New Music Tuesday: Robin Grey – From The Ground Up [Album]

September 5, 2017 Leave a comment

 

Over the last decade, my love for the work of Robin Grey has been well documented, I would say. He is one of the finest songwriters we have out there these days. I dare to say that he is a damned genius in the world of songwriting. He can strum and sing around topics from politics to love to nostalgia with the greatest of easy, and brilliant flow that is both soothing and exciting.

And with his first full length album in 3 1/2 years, Robin has brought more of that same sort of magic to the world with From the Ground Up. This brilliant songsmith has brought to us another brilliant collection of thought-provoking and compelling tracks. And while Grey’s music has always had a bit of a politically driven force behind it, he really hits it hard on this one. And it so many different ways! He revels in the darkness on a track like “Underneath the Skin”, and then moves a bit more light hearted in the environment driven track “Woodman, Spare That Tree”.

Photo by Sunniva Taylor

Of course it isn’t all politics and uproar filling the time space continuum of From the Ground Up. To say that would avoid talking about the absolutely brilliant track that I have listened to on repeat for over a month now, the lovely “Adieu Sweet Lovely Nancy”, which features vocals from one of my new favorite voices in the music world, the great Chance Kellner. Dammit does she have a lovely set of vocal chords! Chance unknowingly channels the tenderness of Lotte Kestner, and blends it with the a dash of Edie Brickell to create something timeless and original. While I don’t want to take away from the 10 other tracks that Robin Grey’s fantastic singing abilities are displayed, I simply felt compelled to let you all know that you NEED to hear this track with Chance Kellner, and then anything else you may be able to hear her on. She is that damned talented.

Overall, From the Ground Up is a brilliant display of the continuous abilities of Robin Grey. For the close to the last decade or so that I have been adoring his music, he never fails to impress. Time may be of the essence for us in so many different fragmentations of our life, but it is definitely not a hinderance for Robin Grey to continue sharing his passion for the world through music with us all. To know Robin Grey’s music is to know love, compassion, and strength through melody. And we could obviously use a bit more of that in the modern world.

Head on over to robingrey.com to purchase and stream From the Ground Up, right NOW!

And check out this lovely little music video for the very powerful track “Leave It in the Ground”:

 

Filed under Music

Marc Cushman [Interview]

September 4, 2017 1 Comment

When I was growing up in the 90’s there was a short period of transition from the beta world to the digital one. The internet was available, just not as widely in more rural as it is today. But, the world was shifting, for good or bad, it was shifting. Unfortunately, there has been a bit of innocence lost since the transformation came into full effect. I’m talking specifically about one thing here…..adult films.There was a time when adult films were so much more than a random selection of barely viewable and indistinguishable from every other video that can not be rightfully called an “adult film”. There used to be some thought put into these things. It was an art. People had to actually write a script for them. And today’s interview subject is not only one of them, he is actually considered one of the best in the history of the medium. Because that it what we do here folks, we track down the best! And sometimes we convince them to share a bit of wisdom with us here. And that is what we got from the legendary screenwriter, in any and just about ALL mediums, the brilliant Marc Cushman. That is important to note: Cushman is an artist, first and foremost, regardless of whatever medium he is working on.

Having Mr. Cushman on the sites has proven to be one of the greatest digital experiences we have had here at Trainwreck’d Society. His answers are some of the most insightful and well thought out answers we have ever received, and we can not express just how excited we are to share them with you today.  So let’s get to it! Ladies and Gentlemen, the great Marc Cushman.

How did you find yourself in your line of work? When did you realize this was what you wanted to do for a living?
I’d always had a wild imagination, and used it to survive. I’ll explain that. I lived on a dairy farm when I was a kid and had plenty of time to use my imagination to entertain myself while being a shepherd to a heard of cattle. We’d rotate the cows from one field of grass to another, and my task was to take them to the new pasture and then sit and keep an eye on them, since there were no fences surrounding that particular area. Then, at the end of the day, return them to the main pasture that did have fences. Now, the farm was surrounded by mountains, so there wasn’t even radio reception there. I could read a book while sitting out in that field, or use my imagination to help pass the time. I did both. Back then, in the 1960s, TV shows would run a 60-second trailer for the upcoming episode. I’d see one of those trailers and, while sitting on a hillside overlooking the field where the cattle were grazing, I’d imagine the episode based on those 60-second of clips, and I’d run it in my head, real time — 60 minutes! Then I’d watch the show when it came on and see how close I got. Sometimes, my version was better. And that’s when I realized that perhaps I could do this as a living.
And what keeps you in the business after 30+ years in the business?
It’s what I enjoy; where my talent lies; and puts food on the table.
You have close to a thousand credits in the business, so I’m sure some films get lost in the collective memory, but I have to ask about one series in particular that has a stronghold in my memory… The Titty Slickers series. Titty Slickers 2 was my first foray into adult entertainment, which is actually one of the reasons I reached out to you. So, do you have any unique memories from making this film, or the entire franchise in general?

