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Con Etiquette and the Art of the Portfolio Review Part 2
on March 6, 2012 at 12:13 pmPosted In: Blog
Last time in my blog “Con Etiquette and the Art of the Portfolio Review Part 1” I shared some of the advice I’ve gotten over the years, as well as my feelings on doing portfolio reviews. I’ve noticed some artists have no clue as to what a portfolio is, how to go about putting one together, or how to present it (and themselves) to get work. At times I’ve been guilty as well.
(John Ostrander with members of “The Cade Brigade” at MSC 2009)
To learn what some of the pros know I sent out some questions to some of my friends in the comics industry. First up is one of my favorite writers, and human beings- John Ostrander.
I met John for the first time in 2009 when he was the comics guest of honor at Midsouthcon, and again later that year at the Superman Celebration in Metropolis, IL. John is one of those folks that after spending 10 minutes with him you feel like you’ve known him all your life, and looking back through my comics collection that’s pretty close to being true!
(John O at the Superman Celebration in Metropolis, IL.)
HGWT: Do artists show you their portfolios at conventions or signings, and if so what are some of your pet peeves?
JO: I don’t hire artists. That’s the editors’ and art directors’ domain. Generally, I prefer not to look at portfolios at Cons. I’m not an artist so I can’t tell an artist, really, much beyond whether I like it or I don’t. Showing art to me or to most writers really is a waste of time for an artist at a con. IMO.
HGWT: What were editors you worked with on the lookout for?
JO: Storytelling. Pretty art is nice but it has to tell the story.
(John O with fellow Star Wars scribe John Jackson Miller.)
HGWT: What is some advice you’ve gotten over the years that you ended up sharing with others?
What about writers submitting to publishers at shows? Is it better to contact them directly at work or a better way?
JO: Artists CAN get work at a Con. A writer – not so much. Prepare springboards which are no more than one medium sized paragraph that gives the essence of the plot of the plot idea. It has to be typed and needs to have your personal information and no more than one page. Tailor it to a specific editor – give them story ideas about the characters that they do. Use their characters – not your own. They may not even look at new characters for concerns about being accused later of “ripping off” the potential author. TALK to the editor you have a chance to meet briefly and demonstrate you know their work by citing which story they edited was your fave. You’re looking to make a PERSONAL CONTACT which is the ONLY reason to contact an editor at a con. ASK them if they would be willing to take the storyboard sheet and don’t be offended if they don’t. If you have a small press or indie comic that you’re written and published, offer them that as well – a published author is treated differently that an unpublished one. Same for artists. Make sure what you’re giving is GOOD WORK, otherwise you’re just shooting yourself in the foot. Have a business card. Be professional and act like one; editors want to work with professionals.
(Star Wars: Legacy or Star Wars: KOTOR? We got both on one panel!)
HGWT: Is there a definite portfolio review or submissions “no-no”?
What is the best way to present their work? Average number of pieces that should be in a portfolio or submission?
Lin, I’m going to go through a number of things that covers the last three questions. What I said earlier in the writing about appearing as a PROFESSIONAL applies to artists as well. Some fundamentals – bathe. Wear clean clothes. It doesn’t have to be a suit and tie or anything like that but it should be clean and not have holes. You don’t have to fawn but be friendly. This is a job interview. First impressions count. Use a professional looking portfolio that can hold your art comfortably.
TARGET your editors. Find out who is going to be there and KNOW who they are and what books they are doing. I’ve had people proudly tell me that they were up all night finishing that most recent gem that’s at the front of the portfolio. NEVER say that. NEVER do that. Marks you as an amateur.
The pieces should all be recent work and representative of your BEST work. DON’T put in every sketch you’ve ever drawn. Just the BEST. Put the cream of your work at the front. The person reviewing your portfolio has been looking at LOTS of portfolios; they will make up their minds whether you have anything by the time they’ve seen the first or second page; everything after that either confirms or denies their first impression which is what they go with.
Keep pin-up pages to a minimum. Artists in general love to do pin-ups; they can have big WOW. But they’re not usually about storytelling and that’s what you need to sell.
Your first or second piece should be a continuity page – like a full comics page from the middle of the script. Action is good but, a few pages later, show a page of two people talking; that’s a lot of the comic. Show you know storytelling; how does one panel lead to the next. Show backgrounds, show how people dress. Give a sense of place and time. Details matter.
Character sketches are okay but it’s better of you show the character in context of a story. A cover is okay but it should look like a cover. The purpose of a cover is to get someone to pick up the book and want to buy it. A full page splash is fine but keep in mind that it is part of a story. Storytelling still matters. It’s not about what you want to draw; it’s about telling the story.
