• At the blogs today, Kevin breaks his obviously long-contained silence on the casting of Seth Rogen in the film that will be next, “Zack and Miri Make A Porno”. What we love about this story is the mutual fandom and respect the two have for one another, which is genuine, and undoubtedly going to bring us a great Rogen performance in this script. Are you all as excited as we are that Seth’s going to be taking Kevin’s words and making them real? We couldn’t have imagined better. But more on that from us next update. Today, it’s about what Kevin’s got to say. Here’s a few select spots from the very lengthy entry to whet the appetite before you click on thru to the other side:

  
  “…I never wanna meet anybody. This guy, though, I did wanna meet. And meet him I did, on our way out, as he was coming in. Harvey introduced us, and I immediately told him how many times I watched him say “FUCK you!” to Paul Rudd. He said he was a fan, but I didn’t take him seriously; in Hollywood, people tell you that all the time, even though they don’t mean it. We talked a little bit about “Clerks II” and I said I’d happily show him the flick if he wanted to see it. The guy gave me his phone number and we said goodbye.”

  “…Thus began the most tumultuous and agonizing summer of my adult life. “Knocked Up” opened huge and kept earning, turning the stock room worker from “40 Year Old Virgin” into a massive movie star. And movie stars don’t do my flicks unless I knew them before they were movie stars. Add to all this the fact that he was the writer of a forthcoming flick that was enjoying huge advance buzz as well – which means this was suddenly a man who could not only get cast in anything, but could write it himself. Like I’d said in the email to him: he could generate his own material. A guy who could do that didn’t need me or my script. Maybe the nice things he wrote in his email evaporated the moment he enjoyed his breakout success. The dude had something akin to a movie biz Bar Mitzvah; but he wasn’t just a man now – he was THE man.”

  …

  “…On October 31st, while I was trick-or-treating with my kid, I got the phone call that Seth’s deal had been officially closed. I was thirty pounds heavier than when I’d started this journey, but all the stress-eating was worth it. I can lose weight; I couldn’t lose Rogen.”

  …

  “…Thanks, Seth – for reminding me that sometimes in this business, people say what they mean and mean what they say. You could’ve done anything you wanted, and you wanted to do this flick; I’ll be forever grateful for that.”

  
  Visit Silent Bob Speaks or the other suspects (Facebook, Myspace) to read the whole thing and talk back to Kevin on the entry. We expect this to be the first of many internet-only missives on the process of putting this new flick together.

  Don’t forget, Monday means SModcast, and the S and M in the cast are back with number 38 this week, where they discuss weight restrictions on “It’s A Small World”, and devote the greater part of the broadcast to some of the extreme videos appearing on adult-oriented sex video site RedTube. Here’s the loglines:

  

  
  SModcast 38: Leeroy Jenkem!

  In which our heroes embark on not only the happiest, but apparently also the heaviest cruise that ever sailed, flirt with bi-curiosity via RedTube.com, and get high huffing butt-hash.

  
  Enjoy exclusively at Quick Stop Entertainment — Nowhere else! Some of the best free entertainment you’ll get on the web. Well, this and RedTube, we guess.

• So we now know the leads…But what other faces are in store for “Zack and Miri Make A Porno”? Kevin confirmed that show regular, the very funny comedian Jim Norton will have a speaking role in the flick. Norton’s a funny, raunchy dude, so we’re expecting a cool cameo, at the very least. We’ll keep you posted, of course, on all the breaking casting news with the film over the next few weeks.
• And speaking of those leads, some silly stuff going on at the IMDB — The page for “Zack and Miri Make A Porno” has happily been title-corrected, but now they’ve got the leads mis-matched. Rest assured, Zack remains Seth Rogen, this isn’t some wacky experiment.
• We’re all for the great films of View Askew on the big screen. So, if you’re in the Missouri area, check out the “Moolah Clerksfest”. Next Thursday, November 29th, they’ll be showing Clerks and Clerks II, along with contests and giveaways. Event proceeds will subsidize the purchase of land for a new hostel in St. Louis. Sounds like something well worth attending to us.
• Anyone catch Clerks II cameo-stealer Kevin Weisman on NBC’s “Chuck” last week? He played a gymnastic villian. Pretty evil one, too. Good stuff. We’re not sure if NBC has their stuff On Demand though we’re betting you can stream it down via NBC’s website if you like. It’s a good show, too, worth a weekly watch if you’re so inclined. After all, we gotta enjoy new TV while we can, right?
• “Southland Tales” is now playing in limited release here in the US, and as you may have heard, generating mixed reviews. It’s one of those love-it-or-hate-it flicks, it seems. It hasn’t hit the PA heartland here, so we’ve yet to see it, though we do want to continue some small coverage on it, given Kevin’s small role. For the intrigued, like us, there’s a new interview with director Richard Kelly over at Rotten Tomatoes giving more insight into the long-awaited film. No mentions of Kev in here, but an interesting read if, like us, you’re waiting to check the flick out.
• We want to throw a small plug up here for Eric Wilkinson, whose View Askew claim to fame was designing the “Drawing Flies” cover many years ago. He’s now producing movies and has a new film, “Jerome Bixby’s The Man From Earth”. It hit DVD last week (11/13) and is now available at all the major retailers: Wal-Mart, Circuit City, Best Buy, etc. Support another New Jersey filmmaker and check it out.
• And last, but certainly not least, take a peek at some new work from Marilyn Ghigliotti (“Clerks”), a short film called “Roadkill” that she did earlier this year. Enjoy, and we’ll see ya back here next time, undoubtedly with news from the world of “Zack and Miri” and much more. Thanks for stopping by.