Internet Movie Data Base has a tendency to not fact check, so I’m sure some of those credits are not mine. In fact I know some aren’t. And there are other credits I have that are missing from IMDb. So you can’t take what you see there as definitive by any means. They did get that one right, though. Scotty Fox was the director. I’d written a horror film — a Friday the 13th type thing — for a director named Richard Mailer. Richard needed to raise additional money to meet the budget, so decided to shoot a couple quick adult movies to do so. He’d been a producer in that end of the business a few years earlier. He asked me to write the scripts. Scotty was assigned to direct one of them and liked my writing, so he started calling and asking for scripts, too, which he would shoot for other producers.

As time went by, my name and number got around and I found myself doing a lot of these, but I was also writing mainstream scripts, and, really, writing scripts for every genre under the sun, including music videos, commercials, infomercials, religious shows, children’s shows, and couples’ friendly, story-driven adult entertainment. Of course, I’d use a different name for the screen credits, dependent on the genre. In those innocent times, a writer could use pseudonyms and not worry about some corporate entity like IMDb being on a mission to connect all the dots … and not even bothering to make sure they get it right. Sorry for the sermon; back to Titty Slickers. The way Scotty worked, as with most director’s in that end of the business, was to tell me his budget, his locations, his cast, the amount of time he had to shoot the movie, and then I’d take all of that into account, then pitch him a couple of titles and log-lines to see which one clicked. Then I’d go off and spend a day or two writing the script, and then he’d spend a day or two shooting it. On this occasion, Scotty had a ranch location he would be filming at, so he asked for a couple scripts to use at that location, then he’d share the cast from one movie to another (in order to keep costs down). As for Titty Slickers, the Billy Crystal movie City Slickers was out at that time, and Scotty and I both enjoyed doing comedies, and, in particular parodies, so I wrote that for him. It sold well, and the company Scotty had shot it for (Legend Video, I believe) asked him to make a sequel, so I wrote Titty Slickers 2. I think we stopped after three. Now why we didn’t call it “Titty Lickers” is beyond me. We loved bad puns. Probably, we just felt people would associate it with the City Slickers movie better if we kept the word “slickers.”

Have you had the experience of having somebody tell you that your work has helped guide them into the world of adulthood and sexuality? How would you respond to this type of comment? (P.S. you did that for me, haha)

You’re the first to tell me that. Probably because the only adult movies I was ever associated with were made for cable (although usually there was a harder Home Video version released as well), and there are guidelines for broadcast that require that the sexual situations not be offensive and women not be demeaned. You can make the guy look like a jerk, but never the woman. But I’m not surprised to hear that this movie may have taught you some things, about your own sexuality and maybe even about how to treat a woman. For me, R-rated movies and single-X movies can be far more erotic than hardcore XXX stuff.

Women are beautiful, so it’s never been my desire to see them mistreated and spit on like it often happens in the really hardcore stuff. We treated them with respect. Plus, I always felt that it was story and character that made sexual and romantic situations come alive — and, of course, a good actress and actor. The more you know about the characters, the more you care about them, then the more interesting their interaction is. And the more erotic. So these scripts were usually 30 to 40 pages, allowing enough time and space to create a story and add dimension to the characters. Sometimes we succeeded; sometimes not so well. A good script can be destroyed by lack of money and time on the production end, or a leading actress who can’t act. But I recall that Titty Slickers 2 turned out pretty good, partly because of the script but more likely because of the cast. Scotty did a good job in picking the players for that one.

With the obvious advancements in the world of adult films since you first began, I have to ask what your opinion is on the matter? What have been some pro’s and cons of the advancements of technology and their effect on the adult film medium?