If you pencil AND ink, show the pencils on one page and then the inks on the facing page. Not on the next page; on the facing page. Don’t bother showing someone else’s inks on your pencils; you’re not trying to get them a job. You’re trying to get yourself a job. Are you ready to go to work TOMORROW? The editors are not there to extend your abilities; they are there to get their own books out on time (or reasonably close to time).
Twelve pages in your portfolio should be enough. If you’re going to a major published (DC, Marvel, Dark Horse, IDW, Dynamite) show them THEIR characters. Don’t show art about Marvel characters to a DC editor and vice versa. Yes, they should be able to tell if you can draw just from the art but the reality is, if you show a Batman page to a Marvel editor they’re liable to say, “We don’t do Batman.” — and dismiss you from any further consideration on the spot. If necessary, carry more than one portfolio or be prepared to re-organize your portfolio at the Con.
Don’t show them your own characters/concepts. That’s not what they’re looking for. They figure you can draw your own characters; the question is – can you draw THEIR characters?
Have a business card prepared with your contact information including a website where they can see more of your art. If you don’t have one of those, set one up. If you have been published, have copies of your best work and ASK if you can leave it with them. Have some reduced sized copies of the pages in your portfolio and staple them together with your card and ASK if you can leave that as well.
(Karla Ogle presenting guest writers Gail Simone, John O, and Josh Elder with their Superman of Metropolis Awards.)
IF you get work, it will probably be on a fill-in issue to begin with and probably on a tight deadline. KNOW how long it takes you to pencil a page if you’re asked; the same for inking if you’re an inker. It should take you no longer than six weeks to do a twenty-two page story; less is better. FEW people can do a full book in a month.
You are looking to show your TALENT, your SKILL, and your PROFESSIONALISM. If you get criticisms, don’t fight it, listen, ask questions if you need clarification. The editor is showing an INTEREST and that should get respect. Say THANK YOU at the end; courtesy counts and is not always common.
You are there to convince an editor that you are the solution to their problems (although you never SAY it like that). Editors are forever dealing with artists who aren’t working out, artist who are leaving, artists who flame out for whatever reason, artists who can’t hit the broad side of a deadline with a bazooka. YOU are the solution to their problems with your talent, skill, and professionalism. That’s what you want them to take away from meeting you
Remember the math – there are only so many books being published TOTAL which means there are only so many slots to fill. You have to be at least as good if not better than those who already have jobs and those who ALSO want jobs. Your purpose is to make a good impression and showcase your work.
HGWT: Are there any general convention etiquette pet peeves you have?
JO: If I’m on the way to the bathroom, don’t get in my way. Don’t ask me to talk or sign something at that point. I’ll generally sign anything that is mine with the exceptions of blank checks or contracts. If there’s a line at my table, don’t ask me to sign more than twenty five books at a time. Come back after some others have had their chance. If you have the book in a bag, take it out of the bag before giving it to me.
If you’re a writer, DON’T ask me to to read your story or proposal or whatever. I won’t do it. I don’t have the time and I won’t lay myself open to possible charges of plagiarism that can happen. OTOH, I WILL talk about writing; I love talking about writing. Sometimes I’d prefer to talk about writing than to do it; talking is always easier.
(Noel Neill/Lois Lane and John O at the Superman Celebration in Metropolis, IL.)
HGWT: Are there things you like to see people do at shows, or what thing do you get the biggest kick out of at shows?
JO: At one Con, I was away from my table and getting some lunch from the vendors at the Con. I was sitting alone when a fan who recognized me approached me and asked if I would like to join her and her friends and this table nearby. They were all big Star Wars fans. I was happy, too – I’m not keen on eating alone. I had a nice lunch and a great time talking to all of them.
(Hanging out on the midway with friends at the Superman Celebration in Metropolis, IL.)
The big reason I go to Cons is to physically meet with the fans. I know what I THINK I’ve written but fans will tell me what I’ve actually done. That feedback is great. I always try to make sure that the fans get a good experience from meeting me.
(John teaching a writers seminar at Midsouthcon.)
HGWT: Is there one piece of advice you could give creators attending conventions to get the most out of the show what would it be? Advice for fans attending?
JO: If you’re an artist, you’re at the Con for professional reasons. Know who is going to be there and when. Target the panels you want to attend. Talks about art or writing may do you more good than a movie panel. Make a list and, after the Con, see how much of it you accomplished. For fans – decide what you want to do and who/what you most want to see. And just enjoy yourself.
(John enjoying himself at Midsouthcon in Memphis.)
I’d like to thank John for taking the time to answer my questions and share his advice with us. He is currently writing Star Wars: Dawn of the Jedi for Dark Horse Comics, and serves up advice and more at ComicMix. If you see him at a con stop and say hi- just make sure he’s not on a bathroom break! (My bladder and I can empathize!)
