It’s been off the air for almost 10 years now, but love for the Joss Whedon series Firefly continues to thrive. We’re certainly partial to the sci-fi/western around these parts, and we’re not alone. Fans packed the biggest rooms at San Diego Comic-Con and New York Comic Con this year,
Even from across the pond, our intrepid TV expert wishes to reach you all in order to share the latest news from the Fringe-verse! Check out the trailer for the next episode, “The Bullet That Saved The World.” Finally! The return of craggy Broyles! This season looks to be heating
Just as he kicked off Marvel Phase 1, Iron Man is the vanguard of the next group of films from Marvel Studios. Check out the trailer for Iron Man 3 below! Tony Stark looks to be in line for a tragic beatdown he finally goes toe-to-toe with Iron Man’s most
Hello, Fridge divers! Your intrepid editor-in-chief here. With another thrilling and successful convention safely under our belts, New York Comic-Con has (sadly) come and gone. We had a pretty damn great time (you should totally attend next year if you haven’t yet), and we had lots to report by the
Redbubble is a cool artist-driven company that puts unique art on all sorts of fun products from t-shirts to iPhone cases. Focused on helping artists “share their authentic, high-quality work with the world,” Redbubble seeks to provide products that reflect the current cultural trends.
Redbubble’s Chief Community Officer Peter Tomassi sat down with Open the Fridge at New York Comic-Con to chat about their unique business model, the cool art it carries from artists worldwide, and the role it’s playing in global geek culture.
Open the Fridge: Let’s talk about Redbubble and your brand – how did you get started and what are you all about?
Peter Tomassi: When we started the site back in 2007 in Melbourne, Australia, all the founders were artists or writers themselves. They wanted to build a site for themselves, their friends and their colleagues that would allow artists to upload work and connect them with the facilities to print, manufacture and ship that work to people all over the world who were interested in buying it. We’ve actually grown quite a bit in five years; we used to have three artists and now we have over 220,000 around the world in just about every country, many of which are represented here. Together, they have uploaded more than 9 million works and have approximately 60 canvases to print on, meaning t-shirts, posters, art prints, skatedecks, iPad/iPhone cases, etc. or any item in the home, or on apparel that would benefit from original art. We’re not just a community, we’re also a business and a marketplace. And those 9 million works are literally available in hundreds of millions of configurations.
We’ve tried to build not only a platform for artists, but effectively a retail site, offering an alternative to what the mainstream malls and stores offer people. We don’t think that what people wear, put on their walls, put on their phones, or put in their dorm rooms should be dictated buy a couple VPs of marketing for big brands. That kind of monotony really bothers us – we’ve taken the opposite approach. We don’t decide what is popular on Redbubble; artists do. We encourage and nurture them through contests; we had a contest to develop our official poster for NYCC; this artist is from Gdansk, Poland and it’s someone who might not have the exposure otherwise. This artist is going to now be on CNN next week. So we continue to provide artists with a platform for selling their work, we faciliatate the logistics, shipping and so forth, and they get a cut of the proceeds; they can actually set their margin. Not everything is exactly the same price – an artist can put a value on their work. If they want they can make a $25 t-shirt, or if they want they can make a $70 t-shirt. So the artists have a lot of control over the front end. We also do some our own marketing, getting them exposure so our site is authentic, honest and very searchable. For us, our artists are the spotlight and we really take a backseat. We are really a platform to empower artists.
Hit the jump for the full interview with the awesome Peter Tomassi about Redbubble and what makes it unique for both the artist and the consumer!
Continuing our New York Comic-Con coverage (and today’s DC Animated coverage), we have the report straight from the Saturday’s “Dark Knight Returns” panel: there are some pretty amazing projects slated for the DC Animated in 2013!
Batman: The Dark Knight Returns, Part 2
Coming up first in late January/early February 2013, Batman: The Dark Knight Returns, Part 2 concludes the animated adaptation of the 1986 Frank Miller epic that started with Part 1’s release in September. Directed by Jay Oliva and starring Peter “Robocop” Weller as the aged Bruce Wayne, Part 2 picks up where Part 1 left off: after the defeat of the Mutant leader and the formation of “Sons of Batman” to take Gotham back from crime, Batman takes on the last son of Krypton (played by Mark Valley), while dealing with the “rehabilitation” of Batman’s greatest foe, The Joker (Michael Emerson.)
Hit the jump for a preview of the full lineup, including the just-announced movie that we think is DC’s most ambitious animation adaptation to date!
You just can’t get enough DC at a comic-con these days. In addition to our NYCC coverage of what to expect from Green Lantern in comics and from Arrow on television, we’re also excited to share what we’ve heard about the future of DC home video. We sat down with the architect of DC Animation, Bruce Timm, at a roundtable discussion to talk about Batman: The Dark Knight Returns, Part 2, the latest home video release from DC Entertainment.