Generally speaking, I thought adult entertainment was better in the 1990’s than today when filmed on the big Betamax cameras, and using older lighting equipment, which was designed to bath a set with soft light instead of the harsher lighting that is used today. I feel that a lot of the newer technology, which is great for TV and mainstream films, gets in the way when used in adult entertainment. The cameramen will tell you this, as well, that high definition isn’t doing anyone any favors when the actors and actresses are nude. Very few human beings have perfect completions, and perfect bodies, and it’s better to use soft light and less revealing focus when people start undressing.

We had fun with 3-D, naturally, but the process of shooting in 3-D has its downside as well. It’s cumbersome and that slows down the production, so you lose spontaneity. With dialogue and pratfalls, its okay to lose spontaneity, because rehearsing and precision are key factors. But a cumbersome filming process is not an asset when shooting romance and sex. Everything becomes orchestrated for the benefit of the camera instead of the players — especially when shooting in 3-D. So, instead of the camera being there to follow the action of the players, thereby freeing them to truly get into the passion of the scene, it becomes stagey. I don’t know anyone in adult entertainment who was happy to see the coming of high definition or 3-D. But we learned to work with it, used its advantages to the best of our abilities, and tried to minimize its shortcomings.

The other change that I think is a bad one is the loss of story. No one, even broadcasters, are as interested in stories as they used to be, because moral guidelines have loosened up so much. I think a lot went out the window when adult entertainment switched over to wall-to-wall sex. The movies are more primal now, and while primal is certainly a good ingredient in sexual situations on film, a dash of story and character believability  helps a great deal. So does theme. Most writers in that genre don’t even know what theme means. I know because I’ve asked many of them.

Theme, of course, is the point the writer is trying to make by telling a particular story, and defining a character. If the writer doesn’t have a point, how can the movie? It just becomes like Reality TV. I’ve done a fair amount of that, too, and no producer ever asked me about theme in Reality TV. Cameras are rolling, stuff is happening, but it never adds up to anything worth remembering. Watching it is just a way to pass the time, and, to me, that’s wasting time. Why not pass the time by watching things that make you think and feel?

Having said that, there of course are still good movies being made. They are just far and fewer between.

 

Another thing I wanted to bring up is that you are a beast in the business, and obviously one of the best. But what the hell is the AVN’s problem? Unless my research is wrong, you have been like the Susan Lucci or Leonardo DiCaprio of the AVN? Do you think they will wise up, or is there a conspiracy at foot here?

I believe I hold the record for the most nominations by AVN (Adult Video News), the leading trade magazine in the adult entertainment business, and the one that gives out awards once a year. I have countless nominations in the categories of Best Picture, Best Director, Best Screen Writer, etc. Even Best BTS (Behind-the Scenes) for a comedy feature I did once for a movie about the making of the movie. Actually, I won that one. But, otherwise, I was always the bride’s maid and never the bride.
One year, out of ten scripts that were nominated, six were by me (not always under the same name).
The critics there always told me it was a greater honor to be nominated than to win. I didn’t understand the thinking… for a while, anyway. Then one year, a couple of the critics called me (individually and secretly) and suggested I attend the award show that year because — and I wasn’t to tell anyone — I was going to be winning Best Picture, Best Director and Best Writer. I think it was for a movie called Lust in America, which was a takeoff on an Albert Brooks film called Lost in America. Or it may have been for Prisoner of Sex, which was a send-up of the 1960’ss The Prisoner series out of England. It may have been for both, because those were done in the same year and both were nominated many times over. Anyway, I went to the show. Before the ceremony began, the presenter came over to my table and whispered “congratulations” into my ear. I had another drink to steady my nerves. Then the show started. When each category that I was nominated in came up, the presenter opened the envelope and then looked surprised, and then announced Jonathan Morgan’s name. And Jonathon would look surprised, then go up and accept the award with no speech prepared. By the third time, he went up and said, “Didn’t anyone see Lust in America?!”
By the way, Jonathan did a cameo appearance in that movie and was hysterical. One of the funniest actors ever, in that genre of any genre.
What I was told later by someone “in the know” was that Wicked Pictures had bought more ad space in AVN that year, so the powers to be decided at the last minute that they needed to give Wicked a “thank you.” I’m not saying this was the case; I’m just passing on what I was told.
Now, I have to say, Wicked makes very good movies. And Jonathan is great and deserves any award he ever got. So there are no sour grapes here. I’m just telling you what was told to me, and, since I mostly worked for smaller companies that didn’t buy a lot of ad space in the trades, it certainly does help explain why there were so many nominations but only one BTS award and a Lifetime Achievement award.
What does the future hold for you? Anything coming up that you would like to plug to our readers?
I always did mainstream as well as side genres. And still do. So I am still very busy, and productive, working under various screen credits. I’ll leave it up to IMDb to try to figure out who I am this week and what I’m working on. It’ll give them something to do.
What was the last thing that made you smile?
Doing this interview. Thanks for asking.