Part 3 with some advice from artist Jamal Igle to come soon…stay “tooned”.
Lin
Flashback Friday: San Diego Comic Con- “It’s the BIG ONE, Elizabeth!”
on March 2, 2012 at 1:28 pmPosted In: Blog
Con Etiquette and the Art of the Portfolio Review Part 1
on February 28, 2012 at 10:14 pmPosted In: Blog
At a recent Mid-South Cartoonists Association (MSCA) art show I had a high school student ask me to look at his work and give him some advice. It’s not the first time I’ve been asked this. It has happened a lot at comic conventions, book signings or MSCA meetings and events. I have to admit- it’s not one of my favorite things to do. It’s not that I don’t like sharing information, want to give advice, or not want to create competition for myself. I love talking art and passing along what I have learned over the years. I’ve had many artists, writers, editors, promoters, friends and family over the years give me some great advice and encouragement. Sometimes even when we had just met.
I guess some of my reservation in doing reviews at times is I feel like I’m still learning as an artist and creator. “Who am I to tell them what to do?” Some times I don’t want to hurt their feelings and am not sure what to say. Other times they draw better than I do and I’m just speechless! Then there are the times when I feel like they are not only wasting my time, but theirs, too.
I don’t mean that to sound as harsh as it probably comes across. Really…I’m a nice guy.
There are just times when you can tell no matter what you say it’s not going to make a difference. They stare off in the distance, get distracted by other things happening around them, look at the floor the whole time, constantly make excuses for their art, or worse they cop an attitude. I’ve met some who just don’t have any social skills- which is kind of important for networking at conventions and in the workplace.
I’ve seen all kinds of “portfolios” and have met artists of various ages, race, sex, education, and skill levels. Some have a real hunger to learn and a great passion for creating art. A few have some obvious self esteem issues (I can relate). Those are the folks I like to talk shop with and try to give some encouragement to. Then there are those that feel like Marvel and DC should give them an exclusive contract to draw Spiderman or Batman based off the few poorly drawn pin-ups they’ve shown around the con floor. “Learn anatomy? Heck, that’s for amateurs I’m ready for the big leagues right now!” They have already convinced themselves that they are great and if you don’t think so, well- you’re just wrong. Just ask their family and friends who think they’re awesome- they’ll tell ya!
There are also the artists who just don’t follow up, or add new work to their portfolios.
When I ran a t-shirt shop back in the 90′s, I would have “kids” like me come in for airbrushing advice. I had maybe one out of every dozen come back by later for a second visit, and even few of them actually bring a few photos or samples of what they had done. I rarely had anyone show me they were serious about learning. Most seemed to think it was a way to get rich quick venture, or that the airbrush actually did the work for you. I saw a lot of that when I worked in an art supply store. Many times I could tell what I was saying to a lot of them was going in one ear and out the other. Even with some of the artists I had working for me at the shop. They were young(er) and thought they knew everything there was to know. They had talent and potential- a lot of it, just not a lot of patience or a true desire to learn more.
(Me and one of my first airbrushed shirts- 1986)
When I wanted to learn how to airbrush I went around town to a few different shops and talked to the artists who worked there. One acted like he was too busy to talk to me. Another answered my questions but didn’t go out of his way to give away any “trade secrets”. The last artist- A.G. Howard, told me where to get some supplies and said he’d like to see some of my work. I went home and painted some quick cartoons and names on a sheet of posterboard. I took it back to the shop the next day and showed him. He liked what I had done but wanted to see some color work, and suggested that I practice on material called Pellon. He told me where to get some practice Pellon and showed me examples of what kind of designs he had done on it. I went by a fabric store and then home to paint. I showed up with my samples and a couple of tees. He told me about a job opening behind the counter at the shop and put in a good word for me. I got the gig and after a few weeks saved up to buy a new double action airbrush- another bit of advice he had given me. I started filling in on his and the other artist’s days off and soon was painting tees full time. Another artist- Greg Cravens, I had met at a local fair a year or so earlier. At the time he looked like a young Charles Manson so I was a bit apprehensive about talking to him. My mom convinced me to, and I’m glad she did. He was very friendly and more than happy to answer any questions I had. Almost 30 years later he’s not only still an art mentor, but is one of my best friends. Thankfully he no longer looks like a serial killer.
(Greg Cravens doing caricatures at the MSCA booth at the Mid-Sound Fairgrounds.)
When Greg stepped down as president of the MSCA, I got the position in the club. Before becoming “el Prez”, I had just been a cartoonist “wannabe” and rarely had anyone want to show me their work, even when I asked to see it. After I got the president position I was being shown portfolios, sketches, and told comic ideas left and right. Being in that kind of situation was new to me. How do I handle it? What do I tell them? Many times I just responded with, “Hey- cool. Looks/sounds great! Keep up the good work.” which is what a lot of them were just happy to hear. That was close to 20 years ago. I’ve seen a lot of portfolios since then, and have learned a lot as an artist- but it doesn’t make doing art reviews any easier for me these days. Ask someone how they “broke into comics” and you’ll probably hear a different story for each creator. There isn’t a “secret” for getting discovered- at least not one I’ve heard of or found!
(Me, Scott Clark, and Dave Beaty at the Bushi Tales booth at the San Diego Comic Con- 2007 )
Just before I became MSCA president my Bushi Tales co-creator buddy Dave Beaty and I had heard that former Image Comics artist Scott Clark was in town and searching for an art assistant. He was going to be looking at portfolios during an MSCA meeting hosted by Mike Ramirez at the Commercial Appeal. Mike worked there as the editorial cartoonist and would be doing portfolio reviews as well. Neither Dave or I had an actual portfolio, but had done enough work to put a couple together. We went to a local art store and each spent around $40 or so for some nice black zippered ones with 14″x17″ pages inside. Dave wanted a comic book portfolio, and I was going for more of a cartoon illustration and airbrush one. I had told one of the “young guns” who airbrushed at my shop about it and suggested he should do some nice sequential pages on Bristol (not pin-ups), put them in a portfolio, put on a clean shirt (this was the grunge era) and come by the meeting, too. Dave and I both decided to dress nice for the meeting- some slacks and a button up shirt, as well as putting on deodorant and brushing our teeth. Once there I actually had another member ask me, “What are you doing here..?” Have I mentioned social skills yet..? After showing our new portfolios to Mike and Scott and talking to some of the other cartoonists, I noticed the airbrush artist I had told about the meeting was there now and talking to Scott. He had just handed Scott a bunch of pin-ups and unfinished drawings done on typing paper- ugh! They had obviously been rolled up in his back pants pocket for the ride down to the meeting. The “young gun” was standing there making excuses for his art while wearing a tee two sizes too small and with what appeared to be stains from his lunch and/or dinner on the front. He looked like he hadn’t showered that day- more like rolled out of bed, rummaged through the dirty clothes hamper, and through on a ball cape backwards to cover up his bed hair and add to his unkempt appearance. Well, Dave got the assistant job, and he and Scott have done work together for Marvel and Aspen, and are currently working for DC Comics today. I saw the other artist a couple months ago at a local convention and he’s still wanting to break into comics.
(Jonnie Allan, Dave Beaty, and me at a PHX “Quick Draw” panel- 2009.)
Dave and I told that portfolio story at a panel on breaking into comics during the first Phoenix Comic Con I had attended a few years back. On the panel with us was artist Tone Rodriguez. Tone is amazingly good and fast at the “Quick Draw” panels at the Phoenix show. When asked how he presented his artwork at conventions Tone said, “I usually just carry mine around in a FedEx box. It’s the perfect size, and the boxes are free.” He’s worked on Simpsons and KISS comics. Apparently that type of portfolio works for him.
So, what advice to I give people? Well, some advice I learned the hard way, and other advice is what I’ve been told by other artists, editors, and art directors over the years:
-Don’t have more than 10-12 or less than 6 pieces in your portfolio.
-Don’t do pin-ups if you want to draw comics. Show 4-6 sequential story pages.
-Only show your best work. Better to have a few great samples than a lot of so-so or unfinished work. Never show someone else’s work!
-Keep your portfolio updated. Add new and better work and remove older pieces.
-Look and act professional. You don’t have to wear a suit and tie like Murphy Anderson, but do wear clean clothes, have good personal hygiene, and be on time.
-Don’t make excuses for your work. Stand there, take notes, answer their questions, don’t argue, and thank them when they are finished. If they are a bit vague with their criticism of your work, don’t be surprised. I like to ask (or be asked) if there is something specific to work on, or examples in my work that show it, but I don’t try to be pushy about it. Don’t monopolize their time. More than likely there’s a line behind you of other artists wanting to talk to that person, too.
-If you are showing your work to a creator who is at their own booth, don’t impede their sales. Be aware of customers or potential customers they may have. They are there to make money and are probably there on their own dime. Again, don’t monopolize their time.
-Have business cards handy and be ready to leave samples behind if asked- comics you’ve worked on, photocopies of comic pages, postcards, CD. etc. They may or may not ask. If you know that you are going to see them at an event go to their website or company’s website to see what they look for. Not everybody is looking for the same thing in a portfolio, or want to have it presented the same way. A little homework beforehand could go a long way to getting your work seen.
