Kevin Smith: Filmmaker or Carny?
So Kevin’s publicity team is announcing a Radio City Music Hall gross of $161,590 for Kevin Smith’s live show, that happened to include a screening of Red State.
Good for him.
You know, as irritating as he has been lately, his core of about 2 million loyal, see-every-movie fans is a remarkable thing and an accomplishment. About 3500 of them saw the show last night. They have 14 mores stops on the whistle stop tour. Maybe Charlie Sheen will join them for some of the stops. But I’d estimate they have about 20,000 tickets to sell for the rest of the shows. And they will probably sell most of them. That’ll bring the tour/movie to a gross of somewhere around $1 million. (I don’t know if they can get NYC prices in Ann Arbor or Springfield, but give or take $100k, $1m seems about right.) Great!
It’s not a new distribution model, because they aren’t really selling a movie. They’re selling a Kevin event.
The movie will come out, somehow, in the fall and gross $10m – $15m. Smith’s core will turn up. And we’ll all be done with it.
I assume that will make this all profitable for Smith & Co. Great.
I don’t really mind Smith becoming the Fart Joke Henry Jaglom. I guess that’s a step better than being the genius that Orson Welles was and ending up being paraded around as Jaglom’s bff. Smith, in this case, gets to be both Jaglom and Welles. (And no, Kevin… this is not a crack about your weight.) He can do well enough outside of the system and never really has to do anything more than indulge his own urges.
It does make me sad think that Smith, a talented guy, won’t ever grow as a filmmaker… not because he can’t but because his ego is too tender to go through the wound-scab-heal process that is necessary. I’ve always looked forward to Smith’s 40s being the best of him. Instead, it will be a side show.
But you know, it’s not my call. I am not Kevin and as long as he’s not directly harassing me – above and beyond seeing his movies at screenings and such nonsense – it’s really none of my business. If he wants to hide in plain sight, that’s his right and I have no reason to have an opinion about it, other than it is my job to have opinions. As a movie journalist, I don’t have to make it my business. I didn’t at Sundance. i won’t be doing so here in LA or anywhere else in the nation.
But I still root for the guy. There is something magical about him. And there is something profoundly sad. How can one not root for him to find his way to some true inner peace?
I couldn’t agree with the sentiment of this post more. Like a lot of people, I originally found Smith’s work so refreshing and fun and liberating in how rough and smart and specfic it was. I really don’t get why the lackluster reception of some of his recent works (as writer/director. I skipped COP OUT), has had such a profound, seemingly negative effect on him. JERSEY GIRL, CLERKS II and ZACK AND MIRI, I think, saw him continue to make personal films, and I think the latter two actually show great growth for him visually and thematically.
While I’m sure it’s financially a boon, it is dispiriting to see a personal filmmaker brush movies aside to essentially become a “personality”. I look forward to seeing RED STATE and HIT SOMEBODY. I don’t care about the cult around him. But I really hope that someone, so gifted with voice as a writer, remembers that it’s the work that matters, not the reception, both good and bad. An artist is someone who continues on in the face of rejection but also celebration. I hope Smith can re-find that path, because as Mr. Poland so acutely puts it, “there is something magical about him”.
“It’s not a new distribution model, because they aren’t really selling a movie. They’re selling a Kevin event.”
Isn’t this more or less how Glenn Beck operates?
“Isn’t this more or less how Glenn Beck operates?”
As far as I can figure Glenn Beck does some kind of taped performance somewhere and then it’s digitally projected in theaters throughout the country on a one night only basis.
I saw the ad for one such event before the last Harry Potter and had to use all the patience within not to pummel the screen with popcorn.
He’s not quite Jaglom yet. Jaglom’s fan base at this point is himself — he buys thousands of dollars worth of tickets to his own movies, at no net loss but no profit either. I think you’d call that the L. Ron Hubbard model. Scientologists may have tried that with Battlefield Earth, but it was too big-budget a movie for that model to work.
Smith has more in common now with Tommy Wiseau — a large percentage of people who go see THE ROOM, at least in L.A., do so because they know Tommy will be there, and that his incoherent Q&As are the best part of the show.
