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.

Mary Holland [Interview]

Today’s interviewee is one of those individuals who will simply make you smile just by existing. Mary Holland is an actress who seems to pop up on everything brilliant these days. She is a hilarious human being who also happens to consistently align herself with other hilarious people. Including our friend and past interviewee Stephanie Allynne! And while the Upright Citizen Brigade has always been a legendary force in the world of comedy, there certainly seems to be some sort of renaissance happening with the aid of people like Stephanie and Mary and several other brilliant folks coming out of these theatres. Comedic, whit, charm, and professional mannerisms are becoming aplenty thanks to people like Mary, and I could not be happier!

Editor’s Note: Within the interview, we discuss the SeeSo Original Series Shrink, which remains brilliant. Unfortunately, this interview was conducted months prior to the news that SeeSo was shutting down. Not to steal Mary’s shine, but we just wanted to say thank you to SeeSo for the wonderful run you had. You gave  the viewers a way to watch brilliant comedic minds like Mary Holland on an all new level. RIP SeeSo!

I have to admit, it is always hard to write these introductions for the brilliant comedians we have featured on this site. I am not a comedian, and I feel like that shows. I do not have the wit and comedic wisdom that these fine individuals have, so what am I supposed to do? Should I try and throw in some ridiculous adjectives and even more ridiculous puns? No, I would rather leave that to the brilliant minds we love to showcase. So with that, I am going to simply shut the hell up, and let you all enjoy some amazing words from the great Mary Holland!

What drove you into the world of comedic acting, be it improv, sketch, etc.? Basically, when did you first realize that you were a hilarious human being with a gift to share with the world?

I was a class clown when I was a kid. I loved the attention I got from making people laugh. It became a part of my identity and how I made friends. I also knew I wanted to be an actor, but I wasn’t thinking of exclusively doing comedy – I wanted to do everything. After I graduated from NIU with a BFA in Acting, I moved to Los Angeles and began taking classes at UCB. The friends I met there and the shows I saw really inspired me. It felt right, it felt like home to be there, so I jumped in and began doing improv full time. I can’t imagine my life without it!

Hey! That’s Mary with our new pal Stephanie Allynne w/ Wild Horses!

What made you decide to join the world of the acclaimed UCB, and how did it happen to work out for you? Was it always a goal of yours?

When I first moved to LA, I was pretty lost. I didn’t know many people, and the built in community that I was a part of when I was in school was no longer there. I needed to find or build my own community, and I had no idea how to do it. Creatively, the occasional acting class and audition was helpful, but I was feeling stuck and sad. I happened to live in a building very close to the UCB theatre on Franklin avenue in Hollywood. I saw shows and loved them, so I signed up for classes. I fell in love with improv and devoted most of my free time to practice groups, classes, and seeing shows. I came up with a great group of improvisers, so watching them and playing with them I think was a big part of how I started to improve as a player. I was around a lot, and got up to play whenever I could. Over time, I became a part of the community and started performing regularly at the theatre. It became a huge part of my life. I truly don’t know where I would be without improv or UCB. Being able to perform there was a goal when I saw my first show, but I never imagined it would happen. I’m so grateful it worked out the way it did.

Can you tell us a bit about your work on the SeeSo original series Shrink. I will admit, I am not to aware of much of SeeSo’s programming, and I am quite ashamed of it. It all seems so perfect and geared toward lovers of comedy. So can you tell us a bit about this show?

Shrink is the brainchild of Tim Baltz and Ted Tremper, both from the Chicago improv scene. Tim is a brilliant improviser, and Shrink really showcases that. It’s about a doctor who graduates from medical school, but doesn’t get in to any of the residencies he applies for. Severely in debt and at a loss for what to do with his degree, he decides to pursue becoming a therapist. He moves in with his parents and stepbrother to save money, and begins having therapy sessions in the garage with patients from Craigslist seeking free therapy. I play one of his patients. The cast is populated with fantastic improvisers from Chicago and Los Angeles, and each session is heavily improvised. Tim is incredible as Dr. David Tracey – the show has such heart and is so funny and real and dark at times. I’m very proud to be a part of it.

I am however very familiar with your work on the amazing series Blunt Talk, that is absolutely hilarious and impressive. How has your experience been on a show like this? On screen it appears as though Patrick Stewart has adapted quite well to the comedic word, does it feel like that off screen to you?

I’m so glad you liked the show! Patrick is one of the most delightful and generous actors I’ve ever met. He’s so charming and funny and understands comedy in such a unique way. I learned a lot from watching him work. Walter Blunt is a deeply flawed person, but he has such good intentions. Patrick brought a lovely vulnerability to the character that really made the comedy work. I think that is a key component in making something funny – bringing vulnerability to your performance will make your reactions come from a grounded and honest emotional place. Then the comedy works better because it feels earned and real. The cast and crew of Blunt Talk are so dear to me. We were very close during the making of the show (and afterwards as well). I absolutely loved my experience on set and off set. That show will always have a special place in my heart.

You have also recently joined the cast of the amazing and critically acclaimed to no end, Veep with an amazing set of appearances. What is this show like? Does it differ from any of the other shows you have worked on that had great writing and directing? What do you believe has sparked such acclaim since its inception?

Working on VEEP has been such a dream. The actors are incredible, and 6 seasons in, the whole operation is a well oiled machine. As an audience member, I was blown away by the caliber of writing and acting on the show. Getting to be in the room with those people was an education in comedy. The showrunner, David Mandel, the producers, the directors, Julia, the writers, and the whole cast worked tirelessly to make each moment and joke the funniest it could be. There was never a sense of “ok that joke’s not working but whatever, let’s move on”. They would figure it out, no matter how long it took, so that the scene worked and was the best and funniest it could be. It was so inspiring to watch and be a part of. I think that’s also why it’s garnered such critical acclaim – the entire group is so excited to be there, and they all support each other in making it the best and most hilarious show out there.

If you were given the chance to write the most hilarious script about a fictional serial killer, what would this story entail? And would you want to play the lead, or who else would you want to write it for?

Oh wow! It would be a challenge to make a comedy about a serial killer.. maybe a period piece about a woman in the French court who poisons people for fun? Then it turns out the poison is only temporary so everyone comes back to life and she’s constantly frustrated that her poisons aren’t working. I would insist on playing the lead.

What is next for you? What would you like to plug to our dear readers?

Keep tuning into VEEP! And check out Shrink on Seeso. I perform regularly at UCB in LA, so check out the calendar if you ever want to see a show.

What was the last thing that made you smile?

A picture of a friend that I took last night. I looked at it this morning and smiled.

Sean Bridgers [Interview]

We have an absolutely amazing interview for you fine folks today! A couple of years ago, there was an amazing movie that was released and rocked the world with some cringe-worthy material and magnificent performances that deserved some well deserved acclaim. That film was called Room. The wonderful Brie Larsen received a well deserved Oscar nomination, and the whole cast was lauded appropriately. I absolutely adored this film, and considered the best of the year. And what was a major contributing factor? Well, that would be the subject of today’s interview! The great Sean Bridgers, who portrayed Old Nick in the film, portrayed one of the most hated characters in a film since Nurse Ratchet. He was a different kind of evil, one that didn’t completely seem intentionally malefic, just not in the right state of mind for a decent world. You had to hate him, but you could attempt the empathize, usually with no avail though.

And the man who brought this character to screen happens to be one of the greatest character actors of our time. The great Sean Bridgers. So convincing was his Old Nick character, that I totally forgot in the viewing that he was a cast member of one of the greatest television shows in recent history, the illustrious Deadwood. Two very different characters, in two very different worlds. And Sean handled them both beautifully.

With that, we are so excited to have a few words with Sean Bridgers here today. He has a career that is constantly flourishing, including a role on the new Epix Series based on the classic Elmore Leonard novel and Danny Devito flick, Get Shorty! Check out this amazing interview with a damn fine actor, and then go check him out on Get Shorty! So ladies and gentlemen, Mr. Sean Bridgers!

How early in your life did you realize you wanted to join the world of film and television? Was it an early ambition, or did it just pop up as an option?

I didn’t realize that I could be in a film until I was actually in one. I grew up in a small town in the Smoky Mountains of North Carolina and when I was young, I did not know nor did I know anyone who knew, a professional actor. I wanted to play quarterback for the Chicago Bears or pitch for the Atlanta Braves or both. I read a great deal and I loved movies and TV but I wanted to be Archie Manning not Harrison Ford … know what I mean? Joining the world of film and TV was not on my radar when I was a kid. Although … I wrote, produced, directed and starred in a couple of plays when I was in Elementary school. I got a few friends together and we got the props, costumes, etc. My 3rd grade teacher, Mrs. Williams, allowed us to perform our “little show” on a Friday, during the period between last class and waiting for the buses. We just huddled up and I told them their characters and to simply do what I told them to do as I narrated. I had written the “script” on cue cards. We never rehearsed. We just went for it. It was titled “The Assassination of Abraham Lincoln”. I was to play Lincoln and narrate. I had the fake beard and everything. My friends who were Cub Scouts wore their uniforms and brought toy rifles and were Union Soldiers. My John Wilkes Boothe got stage fright and unlike the real JWB, he chickened out. So he played Lincoln, which was stupid because he was very short, and I had to play Boothe. So I shot him in the head, jumped off a table, broke my ankle (not really I was acting) stopped and narrated about Boothe fleeing into Maryland and then I ran to the corner of the room, where I had assembled chairs to make a “barn” which the Cub Scouts set on fire (not really) and I made a run for the classroom door as they shot me down with cap guns. It was a big hit. My next show was “Washington Crosses the Delaware” (I liked history) and I played Washington and we had a big cast because everyone wanted to be in it because “Lincoln” had been so well received. The story was that we would cross the Delaware in an imaginary boat and when we reached the shore we were gonna kill a bunch of drunk Hessians. That was pretty much it. It was going to be a bloodbath. We had sword fights planned. But just before we started, my teacher said that we couldn’t have any cap guns and she didn’t want us “running wild”. Which was the point. So I pulled the plug and I quit doing my own shows until I got to 6th grade when I created a redneck Sheriff character. I did a few skits about him. I’d chew on black licorice and spit it in a cup. It was stuff like … he arrests Santa Claus … because he thinks he’s a burglar because Santa is not real, because the Sheriff never got great gifts as a child, so even if Santa was real he must be a dick (didn’t use that word) and then Santa explained the spirit of Christmas or something. It was kind of a Kapra thing with a Jackie Gleason twist. So as a young kid, I never thought about being an actor but I seemed to be acting nonetheless.

When I was in 10th grade I went to a private school in Tennessee (St Andrews – Sewanee) and there were some older kids there, the kings and queens of the drama department, who were going off to college and were going to be actors. They actually said out loud, “I’m going to study acting and become an actor” and no one laughed at them. Around that time I saw the film Tender Mercies. My friends said there was a Burt Reynolds Western showing that weekend because they’d glanced at the poster as they walked past the movie theater on their way to school, and on the poster was a guy in a cowboy hat with a mustache. In 1983 Tennessee, cowboy hat + mustache = Burt Reynolds. So we went to see it and soon realized it wasn’t a Western, there was no Burt and my friends lasted 10 minutes but I stayed and watched the entire film and was just totally taken in by it. I didn’t know who Robert Duvall was but the story and the performances were so real it reminded me of people I actually knew in my own little hillbilly life. It was close to home and it was the first film that ever felt that way to me. If what Robert Duvall was doing was “acting” then I thought maybe I could do it. I kept that dream to myself but ended up playing Poseidon in the Trojan Women in 11th grade because my girlfriend asked me to and went from rehearsal (play practice, I called it) to baseball practice. My Senior year I was not allowed to play baseball and do the Spring play. So I chose to play the lead in Blythe Spirit and gave up my dream of pitching for the Braves. Even then I was a better actor than ball player. My coach was pissed off and thought there must be a little sugar in my tank … know what I mean? I’d rather act in a play than play baseball? What he didn’t consider is that a lot of girls do plays.

Meeting girls was what led me to do plays in college at Western Carolina University and I started getting great reviews from a critic in Asheville NC, named Tony Kiss. A friend suggested I take those reviews and headshot/resume and meet her agent. And I did. The agent was really a secretary and our “meeting” was when she got away from her desk and met me in the lobby for her smoke break. I didn’t hear from her until months later when she called for an audition for a movie in Charlotte NC. I showed up three hours early because I’d never been to Charlotte and expected to get lost (1991 – pre GPS). I found my way to the audition and got my sides (scenes from the script) and sat down and memorized 10 pages (which is a lot but I didn’t know that at the time). The casting director was Mark Finncannon and he could not have been more kind and encouraging. The audition went well and the Finncannons brought me back for other projects that were coming to the Carolinas and I did three movies that summer and realized at that point that not only could I be an actor but I already was one. Maybe not a very good actor yet but I knew I had talent and I wasn’t afraid to work to get better. I was “all in” at that point and my focus became getting better through experience. That led me to study for an MFA in acting at LSU and I grew as an actor while in Baton Rouge but left a semester shy of graduating because I got a role in a movie.

That was a meandering answer to a simple question.

When was the first time you can remember seeing your name appear on screen? Do you remember what the project was? And how did it feel to see it for the first time?

The first movie I did was a CBS movie of the Week, starring Helen Hunt, called Murder In New Hampshire. They misspelt my last name – left out the R in BridgeRs. It made me feel slightly pissed off. I got over it.

Time has proven that Deadwood will go down as one of the finest television programs that came out in the beginning of this Golden Age of Television. So, what was your experience working on this show? When you look back on your experience on the show, what do you remember fondly? And what impact do you believe the show has left in history?

I’m not able to communicate the experience of working on Deadwood yet. I’m still processing it. What I remember most fondly about the show are the people I had the good fortune to work with. There were some brilliant performers and artists on Deadwood starting at the top with the show creator David Milch. He was fully committed to getting the truth of every character and every scene and as a result everyone brought all they had to offer everyday. Assholes were not allowed. Not for long anyway. What we were doing was too important for us to put up with any bullshit. It was a wonderful place to go to work and I miss those people. It’s impossible to say what the impact Deadwood will leave on television history but I do believe that my great grandkids will get as much out of our 36 episodes as audiences do today. It’s a timeless piece of storytelling. Deadwood will withstand the trends of cultural change. If all three seasons of Deadwood were transcribed into a novel it would be an American Literary classic.

Your role as Old Nick in Room is probably one of the most gruesomely dark roles I have ever seen put to screen. What drew you to this insane role? And how do you prepare for such a dark performance?

What drew me to role of Old Nick was that they gave me the job. Even after 26 years of working as an actor, every job seems like a little miracle. Fortunately for me, Room was a wonderful script, filled with great performers, brilliantly directed and got the attention it deserved.

I have my own process that gets me where I need to be to play a guy like Old Nick. My job was to make him a real human being with hopes and fears, love and hate. So it’s important that I not judge any character I inhabit. The story determines what the character does or does not do … the why of it is for the performer … and is best kept a secret. I will say that I had a wonderful time working with Director Lenny Abrahamson and Brie and Jacob … but I was happy to wrap that movie and shed myself of Old Nick.

photo by George Krachyk courtesy of the Everett Collection.

But, Room was definitely not the first dark performance I enjoyed you in. Jugface was an insanely well done horror film, and I loved your work as Dawai. When working on a project like this, what do you find to be the most important thing an actor can do to bring about just the right amount of crazy in a role?

First of all —  thank you for the compliment. I’m very proud of that movie. It’s a very strange and haunting tale. As far as bringing the “right amount of crazy” to the role of Dawai well … the whole story was kinda crazy, so I had some latitude there. Again it’s a matter of trying to create a character who feels like a real human being. Most of us are motivated by love or an attempt to avoid pain. In the case of Dawai, it was love. He loved a girl who would never feel the way about him that he felt for her. But it didn’t matter to him. His love trumped his need to avoid pain and as a result he almost seems noble at the end. He’s also the fool in Jugface and playing the fool is one of my favorite things to do, on screen and off.

If you were given the chance to portray any American president (on screen, out of an elementary school classroom that is) in history, which one would you like to bring to life?

Well … since my early attempts to play Lincoln and Washington were thwarted …

I would love to play Jimmy Carter. It would be nice to inhabit the spirit of Carter for a few months – that would do anyone good.
After playing someone like Old Nick I think I deserve to play someone like Jimmy Carter. Don’t you agree? Let’s make that happen.

After all of your years in the world of film and television, in front of and behind the screen, what would you say you are most proud of?

I’m proud of the projects you’ve mentioned … but also proud of Rectify and The Woman. I was in Free State of Jones and that’s a story worth telling. I have a film coming out called Carolina Low, which I wrote, produced and star in. We made it in 1997 under the title Paradise Falls, won many awards at film festivals but could never sell it. We’ve done a fresh edit and mix and it will be available soon. I’m very proud of Carolina Low.

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

I am starring in Get Shorty which premiers August 13th on EPIX. It stars Chris O’Dowd and Ray Romano and was created by Davey Holmes who wrote for Shameless among others. The folks at MGM who produce Fargo are at the helm of Get Shorty and both shows share tone and quality. You never know what is going to happen next in Get Shorty. Definitely binge worthy television. It was a blast to work on.

Also, my producing partner, Michael “Ffish” Hemschoot and I have released a 6 part web series called Arkansas Traveler. Go to Travelinproductions.com and all 6 webisodes are available. We’re working toward making Arkansas Traveler into a feature or perhaps keep it going as a web series. So please go to the site and check out Arkansas Traveler and if enough people clamor for more we’re hoping someone will give us a little $ to finish the story.

What was the last thing that made you smile?

Seeing my youngest wake up around noon, all sleepy faced and happy because it is still summer break.

Hey Folks! Remember, if you download Epix for a free trial you can watch the first 3 episodes of Get Shorty featuring our new friend Sean Bridgers!  You Don’t want to miss this year’s hottest new series!

Check out this trailer for the EPIX Original series Get Shorty, courtesy of Jo Blo TV Show Trailers:

Bianca VanDamme [Interview]

Today’s amazing interviewee is a woman who was no doubt destined for stardom, and was born with all the right genes to be a star. Of course, destiny and genes will get you know where if you part of those genes don’t include a stamina and willpower to succeed. A willingness to succeed is by far more important than appropriate placement. And we dare say that the great Bianca VanDamme has definitely proven that she has what it takes to be a major player in the world of film, and has frankly already proven it time and time again.

Bianca has had some brilliant performances in the film penned by our old friend Sean Stone that we all know and love entitled Enter The Fist and the Golden Fleece. And bringing it all back around to the event we have been talking about all weekend, She appeared as the lead in Dominic Burn’s Alien Uprising. The event in question, again, would be the premiere of Shooting Clerks. As if everything weren’t already connected so closely in our world, Mr. Burns is one of the geniuses behind the live action directorial debut of the great Jason Mewe’s Madness in the Method coming soon. See how so many great minds can be interconnected?

Anyway, today is all about the brilliant actress and martial arts expert Bianca VanDamme. She can be also be found in the amazing horror flick known as Paranormal Activity Security Squard (coincidentally again features her previous co-worker, the great Sean Stone), that is absolute must see for all horror & action fans. And Bianca’s career is only destined to flourish in the coming years. She has taken on the role of producer on several feature films and documentaries. And of course you will be able to catch Bianca in the big screen in some very exciting projects in the near future.

So how about I stop rambling, and let you all check out some amazing words from one of today’s finest young talents, the great Bianca VanDamme!

We know that you obviously had some major influences in your life, but I’d like to know what made you personally want to join the world of acting? What did you find most attractive about the field?

Personally acting has never been something I wanted to achieve in my life but growing up in the industry, obviously mindsets change. My main goal is to direct and before stepping into that I was always told it’s smart to know what it’s like in front of the camera before stepping behind it. I’ll tell you something funny, I’ve always wanted to achieve so much in one life time and realized you could only really have one “career” choice, wether it’s a doctor or a mechanic, etc. That always freaked me out and made me realize with acting I could be anything I want so that’s what really made think, “Hey, this isn’t that bad”. I mean what’s better than a grown up playing pretend? I love watching the classics from cary grant and Audrey Hepburn etc. I really get lost and I want people to get lost while watching my films wether its what I’m in or directing.

You had quite the breakout role in Dominic Burn’s film Alien Uprising. How was your experience on this film? Was it a daunting task to take on a role like that?

It was a great experience, my first leading role. I was terribly frightened but at the same time ground breaking for my confidence. Personally, I look back at my performance and know I could’ve done way better but it was a baby step and I learned a lot from it. Because of Alien Uprising, I have more confidence. I know to take my projects more seriously, study harder and focus on my character rather than just spitting out lines. The cast and crew were absolutely amazing to me and are very genuine people, taking that back home with me was what I cherish most.

You also had a pivotal role in another film written by and featuring our old friend Sean Stone, entitled Enter the Fist and the Golden Fleece, that seems very intriguing. How did you become drawn to this film? And how was your experience working on a film like this?

When I first met Sean he had asked me to read it, being open to collaboration and building a new friendship I did. Before shooting ETF we shot another film together called P.A.S.S. which we were both in as well. After shooting that we loved working together so we decided to do ETF. It’s been a pet project of his for some time so I jumped in and said what the heck, let’s have fun and just shoot.

It was an interesting experience, obviously a lot of laughs and great cast and crew. It was a lot of fun to shoot, I just remember laughing…I think that’s why I have slight abs right now!

I’ve noticed that you have begun moving behind the camera as well, working as a producer on a few projects. What made you want to make this transition? And is there a chance we may find you in a director’s chair someday? If so, what type of projects would you like to work on?

You will definitely see me in the directors chair more often! I’ve always loved creating and story telling.

I’ve been told I’m really good with people and making them feel comfortable. I didn’t know what that meant until I helped my friend shoot an audition, we worked on it for hours because I wanted him to have the best performance and he booked it.So directing is definitly in my line of vision, right now I’m writing a few shorts. It’s scary but nothing happens unless you dive in.

I have heard that you are also a fan of poetry, which is always great to here. What sort of poetry to you enjoy writing/reading? Who are some of your favorite poets?

I LOVE poetry, I’ve been writing since I was about 13 years old. Not many people get to read my work, it’s extremely dark and romantic. The few people I did show loved it but also asked if I was ok! I found that funny because for me poetry is therapeutic and helps me escape but sometimes I find it hard to come back to blue skies and sunshine. I love Edgar Allen Poe, Walt Whitman, William Shakespeare, E.. Cummings…as a kid I was obsessed with Shel Silverstein…Oscar Wilde, Charles Bukowski, the list goes on and on and on.

What does the future hold for you? Anything coming in the near future that you would like to tell our readers about?

I’m working on a lot of new and exciting projects that I can’t wait to share with everyone. They’ll just have to keep an eye out!

What was the last thing that made you smile?

Driving on Mount Olympus, listening to Stevie Nicks with my ride or die (Nikita, my pup) by my side.
That dog makes me laugh so much, without her I would not be here.

Check out this awesome video Bianca made to show that she is taking what her father gave to the world, and perfecting it:

J.D. Shapiro [Interview]

In 1993, a brilliant film was brought to the world. It was called Robin Hood: Men In Tights, and it remains as my all time favorite Mel Brooks film. Easily. And then in 2000, another movie was released. It was called Battlefield Earth. And it was, well, it was a movie. It may have actually received an award for Worst Film of the Decade at the Razzie Awards. It’s a pretty memorable film to say the least. Maybe not in a good way. But, what is the connection between them? Well, I recently discovered that one man was involved in BOTH of these projects. And it made me wonder…how the fuck could this be? So, I did what I normally do….I hunt them down! And hunt them down I did!

J.D. Shapiro is an accomplished writer, director, actor, stand up comedian, and quite the fine dresser too if I might add. He has accomplished so damn much in his career that is on-going and fascinating. Although if you only rely on the first page of Google to check him out, you’re likely going to land on several articles about how he bravely accepted (twice!) the Razzie awards for Battlefield Earth that he “wrote”. But, with an accomplished career as it is, there is obviously a bit more to the story that what we initially see. We recently spoke with the film’s director, but he declined to talk about it. I wasn’t sure if J.D. would be willing to do so. But, oh was I fucking WRONG! Talk about it he did, and I am very excited to share his words with you! Of course, I want to make it clear, J.D.’s career has been vast and important and deserves a great deal of respect. But, he is also a guy who has great sense of humor. Which I believe you will find both to be true in the words below.

So, I will bow out now and stop babbling to introduce our new friend J.D. Shapiro!

You are an acclaimed writer of film, television, even books, on top of a great career as a stand up comedian. if you were forced to do so, what would you consider yourself as first, a writer or a stand up?

Well, acclaimed is in the eyes of the beholder. According to my sisters i’m the same idiot i’ve been since i was a kid.

A writer. Over anything. Directing. Acting. Anything.

This is because you start with nothing. to be cliche, it’s a blank canvis. Actually there isn’t even a canvis. If you want a canvis you have to write: “This is a canvis”.  You start with nothing. So, it’s the hardest of all to do. Oddly, it’s not the most rewarding. People giving you a stand O is incredibly rewarding. you don’t get that by writing a script. Sure, you do once it’s made. But then it’s not just your own. Nothing wrong with that, but when you’re writing it’s 100% yours. Brilliant or crap, you have to own it.

In 2000 you added director and actor to your credits with We Married Margo, which had an excellent showing at Slamdance. What made you decide you wanted to get behind the camera as a director? Acting seems logical as a professional stand up, but what made you want to get into that comfy chair and tell others how to portray your words?

I’m dyslexic. not just with letters and numbers, but in life. I actually was a succesful writer before I started doing standup. And I did We Married Margo before I did standup.  Years before. I started out as an actor, studied at one of the best places on earth: HB studios in NYC. with one of the best teachers on earth: Uta Hagen. and I was good. she yelled at me a lot so I knew I had something.

But the more I acted the more I was interested in what was going on behind the camera. I liked that creative process better. It hit on all pistons, I loved the pressure of directing, I love dealing with so many different kinds of people and situation. Like war without any bullets. So it’s nothing like war. But in your head and heart you feel the exciting and the pressure. Which I love. i’ve always worked better under pressure.  It was also way, way more proactive than acting. I’m not good at sitting around and waiting. And I liked being God. To me, the director was God (at the time I didn’t give enough credit to the writer. But once it’s in the director’s hands — he’s God.  Yes, studios have a say, money has a say, actors, etc… but let’s just say it’s as God like as one can be after the writer. So I always wanted to direct. I actually started to write to a means to an end, which was directing.

I did some theatre, some commercials and music vidoes to start. Got offers to do features but I couldn’t find a script I liked. So I decided to write my own.

So, Robin Hood: Men In Tights. what a god damned classic, to say the least. In your obviously professional opinion, how great do you believe it was for Mel Brooks to get to work with you? And vice versa, maybe?

I think Mel was incredibly lucky to work with me. The highlight of his life and career!  (Funny thing is I’m doing projects with Stan Lee now. And he jokes “Jakey, I think you’re the one that is finally going to make me famous!)

With Mel it’s a bit mixed. Best of times, worst of times thing. But overall I was very happy that he liked my script and wanted to make it. It was because of Mel that I eventually started doing standup. He was always performing. Whenever he met anyone or in most situations. so i started to do that when i met people. and i realized i could do this on stage.

I found this quote from you about Battlefield Earth: “no one sets out to make a train wreck. actually, comparing it to a train wreck isn’t really fair to train wrecks, because people actually want to watch those.” Obviously, we greatly appreciate this one.

Hahaha! I can not take full credit for that quote. I was dating a woman, Meredith Karasch, an attorney in L.A., who after I said “It’s like a train wreck” said something like “people want to watch train wrecks.” I burst out laughing, asked if I could use that and give her credit. she said yes but she didn’t want the credit.  Finally, I can give her the credit she deserves.

We actually just did an interview with Roger Christian, and he just really didn’t want to talk about Battlefield Earth, so we won’t try to make you either. But, I really do want to ask, what was it like to actually pick up your Razzie award in person? Was it a lighthearted jab or did it actually feel mean as hell?

Corey Mandell, the other writer on the film, is a fucking tool. A “pencil” is what real writers call someone like him in the business. Someone who takes the job for the money; not the project, not the passion— nothing. He doesn’t want to talk about it because he fucked up a potentially good movie. Anyone who wants to read my draft can. It still needed work because I was fired after I didn’t agree with the studo on the direction they suddenly wanted to go, so I never fully finsihed what I started. But it is like a billion times better then the shit Corey wrote. I heard him trying to put me down in an interview once by saying a couple of things, mainly that “How does J.D. know i wasn’t given the same notes he was?” of course I know you were given them, you asshole. But I had the integrity to say “No.” You were a pencil who said “Yes.”  Then he said I spend my life talking about BE. From what I know, and IMDb doesn’t get it all down because like 60% of the stuff I’ve done isn’t on it, Corey is a teacher— of screenwriting (those poor fucking students)… How the fuck is that possible? it’s like the guy who crashes the planes gets hired to teach people to be a pilot! Or the guy who builds a house that falls apart within an hour of the people moving in and he or her teaching a course in “How to build a house!”

Oh, I got off track.  Anyway, he’s doing nothing and I’ve sold several specs since BE and have been hired for many projects, including, as I mentioned, working with Stan Lee.

Anyway, to see how I feel about BE, people can Google my name and NY post.  my name and accepting razzie award.

