We’ve got more with David Giuntoli, star of NBC’s GRIMM, on what is the big reveal for season two and what we can expect in Season 3, plus Free Comic Book Day fun & profits, Image’s big sales and comics in general with another good month in the shops, except for DC.
Looks like it is just Interview Central around here these days, folks. Because following up on last week’s column, in which I briefly recapped my Awesome Con DC experience and posted my interview with the fantastic Phil LaMarr (go read/listen if you missed it last week! Good stuff!), I now get to share with you my Awesome Con DC interview with the excellent Billy West! Hooray!
Even if you somehow haven’t heard the name Billy West, before, I almost guarantee you’ve heard his voice. Voicing everything from classic cartoon characters like Bugs Bunny, Porky Pig, Elmer Fudd, Woody Woodpecker, and Popeye to four of the main characters on Futurama (Philip J. Fry, Professor Farnsworth, Dr. Zoidberg, and Zapp Brannigan), Billy has voiced characters on a myriad of other shows as well, including title characters for Nickelodeon’s Doug and TheRen & Stimpy Show; and is also the current voice of product mascots Red the M&M and Buzz the Honey Nut Cheerios bee. Billy was also one of the voices of The Howard Stern Show from 1989 to 1995, where he did astonishing impressions of everyone from Johnny Carson and Al Michaels to an ailing Lucille Ball. (His Jay Leno is uncanny.) As a voice actor, Billy has an amazing range – going seamlessly from one character and reaction to another; and you can see some fun examples of that here. For a good time, I also recommend the Star Wars Trilogy: The Radio Play video, shot at ECCC last year and featuring Billy and a number of other talented voice actors doing the script of Star Wars in some of their iconic voices (including, for Billy, Stimpy, Fry, Farnsworth, and Zoidberg). My absolute favorite bit is when he does Porky Pig at about 45 minutes in. Seriously. You must watch it.
But quickly! Before I get lost in YouTube again: let’s get to the interview! If you want to listen to the interview (listen to it! He does Richard Nixon’s head in a jar!) you can do so here. Or, you can read the (slightly edited) transcript below!
Hello, this is Emily Whitten for ComicMix, here with Billy West at Awesome Con in DC. Billy, thank you for being here with us – and Billy is busy, so we’re doing this while he eats.
I ain’t that busy; I can talk with a mouth full of vegan sandwich.
That’s fair! So you are such an amazingly storied voice actor, etcetera…
Aww, thank you.
There’s a lot to talk about, but I’m going to try to distill it down a little bit. Let’s start with the earlier things; so – how did you decide to get into voice acting? Because I know you also are and were a musician; so what was the career path there?
Well, I remember I was like a little freak, you know? I was always running around making noises, and doing voices. Every time I wanted to play the piano – we didn’t have one, but if we were at somebody’s house – to me that was a golden opportunity. I just wanted to hear it, touch it, and make it do something; because the sonic world that I had going on in my head would dictate that I would go over there; but the thing was: I couldn’t play. And down comes the lid: “Can you not do that?” I heard that more than any other kid, probably, in the world, “Can you not do that?” And I was always trying stuff; it was peripheral and surreal; abstract stuff, but, you know.
I had a weird childhood. My house was a horror-house, and my dad was just, like, certifiable, and a drunk and a crazy; so I was growing up kind of terrified. And I was very hyper-vigilant. I could tune in to things – like I could tell you what kind of a night I was going to have by the way the car pulled up in the driveway, or the way the key went in the door. I was so in tune with people’s behaviors – you know, out of survival mode. But it also trained me, like a cop. I was becoming an observer; an extreme observer.
So from your experiences, you were able to be observant about people and how they acted and how they behaved, and so that would help you later on?
And I loved radio. Oh, I loved radio so much, because of the voices. And there were still some radio plays going on when I was a kid. There was a radio guy named Stan Frebergthat had a radio show; and he had one of my favorite voice guys on it, whose name was Daws Butler, and he did a lot of the Hanna-Barbera stuff. He was a little ball of fire, this Daws Butler; and I just came to know these people. But there was no way you could know anything about show business in those days; because there was no emphasis on it. That was for “other people.” You know, “Well who?” It was like: nobody in my town. I was such a geek, I had to hunt down the only other kid who had comic books, and he lived on the other side of town. I just set my inner GPS and found him. I just walked and walked until I found him somewhere.
So what kind of comics did you read, when you and this kid were growing up?
Silly stuff; we read the Marvel stuff – I didn’t mean that that was silly – [Marvel and] DC comics were not silly, they were exciting. But, like, Gold Key Comics were silly; there was The Fly, which was Archie Comics, and he was their superhero – and he fell by the wayside because the other machines were a little more happening and powerful. But I had the original issues of some really important comic books. I had secret origins of like, Batman and all of those. They came out around 1960; 1959, maybe 1961.
Do you still have them?
No. No, it went up my nose, heh.
Back in the day?
Yeah.
Well, do you still follow comics these days?
I try to. I like the revamps of stuff they’re doing. Because there’s so much time that has gone by, that these characters have been around, and eventually they’ve got to morph. You know, they’re not going to get older on us, even though they can dance in and out of timeframes, to show old Superman, like where he wound up.
Yeah; they did that, of course.
Yeah! And there are so many comic books that it’s tough to keep track of them.
Do you watch the movies?
I try to go to movies, yeah, when I can. I’m writing a lot, and I stay up late, late into the evening.
Oh, okay, what are you writing right now?
There are a couple of projects that I’ve got going with my partner that I worked with on Ren & Stimpy. His name is Jim Gomez; and we’ve put together five fully developed shows, most of them animated. We’re pitching them around town, and we’ll see what happens. I love doing what I’m doing – you know, I can be an objective fulfillment machine for the rest of my life – but at some point I do want to create or own something, and give myself the objective.
I think all creators feel that way – it just makes sense.
Yeah – I mean, but I will still always go and work for somebody else, probably doing voice-over.
Now you said that you love radio, and you’ve been on the radio – and I know when I was growing up, I heard you on K-Rock; so tell me, what was that experience like? I mean, I used to listen to that in the morning, when I was getting ready for school…
Didn’t you feel like there was subterfuge involved with that? Like you couldn’t just let everybody hear that.
Yeeeaaah; don’t tell my parents, okay? They didn’t like that show; they didn’t like Howard Stern. I had to be subtle about it.
Of course not. Of course not; but the people who listened to it got it. They understood that everything was silly. It was all about being totally silly in the face of the most horrific subjects.
And pushing boundaries.
Yes, pushing boundaries. It was very organic. We didn’t play records. And Howard was a great ringmaster; he knew, okay, when something’s enough. We’d beat it so far, that’s fine, let’s go to commercial and we’ll start something else. He’d always keep things moving.
And how did you end up working there? I know you’d worked in radio before that.
I was in radio in Boston, and I wasn’t a disc jockey. I was very creative, and showcasing the works of others for a living didn’t turn me on; because I would always feel like a curator in a museum. But these disc jockeys were really pompous about playing records, and it’s like, “Dude, you didn’t create the statues; you just dust them.” And I used to get reamed for having that type of attitude. It’s like, “You’re not allowed to unmask these icons,” and it’s like, “Screw you. You don’t do anything.” I was always surly because there was so much phoniness that used to drive me crazy. My heroes were the artists, not people who were famous for some cottage industry reason – like disc jockeys or TV show hosts. They’re not creating anything. So my heroes were never celebrities. It was always artists. And if they happened to be a celebrity that was a byproduct of their great artistic talent.
Right. So being on a show like The Howard Stern Show, where you got to interact and do your own thing, that was what you were looking for.
That was very appealing to me. And you had to be ready for anything.
So did that help you prepare in large part for the voice acting? And were you also doing voice acting some when you were on the show, or did that come later?
Well I’d already been doing voice acting in Boston, on the radio, and then when I went to New York there was just more of an opportunity to open up and to push myself to see what I was capable of. Plus, I had one of the funniest people in the universe lobbing in little lines here and there for me. But people said, “Ah, Jackie wrote everything for you.” Hey, yeah, sure: let me just talk straight, in a character, for seven minutes. A guy can’t write every bit of dialogue that you say for seven minutes. He can put in ideas, and you integrate them into your conversation. I mean, he did it for Howard all the time. But Howard was very generous; I mean, that’s like loaning somebody a nuclear weapon, that he would let Jackie Martling facilitate me.
And now when you were doing all of this, I know you also played guitar and had a band, and you’ve played guitar with Roy Orbison, Brian Wilson…
Oh, I opened up for a lot of famous guys that I knew growing up, like Roy Orbison, Chuck Berry, The Four Seasons, and Jan and Dean… And later on in life I actually got to play with Brian Wilson.
