior year of high school, I was way ahead of the class.

    PLUME: At that time, if someone would have asked you when you were 14 or 15, what would you have said that your goals were?

    SHIMERMAN: I probably would have told you that I was going to grow up to be an attorney. Or possibly a writer. When I was 11 or 12, I was doing some writing and actually got published in a magazine at that time. It was never a serious thing, because the family ethic was to grow up and make money. They were very disappointed when I became an actor. But an attorney seemed like the right thing. I’m not sure why, when I look back on it. But I’m sure that at that age that is exactly what I was telling people I was going to grow up to be.

    PLUME: Just because it seemed like the right thing to do?

    SHIMERMAN: Yeah, because it was the right thing to do.

    PLUME: It’s kind of ironic, because didn’t your mother set you on the path to acting?

    SHIMERMAN: In a sense. What she did was she had a distant cousin who was a drama teacher in Los Angeles, and when my family moved to Los Angeles when I was 16, she felt that a great way for me to make friends would be through this drama club that her distant cousin was running. That was the beginning of the end.

    PLUME: Moving to L.A. must have been quite a culture shock.

    SHIMERMAN: It was. It was a great culture shock.

    PLUME: That was height of the ’60s, right?

    SHIMERMAN: Yeah, we moved in, I would say ’65, ’66… I’m not really sure. One of those two years. I know when we moved to Los Angeles, as we were coming down the freeway for the first time, we saw smoke – it was exactly the week that the Watts riots happened. We moved to LA during the riots. But it was a cultural shock. It was a big city, and my brother and I weren’t really used to that.

    PLUME: Was your natural tendency to withdraw within?

    SHIMERMAN: Exactly. The tendency was to withdraw, to stay to ourselves, to sort of bitch and moan about the fact that we’d lost all our friends. But my mom made a tremendous sacrifice. She moved all of us for many reasons, but one of the primary reasons was so that I would have residency requirements for UCLA, which I eventually attended.

    PLUME: Was it her understanding that you were going to be going for law?

    SHIMERMAN: I don’t think she was specific about what I was supposed to go for, but she knew that I had to go to college, and she knew that the UC system was a terrifically good system and that you needed to be a resident of California for two years to get the special tuition rates. So she moved us out, as I said, in my junior year so that I would make the residency requirements. I don’t think she cared whether I was an attorney or not… I think she did care when I first told her I was going to be an actor, but that wasn’t really until after I graduated. The moment after I graduated, I immediately went to work for the Globe Theater in San Diego, and that was the path that I took for the rest of my life.

    PLUME: When you were first applying …

    SHIMERMAN: When I first applied, I had a poly-sci major, so I assumed I was going to be a lawyer.

    PLUME: How quickly did the acting bug hit you – and what exactly was the drama club?

    SHIMERMAN: The drama club was a local club that was attached to a local community center in Los Angeles. I joined that when we first moved here, and then in the senior year of my high school days, I no longer belonged to that club, because in the high school years, I continually did plays in high school and was the lead in two of the three productions we did that year.

    PLUME: Which productions were they?

    SHIMERMAN: The first one was The Crucible, John Proctor was the character. The second one, I was not the lead, but I played Claudius in Hamlet. The third was Mr. Antrobus in The Skin of Our Teeth.

    PLUME: Rather intense characters…

    SHIMERMAN: They were. I had a wonderful drama teacher, and he taught us to love great literature – especially Shakespeare. For many years after high school and college, that is primarily what I did, was classical theater.

    PLUME: Did that instantly appeal to you?

    SHIMERMAN: Yes… It was the language, it was the scope of the characters, it was the puzzle. When you work with Shakespeare, it’s a puzzle, and you have to solve the puzzle. It’s the solving of the puzzle that was always enormously important to me. Even to this day when I research Shakespeare, if I come upon a puzzle that I haven’t solved before, I spend most of the day trying to work it out.

    PLUME: So it’s as much an intellectual exercise as it is an emotional one…

    SHIMERMAN: Exactly.

    PLUME: Right off the bat that struck you in that way?

    SHIMERMAN: Yeah, yeah. Because the language was really hard for a high school student to understand. It was in English – you figure you should be able to understand it. My high school teacher, he helped me with the challenge and he also nurtured my talent and kept asking me to do more and more, and it was, I guess, part of being a small town kid – being in the large city, it was a way of disappearing out of the city and going into a more familiar world… even if it wasn’t familiar, it could be familiar after several weeks of rehearsal.

    PLUME: Especially after you had invested the time to, as you say, unlock the puzzle.

    SHIMERMAN: Right.

    PLUME: So it was almost a mastering of the domain within which you’d placed yourself…

    SHIMERMAN: Exactly. Ironically enough, the local business that I own is called Mastering Shakespeare, so mastering is exactly the right word.

    Continued below…

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  • FROM THE VAULT: Brent Spiner Interview

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    Conducted ~11/2002

    spinerHe’ll probably be forever immortalized as the android Data from Star Trek: The Next Generation.

    But Brent Spiner is also an accomplished stage (Sunday In The Park With George, 1776) and screen (Introducing Dorothy Dandridge, Independence Day) actor.