-Have a website with more of your work. Make the address your name or something easy to remember. Put that web address on all of your promotional materials. (No, Facebook or Deviant Art are not the same as having your own site.)
-Ask for their contact info and follow up later, but don’t be a pest.
-Work on your anatomy, backgrounds, and story telling. Even the pros need a refresher course in Comic Basics 101 now and then, and everyone can always improve no matter who they are.
-Look at self-publishing. Doing web comics, digital downloads, digital distribution, print on demand, etc. are much easier and cheaper to do than when I started self-publishing. Hone your skills and get creative working on your own project…and have fun!
In part 2 of this subject I’m going to ask some comic pros the dos and don’ts of portfolio reviews and how to submit a portfolio, including some advice for writers. I’m really doing this article to help me understand the portfolio review process and how to help review others when asked. I hope this series of blogs helps you, too.
Lin
Flashback Friday: Red Bank, NJ- home of The Comic Book Men
on February 17, 2012 at 10:39 amPosted In: Blog
This past Sunday my fangirl wife Nicki and I watched the first episode of Kevin Smith‘s Comic Book Men on AMC. It came on after the mid-season premier episode of The Walking Dead. I had been looking forward to both and was glad to see Comic Book Men following The Walking Dead- very couch and channel convenient for me. I’ve really enjoyed The Walking Dead- just when you think things are calm or the pacing may be a bit slow all hell breaks loose and “walkers” (zombies) show up or something horrific happens to one of the characters. While watching Comic Book Men I kept wishing the walkers would show up and invade the comic shop- or at least the flea market. That would have been awesome! To make their escape from the zombie customers they have to throw the Star Trek collector plates and boxes of Moon Knight comics they couldn’t sell. ”Run, fanboy, run!” Then later they could tell Kevin about about their zombie adventure during the roundtable podcast. They could all have a good laugh and make jokes about the zombies eating their co-worker Ming. Opportunity missed. Maybe they’ll bring in zombies next week. Fingers crossed!
Okay, so I wasn’t thrilled with the new show. Neither was Nicki. I’m not a Kevin Smith hater, the show just wasn’t that entertaining to me. Would have liked to have seen more comics discussion and less set up drama. I’ve been a fan of Kevin’s since I saw the Mallrats premier party on MTV and picked up it and Clerks on VHS (yes, it’s been that long ago). Chasing Amy (my favorite Kevin Smith movie) I saw at a friend’s house with some other comic book guys. Dogma was the first of his movies I saw at the theater. I enjoyed the movie but was disappointed that there weren’t any fanatic religious protestors out front picketing the movie- this is the Bible belt! I did lose a bit of respect for Kevin when he started apologizing for Jersey Girl. I enjoyed the movie and thought it was nice to see him do something different. Heck, even my mom enjoyed it. I guess he just wasn’t shooting for the mom audience. Haven’t gone out of my way to see anything else after Clerks II. Didn’t hate that movie, just not a Seth Rogen fan so I passed on Zach and Miri Make a Porno. Cop Out didn’t look all that intriguing, either.
I got to meet Kevin at the San Diego Comic Con back in 2005 during a signing after one of his SDCC Q&As in the large Hall H (long story). Then said hi again at the con a couple years later as I passed him in the hall. He was heading outdoors for a smoke break and my buddy Dave Beaty and I were heading to see a podcast panel.
While waiting in line for the Kevin signing in 2005 I met Bryan Johnson- also known as “Steve-Dave” in Kevin’s movies. A jerky comic book shop owner in the movies, really nice guy in person and on the phone- at least when I talked to him. He called me a year or two prior about an order I placed while he was running Kevin’s Secret Stash comic shop in Red Bank. I thanked him for the great customer service, gave him an MSCA comic I had worked on, and then he posed for a pic with me. I didn’t recognize him at first while watching Comic Book Men. His new homeless-wizard-wanna-be-beard look and his “douchebag” attitude midway though the show both made him almost unrecognizable. He managed the Secret Stash in Los Angeles until it closed a few years ago. He’s also written comics and wrote/directed the movie Vulgar. Again, he was a nice guy when I met him. Don’t know if he’s bitter about life, if I just don’t get their Jersey buddy bashing comic shop humor, or if he’s just pouring it on for the camera. Most of the show seemed very staged, like most “reality” shows…
I’m not going to do a full review of the new show. Others have done it better. This is a travel blog, so I’m going to tell you about my trip to Red Bank, NJ- home of the Comic Book Men and their comics headquarters, Jay and Silent Bob’s Secret Stash. The store was originally called Comicology and located in a smaller shop. Kevin bought it back in 1997, and after a couple years of fans from around the world visiting the Stash Kevin decided to move it to a larger space which is the current location- 35 Broad Street. Kevin has shot in both locations, and the current one features many props from his movie career. I had been wanting to check it out for a while, and never got a chance to go to one of the View Askew Vulgarthons.