“It does make me sad think that Smith, a talented guy, won’t ever grow as a filmmaker”
DP, have you seen RED STATE? It’s a clear example of how much he already HAS GROWN as a filmmaker. Yes, it has some of the typical View Askew-isms, but it’s a completely different aesthetic. You should give it a chance. He might surprise you. Michael Parks definitely will…
Is Jaglom a worthwhile filmmaker at all? I see his name frequently used as a punch line. There’s an early one of his on Netflix Instant with Dennis Hopper that I’ve been tempted to watch but I haven’t taken the plunge…
Also Tom Laughlin self-released BILLY JACK to great success in the 70s, from what I’ve read.
Accordingly, I now eagerly anticipate THE TRIAL OF SILENT BOB.
Jaglom used to be more worthwhile than he is now…these days, he casts whoever he’s sleeping with in the lead, and the current one is really annoying.
He’s kind of a Hollywood version of Mike Leigh, or at least thinks he is — his films tend to draw from a stock pool of actors, have improvised/workshopped stories, and draw on the types of people he’s met in the business. I remember liking FESTIVAL IN CANNES, but again, that was prior to the current squeeze.
Jaglom rules and I love him even if I don’t love all his films for the old school auteur energy. He’s also had a long time stealth career as an editing doctor.
And Smith has me as a new fan in the same way, gotta love somebody trying it their way, hook or crook.
I used to be one of the 2 million. Loved Clerks. Inspirational to me in my pursuit of a career in film. I followed the man, went to live shows when they came to my area.
but i think i grew up, whereas Kevin Smith did not. The material never got better, rarely did he deviate from a formula of his own creation. I remember when the Zach and Miri trailer came out and they were talking about doing a porn… and i said out loud “i’ll bet they do a star wars porn”, and sure enough not 10 seconds later there was a joke about Star Wars porn.
He lost me when the films became more redundant and he became more beligerant. The melodramatic ramblings after Zack & Miri did predictable numbers and the outright insane claims he made after Cop Out made him sound like the kind of internet troll he made fun of for a decade. Cop Out is not the kind of ‘exhibit A’ i would want to lead with defending my work.
I interviewed Penn Gillette years ago when i was in College. And he said something that always stuck with me: All you have to do to be successful in this country is get 1% of the people to love what you do.
That describes Kevin Smith well. He got his 1%. He worked hard for them. If i was in his position, i’d make every movie for 4 million and tour them around the country. That sounds a lot more fun than the traditional release route.
For me, it doesn’t matter because it’s about the movies. i don’t really root for or against him. he just sort of is. no interest in his movies and i’ve already heard everything he’s had to say.
Whoever said Glen Beck nailed it. And to Dave’s point, he is a carnival barker. The funny thing is, if Kevin’s last two films cleared 75 million at the box office, i don’t think we’d be in this place having this conversation. Had Smith had Apatow-ish success with Zach and Miri and Cop Out hadn’t tanked, i think he’d be happy as hell with Hollywood.
His ‘return to independent’ has seemed more like a Troy Duffy middle finger to the system because they didn’t care for his particular brand of whimsy.
JKill: Actually, Warner Bros. released Billy Jack during its original theatrical run. (It’s one of those titles that everyone forgets about while discussing the New Hollywood era. Sorta like Get to Know Your Rabbit.) In fact, I reviewed it for, no kidding, a Catholic weekly newspaper in New Orleans (The Clarion Herald) during what must have been one of its early test engagements, and actually got a nice thank-you note from Delores Taylor. But, you’re right, Laughlin later self-released the reissue (if memory serves me correctly, he and WB has some sort of falling out), and subsequent sequels. And what ever happened to Tom Laughlin?
As for Jaglom: There was a time when for, for me, seeing the phrase “directed by Henry Jaglom” in a festival catalog scared me almost as much as the phrases “eschews traditional narrative structure” and “provides a deconstructionist genre commentary.” But, yeah, some of his semi-improvisational stuff has been interesting. “Festival in Cannes” was a good one, as was “Deja Vu” (no, not the Denzel Washington movie). And I vaguely recall laughing at lot during “Sitting Ducks” many long years ago.
Thanks for the thoughts on Jaglom. I’ll have to give him a try soon.
I think another reason though for wanting RED STATE to be released in this way is that it doesn’t seem like it would naturally get a wide release if someone other than Smith was handleing it. From the reviews it sounds weird, violent, political and arty, which really doesn’t normally play to the masses. It seems more like something Magnet would release than Dimension. I just read Smith say that he thinks HIT SOMEBODY will be funded/released by a major, implying that this release may be specfic for this particular project and not really part of any new ideology he may have.
Well, according to the most recent population figures I’ve seen, there are 310 million folks in the United States. So if you can get 1 percent of those people to pay, oh, $7.50 a pop…
Joe: Thanks for the BILLY JACK background info.
Laughlin actually has a website where he sells merchandise, including books he has written on subjects ranging from psychology (“How sexual desire and performance is not caused by nerve endings or the physical, but 100% mental – what’s going on in the mind. Why sex does not give us the unmitigated joy the pornographers promise.”) to how-to guides for writing movies.
He also mentions a proposed fifth Billy Jack movie but that hasn’t came to fruition…
This happened a long time ago, so I may be misremembering some of the details, but: As I recall, Laughlin organized a contest around the time of the release of “The Trial of Billy Jack.” It was — no joke — an essay contest, with cash and luxury item prizes. The subject of the essay: “Why are critics so out of touch with the readers they’re writing for?”
The more things change…
Didn’t Laughlin run for President a few times in the last decade? His self-distribution model hit the wall with the failure of THE MASTER GUNFIGHTER. I think he went broke on that one and never could get back on track. THE TRIAL OF BILLY JACK was shelved for a couple of decades. The zeitgeist didn’t seem to be with him much after THE BORN LOSERS and BILLY JACK. He had a propensity for lawsuits that probably didn’t help either. Interesting guy though.
Yancy: I think it was Billy Jack Goes to Washington, not The Trail of Billy Jack, that got the long shelving. Though, again, I could be misremembering.
Yancy: Apparently, from what I’ve gathered, he’s ran for President more than once. His last attempt was challenging Bush in 04 for the Republican primary. He got 154 votes in New Hampshire, according to Wikipedia.
BILLY JACK GOES TO WASHINGTON was the final snake in the coffin. I love Laughlin’s chutzpah too. Showmanship!
Dammit! I went over to Amazon just to see if Billy Jack still was available on DVD — or if I could watch it sometime as downstreaming video — and found that I could get “The Complete Billy Jack Collection” (Born Losers, Billy Jack, The Trial of Billy Jack and Billy Jack Goes to Washington — for just $13.99. I couldn’t resist. I am so weak…
i like kevin smith, i want him to be my drinking buddy. i don’t always love his movies, but i’m glad he’s around doing his thing, and where’s the rule that says you can’t be a film-maker and a carny? just don’t be a rube. more power to him. give em hell, kevin, stick it to the man
Joe, you’re right: THE TRIAL OF BILLY JACK was a big hit; it was BILLY JACK GOES TO WASHINGTON that couldn’t find distribution. Coincidentally enough, I just found a recent article by R. H. Smith on TCM’s Movie Morlocks blog that has the lowdown on all of this stuff: http://moviemorlocks.com/2011/02/25/the-passion-of-billy-jack/
Kevin Smith’s soapboxing is great until the topic becomes Kevin Smith and the things people say about Kevin Smith.
Nathan Rabin wrote a great piece about Billy Jack Goes to Washington over at the AV Club for his My Year of Flops series. I was completely unfamiliar with the Billy Jack movies before I had read this.
http://www.avclub.com/articles/my-year-of-flops-case-file-11-billy-jack-goes-to-w,15385/
You can watch BJGTW in all its glory on Netflix streaming.
You’ll get a perfect sense of what you’re in store within the opening scene: Disney Jack.
Produced by Frank Capra, Jr!
Smith’s a weird deal, because he’s an inherently lazy dude with moments of initiative. I end up catching smodcast almost every weekend, and you can hear how little ambition the dude really has.
There’s no natural drive that others in his 90’s class had and that’s what comes out in his films. Clerks really was a miracle of timing, moreso than even El Maraichi, because Smith has shown time and again that if the audience doesn’t get what he’s doing, he’ll take his ball and go home. If something beat Clerks to the punch, Smith might have been lucky to be Matty Rich.
I always go back to Woody Allen after he was asked why he tries to make a film a year, and his response was about gratitude. He understood how fortunate he was and Smith only shows that appreciation when he’s career is on the ropes and he needs a revival. I mean, the guy couldn’t even bring himself to finish a six issues of a comic mini-series in any sort of timely fashion and he was never embarrassed by it.
And not to sound like a PSA, but he is the poster child for how hemp can derail a person. When I first heard him talk about how he hadn’t smoked for years and then picked it up again within the past few, you could almost see the graphlines of his productivity and blunt usage.