    But yes, he will probably always be Data – not that there’s anything wrong with that.

    I’m can’t recall the exact rationale for doing the interview, though it may have just been the recurring theme in the bulk of the interviews I’ve done – a whim. I do recall that Brent was a good sport when it came to the length of the interview, which he generally didn’t do at the time.

    Here it is…

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    KEN PLUME: Am I correct in understanding you’re a Texas native?

    BRENT SPINER: Correct.

    PLUME: Houston?

    SPINER: That’s even right.

    PLUME: This would be Texas in the ’50s, early ’60s?

    SPINER: My time in Texas?

    PLUME: Your frame of reference…

    SPINER: Pretty much, yeah.

    PLUME: What was that atmosphere like at that time? You hear about that being a turbulent time in certain other areas of the country, but you never really get to hear about what was going on in Texas…

    SPINER: Houston was a really great place to grow up. I don’t recall it being turbulent, but I recall it being really pleasant. It wasn’t that big a town then – I mean, it was big, but it wasn’t like it is now. It wasn’t like a huge metropolis. I remember the Shamrock Hilton Hotel – it was sort of the focal point, the center point of Houston. That hotel was actually the hotel that I believe was in the movie Giant – the opening of that hotel is what Jett Rink’s hotel was. That’s because it was opened originally – before the Hilton’s got it – by a guy named Glen McCarthy, who basically James Dean was playing in Giant. He was the wildcatter.

    PLUME: Would you say that it was the cosmopolitan center of Houston at that time?

    SPINER: Definitely … The big ballroom there was where all the touring greats performed – at the Shamrock Hilton. IF you were ever going to see somebody, it would be there.

    PLUME: Was it a place that you frequented for those type of performances?

    SPINER: Well, I really frequented it for the swimming pool, which was gigantic. The biggest swimming pool I’ve still ever seen. It was just where all the kids hung out in the summer. And I mean kids, because we were young when we were there. I remember nights in Houston, and our idea of a good time… there was a place called the Blue Bonnet Gardens that served watermelon. To date myself, these were the days when you could only get watermelon in the summer.

    PLUME: When it was truly a seasonal product.

    SPINER: Exactly. Houston had air conditioning, but not much, so to cool off you’d go out for a drive at night and then go to the Blue Bonnet Gardens for watermelon.

    PLUME: It was generally confined to businesses, it wasn’t really a residential thing at the time, the air conditioning and such?

    SPINER: Oh yeah, hardly anyone had – I remember the first air conditioner we got was a window unit. I would sit in front of it about 12 hours a day, just looking at it and praying to it – the god of cool air.

    PLUME: At what age was that?

    SPINER: Probably around 7.

    PLUME: So at that point it was a very revelatory moment.

    SPINER: It truly was. Really, when I think about Houston and what we did, it’s an odd thing because my mother did the same thing when she was a child, and I’m sure the kids today – well, I don’t know if they’re doing it today – but for years the tradition in Houston for kids, like 11-13, in that area, was to get on a bus, take the bus downtown, go to a place called James’ Coney Island for a hotdog, and then go to a movie at one of the three downtown movie theaters that were palaces… you know, those big movie theaters that don’t exist anymore.

    PLUME: So it was all first run …

    SPINER: Yeah… big, beautiful – I remember when The Ten Commandments opened, they turned the whole place into an Egyptian motif… which it remained. The Metropolitan Theater remained Egyptian for years.

    PLUME: That was one of the first Scope films, wasn’t it?

    SPINER: I think it was.

    PLUME: So it must have been an impressive sight.

    SPINER: Oh, it was. Anytime you went to the movies in those days it was impressive, because it was a big deal. Do you remember Road Show engagements? I remember seeing Lawrence of Arabia on a road show engagement. I’m not sure exactly what that meant, but I think you had your tickets in advance and there was always an intermission.

    PLUME: Wasn’t it the movie equivalent of going to a play? “This is the destination – this is what we’re doing for the evening?”

    SPINER: Yeah, absolutely.

    PLUME: How big an influence was television at that time in your life?

    SPINER: Huge, huge. My mother owned a furniture store when I was a kid. I say my mother, because my father passed away when I was 10 months old. That’s why I don’t reference him as much. But my mother had a furniture store that had been my father’s, and she ran it through the first 7, 8 years of my life. So we had a television pretty early on. I know from the age of about… certainly 2 or 3… we had gotten a television by then. I used to sit in front of it in the morning and watch the test pattern for at least a good two hours before television came on. And that really dates me, because there were test patterns then. It was an Indian head.

    PLUME: How mesmerizing was even the test pattern?

    SPINER: Oh, it was fantastic.

    PLUME: I just can’t imagine something like that… it must have been like having the equivalent of a movie in your home.

    SPINER: It was, and it was the 50’s so we were watching – do you know the film Avalon? It’s a brilliant movie, and it really captured that whole feeling of what it was like to get a TV back then, what it meant; and how it probably destroyed America as a family.

    PLUME: Provided too good a distraction…

    SPINER: Exactly. But I remember watching television in the early days, and the things that really just grabbed me, like Sid Caesar, and Berle, and Steve Allen, and that kind of stuff.