My Bushi Tales partners David Beaty and his wife Micah Stewart and I had flown into Philly for a comic show in Reading, PA- Comic Geek Speak’s Episode 300. When we first made plans to go to Reading, I got out a map to see how far Philly was from Reading, and how far Red Bank was from Philly. Not too far…it could be done as a day trip!
We spent the evening in Philadelphia on Thursday and had a few cheese-steaks before calling it a night. (Monday after the show was over we spent the day checking out more of Philadelphia- story for another time.) We left Philly Friday morning and drove over to Red Bank to spend the day in Kevin Smith‘s hometown. The scenery along the drive was gorgeous. I know they call New Jersey “The Garden State” but we were all amazed at just how green it was.
We were also amazed at just how messed up NJ street signs were! Dave commented that it looked like the Riddler had designed them. Once we solved the riddles and found the New Jersey Turnpike we were making good time again. Well, we did make a couple more wrong turns with the toll roads and Garden State Parkway. Hey, it was tricky and their signs really suck!
Once we arrived in Red Bank we drove down Broad Street past the Secret Stash on the right, and Jack’s Music Shoppe on the left. We made the next right to look for a parking space. I was really digging the architecture and downtown area! We soon found a spot to park down the block. I grabbed my camera and a Bushi Tales comics promo pack- we were giving them to all the comics retailers we met on the trip. As we were walking back towards Broad Street I recognized a building on the right. It was the one Holden McNeil/Ben Affleck stops in front of during the Chasing Amy rain scene! I love seeing places where movies were filmed- especially films I like! I’ve seen Chasing Amy dozens of times.
We passed a few businesses and restaurants and made a left on Broad towards the comic shop. Broad Street was very inviting. Great old buildings and outdoor cafes lined the sidewalks. Not at all what I was expecting. For some reason things around Red Bank always seemed a bit dirtier and run down in Kevin’s movies. The area seemed very well kept.
We walked into the Secret Stash and one of the first things I noticed was the giant Brodie’s comic shop logo hanging on the left wall. It was from the movie Jay and Silent Bob Strike Back. Jason Lee stars as Brodie Bruce (seen earlier in Mallrats) and has his own comic shop in the movie. I heard that scene was shot at Jack’s, but not sure.
It wasn’t the only piece of Kevin Smith movie memorabilia in the shop- the place was full of it! There was even the “Blunt-mobile” near the ceiling! Art from Chasing Amy was on the walls including the last page of Holden’s Chasing Amy comic, Banky’s 4-way myth drawing, and some blueprints for taking down the stage in Mallrats! The right side of the store had some items stacked on top of some comic book longboxes. They mentioned that the Stash had been cleaned up a bit on the first episode of Comic Book Men. Yep, it had been for sure. That side was a bit junky- not hoarders junky, but stacked up pretty good.
Buddy Christ from Dogma was towards the back of the store. “Catholicism WOW!” Matt Wagner Green Arrow comic covers from Kevin’s run on the series were hanging in the back of the store, too. Lots to see.
This Mooby movie prop held a computer in the movie Jay and Silent Bob Strike Back. I’d have to go back and look, but it may have been used in Clerks II as well. One of Kevin’s Silent Bob jackets and hat are hanging to the left of Mooby.
This golden calf Mooby was used in the movie Dogma during the board room massacre scene with Ben Affleck and Matt Damon.
It was great to meet Walt Flanagan while we were there. Walt not only manages Jay and Silent Bob’s Secret Stash, but has appeared in several of Kevin’s movies and comics- usually as an irate fanboy. He not only acts, but also makes comics! He’s worked as artist on Batman: Cacophony and Batman: The Widening Gyre with Kevin. I bought a copy of Walt’s comic Karney (written by Bryan) and gave him copies of my comic Bushi Tales. He was nice enough to sign my comic and take a pic with a fellow fanboy. He’s also one of the stars of Comic Book Men.
After we checked out I asked Walt how far “the stores” were from the Stash. He pulled a map out from under the counter for us. It had directions to the Quick Stop and RST Video locations (first seen in Clerks).
We said our goodbyes to the Stash staff and then headed across the street to Jack’s Music Shoppe. “Are you Hooper X?”