• Kevin has finally announced his cast for the upcoming “Zack & Miri Make A Porno” and we’re in for a real treat. Seth Rogen is one of the fastest rising stars Hollywood has seen in years and the lovely Elizabeth Banks has been equally as good in a successful string of dramatic and comedic films herself (including being criminally under-used in all 3 Spider-Man films, but we digress…). USA Today had the first reported story late last night and here’s what they said…
  

  Kevin Smith & Co. make ‘Porno’

  It’s a comedy threesome.

  Seth Rogen of Knocked Up, Elizabeth Banks of The 40-Year-Old Virgin and Clerks filmmaker Kevin Smith have joined forces for a comedy about two friends who decide to cure their financial ills by making an X-rated video.

  Zack & Miri Make a Porno begins shooting in January in Pittsburgh. “It sounds deceptively straightforward with the title, but it’s a little more complicated than that,” says Smith, who acknowledges the topic is an eyebrow-raiser.

  The writer/director is famous for pushing the limits of taste in comedies that also are tempered with touching moments, such as Chasing Amy, Dogma and Clerks II. In Zack & Miri, however, the touching moments may also be moments of touching.

  “Everything I’ve done, on the surface, seems off-putting to some audience or other, but if you sit down and watch the flicks, you’ll see they’re sweet-natured and not angry or hateful or provocative for the sake of being provocative,” Smith says.

  The story is about two platonic friends who discover feelings for each other while trying to earn some cash. The awkwardness of the circumstance and the characters’ unsexiness fuel the jokes.

  “It’s very much a love story,” Smith says. “Zack and Miri just want to make a good old-fashioned dirty movie.”

Variety.com followed up that story quickly with one of their own :

Seth Rogen set to ‘Make a Porno’

‘Knocked Up’ star cast in Kevin Smith film

By TATIANA SIEGEL, TATIANA SIEGEL, MICHAEL FLEMING

Seth Rogen has inked to play the titular Zack in writer-director Kevin Smith’s “Zack & Miri Make a Porno” for the Weinstein Co. and Dimension Films. Elizabeth Banks will star opposite Rogen as Miri.

Film reunites the pair, who appeared together in “The 40-Year-Old Virgin.”

Story revolves around two lifelong platonic friends who are deep in debt and enlist the help of their friends to make a porn pic for some quick cash. But Zack and Miri realize that they may have more feelings for each other than they previously thought.

Scott Mosier is producing. Shooting is scheduled to begin in January in Pittsburgh.

Film marks the seventh time Smith has collaborated with Bob and Harvey Weinstein — a relationship that began 13 years ago with “Clerks.”

Rogen’s recent credits include “Knocked Up” and “Superbad.” Banks recently appeared in “Invincible.”

We’ll be following the press coverage all day and adding all the newslinks to this story as they roll in : Empire Online, Yahoo!, ComingSoon.net, /Film, Reuters, Aint It Cool News, Earthtimes.org, Entertainment Weekly, IGN, Orlando Sentinel, Cinematical, Guardian Unlimited, Latino Review, VideoETA, Williamette Live, Box Office Prophets, and our good friend Will Wilkins (Radio Askew) has posted Kevin’s entire interview from today’s Opie & Anthony Radio Show right HERE.

• Colin Murray announced on his BBC Radio 1 interview/documentary show that Kevin will be the subject of next week’s show. We’ll have links to listen to his show once they have been posted.
• Here’s a link to a great review of Kevin’s new book “My Boring-Ass Life: The Uncomfortably Candid Diary of Kevin Smith” (also still available from the Stash!).
• Look out Randal! Another flying car story hit the New York Times yesterday, check out the link here.
• And finaly we wanted to give you a reminder that this weekend Jason Mewes will be appearing at the Indianapolis HororHound Weeekend.