Most film adaptations of comic book properties tend to abridge the material and leave certain parts on the cutting room floor. Was there anything from Frank Miller’s orignal story that didn’t make it into the film?
Bruce Timm: There’s nothing really big that was left out. We had a lot of elbow room since we had two movies to spread out in. I think we got all of the important stuff in there.
Since the story has been broken up into two parts, was it difficult to find an appropriate point to separate the two halves?
BT: It’s a pretty even split. The original comic was four thick issues and we split it right after issue two. We jury rigged the endng [og Part 1] a bit, moving up the scene where Joker wakes up in Arkham Asylum in order to make that the cliffhanger, but other than that, it was pretty obvious where to do it.
The Dark Knight Returns carries a PG-13 rating and there have been rumors that The Killing Joke might be adapted to an animated feature. Can this potentially push animated films towards an R rating?
BT: There is a discussion that comes up now and then about broadening the marketplace and maybe doing an R-rated DC adaptation. For a while, we were talking about The Killing Joke. After the theater shooting this summer, I don’t think anyone wants to go that route with these animated movies at the moment. But the possibility does still come up of us doing something a little more adult. It almost happened with Dark Knight, Part 2. Part 2 is actually pretty violent in places and we were crossing our fingers, hoping we wouldn’t get an R rating and have to go back and cut something out. But we got PG-13, thankfully, but it could happen down the road. It’s tricky. You don’t want to make an R-rated Batman movie just for the sake of making an R-rated Batman movie, so it has to be something that feels appropriate for the material. We’ll see what happens down the line.
Is there a possibility of seeing a part 3 and 4?
BT: You mean Dark Knight Strikes Again? I would be willing to give it a shot. If the numbers come back on this one and are huge, and we get interest from [Warner] Home Video to do more, I’m ready.
Hit the jump for the full discussion with the true architect of the DC Animated Universe!
That’s an actual comment on an interview with Andrea, and, quite frankly, not the first time I’ve heard something to that effect. And for the record, no, it isn’t weird (although you should brush up on your understanding of the subjunctive mood.) She’s just that delightful.
Andrea Romano, eight-time Emmy award winning voice director, is responsible for casting and directing the voices behind practically all animated projects that have been truly great from the past 20 years. Whenever you see her name attached to an project, you can implicitly trust that it’s going to be amazingly acted and worth watching. Batman: The Animated Series, Superman: the Animated Series, Spongebob Squarepants, Tiny Toons, Animaniacs, Pinky and the Brain, Justice League, The Boondocks, Avatar: The Last Airbender, The Legend of Korra… her list goes on and on, and the quality of each project maintains an astoundingly high level.
More than that, though, if you have had the pleasure to meet her, you know she is just an amazingly kind woman with an incredible directing talent in her own right. Her smile lights up the press room, and you could literally listen to her read the phone book for hours.
We sat down with the legendary voice director at New York Comic Con to talk about Batman: The Dark Knight Returns, Part 2, and the incredible talent she has worked with over her prolific career.
With all of the success of the Chris Nolan movies, was there a pressure to differentiate your sound with this similarly dark, but ultimately very different Batman?
Andrea Romano: I love the voice actors that I work with. It makes me very happy because they’re really skilled at this work, for the most part. It’s all about finding the right actor first of all, and then just letting them do what they do.
But I don’t try to compare myself to the live action films; they’re such a different animal. There’s a lot of things we can do because it’s animated that live action films just plain can’t do.
The fight walla, that stuff is always a challenge, and these particular two films – part 1 and part 2 of this Dark Knight piece – are so fight heavy. So, that’s just one of those voice things where you just try to make sure you don’t rip the actors’ throat out because after two or three hours of just [glottal grunts], it could be painful.
Michael Emerson [cast as the Joker in TDKR]: did you find him or did he find you?
AR: I found him at Comic-Con San Diego a couple years ago. I had admired his work on Lost so much, and I asked him, “would you be interested ever in doing an animated project if the right role came up?” And he said, “I think that would be great fun.”
When this piece came up, I said, “Oh well, would you like to be the Joker?” And he jumped on it, and he had a great time. Although he did tell me that he thought it was the hardest work he’s ever done. I think it was kind of out of his wheelhouse; it wasn’t something he had much experience in.
And so we recorded him – I was in LA; here was here in New York shooting Person of Interest, I believe. It was the first time I’ve ever recorded by Skype so I could watch him because working with an actor when you can see them, as opposed to only hearing their voices, is very helpful. And then, for them to be able to see me, so that I can direct them physically – as they say, a picture would be worth a thousand words – that was very helpful too.