We did a bit of shopping, but didn’t buy any Yanni CDs. I did recognize a familiar face behind the counter. I asked him if he had been in Chasing Amy, and he replied, “Yep. As a matter of fact, in the same spot and doing the same thing.” We found out his name was Tim, and that he was quite familiar with Kevin’s films and shooting locations. We told him where we were from and why we were in Red Bank. After we made our purchases (Dave found a couple cool soundtracks) Tim walked out front with us and began to give us an impromptu Chasing Amy movie tour.
He pointed above the shop where the “Bank Hold-up Studios” had been. Showed us where the entrance to it was (where Banky and Holden discussed Banky’s couch, Alyssa, and catholic school girls). He pointed across the street to where the catholic school girls stood. Then pointed down the street to the rain scene location. He then gave us directions to the park in Chasing Amy. We thanked Tim, took a few more pics, grabbed some lunch next door, and then headed back to the rental car.
The park wasn’t too far away and in a few minutes we were there just a swingin’. It was a nice park- much busier and warmer than when Holden and Alyssa were there in the movie. Lots of families were there and it looked like they had added a bit more to it than what I’d seen on screen. We were amazed at some of the houses that lined the shoreline. Some looked like very nice summer cottages and others like year round mansions- many had their own boathouse garage connected to them. Some of the boats were bigger than my house! Again, not the Red Bank, NJ that I was expecting.
We headed across town following the map Walt gave us. It was a bit further than the drive to the park and in the opposite direction, but not too far of a drive. We saw a few landmarks I remembered from some of the movies as we headed to Leonardo, NJ. I soon saw the familiar yellow sign ahead at 58 Leonard Avenue. Across the street some construction on apartments or condos was going on. RST Video was closed (must have been Randall’s shift), so we headed inside the Quick Stop.
It was just like in the movie. I think the only difference was the clerk behind the counter didn’t look like Dante or complain about having to be there that day. I checked the dates on the milk, took a few pics, and bought a bought a bottle of Gatorade. It was very surreal being there.
It reminded me of the corner grocery store I worked at back in high school in Southaven , MS called IN-N-OUT, which actually sounds much more like a store that would be in a Kevin Smith movie. I never worked behind the counter, but stocked shelves, unloaded the milk truck, mopped floors, swept the parking lot, cleaned the laundromat next door, and took out trash. Funny thing, the Quick Stop smelled just like I remembered IN-N-OUT smelling like!
We had to meet up with some of the CGS geeks at a pre-show party in Reading on Friday night so we headed back towards PA and put NJ in our rear view mirror.
I had a great time visiting Kevin’s home town of Red Bank, NJ and doing a one day View Askew tour. If you’re a fan of Kevin Smith I think you’ll get as big a kick out of it as I did. If you’re not a fan of Kevin, well- it’s still a very nice town. Maybe I had my fanboy goggles on then, but I hope to go back again.
The next episode of Comic Book Men will be on AMC this Sunday night 10/9 Central right after The Walking Dead. If you missed the first episode you can catch it on-line at AMC. Then you can post your own opinions of it. Please let me know if you’ve been to Red Bank. Would love to hear your travel adventures. Your mileage may differ. 
“Snoogans!”
Lin
Jay and Silent Bob’s Secret Stash
35 Broad Street
Red Bank, NJ 07701
Red Bank Store
(732) 758-0508
Online Stash Inquiries
(352) 536-1488
Store Hours:
Mon, Tue, Wed, Thur: 11am – 6pm
Friday: 11am – 7pm
Saturday: 11am – 6pm
Sunday: 12pm – 5pm
Kevin on Twitter- @ThatKevinSmith
Address: 46 English Plaza, Suite 6 (Upstairs) Red Bank, NJ 07701
Telephone: 732-741-9211 Toll Free: 1-888-HIP-TOWN
Email: visitors@redbankrivercenter.org
Last weekend in an arena not too far, far away…Star Wars Crystal Ball!
on January 24, 2012 at 1:31 pmPosted In: Blog
This past weekend my wife Nicki and I had the pleasure of attending the Community Foundation of Northwest Mississippi‘s 12th annual Crystal Ball.
This year’s theme was Star Wars and it was a blast! (Illustration by Heather Taylor.)
The event was held at The Arena at Southaven in Southaven, MS (off Hwy 51) this past Saturday, January 21st and featured dinner, live and silent auctions, music by Memphis Knights and Kevin and Bethany Paige, and a large gathering of 501st and Rebel Legion costumed Star Wars characters.
As we walked down the sci-fi looking hallway and through the space hatch doors we were greeted by many familiar Star Wars characters. There were also life sized statues of characters like Jar-Jar, Darth Maul, Yoda.
The Star Wars costumers were all more than happy to pose with the party guests, and CLICK! Magazine even had an area for free photos. And no- I didn’t dress up as an ewok, and that’s not Mike Norton.
Just inside the main ballroom area were tables on either side of the entrance filled with silent auction items. Lots of great times again this year! We were also greeted by a server with some bacon wrapped shrimp- Mmm…!!!
Along the walls behind the silent auction were two 40 foot+ black light murals (by yours truly) featuring glowing Star Wars space ships, planets, and Bespin’s Cloud City. (More pics on my LinWorkman.com site this week.)
Above our heads were two large TIE fighters (Twin Ion Engine) doing battle with 2 X-Wings (Incom T-65 starfighters) attacking an inflatable Death Star with their lasers. The entire light show was amazing and gave the former horse show arena an out of this world atmosphere.
Off in the distance on the right side of the arena near the bar we could hear a familiar tune being played. R2-D2 and a couple of Jawas were with the cantina band.
At the bar drinks based on Yoda, Luke Skywalker, and Darth Vader (chocolate based drink which was delicious!) were available, very popular, and seemed to go straight to your head.
After a slight mix-up with our seats we found our table and sat down to enjoy a couple drinks and get to know our table mates which included some fellow volunteers and a member of the Midsouthcon committee, her 501st husband, and her friend. (BTW- Midsouthcon is coming up this March in Memphis.)
Our seats were near the serving line and soon we were in line. Vader Veggies, Tusken Raider Taters, Wookie Cookies, and more were on the menu. So was chocolate covered strawberries, Rice Crispy Treats, and more!
The Memphis Nights big band played while we enjoyed dinner. The band and fun food names got us “In The Mood” for Star Wars, and there was plenty to be had.
After dinner, sponsor/volunteers stars, honoree presentation, and the live auction (which had lightsaber wielding auction bid spotters in the crowd) the Imperial March (Darth Vader’s theme) played as a parade of Star Wars characters entered from the far end of the arena and marched down the middle behind the tables to the silent auction area at the opposite end.
The parade started off with some of the good guys, followed by bounty hunters, a sandperson, imperial officers, various troopers, and the man in black himself- Darth Vader!
The silent auction was announced closed as the sound of Vader’s familiar heavy breathing filled the space.
This was the largest “troop” of Star Wars characters I’ve seen in the mid-south. Costumers from Mississippi, Tennessee, Alabama, Louisiana, Kentucky, and more were there. I really hope we see more 501st and Rebels at future mid-south events.
It was great to have stormtroopers (TKs)- they are iconic, but it was fantastic to have such a variety of characters. I really got a kick out of seeing bounty hunter Bossk (which means “Devours His Prey” in Dosh), a Mara Jade (“Emporer’s Han” and future Mrs. Luke Skywalker), and of course Chewbacca the Wookiee- who was probably the most photographed character at the event. He was a rock star!
Mississippi (Rancor Raiders Garrison) 501st member and Crystal Ball volunteer Kevin Avent (Darth Vader) did an awesome job coordinating the volunteer costumers, and was a great Lord Vader. His wife Diane was one of the co-chairs and in charge of decorations.
Co-chairs Scott and Natasha Hollis presented her with a tiara on stage and thanked all of the volunteers. Big thanks to Lucasfilm for allowing them to use Star Wars as the theme this year. The Community Foundation crew all did an incredible job converting the arena into a classy black tie worthy event.
The even honored Dr. Mary Ellen Bouldin, who was born in Mississippi during the great depression, but became first (and only woman) in her class in medical school at UT. She even learned to fly to commute from her home in Clarksdale, MS to her practice in Memphis! She later helped to provide medical services to the Delta’s poor and underprivileged in her home state of Mississippi. Great lady!
After another trip to the bar for a couple more Darth Vader drinks, we ended the night by rocking out with with Bethany and Kevin Paige’s band. I’ve know Kevin for years now (and did the art for his “Stupid In Love” CD), but this was the first time I got to meet his wife Bethany and see them perform together. If you’re on Beale Street slide by Alfred’s on Friday and Saturday nights to catch them, or if your near Union and East Parkway in Memphis stop by Lindenwood Christian Church on Sunday mornings and join in as they rock that church!
Nicki and I had a great time getting to take shots of them and their band. It was one of the first times we’ve gotten to use her new camera to take pics of a live performance like this. Kevin came over to the side of the stage and invited me to come up and take shots up there! That was too cool. Nicki and I would take turns shooting pics all night.
I took a lot of crowd shots up there, and on the dance floor. It was a lot of fun to watch the audience on the dance floor have a good time.
Some were having more fun than others, but hey- can ya blame them..?! It was a Star Wars event of galactic proportions!
May the force be with you all!
(All ‘STAR WARS(tm)’ elements property of Lucasfilm Ltd. All rights reserved.)