    PLUME: It’s interesting to hear where your tastes gravitated towards at that time.

    SPINER: Oh, I know… One of the great nights of my life, and this is really embarrassing to say, is that I watched Lucy, first run.

    PLUME: Embarrassing from which perspective?

    SPINER: How old I am, actually. But it was, I think it was Tuesday or Wednesday nights, Lucy, and it was incredible because most people now that watch Lucy have seen them at least 50 or 60 times. But we had a new Lucy, every week.

    PLUME: And the concept of reruns was completely alien…

    SPINER: Oh, totally. They were doing like 36 shows a year then, maybe 48.

    PLUME: And summers was what, summer replacement shows at that time – as opposed to summer reruns…

    SPINER: Exactly. Summer replacement shows that I remember really getting on to – well, I really fondly remember the era of Warner Brother Westerns… with Lawman, and Cheyenne, and Bronco Lane, and all that kind of stuff.

    Continued below…

  • FROM THE VAULT: Nick Frost Interview

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    Conducted ~9/2005

    frostTo the majority of the American audience, their first introduction to Nick Frost was as Shaun’s slovenly (yet loveable) best friend Ed in Shaun of the Dead.

    To the UK audience (and the hipper element of the American audience), however, Frost hit the scene in Simon Pegg & Jessica Stevenson’s sitcom Spaced, where his turn as “intense” best friend Mike proved to be a favorite in a show full of stellar writing and memorable performances.

    As himself, Frost was the presenter of Danger! 50,000 Volts!, a reality series that found him giving survival tips on scenarios ranging from dehydration in the desert to subduing a crocodile (think of it as TV version of The Worst Case Scenario Handbook).

    More recently, Frost co-starred in Hot Fuzz, Simon Pegg and director Edgar Wright’s follow-up to Shaun, and was the lead in two series of BBC2’s sci-fi sitcom Hyperdrive as Space Commander Henderson, the captain of a 22nd century British spaceship tasked with trying to get aliens to relocate their businesses to England (in competition with the Americans, who are offering Florida).

    My interview with Nick was another one of those “Oh, what the heck…” ones, as I just had an impulse to try and track him down and do exactly what follows – a candid conversation on his life and career. So enough of the formalities – let’s get this show rolling…

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    KEN PLUME: Tell me about your early life…

    NICK FROST: Oh, god. Seriously?

    PLUME: What made you give up a doctorate in physics to pursue acting?

    FROST: (laughs) Um, well, I didn’t…I left school when I was fifteen.

    PLUME: Your choice?

    FROST: Yes and no, really. I mean, I wasn’t very good at school and my parents were not very well. They were quite sick. And so, I kinda felt as if I had to leave school to financially support them. Do you know what I mean?

    PLUME: Certainly…

    FROST: I kinda felt like I had an obligation to do that.

    PLUME: Was this a decision that they supported? Did they understand where you were coming from in that?

    FROST: I don’t even know if they kinda knew, do you know what I mean? I kinda kept it to myself and told them: I’m not very good at school, and, you know, I’m not a scholar. You know, you need a bit of money, we need some money, so why not, you know, why not let’s just leave school and get a job, you know?

    PLUME: Was it a difficult decision for you or did you have to really mull it over a bit?

    FROST: Not really, you know, I didn’t at that stage…you know, I didn’t…I was a very different person, Ken, I was really different to who I am now. To leave school and having to go to work it seemed… normal, you know?

    PLUME: How would you describe the person you were then?

    FROST: Oh god, I would say… a loutish idiot.

    PLUME: Was that a nature issue?

    FROST: Well, you know, I’m from a working class… it sounds really f***ing hackneyed, but I’m from a working class background, so being a man in a working class kinda background, you become a certain type of person, you know?

    PLUME: Right.

    FROST: And I was that person. Even right up until I was seventeen, when I left home and went and lived in Israel. And that changed me. That was my university, in a way.

    PLUME: What led to that decision to make that drastic a move?

    FROST: Well, I – this is really in-depth now, but I was having trouble with drugs and stuff. And I kinda made the choice to… you know, someone said to me, “It would be better if you were to leave the country for your own good and for your own health.” And I did.

    PLUME: Was it something that you were an active participant in or were people pushing you into, “this really is the right decision”?

    FROST: No, I loved it. I loved it. I mean, I do have that thing in me. Well I think I had it in me more than I do now, but… you’re with a group of mates and it just felt really natural, you know, to get off your head. That’s a very London-sounding saying, isn’t it?

    PLUME: We’ll put a glossary at the end…

    FROST: “To get off your head!” Sound like someone from Snatch. But yeah, you know, I mean, I was sixteen, seventeen, and it just seemed… it was normal. It wasn’t (horrified whisper) “Oh my God, we’re doing drugs!” it was just… you know, you got in your car and you drove and then you’d take some drugs and you’d laugh a lot. And it wasn’t anything more sinister than that, you know.

    PLUME: Was it something that you saw that could develop into an issue?

    FROST: Well, I mean… yeah. That was what made me go away and so, for me to have moved three thousand miles away, you can probably guess that it was getting a bit serious.

