This year marks the 5th anniversary of the Pittsburgh Comicon and we are celebrating in style with some of the biggest stars of comics, science fiction, movies, and television. We are thrilled to announce the first Pittsburgh Comicon appearance of Kevin Smith, writer, director, and star of Clerks, Mallrats, and Chasing Amy. We’re glad Kevin could stop by while filming here in Pittsburgh.

If you couldn’t tell when he asked to see their ID during his Academy Awardacceptance speech, Robin Williams has become pretty chummy with Matt Damon and Ben Affleck, his youthful Good Will Hunting co-stars. But as in all good movie friendships, there’s a betrayal ahead: Mr. Showbiz has learned that Matt and Ben are co-conspirators in a scheme to mock Williams’ biggest box office hit.

The Good Will golden boys are set to co-star in Dogma, a take-no-prisoners religious satire from Kevin Smith (Clerks, Chasing Amy). Joined at the hip as ever, the duo plays a pair of bloodthirsty angels who’ve been banished to Wisconsin for eternity. The Robin roast occurs in a scene in which Damon’s character, Loki, and Affleck’s character, Bartleby, are hanging out with the demon Azrael (Jason Lee) in a toy store. Here’s what the boys have in store for Williams, according to a recent draft of the Dogma script:

Smith, who received an executive producer’s credit on Good Will Hunting after bringing the script to Miramax, admits that Damon and Affleck aren’t completely comfortable with the joke. He says, “The boys still give me like, ‘Can’t you go another way? Can’t you pick on someone else?’” But they know that there are no sacred cows in a Kevin Smith flick: “I’m like, ‘I ain’t picking on your boy, man – he just happens to be in the movie.’”

Williams shouldn’t take the Doubtfire ribbing too hard – he’s got plenty of company on the list of pop-culture landmarks tweaked in Dogma, including the Star Wars trilogy, Fat Albert, The Piano, Barney, Superman, the James Bond franchise, The Karate Kid, and John Hughes.

The movie’s ensemble cast also features Linda Fiorentino as a wayward Catholic, Salma Hayek as a heavenly muse, and Chris Rock as the thirteenth apostle. Smith says rehearsals have been “tremendous,” and he expects to begin shooting within the next couple of weeks.

IN THE RIGHT SPIRIT

Over the weekend, the Independent Spirit Awards in Santa Monica threatened to turn X-rated, thanks to the risque remarks from director-screenwriter Kevin Smith (“Chasing Amy”).

Smith’s ribald commentary began when he picked up a screenwriting award and declared: “This makes up for every chick who ever told me I had a small … (Long pause) Is this being televised?”

Later, when Smith presented the award for best documentary, he joked that he showed up because he heard that the notorious home sex video of Pamela Anderson and Tommy Lee had been nominated, but added, “I didn’t think much of the writing: ‘Oh God! Oh God! Oh God!”‘

Noting that some filmmakers honored at the indie awards received cash prizes, Smith went on to say if he were to win the 20 grand for the Truer Than Fiction documentary award, he would spend it on “crack and whores.” What a guy!

No one commented, however, on Smith’s attire. Under his black sports jacket, he wore a Superman T-shirt. Of course, Smith was the screenwriter who was fired from the upcoming Superman project when director Tim Burton and star Nicolas Cage came on board.

Kevin Smith aside, the awards were a pretty somber affair. Keynote speaker Spike Lee remarked, “I didn’t come here to preach,” then went on to say, “I’m appalled when I go into a meeting with studios and I’m the only black face in there.”

The awards certainly weren’t as independent as some people think they ought to be. Just like everybody else in Hollywood, indie filmmakers are terribly starstruck.

Rather than going to some unknowns or newcomers, the top awards were bestowed on industry veterans. Julie Christie was named best actress for “Afterglow”, and Robert Duvall received awards for best actor, best director and best film for “The Apostle”.