When was that happening, in comparison to the radio and the voice acting?
Radio just started happening as I was phasing out of playing music.
Okay, so that came a little bit before?
Yes, and then after a moratorium, when I did pick up again, in the future, as the years went by, I wound up playing with one of my idols, which was Brian Wilson.
So what was it like playing with Brian Wilson?
It was so strange; because the first time I played with him, we were at a little hall in Santa Monica, by the beach; and it was me and The Cars guitar player – Elliot Easton – and we were playing with Brian, and then a friend of mine was playing bass. We put together a little band; but I mean, I knew every note of the whole catalogue, I knew every harmony, I knew every chord change, because I was so into The Beach Boys. The Beatles and Jeff Beck; the English stuff was good. But The Beach Boys were our band. And it was like a dream, you know, just playing with Brian Wilson.
And then next thing, we’re at Lincoln Center. And then we played David Letterman. And it was crazy, I mean I’m playing these songs with Brian Wilson; and I still can’t get over it. You know, he did all those hot rod songs – girls, and cars, and fun – and we did 409 onstage, and he was singing 409, which is the old hot rod song, and in the chorus, “Nothing can catch her, nothing can touch my 409, 409,” I started going (hot rod revving noises), and he looked over with this happy, astonished smile, like a little child. He’s like: “What’s going on? But I love this, whatever you’re doing over there.”
Oh, that’s fantastic. So now obviously your voice acting is a large part of your career, and Futurama is a huge part of that – and you developed Philip Fry, well Philip J. Fry, if I’m doing the whole name —
— Well that’s because most cartoon characters’ middle initial is J. Rocket J. Squirrel; Homer J. Simpson; Stimpson J. Cat.
Yes. So when you were developing that character; you’ve said that Fry is similar to you at twenty-five; so when they had you in auditioning for Futurama, did they ask you to develop that character; did you come in saying “this is something I have,” or what?
They showed me the pictures when I went in, and there was some dialogue they wanted me to read; and…you know what it’s like – something, you look at it and it just gives you an impression, and depending on your experience, or your talent, or your intuition, you’re hoping that you’ll come up with what they’re looking for. And all of them were pretty much very close to what I gave them. They described Fry, and I said, “You know what? I don’t do this very often, but I’m going to just use my own voice, like when I was twenty-five.” I remember, I was very whinyyy, and complainyyy, and I just know I had a plain vanilla voice. I had no idea I had this wild animal in my throat somewhere; this big clumsy beast that could do anything. You know, I really didn’t know back in those days. Because I was singing and playing. But I would go in and do voices on stage like when we blew up an amp, or a string snapped, or whatever. Out of embarrassment, I would just keep going and entertaining. Might not have been the music or anything, but people loved it. Launching into characters that I would make up, and imitate, or whatever.
Right. And now, on Futurama, you do a lot of the voices. How did that come about?
They would just keep showing me pictures, and I auditioned for everybody, including Bender. I played him as a construction worker, and John DiMaggio came in and mopped the floor with that audition. He played him as kind of a punch-drunk fighter.
Yes, Bender is a great voice.
Oh, it’s beautiful. And it developed into what it is. In the beginning, none of us sounded like who we were. I mean, that’s who we thought we were, at the time, but voices morph. You listen to an episode #10 from The Simpsons, and you listen to the 200th episode, and it’s like, “Huh?” Well, Homer Simpson was like (voice impression), and then later on he developed all of these other facets that make the character so interesting and believable.
Yes. Now in Futurama, or your other roles, what are your favorite characters to play or have played? And what were the most difficult?
I love doing all the characters, and I love them equally; so I can’t pick out a favorite. Because I just try to bring so much imagination to it. I was always trying to do something nobody had done, and that served me well. I didn’t want to mimic people. I could do it – I’ve held up franchises. I did four years of Woody Woodpecker; and Popeye…the works, you know? But you only make your mark for real if you start creating and it catches on. And you have faith that you’re just as good as those impressions that you relied on; that were your little power base.
Right, well because they were starting out once, and they made up those voices, and so why not you? And so what was the most difficult voice to do?
I don’t know; I know that I had become fearless; totally fearless. I’m not afraid of anything, and I’m willing to try anything. I’m willing to fail. I was like that in comedy clubs. Because it didn’t make sense to me – why should I memorize twelve minutes worth of material and then go out and pretend every night that I’d just thought of it? I needed stakes. I needed real things at stake like dying or bombing [on stage]. I really did, and I wasn’t afraid to.
Did you do a lot of stand-up?
Not a lot. A little bit, and then I got into radio, and that was it. Stand-up is very, very hard. There are guys that are just so, so amazing at it and everything. But my forte was not stage performance, doing stand-up. My forte was radio; and that was a bigger playground. You could dodge in and out of characters, and you didn’t even have to have written material; you could ad-lib while you’ve got these crazy voices going back and forth.
In your voice work, how much do they want you to or let you ad-lib?
They want to get what they want to get; ideally, what they had in mind. And then after you do that and they’re happy with it, they ask you if you thought of anything, or you want to add or bring something; and a lot of times I would, and a lot of times it made it in. A lot of it just winds up – they want more rather than less. Because that way they have options; they can play with stuff they didn’t think would work and all of a sudden, oh my God, it works beautifully.
Right. Because sometimes improvisation is the best part of life.
Yeah; but it’s also this constant wonderment of discovery – whether something’s going to work or not. That’s exploration. It’s like, you try to control every aspect of everything as much as you can, but when serendipitous things happen, like, “What was that thing you just did?” “Oh, you mean this?” and they’d say, “Yeah, what if he just goes right into that?”
Like when I did Nixon – I’m old enough to remember when Nixon was running for President, and John F. Kennedy, and they did the debate on TV. And I was astonished at how perfect Kennedy looked – like a game show host, with his perfect teeth, and his buttered-toast hair. He was made for TV. Nixon was made for wanted posters. He looked like a stolen car. And he was (in character) “shifty-eyed, and he was nervous and…ar-rar-rar.” And he was sweating. While the interview was continuing, he was getting worse, and his beard was coming in; you could practically see the bottom half of his face get darker and darker. And I said to my mom, “Mom, he’s going to turn into a werewolf!” Because I loved horror movies, like with Lon Chaneyslowly turning into the werewolf. Nixon was kind of almost there – lycanthropic. So he was just doing his thing, and I said, “That’s awful; he’s almost unwatchable.”
And then years later, I get the chance to do Nixon, as a head in a jar, and I would say something like, (in character) “You filthy hippies, get off the grass outside this White House,” and then all of a sudden I would go: (werewolf noises). Like I was changing. You know, just replacing words with noises and stuff.
Hah, wow. I know it’s hard work, but it just sounds like so much fun.
Well, you gotta keep coming up with new bags of tricks, and keep expanding them and everything. That’s how you keep working.
Now you were saying earlier that you have essentially had conversations with yourself. Some examples of that are Farnsworth introducing Fry to Zoidberg [in Futurama], and then Doug and his arch-nemesis. How do you deal with that; how does that work in your head? Because that seems to be even a double challenge over consistently trying to sound a certain way.
It’s like I had my boot camp training in Boston doing consecutive voices. Because I got a job as a producer; and there’s no producer school you can go to. I had to learn how to splice tape, and I had to learn how to write and create my own characters and bits; and then put it together so it could be air-able; with sound effects, and music, and everything. I didn’t quite know what I was doing, but I just did it.
And it works for you!
Yeah, I mean, I’m very strange in that way; like I still, to this day, can’t tie my shoes properly, I just can’t. And a necktie, I have problems with. I can’t do anything practical; but if you ask me to do something only like, four or five other people in the world can do, I have no problem.
So now as a voice actor, what’s the experience of celebrity? How do you experience that as someone who’s mostly known by different voices, so someone might not actually know, talking to you, that yours was the voice they’ve heard on shows?
Well, celebrities were never my heroes. Never. To this day, I don’t give a dismal damn, really, whether Kim’s having problems with her pregnancy, or whatever. It’s like, “Fuck you.” You know what? Anybody who can fart the national anthem can become a celebrity. Any stupid-looking bald guy can throw on an earring and a goatee and a leather jacket, and now he’s Pawn Stars. And they pose these guys like rappers, like album covers; they’re all big, bad, and bald – and they’re basically lucky imbeciles, because show business ain’t what it was anymore, now it’s supposed to be “reality.” These guys just have to be who and what they are. And then they learn how to act; because they go, “I like this ride very much;” and they know it’s going to be over, and they want to stay in that business. They don’t want to go back to oblivion.