Filed under Interviews

Sunday Matinee: E.W.A. [Short]

September 3, 2017 Leave a comment

“The film, evoking Peter Greenways’ aesthetics, follows the daily life of Eva (played by Ukrainian model Aliyah Galyatadnova), a seventeen year old girl who suffers from a condition of constant nose bleeds, and the difficulties as well as benefits it presents her with in this confusing stage of her life.”

Being young can feel like a truly futile and painful existence at times. Most of know this, and hopefully most of us have moved on into the more adult like futile and extremely painful existence. Being a young person who doesn’t feel like they have been cut from the same cloth as “normal” people, can truly be a metaphorical constant nosebleed.

And that is exactly what New York-based director Gigi Ben Artzi has excellent portrayed in his second 16mm short film that is E.W.A. This is a film that evokes oh so common feelings of strength amongst the irregular humans of the world, especially during their youth. Aliyah Galyatadnova’s consistent nosebleeds are obviously just a physical manifestation of what too many people are feeling internally.

Aliyah’s brilliant performance is without a doubt the finest part of E.W.A., closely followed by the beautiful cinematography through a 16mm filter. And I would love to be on record by stating that if this film isn’t the best live action short film of the year, it is certainly one of the most important live action short films of 2017. I find this easy to pronounce.

And aren’t fine readers so damned lucky, that you can check out the entire film right here, right now. That is right! You don’t even have to move yourself off of Trainwreck’d Society to watch E.W.A. Check it out below, and I am certain you are going to be wanting to check out previous works from director Gigi Ben Arts. If not, well, you’re probably missing the point!

With that, please enjoy E.W.A. right here:


<p><a href=”https://vimeo.com/231684610″>E.W.A</a&gt; from <a href=”https://vimeo.com/user38284978″>Gigi Ben Artzi</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

Filed under Film

Jay Jackson [Interview]

September 1, 2017 Leave a comment

We have a very cool interview for you fine folks today! Today’s interviewee is a man with a very interesting story that is an amazing journey into the world of entertainment. His name is Jay Jackson, and he is amazing! He began his career as a journalist and news anchor, and essentially that is what he is and what he has mastered so well in a very long and successful career.

Jay Jackson has appeared on several television shows as a news anchor, but many of you are sure to recognize him as the hilarious Perd Hapley on the wildly popular series Parks and Recreation. And I will say that this is what interested me in talking to this man. But as it tends to happen, I found him to be even more interesting than I could imagine! In fact, in 2015 he had is break out (from the news anchor role) in the amazing film entitled Daddy, in which he was incredible in!

So let’s just get into it, shall we? Please enjoy some amazing words from the brilliant journalist, news anchor, musician, and actor Jay Jackson! Enjoy!

How did you find yourself in the world of journalism and broadcasting? Was it something you had always aspired to do, or did you just sort of fall into it?