Peter Weller can invest heavily in a character. Was there anything about his technique that really stood out for you?
AR: The thing is Peter is a good actor, in and of himself. [What] I didn’t know was that he was a major comic book fan, so he was really familiar with the source material. I think that’s what appealed to him about doing it was he knew already how good the graphic novels were. Bob Goodman wrote a beautiful script, adapted from the graphic novels, and so all of those things combined made [Weller] say, “Yes, I want to be a part of this.” And I think he was familiar with some of our previous projects, so that was all good too.
But I think as far as — if I can’t use Kevin Conroy (because I do love using Kevin Conroy whenever I can, and Mark Hamill as well) — this was a really good bit of casting. I’m not just saying that; I don’t just cast all by myself. There’s a group of about 10 people that have input as to ideas of who we could cast. We create a list of the number one choice, two, three, four… And sometimes that’s in no particular order [in terms of ability] – it’s just that we think we can get a fast response if we go to [a particular person.] But Peter, I think, was top choice, and he said yes right away, and that was very, very good.
Hit the jump for the full interview with the amazing voice director, including tidbits on with whom she’d like to work and what makes Kevin Conroy so special!
Sunday at NYCC kicked off bright and early in the IGN theater with a panel showcasing Arrow, The CW’s newest live action series based in the DCU. Since Arrow had already premiered four days prior (as the most-watched show on the CW in three years), the audience was able to provide feedback and opinions on what they had seen, as well as receive a few hints about what to expect in season one.
Moderating the panel was DC Entertainment Chief Creative Officer Geoff Johns, who clearly gets to do a lot more than write comics now. Joining him was Arrow executive producer, and fellow comic writer, Marc Guggenheim, and cast members Stephen Amell (Oliver Queen), Katie Cassidy (Laurel Lance), and Willa Holland (Thea Queen). Before the discussion got going, the audience was treated to a new trailer for season one, featuring some DC heroes, villains, and a few surprises. Check out the trailer below.
Sharp-eyed fans will spot Deadshot, Deathstroke, Huntress, China White, and The Royal Flush Gang among the DC characters that will cross Oliver Queen’s path this season. And I think I speak for many fans when I say, “Holy sh*t, John Barrowman!”
Hit the jump to read more about what to expect from Season One of Arrow!
It wouldn’t be New York Comic-Con without our annual dose of Green Lantern from the ring-slinging brain trust at DC Comics. With the Third Army currently rising from the pages of the four Lantern titles, fans were curious to hear about what will befall the seven (potentially nine) corps in the coming months. Once again moderating the panel was Bob Wayne, DC’s Sr. VP of Sales, who was joined by editors Matt Idelson and Pat McCallum, writer Peter J. Tomasi (Green Lantern Corps), and artist Aaron Kuder (Green Lantern: New Guardians).
To get the ball rolling, Tomasi put it all right out there for the audience. “You’ll see some pretty intense stuff happening in those books coming out. The rise is right now but it really kicks into an all-out war with the Guardians being the uber bad guys.”
Starting with the flagship Green Lantern title, Idelson briefly brought up the newest GL, Simon Baz, who is quickly becoming a fan-favorite. His brush with the Justice League at the end of GL #13 will lead to some “action, although the way Geoff [Johns] handled it is pretty unusual and pretty funny. It leads him into his next mess in the next issue, but I’m reticent to say anything because I’ll be fired.”
Switching gears to Green Lantern Corps, the projector screen showcased and image featuring Guy Gardner surrounded by police officers. “A lot of bad, bad mojo happens to Guy in these next issues,” Tomasi said, adding that Baz would be looking for help from Guy on how to use his ring. “It’s just two guys kicking some serious Third Army ass.” Tomasi also gave an explanation for why Lantern Vandor, whom he developed over the course of the last year, was the first Corpsman to join the ranks of the Third Army. “Vandor got taken out because he was around for a while in Corps and it meant something for him to go instead of a random ‘red shirt.’ The next two issues will be pretty crazy. It kicks into a full out war. After what happens at the end of #13, Guy is full of himself and the next issue brings him down to Earth. He’s in a very tenuous position and he may be without a ring.”
Click below to read more about what DC has planned for The Third Army!
This past weekend, 666 Park Avenue made their NYCC debut with a packed panel featuring the entire cast (all nine of them!) and two producers. Fans of this new and upcoming show were treated to a highlight reel and some great insight into the show’s direction from all in attendance.
When you’re traversing the chaos of the convention floor at NYCC, there are some comics that just speak to you. The art is particularly compelling, the words are striking, or the premise is something new — something that just makes the comic book just jump out at you. When I