Yes. So how do you interact with fans? And do some people just know your whole oeuvre? What is that experience like?
There’s people that know more about me than I do. Because I can’t remember every little fiddle-faddle, you know? But I’m just grateful; I’m so grateful – I mean, what are the odds that there would be people in this world that would put aside time in their life to know what you do, and to follow it? It’s mind-blowing to me; it’s surreal – and it still is, to this day.
Well that’s a great and very humble attitude.
Well, I mean, I know. I know the drill, I know the deal. You have to somehow connect in one way or another with people who admire you; and hopefully you’ll keep up the same standard of work that turned them on in the first place. So I always try to – whatever new thing comes along, I just try to come in like gangbusters; you know, get some attention. Like, I like to turn tables over, bash chairs. You know, when I first went to New York I was like a Terminator. I got all skinny because I knew I was going to be walking everywhere, and auditioning; and I used to listen to bagpipe music.
Bagpipe music?
Yeah, because I’m half Irish; and when I hear bagpipe music, it makes this Celtic side of me boil, and prepares you to go into battle. I’d be galvanized, like I was marching into a glen with my compatriots, and we’re all going to get stabbed and shot; but it’s okay, because we’re doing it for the right reason. And I used to listen to all these bagpipes, going up 2nd Avenue, 3rd Avenue, to work, and I would get to the audition, and I’d feel like a Terminator.
Like you were ready. That’s fantastic. Speaking of getting ready for new things; what are you working on currently that we should be looking forward to?
I’m doing some kids’ stuff. I never used to get hired by Disney; because I wasn’t their kind of guy, you know what I mean? The stuff I did was very Gothic and dark-ish, like screaming and yelling and very dramatic. But I got this show called The 7D; and I’m playing Bashful, because the 7D are the seven dwarves. (Singing) “We’re The Seven D,” and they get a beautiful, cute song and everything. And I love it; I love it to pieces.
And is that out now, or coming out?
It’s coming out. And I was doing some voice work for Avengers Assemble. There’s a character called Rocket Raccoon. So I’m doing him. (In character) “Yeah, he’s got kind of like a Joe Pesci. And like, Steve Buscemi.” “Blood has been spilled, Jerry. I’m through fuckin’ around wit’ you, Jerry.” But somehow he has that voice. I thought it would be perfect to just tweak it; and it’s not a dead-on impression – I could care less about that. What it is, is: “Is it funny? Is it interesting? Does it fit?” I did a bunch of hours of recording the other day. And then I have my projects going. That keeps me busy because I’m always writing. I stay up all hours and stuff, but it’s a labor of love, so you feel energized somehow.
Yeah! Well I hope that we see some of that from you soon.
I hope you do, too.
And thank you so much for this interview.
My pleasure.
• • • • •
Nope, it was totally my pleasure, Billy. You’re delightful.
Big thanks to Billy West for the interview, and big thanks to the ever-helpful Kevin O’Shea, producer for Made of Fail Productions, for cleaning up the audio file for me. (And as ever, check out the Made of Fail podcasts for fun geek-tastic discussions, in which I have actually appeared a couple of times.)
That’s all for now, and until next week, when I’ll be sharing my interview with the talented cartoonist Nick Galifianakis, Servo Lectio!
Superman is a science fiction story. What else can you say about the sole survivor of a doomed planet coming to live on Earth? As a result, some of the best stories about the Man of Steel have been science fiction in nature so it’s a wonder that it has taken this long before one of his confrontations with fellow alien Brainiac was brought to the screen. The feature films keep reusing Lex Luthor and General Zod, ignoring the computer construct from the distant world of Colu, who has captured specimen cities from countless worlds, including one from Krypton.
Thankfully, the folk at Warner Animation have recognized his incredible potential, first by reimagining him as a closer part of the mythos in their Superman: the Animated Series and now in Superman Unbound. The core story is lifted from Action Comics #866-870 by Geoff Johns and Garry Frank and collected under the title Superman: Brainiac. To place this in perspective, the story comes after the Infinite Crisis reboot of the DC Universe continuity, meaning Supergirl is still adjusting to being on Earth and neither has encountered Brainiac before.
Bob Goodman, who did an admirable job turning The Dark Knight Returns into the previous two films, once more, tackles the iconic characters. Here, he has a far more emotional story to deal with and made only a handful of major modifications, notably downplaying Pa Kent’s role and keeping Lois and Clark single folk. He and director James Tucker make for a good team and the story moves fairly seamlessly but the action pieces are where things fall apart. We’re told repeatedly how utterly Brainiac is and yet he continues to send endless constructs after Superman despite it being obvious that they are ineffective. How shall I put this….it doesn’t make any freakin’ sense except to give the animators something fun to do.
There’s tension between Superman and Supergirl over her readiness to be Earth’s protector; there’s tension between Clark and Lois about their relationship being stalled by his overprotectiveness and then there’s the larger problem of Brainiac having stolen Kandor and now attempting to bottle up Metropolis. There are nice resonances established between these three threads and Goodman does a good job making Supergirl and Lois well-defined characters.
Once more Andrea Romano delivers with an excellent vocal cast, bringing verve to Goodman’s script. Castle’s Stana Katic makes for a powerful Lois (and I thought Dana Delany had it nailed) and she’s well paired with her TV costar Molly Quinn, who is a vulnerable teen Kryptonian. Matt Bomer drops his voice to a tone deeper than his usual White Collar character and is almost unrecognizable. On the other hand, Fringe’s John Noble is wonderfully creepy as Brainiac.
Tucker, though, botches the character design. Superman’s square jaw is now a tapered, pointy thing that robs him of power. Lois is way too thin for normal proportions and Pa Kent is a caricature of the influential father he should be. Tucker does better with Brainiac and his ship along with the Kandorians (and kudos for the Ultra the Multi-Alien cameo).
Overall, this is a satisfying adventure with a nice emotional undercurrent.
The 75 minute feature is supplemented on the Blu-ray with two nice thirty minute featurettes: Kandor: History of the Bottle City provides the historic context for how this was introduced and how it altered the mythos. Marv Wolfman, Mike Carlin, Bob Goodman, Geoff Johns and Dan DiDio all chime in on the bottle city and its charms. Heath Corson is also included, a writer with no connection to Superman or DC or context provided so he’s an annoying presence. The second piece, Brainiac: Technology and Terror is less successful since there is tremendous confusion between what is said and what is shown. Despite having Wolfman and Carlin to provide some history, everyone goes from discussing the original Silver Age creation to his reimagining in the latter years then skip ahead to his modern day incarnation. But visually, the goateed Milton Fine is seen from the John Byrne era reboot but never mentioned. Similarly, we’re shown images of Brainiac 5 from early Mike Grell Superboy and the Legion of Super-Heroes but he is never mentioned so Brainiac’s legacy in the history of the DCU is also absent.
The Blu-ray has, exclusively, the Kandor feature and four episodes of Superman: The Animated Series and a digital excerpt from the Superman: Brainiac collected edition. The combo pack comes with the Blu-ray, DVD (with the Brainiac featurette) and an Ultraviolet digital copy.
As well as her triumphant (and briefly interrupted) run on Batgirl, Gail has introduced a new Superhero…perhaps “team” isn’t the right term. The title describes it best; The Movement. Too easily waved off as a play on the Occupy folks, The Movement is also equal parts urban watchdog group, police oversight committee and street gang, with a bit of Anonymous and Teen Titans thrown in.
It’s set in new fictional DC town Coral City, a town high in crime and police corruption. As a pair of dirty cops offer to let a pair of young people go if the female offers them a free show, they are quickly surrounded by members of The Movement, clad in masks (which had BETTER be getting handed out at cons this summer, thank you very much) and cell phones, recording and disseminating the cops’ indecent proposal.
The part of town known as “The Tweens” is under the protection of The Movement, which seems to have both powered and non-powered members. Incursions by the police, even the precinct’s honest captain, are not welcome, and are met with force. The Movement has the might to
There’s the hint of a theme first touched on by Mark Waid in his last (and sadly underappreciated) take on Legion of Superheroes, in which the Legion was more of a youth movement than simply a superhero team. As here, they represent the idea that since they are not being watched over by anyone, they will watch over themselves. The Movement has organization and the power to make sure their part of town is not threatened from without, and protected from those within.
Freddie Williams’ art has a very loose line, , far better suited for a more character-oriented book like this. The panel layout is very interesting, often a large splash image hiding under numerous smaller panels – the storytelling is dense, and fast-paced. It’s a unique look, very well used in this very unique book.