It got into my blood in the 70’s when a Milwaukee station hired an African American anchor for the fist time.  I remember it being a huge deal to my mother and father and all of their friends.  I remember all of the hoopla the city made over it.  As a kid you’re thinking, if it makes your mom happy, then that’s what I’m going to do.  In college, I majored in Journalism, then started working as a newspaper reporter.  I guess you can say I aspired to do it, but not to be a Walter Cronkite.  Mainly, to make my Mom and Dad proud.
What was the first on screen news story you can remember being assigned to do? Was it a nerve-wracking experience at all?
My first on-screen story was about a flood on the outskirts of San Diego.  It was a challenge, mainly because I wasn’t aware of how much I didn’t know.  From how to write, how to ask questions, to the time it takes to put everything together.  Still, the story was a success and the news director at the time saw something in me.  It was a big deal because most reporters start in smaller markets.  I was fortunate.
And how about your debut performance as a “fictional news reporter” in Dexter? Did you find it more difficult to “play” a newscaster rather than being an actual newscaster? How was that experience for you overall?
Dexter was my first time ‘acting’ as a reporter.  It was really cool because the crew depended on my expertise to help them.  They knew me from reporting the news in Los Angeles so there was some built in respect.  It wasn’t a difficult experience, just a little more time consuming than I expected.  They have to shoot from various angles dozens of times.  Getting to say your lines over and over is far different from reporting live, where you get one shot.
And of course, we have to discuss Perd Hapley, which is quite possibly one of the funniest news anchor roles in television and film history. You were absolutely incredible in it. What was it like to turn your skills as an anchor into a comedic role? How would you rate your entire Parks and Recreation experience?
Thank you for the compliment.  So much of the credit, though, goes to the writers.  They really made Perd the character he was.  Honestly, I think anybody could’ve been great doing Perd.  That’s how good the writing was.  Of course, my anchor/reporter experience was helpful because of the conflicting nature of Perd.  Your ear says it sounds like a serious news person, but the words he’s saying are total nonsense.  I think that is what thew people about Perd.
In 2015 you broke away for the first time from performing as a news anchor when you played a neo-conservative, homophobic preacher in the film Daddy. That is quite the leap! How did it feel to break out of that role for the first time?
I did perform in musical theater in high school and had been in several stage plays before acting.  So, portraying different characters wasn’t new.  But, the most interesting thing is how the fans reacted.  Some weren’t even buying it was ‘Jay Jackson’… only referring to the character as ‘Perd’…. even though it was a totally different movie.  That can be good and bad.  Good because it’s nice to have some level of recognition in Hollywood.  But, not so good because that’s all some people will see you as.  Either way, I’m grateful, though, to have a career where I can be different people with different agendas.
Through some research I learned that you have a company called the Los Angeles Reporters Clinic. Can you tell us a bit about this? What inspired you to develop this company?
My company, the Los Angeles Reporters Clinic, is designed to help people break into the broadcast news business.  To be a reporter or anchor, you MUST have a demo reel.  My company helps future journalists make demo reels by taking them out to real stories in Los Angeles and let them cover the story as if they’re real reporters.  It started after an intern offered to pay me to help her, outside of the work hours (when the interns shadowed real reporters in the field).  After training the student and completing her reel, I realized there was a market there.  14 years later, still going strong.  Out of all the things I do, nothing makes me happier than getting a call from one of my students telling me they landed their first on-air job!
I have also learned that you are also an accomplished jazz musician. When did you start to yearn to join the jazz world? What kind of work have you done in this field?
I trained in classical piano from the time I was 8 to the time I was 14 years old.  But I always wanted to play Jazz.  Back then, though, people were still looking down their noses at the music.  You were seen as cultured playing classical music – not Jazz.  But, as I got older the love for the music became undeniable.  It’s like medicine.  Live Jazz music is spiritual for me.  I perform in small venues around Los Angeles.  I love it.  I’m not interested in flying around the world doing this music.  I like to play, then get into my bed afterwards.
What does the future hold for you? Any projects or performances our readers should be looking out for from you in the near future?
In Hollywood, the cliche ‘you never know’ means just that ‘you never know’.  I’m, fortunately, still making appearances on the ABC show Scandal.  Hopefully, I’ll get some film roles.  But my priority is getting my comic strip The Baldwin Hillbillies off the ground as an animated series.  For your viewers who may not know, Baldwin Hills is like the Black community’s Beverly Hills in Los Angeles.
What was the last thing that made you smile?
Bacon.  I’m answering these questions during breakfast.  I’m also a trained chef and just cooked the most perfect thick cut bacon (applewood, of course).  I use lemon-pepper and minced dried onion for flavoring.  Heaven!

Filed under Interviews

Michael Buscemi [Interview]

August 30, 2017 Leave a comment

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.

Filed under Interviews

New Music Tuesday: Lotte Kestner – Off White [Album]

August 29, 2017 Leave a comment

Note: Welcome to our first edition of our upcoming irregular segment, “New Music Tuesday”. I know that music is now released on Fridays, and frankly I don’t care for it. We don’t have anything for Tuesdays now! So therefore, welcome to “New Music Tuesday”.

As many avid readers of Trainwreck’d Society can attest, I have been listening to and enjoying the work of Anna-Lynne Williams in different capacities for a very long time. She is a damned treasure for us here at TWS. She is one of those rare beings who has a beautiful soul, and is also conveniently talented as all hell and so very easy to appreciate as a delightful songwriter and the owner of one of the greatest voices of our generation. And with her latest full length Lotte Kestner album, Off White, she proves once again that she has definitely not lost her touch. In fact, the one thing that shines through the brightest in her work is her experience. After all the time and heartache that she has put into her craft, there is so much to love about her latest album, and absolutely nothing to despise. Yes, with each and every Lotte Kestner we have been blessed with, we are only just receiving more and more genius. And we should all be eternally grateful for the opportunity to hear it happen right in front of us.