• In a move to help ease the strain on all of our servers, Quick Stop Entertainment will be releasing each week’s fresh new SModcast on their site first before adding the feed into iTunes about a week later. We would suggest subscribing to both feeds (FeedBurner and iTunes) because who doesn’t love seeing SModcat at the top of iTunes’ podcast rankings? Here’s the rundown of this week’s episode :

  

  
  SModcast 37: In A Row? –

  Our heroes go jumbo-length in celebration of an anniversary, using the time to explore a body-snatching scenario and the decision to pod or die, learn the boundaries of a hug, marvel at the cunning of a trapped deer, and plumb the depths of general ignorance.

• If you know your View Askew history, you’ll understand that Bob Hawk is one of the dudes that can take credit for putting the company on the map. His praise and belief in “Clerks” when he screened it in New York City helped the film make it to the next level, where it was eventually picked up by Miramax. The rest is history. So, it’s with great pride that we present to you a “great get” from Chris Graves — This extensive, brand new interview with Mr. Hawk.

  In addition to that jump-start mentioned above, Bob Hawk has consulted on most, if not all of Kevin’s scripts, including the upcoming Red State. He also has appeared in Mallrats, Chasing Amy, Vulgar, and even has an associate producer credit on Chasing Amy. Without further delay, here’s what went down:

  AN INTERVIEW WITH BOB HAWK

  BY CHRIS GRAVES
  
  Chris Graves: For those who do not know, what is your background and how were you introduced to the world of View Askew and Kevin Smith?

  Bob Hawk: Background: Acted as a kid in community theater because I had a speech impediment and discovered that it disappeared when I got on stage (I knew my lines!). Decided early on (by college) that I didn’t want to pursue acting as a career but began working in professional theater in New York in the ’60s, first as a techie Off Broadway, then as a stage manager. Learned a lot about script development and taking good notes in maintaining the quality of a show (both useful skills when I got into film). Evolved into indieland in the early ’80s. First, by working as a researcher on the Oscar-winning doc, THE TIMES OF HARVEY MILK. Then I joined the staff at the non-profit Film Arts Foundation in San Francisco, which included conceiving and directing the Film Arts Festival for its first eight years. Since 1993 I’ve free-lanced as a consultant (on scripts and cuts of film, plus festival strategy) with my one-man company, ICI (Independent Consultation for Independents). Producer credits include CHASING AMY, TRICK, THE SLAUGHTER RULE, BALLETS RUSSES, FULL GROWN MEN and the upcoming PRODIGAL SONS (More info at www.filmhawk.com)

  The full story of how I “discovered” CLERKS (which is how I was “introduced to the world of View Askew and Kevin Smith”) can be found in the documentary accompanying the 10th Anniversary DVD of CLERKS, plus mentions in John Pierson’s book SPIKE, MIKE, SLACKERS AND DYKES and the writings of Mr. Smith himself.

  Briefly, it seems that I was the only industry person who attended the first ever screening of CLERKS at the IFFM (Independent Feature Film Market), now known as the IFP Market. It was the last day of the Market, a Sunday, and a lot of people had already left. I think the other people at the screening were all cast and crew, except for one out-of-work actress looking for work. Kevin and Scott Mosier were not too impressed by my presence because my badge just said “ICI.” They did not know my asssociation with Sundance — or that I knew a lot of other people too, but I spread the word far and wide. They soon found out, and eventually I was able to articulate just why I loved CLERKS so much by writing the official program note for the Sundance catalog. ‘Nuf said — except that I’ve happily been involved in some way with every one of Kevin’s films since then, including just having consulted on an early draft of his upcoming RED STATE.

  CG: How did you become a part of The Sundance Film Festival? What made you decide to create the Film Arts Festival in San Francisco?

  BH: In 1987 I was asked by Sundance to be on the newly created Advisory Selection Committee. Redford had taken it over only two years before, and they were still scrambling to find enough decent films to show, so they formed a varied group of us who were “out in the field.” Needless to say, things changed a lot after SEX, LIES AND VIDEOTAPE (1989), but our committee continued long past the need and was finally dissolved in 1998 (although a number of us still flag films on a more informal basis). I’ve made many friends there, and this coming January I will have attended the festival for 21 years (and it’s still exciting for me).

  I created the Film Arts Festival because in the mid-’80s the Bay Area was a hotbed of filmmaking activity (particularly docs, experimental film, animation and shorts of all genres). But the exhibition of this work was spotty and sparse, so I thought up a festival that would exclusively showcase the work of Northern California independent film and video makers. I also used the festival program as an outreach tool — mailing it to film organizations and festivals all over the world, as well as personally distributing it at places like the IFFM and the Berlin Film Festival. It helped a lot of filmmakers get exposure beyond their own region. The festival lasted for 21 years but is no longer.