This is far from standard DC fare, and Gail fills it with very interesting characters, about whom you immediately want to know more. I expect the tale of how these people got their powers, and how they found each other, will all entertain and interest readers for some time. Being a unusual title, I’m hoping it finds an audience, maybe even one outside of the normal clientele of comic shops.
I’ve written a lot about comics these – holy septuagenarian! – past 47 or so years, but I’ve never before used the faux sound effects lead that appears above. So. okay, why now?
I’ve always assumed and will continue to assume until the universe corrects me, that the aforementioned lead, perpetrated by a legion of journalists ever since comics have come to the attention of the multitudes, was inspired by the Batman television show that was aired on ABC from 1966 to 1968. Clever, y’know. Catchy. The video folk, in turn, got the faux onomatopoeia from old comic books; the stunt was, they superimposed these sound effects, lettered in garish display fonts, over fight scenes. The overarching agenda was to spoof Batman comics, particularly the Batman comics of the previous decade, by juggling contexts and emphasizing the goofy.
Batman as self-satirizing comedian? Okay by me.
But this form of comedy was much of a particular time and place, a brief, shimmering few years when the nation was in an experimental and iconoclastic mood. The mood changed – don’t they always, darn ‘em! – and after three seasons, Batman-the-television-star left the airwaves, and Batman-the-comedian joined the ranks of the unresurrected.
I’ll testify that comedian Batman deserves a place in the Batman pantheon and I’m sure that the show has its partisans, maybe fierce partisans. But is the world clamoring for a return of this odd form of humor? As I suggested a paragraph ago, it was unique to time/place Or so I’ve been believing.
People at DC Comics apparently believe I’m wrong. Our friends at the Comic Book Resources website inform us that “DC Comics will expand its digital-first comics line this summer with the debut of Batman 66, a series based on the classic television series.”
A number of ways this could go. Try to recreate the spoofy sensibility of the original. Do the comic as a period piece. Play Batman as a comedian using contemporary humor. Structure the stories as the old tv episodes were structured, with a cliff hanger half way through the story. Or do self-contained stories, the kind that were a staple of the old comics. Or do open-ended serials. Preserve the cast of the original. Recast with Batman’s current supporting characters. Mix and match all the preceding or – astonish and delight me with something I haven’t thought of.
I can’t help wondering how this project originated. From whence came the idea – editorial department or marketing department? Or some department in California? Not that it makes a lot of difference; there’s no mandated origin site for good stuff. But if there’s a reason to be skeptical, it might be that folk who can get projects going remember the joy that got from some entertainment when they were children and believe that the entertainment was supplying the job and not their own curiosity and innocence and, further, that they can recreate what they liked and, further still, that today’s audience will respond to the same kind of entertainment.
Let’s open our minds and see what happens.
Note: Thanks to Darren Vincenzo for alerting me to this column’s subject.
Remember crossovers? Way back in the day, they were the biggest deal in comics.
They were so rare that, in Marvel’s earliest days, a crossover between Iron Man and The Angel was “by permission of the Uncanny X-Men.” The whole Earth-One / Earth-Two thing at DC was breathtaking, a fan’s wet dream. Heck, we even thrilled when Blackhawk simply mentioned Superman.
Maybe the most significant crossover of that time was when The Fantastic Four encountered The Hulk. It was published the same month that The Incredible Hulk was cancelled… but it was so successful that a year later The FF brought in The Avengers to help in their rematch with Bruce Banner’s alter-ego – in a two-parter, no less!
(Yes, back when crossovers were relatively few and far between, two-part stories came about as often locusts.)
Today, crossovers are no longer a big deal. Actually, they’re no deal at all: continuity is so tight and the universes are so integrated that each character’s individuality is subservient to the fabric of its universe. If there was a crisis so big that it attracted the entire Marvel or DC universe, the bigger crisis would be the resulting traffic jam.
Now before you think this is a “Hey, kids, get off my lawn” moment, please rest assured I enjoy the current tightly integrated universe approach. By and large, they do a great job of it over at Marvel and I suspect DC would do a pretty good job as well if they ever decide to go three years without a reboot.
Recently we’ve been experiencing the merging of both approaches over at Dark Horse. Back when, they had themselves a line of superhero comics called “Comics Greatest World.” I enjoyed much of it: they were well done (some, of course, more than others) and together they expressed a different worldview. This is the critical element often lacking in many “new” superhero universes.
But what’s cool is that they’re slowly reasserting Comics Greatest World. Not rebooting it, and barely relaunching it, this effort mostly focuses on their new series bringing back their character Ghost. It’s clearly still set in the CGW universe and characters from that universe appear in the series… perhaps, and presumably, as a launching pad for future series, mini and otherwise.
Seeing as how I enjoyed that worldview and the original CGW launch, I wish them luck. And it would be pretty cool if these current efforts don’t overplay that tightly integrated universe thing and restore, in a small way, the uniqueness of the genuine comics crossover.
So, ComicMix readers, as per my previous column, Awesome Con DC happened April 20 and 21…and, I say this unironically, it was awesome. I had a blast. I spent time with good friends; I met new friends; I walked the con floor and met comics legends (great chat, Larry Hama!) and witty and charming award-winning artists (hello, Ben Templesmith!); and was delighted with the strong turnout of talented local comics folks. I went to a couple of panels (amazing, for me, since I usually plan to go to tons and then don’t go to…any); and wore my Girl Jayne Firefly costume. And yes, naturally, I boughtsomestuff (surprise!). I also pretended to be Nick Galifianakis for awhile (don’t tell!) and did three fantaaaastic interviews: with Nick, and with the amazingly talented Phil LaMarr and Billy West. (More convention pictures here, and oh by the way, next year’s Awesome Con dates are already set! April 19-20, 2014! Woo!) So much fun!
This week, I get to share with you my Awesome Con interview with Phil LaMarr, who is so fantastic. Seriously, y’all. So fantastic. And multi-talented. If you don’t remember him from his many roles during his five year stint on the sketch comedy show MADtv, then you might remember him as Marvin (poor Marvin! So young, so shot-in-the-face!) from Pulp Fiction. Or you might have seen him on one of the many other shows in which he made guest appearances. Or you might know him from his voice acting, in such roles as Hermes Conrad (and Reverend Preacherbot) on Futurama; or as John Stewart, Green Lantern, on Justice League; or as J.A.R.V.I.S. and Wonder Man on The Avengers TV series; or as Samurai Jack on Samurai Jack; or from Family Guy, or Teenage Mutant Ninja Turtles, or Avatar: The Last Airbender, or Star Wars: The Clone Wars, or King of the Hill, or Foster’s Home for Imaginary Friends, or Marvel: Ultimate Alliance, or, or, or…really I could go on forever. But instead, why don’t we go to the interview?
If you want to listen to the interview (listen to it! He does voices! We geek out about comics!) you can do so here. Or, you can read the (slightly edited) transcript below!
Hello, this is Emily Whitten, and I am here with Phil LaMarr at Awesome Con, the first comic con in the DC area in something like eight years. Phil, thank you for joining me.
Of course.
And I’m a big fan of your work; who isn’t?
Awww.
And…there’s so much of it, I almost didn’t know where to start; so I’m going to ask you, what was the first time that you were on stage, or acted?
Ooh, wow; first time ever was eighth grade, in a school play; a production of The Phantom Tollbooth. I played Tock the Watchdog.
You played Tock!
I did.
That’s fantastic. So how did you like it; what was your experience there?
Oh, it was amazing. The play opens with the real-world version of Tock, who is the clock in Milo’s room, doing a monologue to the audience. So my first time on stage in front of an audience was alone, on stage, under a spotlight, talking to the full auditorium; and it was a transformative experience. It triggered something in me that has never been the same since. I mean, that’s basically the dragon I’ve been chasing – since eighth grade.
So then were you in all the other school plays after that, or did you feel your way out; how did that work?
Not all of them; I did tech crew, and stuff; you know – because I was in eighth grade. And then in tenth grade, I got the part of Bogart in Play It Again, Sam. Which was arguably the start of my voice work and impressions…I mean, because (as Bogart) “‘Cause honestly, I was doing a Bogart impression and I was fifteen.” When most kids my age didn’t know who Bogart was. I beat everybody out by doing it.
Well that’s amazing! Now since then, obviously you’ve done a lot of work.
I’ve never done Bogart again.
You haven’t? No! But you did do a lot of work for MADtv. Now, tell me how that came to be?
Well, I’d gone through The Groundlings program, so I’d done sketch comedy and improv and over the course of that, created a few characters. I didn’t get MADtv through The Groundlings – I wasn’t there when the casting people came – but I was prepared for it, from creating characters and writing sketches. I’d been at that point, doing it for…that was ‘95, and I’d been in The Groundlings program since ‘89. So I had a lot of experience under my belt doing it. And it translated nicely.