Okay, let me address the issue that must certainly be at the forefront of everyone here’s mind.

it all begins several years ago. Two guys are in dire straits. No one will buy their screenplay and they’re about to be fired off of it. Miramax has already passed, but a dear friend and supporter of one of the writer’s offers to take the script directly to the chairman of the company for his immediate attention. Gratefully the writer thanks his friend, gives him the script, the Miramax chairman buys it, it gets made, the writers win the Oscar for best screenplay and promptly forget to thank the Fellow(s) that made it all possible way back when. No one would believe this, you say? What ingrates and scoundrels you have for main characters, you proclaim? Indeed, to sorry for fiction, it could only be true. Sadder still I am one of said ingrates who has been locked in his hotel room in self-flaggelation for the past two days. What numbskulls, what can I say, but this: Thank you and I’m sorry.

Thank you Kevin and Scott for making this dream a reality.
Look for a piece in the trades to follow.
Thank you kevin.
thank you scott
thank you kevin
Thank you scott
thank you Kevin
thank you scott (i figure if I write it a billion times on the board it’ll make up for the billion viewers who missed it.
Thank you Kevin
Thank you scott
Thank you kevin…

Kevin Smith & Jim Mahfood

Clerks: The Comic Book

(Oni Press)

Writer/director Kevin Smith (Mallrats, Chasing Amy) loves comic books, so it was probably inevitable that he would eventually try making his own, especially after his work on Tim Burton’s upcoming Superman movie was scrapped. Those looking for a taste of what Smith can do with superhero material will have to search the internet- or wait until he takes over writing duties on Daredevil- but those anticipating something a little closer to the source need wait no longer. Though none of Smith’s generally dialogue driven films would appear wo be easily translated into comics, here’s Clerks: The Comic Book, a continuation of Smith’s low-budget 1994 feature-film debut about unhappy members of the lower end of New Jersey’s retail-service industry. Movie sequels in comic form have a long history of being terrible, as anyone who remembers Marvel Comics’ Star Wars series- which for some reason included a giant, laser-toting rabbit with green fur- can attest. Smith’s own knowledge of this phenomenon may have kept Clerks from meeting the same fate: His decision to write this adaptation surely didn’t hurt. Smith’s ear for dialogue carries over to the page effectively; in fact, because there’s a limit to the number of words that can fit into a speech bubble, readers are spared the sharp but overlong monologues that plagued Chasing Amy. In this first issue, Clerks’ two protagonists decide to begin dealing Star Wars figures, a decision that pits them against the rival proprietors of a comic-shop, and eventually involves a third matched set of male friends: Jay and Silent Bob, the comical dope peddlers who have appeared in each of the director’s films. The form allows Smith to indulge in some of the broad humor that’s bubbled under the surface of his films, and while some of the jokes don’t work- references to “Shave Bush Chewie” and Leia-Porkin’ Ewok” figures, for example,- Smith displays a real knack for both plotting a story and pacing a gag. Jim Mahfood’s attractive, perfectly matched black-and-white artwork helps, too. While Clerks: The Comic Book steers clear, so far at least, of some of the more substantial issues raised in the film- which may have something to do with the near-absence of female characters- it definitely captures the source material’s flavor. This probably ensures that Smith’s fans will love it, his detractors will hate it, and just about everyone else won’t care. Keith Phipps

FRANKLIN PARK, Pa. (AP) – Fresh from their Oscar win, Matt Damon and Ben Affleck begin shooting a movie about angels on April 1.

The “Good Will Hunting” screenwriting partners play grounded angels trying to get back to heaven in “Bearclaw,” directed by Kevin Smith.

The movie will be shot partly in this Pittsburgh suburb.

aN iNTERVIEW wITH vINCENT pEREIRA Who is Vincent Pereira? To you, he’s most likely known as the guy next to the pinball machine that Holden breaks in the Chasing Amy trailer. Remember “Got Lucky”?. Maybe you visit the WWWBoard often on the view askew website. He’s the one everyone asks about movies. Or maybe you’re one of the fortunate few that have heard his commentary on both the Chasing Amy and Clerks laser discs (The resident film historian). Or, maybe, just maybe you’re one of the small group of people who have managed to see his first feature “A Better Place” at either Vulgarthon or on Flixtour. But, whoever you are, Vincent Pereira is a name to look out for. With one film in the bag and another one in the early stages of production, Vincent is ready to take Hollywood (or at least Red Bank) by storm. Here’s a little interview I recently conducted.

