Tagged: Disney

Marc Alan Fishman: Boom! Is! Doing! It! Right!

fishman-art-130921-150x195-4690831It wasn’t too long ago that I heard Mike Gold exclaim “I’m really liking what you’re doing there.” He was talking to Ross Ritchie about Boom! Studios. It got me thinking. From one publisher to another, true respect shared between gentlemen. No snide jabs. No undercurrent of jealousy or malice. Just respect. And it’s that respect that made me realize that Boom! Studios is a shining example of what is going right with our industry.

A cursory glance at their site shows a publisher pushing boundaries in every conceivable direction. Where the brand was once known for either being Mark Waid’s playground or Stan Lee’s litter box, today they are producing comics in every genre under the yellow sun. They once clung to licenses from Disney in order to pay the bills. Without Mickey’s teets to suckle from, instead they’ve smartly chosen popular brands like Adventure Time, and the biker-beloved Sons of Anarchy in order to draw in more ‘non-comics’ fans to the shelves.

Boom! also has broken its brand into smarter sub-brands in order to focus efforts on different emerging markets. KaBoom!, its kid-centric brand, is of course anchored by the aforementioned Adventures of Finn and Jake. But they’re also branching out with other recognizable brands like Peanuts, Garfield, and the Adventure-esque Bravest Warriors. The fact that Boom! recognizes the kids market and pushes their line in order to draw the wee ones into a comic shop should be commended. And while a licensed kids book is nothing new in the marketplace… the fact that their books are not chained lock-in-step to their source material means kids will be able to see the comic medium as a place to explore the vastness of the worlds they may only know in cartoon form. It’s a small thing, that means huge ramifications as the li’l readers grow up.

Beyond that, Boom! recently realized its creative teams had more to say and show. So much so that they’ve chosen to branch out even further, with the newly dubbed BOOM! Box imprint made for experimental comics. Not happy to place these potentially “indie for indies’ sake” titles into Boom! Town, or its newly acquired Archaia lines… the box will house the weirdest of the weird. The idea being of course that comic creators who would otherwise choose to self-publish short runs of books that might be too crazy for even a “B” or “C” publisher like Boom! to consider… are given the carte blanch to actually give it a go anyways.

As an indie publisher myself, I’m of two minds on that. One mind says “kudos to Ritchie, Gagnon, and Watters for having balls!” The other mind morbidly declares “Yay! One more sub-publisher with money behind them to tell Unshaven Comics they’re cute for trying!”

These days a cursory glance over my newsfeed on Facebook shows normally at least several daily references to what DC or Marvel is messing up. DC way more than Marvel, if you’re tallying. It’s a bit hilarious to me, given my recent rekindled love of professional wrestling. Because when one steps back to see the forest for the trees, they’ll eventually see the cyclical nature of the continual soap opera that is male-fiction. With Boom! taking the role of the babyface… We crave a heel, and DC is glad to play the role right now. Can’t stand Villains Month? Keep blogging about it! Think Man of Steel crossed a line? Put it on a tee-shirt! Think Dan DiDio is secretly behind it all, and should be fired? Make a god-damned hashtag, and tag him in every post you write for a month! Guess what? There’s no such thing as bad press. Case in point? I’m DVR’ing Dads tonight on Fox. Do the math. I’ll wait for you to catch up. But I digress.

Boom! is doing it right. They’ve branched out beyond the capes (while still putting out some decent-if-not-mind-blowing cape comics) to compete with Image for the Comics With Original Ideas the Big Two Won’t Touch (and face it, Vertigo isn’t near what it used to be, and Marvel never even tried to compete there). They’ve made kids comics that matter again, and in doing so, have ignited passion for our media in the next generation… buying us soon-to-be-old-farts at least another few years to do what we love. The old adage is true; big risks equal big rewards. Boom! for the time being is reaping plenty of rewards.

We fans, bored of the Big Two are now seeing a true third leg of the market arise. Small(er) presses are proving profitable. Hollywood is even catching wind of it. And when big money backs small(ish) companies, it seems that the money may be headed not only into the coffers of secret investors… but back into the comic medium itself. It’s a grand day to be a comic fan, kiddos.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Tomorrowland, Starring George Clooney, Begins Filming

Disney Logo

Burbank, Calif. (Aug. 26, 2013) —Principal photography has begun on Disney’s mystery adventure Tomorrowland, starring two-time Academy AwardÒ winner George Clooney (Michael Clayton, Syriana), Hugh Laurie (

Monsters vs. Aliens, House), Britt Robertson (Under the Dome), Raffey Cassidy (Dark Shadows, Snow White and the Huntsman) and Thomas Robinson (The Switch). The film is directed, produced and co-written by two-time Oscar® winner Brad Bird (“Mission: Impossible – Ghost Protocol, The Incredibles). Damon Lindelof (Star Trek Into Darkness, Prometheus) and Jeffrey Chernov (Star Trek, Star Trek Into Darkness, Mission: Impossible – Ghost Protocol) are also producers. The screenplay is written by Brad Bird and Damon Lindelof from a story by Lindelof & Jeff Jensen and Brad Bird.

Jeff Jensen and John Walker (The Incredibles) will executive produce with Bernard Bellew (Les Misérables, 28 Weeks Later) and Tom Peitzman, VFX producer (Mission: Impossible – Ghost Protocol, Alice in Wonderland) serving as co-producers.

Bound by a shared destiny, a bright, optimistic teen bursting with scientific curiosity and a former boy-genius inventor jaded by disillusionment embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space that exists in their collective memory as Tomorrowland.