So when you went to MADtv, and you had the characters, like Slick Rick, and you had the UPS—I mean UBS guy…
Right…yeah, that always annoyed me; it’s like, “Really? We can’t say ‘UPS’? We can say UPS.”
It’s unfortunate! So were those characters that you had created and brought over?
The UPS guy I had done at The Groundlings on stage; and in fact the first UPS guy sketch that I did with Mary Scheer on MADtv; I had also done with Mary Scheer on stage.
Oh, okay – because she was in the program as well?
Yeah, she was in The Groundlings with me, and we both got the show at the same time. Of course, for some reason the producers made me change the ending; because, in my version, he got the girl.
Awww. As it should be, you know?
Of course!
I love Jaq.
Everyone does!
He’s great, you know?
Eventually they saw the error of their ways, and then they began to write sketches where he, like, really got the girl. It became increasingly sexual; it’s like, guys, guys: (as Jaq) ‘Well no ’cause he’s just all moving around-‘ it’s like: (exasperated sigh).
The video store one is probably one of my favorites, because you do the embarrassed not-quite-sure-what-to-do very well.
Thank you.
And the fact that he was kind of popping up all over the store, that was fantastic.
Right. Pretending to rent everything except the one he wanted. Yeah, I don’t know where that came from. Out of whole cloth, completely imaginary.
Right; you heard a story once, or somebody had an experience.
Although it’s funny that you mention that one, because that was the one sketch that I got writing credit for.
Really?
Yeah.
Well good job, well done you!
Thank you.
Now when was Pulp Fiction, was that before MADtv?
That was before MADtv. We shot that in ’93, and it came out in ’94; so yeah, next year it will be twenty years, actually.
Wow – and of course it is a classic already, even though it will officially be a classic, you know, when it’s twenty. …I guess, if that’s how you calculate.
It will be an ‘antique.’
Yes; well I hear cars are classics after twenty or something like that…
Oh, okay; and movies…are classic once they reboot them.
Yes, exactly; Spider-Man’s like twelve classics now.
Exactly.
So when you were working on Pulp Fiction, obviously you have a great but not huge part, but what was that like, and what was your favorite part, or did you learn something new from it that you found very valuable in the future?
It was interesting because – you know, I loved Reservoir Dogs, so I was chomping at the bit to audition, and I got the chance. And it was so much fun; because Quentin was just so generous. You know, in the audition process, and later on, you know, in the shooting process as well; and I got to audition with the Jules and Brett scene – Sam Jackson, you know, has the gun on Frank Whaley, and it’s just – it’s like reading fresh Shakespeare. It’s like: “So Romeo and Juliet; but they can’t get togeth-my God, this is amazing!” You know? It’s like, “Where do you come up with these ideas, Will??”
Yeah, it was amazing. It’s the sort of thing where when you’re preparing for the audition, by the second or third time you’ve read it through you realize, “Oh, I’ve got this memorized;” because the words just flow, one into the other; it just makes sense.
That’s really great.
Yes; it was the best set that I’ve been on; still, to date.
In terms of the people you were working with, or the atmosphere, or the direction, or everything?
The vibe and the atmosphere; which, oddly enough, I think came from the script. Everyone who read that script loved it, you know, and wanted to be a part of it. Bruce Willis took a – I mean, I don’t know how big a pay cut he took, but the budget for the movie was eight million dollars; so he took a hell of a pay cut. And again; I mean, I knew going into it that it was a very, very small part – it’s like, five lines; but I also knew, “Well, as small as it is, they can’t cut me out – or they lose forty-five minutes of the movie.” Where did all the blood come from??
Yeah, they call up their friend, and they’re like, “What do we do now?” And what would they do if there was no you? The [plot would] be in trouble.
Exactly.
So, okay, you had done some improv, and you had done the movie, and you’ve done voice work – between the three – or however many different kinds of roles you’ve had – what’s your favorite and/or what do you find the most challenging to prepare for?
Well it’s funny, because the most challenging to prepare for is my least favorite. And that’s things that are badly written.
That’s fair!
Because honestly, that’s the most challenging to prepare for. It’s like, “Oh dear God. How can I make this work?” When something is great? When something is just a fantastic piece? It’s not work. It’s like, “Oh! Oh I could do this!” You’re inspired by what you’re given. So that’s not work at all. And it’s funny, because people always ask, “Do you like live action, or animation, or stage?” And I’m like, “I like things that are good.”
And the truth is, things that are good have more in common than just being something in the same medium. Like Pulp Fiction has more in common with Samurai Jack than Samurai Jack has with Pound Puppies.
But, now; being someone who’s known for improv and sketch comedy as one of your things, do people give you more leeway in roles that wouldn’t usually call for that, necessarily? Like do you ever go in and say, “Oh, but I could do it this way!” – because I know that can happen with any actor, sometimes, that they can go in and improv something; but do you find that people expect that of you, or like that from you?
At times. It depends on the project. Although, the weird thing is, even though I’m an improviser, as an actor I’m really, really text-driven. So my first impulse is not to go off script; my first impulse is to go into the script and figure out: “Okay, how best can I serve the writer’s intent?” But yeah, I mean obviously there are a lot of comedy things, roles in shows that you get on, where they’re looking for you to, like, “Make it better!” Which is a great challenge, and a great opportunity.
That’s really interesting. Now, speaking of the different kinds of roles, could you pick your top roles that were either the most fun or most challenging, or both? And I know we’ve talked about the connection between fun and challenging. But roles where you could look back and say, oh, my life was more complete because I did these things, or my career was more complete, my experience.
Hm, I don’t know, Justice League [for which Phil does John Stewart, Green Lantern] was definitely a lot of fun, just because it was a wonderful nexus; because I’m a comic book person, and to be able to play in that world was really, really fun and rewarding. It was also made by spectacularly talented people, you know: Bruce Timm, and Dwayne McDuffie, and Sam Berkowitz, and Len Uhley, and Andrea Romano; like basically everybody involved with it was at the top of their game.
Yeah, they’re basically legends in their field. And now you said, as I was aware already, that you’re a comic book fan. Tell me, when you were little, how did you get into it, or what’s your favorite character or storyline?
Well I think I was pretty much a casual comic book reader, until maybe ten or eleven? Then our neighbors had a son who came back from college, and basically bequeathed unto me his entire comic book collection.
WOW.
So he was like in his early twenties-
-You can tell I’m excited about this.
Yeah, he just like, handed me this longbox.
The actual longbox, like what is it, like 300 comics at least in a longbox?
Right! And there were some amazing – I mean, I had some Mad Magazines, some of which I still have, that are older than I am. And I had great old Carmine Infantino Batmans; [and there were] twenty cent comics, and this was at a time when comics weren’t twenty cents anymore. And just a wide range. Stuff that I probably wouldn’t have picked up myself, but I got to read them. And it’s funny, because I’ve never been a “collector;” I’ve always been a reader; and the one time I tried to be a collector in the mid-eighties, I’m like, “Oh, there’s these new issues of this comic book coming out; I’m going to make sure I get number one!” and most of the number ones I have are, like, crap. I have Rom #1; Rom: SpaceKnight.
I don’t even know if I know that one.
No, you don’t. No you don’t.
I should, right?
No, you shouldn’t. It was really, really awful. The main character was a space robot.
Hmm, because “Space Knight” actually sounds kind of cool; but a space robot…?
But there was no there. There was no character, it was like, “No! He’s just a robot. From space. Doesn’t talk!” But I mean, I do also have New Teen Titans #1. So that was one I jumped on. And actually, I have Moon Knight #1, which wasn’t that great at the time…
Yeah, but he’s gotten a lot bigger, in the last, I don’t know, I would say five years? I feel like it’s been more recently that he’s gotten more attention and more development.
Well it’s a tough character, just because that initial thing is like: “Okay, so, he’s a rich guy. And a mercenary! …And also a cab driver!” It’s like: “Whaaat??”
Yeah, he’s a little schizophrenic in the character development.
And eventually they wrote that into the character. “No no no, he’s actually just crazy.”
I was thinking, “Are they going to retcon that ever, or is it just going to be part of him now?”
Yes, somebody’s going to erase that. “Oh, the moon came over and it erased that…mental disease that this hero has.”
Yeah…but still, having the #1 of that is pretty good!
Well, especially because it’s early Bill Sienkiewicz. It’s Bill when he was still, like, “Is that Neal Adams? But just with really…with more sketch lines?”
That’s fantastic!
Yeah, I love that.
So yeah, that’s a good one, absolutely.