To think he’s the Time mag face for the X gen filmmaker…
Never saw Clerks 2, but after Zack & Miri and Cop Out, 5 felt the pang of ‘Wow, he’s not going to get better.” I’d like him to, I loved Clerks and Chasing Amy, and for me Chasing Amy represented a mature trajectory he might be taking. Instead it seems to have been his peak. I hope I feel different when I rent Red State in, what, eight months?
having watched the entire Billy Jack box set a couple of years ago I have to say the TRIAL has some mind blowing parts during its like three hours, the part with Jesus for instance …. and the famous town square fight scene from BJ was shot in two towns months apart (Prescott AZ and somewhere in New Mexico) and edited in such a way that you would never know that
I agree with Martin but I sincerely LOVE Kevin Smith and his films. Dudes such an inspiration as a filmmaker and as someone who does what he wants to do. We’ve decided to 4-wall our film (Worst In Show…worstinshowmovie.com bitches!) because I felt kind of ripped off by the fest circuit. Plus, we didn’t get into any good fests. But anyway….
I listen to his smodcasts and agree he needs to lay off the weed. It almost makes me feel embarrassed for the guy. But hey, it’s his life. I’m going to see RED STATE in L.A. and cannot wait. I do kiiiinda agree he hasn’t grown as a filmmaker, but then again, it depends on your definition. Dude has a wheelhouse when it comes to his writing and it’s silly to give him grief for that.
Still, for the LIFE of me, I cannot understand the vitriol directed at him by the blogosphere. It reeks of petty jealousy but there’s such angsty, hateful anger behind it, there has to be more. I don’t get it. There’s many, many worse filmmakers out there yet many of these guys never miss an opportunity to hoist Smith on the petard. The Sundance attacks were totally disgusting and stupid.
And David- RED STATE and the follow up HIT SOMEBODY are supposedly his last films as a director.
I’m coming from the opposite end of the spectrum. For the life of me, I cannot understand Smith worship and the passionate adoration bestowed upon him by so many. He’s a shit director and an OK writer who hasn’t made a single movie I like with no reservations. The guy seems to be his own biggest fan and believes every single word out of his mouth is solid gold worth obsessing over. True or not, that’s always the impression I’ve had of him. I hope Hit Somebody really is his last movie.
“I felt kind of ripped off by the fest circuit. Plus, we didn’t get into any good fests.”
No offense, but if you’re looking for a textbook example of a straight line looking for a punchline…
Yeah Paul, but that’s my point. No one’s making you watch his films or pay attention. It seems like people who really hate the guys film cannot look away. I don’t like Ashton Kutcher so I don’t see his films or pay him any mind. It’s that easy! 😉
Joe-
I guess my point was…we played a local fest and sold over 350 seats at $12 a pop. We didn’t see a dime of that and we didn’t win anything. So, what’s the point? Sure, being in a festival is fun and really neat and cool (it really is), but if we don’t get anything aside from a place to show the film and some press, it’s kind of a moot point. On the other hand, some fests fly you out and/or put you up and the chance to see a new city and have your film seen by new faces is awesome. Oxford Film Festival was a really great and fun fest and their programming, staff and audiences made it TOTALLY worth our while to attend and screen.
I liken it to Smith’s comments about how selling the film to a big company automatically adds twice the cost of the film when you factor in P&A. Why not just do it yourself and keep the money you make? The cost of submitting to festivals is roughly $40 a pop and there’s no guarantee of getting in. We can book our movie in a city, team up with a local animal rights group and share the profits.
And I didn’t mean to say we didn’t get into any “good” fests, I meant to say “big” fests. Der.
It is easy, you’re right, and I have avoided Clerks 2 and Zack and Miri Make a Porno. I also can separate the art from the artist. I don’t have to like Mel Gibson to be interested in The Beaver, just like I don’t have to like Smith to want to see Red State. I just don’t think Smith is very talented and have never understood Smith worship.
If Smith could zero in on his dialogue, much of which can be insightful and funny, he’d do well in theater.
Don Lewis – I love your point. Don’t like his movies. Stay away. Though, I read movie web sites daily, and they tend to cover a lot of Kevin Smith. So there’s that complex of avoiding not just the individual’s products but their presence in general.
Clerks 2 did it in for me. I’ve seen better film on teeth.