Bird has gathered a great team behind the lens with Oscar® winning director of photography Claudio Miranda (Life of Pi, The Curious Case of Benjamin Button), production designer Scott Chambliss (Star Trek, Star Trek Into Darkness, Cowboys & Aliens), Oscar® nominated costume designer Jeffrey Kurland (Inception, Ocean’s Eleven) and Academy Award®-winning editor Walter Murch (The English Patient, Cold Mountain).

Tomorrowland will be released through Walt Disney Studios Motion Pictures on December 12, 2014.

Emily S. Whitten: Hi-Yo, Dragon Con! Away!

Whitten Art 130820It seems like just yesterday I was getting back from San Diego Comic-Con…and now in less than two weeks, heeeeere comes Dragon Con! Another adventure!

Believe it or not, I still have some things to report from SDCC (yeah, I got a little behind, oops), but even though I’m still catching up from the last con, I’m super looking forward to Dragon Con! Why?

Well, for one thing, Dragon Con is my favorite con for costuming, outside of the Discworld cons. Not only do I get a kick out of costuming myself (as I’ve mentioned here before), but I also love looking at all of the amaaaaaazing costumes other people put together. From a Cylon with a real glowing spine, to an Archchancellor Ridcully with an actual flask in the tip of his pointy hat, to a pair of female “Spy vs. Spy” spies chasing each other around, any and every costume you can think of might make an appearance at the con, and the detail and creativity of many of the costumes just blows my mind.

The humor of a lot of them makes me happy, as well – from a group of gender-bent Disney princesses (complete with beards), to a couple of Spaceballs “combing” the bar-area floor with an actual giant comb, there are a lot of funny costumes to see. And then, of course, there’s one of the coolest costumes I ever saw at the con, which was done by my own roommate and friend Erica – a working Portal shirt with “portals” on the front and back, through which you could “see” to the other side. You never know what costume you’ll see next, and I love that.

I’m also super-excited, as always, about the awesome guests. Dragon Con is a great cross-section of the comics and genre TV and movie worlds, with guests from all over the spectrum. Also, of the cons I’ve been to, it’s the most comparable in its mix of guests to SDCC; but despite the huge crowds (57,000 people are expected to travel to Atlanta for Dragon Con this year), has a much more laid-back and less chaotic feel. Not to mention that with the Walk of Fame, you can often walk right up to your favorite celebrity to say hello (and buy a photo or an autograph, if that’s your thing). This year, I’m looking forward to seeing guests from Smallville, Once Upon a Time, Arrow, and Battlestar Galactica, among others. I’m also looking forward to seeing one of my favorite parts of any con, the animation and voice actor panels. Dragon Con has a lot of great voice actors coming this year, and those panels are always a blast. W00t!

Although this will be my third Dragon Con, there may be some folks out there for whom this is their first – and even for those who have been before, there are some new things to take note of this year. For that reason, I checked in with Dan Carroll of Dragon Con to see what he could tell me about this year’s con and how to enjoy it. Here’s what he said.

What are your top three tips to help new Dragon Con attendees get the most out of their experience?

1) Use the App! (Which you can get for Android or iPhone.)

2) Dad advice: Drink plenty of fluids! Eat your Meals! Sleep and Shower!

3) Have a plan for Dragon Con and find your way around as quickly as possible. Be flexible in your plan because you can’t see everything.

How does Dragon Con differ from other cons?

Dragon Cong brings together gaming, film, TV, comics, live music, a film festival, an art show, and the largest parade in Atlanta for a 24-hour-a-day event over four days in five four-star hotels and a great exhibition space.

What’s new and different this year, that veteran (and new) attendees should know about?

We have upgraded our vendor facilities by moving them to the AmericasMart showroom and convention space. This move allowed us to add nearly sixty new dealers or exhibitors. The space in the Marriott where vending was, is now home to the Walk of Fame where we have space for twenty additional signing tables.

Our big celebrations this year are about anniversaries. The 50th anniversary of Doctor Who has brought a great range of Doctor Who and Torchwood guests, the 30th Anniversary of Fraggle Rock is being celebrated with two Fraggle actors and puppets performing in our Puppetry Track. The 20th Anniversary of Star Trek: Deep Space Nine is showcased with many of the original cast members and a lot of Star Trek luminaries including William Shatner and George Takei.

(Emily adds: It is also the 20th Anniversary of Animaniacs, as I’ve mentioned before, and Pinky and the Brain (Rob Paulsen and Maurice LaMarche) will be on hand for that!)

What tools are available specifically for Dragon Con fun?

As I mentioned before, the App is a great place to start. Each hotel has an information desk that provides excellent advice and guidance to the Dragon Con member. Other great tools are the Daily Dragon for updated information and Dragon Con TV for some serious belly laughs.

What are you most looking forward to at this year’s con? What do you recommend as a must-see activity?

I am looking forward to the new guests at Dragon Con such as Lee Majors and Lindsey Wagner. I am also looking forward to seeing my friends and reporters from around the country whom I only get to see at Dragon Con.

What’s the best costume you’ve ever seen at Dragon Con?

I think the most striking I have ever seen is a 12 foot tall Galactus. My favorite is probably when I see my favorite comic book character, Marvel Girl Jean Grey in her 1960s mini dress and white go-go boots.

Anything else you’d like to share about the con?

The easiest thing about talking about Dragon Con is that there is so much to talk about, which leaves me knowing that I am always leaving so much out. With 38 “tracks” of programming, each dedicated to an aspect of fandom, there is too much going to on to convey in a few sentences, so I invite everyone to come to Dragon Con and experience this amazing event for yourselves!

•     •     •     •     •

Well there you have it, folks! Some tips and info for new and veteran attendees, which will hopefully help everyone have as great a time at Dragon Con as I plan to have! And if you see me at the con, be sure to say hi!

