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Susan Eisenberg returns as Wonder Woman for JUSTICE LEAGUE: DOOM

by Robert Greenberger on February 8th, 2012 at 6:30 pm
Posted In: News, Interviews

Susan Eisenberg, the beloved voice of Wonder Woman in the popular Justice League and Justice League Unlimited television series, reprises her role for the next DC Universe Animated Original Movie, Justice League: Doom.

Eisenberg will join several of her voicecast colleagues for the West Coast Premiere of Justice League: Doom at the Paley Center for Media in Beverly Hills on February 16.

The event is completely sold out. However, a very limited number of VIP seats are still available to fans through the Los Angeles Times/Hero Complex, as well as the Justice League: Doom Facebook page. Fans should keep their browser focused on those two pages for details of the giveaways.

The all-new, PG-13 rated Justice League: Doom will be available February 28 from Warner Home Video as a Blu-ray™ Combo Pack, DVD and for Download. Both the Blu-Ray™ Combo Pack and DVD will include an UltraViiolet™ Digital Copy.

Eisenberg has focused her career in voiceovers for animation, video games and commercial use. In addition to her work for the past 12-plus as Wonder Woman for Justice League and Justice League Unlimited television series and the DCU films Superman/Batman: Apocalypse and Justice League: Doom, Eisenberg can also be heard in a variety of animates series, including Jackie Chan Adventures, Scooby-Doo! Mystery Incorporated and The Super Hero Squad Show, as well as video games like Star Wars: The Ford Unleashed – Ultimate Sith Edition and Command & Conquer 4: Tiberian Twilight. She is one of nine actors returning to the booth to record their original Justice League roles for the film, Justice League: Doom.

In anticipation of the West Coast Premiere, Eisenberg gladly offered some recollections and thoughts regarding her years of voicing Wonder Woman, including flirtations with Batman, her personal memorabilia collection, and the real reason Wonder Woman flies an invisible plane.

QUESTION: What do you recall of earning the role of Wonder Woman some 13 years ago?

SUSAN EISENBERG: I can remember it vividly – because it was a big deal. It felt like a real life-changer, so it’s a huge memory for me. It was 1999, and I remember going to the call back and being with Andrea (Romano) and Bruce (Timm). Even the dialogue is still clear in my memory. And when I got the call that I got the role, it really had an impact on me.

Most jobs in voiceover don’t make you feel like they’re going to change your life, but this one did. And in many ways, it really did. I got to work for six years on a series, and I’d never done something that long term.  And I was chosen to voice this wonderful, iconic character … and through these movies, I get to continue that role. It’s been fun and kind of surprising – people obviously know Wonder Woman, but it’s wonderful when they care that much that they actually recognize and acknowledge your work as the character. I walk into other jobs and people still say, “You’re Wonder Woman, right?”  That’s really a kick.

QUESTION: What’s special to you about playing Wonder Woman?

EISENBERG: Wonder Woman is truly iconic.  Everyone knows her. There’s something wonderful about playing a character who is recognized throughout the world.  And I love her strength.  I love that she stands for something and that she believes in what she believes.  She’s very, very loyal and faithful and, in the beginning, I got to play her more vulnerable, and now I get to play her more adult and stronger.  She’s a wonderful character.

QUESTION: You don’t have the benefit of weekly recording sessions to keep the voice fresh in your mind. How do you jump back into this role without a hitch?

EISENBERG: Working with Andrea and Bruce is a great because they were there at the start – Andrea has always directed me in this role, so she knows what she’s looking for. Listening to her direction is the first trick. Reading the script a few times also helps, especially to find the attitude and the voice. And as a refresher, I like to go online, check out YouTube, and play some old clips, or watch some of my DVDs. That helps to get me back in that space – and then Wonder Woman is right there in my head. But honestly, it’s not a huge leap for me – she’s pretty much in there all the time, anyway.

QUESTION: How much of what you do with Wonder Woman is through a change in your voice, and how much is really acting and attitude?

EISENBERG: A lot of it’s attitude. That’s why, if I’m speaking just normally, it’s not as if somebody next to me would ask, “Do you play Wonder Woman?”  But then when I do the attitude and lower the register slightly, you will see this smile of recognition on the face of a little kid … or a true fan. And that’s always fun.