There’s a LONG list of directors who have survived on reputation from early success that I’ve vowed not to give them benefit of the doubt:
Ivan Reitman, John Landis, John Carpenter, Wes Craven, Joe Schumacher, Renny Harlin, Peter Hyams, Doug Liman, Zach Snyder… Barry Sonnenfeld is one more horrid film away. MiB II has been on HBO a lot for some reason. It’s lazy-filmmaking at its worst.
Regarding why some people dislike Smith Don, the New Jersey Star Ledger’s film critic (who Smith is bashing now over this story) conveys it nicely while stating he remains a fan of Smith’s. From his story:
People who didn’t laugh at this movie were haters. They were, he proclaimed, like bullies picking on a “retarded kid.”
Suddenly the old good-natured Jersey Guy sounded like just another Hollywood jerk, insensitive, self-pitying and self-loathing — all at once. Comparing criticism of a multi-million dollar movie to bullying a “retarded kid”? Really?
http://www.nj.com/entertainment/movies/index.ssf/2011/03/how_kevin_smith_became_an_artist_and_lost_his_cool.html
And on Smith’s reaction to his story (Smith of course calls him old and out of touch):
http://www.nj.com/entertainment/movies/index.ssf/2011/03/kevin_smith_vs_me_round_3.html
Whitty’s article is EXACTLY the kind of “journalism” that makes me embarrassed to be a critic. He is clearly baiting Smith who is the easiest person to bait in the entire entertainment industry. Whitty repeatedly plays the “get behind the orphans” card when he trumpets “Inviting people to an auction of the “Red State” film rights – and then, after they’d shown up, and sat through the film, not having an auction at all?”
Dude. RED STATE was the biggest event at Sundance in a good ten years. If people went to see that movie because they *really* wanted to see some hare-brained auction, well, they’re morons.
I don’t get the point of Whitty’s argument or article other than it’s designed to get Smith to lash out at him to increase site hits. If he feels slighted by the guy, isn’t that like, his problem? I don’t know Whitty nor have I read his stuff but I don’t see the point of another beleaguered gripe fest about what a crappy director Kevin Smith is, etc. It’s the same ole argument every holier than thou blogger has already made. Zzzzzz.
Watching Smith’s TOO FAT FOR 40, he doesn’t come off as angry at all, and he relates his experience with Bruce Willis by making himself look slightly dumb — and even caps the story by making Willis look good.
This is probably the fault of this instant access society (to which Smith has opened himself by twittering his life) but the idea that these critics “know” the filmmaker by a few behavior tics and get to fob off some quick judgements is ridiculous. It’s symptomatic of what happens here sometimes — that if you retort to somebody giving you shit, that makes YOU angry. It’s a bully’s way of trying to squash any response.
And why did Drew get so pissed at Smith?
Drew, like many of those geeks, thought the Red State thing was bad form. Smith also is a guy who cannot handle criticism. It’s not about being a bully as much as Smith is just a super sensitive guy, whose only retort to criticism, is to unleash at 150mph.
christian and IOv3, FTW. People DO feel like they know the guy…probably because of social media and blogging. That, coupled with Smith’s inability to let anything slide off his back makes him a pretty big target, no pun intended.
And I never understood why Drew was so offended either. His job is to cover film, he covered the film. When he wrote that the Sundance RED STATE screening was a waste of his time, that was baffling to me. That’s like saying you covered an election but the candidate you support didn’t win so he wasted your time.
i happened across this interview the other night when i was channel surfing on the boobtube (bless the ytube for having everything on there and so easy to find). kevin smith has lost 60lbs, that’s quite an achievement, his health must thank him; and as always i’m struck by two things: how sweet he is when talking about his wife, and how expressive he is with his HANDS when speaking, flapping around like a big weird bird, or extreme signing for the hearing-impaired. i adore him.
http://www.youtube.com/watch?v=_OqaqCQAPCg
(edited to say, he talks a bit about about the ‘red state’ fuckarow in that segment)
SMITH RULES.
Mallrats is the funniest movie ever made.
Don, it seems like you have Smith blinders on, that no criticism is valid and Smith is perfect. Whitty is a NJ guy and a Smith fan, as he says in his story. He’s criticizing Smith because he likes him and his movies (even Jersey Girl) and feels the filmmaker has changed, and not for the better. He lists his reasons, hardly limited to the Red State/Sundance episode, and I would hardly call it “baiting.” I guess it’s baiting if you’re Smith or one of his loyal followers.