    PLUME: Was it developing into enough of an issue to make that serious a move?

    FROST: Yeah.

    PLUME: What led to the decision for the destination to be Israel?

    FROST: I had a friend called Brendan who went and lived on a kibbutz and he was older than me, much older than me, and I kind of sought his advice, and he said, “Go to Israel,” you know. And it was the best decision I ever made, I think.

    PLUME: How much of a wake up call was it to be that far away?

    FROST: It was great. I loved it. It just felt… I was meant to stay for three months, and I ended up staying for almost two years.

    PLUME: What did you do during that period?

    FROST: Oh God, I just… it just felt right to be there. And I just loved it and I just wholeheartedly kind of, you know, embraced the lifestyle. And…what did I do? God, I worked in the fish ponds. And I picked cotton and I picked apples. And I worked in a plastics factory. And I…what else did I do?

    PLUME: Are you sure you didn’t live in the American south?

    FROST: Yeah, I was doing all that. I lived in Louisiana for a time – no, I didn’t think of it. Yeah, you know, it was lot of… it was manual work. And I kind of like that. I like that kind of… you know, you can see why people become addicted to the army and prison.

    PLUME: That sort of regimented work ethic?

    FROST: Exactly. You get up at half-past five, you go to work, you come home, someone gives you cigarettes, someone gives you a bag of clean laundry, you know, you swim for an hour, then you sleep for two, then it’s dinnertime. But I loved it. I really loved it. And I didn’t want to come home, but, you know, you think: well, I’m now almost twenty… I had to go home. That and I got…caught. I got caught. I got caught and arrested and deported. Because I’d overstayed my visa by, you know, fourteen months.

    PLUME: So one way or another you were going back home.

    FROST: Yeah.

    PLUME: But mentally did you feel somewhat that you had made a decision that you needed to go back?

    FROST: God, let me think. That’s a long time ago. Probably. I mean, I’d fallen in love with a girl… with a couple of girls. And they had gone back to England. And you know, it was that kind of thing. I believe that everything just kind of goes in a cycle, you know, so the people that we had on the kibbutz who were really cool and amazing, and the kind of amazing time we were having, suddenly wasn’t so amazing, and all the cool people were going, and loads of new people came… and I just felt, well, f*** it, I’m just gonna go home.

    PLUME: Did you have any kind of idea what you were going back to? Did you ever fear that you would go back into the pattern that had sent you to Israel in the first place?

    FROST: No, not really… I mean…

    PLUME: Or did you already feel that you were a different person by then, than the one that had left?

    FROST: Well, yeah, I was. Because I… that was it then, I’d left home. I left home when I was seventeen. And I never went back, I mean – I went back, but I never went and lived back with my parents. I mean, that was it. I just came back and moved in with one of the girls that I’d fallen for and then that was my life then, and everything that got me into my troubles before Israel was left back in another part of London, you know?

    PLUME: So this would have been what, around the early 90s?

    FROST: Yeah. Yeah, I’m originally from a place called Essex and all my mates and stuff were in Essex. But when I came back from Israel, I moved to a place called Kentish Town, which is in the north of London. And so, you know, I’ve never been one for going back – I never look on Friends Reunited, I’ve never gone to a school reunion, I’ve never really gotten in contact with anyone from my school… I kinda think about this, and I think, “Is it bad? Is it sad?”

    PLUME: Is the motivating factor, as you said, just to not look back, or do you consider that such a different time and a different person that there’s really nothing to revisit?

    FROST: Yeah, I think it’s kinda nothing to revisit, you know? You know, it wasn’t incredibly enjoyable, and, you know, even though I had good friends, it wasn’t “we’re friends for life.” The friends I’ve got now are, you know, the proper, real deal friends for life. And I’d just… you know, I’d just f***ing die for them.

    PLUME: As you said, there’s a difference between the friends you make in high school and the friends you make in college, as it were.

    FROST: Yeah. And there’s that thing, especially when you’re on kibbutz, you know, people are coming and going all the time, so there’s that thing where you say, “Oh my god, I love you so much, I’m going to miss you so much, I’m going to cry everyday and I don’t know how I’ll get through life without you,” and then, you know, four or five days later, you think, “Who was that person?”

    PLUME: As you’re busy collaborating with the new people.

    FROST: (Laughs) Yeah, exactly. I think my time in Israel has kind of painted me with that kind of, you know, once people go, it’s: “Oh, well, that was nice.”

    PLUME: So in some ways it really prepared you for being an actor.

    FROST: Yeah, that kind of lonely…

    PLUME: Moving from production to production.

    FROST: Yeah. Exactly. But, god, I’d never… I mean, I came home and I had no qualifications, I had never been to school really, I hadn’t been to university – I had never even thought about university, you know, and I was a young man and just didn’t know what I wanted, really. And I don’t think, to be honest, I knew… even now probably what I want. Do you know what I mean?

    PLUME: Well, you could always go back and finish that doctorate.

    FROST: Yeah, of course I could.

    Continued below…

  • FROM THE VAULT: Graham Norton Interview

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    Conducted ~2/2003 & ~8/2004

    Graham Norton may not be a household name here in the United States, but he’s certainly made an impact in the UK.