Until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis on March

WEDNESDAY MORNING: Mike Gold on Rock’n’Blues

 

Emily S. Whitten: Dee Bradley Baker is an Animal!

Whitten Art 130813Well, actually, he’s a lot of animals. From Perry the Platypus on Phineas and Ferb to Appa and Momo on Avatar: The Last Airbender, voice actor Dee Bradley Baker is the man behind a whole slew of animal and creature sounds you might not even guess could come from a human being. Of course, he also voices awesome speaking characters, such as all of the clones on Star Wars: The Clone Wars, and Klaus the German fish on American Dad! And then there are all of those video games he’s provided voices or sounds for, like the Halo series, Portal 2, Gears of War 1 – 3, Diablo III, Left 4 Dead 2, the Ben 10 video games, and several Marvel and DC games, including Batman: Arkham City. In fact, if you look over his ridiculously long IMDB page  (329 titles!) I think you’ll find that even if you are not a heavy consumer of entertainment, you’ve heard Dee’s voice somewhere and probably didn’t even know it. And that’s the way he likes it.

I had a chance to sit down with Dee at the San Diego Comic-Con and talk about his amazing talents, examples of which you can listen to here, and his experiences as a voice actor (and for those who are interested in getting into voice acting, I recommend Dee’s site, I Want to Be a Voice Actor, as a great resource). It was an awesome interview, which you can watch in its entirety here. Or, read on for the transcript!

You’ve worked on a number of things that are being featured here at SDCC, so please tell me about those.

My first day was a panel for I Know That Voice, which the great John DiMaggio, the voice of Bender and a ton of other voices, is overseeing; and it basically chronicles the history of voice acting and who’s working in voice acting right now – most all of the A-listers – and it also speaks a lot about Comic-Con as well. He just kind of assembled some Avengers of Voice Acting on that panel, and we had a really fun panel. I also did one for Phineas and Ferb, and that went beautifully. I’m Perry the Platypus on Phineas and Ferb (demonstrates Perry). That’s a great and creative show; and I really love that show as a dad, because that’s one you can watch over and over and over again, which is what kids like to do; so that was spectacular. Yesterday we had a big panel in the gigantic hall for American Dad!, which was also a lot of fun. (In character) I’m Klaus the fish on American Dad! And I am in a little bowl.

And what was it that Rob Paulsen said about that voice on the I Know That Voice panel?

It just makes him happy. It makes him happy to hear me speak with a German accent. Or to speak in German, which I will do for him.

It was funny to see the reactions on that panel when you started doing Klaus. I think everybody loves that.

Yes; well, I have a real fondness for the German language. I speak it, and I spent a year in school there, and I studied German writers and philosophers. And it’s just kind of a forgotten language in this country basically since the 20th century, and it’s a fun little thing to pop out and show everyone.

With the German language thing; when you go in and a director says they’re looking for a German voice do you ever do German and they say, “that’s too authentic, we want something hammy”?

No; if they want me to dial down the accent, I’ll do that; but I’ve never gotten that request. I understand what you’re asking; but actually, for me, it usually works out – what’s sometimes difficult for me is if I go in to do a dog or a cat, and they want something that doesn’t sound like a dog or a cat. They want something that’s goofy; or that’s more human. So I have to make myself bend away from something that’s authentic into something that expresses it with the tone that they want.

When you’re doing that process, do you just sit there and try a bunch of noises?

Yes.

Can you give an example?

Well, if you want, like, a dog bark (demonstrates different dog barks) you can humanize it. You can make it more Scooby, or more like a dog. And then you can dial in whether it’s small or big or whatever. But it’s a little different for every show, and that’s kind of what I do as a voice actor.

That’s great. Now you mentioned philosophy – did you study philosophy?

Yes, I was a philosophy major in college, with practically a minor in German.

So how did you go from philosophy and German to voice acting?

Both coexisted fine, really. I’ve done performing all of my life, and had a lot of fun doing everything from plays and operas and stand-up and children’s theater and improv, to singing telegrams, summer stock, Shakespeare-

Singing telegrams, really? Where do you even find that job?

Oh, just look in the Yellow Pages! Or whatever exists now. You can get money to do a live singing telegram.

Did you have to dance, too?

Well, it depends on the character. On what they want the character to do. Whether it’s like a nerd strip-a-gram, or…there are just various characters that they hand you, with this horrible script, and then you have to walk into a situation where either they’re delighted or they’re just completely mortified, and it’s really uncomfortable. And then you have to try to get them to pay you your money, because the company that hires you is not going to help you with that. It’s actually a fairly unpleasant job for me to do. So I didn’t do that for very long; but I did it for a while. But you know, it’s either that, or work in an office; and I don’t want to work in an office. So – I like performing, and I’m happy to try something stupid in front of people. I always have been, and that’s how I earn my living; is basically that.

And you’re fantastic at it, so that’s great! Now, I looked at your IMDB page. With voice actors, it’s impossible to even remotely cover everything, because you all are so versatile, and you do everything.

Yeah, a lot of us are very versatile, and do a lot of different kinds of voices; we do impressions; you know, I specialize in sounds; some are women who do little boy voices; some are known for the sexy; some are known for the powerful, or the evil, or the big; or maybe they can do them all. So yeah, a lot of us have a lot of different shows that we do. That’s how you earn a living as a voice actor, is to do a lot of shows; as opposed to on-camera, where you’re pretty much just doing one show at a time.

And as I was looking through your IMDB, I never actually got down to the bottom of your very first gig. I was scrolling, and I was like, “I’m never going to get there,” so I’ll just ask: what was your first gig, and also, what was your first experience performing in front of people, like as a child or whatever.