Now with that, I believe it is important to note that with Off White, it really feels as though an entire new world is opening up. It feels like, as far as songwriting goes, we are seeing a whole side of Lotte Kestner. And let me tell you folks, it is far from disappointing. While I can always go back and listen to basically every track off the other Lotte Kestner albums and feel perfectly content, I have to say that I am truly in awe of the new direction that Anna-Lynne has taken us with Off White. What makes it so cool and different, is actually just how hard it is to truly pin down what has changed. We still get to hear that same beautiful voice over a consistently delicate undertone, but there is something new. When I hear a track like “Ashland”, it is as though I am hearing the result of a new take on love. And when a track like “Go To Sleep Now” pulsates through my brain with it’s infectious drum beat, I know that I am feeling a bit lighter of a heart whilst being reminded of what can result from fear and the forgotten consciousness.

It’s not to say that Off White is better than previous Lotte Kestner work. And it’s not to say that its really that different. It’s just that when you find yourself so highly invested in an artist’s work, you can sense the subtle shift in attitude and performance. And more importantly, you can appreciate it.

I seriously can not express just how much I truly love this album. Seriously folks, I am going record by saying that Off White is nothing short of magical, and is hand’s down one of the best of 2017, if not the best. I know we still have a good bit of year left, but the idea that something can top this album frankly seems absurd. So check it out everyone!!

Off White will be available on Saint Marie Records on September 1st. Check out the amazing official video for “Ghosts” right here:

 

Filed under Music

Margaret Champagne [Interview]

August 28, 2017 Leave a comment


Today we have a pretty damn great interview for you fine folks. To start with, Margaret Champagne is a damn fine actress in so many different ways it’s almost impossible to list them all out here in any sort of order. She’s absolutely brilliant. But, as it seems to always be, she touches us here at Trainwreck’d Society on two different fronts that specifically made me want to share some words from her.

If there are two genres of film and television that we tend to put the most emphasis on, it would have to be comedy and horror (FYI….we’re coming up on our Month of Horror!) And guess what? Margaret Champagne is a champion in BOTH! Some of you may recognize her from her regular appearances on the modern classic sketch comedy series Inside Amy Schumer. Another section of our fan base may be more inclined to recognize Margaret from her work with Troma Pictures, another staple that comes up more than frequently here at TWS.

So how damn cool is that? I’m not sure we’ve ever had just such a fitting person featured on the site! So how about we just get into it! Ladies and gentlemen, the brilliant Margaret Champagne!

When did you realize you wanted to join the world of acting? And what triggered the jump to move to NYC and work in the world of off-Broadway acting and what would eventually become your brilliant career to date?

It goes back pretty far into my childhood. I remember always trying to cut everyone up. I loved performing and singing and dancing in my house for my parents and brothers.  The moment that solidified my life as an actor was when I was in the sixth grade. I auditioned to play Santa Claus and I got cast, beating out all of the guys. I remember standing on stage creating the most insane “HO HO HO” sound I could push out of my belly. It was silly and LOUD and very exaggerated.  It made people laugh and that was joyous. It was my little play time where I got to be loved.