    A few years back, I became hooked on his Channel 4 show, So Graham Norton, which soon morphed into the nightly V Graham Norton. It was brilliant not only for its humor, but also for what it got away with (which would seem shocking to American viewers raised on the comparatively tame Carson, Leno, Letterman, and Conan). A sexual, scatological, pop culture blender unhindered by the often Puritanical bent of network TV in the US, his show was anything but buttoned-down.

    Norton himself is an impish whirligig, chatting up guests spanning an eclectic spectrum ranging from Cher and Dustin Hoffman to Lindsey Wagner and the mom from The Waltons. Hell, he even journeyed to the States to do an episode at Dollywood. He’s also keen on audience participation and games that exist somewhere in the realm between camp and delirious rubbish.

    After his lengthy run at Channel 4, he was given a short run on Comedy Central, titled The Graham Norton Effect, presenting essentially the same show. However, Comedy Central decided (foolishly, methinks) not to renew, and Graham went back to England.

    Upon arriving back in England, Graham struck a massive pact with the BBC. After a few confused years bopping around as the Beeb tried to decide what to do with him, someone finally had the bright of idea of letting him do what he does best, resulting in his talk show return with The Graham Norton Show – a near identical clone of his Channel 4 heyday.

    I originally tracked down and chatted with Norton during his V Graham Norton period, going in-depth into his background. I then followed that up with a second interview as he was about to begin his run on Comedy Central.

    Hope you enjoy them both…

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    KEN PLUME: You were born in Dublin?

    GRAHAM NORTON: Born in Dublin, but never really lived there. When I was about two, I think, my family started to move around Ireland. My dad worked at Guinness, the brewery, and I think he must have been a bit rubbish at his job, because they just kept transferring him all the time. It wasn’t until I was about 14, 15 that we settled in a place called Bandon, County Cork, which is down in the south.

    PLUME: So this was what – late ’60s, early ’70s, mid ’70s that you’re coming of age in Ireland?

    NORTON: Yeah, that’s when I was kind of aware of things – kind of early ’70s, I suppose. What would I would have been… around 7 or 8 then.

    PLUME: What was the social fabric like in Ireland at that time?

    NORTON: Well, Ireland – it was a place apart. Although it was very close to England and close to Europe, it was a world apart. It was a very old fashioned place, I would say. But in lots of ways, I was kind of slightly outside the fabric of society, particularly because it was Southern Ireland – because I was growing up as a Protestant in Southern Ireland.

    PLUME: What is that like? That almost sounds like an outsider in a room of outsiders.

    NORTON: Well, it is slightly, in that I think it was 1% or 2% of the population are Protestant. So, you know, we went to Protestant schools and things. I never knew – mostly we lived out in the middle of nowhere, so there was no one to know. But whenever we did live with neighbors, and they had kids, I would never know those kids, because I didn’t go to school with them. Yeah, it was isolated, I suppose, but not miserable or anything. I think I quite liked it.

    PLUME: Were there the same frictions in the South, as there were in the North?

    NORTON: No, not at all, because everyone just got on it with it. The mix of the population, because it was so Catholic – essentially, Southern Ireland is complete Catholic. There was no conflict… You know, 2% of the population – if they’re not happy, really, they should move.

    PLUME: And really, how much of a threat is 2%?

    NORTON: Really. And they’re Protestants, they’re nice Protestants.

    PLUME: In comparing the social structure, was it just that the conflict became socialized in the North as opposed to the South?

    NORTON: Well, no, I think the North it was to do with Sovereignty. You know, in the South, because it become a Republic, I think the Protestants who remained there, chose that. They decided it. Whereas the Catholics in the North, didn’t. It was just a situation very badly handled at the time, and they did it, it was a quick fix to turn the six counties into that kind of little adjunct of Britain.

    PLUME: But it really wasn’t a fix, was it?

    NORTON: Ah, no. Short term solution, and presumably all the politicians who made that decision quickly retired, going, “Phew.”

    PLUME: It’s all on paper. Well, how would you describe your childhood? Would you say you were isolated away from the other children wherever you would move just by nature of the school you would go to?

    NORTON: I mean, it all sounds quite miserable in that it was quite isolated, so it’s one of those odd things. When I talk about it, I do kind of think, “God, that sounds miserable.” But I don’t remember it as being miserable. I remember watching lots of television… television was my friend. But I was quite happy about that. It would have irritated me if people had come around and interrupted my viewing habit. I grew up in a one station environment – it was only one television station. But they bought in mostly, because a lot of culture links with Southern Ireland are far closer to America than to Britain. Lots of the TV they bought us, was American.

    PLUME: So would it be America of the 1950s, 1960s, or current American fare? How outdated was it?

    NORTON: Oh, it was a real mix of things. You felt like they’d buy like one hot show – like they’d buy Charlie’s Angels or something – but then in order to buy that, they’d have to buy lower stuff. So suddenly you’d be watching Charlie’s Angels, but you’d also be seeing That GirlI Love Lucy was there. What else did we get? We got a lot of really odd shows that they never got here (in the UK), like The Flip Wilson Show – which I remember really, really liking …

    PLUME: So it was an entertainment potpourri…

    NORTON: Yeah, it was a real entertainment potpourri, but like I say, more heavily dominated by American shows than British.