I accepted it twice. When it won originally, and then when it won ‘Worst Movie of the Decade.” First time was on a radio show and I don’t remember much, other than I had fun. for the “Worst Movie of the Decade”, it was a blast. I wasn’t sure how the audience would react to me or my speech and it went great. If you listen to the speech you see I’m blaming Corey for the movie. Now— I took blame in the Post article I wrote because I did start the processes so I have to take blame even though I was gone and he finished it. But I loved the Razzies, it was a lot of fun.

That being said, I’d be very happy if I never win another Razzie again.

Also, we always tend to ask our statue holding friends this question, usually in reference to an Emmy, Oscar, etc., but in this case: where do you keep your Razzie Award? And does its physical location have any significance to you?

Most of the awards I have I’ve given to my mom and dad. I’ve actually won some good ones. but I don’t want to hold onto them because that’s the past. Life to me is about the moment and the future. Mainly the moment (which is what I love when I’m writing, directing or doing standup. No time to think when it’s going great. Have to be in the moment.  And sex.  Same thing. You must be in that moment for those two and a half minutes. Maybe three). The Razzie is somewhere in storage only because I got the original one that was first ever used. They asked me to call to switch it out, which I did. Several times. But never heard back.  So that’s somewhere in storage.

I understand you have a book coming out this year that we should all be very excited for. Can you tell us a bit about it? When can we check it out?

Thank you for allowing me to give a  not so obvious plug 🙂

It’s called Think Like a Man: The Only Guide You’ll Ever Need.

As I say in the book, I was writing stuff in my journal and realised this would make a great book. In a very humorous way I tell women what men really want. No bullshit, no political correctness, I tell them the truth and sometimes, the truth hurts. Me – because a few women wanted to throw the book at my head!  I tested it with around 300 women to see what they thought and actually like 95% loved it. They called it empowering. That makes me feel good. I gave it to about 20 men and they said I gave away good secrets. The idea being it’s a manual. If a woman understood a man, how amd what we thought—really thought, they’d be able to “use” us to get what they want— in the same time giving a man what he wants.

Win/win!

Unlike most of these books that are written by men who have never truly been in the field and just talk theories, or men who write books about what women want, or women who write books about what a man wants (both being rediculous because I’d never presume to write a book what a woman wants). Yes, I grew up with three sisters and know more than most men. But I’m not a women. So WTF do I really know.  As far as men go— I am a man, I’ve been in the field (so to speak) and I know what men want. Sure, we are all different, but there are basics that have to do with 300,000 years of biology and existence (or 6,500 years if you believe in fairytale books).

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

Thank you again for giving me a chance to make a shameless plug.

The movies I have won’t be out until next year at the soonest.  But I did just complete a short that might get turned into a feature. It’s called Hard Day’s Nights. a drama/comedy about two women who have nothing in common but are stuck together. Not literaly. Through each other they help each other heal. If Woody Allen and Terrance Malik had a child— that’s the tone of the movie.  (How’s that for a mind fuck!). That should be done with post by september.

Presently I’m looking for financing for two scripts. So if you have money get out your check books.  One is going back to my Robin Hood: Men In Tights days. It’s called Knights of the Not So Round Table. It’s a lost footage movie. Dan Myrick is interested in eping it and I already have Stan Lee in it playing — Stan Lee. Not expensive because I want it to look and feel like a found footage movie (yes, it turns out that Camelot was recored by— I won’t say who yet— and that recording was in Area 54 and it got stolen and released). anyway the movie is around 1.6 million dollars.

The other is a rock/pop/rap/jazz/classical/country coming of age musical comedy. It’s if you took Grease and Moulin Rouge and thrust it together with Risky Business and American Pie… on acid.  I love this project, and have gotten close to getting it going but not yet. One studio said yes if I walked away as director. I said no. Budget isn’t even that big. 8.5 million dollars.

Whenever I decide what movie I’m writing, whether it be on spec, for me to direct or I’ve been hired to do, I decide “Do I want to see this movie?” and most importantly; would I watch it again and again. if I’m skimming channels at night, would I stop in the middle or the end of this movie to watch even though I’ve seen it 8 times already.  If the anwer is yes, then I write it. If no, I either toss that idea or tell my agents to say no.

What was the last thing that made you smile?

A dog video I watched prior to addressing this email. The dog sounds like he’s talking as a guy tells him he ate a sandwhich, made one for the cat, etc.  It’s very well done and very funny.  Google it.