 I have been chasing that high ever since! Growing up in the small town of Sanford, North Carolina, I was lucky to have access to the local repertory company, The Temple Theater. There were some funny moments looking back. I auditioned for the role of Wendy in Peter Pan. The production called for actors to fly on cable wires with local stage hands lifting them. Sadly, I didn’t get the part. Later, hanging around in the wings I overheard the director saying he loved me but my weight would break the fly line. BAM!!! I was shocked because I honestly thought I was just a little chubby. (My introduction to weight standards in show business). A lot of NY actors came through that theater. My favorite was Miss Cleo King (a character actress you have def seen), she was in the summer show “Ain’t Misbehavin” by the amazing Fats Waller. I was just helping with costumes and was in charge of Miss Cleos changes. She was a strong woman, funny and confident. I wanted to be her! She would run off stage and I would help switch her into her new wardrobe, ripping velcro and pins and slapping on top hat and gloves. She was so nice to me. At the end of the run she gave me 30 dollars to thank me and invited me to hang with her and the cast at the hotel pool. She wore an all-white fishnet bodysuit and I was inspired by her badassery!  New York seemed like the place to go to be an actor but wanted to go for personal reasons. As quaint as my small town was, it was also backwards and bigoted, so  I had to get the fuck out of there. When I was 13 my dad came out of the closet and that opened up my mind exponentially. I started thinking for myself and less of what was expected. My fathers first partner got sick during the AIDS Crisis. He died months after the three of us watched “Angels in America” on Broadway. That was a very provocative play at the time and I was so lucky to have seen it with people I loved. I am grateful for that day of theater helping my family feel human when so much of our experience was ridiculed! Eventually,  I got a scholarship to PACE  UNIVERSITY and never left. I met Lisa Hickman, my best friend and creative partner for “Lipstick Garage”
Then right out of college I was  involved in avant garde experimental for a long time. I worked all over the city. Then something changed in me and I wanted a real story. “Shock and Awe” weren’t working anymore. I wanted relatable stories that I could understand. As I matured and began taking my art more seriously I moved on to a professional company, THE COLLECTIVE, where I reside as an ensemble member today. Some of the best work I have done there which is to say the most honest. This is where the clown took off her makeup and I haven’t looked back. Come to the shows!
When did The Brothel come about? And what can you tell some of our possibly uninformed readers about the group? What have you enjoyed the most about being a part of The Brothel?

The Brothel was a great run! Partners Shelly Shenoy, Marissa Miller Wolfson and I formed after meeting one another around the way! I met Shelly in a theater company called Love Creek. She is a big VO actress now. Marisa went on to make the documentary “Vegucated”. We ran a weekly show in the East Village for years demanding new material every week for ourselves. We were wild and uninhibited! Great time there!

You have had several appearances on the truly unique and original sketch comedy show Inside Amy Schumer since its inception. What is it like to work on a program like this? Is it as much fun to work on as it is for the viewer to watch?

This was such an exciting show to work on!

I really respect Amy and her work. She has always been ahead of her time. I met Amy doing stand-up and eventually we worked together in the company The Collective where she is a founding member. She and producer Kevin Kane (also a founding member) booked a lot of the company on the show. I loved the roles. “80’s Ladies” was a dream! The amazing Jessie Klein wrote that and we had a lot of fun. I mean come on, Rachael Feinstein, Nikki Glaser and Amy…what a powerhouse of women!!! Working on that show has been a highlight of my career. Amy Schumer is an amazing comedian and actress and I appreciate her dedication and care to many causes. Dan Powell was the amazing show runner of Inside Amy Schumer and he called me in to work on the Series  “Thanksgiving” where I got to work with my idol, Amy Sederis. That was super-exciting!

You have also worked in the incredibly fascinating world of Troma Pictures, which has made several appearances in interviews here at TWS, as we are HUGE fans of that world. So, how has your experience been entering the house that Lloyd built, especially in the Bikini Car Wash franchise. What do you enjoy about working in the Troma world? 
Troma is by far my most favorite place to work and here’s why, THEY DONT GIVE A FUCK. There’s no pressure to win an Oscar or change the world. They make the stuff they love and you can suck it if you don’t like it. Sure, no one is getting paid lots of dough but it is the most UNPRETENTIOUS time. I was introduced through Blood Bath Pictures with Thomas Seymore and John Gorman. Those guys are the finest to work with. They are smart, creative and they got a lot done on $10. Every film we shot for a week in Connecticut, there was donated beer (Hooker Beer) and a hot tub. Two things I would go to work for! I loved working with Lloyd and Debbie Rochan, the ultimate scream queen!

This is from “Merminators from OuterSpace” 2016 Troma:


Given the incredible variance in the work that you have put out, from sketch comedy  to horror to dramatic theatre and film, what would you say is your favorite genre to work in?
I love them all. My favorite recent role was in the picture Diane (to be released in September) where I got to play the hard-nosed Detective Phillips. I really enjoyed it because it was so different from the comedy work I do. I would love to be on a series as a detective. I sometimes dream if I wasn’t an actress I would have been one! I am also very busy doing stand-up which can be extremely rewarding when it’s working! It is also so honest, breaking the “fourth” wall is so refreshing and challenging for an actor! I run two shows a month called Coyote Champagne in Williamsburg and on the LES..
When you’re not hitting the stage or screen, what would we find you doing with say, a free Saturday or Sunday afternoon? What do you do for a bit of “me time”?