    PLUME: What was your preference? Of the shows you would watch…

    NORTON: I loved Lucille Ball growing up. I remember liking The Flip Wilson Show that was on. I supposed I was just generally drawn to American programs more than British programs. British programs, it looked like Ireland. There were hedgerows and things, where it was exciting in America. There were no hedgerows in between houses. Shared lawns – it was very thrilling to us.

    PLUME: There was space between houses…

    NORTON: Yeah, that too.

    PLUME: What was the view, then, through the prism that you were looking through, of America?

    NORTON: It was very odd. I thought I was looking at America, I thought I was seeing America on television. It’s only when you go to America, you realize, “Oh, no – I was looking at California.” That’s all I was seeing, ever … It was a real surprise when I finally got to California and realized, “Oh, this is where they make television. Now I get it.”

    PLUME: Well, how was your view, then, of the UK?

    NORTON: The UK to me, just seemed – I thought Britain was a much more urban place, a much more sophisticated place, and in a way kind of frightening. Because, I remember I was getting into my teens, and punk rock arrived, and I just remember being so depressed, because I was thinking, “Oh no!” Finally I’m old enough to go out – I don’t want to be dirty and be spitting on people. America on that level always appealed much more, in that it always seemed kind of more glamorous, whereas Britain was always a bit grungy, a bit real … You could tell that people were living in the same sort of economy as we were, and they were just making the best of it.

    Continued below…

  • FROM THE VAULT: Bob Balaban Interview

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    Conducted ~11/2002

    Over the course of his 40 year career, Bob Balaban has worn numerous hats. He’s been a writer, a director, and a producer, but he’s most well known as an actor, appearing in Catch-22, Midnight Cowboy, 2010, Close Encounters of the Third Kind, many Christopher Guest films, Seinfeld – just to name only a few.

    It was in Close Encounters that he played the role of the translator, David Laughlin, and it was the on-set relationship with Francios Truffaut during the film that formed the backbone of his wonderful – and highly recommended – memoir of this period, Spielberg, Truffaut and Me: An Actor’s Diary, which provided a good enough excuse to do this interview.

    The real reason, though, is that Balaban’s one of those actors you always see on the screen, and his is a career I thought would be fascinating to find out about. I certainly enjoyed finding out more about him, and I hope you do, as well.

    Here’s my interview with Bob Balaban…

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    KEN PLUME: Am I correct in understanding that you’re from a Hollywood dynasty?

    BOB BALABAN: A very quiet Hollywood dynasty. My dad was born in Chicago in 1908… his parents came from Russia. They settled in Chicago, where they lived in a little tiny grocery store with eight or nine children – in the backroom all together – and my grandmother got the idea to go into the movie business. She basically went to a nickelodeon one day with two of the older brothers – Barney and John, I believe – and realized that there was this thing called the movie business, where, when the product got stale, you didn’t throw it away like an old bunch of lettuce – you merely sent it back to the movie company and they sent you back another movie. So immediately, this appealed to her. Also, it was a business that was never done on credit, while their little struggling grocery business was a lot of people writing down chits and then never paying it back, because my grandfather was a very sweet person and hated to collect from other poor people. So the movie business was the perfect thing for them, and about a couple years later they had built several theaters. By the ’20s in Chicago, they had the largest chain of theaters in the Mid-west and eventually merged with Paramount. My Uncle Barney, my father’s oldest brother, became Chairman of the Board and President of Paramount in the ’30s and remained for many years. Sam Katz, who was the partner in Balaban and Katz – who was at that point married to my aunt – went off to run MGM and become head of production for many years, including the musical years with all those great things they did in Arthur Freed’s musical unit.

    PLUME: How much of that legacy was surrounding you during your childhood years?

    BALABAN: Nothing. I was basically unaware of it. First of all, if your relatives are doing something when you’re born, you kind of assume – I did, anyway – that it was unusual. I didn’t pay too much attention to it. Later on, I’m now completely fascinated in everything they did, and it’s just so historically interesting to me, I wish I knew more about it. I’m always trying to read about it and talk to older relatives, very old relatives at this point, obviously, and I’m really, really interested in it. But as a kid, I wasn’t aware of it particularly, other than the fact that I could go to movies for free.

    PLUME: Were your childhood years spent in the Hollywood area?

    BALABAN: No, no, no….

    PLUME: Or were you part of the Chicago contingent?

    BALABAN: You have to remember – the theaters were in Chicago, my parents always stayed in Chicago… as did most of the relatives. Barney eventually moved to New York, because Paramount Pictures was run out of New York – even though the studio was in Los Angeles, the ownership was always in New York.

    PLUME: The actual corporate offices…

    BALABAN: Yeah, they always were. Even when Gulf and Western took over, there were big offices on 1500 Columbus Circle. But you have to remember, the Paramount building was 1501 Broadway – it’s still there. It’s a great old building, and Barney, I’m sure, used to fly to California frequently, and certainly was on the phone, I’m sure, all the time, but didn’t spend much time in Los Angeles.