QUESTION: Who recognizes you more – kids who watch cartoon, or the adult devotees of the genre?

EISENBERG: Kind of both, and the reactions are different, but similar. It’s really nice to have people who are so passionate about these characters.  So you get the 6-year-old child who has watched the cartoon and their eyes get big when they recognize that you’re this person behind the voice.  But then you get the 40-something-year-old who has been watching, and loves this world, and loves this universe, and reads the comic books, and cares deeply about the genre.  That’s fabulous, too.  Just to have fans is a very cool thing. No one can complain about that. It’s good.

QUESTION: Wonder Woman has some very long battles in Justice League: Doom with a lot of physicality required in the vocal performance. How’d you handle that?

EISENBERG: The initial recording session is pretty straight-forward – we save most of the impacts and grunts and physical action for the ADR session. But as I was reading the script, I just kept thinking of Dwayne (McDuffie) and thinking, “You really layered it on me, didn’t you!”  I’m going to have to be electrocuted and hit over the head and punched over and over and punch back over and over. You often have to be physical to sound physical. So – that’s a truly exhausting day.

QUESTION: What’s it like to have the gang back together again?

EISENBERG: You know, it’s thrilling because it’s a grand reunion.  I get to be reunited with Michael Rosenbaum and Kevin Conroy and Carl Lumbly and that’s like having the League back together, if you will. I didn’t that expect that to happen, and I could not be more thrilled.  Driving to the recording session, I was just so excited that we’d be in a room together. It is just so comfortable coming back into this.  It’s the best gig in town.  And anyone who does voiceovers would say that.

QUESTION: What are the scenes that appeal most to you in this film?

EISENBERG: I always like the quieter moments.  So I like my scenes with J’onn, because those two characters really can relate to each other in so many ways, and I also liked my scenes with Batman. In both cases, those were some of the quieter moments with some emotional content.  I enjoy the scenes where I have to kick some butt, too. But I truly enjoy the interplay with the other characters and the actors that play them.

I’ve never been shy about my feelings with Batman and Wonder Woman because, first of all, I love Kevin and I love working with Kevin. I think he’s amazing as Batman. And I love Batman and Wonder Woman together, and I think the fans do, too. You can go on YouTube and find all these wonderful videos of the two of them – showing their romance, put to music – so you know the fans love them together.

Playing Diana gives you a lot of different angles and emotions to play. Diana is very serious – she’s not like Flash where she’s funny and throwing out the one-liners. When she’s funny, it’s not necessarily intentional that she’s funny. And so I love the other aspects of her, when she gets to be flirty with Batman or when she gets to be funny with Flash or more earnest with J’onn. I especially like to play the flirty and hint at that romance between the characters. That’s a lot of fun.

QUESTION: How much equity to you take in this character?

EISENBERG: I’m enormously proud that I get to play her – it truly is a privilege and an honor.  People have definite, strong opinions of Wonder Woman, and she’s known everywhere. She is this embodiment of female empowerment, and that’s a thrill, too, because there are little girls and little boys and they’re watching this and seeing that she’s so strong and so tough and righteous. It’s great to be able to provide that example of heroics through this character. I’m a guardian of that, and I don’t take it lightly.  And every time I get asked to voice the role, I feel grateful – each and every time. I hope I keep getting to do it.

QUESTION: Has playing Wonder Woman changed you?

EISENBERG: In several ways. I think I’ve grown up with this part. I got this role 10 years ago, and just working alongside my fellow Justice League actors and with Andrea and Bruce has changed the way I work. And learning about this universe has changed me.  You can’t have a part like this and not feel changed by it, because it’s enviable to have this job and play this character.  There’s humility attached to that.  You know you’re lucky.  And that changes you, also.

QUESTION: What’s your attraction to voiceover work?

EISENBERG: I grew up doing radio commercials for my father’s business in Woonsocket, Rhode Island, and I loved it.  My father and my sister worked together – they would write the copy for me, and I would do the commercials for them. There’s something just so freeing about being behind a microphone as opposed to in front of a camera.  There’s no worry about your hair or lipstick – on camera you get so self-conscious.  Sure, there’s a self-consciousness in a room recording with other actors, because you want to be good. That’s just performance anxiety. I’ll take that any day over that camera and all those people staring at me.  Some people are so natural with the camera – the can just pretend it’s not there. I am so aware it’s there.

QUESTION: What Wonder Woman memorabilia do you have at home?

EISENBERG: I have a lot of pictures and some beautiful cels – all gifts from the Justice League and Justice League Unlimited.  And some small things that people have sent me – mugs and little toys and notebooks with her on the cover.  When we first started, we all ran out and bought our own action figures, so that’s right at the forefront of my bookshelf.

Best of all, I have all the scripts from the series.  I keep them in a big bookshelf in my closet. I’m nostalgic about that stuff.  It’s very sentimental to me to.  It was a big deal this job – it really does mean the world to me.  So I kept all the scripts.

QUESTION: Wonder Woman can fly. Why does she need an invisible plane?

EISENBERG: Because she likes to go in style. And why should she always be flying when there is a plane that can do it for her? I mean, why not have the private jet if you can have the private jet? Right? You’re going to begrudge her a private jet? I don’t think so.

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Radioactive Spider Invades Savannah Nuclear Plant!

by Mike Gold on February 8th, 2012 at 4:00 pm
Posted In: News

Well, this one is fun.

According to Britian’s Daily Mail , authorities have discovered white cobwebs on nuclear waste at the Savannah River National Laboratory, located at (go figure) the Savannah River Site in South Carolina.

The Defense Nuclear Facilities Safety Board (did you know we even had a Defense Nuclear Facilities Safety Board?) says “The growth, which resembles a spider web, has yet to be characterized but may be biological in nature.”

Where did it come from? And… where have we heard this story before?

According to the omnipresent “experts,” any living creature inside in the pools of “safety” water would have been exposed to the nuclear fuel and could have evolved into a new species. It turns out there is a bacterium that scientists call Deinococcus radiodurans (normal humans really don’t care – thus far) that is so resistant to radioactivity that it has been reengineered for use in the treatment of radioactive waste. So, I guess it’s possible that the spider that weaved a web, if it indeed is a web, could have survived to… oh, say, bite a wandering science student.

Which, as we all know, could give him the proportionate power of a spider. Then again, it’s probably more likely it would simply kill the poor bastard.

Or… then again… the whole thing simply could be a really nuanced promotion for the upcoming Spider-Man reboot.

Either way, you can’t be too careful and ComicMix recommends our South Carolina readers invest in some bug spray.

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REVIEW: “The Apartment”

by Robert Greenberger on February 8th, 2012 at 1:44 pm
Posted In: News, Reviews

Every now and then, we here at ComicMix like to look at books and movies beyond our normal pop culture purview to examine people who helped build the foundations of modern storytelling. We were reminded of this when 20th Century Home Entertainment sent us a Blu-ray edition of The Apartment for review. This 1960 release, out now, won five Academy Awards including Best Picture, and is a brilliant assemblage of director, performers, and story.

The movie comes from Billy Wilder who directed, produced and co-wrote the screenplay (with I.A.L. Diamond) and  is a bit of settling old business. Back in the 1940s, he wanted to deal with adultery but the Hays Production Code forbade that so he finally got his chance in this story, partly inspired by Noel Coward’s Brief Encounter.

The story features Consolidated Life Insurance’s C.C. Baxter (Jack Lemmon), who has been lending his conveniently located apartment to his superiors — Dobsich (Ray Walston), Eichelberger (David White), and Vanderhoff (Willard Waterman) — for clandestine affairs. His generosity has resulted in a variety of undeserved promotions that brought him to the attention of company president J.D. Sheldrake (Fred MacMurray) who now wants to use the place to bed elevator operator, and object of Baxter’s affection, Fran Kubelik (Shirley MacLaine). The film then explores how Lemmon can win the girl without losing his job while regaining his sense of dignity. ↓ Read the rest of this entry…

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MIKE GOLD: Satan’s Retro-Review

by Mike Gold on February 8th, 2012 at 8:00 am
Posted In: Columns

One of the charms of being into comics is the joy of stumbling across an unexpected find. It could be a new comic that came in under the radar (in other words, I missed that page in the Diamond Catalog) or an oldie I hadn’t heard of. That used to be one of the real pleasures in attending comic book conventions, before they became the Cattle Calls of the Damned.