Nolan Reese: What are some of your all time favorite movies?

Vincent Pereira: LAWRENCE OF ARABIA, THE GODFATHER PART II, BADLANDS, THE PASSENGER, THE LAST TEMPTATION OF CHRIST, THE SHINING, TAXI DRIVER, ACLOCKWORK ORANGE, BREAKING THE WAVES, RAISING ARIZONA, A CHRISTMAS STORY… I could go on and on…

N.R: You’ve mentioned many times that you’re a big fan of horror & slasher movies. What are some of your favorites?

V.P: Just about any Dario Argento film, especially INFERNO, TENEBRAE, and OPERA- Lucio Fulci’s THE BEYOND, Romero’s DAWN OF THE DEAD and NIGHT OF THE LIVING DEAD, Tobe Hooper’s THE TEXAS CHAINSAW MASSACRE, Wes Craven’s A NIGHTMARE ON ELM STREET, Kubrick’s THE SHINING, Coscarelli’s PHANTASM, John Carpenter’s HALLOWEEN, Raimi’s EVIL DEAD and EVIL DEAD 2, Stuart Gordon’s RE-ANIMATOR.

N.R: Have they influenced your work at all?

V.P: Very much so – the way I structured the murder sequence in A BETTER PLACE was very much based on the way Argento structures the murder sequences in his films, as well as the way he moves his camera- I used what I call ‘over-the-shoulder-POVs’ a few times, which I got from HALLOWEEN, and I also did a few 50/50 rack focus shots that are like the ones Lucio Fulci uses a lot in his films. Overall, the use of setting and place to build a mood (which I tried to do in A BETTER PLACE) was very much inspired by Argento’s PHENOMENA.

N.R: How has the response been to ABP’s recent stint on Flixtour?

V.P: So far, pretty good- It’s only been shown twice so far, in San Francisco at the Casting Couch and at Lehigh University. The Casting Couch showings were VERY sparcely attended, but the few who showed seemed to dig the film. The Lehigh gig was pretty well attended, and they liked the film.

N.R: Have any video of theatrical distributors shown interest?

V.P.: There was a flurry of interest immediately following the IFFM screening in September, but that’s died down, as it often does. I’m sure the film will get video distribution, and it should at least play in a couple theaters in New York and LA, but nothing is definite.

N.R: Do you think it will help at all that your star is now on the new Fox show “Significant Others”?

V.P: If both Eion Bailey and the show get good reviews and it does well in the ratings, sure, it can’t do anything but help. If it’s a flop, then no.

N.R: Tell me a little about your next film, “Autograph”.

V.P: It’s a murder/mystery about a well-known Hollywood actor who is doing a benefit play in his home town and gets tangled up in a serial murder spree.

N.R: What stage is that currently at?

V.P: I’ve written a very detailed 20-page treatment, and am about 40 pages into the actual script.

N.R: I hear you were also involved with Bryan Lynch’s “Big Helium Dog” both in front of and behind the camera. Tell me a little about that movie.

V.P: It’s a sketch-comedy type film – I was the assistant director and co-edited the film with Brian, and played the part of the Cigarette Fairy. It has a very bare-bones plot whose main purpose is to link the various sketches, and, if I may be so bold, it’s a comic masterpiece.

N.R: About what phase is that at?

V.P: Just finished the final edit – they still have to add the credits, some title cards, and some animation to intro some of the sketches, but other than that the cut is finalized. Then, it’s off to do the bulk of post-production-sound mixing, negative cutting, printing, etc. It should be done sometime this summer.

N.R: Finally, from various posts on the View Askew board I get the idea you’re a big Laser Disc/DVD fan. What’s your take on the whole Laser/DVD/Divx thing?

V.P: I dig both the DVD and Laserdisc formats – people who argue about which is better are foolish, because they are both great and I collect them both. Divx, however, is a fucking travesty – the folks behind it deserve to be put into bankrupcy. It’s the most retarded idea that I’ve ever heard of, and I can’t imagine that ANYBODY in their right mind would ever buy into such a ridiculous format.

N.R: Thanks Again for your time.

V.P: No problem.