    PLUME: But the main home base for the family was still in Chicago.

    BALABAN: Yeah, a lot of Chicago relatives.

    PLUME: How long did the family own this theater chain?

    BALABAN: Oh, I guess 30 years or something – 40 years? Longer.

    PLUME: Was your father involved in that business at all?

    BALABAN: My dad was the baby. When he was born they were already successful. They sent him to business school – he probably would have loved to have been a poet or a writer or something, and he was very creative. This never went away for him. When he got older, they helped set him up in business in a chain of art houses in Chicago. He built a wonderful, landmark theater in Chicago called the Esquire Theater, and owned the Chicago and the Carnegie, and some other wonderful theaters where I loved going when I was a teenager, and eventually became a pioneer in cable television and owned and operated a series of stations around the country… also some radio stations and other things. He was the baby, he was more into some of the new technology, and was very forward thinking, all the time. Great man… he died last year at the age of 92.

    PLUME: Am I correct that he was also a pioneer in the idea of pay-per-view?

    BALABAN: Yes, he was. As early as the late ’50s, as I remember it, he was working with an inventor to try to figure out some kind of way that you could get first run movies and other special events into your home, on your television set, by paying per view. At one point he came home with a box that you put quarters into, that would enable a signal to be transmitted, release the signal, and you could see all these amazing things for 50 cents or a dollar, whatever it turned out to be. This obviously was not the wave of the future, technologically, but it obviously was – he had grasped immediately the concept of how much …

    PLUME: Convenience entertainment?

    BALABAN: Convenience entertainment, not leaving the house. I mean, the whole idea of movies was it was special to go to see – you went to a movie theater to see something that was magical and amazing, in a very special location. But obviously as television began, it so undercut movies that he was trying to think of a way to combine seeing these special things, and the fact that people were just captivated by the magic box.

    PLUME: So, monetarily, the best of both worlds.

    BALABAN: Yeah. And it still proves to be.

    PLUME: How would you describe your childhood?

    BALABAN: A lot of puppets. I was very much in my room with my marionette stage, you know, creating these incredibly boring things that I felt were so fascinating, and forcing my relatives to come, and charging money for them to see my little productions.

    PLUME: What were the standard thematics behind the productions that you would mount?

    BALABAN: Oh, I never thought about it thematically too much… I’d be embarrassed to talk about it. But I’m kidding – ultimately it was thematically about lost people. I was probably writing sort of existential, Sartre-like puppet shows long before I had ever read No Exit. That’s what my puppet shows were like – you can imagine. We had people on clouds, floating about, not knowing where they were or what life really was, and people, characters, who would populate a play and then turned out not to be real.

    PLUME: So definitely not the standard Punch and Judy that other kids would be doing…

    BALABAN: No. If anyone would have been paying serious attention to my puppet shows, I would have been sent to therapy very young.

    PLUME: Were they issues you were working out, or …

    BALABAN: There was no working out. I’m from the Midwest, and I loved my family. I had a very good time as a child, but I was also – I have a theory about Jews growing up in the Midwest, that there is an ultimately sort of wonderful avoidance of a lot of things, and a great acceptance of whatever is happening. Which, if it’s okay and it’s nothing too terrible, you were kind of left to grow up on your own. My family was loving… they were very supportive and very affectionate, and basically I could do what I wanted, and basically it wasn’t anything dangerous, thank God.

    PLUME: So do you think it was more a matter of living in the now, as opposed to forward thinking?

    BALABAN: Yes, I would say it was very much that. You know, “They’re okay, the kids, let them be – they’ll be fine.” And more or less, we were.

    Continued below…

  • FROM THE VAULT: Dave Goelz Interview

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    Conducted ~1/1999

    After my interview with Muppeteer Jerry Nelson, Jerry was kind enough to provide access for to the set of Muppets From Space, and vouched for me to his fellow Muppeteers.

    What followed was over a month of me just hanging around the set in the increasingly cold January of 1999, part of which was spent chatting with and ultimately interviewing Muppeteers. Also, getting my hair cut by the production’s hairdresser… just because. Well, my hair was getting too long. She cut it with a razor. I felt like a movie star.

    Anyway.

    One of the Muppeteers I met was Dave Goelz. Goelz, if you’re not familiar, is the Muppeteer responsible for Gonzo, Dr. Bunsen Honeydew, Boober Fraggle, Zoot, Beauregard, Uncle Travelling Matt, and many, many more.

    And he’s a pretty nice guy, to boot. Below, you’ll find our conversation…

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    KEN PLUME: First of all, tell me a little bit about your background…

    DAVE GOELZ: I have always enjoyed puppets, but at two times during my childhood puppetry became a hobby. When I was five I became a huge fan of Howdy Doody, and when I saw a Howdy dummy at the local toy store, I got very excited. My folks said that if I saved half the money, they would match my funds and I could get the dummy, which I believe cost either $3.95 or $7.95. I saved every penny of my 25 cents per week allowance, and in no time my parents were surprised that I was ready to make the purchase. The next Christmas my parents gave me a Howdy Doody marionette. During this period I was also interested in the original Time for Beany puppet show, starring Stan Freberg and Bob Clampett. I had Beany and Dishonest John hand puppets made by Ideal Toys, but was disappointed by the official rubbery Cecil the Seasick Sea Serpent puppet. My mother made a beautiful Cecil for me completely from scratch. She was a big influence; she showed that you could make whatever you needed.