Apparently, Smith reveals a lot about his motivations on the podcast with his wife, and that’s where you can really get into his head.
I didn’t see any valid points Whitty had and that’s not due to “Smith blinders.” I’m a fan of the guy but can only take him in small doses. Whitty is talking about how HE feels a person has changed personally but the issue is, he doesn’t *know* Kevin Smith. He only knows what he reads or what he takes away from twitter and podcasts. Which is what Christian was getting at (I thought) in that people think they know him because he blathers on all day on the internets and is VERY personal about what he says.
I’m sure some people do feel they know Smith better than they actually do. But you don’t think he’s gotten a little thin-skinned, at all? And it can’t be that difficult to understand why some people dislike him though. That recent NYC screening sounds like it should have been called “A Night Blowing Kevin Smith.”
You’re getting a little self-righteous there Paul. Careful.
I disagree. And isn’t your “careful” suggestion a little self-righteous?
1. Red State wasn’t the biggest event at Sundance THIS year.
2. The reason why we all feel like we “know” Kevin is because he does make it all very personal. It’s not from critics reading Twitter.
Lately, Kevin has shit all over a lot of people who have been very supportive of him over the years.
I’m certainly not trying to cast myself as the primo defender of Smith but….
1. Are you higher than Smith? That screening was PACKED and sold out instantly; tickets were selling on ebay for $300 a POP. There are ZERO celebrities in that film too. Plus the Westboro crap, the faux-auction. Maybe it wasn’t the biggest event to you but it was the most talked about one in years.
2. Yup
3. So people who “have been supportive” (I’m talking critics) can shit all over Smith and “Cop Out” but if he shits back, he’s a dick? If you’re joining the choir of “he has outraged the Weinsteins and all PR and distribution people!!” then I’d like to see some actual quotes of outrage. Not the petty little “he’s a terrible filmmaker and I hate his fat face” crap that’s been done to death.
All I’ve heard is a group of journalistic harpies saying he’s crapped all over an industry that’s been good to him. I’ve never seen any tangible evidence of people saying this publicly OR how this is even true. On multiple busses at Sundance TONS of indie filmmakers I spoke to were happy Smith did what he did yet reports were they were all incensed and feel like he’s hurting them. No one said that aside from writers who were speculating and getting behind the orphans.
I don’t mean to be argumentative (and I’m not like, angry) but I’ve seen a shit ton of guessing, hypotheticals, gossip and phony outrage but have never seen anyone who can prove what they’re saying is true. Has Harvey or Bob Weinstein come out and condemned Smith? Has anyone who isn’t a butt-hurt writer?
That Whitty article and much of this anger reminds me of when Greenday got signed. I managed a theater where they started here in Nor Cal and after they signed and the album got big, they came back and played a show at our place. People picketed and said Billy Joe and Tre were dicks now, etc. They felt like this was their personal band and as such, this band should be what they want it to be.
It happens to EVERY small town success story. Petalumans my age STILL tell lies about what a bitch Winona Ryder was to them when the truth is, she was an outcast geek at our school who no one paid attention to until she started acting. ANy small town who has someone who got famous has a bunch of angry citizens ready to talk shit.
Alot of these bloggers and film “fans” feel a kinship to Smith because CLERKS was something that spoke to them both personally and cinematically. I certainly cannot argue for how his films have evolved as that’s personal opinion and taste, but the attacks all seem so personal and like they’re jilted lovers. It’s downright creepy.
In closing….I’m going down to L.A. for the April 9 RED STATE screening if anyone wants to grab a beer. Or egg Smith’s house in outrage.
Don, you make some good points and I agree with a lot of what you say. I also think we’re all prone to going the extra mile defending people we like. We’re only human. I also don’t think the attacks are any creepier than the fawning Smith receives at these events. Is Whitty acting like he knows Smith any different from Smith diehards acting like they know him?
I actually liked COP-OUT. It isn’t possible that I’m the only one. Anyone got my back? Anyone? Anyone? Bueller?
LOVED COP OUT. YEP YEP.
I have yet to see COP OUT….looks turrible.
And I also JUST listened to Smith’s “Red State of the Union” podcast for Feb 1 an d it’s got both post-RED STATE Q&A’s in their entirety whoch (for me) clears alot of this stuff up.
And I agree Paul- the fawning Smith fanboys are terrifying. Actually, all fanboys of the Comic Con variety are terrifying.