Yesterday I stumbled across a real interesting find. An emailed gift from a friend in need, and by “in need” I’m referring to me. I was staring at my blank computer screen, reciting the mantra “need… column… idea… need… column… idea…” The gift was a wonderful albeit sickening one-shot published by Dark Horse about five years ago, produced by Eric Powell of Goon fame.

For me, Powell’s work is irresistible. So is The Goon. But that doesn’t matter. It’s impossible for me to pass up a comic called Satan’s Sodomy Baby. That’s just how I roll. This one truly has it all: The Goon, bestiality, Satanic anal rape, multi-faith humor, dumb Tennesseans, pissing fire long before Ghost Rider did it, and truly gratuitous titties. Well, just two gratuitous titties, but you see ‘em a lot.

Did I mention this book isn’t for kiddies? Of course if you’re a parent that’s your decision; I ain’t trying to tell you how to raise your children up. But even Powell is on the same page: the false-cover consists of a blurb that says, and I quote,

WARNING: This comic contains material unsuitable for children. It’s filled with vile, morally reprehensible subject matter that is quite possibly illegal in some states, and if it’s not, it should be. Do not open this comic if you are under the age of 18. Do not open this comic if you have strong religious convictions or even the smallest hint of human decency. Do not open this comic if you love Satan. Do not open this comic if you have strong political beliefs. Do not open this comic if you are homophobic. Do not open this comic if you are racist. Do not open this comic if you love farm animals. In fact, unless you have no strong feelings about anything, THIS PROBABLY ISN’T THE COMIC FOR YOU. Unless you have a sense of humor.

Yow! Talk about your variant covers!

This book is hilarious. Pull the stick outta your ass – Satan probably put it there anyhow – and give it a read. I suggest doing so after an episode of Justified.

THURSDAY: Bring it on, Dennis O’Neil!

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REVIEW: “Wally Wood: Strange Worlds of Science Fiction”

by Paul Kupperberg on February 7th, 2012 at 5:00 pm
Posted In: News, Reviews

Wally Wood: Strange Worlds of Science Fiction
Vanguard Publishing, Trade paperback, 224 pages. $24.95
Introduction by J. David Spurlock

A friend of mine owns the original art to a page of what he (and I) consider the zenith of Wally Wood’s creative genius, “The Mad ‘Comic’ Opera” (MAD #56, July 1960, written by Frank Jacobs). It is a lush piece of work, a cartooning tour de force that causes wide eyed disbelief on the printed page and gasps of astonishment when viewed in its larger, original form. “The Mad ‘Comic’ Opera” is an amazing moment in time, a moment that offered Wood a piece of work which allowed him to show off everything he had learned in his preceding dozen or so years as a comic book artist.

There is not a false note or creative misstep in a single panel of this six-page feature, not in layout or story telling, not in his use of Duotone to bring depth and dimension to the black and white page, and certainly not in his ability to do pitch-perfect parodies–albeit as “real people”–of the comic strip characters populating the story The operatic death scene of Dagwood Bumstead alone would have been enough to cement a lesser artists’ reputation; in the hands of Wally Wood, it was just one panel among some three dozen bits of perfection.

Wally Wood may never have been better, and, in his later and sadder declining years, he often operated at a level that was, in comparison to “The Mad ‘Comic’ Opera,” heartbreaking but which, viewed on their own, were still better than three-quarters of what anybody else was doing. It is also no secret that Wood frequently employed assistants and ghosts to help him turn out the volume of work he produced, but their use was no concession to quality or creative control. As Michael T. Gilbert wrote in the article “Total Control: A Brief Biography of Wally Wood” from Alter-Ego Volume 3, #8, “In the ’50s he mainly worked with Joe Orlando, Harry Harrison, and Sid Check. In later decades he was assisted by Dan Adkins, Ralph Reese, Wayne Howard, Larry Hama, and Bill Pearson, to name a few. No matter. The end result was unmistakably Wood. Helpers or not, the quantity and consistent high quality of the pages were unbelievable. He was always in control of the final product.” ↓ Read the rest of this entry…

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Watch “The Amazing Spider-Man” Trailer, Now With New Hidden Web Site Link

By Glenn Hauman on February 7, 2012

It's quite possible you've already seen the new trailer for The Amazing Spider-Man, but if not, take a look... and in fact, look very closely: You may have noticed Ol' Webhead leave his mark, and not just on the walls... the ...

REVIEWS: “Annie Hall” and “Manhattan”

By Robert Greenberger on February 7, 2012

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MICHAEL DAVIS: David

By Michael Davis on February 7, 2012

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Simpsons Toys Banned In Iran

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REVIEW: “In Time”

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Andrew Niccol is an English teacher’s dream, presenting visually compelling dystopia in movies that feature pretty people in dire straits. While his 1997 debut, Gattaca, got us all interested in him as a visionary, he has offered up precious few ...

MINDY NEWELL: Great Books! And 1 Movie!

By Mindy Newell on February 6, 2012

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Watch the Extended “John Carter” Super Bowl Ad

By Glenn Hauman on February 6, 2012

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Patriots vs. Giants

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Look! Over in Indianapolis! It’s a patriot… it’s a giant… it’s Super Bowl!

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REVIEW: “Bloom County: The Complete Library, Volume One: 1980-1982″ by Berkley Breathed

By Andrew Wheeler on February 5, 2012

The erstwhile "Berke" Breathed, who at some point in the last two decades learned what a "berk" was in British slang and decided to extend his professional name, presents one ...

JOHN OSTRANDER: 101 Mistakes

By John Ostrander on February 5, 2012

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MARC ALAN FISHMAN: Justice League Light Vs. Justice League Dark

By Marc Alan Fishman on February 4, 2012

This past week, I read both Justice League #5 and Justice League Dark #5. To say they are worlds apart is a bit on-the-nose, but suffice to say... it’s the ...

The Point Radio: Adam West On DARK KNIGHT

By Mike Raub on February 3, 2012

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MARTHA THOMASES: George Lucas, Black History, and African-American Comics

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Busting

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MIKE GOLD: Stupid Logo Tricks

By Mike Gold on February 1, 2012

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By Robert Greenberger on January 31, 2012

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Previews

DC Comics April 2012 Solicitations

PREVIEW: “Jim Henson’s Tale Of Sand”

DC Comics March 2012 Solicitations

DC Comics February 2012 Solicitations

Preview: “Darkwing Duck” #18 — Like A Fenton From The Ashes!

Preview: “Daredevil” #6

Preview: Betrayal Of The Planet Of The Apes #1

Attack Of The ComicMix Columnists!

  • MIKE GOLD: Satan’s Retro-Review
    One of the charms of being into comics is the joy of stumbling across an unexpected find. It could be a new comic that came in under the radar (in ...

  • MICHAEL DAVIS: David
    When I was a kid around 12 years old I met another kid around the same age while at the library. This was a big deal because I was black ...

  • MINDY NEWELL: Great Books! And 1 Movie!
    So what are you reading? Fellow ComicMixer Bob Greenberger recently talked about To Kill A Mockingbird a couple days ago as he prepares to teach his class. To Kill A Mockingbird is, ...

  • JOHN OSTRANDER: 101 Mistakes
    Almost every mistake I’ve ever made as a writer comes down to what I call a “Writing 101” mistake. I’ve been writing for a living for umpty-bum years at this ...

  • MARC ALAN FISHMAN: Justice League Light Vs. Justice League Dark
    This past week, I read both Justice League #5 and Justice League Dark #5. To say they are worlds apart is a bit on-the-nose, but suffice to say... it’s the ...

  • MARTHA THOMASES: George Lucas, Black History, and African-American Comics
    In the hopes of beating the Black History Month rush, I went to see Red Tails last weekend. George Lucas had been making the interview rounds and he discussed how difficult ...

  • Dennis O’Neil – Sick, Sick, Sick
    Our pal Denny O'Neil usually occupies this space at this date and time. Sadly, he's under the weather, which sucks because the weather was 60 degrees and mostly sunny in ...

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Reviews

  • REVIEW: “The Apartment”, by Robert Greenberger
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