    When I was thirteen, I became interested in marionettes. In junior high school I had become fascinated by the theater, with its curtains and colored lighting. My father built a marionette stage for me, and I equipped it with three strings of our Christmas lights; one whole string in blue, one in red, and the other in yellow. That way we could plug in different strings to make a range of colors. My friend Eddie Paul and I wrote scripts and put on marionette shows for our family and friends. I had a little printing press and we made tickets for the shows, for which we charged ten cents. We made well over a dollar in less than a month. Easy money.

    After high school I studied to be an industrial designer, and entered the profession. After a couple of years I started watching Sesame Street on Saturday mornings and just got hooked. I had been a Muppet fan for many years, but now I started getting fascinated with the design process that went into what I was seeing on the screen. Who were these people who created the puppets, costumes and performances that were so evocative? I got very curious.

    One day, I read in a newspaper and read that Frank Oz was to appear nearby at a puppetry festival, so I took a day of vacation time and went to see him. I was just blown away by the two shows Frank did at Mills College in Oakland. During the first show, I was like an assassin. I was in a window above and to the side of the stage with a telephoto lens and a couple of rolls of film. It was fascinating to see Frank working. During the second show – they had to give two shows since so many people came – I sat out in the audience. I could feel the love for those characters all around me. After the show, I got up to go back home and back to my job of designing these boxes for scientific instruments. As I trudged to the car amidst a buzzing crowd, I had a strong feeling that I should be doing puppetry, but I had no idea how I could make a living at it. I didn’t think there was any potential at all, so I was just sad. Within about a month of that day I was asked to make a business trip, which was a very rare event. Not only that, it took me to Pennsylvania. At the end of my work, I took a week of vacation time and went to New York and visited Sesame Street. How odd that my whole career grew out of six days of vacation time. I went to Sesame Street every day and just watched them work.

    PLUME: Was the set more open then as opposed to now?

    GOELZ: At that time Sesame Street was shot at Teletape Studios at 81st & Broadway. I had pre-arranged with Frank Oz to visit the set. This was the fall of 1972. I watched them shoot for the entire week and they were all very kind to me. I had brought some puppets with me that I had made, and the Muppet people there said, “You should show these to Bonnie Erickson, head of the Muppet Workshop,” .

    So I phoned Bonnie and went across town to visit her. When I showed her my puppets, she said, “Oh, that’s great! You can build puppets. You should meet Jim, but he’s in France right now.” About a month after that, I was sitting at my desk in California and the phone rang and this voice said, “Hi there. This is Jim Henson.” I went, “WHAA?!?” He sounded like Ernie! I jumped up and looked over the partitions around the lab. Everyone was just working normally, and I had Jim Henson on the phone! I couldn’t believe it. He suggested that we meet in Los Angeles the following week when he was scheduled to appear on a Perry Como special. So we met in Los Angeles, and I showed him my portfolio. It was an industrial design portfolio that covered my career. It went something like this: John Deere tractor, American Airlines interior, Hewlett Packard laser interferometer — puppet. I told him my objective was to illustrate how my background was perfect for becoming a puppet designer. In fact, it was.

    We agreed to stay in touch. I planned to borrow some video equipment and start performing in my own videotapes. In about a month or two I got another call from Jim saying, “I’m coming to San Francisco – would you like to get together?” So I booked a hotel for him in Los Gatos. I took him out to dinner and when I picked him up he was waiting outside; a tall, gaunt figure standing in the rain. He looked frail and vulnerable. Later I would learn just how strong he really was. After dinner I showed him the tapes that I had just completed. This was around February of 1973, and he was contemplating doing a Broadway stage play that utilized many forms of puppetry. He asked me if I would be interested in being involved both as a designer and a performer. We stayed in touch and by June we worked out a deal where I came to work for six months on the designing and building phase of that project. During my stint, Muppets got a series pilot with ABC, so we put the stage play aside and worked on the pilot. Jim asked me to perform three characters in the show, so I stayed an extra couple of weeks for the shoot. Jim invited me to join the company, but I didn’t feel at home in New York, so I went back to California.

    I had been on a leave of absence from my electronics job, and during the extra two weeks that I stayed in New York, I was replaced. I realized this was a good thing, because I had been afraid that I’d go back to work, get comfortable and secure and never pursue this work that I was passionate about. After a few weeks I started my own business doing industrial advertising and videotape work using puppets. Soon I had a couple of clients and was doing good business. After about 8 months, Jim made me an offer that I couldn’t really refuse. Jim proposed that I keep my main industrial client, come to the Muppet Workshop as a designer/builder, and perform occasionally in specials. It gave me the Muppet work that I was passionate about, and included several escapes to California each year. This was an example of Jim’s business genius. He knew I didn’t like New York, so he conceived of a deal whereby I would get to leave frequently to service my client. How could I say no? So I did it.

    Continued below…