Well, I just had a baby, a sweet little girl! So Saturday’s I like to put her in the stroller and head out to the park with my man. Then I try to find a quiet outdoor Cafe where I can sit and have a pint! A reminder of the old days! Ha!

What does the future hold for you? What should our readers be looking forward to from you in the near future?
I am busy writing two screenplays. One is a horror movie that takes place in Williamsburg, Brooklyn and the other is a coming of age story about a young girl from the South. (wonder who?) I am producing the 5th annual 10 minute play festival for the Collective and hope to record my comedy album this September. I have a lot of new material being a mom now!
What was the last thing that made you smile?
Watching my partner Neil sing “Figero Figero Figero” to our daughter Bridie…

Filed under Interviews

Sunday Matinee: Texas Chainsaw Massacre 2 [Film]

August 27, 2017 Leave a comment

“Picking up several years after the events of The Texas Chainsaw Massacre, Lieutenant Lefty Enright (Dennis Hopper) is on the trail of Leatherface (Bill Johnson) and the rest of the Sawyer family for killing his niece and nephew years earlier. He has tracked them to a small town in Texas, where they have come across the path of a local DJ, known as Stretch (Caroline Williams). She accidentally records them killing two college boys that called into her station and turns the tape over to Lefty. He encourages her to play it in on the air, but this attracts the attention of Leatherface and his brother Chop Top (Bill Moseley), who come to pay their respects. Stretch convinces Leatherface to spare her life, but they kidnap her coworker (Lou Perryman) after badly beating him. She follows them to their home, an abandoned carnival above ground and a cavernous, maze-like horror-show below ground. Lefty shows up with a few chainsaws to save Stretch’s skin and get revenge.” – Diabolique Magazine

 

So, I was planning to skip over this week’s Sunday Matinee, due to time restraints and other commitments, as well as the fact that I have not watched anything new in the last couple of weeks and wasn’t sure what to write about. And then I heard some of the saddest news of 2017. It has been a truly shitty year for the world of horror, all on the cusp of our forthcoming Month of Horror here at Trainwreck’d Society. In less than a 12 month period, we lost two of the biggest pioneers of the industry. Earlier this year, George A. Romero, the man who originally gave us the fear of the undead returning passed away. And most recently, amongst the chaos and excitement of some sort of multi-million dollar punching match, we lost the man who brought us the most terrifying film of all time to be centered around cannibalism and inhumane torture in the heart of “middle of nowhere land”. Yes, the great Tobe Hooper has left us today and our hearts are being ripped apart by metaphorical chainsaws.

While Hooper’s film Texas Chainsaw Massacre is a seminal classic in the world of horror and film in general, I have always held a soft spot for the film’s sequel that was released a baker’s dozen years later, simply entitled Texas Chainsaw Massacre 2. I have always been a huge fan of the more camp like atmosphere in the world of horror. Especially when it is done correctly. And never before, and since, has the melding of camp and suspense been done so eloquently and beautifully as it was in this amazing sequel. There is just so much to love about this story.

Texas Chainsaw Massacre 2 features some of the greatest performances the world of horror has ever known. Legendary scream queen and dramatic actress Caroline Williams is an amazing strong female lead with a gut-wrenching scream, and the return of Jim Siedow from the original film is a brilliant touch for all the die hard fans out there. But, the most impressive combination of terrifying characters is easily the appearance of one of the most frightening characters in so many different forms of horror, the great Bill Mosely, and the strange chance to actually root for legendary and dearly departed Dennis Hopper.

I simply cannot say enough great things about this damn movie. Of course, it is never going got be critically accepted as a classic compared to the series’s origin film, but die hard fans of horror know that this film is a classic, and I believe that is what Mr. Hooper would have really wanted. Rarely does a horror film hold all of the delightful elements that are possible. There is shock, terror, gore, comedy, and outlandishness, all boxed together perfectly in a truly entertaining hour and half. And in my opinion, this is what makes Texas Chainsaw Massacre not only a brilliant horror film, but a cinematic masterpiece in general. It is also another brilliant testament to the genius of the great Tobe Hooper that will be severely missed.

And with that I just want to say goodnight to father of Leatherface, the bringer of the Poltergeist, and one of the greatest writers and filmmakers of this generation and any one before.

R.I.P. Tobe Hooper

Filed under Film

Terry Hart [Interview]

August 25, 2017 1 Comment


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.

Filed under Interviews

Steve Bannos [Interview]

August 23, 2017 2 Comments

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:

Filed under Interviews

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