I’ve got to get him to sign that.
Yes, you should. He goes to cons, right? I haven’t actually run into him at one, but I’m sure…
He was at New York Comic Con last year.
Oh, then I’ve been at one with him and not – just kind of like how I saw you maybe from a distance at NYCC, I don’t know.
Yes, he’s very elusive.
Well I’m sure he’ll be at another one, and we’ll be at another one. So speaking of comics, I am embarrassed to say, that while I was –
That you’ve never read a comic book?
Hah, no! You know that’s not true!
“I’m, I’m just really pretty, aaaand…”
“I’m a fake geek girl, you know, ohmigoood…”
You are the fake unicorn. You are a horse with a horn glued on.
Hah, I am, I exist, the fake geek girl! No; I’ve read – my collection is quite impressive. I actually do have the entire-
You sound like such a dude when you say that.
I know, right?
You have a Ferrari – it’s a little red Ferrari: “My collection is massive. It’s really pretty impressive.”
“It’s amazing, dude. Bro!”
“You should see it. But don’t touch it! Or I’ll…”
“Dude, it’s all in the little bags and boards, and if you get your fingerprints on it, I’m gonna be like, ‘Phil LaMarr’s fingerprint versus a mint condition, I don’t knoooow…'”
…But I have the entire Deadpool run.
Oh wow.
From the first appearance in New Mutants all the way through the current…
Really.
Yeah, I’m missing, like, a Black Panther that I cannot find. Black Panther #23.
So you’re kind of a completist?
Oh, I am. When it comes to Deadpool. And then when it comes to current runs that I’m reading if I miss one I go back and I get it.
Oh, well that just makes sense.
But yeah, I’m a definite completist when it comes to Deadpool; my collection is ridiculous.
How are you liking the Posehn/Duggan stuff?
I have to admit, I’m a little behind. Don’t tell! So far I’m liking it…
That’s the problem with being a completist.
I know! And I’ve also done some review copies lately so the stack [of stuff waiting to be read] is always changing. I have a stack right now that still includes Peter David’s X-Men: Gifted prose novel in the plastic and I got it for Christmas! But I read a little bit [of the Posehn/Duggan Deadpool]; I like it so far. But here’s what I’m embarrassed to admit: I was looking at your Wikipedia to prepare for this interview, even though I know some of your work, obviously, and I was like –
“He’s black! What the hell? No one ever told me!”
Right? “I didn’t know!”
No, but I was like, “He was in Spider-Man 2??” Which, I love that movie! And I love the scene that you’re in. And I was always so focused on Spider-Man; I went back and I was like, “Where is he, where is he, I have to find him!” This was last night; I have the movie, but I got on YouTube, because I knew it would be on there, because it’s the train scene – it’s the big scene. So I watched, and I was like, “And he catches Spider-ma – look at that!” How did you make that happen? No, I mean, they probably came to you and were like, “Phil. Come be in our movie.”
No! I auditioned for the Hal Sparks part; the guy in the elevator, when Spider-Man’s powers stop working.
Which is a great scene, where he’s like, “Cool Spidey suit, dude.”
Right.
So you auditioned for that…
And didn’t get it. And then they called, randomly, in August, and said:
“Hey, is Phil available to work from Wednesday to Friday?”
“For what?”
“Oh, Spider-Man 2.”
“Well, what part? Is it the part that he auditioned for?”
“No.”
“Well what part?”
“We can’t say.”
“Well can you send over a script?”
“No.”
And they refused to say anything! Like, “Well, what are we doing?” “They won’t tell me.” “Uhhhh…o-kaaay.” And I’m just racking my brains, like, “Well, this is Spider-Man, but…what am I doing?” And I told my agent, “All right: ask them, will I be working directly with Sam Raimi?” Because I knew, it’s a big, big movie; and I’m not going in there to be some sort of second unit, running from falling building blocks. And they said, “Yes, you will.” “All right, I’m in.” But I had no idea what I was doing. I showed up, and I’m like, “Whaaaaat are we doing?” And it turned out, [Sam] saw that scene, that fight between Doc Ock and Spidey, especially with Spider-Man losing his mask and keeping going, as the action heart of the movie.
And I totally agree!
It is.
That’s actually the reason I never noticed that it was you, because I’m so focused on the whole of the scene!
And it’s a fantastic scene!
Do you know, whenever I watch that movie, I actually watch that scene at least two or three times? Like, whenever I watch it. I cannot stop myself.
Because when else have you ever seen a fight scene at 100 miles an hour? In and out.
I know, with the windows, and the arms, and everything, and he goes in and out of the cars, and then at the end, when he’s stopping it with all the webs; it’s great! It’s fantastic.
Yeah, and the fact that it’s like: Is he going to stop it? No! He fails! No, he’s going to try again! And it’s just really – it’s just about willpower. But Sam knew that he needed emotion in this scene, and he said, “Okay, I’ve got, like, sixty extras,” and he sat us around and he said, “Okay, I’ve hired you eight actors so I can sprinkle you throughout this scene, so that I always have someone amongst the extras that I can cut to, to give me what I need at that moment, in the scene.” And I’m like, “I’ve never heard of that; that’s absolutely brilliant!” Like, if you have a crowd scene; yes, you don’t want to have to cut to extras to deliver the heart or the fear or whatever. And so he said, “I don’t know what the lines will be; we may be playing around with stuff; there’s nothing really scripted; but we may put some things in. You may not have lines, you might have lines, we don’t know .”
And you didn’t actually have a line, did you?
No; I had a line at one point that got cut out in the final cut.
Okay; but in that scene, I vividly remember people catching Spider-Man, and the emotion of it; I just didn’t realize it was you!
And you’re not supposed to! That would have been really distracting.
Well, and actually, the last time I had watched you on TV was more like Pulp Fiction and MADtv and stuff, and then I knew your voice acting; and so I don’t think I had connected the two of them as much. But that’s so great.
Yeah, it was fun. Well it was hilarious, because that two days turned into two and a half weeks.
Because that’s a huge scene! So how was it, working with Sam Raimi and everything?
It was great. I mean, a lot of sitting-around time, because on a movie with that kind of budget, they don’t really care if you sit around for twelve hours and don’t work. They’re like, “Your pay isn’t even going to show up on our budget,” you know what I’m saying? So it’s like, “Yeah, two weeks. Eh.” Actually, they didn’t even tell us that it was going to be extended. Just at one point, it’s like Friday, and it’s like, “Okay, so I guess it’s our last day,” and they’re like, “Oh, by the way, you’re on a weekly contract.” And I’m like, “Whuuu…?”
“See ya tomorrow!”
Right! “Oh, okay, I guess we…” But it was fun. It’s funny, because I wound up meeting Chloe Dykstra, who is a cosplay model and host, and she was fifteen, sixteen? And her dad was doing the special effects – John Dykstra – although it’s funny, because at one point – the subway train was pretty analog, like when the train rocked, there were a bunch of grips pushing a big wooden pole to rock it back and forth; and it looked very practical. They had practical Doc Ock arms, puppet arms that came in; and I passed John Dykstra one day on set, and I was like, “Well, this looks like a pretty easy scene for you, not a lot of special effects.” And he’s like, “…Not really.” And I was like, “Well what do you have to do?” “I have to create all of New York.” And he pointed up, and I realized that the entire three-story sound-stage we were in was a green screen.
Wow, and so he had to do everything rushing by, and when the webs go?
Everything you’re seeing – because actually, even some of the webs were practical; like when he’s holding them? Those were actual, practical webs.
I would think they would have to be, at least in his hands, so that they would look real.
But everything you’re seeing as it goes by, like all of the lighting, and all of the texture and everything – he created.
I find that stuff so fascinating, and I only know a little about it; and so I’m thinking, like, “How do they make his costume rip in just the right places, at just the right times,” you know?
The continuity was insane. And that was the other thing that was really impressive. Because Tobey Maguire was there on set, and at one point, we’re all carrying him. You know, it was that shot from above. And we were actually carrying him. And he was so nice, and I’m thinking, “If you’ve got me glued into a suit, where I can’t pee but once every eight hours? And then you’re going to throw me, with a recent back injury?”
Oh, he had a back injury?
Around Secretariat.
Oh yes, I remember that. [Emily note: We were both thinking of Seabiscuit. Because, you know, movies with horses and jockeys, yo.]
There was this whole talk about, they weren’t sure if he was going to be able to do it. And it’s like, “And you’re going to have me carried by a bunch of extras?” I’m sure if I was him, I would have done it; but I would have been in a bad mood. But he was so amazingly cool.
Did you get to sit down and chat with him at some point?
A little bit.
Because I’m sure everything was rushing around.
Yeah. And you also don’t want to bother him.
No, because he’s concentrating, he’s the main guy, in the main scene…
Yeah; and you know that guy has to – you don’t know what that person’s process is to maintain their energy. Because there’s a lot of sitting around, but when it’s time to go, you have to be ready to go. And it’s all on him.
Well, and everyone has a different method, and some people want the silence and everything.
Right.
That’s so cool though. I’m so glad that you’re in that; now every time I watch it I’m going to be like, “Look, it’s Phil!”
I’m so glad I’m in it every time I get a residual check.
Hah, that’s fair to say! Well I supported you, then, because I have the movie, and I went to see it.
Thank you.
So just a couple of other questions. Obviously, in your voice work, we mentioned the John Stewart role; also Futurama, which is huge and amazing and fun, and you play Hermes Conrad…
(As Hermes) A thirty-sixth grade level certified bureaucrat!
Which is fantastic! And at some point he gets bumped down and then gets back up there. He’s a great character, and you did other voices too…
Yeah; I mean, it’s been ten, fifteen years…I don’t know how long we’ve been doing it; but over the years we’ve all wound up doing additional characters, secondary characters; because there’s always somebody else to do.
Right. And now with that voice work, I have seen where sometimes with voice actors, you go in and you’re by yourself, and you’re doing your part, and then sometimes there are other people. Did you each record your own parts for Futurama, or were you in the room with everybody?
For Futurama we do group records. In shows that are writer-driven and comedy-driven, where the writers care about the comedy? You do group records.
Because the chemistry just works so much better when everybody’s together.
And you can’t really tell if a joke works if you can’t hear the lines before it.
That’s a really good point, obviously.
But people do it all the time!
Yeah, I’ve seen where people are just by themselves, and I’m like, “Wow, that has to be even harder than doing it with the group.”
As an actor it’s really difficult, because you can no longer trust yourself. You can’t take in the line that you’re getting and then respond naturally. You have to basically guess. It’s like, “Well, I don’t know what my response would be,” so you just have to trust the director.
Have you done that too? Jobs where you had to go in by yourself?
Yes.
So you have both experiences. I would much prefer the group to going in by myself.
Of course. It’s the difference between, like if you’re writing, having an editor you know and an editor you don’t know. It’s like, “Okay, well, I don’t know what this person likes, I don’t know what they hate, but I’ll just deliver whatever I’m going to.” You can do it, you still do the same job, but it’s less comfortable. And a lot of the big companies – Disney and DreamWorks – tend to do more individual records than group reads. Occasionally there will be a creator or producer who can insist on, “I really need a group read,” but generally, more and more of the companies lately are doing individual records.
Right; and I have seen some of that, because I follow the Deadpool fandom, and Nolan North does Deadpool for things like Hulk vs., so I saw some clips of that process. Now you actually worked on a project with him fairly recently; the Teenage Mutant Ninja Turtles.
Yes.
And there are a lot of really great names in there, like Sean Astin, and Rob Paulsen –
– and Kevin Michael Richardson, and Jason Biggs, and Greg Cipes.
Yes! Lots of great names on there. So do you actually interact together, or is that one where you’re recording your separate parts?
Andrea Romano directs that, and Andrea’s very good and pretty old-school. So she does a read-through before, which almost nobody ever does, unless it’s a prime time show. But she does a table read the day of, just like she did in Justice League; like we would start the session by reading through the entire script.
Oh, right, so she directed both of those.
Yeah. She’s amazing. She did Animaniacs, Tiny Toons, Pinky and the Brain, Justice League…
Yes! Which – Rob worked on a lot of those, I know. Did you ever work on Animaniacs and all of those?
No, those were before I got into VO. But fantastic shows. So she tends to do group records. And the funny thing is, there are directors who have four hours, or however many hours, or an hour for an individual thing and can barely get it done. She has an entire group of actors for just four hours, does a read-through first, and will still get you out early.
Wow. So who have you recorded with for Teenage Mutant Ninja Turtles?
I’ve recorded with the gang.
So how did you like that? And is that coming back?
I believe so.
Okay, well, you should know.
I don’t know! No, the actors are the last to know. Seriously? If you’re putting something together, the last people you call are the actors.
I see. Well I haven’t actually gotten to watch [TNMT] yet, so I wasn’t sure exactly where it is right now.
I think they’re still recording episodes; but maybe they’re in second season; I’m not exactly sure.
Well hopefully there will be more of that. Because I’ve loved Teenage Mutant Ninja Turtles from, you know, yea big, so I will want to check that out at some point.
You should, because the people behind it – Peter Hastings, and Ciro Nieli are just really, really talented.
Awesome. I will definitely do that. So tell me, is there any other current work you would like to talk about?
Hm, what’s going on right now…? I’m doing some on-camera stuff; I did a comedy series called Inside the Legend, that’s just been picked up by My Damn Channel. It’s a comedy interview show with characters from history, mythology, fiction, and legend; but they’re all a little tweaked. Like we did one where the female host is interviewing Albert Einstein. And then she introduces him, and he starts talking with a Southern accent. And she’s like, “Oh my God, I’m so sorry! Ladies and gentlemen, Mark Twain!” And they just keep switching back and forth, and she’s never sure which one she’s talking to.
Okay, I must see that! Where and when is that coming on?
Okay, well that’s fantastic; I will definitely put that link in, because that sounds just right up my alley.
Oh, and you’d also love – I’m also working on Chatroom of Solitude; Jeff Lewis from The Guild has written this. It’s for Stan Lee’s World of Heroes, and it’s really hilarious. It’s basically superheroes and supervillains on Google Chat.
I’m in love already. And that is also online?
Yeah. They’re both out now.
Well I’ll definitely check those out, because that’s fantastic. Yay! Thank you so much for this interview; and I’m going to do the thing that everybody [I assume] asks you to do…will you do the Green Lantern oath for me? Will you do it, Phil? I know you did it once today already, but…
Okay… Well, they’ll pick this clip, or the clip from YouTube, whichever:
“In brightest day, in blackest night,
no evil shall escape my sight.
Let those who worship evil’s might
beware my power: Green Lantern’s light!”
Thank you so much, Phil, this has been great.
You’re so silly.
Well, he’s right; I am. Big thanks to Phil LaMarr for the interview, and big thanks to the ever-helpful Kevin O’Shea, producer for Made of Fail Productions, for cleaning up the audio file for me. (And as ever, check out the Made of Fail podcasts for fun geek-tastic discussions, in which I have actually appeared a couple of times.
That’s all for now, and until next week, when I’ll be sharing my interview with the excellent Billy West, Servo Lectio!
Breaking News from EDGAR RICE BURROUGHS, INC ~ Tarzana, CA To our Loyal, Steadfast, Patient Subscribers – We’ve got Great News for you!
Edgar Rice Burroughs, Inc. is substantially expanding its Sunday Comic Strip Subscription website. Over the next several months, at no increased cost to you, we will be adding four or five new exciting comic strip series for your enjoyment. Beginning June 1, we will be adding a CARSON OF VENUS comic strip written and drawn by extremely gifted and experienced professionals to complement our existing TARZAN strip.
With Martin Powell as our Writer and Tom Floyd and Diana Leto as our Artists, CARSON OF VENUS will begin with the story of Carson Napier’s “The Greatest Wrong Turn in History” and take off from there. Be prepared for an exciting journey.
Our intent is to bring new life to the many classic literary creations of Edgar Rice Burroughs and honor his writing career that encompassed such a great variety of genres. We intend to build the finest comic strip site of highly entertaining stories not be found anywhere else in the world. Our writers and artists are committed to bringing their best ideas to you because they truly enjoy their subject matter. They will help us visualize what was in the vivid imagination of Edgar Rice Burroughs, and we will all be truly entertained.
Below are brief bios of our new writer and artists that will describe the tremendous talent and experience they will bring to our comic strip subscription service.
Thanks for continuing to be a loyal Subscriber!
Best regards, Jim………..
James J. Sullos, Jr. | President | Edgar Rice Burroughs, Inc. PO Box 570277 | Tarzana CA 91357 | www.edgarriceburroughs.com
Art: Tom Floyd
WRITER: MARTIN POWELL Martin Powell has been a professional writer since 1986, having written hundreds of stories in numerous genres, for Disney, Marvel, DC, and Sequential Pulp/Dark Horse Comics, among others. Nominated for the prestigious Eisner Award for his work with Sherlock Holmes, he has written for some of the most popular characters in the industry, including Superman, Batman, Popeye the Sailor, and Tarzan of the Apes. He’s also the author of many children’s books and is co-creator of the acclaimed Halloween Legion, with illustrator Diana Leto. Powell’s The Tall Tale of Paul Bunyan won the coveted Moonbeam Children’s Book Award for Best Graphic Novel of 2010.
ARTIST: TOM FLOYD Tom Floyd is a self-professed jack of all trades. He has been everything from a Texas oilfield roustabout, a mechanic, a soldier, a printer, and a public school art teacher. Finally settling down some 14 years ago as a graphic designer-illustrator-animator for a PBS station. He has worked on productions from local programs to Reading Rainbow, NOVA science NOW, and American Experience. But throughout all of this he remained a comic fan, artist and writer working for companies such as Elite Comics, Eternity, Moonstone, and Marvel. He was honored in 2010 to receive the Burroughs Bibliophiles Golden Lion Award for his illustrations for new Bison Books editions of the Moon Maid, Pellucidar, The Eternal Savage, and Pirates of Venus. He has also written and illustrated an on-line web comic Captain Spectre and the Lightning Legion, which is a pulp/serial/adventure comic. Captain Spectre is located on the web at http://www.captainspectre/. com. You can also follow along with other of his projects at his sketchblog (http://www.lightning/legionblogspot.com) .
ARTIST: DIANA LETO Diana Leto has been a professional artist and graphic designer for over a decade. Her illustration has illuminated projects at institutions including The Jim Henson Legacy, Sesame Street and Sequential Pulp/Dark Horse Comics. She is co-creator and illustrator of the Halloween Legion, a critically acclaimed all-ages mystery/adventure series featuring “The Worlds’ Weirdest Heroes.” Presenting contemporary design at Adobe MAX, addressing teachers and children about being a woman in the arts at KIDS’ COMIC CON and helping refresh beloved characters for a cultural institution, Diana’s artwork stands at the intersection of education and inspiration.
Well, it’s been officially announced: I’m scripting issue 20 of Aquaman for Geoff Johns and Company. It brings me back to my old DC stomping grounds and I’m both happy for the opportunity and pleased with the result. I hope everyone out there will feel the same when the book appears next month.
It also gives me a chance to talk about the art of doing a fill-in which has its own special skill set whether you’re a writer or an artist. Usually it’s a single issue although it can be for two.
If you’re getting a call from an editor of a given book for a fill-in, it will usually be on short notice. I once got a call from an editor on a Friday morning. He needed the fill-in script by Monday. The way that scripting usually works is that I submit springboards (one paragraph plot ideas and I usually try to give a few) and the editor decides which he or she likes. I then do a plot overview and then finally write a full script. Collapsing the time stream, that’s about a week. I had maybe four days from a standing start.
By early afternoon, the editor had the springboards. We talked on the phone, he picked the one he liked, I wrote up the plot outline by late afternoon. The editor approved it with his comments before the end of the day and I was off and writing. The script was in by Monday.
The question is not how creative you are (although you have to be that) but how professional, how disciplined, you are. How well do you know your craft? This goes for the artist as well as the writer. You get the job done.
Here’s why: The publisher has lined up printing time and there are only so many presses that print comics. They’re generally booked pretty full so if you don’t get the book to the printer on time, you miss your slot, you have to wait until one opens up and you’ll probably pay a fee for it. If the books ships late as a result, unsold copies can be returned (not the case with an on-time book). That costs money and the offending editor will not be held in high regard.
Here’s some things to remember if you’re writing a fill-in issue. It has to fit into the current continuity but not move that continuity forward (that’s the main writer’s job/prerogative). You might be given a few things that current writer wants to advance but don’t presume. You must know what that current continuity is in order to write the character as s/he appears in the book. You probably won’t be able to play with the supporting cast unless they aren’t in the current storyline or you are asked to use them.
Don’t rewrite the origin. Don’t recreate or reinterpret the origin (again, that’s the regular writer’s domain). Don’t kill off characters. The story is complete in that issue; no dangling threads. Don’t play with the regular writer’s dangling threads (so to speak) without permission. Don’t correct any continuity flaws that you may have perceived. Don’t base it on any trivia points that you know.
Did I forget to mention that the story also has to be wonderful? The reader is not getting the usual team on the book; you don’t want then to feel ripped-off. The comic book market is volatile these days and the publisher doesn’t want to give the fans a reason to leave. That said – fill-ins are just about inevitable. The crush and stress of doing a monthly book is tough.
Aquaman 20 is not the first time I’ve done a fill-in issue for the character. The first time I was asked, my initial reaction was, “Oh great. Aquaman. The blonde geek who swims fast and talks to fishes.” You know – a lot of people’s reaction. Current writer Geoff Johns, who has done a brilliant job of making Aquaman very readable, has cunningly used that perception in some of his scripts. So I had to find something in the character that would interest me or the script would just lie there like a filleted flounder.
I used that reaction I had to Aquaman to fuel the story. I used what I call an “oblique angler” to create the story. The story, in this case, would be about Aquaman using peoples’ reactions to Aquaman. It was a story about stories. I created a news reporter who is assigned to do a write-up about Aquaman; he has the same “talks to fishies” reaction I had when getting the assignment. The reporter then investigates and finds some first person accounts about Aquaman, giving us a variety of interps. In the process, the reporter himself grows and changes. It remains one of my own personal favorite stories.
“Fill-in” does not or should not mean “generic.” All the rules of a good story apply; it’s just that you have a single issue with which to do it. And that should be true whether you have a GN, a miniseries, a long run or a fill-in. You tell a good story. That’s always the job.
A funny thing about Unshaven Comics: at the conventions I have always felt out of place. Kyle over the years has become a one man sales force. Matt? A commission-churning machine. Me? I used to laugh as say “I’m in marketing.” Mainly because like everyone in marketing… it meant “doing everything that isn’t actually selling.” I networked with other professionals. I people-watched. I tallied our money, made change, and added polite conversation when the paying customers wanted to chat (and Kyle, in complete shock to them, only wanted their money…The cur!). And then, as is his way… Matt threw down a gauntlet.
“Dude. Just draw something.”
On paper? Without my computer? And Wacom? And the internet to guide me? And no digital references? What kind of hell was he inviting me to!? And, as a joke, I drew Domo-Kun. Domo, a Japanese TV mascot and popular-with-the-hipsters-and-kawaii-crowd character. Everyone at the table giggled and laughed. They egged me on to do more. I however looked at the scribbling and felt ashamed. I would not do another Domo for at least a year.
For those unfamiliar with my life story (because I ain’t good enough fer’ a Wikipedia entry like everyone else on this site…yet.), I do actually know how to draw undigitally. I majored in print making. I took years of life drawing. But the allure of the bells and whistles of Adobe’s Creative Suite was a siren’s song I could not fight. Shortly after receiving my BFA, I’d all but forgotten by pencils and pens. And by the time Unshaven Comics had formed… my tool box was built not of plastic, but of pixels. And with years of rust forming over my natural line—smoothed over by implausibly perfect vector lines and filters—my return to ‘original art’ was much like my foray into sequential art: done with my kicking and screaming all the way.
Until a few weeks ago.
While attending our first Gem City Comic Con in Columbus, I got an itch to produce Domos again. Perhaps it was because the show offered me little to do “marketing wise.” Perhaps it was a way to pass the time a bit. Perhaps it was kismet. I doubt it, but hey, it could be. This time, I really took my time. I slowed down, and paid attention to the details. I forced myself to remember those skills I’d long ditched for an Intuos. And then something really odd happened. Someone walked up and wanted to purchase one. And then another. And another. Call it a boost of confidence on the smallest scale, but it did wonders for me. With C2E2 going on as you read this… I figured I’d “come out of the closet” as a full blown commission-taking Domo-Maker. I’d offer to draw more… but the fans on our Facebook told me no.
To that point: I started posting up my Domos on our Facebook. Since doing it? We’ve gained 117 fans at the moment of me writing this. Far be it from me to doubt when the Internet tells me to do something. Of course by that account my next 4 articles will be about Star Trek, Pro Wrestling, and 2 slamming DC Comics. But I digress.
This week, I put down my digital pen, and vowed to fill up my “example book” of trading cards, as well as work on actual commissions asked of me prior to the show. In doing so, I’ve been prescient of a change within me. During time at the ole’ day-job, I’ve found myself scribbling in the margins. A fad I’d long dropped in Junior High School. As I drove about town on errands, I found myself yearning to get back to the board to draw, ink, and color. An e-mail declaring a “half price sale” at the local art supply shop was not immediately spammed and trashed. Yes indeed my friends. A latent love of mine has bubbled to the forefront of my life again.
My name is Marc Alan Fishman, and I can draw again.
A funny thing about 