My first performing-in-front-of-people experience was I think in first grade, when they asked me to present flowers at the University of Northern Colorado homecoming queen beauty pageant, and I had to present flowers to the gal who was one of the homecoming queen candidates at the university. My second performance was the lead as Oliver in the play Oliver at my school, which was a K through 12 school in Greeley, Colorado, and that was my first really acting/performing gig, was starring in Oliver. I was in second grade, so about eight years old. My first professional gig, being paid, would be performing Oliver, again, at the Chuckwagon Dinner Playhouse in Greeley, Colorado. They paid me something like thirteen bucks a night to be Oliver. I was probably ten or eleven. I did Oliver in Greeley three times! I did it once at my school, once at the university, which was not paid, and then once for the Chuckwagon Dinner Playhouse, which was paid. And that was my first paying gig.

But when I was a kid, you know, I did ventriloquism; I did plays; they’d bring me over as the boy soprano at the university for Bernstein’s Mass or various productions. That was not paid; that was just for fun. That’s how I came to become enamored of acting and performing, was just doing it for fun.

So what was your first voice acting gig that was professional?

My first paid voice acting gig was doing a non-union commercial in Colorado Springs for Mexicana Airlines, in a horrible Spanish accent. That was my first voiceover gig, if I remember correctly. It was terrible. It was truly terrible, but I got paid to do not-my-voice in a commercial.

And it’s all experience, whether you’re paid or not. That’s the best teacher; that’s what you want. You need experience. Not necessarily classroom study, although that can be a very good thing. But you’ve got to get in front of an audience, and you’ve got to convince people to give you money to do what you like to do.

Now you were saying that you’re known for creatures, which I of course knew and appreciate-

(Dee does animal noises!)

So can I ask you, how do you do…

(Dee does crickets!)

that. How do you do the crickets? I love the crickets!

(Demonstrating) The crickets are done with the back of the tongue against the soft palate, like you’re gargling; it’s very relaxed back there. You can do it other ways too, actually. You can do it in the front of the mouth. But I do it in the back of the mouth; and then while I’m whistling, I dial in the uvula; and then I whistle with an inhale, which is a higher whistle for me; and then I just do it in reverse. So that’s what you do. But you can do that! You can practice that and you can do that. I’ve shown people how to do it.

I believe you! And I love the crickets.

Everybody loves the crickets. Except for a writer. A writer doesn’t like the crickets. Because you insert the crickets when there’s a pause or when the joke falls flat. So writers don’t like the crickets; that’s one thing I’ve learned.

That makes sense. Now you do tons and tons of creatures. Have you had any particular ones that have been really difficult to come up with, or that really stressed your voice?

Well roaring and screaming like you often do in video games can be really taxing on the voice. But I try to do it in a way that doesn’t tear up my voice. That’s done by relying on – not the voice. By relying on the throat. (demonstrates) Like that – where I’m using not just my voice but other things to make the sound or the effort. It also helps too to use it on an inhale sometimes, because that can get you a lot of sound but is not as hard on the voice. It’s taxing on the voice, but not terribly so.

When you do that in public and people smile like I’m smiling now, do you get a big kick out of that?

I don’t do it in public, and when I do they don’t smile! Well, they do here! It’s gotta be set up right, otherwise, there’s something wrong. There’s something obviously wrong, and they don’t smile.

Well, I was going to ask, also, because a lot of voice actors are known for the voices that they do, what is it like being the creature guy; being a voice actor who’s most known for animal and creature sounds?

I love that. I’m happy not to be known for anything. I don’t need to be known at all; it’s not really on my agenda. It doesn’t serve my life to be known; other than professionally, in professional circles, for people to know that I do creature and animal sounds. But that’s part of the appeal of a voice acting career, is that you’re not saddled with fame. You can live a relatively normal life and have normal relationships, and have to deal with your own human limitations in a more immediate way than you do in the sort of mediated, buffered world that a famous person has to cope with. So that’s part of why I like voice acting and was drawn to it, is that in particular.

Has that changed any for you since YouTube and having voice actors at cons and things are more prevalent now?

I can still go shopping at a grocery store and nobody knows who the heck I am, so no. But! There are a couple more people at a convention that recognize me; that’s fine. But for the most part, they don’t. And that’s okay.

Okay; now with The Clone Wars, you were saying the other day that it’s strange for you to be doing a normal voice. Can you talk about that experience?

Yes, well, when you’re establishing your career in whatever you’re doing, you kind of start with your default strength, and that for me tended to be more (in character) wacky or comedic character roles, that were more broad or cartoony. And I still have that in my wheelhouse. But when I auditioned for and got on Clone Wars, (in character) it is a straight-ahead soldier; I mean that is a normal human being that is as straight-ahead as you can imagine. There’s nothing bizarre or strange about a clone. They are a soldier, and a human, and that is what is interesting about them.

And so I would never have cast myself in doing that kind of a role at that time. That was kind of a mental limitation I had imposed upon myself, just because of what I’d been doing and what worked. But that kind of opened up for me the realization that I can do normal! That I can do normal and variations of normal; and the acting challenge of applying the gradation of character to the clones really opened up my mind in terms of what I can do and how I look at what I can do. So from that, I will occasionally get a villain character. For instance, Tarrlok, in Legend of Korra. (in character) Tarrlok, he speaks mostly as I do. But he is a character who is duplicitous, and you’re not always sure what he’s going to do; if he’s friendly, or if he’s evil…or what’s up with him. And that was another just straight-ahead character; who was kind of unsavory in a lot of ways. But again, I got to do that. Or Ra’s al Ghul in the Batman: Arkham City video game. I mean, that’s a straight-ahead villain. That’s a heavy. And I booked that, whereas I think a decade ago or so, I don’t think I would have even auditioned for it. No one would have thought to, and I wouldn’t have thought to. I would have said, “Nah, that’s not really what I do.”

You’ve worked a lot in both video games and animation. What’s the difference in experiences there? Do you prefer one?

I like video games in general because I think it’s not just an art form, but an evolution in how humans communicate, and what they do. I don’t think normal society really understands that. The sort of established, grown-up society; I don’t think they understand the profundity of what that means in terms of connecting with millions of other people in different countries and doing something together. Like, with World of Warcraft, or on Xbox or something like that, you’re literally playing against the rest of the planet, or you’re playing with them, as you play against them. It’s competitive but at the same time it’s cooperative. And I don’t know what else we’re doing as nations and countries that is like that. I think it’s a really positive and necessary thing, that has the potential to lead to kind of benevolent connections among societies; that we need, as the world seems to be falling apart. I think it’s a thing that brings large groups of people together, who don’t even necessarily speak the same language. And that’s something; that’s unique.

It also brings in a lot of different art forms in addition to writing and acting. It also puts music into the ear of young people who probably aren’t getting that; because arts and other essential education in this country are being cut, because education is not a priority in this country, sadly. Tragically. And so I like that it brings music into the mind and into the ear; as many of the projects that we have here at Comic-Con do. Whether it’s the X-Men feature film, or a Halo game, the music that you’re hearing, this sort of nineteenth century programmatic music, is really marvelous. It’s a marvelous form of expression. We should know it and appreciate it and cultivate that in our world, I think.

I agree. Now speaking of the con again, were you also doing Wolves?

Yes, I did! I was doing wolf sounds for Wolves. I don’t know what I am allowed to tell about it, but it’s David Hayter’s project, and he’s got a great werewolf-type project, and they brought me in to do some wolves. (demonstrates)

That’s fantastic. Are there any other new projects we should be keeping an eye out for?

I wish there were more that I could talk about. I continue to do a lot of stuff for Disney, and for Phineas and Ferb, and Jake and the Never Land Pirates, and lots of shows that kids really like. For Jake and the Never Land Pirates, I’m the Croc, and – I’m pretty much the animals in that; whether it’s a bee or a plant or a lizard or a bug or whatever it is, they call me in to do that.

What does it make you feel like if you’re watching a show that you’ve done, and there are people talking, and you are all of the background noises or whatever?

I like that. I mean, it’s fun! It’s fun to be in there, and I like it best if people don’t realize that that’s what that is; that there is a human doing that. The goal would be for it to sound natural and seamless and invisible, sort of like a special effect. You don’t want an audience member to think about a special effect. You want them to experience the scene more accurately to what your vision is as a creator. And that’s what I want to be as a voice actor who adds the weird or the animal or the alien, is to make it feel like this is an organic part of what the story is. Not, “Oh, who’s that guy, doing that sound?” That’s what I don’t want.

I think you succeed very well, because I would never know.

•     •     •     •     •

Dee is a such pleasure to talk with, and I had a fantastic time interviewing him! And, of course, I asked Dee to do a shout-out for ComicMix, which he was kind enough to do. Don’t miss it at the end of the video!

And until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis Goes Super Nigga!

WEDNESDAY MORNING: Mike Gold Gets Real Small

 

New Thor: The Dark World images and Trailer

TM-06742_RNow that people have absorbed all the sneak peek hoopla from Comic-Con International, Disney comes through with several new trailers. Yesterday it was The Muppets, today it’s Thor: The Dark World, opening in November. It’s more Loki-centric, playing off Tom Hiddleston’s newfound popularity and there’s one great moment with Natalie Portman’s Jane Foster resonating back to The Avengers.

Genre:                          Action-adventure
Rating:                          TBD
U.S. Release date:        November 8, 2013
Running time:                TBD

Thor_Payoff_1-Sht_v2_lg

Cast:                            Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgård, Idris Elba, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano, Jaimie Alexander with Rene Russo and Anthony Hopkins as Odin
Director:                       Alan Taylor
Producer:                      Kevin Feige, p.g.a.
Executive Producers:    Louis D’Esposito, Victoria Alonso, Craig Kyle, Alan Fine, Nigel Gostelow, Stan Lee
Story by:                      Don Payne and Robert Rodat
Screenplay by:              Christopher L. Yost and Christopher Markus & Stephen McFeely

Marvel’s Thor: The Dark World continues the big-screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself.  In the aftermath of Marvel’s Thor and Marvel’s The Avengers, Thor fights to restore order across the cosmos…but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.

Starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgård, Idris Elba, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano, and Jaimie Alexander with Rene Russo and Anthony Hopkins as Odin, Marvel’s Thor: The Dark World is directed by Alan Taylor, produced by Kevin Feige, p.g.a., from a story by Don Payne and Robert Rodat and screenplay by Christopher L. Yost and Christopher Markus & Stephen McFeely, and is based on Marvel’s classic Super Hero Thor, who first appeared in the comic book Journey into Mystery  #83 in August, 1962.

Marvel’s Thor: The Dark World continues the big-screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself.

New Images and Trailer for Muppets Most Wanted

MUPPETS MOST WANTEDDisney has released new images from Muppets Most Wanted, coming in spring 2014. Additionally, a new trailer has been released. ComicMix has it all below.

Genre:                         Family Comedy
Rating:                        TBD
Release Date:           March 21, 2014
Cast:                            Kermit the Frog, Miss Piggy, Fozzie Bear, The Great Gonzo, Animal, Ricky Gervais, Ty Burrell and Tina Fey
Director:                   James Bobin
Producers:               David Hoberman, Todd Lieberman
Executive Producers:    Nicholas Stoller, John G. Scotti
Screenplay by:              James Bobin, Nicholas Stoller

MUPPETS MOST WANTEDDisney’s Muppets Most Wanted takes the entire Muppets gang on a global tour, selling out grand theaters in some of Europe’s most exciting destinations, including Berlin, Madrid and London. But mayhem follows the Muppets overseas, as they find themselves unwittingly entangled in an international crime caper headed by Constantine—the World’s Number One Criminal and a dead ringer for Kermit—and his dastardly sidekick Dominic, aka Number Two, portrayed by Ricky Gervais. The film stars Tina Fey as Nadya, a feisty prison guard, and Ty Burrell as Interpol agent Jean Pierre Napoleon.

Disney’s Muppets Most Wanted is directed by James Bobin and produced by David Hoberman and Todd Lieberman. Bobin co-wrote the screenplay with Nicholas Stoller, who is also executive producer with John G. Scotti. Featuring music from Academy Award®-winning songwriter Bret McKenzie, Muppets Most Wanted hits the big screen March 21, 2014.

MUPPETS MOST WANTEDStarring Ricky Gervais, Ty Burrell and Tina Fey, Disney’s Muppets Most Wanted takes the entire Muppets gang on a global tour where they find themselves unwittingly entangled in an international crime caper.

NOTES:

  • Director James Bobin returns to Muppets mania. For his work as Disney’s The Muppets director, Bobin was nominated for BAFTA (Outstanding Debut by a British Writer, Director or Producer). He co-created HBO’s Flight of the Conchords, which he wrote, directed and exec produced.
  • Bret McKenzie, who won an Oscar® for best original song for “Man or Muppet,” returns to the Muppets stage as music supervisor. McKenzie created, co-wrote, executive produced and starred in the hit HBO television series Flight of the Conchords,”
  • Ricky Gervais is the creator of Derek and the Golden Globe®- and Emmy®-winning series The Office and Extras.
  • Ty Burrell is an Emmy® Award winner for his role in TV’s Modern Family.
  • Tina Fey is a Golden Globe®-, Emmy®- and SAG Award®-winning actress and writer Tina Fey (30 Rock, Mean Girls, Date Night).

Martin Pasko: The Age of Michael Jackson Comics

Pasko Art 130801Before I Do This Thang for the week: I’ve been getting messages from readers. Apparently, I do have them. Or, as Bob Hope might have said, “I know you’re out there, because why else would Dolores be propping me up in that direction?”

These messages I’m talking about are all “Why do you use so many links?” Clearly, if you’re asking this, you’re not clicking on them. Hint: Some – not all, or even most, but some – of them don’t lead where you might assume they do. They are instead meant to be weird, “disconnective,” hit-or-miss jokes in and of themselves. So, as the most celebrated member of The Hair Club For Men once put it, “’Nuff said.”

Now, on to That Thang. Meaning I have to stop vamping with jokes about what I didn’t learn in San Diego the weekend before last, and, God help me, actually come up with a third and final part of my highly speculative and putatively uninformed rant to go with the first and second parts. [I say “putatively” because Richard Feder of Fort Lee, New Jersey, writes, “Aren’t the comics selling better than ever? What should I do?” (And, no; no link this time. Get off your fat ass and Google it.)]

If you’re just joining me here for the first time, please feel free – unless your ass really is too fat to allow you to lean over and reach your mouse or trackpad – to check out those previous parts. And maybe click on some on those links you’ve been skipping over. Go ahead. I’ll wait. It’s not like I have anything better to do.

Back now? Good.

One thing Iwasn’t joking about last week: SDCC really didn’t shed much light on whether the Big Two might be incrementally but profoundly changing how they think about creating and marketing comics. Specifically, that they might have to take back total creative control from the freelance talent, to better justify their claim that comics help generate new, original movie and TV properties – titles and characters that aren’t mere spin-offs from the oldest, best-known super hero “brands.”

But I remained in the dark not, as I facetiously suggested, because of the conditions endemic to the con itself, but, rather, because the Big Two’s massive “booths” at least appear to still be doing their dog-and-pony shows in much the samo-samo way as they have been since the beginning of The Gastrotrich Super-Star era and the annual “continuity stunt.” You know – the age of what I like to call Michael Jackson Comics. As in, “We’re going to keep rearranging our face because it gets us publicity even though we don’t entertain anybody anymore. (But we do have a few pet chimps who clap for us when we do it.)”

At first, superficial glance, little seems to have changed this year. There were the same long lines of people waiting for something, but you couldn’t quite be sure what because the crowds were too dense. And there were the same old book signings by the Flavors Of The Week – those comic book “creators” who have been rocketing out of obscurity and vanishing back into it just as fast, ever since Hollywood’s “‘bankable’ star” mentality was first applied to four-color pamphlets by, if memory serves, Jenette Kahn. She was the first Big Two publisher to wonder, for example, whether Superman might not sell better if it were John Byrne’s Superman.

And it did.

For a while.

Thirty years ago.

But this year at SDCC, when I took a closer look at those exhibits, and let my eye follow carefully where that long line was snaking to, it seemed as if more and more of those people were queueing up for a chance to glimpse some “teaser” footage from an upcoming movie or TV show, and the lines to buy signed copies of Flavor of the Week’s Superman or Smokin’ Hot Newcomer’s Spider-Man were shorter. The “brand” – the property – was what was making the loudest ka-ching, ka-ching.