  CG: What does independent film mean to you and how were you introduced to it?

  BH: There are many definitions of independent film, and the term has become so misused and abused at times that it could almost be considered meaningless by now. But I do believe that truly independent film still exists. For me the definition is primarily about authorship, owning the film, having final cut. (And I do realize that a handful of very big studio directors have final cut as well.) The modern indie movement begins for me with John Cassavetes’ SHADOWS in 1959. But I think that there is also an independent “spirit” that existed as far back as D.W. Griffith and Charlie Chaplin, and that managed to exist in the studio system through filmmakers from Preston Sturges to Robert Altman. Todd Haynes continues to blow my mind with his eclectic independence. There’ll never be a definitive, absolute answer — but when you smells it you knows it.

  CG: Can you describe your reaction to the success of Clerks? How would you describe your relationship with Kevin Smith and View Askew over the years?

  BH: Well, refer back to the end of my answer to #1 above for some of the picture. I feel like I’m part of the extended family, and I consider Kevin and Scott dear friends as well as continuing colleagues. And there’s a lot of affection to spread around amongst other “family” members as well.

  I’d just like to add that, of course, I’m thrilled at the success of CLERKS (and was moved by how warmly CLERKS 2 rounded out the circle). And CLERKS lives on through each generation. My niece teaches 10th grade English and she says that every year there is a sub-group within her class who are CLERKS fans (some of whom have memorized a lot of the dialogue — especially Randal ordering the video titles on the phone). They think she’s real cool ’cause she not only knows CLERKS but loves it herself. (And she gets extra Brownie points for having an uncle who helped it along the way.)

  CG: Have you ever thought about writing and directing a film?

  BH: Not writing. Anything I’ve written (including the CLERKS blurb for Sundance, other program notes, scattered articles) has been arrived at through great pain, because I’m so hard on myself that I can’t step aside long enough to let inspiration flow, except in very short bursts. But that very fact is what makes me a good script consultant. I just seem to have the knack (and objectivity) to help other writers.

  As a stage manager I did get to do some directing (brush-up rehearsals, preparing understudies and replacements) and I know I am a good communicator with actors, have good instincts and would be able to create the appropriate climate on a set to allow people to do their work. But I’ve long ago accepted what I think is my “calling.” Remember, a film can easily take up to two or three (or more) years of your life. In that same period of time — doing what I do — I can help many filmmakers. That’s my role. And let’s face it, there are more than enough filmmakers today, and not enough good consultants (insert smiley face).

  CG: The world of independent film is not what it was in the 1970’s, 80’s and 90’s. What is your opinion of the scene in today’s digital world and where do you see it going?

  BH: The new technology affords a lot more people the opportunity to make a lot more films. And I consider TARNATION a prime example of how great that can be. But for every TARNATION (or, going back, EL MARIACHI and BLOOD, GUTS, BULLETS AND OCTANE) there are a lot of really awful, worthless films cluttering up the scene, which means that the gatekeepers have a lot more to schlog through.

  But I’m glad the new technologies, and modes of exhibition, exist and provide access for just about everything and everybody. It’s becoming a true democracy, and I say stream away. I think that anyone, whether they’ve made a gem or a piece of crap, deserves to be seen by anyone who cares to watch.

  As for me, and the future, I just want to be sure that, no matter how portable and tiny viewing gizmos can get, the opportunity of gathering together and watching something on a big screen nevers dies out. I spend too many hours as it is staring at my computer screen or watching endless cuts of film on an Avid, and anyone who has watched the same footage small, over and over again, knows how revelatory it is to see that same stuff big for the first time. You see detail and nuance — especially in people’s faces — that you never knew were there (unless you see projected rushes, which is not all that common on indie films).

  As a side note, I’ll never understand how Academy voters (and others who vote in various award competitions) can fairly judge performances, cinematography, sound or special effects from a DVD screener — no matter how grand their home entertainment center might be. I think only writing, directing and editing can be evaluated thusly. Oh well, you know THAT’S not gonna change.

  CG: What were your experiences like appearing in the films Mallrats, Chasing Amy, and Vulgar? Any amusing anecdotes from the sets of these films?

  BH: MALLRATS: My simplest appearance (going down an escalator while Shannen and Ben were going up). It was weirdly fun hanging out all night in a half deserted mall, observing Shannen’s bodyguard staying as close as possible to her at all times, flirting with the boom operator, hanging out with the great crew people who have been there on so many of Kevin’s film’s from then on (there’s a lot of loyalty at View Askew, which says a lot about the general vibe).

  CHASING AMY: Oh, that was tons of fun. Giggling up a storm while Hooper is on the phone. