Michael Buscemi [Interview]

This brilliant photo was taken by Oren R. Cohen. http://www.orenrcohen.com

Today is a very special interview here at Trainwreck’d Society, you damn lucky readers, you! Today we have some words with a brilliant actor, writer, and filmmaker in his own right. His name is Michael Buscemi, and the odds are great that much like some of our previous guests on the site, have appeared in something you love! He was a re-occuring figure in the hugely popular and critically acclaimed series Nurse Jackie, and poignant and hilarious cast member in the AOL Original Series entitled Park Bench with Steve Buscemi.

He also happened to appear in one of my favorite films of all time, 1996’s Tree’s Lounge. Which if you are not aware of this film and just how damn amazing it is, I want to read this, enjoy it, and then get your life together and see this brilliant piece of art. It is seriously that wonderful, and features one of the most superb groupings of actors to ever assemble for a film. Michael has also been seen in films like Tom Siercho’s The Girl Who Invented Kissing that was released this year, and has a couple of brilliant short films under his belt which he wrote, directed, and appeared in, which we will be talking about in great detail.

Michael Buscemi is simply one of those damn fine actors who, when you even get the notion that he will be involved with a project, you know it is going to be great, and his presence alone will add to the story greatly. So as I usually should, but often don’t, I am going to stop rambling here and introduce our newest member of the TWS family, Mr. Michael Buscemi!

What was it that drove you personally to become involved in the world of acting? And what keeps you wanting to work in such a business?

Happy accident. A high school friend and I were brought to a place where  performers gathered every Sunday night. It was like walking in to a wild west saloon. I was amazed and thrilled. I cannot describe the scene as I would not bring justice to it.

Poets, musicians….., ranter and ravers.

All these wonderful and talented people under one roof. All this happening unbeknownst to me a half block and a quick turn of a corner from my lower east side apartment, ABC-NO-RIO.

The following Sunday my friend and I signed up to perform. It was  two minute vignette minus any dialogue. It went over pretty well and that gave us confidence to perform the following week.(with dialogue) Those Sunday’s lasted for eight years and many shows.

We and everyone else would put together show’s at different venues around the east village pre-gentrification which are now bar’s, restaurants, etc, etc.

I never thought about it as a career, nor did I consider myself a writer. One of us would come up with an idea and crack each other up and then just write it down. It was a thrill to have an opportunity to perform as well. When our community of performers were pushed out by high rents I moved out to Brooklyn. I remember lying in bed one night after leaving Manhattan and going, “What the hell do I do now”?

I never thought of making money performing our vignette’s, in fact if anything we lost money putting a show together but that didn’t matter.

Anyway about 6 months later someone got me a commercial agent and I began acting in commercials. It’s my love of acting which keeps me wanting to continue. As of the business,well that’s an entity all to itself.

Beyond being an accomplished actor in your own right, you have also done some work behind the camera, with short films like B61 and Dos C. The latter which I believe I caught a part of on a lovely tribute video to you made by YouTube user “Jazzalisa”. So my question is, what compelled you to expand your horizons and work behind the camera as well? And what are some less than obvious benefits of performing in your own written work?

Well I don’t know who this “Jazzalisa” is but I find that very sweet of them and a bit embarrassed (in a good way).

When someone ask’s you to write a short that they’ll finance, well the answer is a quick “Yes”. I did not have one written at the time so I pulled out bus scene’s from a feature I was working on. The bus scenes in the short where two men were sitting & waiting which took place over a three month period in the feature. I pulled them all out and re-edited them to take place over a six day period for the short.

I was curious to test the writing and if it went over well it would give me the confidence to continue writing the full length script.

It was the same for my first short Dos C, a good way (but scary) to test out material. I love collaborating, especially with friends and directing gave me the the opportunity to make my own choice’s whom I liked to work with. Also I love to be active. Setting up shots between scenes can cause much downtime for an actor. That’s when I loose energy waiting almost to the point of nodding out. Directing kept me on my feet constantly moving in the present moment through out the shoot.

You had a great run on the brilliant Showtime series Nurse Jackie. Can you tell us a bit about what it was like to work on such a well written show and being a part of such an amazing cast? What was set life like on this incredible program?

The cast brilliant, both in talent and people! I am thrilled to be a part of the show. Set life was amazing from the directors to the P.A.’s.

An opportunity to work with some actors I knew from before and some I never worked with which both had it’s own high’s. I loved the on going scenes with Meredith Weaver.

When pressed to divulge my Top 5 favorite films of all time, inevitably Tree’s Lounge will always appear on the list, in a varied order. It is a film that has reached a new level of cult status, in my experience with film goers that is. So, it would behoove me to ask even the simplest question about the film. What are your thoughts on the final product that has become a classic film?

So proud of my brother that he had his vision come to the screen and of his directing work. The film has so many great actor’s and I felt ecstatic to be around (and nervous).

I’m happy when people come up to me these many years later and say how much they related to the film, it reminds me each time of my brother’s vision of the film he wanted to make and that time we had while filming.

My father still has the original Trees Lounge sign stored behind the garage which my mother has been trying to get him to get rid of ever since.

If anyone wants to make my mother happy…..

I truly love the AOL Original Series Park Bench with Steve Buscemi that you have worked on with your brother. It is such a beautifully simple concept that is absolutely endearing and enjoyable. For my readers who may not be so well informed, could you tell us a bit about how this concept came to be? What made you guys want to get this thing going?

I was not aware that AOL still existed let own had there own shows when my brother first told me about it, but they were very generous, supportive, and wonderful people to work with.

I don’t know if many people were aware of the show.

My brother directed these commercials for American Express which I believe sponsored  an upcoming Vampire Weekend’s concert. So the commercials were a story line which led up to the final night of there performance. It was that format which gave my brother the idea for Park Bench.

I was not even the cast, ha! There was a different story line to the show and when the person needed to drop out the story line changed and that organically developed as to when I came in.

It’s alway’s exciting and educating to work with my brother.

And the guest he had on the show were mind blowing to me. Again as in Nurse Jackie, some I knew and worked with and some I had not. It was a nicely packaged gift.

Are there any plans for a return of Park Bench? Please? Maybe even a Michael and Gino spinoff?

You mean “Bench Talk”? Well don’t know about that. However if it does I could never bring myself to steal Geo as he is very loyal (but I’ll still try).

What does the future hold for you? Anything you would like to plug with our readers?

Good question,wish I had the answer. I do know what my desires are though. Right now to keep keep active between acting job’s I decided to just get out there and begin shooting. Fun and simple. Vignette type piece’s  anywhere from two to five minutes. Hopefully I can post them somewhere. Don’t know much about the whole web thing.

The difficult part is pinning down different friend’s schedule who I want to work with and also has a camera. I don’t know own one (I’m not good with tech).

So……If any one out there has a camera, uh hum…

What was the last thing that made you smile?

My double espresso this morning.

Margaret Champagne [Interview]

Terry Hart [Interview]

Hot damn do we have another great interview for you fine folks today! Continuing our new found love for speaking with some of the finest writers & performers in the world of comedy, I would say we stepped it up a bit even more, if that is somehow possible. Today’s interview subject is a man who has earned legendary status in the world of comedic television. Terry Hart is a man who has been creating some of the most classic comedic entertainment for about as long as most of us have been alive.

Die hard fans of comedy will know that there was a time when late night shows ran supreme. And there was no higher than The Tonight Show with Johnny Carson. It was the top of the food chain. It was clearly known during its tenure that a stand up comedian simply HAD to have a Carson appearance if they wanted to have even the tiniest glimmer of hope to make it in the comedy world. And Terry Hart was a man who was there! Terry has worked in some capacity on some of the most classic television shows the world has ever known. Going back to shows like Happy Days, Laverne & Shirley to Bosom Buddies and Perfect Strangers. And how can we forget the brilliant 80’s run of Gimmie A Break! Essentially, when the situational comedy format was the mighty powerhouse of television, Terry Hart was at the forefront of it all. And even to this day we remains a highly respected force to be reckoned with in the world of television.

This one is HUGE folks! The legendary status of Mr. Hart is one that deserves our highest regards and upmost respect. And we would love to give him just that. So with that being said, it is an honor and a privilege to welcome to our digital space, legendary comedy writer and producer Terry Hart!

When did you first realize you wanted to write for a living? Specifically, what made you want to join the world of comedic television?

As a kid I had a particular sense of humor – which in my younger years got me in minor, but frequent trouble. Seemed not all adults were amused by sarcasm from a 9 year old. I always lived in a humorous universe, but the concept of writing comedy as a career wasn’t in my family’s Midwest values DNA. Writing wasn’t a long held goal. Right after college I went to work for a big-time, very stuffy advertising agency in NYC (J. Walter Thompson) as a suit & tie account executive. Turned out I was the most amusing executive in the New York office – a lot like being the best steakhouse in India. But enough for me to start writing jokes for a few standups. That led to the move to LA. At the time, the idea of writing (making stuff up) seemed like more fun than a real job. That turned out to be true.

You are credited as a writer for the legendary Tonight Show with Johnny Carson, that still stands the test of time. In the comedy world, there has been a lot of varied opinions about the modern day versions of late night talk shows. As a master of the writing craft, what are your thoughts on the modern day late night shows?

Television has evolved. But late night shows haven’t really changed since Carson’s Tonight Show, and even earlier. It’s like baseball – 150 years ago they laid out the dimensions of a baseball diamond. That’s it – our work here is done. Today the infield is the same. So’s late night. Monologue. Desk. A little more comedy. Guests plugging something.

There are some smaller differences. Even though Carson wasn’t the only late night guy, he dominated. His monologue was virtually the only comedic political and cultural commentary on TV. Today there are a lot more shows and all competitive. The material is edgier and most of the hosts take a position on politicians and policies. Carson was studiously neutral and his sharp-edged jokes were wrapped in his softer, Middle America persona. And clips of the current late night stars show up on cable news – didn’t happen in Carson’s time.

Unrelated Writer Note: When we wrote Carson’s monologue jokes (then, maybe 6-7 writers – each wrote about 16+ jokes per day) they went directly to Johnny. No head writer involved. And when Carson did your jokes he did the lines exactly as you wrote them – didn’t change a word. That was a rare experience.

You had a major role as a producer and writer on one of my favorite sitcoms of all time, the classic Perfect Strangers. With so many credits before and after this one, what would you say made your time with that particular program special? What do you believe just made this show work so well?

The foundation of a good TV comedy series is a good writing staff. Drama might work with one talented writer (the British sometimes demonstrate that, and maybe Aaron Sorkin). Comedies need bright, funny writers around the table – which Perfect Strangers had. But a lot of shows have great writers, and still fail. My belief… second only to good writing is casting. There are great actors who can’t do comedy – especially half hour comedy. Mark Linn-Baker and Bronson Pinchot were (are) talented actors who could do comedy. As Cousin Larry and Balki they delivered dialogue with perfect attitude and timing. They were also amazing physical comedians. There were episodes where their physical comedy added minutes to the show and we’d end up with “as broadcast” scripts under 30 pages. I suppose this is where I use the cliché “good chemistry.” It was a fun, silly show. Great show and actors to write for…and very few late night rewrites. It was a good time. The writer/actor relationship is the core of successful TV comedy. But everyone on Perfect Strangers, crew, production staff, etc., were terrific and important.

But… Also worked on Bosom Buddies. Bright, funny writers plus Tom Hanks and Peter Scolari. Two seasons – cancelled. Go figure.

There have been a lot of changes in the way that television is seen and created these days, with so many different platforms to showcase and create the product. As a man who has been in the business for some time, what are your thoughts on the modern age of television? Are we better off having 1,000 channels to choose from, or are the airwaves becoming diluted?

More choices. Fewer rules. More people being seen, heard and taking chances. All great.

When you look back on your amazing and successful career in the world of television, what would you say you are most proud of?

“Proud” might be a bit strong. But pleased and grateful that I’m part of a relatively small group. I make my living as a writer. Written some good stuff. More in the works. And written some dreadful shit. But never worked as a bartender (not that there’s anything wrong with that). Or a real estate agent (not that there’s a lot wrong with that). Mostly TV. Sold a couple screenplays (in its infinite wisdom Hollywood has, thus far, chosen not to produce either). Write and ghostwrite books, speeches, and special material. But, other than a couple early years on Madison Avenue, never any non-writing work. I have writer friends (I include actors, artists, musicians…), but more friends who are executives, lawyers, entrepreneurs, etc. Why do tens of millions of people choose to be executives, lawyers and entrepreneurs? I’m thinking because they can’t be writers. Not a ton of people get to do what we do for a living. We’re lucky.

What does the future hold for you? Anything you would like to plug to our readers?

Writing-wise, I’m writing. But now projects I want to do, and have an understanding of. (Last sentence sounds pretentious. Sorry.) Recently put my two semi-perfect sons through college (both doing very well, thank you – neither living in my basement). Don’t have the same economic responsibilities I once did – that’s very liberating. Today? Future? Just finished two virgin scripts – half hour comedy and a screenplay. Clearing shelf space for multiple awards. Plus a book in progress that’ll probably appeal only to sarcastic, 9 year old assholes.

What was the last thing that made you smile?

In a previous question you referred to me as “a master of the writing craft.” That made me audibly chuckle.

Steve Bannos [Interview]

Today’s interview subject is one of those guys that you are bound to have caught in some sort of capacity over the years, because he shows up in EVERYTHING! The range of roles that this cat can take on is astounding. His name is Steve Bannos, and I am going to say it now…he is god damned brilliant.

Most recently, fans of the Netflix Original Series Love will definitely recognize him. And if you are a young person, or have one of those young people running around your house, his work on Ned’s Declassified School Survival Guide may be how you know his genius. I know that I personally just continued to see him pop up in such modern classic comedies like Superbad, Bridesmaids, Funny People, Ghostbusters, Why Him?, and just about every damn thing that is directly related to, or stems from the Apatow universe, going all the way back to the beloved cult classic series Freaks and Geeks. This man has been there the entire time, and he is been doing some amazing work in this world.

And with that, we are absolutely honored to have Steve Bannos as our featured guest with us today! It has been a real pleasure to digitally get to know Steve. Not only is he an amazing actor and brilliant writer, he is also just a downright sweet and hilarious person in general. Which is always a relief! So ladies and gentlemen, please welcome one of the funniest folks we have ever had the privilege of featuring at TWS, the great Steve Bannos!

When did you first realize that you were destined to join the world of entertainment, specifically the world of comedy? Where you always looking to get a laugh as a kid?

Destined? More like cursed. I never really had a choice, I don’t think. I was a funny kid. Fat and hammy and funny and always out of control. I drove my parents bonkers. Always making noises. And faces. Always. I never stopped. All day. Even when I was alone, I’d make faces in the mirror, thinking there was a camera aimed at me. f I was a kid today, I’m certain I would be on a fruit salad of psychotropic meds. But I wasn’t. I was allowed to wacktastically flourish and eventually find my footing. 

You betcha I was looking to get laughs as a kid, and in grade school, it was like shooting fish in a barrel. I got into heaps of trouble because of my pursuit of yucks. Just constantly in deep shit. I spent agonizing hours in the Principal’s office locked eye-to-eye with a mad man, getting lectured about this and that and blah and blah. He’d drone on endlessly, trying to instill some sort of righteous wisdom, and I’d be miles away, thinking about the Incredible Hulk or boobies or my next Kit Kat bar. I cannot remember a single moralistic syllable that came out of his gob because nothing ever stuck. And, in retrospect, he was a dick. 

However… there might have been an exact moment when I first realized I had comedy super powers. When I was ten or so, I was at my Aunt Frieda’s house in Berwyn, IL, for a Christmas party. There was a piano as the focal point in her living room, and there was always a cousin ready to play or sing something to an invariably attentive room. It was a great scene. I was taking piano lessons, so without introduction, I ambled up to the piano and started playing. I can’t remember the song but it was short, and when I got to the end, without missing a beat, I started the song again. I acted frustrated, and it got a laugh. Then I got to the end again, and I did it again. Bigger frustration. Bigger laugh. I repeated the gag several times, kind of like a Victor Borge routine, if Victor Borge was a fat pimply ten year old. By the fifth or sixth time, I was going berserk and the entire room was rolling on the floor. People even came in from other rooms to see the source of the laughter. I finally ended by falling off the chair. It was glorious. And it was absolutely my first performance high. I had that entire room in the palm of my hand. I owned them. I felt like a rock star. A fat pimply ten year old rock star.

In 1994, you appeared in the controversial made for TV movie Honor Thy Mother and Father: The True Story of the Menendez Murders as Detective Tim Linehan, the man who was known for bringing America’s Most Wanted on board. What sort of research did you get into to accurately portray this fascinating character? Did you meet with Tim himself?

What a great experience that was. I auditioned for Haim Saban (Power Rangers) sitting across from him at his desk. When I was done, he said, “You have a good face for a cop.” And I booked it. I was so blown away, I called everyone to tell them. Then drank a celebratory bottle of shitty wine from the 99 cent store, and wound up blowing chunks into a bucket next to my bed as I spun to sleep. A star is born. That was my very first time in front of the camera, so it was baptism by fire. I didn’t do a stitch of research on my character. All I cared about was knowing my lines and playing it small and honest. John Beck (TV’s Dallas) played my partner. He was such a great guy and took me under his wing like a real mensch. 

That was a surreal day, I had to cross a Teamster picket line to get on the location of the Menendez house because Saban had pissed them off on another job. They brutally cussed me up and down as I walked through them, middle fingers defiantly extended on both hands. I didn’t give a shit. No one was going to keep me from my first TV gig. No one. 

The inner child of the 90’s in me is itching to ask about your work as a writer on the legendary young adult oriented programs like Doug and Recess, which will both forever be legendary shows for kids like me in the 90’s. So, when you were writing for shows like these, what was the ultimate goal when writing for amazing shows like these geared towards younger audiences?

Doug and Recess were my very first professional writing jobs, and there were wildly different show. The Doug jobs came first. Doug was soft and cuddly, and always with a some kind of a moral. Blech. Who cares? One of my episodes, “Doug Gets a Roommate” actually became a kids’s paperback book. I think I own the last three copies left on the planet. 

Recess from Disney’s One Saturday Morning, was about sneaky kids pissing off idiotic teachers. It was a match made in Elementary School. When they just got rolling, I somehow heard about it and obtained the show bible. I came up with five story ideas to pitch, so all I had to do was get in the door. It was pre-9/11, and studios didn’t scrutinize people coming into the lots that closely. Having worked Art Department on a bunch of TV shows and commercials, I was pretty good at getting into lots. A baseball cap, stainless steel clipboard, and a confident wave to Security was all it took. So, I got into the Disney lot, found the right building. Found the right floor. Found the right receptionist, and told her I had an appointment to pitch to the creators, Paul Germain & Joe Ansolabahere. She looked in her book. No appointment for Bannos. I told her I could come back but she insisted I wait. In a couple of minutes Joe came out and led me to his office. It was my first pitch meeting. I pitched all five episodes, and they bought three of them. I really enjoyed writing for that genre; you eliminate all laws of physics, and the sky’s the limit with your creativity.

Steve Bannos appearing in Ghostbusters (2016) directed by Paul Feig.

You have been a player in the Apatow revolution of the last 20 years for a very long time. From Freaks and Geeks, to a plethora of of the related Will Ferrell/John Hamburg/Paul Feig films, all the way up to your reoccurring role in the Netflix series Love. So, as a guy who is well versed in this universe, what would you say is most appealing to this style of comedy? What makes you want to keep coming back?

Luckily, I keep getting invited back. Paul Feig told me decades ago, “All it takes is one person to ‘get you’ and your career can take off.” Little did he know, he’d be that one person for me. He, and Judd, and Hamburg are all wildly loyal guys, and they “get” what I do. I’m very fortunate in that way. So, I guess that’s what keeps me coming back; the offers and the subsequent pay. And, of course, it’s absolutely a labor of love. I love acting. There’s no better high for me than being on a set. It regenerates my psyche. It’s as invigorating as Tapatio® enema (I’ve heard).

I think that their comedy, for the most part, has heart. It’s the real deal. The characters are real. The friendships are real. And their lead characters are vulnerable and flawed. (i.e. Love, Superbad, Forty Year Old Virgin, Pineapple Express) The appeal of the comedy of Freaks and Geeks was its gut-wrenching realism. Comedy that cuts deep into your own life experiences can be pretty visceral. It’s sort of a “better them than me” comedy. 

After all of your years working in the business, whether it be acting or writing, what would consider to be the biggest change to the entertainment industry with the technological advancements that have occurred since you first got into the business? What are some of the ups, and what are the downs the advancements?

That’s easy. Promotion has become ridiculously easy. Back when I started in 1982, actors got black & white 8×10 photos, and that was it. What you did with them was up to you. It was close to impossible to market yourself when you first get started. Now, all the photos are online, in color thumbnails, and your agents can chose any of a dozen they pick to submit you for a part. Also demo tapes have gotten worlds easier to make. In 1982 no one had video cameras, and if they did, once you shot the footage, it was horrible, and you’d have to haul around giant tapes to drop off. The day the VHS tape died, I filled my dumpster with mountains of them that cost me 100s of dollars to make. Good riddance. Of course, now everyone has cameras, and it’s easy to make your own demo tapes and self-tape auditions that you email to casting directors. 

Also being on set, shooting digital is so much more chill than shooting film. It makes for less stressful producers, directors, and camera crews; and when they’re happy, everyone is happy. I see no “downs” in any of the technological advancements. Except for the inevitable: getting replaced by a computer generated chimp. 

Through a bit of research on this thing we know and adore called the Internet, I have discovered the name Steve Bannos to be synonymous with something called “Gargantua”. It’s a fascinating thing really, and I was wondering if you wouldn’t mind telling our fine readers what about how “Gargantua” came to life?

Oh, you son of a gun. You found Gargantua, the 500 Pound Gorilla of Snapshots! Twenty years ago, in the dawning of eBay, I started buying old snapshots online, as well as at the flea markets that I frequented every weekend. Shortly after, I decided to sell them too. I picked the eBay name Gargantua (yes, it was so early in eBay that the name was available) and decided I’d brand myself as largest seller of snapshots with the persona of a giant goofy gorilla. I kept my alter ego a secret for many years, as I wanted to be viewed as an actor and writer, and not the hirsute huckster of photos, but those days of anonymity are over. I’m quite proud of what I’ve accomplished with my snapshot business and collection. I have a loyal international following and my found snapshots have been used in films, album art, and in museums all over the world. 

For those unfamiliar with what I’m talking about, it’s what the art world has dubbed, “Vernacular Photography.” It’s basically “found photos” that are other people’s old snapshots saved from obscurity and for whatever reason are elevated to art. Why in the world would anyone want other people’s photos, you ask? My stock answer is, if you look through a box of one thousand photos, if you’re lucky, one of those photos will take your breath away. Maybe a lover’s glance, a strange mysterious moment, a frozen kinetic abstract object, or a woman or man whose beauty transcends time. Some people call it, accidental magic. I’d love to share a couple of gems from my massive horde. Gargantua still sells his simiansational photos on eBay!

What does the future hold for you? 

Many, many more healthy years, I hope. I’m very fortunate to be a character actor. I was told ages ago by my mentor, William SE Coleman at Drake University, that I would find success as an actor later in life, and he was right. That is a rare opportunity. I mean, in what other field can a fat, bald, curmudgeon become more marketable the older and crustier he gets? I try to embrace that sentiment as each year zips by. 

What was the last thing that made you smile?

I just finished a phone conversation with two life-long friends, where I explained the most efficient ways for a Greek shepherd to make love to a lamb (which I will spare you details). We were laughing so hard that I my bonked my head on the kitchen counter, and now have a noggin knot. Does that count as a smile?

Check out this amazing collection of photos that Steve has been nice enough to share with us as examples of the beauty that he has described in this interview known as “Vernacular Photography”, I think you will definitely understand why it is such an amazing thing:

Rick Friedberg [Interview]

As a kid growing up in the 90’s, the parody film genre was one that reigned supreme. It was a time and place where the action and/or spy movie was reigning supreme at the box office. They were films that we knew weren’t particularly “good”, but we always went. And with some sort of natural gravitational pull, the parody film was born. And nobody reigned more supreme in this category than legendary comedic actor Leslie Neilson. The Naked Gun series will hands down be one of the greatest spoof series the world will ever know. There is little debate on this subject, but I welcome all of it!

But there is a stand alone Neilson project that has always held a special place in my heart, possibly just doe to timing and memories. It was called Spy Hard. It was something a bit different from Naked Gun series, but comparable on all the right notes. It remains at the top of my list when it comes to spoof films, right up there with the very first Scary Movie film, which ironically has some relatable figures involved. And today’s interviewee is one of the people who is directly responsible for the legitimacy of the amazing parody genre. Rick Friedberg spent a lot of time working with Leslie Neilson, and is the man who brought Spy Hard to the screen, based around a script written by a young Jason Friedberg. No, the common namesake is not a coincidence, Jason is Rick’s son! And together, and with some other amazing folks, they created one of the funniest films the sub-genre has ever known. The brilliant Spy Hard!

But, Rick’s career is not entirely defined by his work with the great Leslie Neilson, even though I have probably mentioned his name more times already that I have Rick’s. Which is just bad writing, and I apologize! Honestly though, Mr. Friedberg is a brilliant writer and director who has put out and been involved with so many brilliant projects during his tenure, not to mention produced the young Jason Friedberg, who would be one of the original creators of the Scary Movie franchise (see how it all came back around there?).

So let me stop the rambling and just dig into these brilliant words from the great Rick Friedberg, who we are honored to have featured on our digital pages today. So ladies and gentlemen, ENJOY!

When did you realize you wanted to be a filmmaker? What were some of your earliest inspirations in the world of film and comedy?

Although not a film student (I majored in Psychology at USC,) I was fortunate to attend a class in cinema appreciation, led by former film critic Arthur Knight,  wherein we’d see a noteworthy  film and have a Q&A with the director and/or writer.  The two I still revere most were Jules and Jim and, one of my all time favorites, Dr. Strangelove.  I had been an amateur writer, an avid reader from the age of six and I most loved satire (John Barth, J.P Donleavy, Elmore Leonard, Carl Hiassen, etc).  This movie (until the Coen Bros became my fav’s) was dead solid in my wheelhouse and I secretly had the dream to write, and possibly, make movies, especially satires.  Later, the Ealing comedies, A Fish Called Wanda and the Monty Python masterpieces were all embedded in my brain pan.

When was the first time you can remember seeing your name appear on some sort of screen in credit form? Do you remember what you were doing when you first saw it?

I made a sketch comedy movie about Televangelists almost no one saw, called KGOD aka PRAY TV which was perhaps the most fun I’ve ever had, especially working with co-writer, Dick Chudnow (co-originator of the Kentucky Fried Theatre with Jim Abrahams and the Zucker Bros.)

 More than anything, I laughed again and again at the performances of the terrific cast that added so much to the already hilarious dialogue.

It was at the USA film festival in Dallas (a critic’s choice only festival – Pray TV chosen by L.A. Times film critic Charles Champlin,) that I first really registered my name on screen (though I’d seen it before) sitting with a packed audience that laughed throughout.

Your 1983 film Off The Wall was a VHS staple during my childhood, and it happens to be one of your first large projects and an 80’s comedy classic in the vein of Bachelor Party and Porky’s. After all of these years, what are your thoughts on this cult classic comedy? What do you believe has given this film so much staying power in the world of comedy?

It was a rushed endeavor to beat the Writer’s and Director’s strikes and not nearly ready to shoot.  The cast (except for Paul Sorvino) was not of the improvisational comedic talent I was used to and, again, the casting process was rushed.  I’m proud of a few scenes but it was not my best work by a long shot.  Nevertheless, my co-writer, Dick Chudnow and I tried our best to make it up as we went along.

Your 1996 film Spy Hard, an amazing Leslie Neilson vehicle and continuation of your work with the legendary actor, is still to this day a go to film when I am in need of a solid laugh. So thanks for that! After a couple of decades, what are your thoughts on the final product that is Spy Hard? What do you believe warrants the film legendary status in the world of parody films?

There are so many terrific, cinematic shots and scenes that were deleted by Disney because they thought them too high brow for their kiddie audiences.  Although the experience of  shooting it was an incredible thrill, Disney so eviscerated it, I can’t even watch it.
Again, despite this pain, I’m still proud of some of the scenes that have never before been shot, especially without the aid of CGI which we couldn’t afford anyway.

 Again, despite this pain, I’m still proud of some of the scenes that have never before been shot, especially without the aid of CGI which we couldn’t afford anyway.

Above all, I was able to cast the most incredible actors and loved everything they brought to the party.

Spy Hard also marked your first collaboration with your son Jason, who has continued to become a modern mastermind in the world of spoof comedies. How did this collaboration come to be? And what was it like to take your son’s work to the big screen? That had to be a pretty proud moment, right?

After working with Leslie for several years, directing his Dollar Rentacar commercials (some shown on the Superbowl) and spoof golf videos (Bad Golf Made Easier) Leslie recommended me to direct Naked Gun 3.  I told this to my son, who was in college at UC Santa Barbara and he, along with a partner, Aaron Seltzer, had sold T shirts they designed to kids in the dorms and both had a love for movies.  They then wrote the first draft of Spy Hard on spec, thinking this is what I should present to Leslie for Naked Gun 3.  I didn’t get the gig but showed Leslie the screenplay which he agreed to  do.  Yes, this made me proud.  But what made me even more proud was when Jason and Aaron wrote Scary Movie without any help from me.

So what is next for you? Anything coming up that you would like to tell our readers about?

I developed a screenplay with a young Canadian, Mark Friedman, called Go Get Carlos, which is a heist comedy in the vein of Snatch.(I’m a great fan of Guy Ritchie.)  It’s a terrific screenplay and I need financing.

What was the last thing that made you smile?

Last night, watching Better Call Saul.

Wanna hear more from the great Rick Friedberg? Of course you do, you can do just that by check out his book, Hollywood War Stories: How to Survive in the Trenches!

Asmeret Ghebremichael [Interview]

In recent months, we have spoken about a comedy special that has truly stuck with me since it was released a couple of years ago. That special would be Trevor Moore’s brilliant High In Church. We spoke with one of stars of one of his videos, the great Debra Eckoff, and of course we are no stranger to the occasional Whitest Kids U Know troupe appearance. But today we have someone very special to showcase. Today we are talking with a performer from said special, as well as a prominent figure in the world of Broadway, appearing in one of the biggest shows of the century, The Book of Mormon, and so much more. Her name is Asmeret Ghebremichael, and she is absolutely wonderful!

There is something about a performer who can be singing about subjects like circumcision and political mayhem in a comedic fashion and still make you stop in awe and think “Damn, she can SING!”. And that is exactly what happened to me the first time I caught Asmeret perform. She has a classic set of pipes that is absolutely riveting, and brought so much to High In Church. So as I usually do, I looked her up. And that is when I discovered that she is not just a beautiful woman with an amazing voice, she is a freaking STAR! Throw actress in the mix, and you have an all around amazing performer who is one of the best in the business. If I weren’t ashamed to not have been able to catch The Book of Mormon yet, I definitely was after learning that the show featured Asmeret’s amazing abilities!

We are honored that Asmeret was willing to share a few words with us here at Trainwreck’d Society today! Please count yourself lucky that she was willing to do so, and please enjoy some great words from one of today’s greatest performers, Asmeret Ghebremichael!

When did you first realize you wanted to become an entertainer? Was there a moment you can point to that really kicked things off?

I don’t remember the exact moment I realized that I wanted to be an entertainer, but I was definitely interested in the business from a young age. I can remember singing as a toddler, and I loved doing impressions and making up skits.

You have become a major fixture on the Broadway world appearing a plethora of the biggest shows they have to offer. So, what keeps you in this world? What keeps you driven to perform in the theatre? 

At this point, I don’t know what else I’d do! In all seriousness, I think anyone who works in theatre does it because they love it. Doing eight shows a week is incredibly demanding, but there is a certain high you get from performing in front of a live audience. Live theatre is about the energy exchange between those on stage and those in the audience. There’s nothing else like it.

How has it been working on The Book of Mormon? Is touring with the show as fun off the stage as it appears to be on stage?

Being a part of The Book of Mormon has changed my life. I first started working on the show in its developmental phase in 2009. Watching Matt and Trey work so quickly and brilliantly as well as being a part of the evolution of the show from a few pages in a script to a full blown musical is something I will never forget. Ive done the show on Broadway and in London, and because you need fun, funny people on stage you can imagine that off stage it’s even more fun.

Was it a surprise to you that the play really managed to take off and become a massive hit?

I was definitely not surprised that the show would be a hit, but I think we were all initially just nervous about how all audiences would receive it. The language and the content are pretty intense, but at the end of the Day, Mormon is a well crafted musical with a lot of heart and humor.

You were a part of one of my favorite comedy specials of all time, Trevor Moore’s High In Church, which her phenomenal in. What was it like being a part of this special?

I loved being a part of High in Church! Trevor is so funny, and we had the best time.

Were there a lot of pauses for laughter during rehearsals of High In Church?

There wasn’t much pausing for laughter. I think we had all been given the material ahead of time so that we could at least be somewhat prepared. The videos were hilarious though.

What would you consider your favorite number from that special? 

My favorite number from the special was the first song [“God Hates the Tips of Little Babies’ Dicks”]. It was the first song I heard, and I had the amazing chance to do vocals on the track for the album. I loved singing along with myself on TV!

What have you been up to lately? Where can our readers catch you next?

I’m currently playing Lorrell Robinson in the West End production of Dreamgirls. Come see me at the Savoy Theatre in London!

What was the last thing that made you smile?

The last thing that made me smile was a picture of my friend’s newborn baby!

Check out this clip from Trevor Moore’s special High In Church featuring Asmeret on the song “Time For Guillotines”:

Michael Addis [Interview]

For those of you who dropped by for this week’s Sunday Matinee (better be all of you!), you may remember that I went on a bit of a tangent about hecklers and critics when I talked about the film Heckler. Somewhere in that bitter rant, I mentioned that we “may” have some words with a key figure from the film. Well, I would not want to disappoint my dear reader(s), so today we have some great words with Heckler creator Michael Addis! Michael is the man who give this project life, as well as so many other fine projects that we shall discuss. Including one of the most underrated comedies ever entitled Poor White Trash. I seriously can not recommend this film enough, and if you don’t get it….I just don’t get you!

Michael Addis is a man who knows funny. He has worked behind the camera on projects for some of the finest comedians in the game and is just an overall delightful human being. He was there in the beginning of what would become one of today’s hottest comedy groups, Impractical Jokers. He has worked on some reality television that is actually watchable and brilliant, which as we have discussed in the past, is few and far between! He has an eye for brilliance that can not be matched, and we look forward to calling him a TWS alum and telling you about what he is up to in the future. A future that appears to be just as bright as his past. So ladies and gentlemen, the great Michael Addis!

How did you find yourself in the world of film and television? Was it always a dream of yours as a youth? Or did you just sort of fall into it?

I was one of those fortunate people who always knew what I wanted to do.  I explored a lot of interests when I was a kid, and all of them seemed to point directly to what I’m doing today.  Journalism, photography, writing, acting, etc.  I use all.   And I think young people today should try a lot of different things that excite them… I really feel that their passions and skills will eventually lead them to the right spot.

Your 2007 documentary Heckler, which you directed and co-produced with comedian and actor Jamie Kennedy, is a brilliant and insightful film. One of the reasons it was so great was the amazing interviews with the folks gave you. Are there any stories or conversations that had to be removed from the final product for one reason or another that you could tell us about?

Yes, a very famous actor, who is a conservative, asked to be taken out of the film because Jamie and I chose to have a lot of F-bombs in the movie (which was really essential to the message – the whole world of heckling/criticism had to feel abrasive for it the cathartic dance at the end to have it’s impact).  I didn’t have to release the famous actor, because he signed a contract, but we agreed it would be rude to force him to stay in a film he didn’t believe in.  I lost a lot of respect for him that day, I have to admit.  Because I don’t think the word “fuck” is something we should fear.  My children know it, and I tell them they are free to use it in my home (they don’t though – I can’t drive the inherent politeness out of those two little shits ;)).  I think the idea that God frowns upon the word “fuck” is just nonsense.  Why would he care?   Also… I had real problems editing the Carrot Top interview down because it was so good in it’s longer state.  The conundrum is ridiculous if you think about it, but I cut the interview down to 25 mins and literally had to bring in another editor to cut it further – I couldn’t cut anything out.  I fell in love with the 25 minute version.  It’s insane… you can’t stop a 75 min movie to have a 25 minute interview with… Carrot Top, but it was so amazing, and Jamie was just perfect in asking him questions and reading terrible reviews to Scott (Carrot Top’s real name is, of course, not Carrot Top).   We cut it way down, but for a moment, I thought it was this perfect chunk of content that would have taught you so much about the human condition vis a vis criticism.  I’m dead serious.

And as far as the final product of the film is concerned, what story hit you the hardest, either through pain or laughter, or both? 

Good question… I really am very proud of the movie as a whole.  Hard to pick one “story.”  Maybe the interview with David Cross because he was so honest.  Before every interview, I asked the subject to be very honest – and not try to be funny, or do shtick.  I felt it would help us make the movie actually funnier – in a good way.  And that’s what happened.  Almost all complied with my request, but David particularly took that to heart and just laid out exactly how he felt during a particularly low time in his life.  He said he wanted to quit comedy.  And, very easily, we could have lost David Cross as an artist. He could have stopped and done some other job, selling energy drinks or something.  Thankfully, he continued.  But the world can be hard on a person who chooses to be an artist.  Anyone reading these words right now, if they are working in the arts, probably has considered quitting, has quit or is about to quit.  But the whole endeavor is built for attrition.  You have to make your own choice… but I’m glad I got to show David Cross discussing his struggle.  It’s enlightening.

I enjoyed the 2000 film Poor White Trash that you wrote and directed quite immensely. It’s still a go to comedy for me. Looking back almost two decades later, what are your thoughts on the film? Was it as fun to make the film as it is to watch it?

I think it sucks.  Actually, I’m very proud of it, especially the work of the whole team broiling our rumps down in Southern Illinois one summer many years ago.  But I really can’t watch a frame of it. There are so many ways I could have directed it better – entirely my fault. It’s painful.  But at the same time, I think that it’s a lot of fun – as a low budget comedy.  Making a successful “white trash” comedy is just not easy to do.  There are a lot of land mines inherent in the endeavor.  People feel like you are “making fun of” the characters – or lower income people.  That wasn’t my intent at all.  I really just wanted to show how some really doomed criminal endeavors get momentum behind them.  There was a recent Zach Galifinakis comedy called Masterminds that was also dealing with rednecks and a true crime story.  It didn’t do well financially and now has a 33% on Rotten Tomatoes (much lower than our 56%).  Despite all the amazing talent behind it, it also suffered from this mysterious curse of making a “white trash” comedy.  They generally become “wacky” and can’t climb out of that hole, no matter how earnest you are about the subject matter.

In your extremely impressive career, you have done so many different jobs, from writing to producing to editing and more. With all of your experience, what would you consider to be your favorite gig of all? 

Thanks Ron.  Can I answer this way… the top 5 should be 1) directing/producing Heckler 2) writing/directing Poor White Trash 3) directing on the Lewis Black show for Comedy Central 4) writing/directing on David Spade’s Showbiz Show on Comedy Central, and 5) show running Impractical Jokers and 6) a number of reality TV projects I’ve worked on with my friend Peter Cohen, who is a very undervalued comedic producer.  When we collaborate, it’s subversive and hilarious. I always enjoy that.  Also, I’ve written 19 feature screenplays and some that sit on the shelf are just really, really solid.  But they sit there for no reason other than I haven’t pushed them out into the world with the necessary power. I’m hoping to put my new project at the top of that list… but we shall see.

So what do you have coming up that you would like our readers to know about?

I’m shooting a pilot at Comic-Con in San Diego mid July for Rotten Tomatoes.  If any of your readers happen to be going to Comic-Con, I’d like to invite them to be in the audience and take part!

What was the last thing that made you smile?

I’ve been studying some YouTube movie review sites that are really good.  So many people doing good work out there – criticism can absolutely be an art!  And there are some funny mother fuckers on YouTube doing stuff that makes me smile.