But the people who decide what will be presented in these exhibits seem not to notice, and persist in announcing new comic book titles whose selling point is presumably the name of the creative talent rather than the super hero brand. Meanwhile, superhero feature films continue to succeed without being dependent on major stars in their casts, a phenomenon that is a reflection of a larger, industry-wide paradigm shift.

The early warning signs might be barely noticeable, but I really think they’re there. And it’s getting harder not to wonder whether someday – maybe sooner than even cynical me suspects – Disney and Warners will have convinced themselves that they can endlessly exploit their existing brands, through reboots not unlike those in the old annual face-changing stunts, without any help from their four-color pamphleteers. And if their comic book divisions will have ceased to yield new brands they can add to the product mix as break-out hits, they might start to wonder whether all those Flavors of the Week and their pamphlets are any use to them at all.

LATER TODAY: Emily S. Whitten Returns!

FRIDAY MORNING: Martha Thomases

SATURDAY MORNING: Marc Alan Fishman

 

 

3 New Clips from Planes

3 New Clips from Planes

Disney’s Planes is coming out next month. You can tell from the number of clips being released including the three below.

“Bulldog Shamed”

“Dusty Meets El Chupacabra”

“Strut Jetstream”

Genre:                                      Animation/Adventure

Rating:                                      PG

Release Date:                           August 9, 2013

Voice Cast:                               Dane Cook, Stacy Keach, Brad Garrett, Teri Hatcher, Julia Louis-Dreyfus, Priyanka Chopra, John Cleese, Cedric the Entertainer, Carlos Alazraqui, Roger Craig Smith, Anthony Edwards, Val Kilmer, Sinbad, Gabriel Iglesias, Brent Musburger, Colin Cowherd, Danny Mann, Oliver Kalkofe, John Ratzenberger

Director:                                   Klay Hall

Producer:                                  Traci Balthazor-Flynn

“Disney’s Planes” is an action-packed 3D animated comedy adventure featuring Dusty (voice of Dane Cook), a plane with dreams of competing as a high-flying air racer. But Dusty’s not exactly built for racing—and he happens to be afraid of heights. So he turns to a seasoned naval aviator who helps Dusty qualify to take on the defending champ of the race circuit. Dusty’s courage is put to the ultimate test as he aims to reach heights he never dreamed possible, giving a spellbound world the inspiration to soar. “Disney’s Planes” takes off in theaters on Aug. 9, 2013.

 

“Disney’s Planes” is an action-packed 3D animated comedy adventure about Dusty (voice of Dane Cook), a plane whose high-flying dream gives a spellbound world the inspiration to soar.

 

 

OFFICIAL BOILERPLATE:

“Disney’s Planes” is an action-packed 3D animated comedy adventure featuring Dusty (voice of Dane Cook), a plane with dreams of competing as a high-flying air racer. But Dusty’s not exactly built for racing—and he happens to be afraid of heights. So he turns to a seasoned naval aviator who helps Dusty qualify to take on the defending champ of the race circuit. Dusty’s courage is put to the ultimate test as he aims to reach heights he never dreamed possible, giving a spellbound world the inspiration to soar. “Disney’s Planes” takes off in theaters on Aug. 9, 2013. For more information, check out Disney.com/Planes, like us on Facebook: facebook.com/DisneyPlanes and follow us on Twitter: twitter.com/DisneyPictures.

Eisner Awards Presented at Comic Con

All Pulp congratulates the winners of the 2013 EISNER Awards.

PRESS RELEASE:

The winners of the 2013 Will Eisner Comic Industry Awards were announced at a gala ceremony held during Comic-Con International: San Diego, at the Hilton San Diego Bayfront, on Friday, July 19.

Best Short Story: “Moon 1969: The True Story of the 1969 Moon Launch,” by Michael Kupperman, in Tales Designed to Thrizzle #8 (Fantagraphics)

Best Single Issue (or One-Shot): The Mire, by Becky Cloonan (self-published)

Best Continuing Series: Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best New Series: Saga, by Brian K. Vaughan and Fiona Staples (Image)

Best Publication for Early Readers (up to age 7): Babymouse for President, by Jennifer L. Holm and Matthew Holm (Random House)

Best Publication for Kids (ages 8–12): Adventure Time, by Ryan North, Shelli Paroline, and Braden Lamb (kaboom!)

Best Publication for Teens (ages 13–17): A Wrinkle in Time, by Madeleine L’Engle, adapted by Hope Larson (FSG)

Best Humor Publication: Darth Vader and Son, by Jeffrey Brown (Chronicle)

Best Digital Comic: Bandette, by Paul Tobin and Colleen Coover (Monkeybrain)

Best Anthology: Dark Horse Presents, edited by Mike Richardson (Dark Horse)

Best Reality-Based Work (tie): Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert (Center for Cartoon Studies/Disney Hyperion); The Carter Family: Don’t Forget This Song, by Frank M. Young and David Lasky (Abrams ComicArts)

Best Graphic Album—New: Building Stories, by Chris Ware (Pantheon)

Best Adaptation from Another Medium: Richard Stark’s Parker: The Score, adapted by Darwyn Cooke (IDW)

Best Graphic Album—Reprint: King City, by Brandon Graham (TokyoPop/Image)

Best Archival Collection/Project—Strips: Pogo, vol. 2: Bona Fide Balderdash, by Walt Kelly, edited by Carolyn Kelly and Kim Thompson (Fantagraphics)

Best Archival Collection/Project—Comic Books: David Mazzucchelli’s Daredevil Born Again: Artist’s Edition, edited by Scott Dunbier (IDW

Best U.S. Edition of International Material: Blacksad: Silent Hell, by Juan Diaz Canales and Juanjo Guarnido (Dark Horse)

Best U.S. Edition of International Material—Asia: Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)

Best Writer: Brian K. Vaughan, Saga (Image)

Best Writer/Artist: Chris Ware, Building Stories (Pantheon)

Best Penciler/Inker (tie): David Aja, Hawkeye (Marvel), Chris Samnee, Daredevil (Marvel); Rocketeer: Cargo of Doom (IDW)

Best Painter/Multimedia Artist (interior art): Juanjo Guarnido, Blacksad (Dark Horse)

Best Cover Artist: David Aja, Hawkeye (Marvel)

Best Coloring: Dave Stewart, Batwoman (DC); Fatale (Image); BPRD, Conan the Barbarian, Hellboy in Hell, Lobster Johnson, The Massive (Dark Horse)

Best Lettering: Chris Ware, Building Stories (Pantheon)

Best Comics-Related Periodical/Journalism: The Comics Reporter, edited by Tom Spurgeon, www.comicsreporter.com

Best Comics-Related Book: Marvel Comics: The Untold Story, by Sean Howe (HarperCollins)

Best Educational/Academic Work: Lynda Barry: Girlhood Through the Looking Glass, by Susan E. Kirtley (University Press of Mississippi)

Best Publication Design: Building Stories, designed by Chris Ware (Pantheon)

Hall of Fame: Lee Falk, Al Jaffee, Mort Meskin, Trina Robbins, Spain Rodriguez, Joe Sinnott

Russ Manning Promising Newcomer Award: Russel Roehling

Bob Clampett Humanitarian Award: Chris Sparks and Team Cul deSac

Bill Finger Excellence in Comic Book Writing Award: Steve Gerber, Don Rosa

Will Eisner Spirit of Comics Retailer Award: Challengers Comics + Conversation, Chicago, IL

See more at http://www.comic-con.org/awards/eisners-current-info#sthash.7hRCavEx.dpuf

John Ostrander: Late To The Party

OStrander Art 130714I’m not often the firstest with the mostest. Ask Mike Gold. I was resistant to getting a computer despite his urging until, of course, I got a computer. Then I was gung-ho (and remain so). Friends back in the day told me that I had to read Lord of the Rings. My reaction was – no, I don’t. Until, of course, I did read The Lord of the Rings and became a huge fan.

There’s a couple of movies that were like that for me. For whatever reason, I resisted looking at them while they were in the movies theaters. Later, I caught them (or part of them) on TV and then discovered I really liked them. I now own DVDs of these films (yes, I’m resistant also to Blu-Ray so far; we all know how that will end but I remain stubborn at the moment).

The first of these is Disney/Pixar’s Cars. You’d think I’d be first in line because I was (and largely still am) a big Pixar fan. Part of me still prefers 2D animation but Pixar absolutely won me over with its stories and characters and the wit of their scripts. But Cars just struck me as pandering to NASCAR (another cultural phenomenon to which I remain resistant) and I passed . . .until I saw it on TV.

D’oh! (Did I mention I was also resistant to The Simpsons for a long time?)

Cars is every bit as good as any other Pixar film and has a great cast. It has Paul Newman in his last performance, for crying out loud! Owen Wilson, Bonnie Hunt, Tony Shaloub, Cheech Marin, and George Freakin’ Carlin all contribute. It even has Tom and Ray Magliozzi from NPR’s Car Talk (highly appropriate but such a nice touch). The animation is first rate with some absolutely stunning backgrounds and a story that involves and tugs at the heart. Love the film and would have loved seeing it on the big screen )if I hadn’t been so danged snobbish and stubborn. That’ll teach me.

No, it won’t.

There’s also The Adjustment Bureau, adapted from the short story “Adjustment Team” by Phillip K. Dick, who has had a stellar record providing grist for Hollywood’s mill – Bladerunner, Minority Report, and Total Recall (twice) among others. It stars Matt Damon and Emily Blunt and features Terrence Stamp (a favorite of mine). It’s odd that I missed it – I really like Matt Damon and would usually watch anything with him in it but this got mediocre to tepid reviews for the most part.

I can see why. There’s a cosmic plan involved and guys in dark suits and fedoras who may or may not be working for someone who may or may not be God. Possessing a fedora allows you to travel through certain doors and wind up in a different part of the city. Damon and Bloom play very star-crossed lovers whom the cosmic forces are trying to keep at bay. It all gets a little arcane and hard to swallon.

But…

Damon and Blunt are terrific together. They have such a natural chemistry that, for me, it sells the film. I want these two people to be together no matter what cosmic forces decree they should not. So I bought the DVD.

Which leads me to another Matt Damon film, We Bought A Zoo, directed and co-written by Cameron Crowe. The film also stars Scarlett Johansson, Thomas Haden Church, and a lovely supporting cast. It’s the story of a widower with two kids who ups and buys a struggling zoo and tries to renovate and re-open it. It sounded a little Hallmark Channel to me, especially the title.

My bad. I’ve gone through the grieving process for a spouse (albeit without children) and the film feels true to me, as does Damon’s performance. Again, great chemistry with his co-star, Scarlett Johansson. I’m leery of films that focus on kids and animals –they can come off cloying and/or annoying – but the children and the beasties come off very well. Again, I think the reviews were tepid and the title probably kept some viewers away (it kept me away). That’s unfortunate; I think many folks – like me – have discovered it since its initial release and enjoyed it.

There are other films that I ignored in their first release – Amelie comes to mind – that I discovered later. Thanks the powers hat be for DVD.

Or Blu-Ray. Which I’ll get around to owning.

Someday.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten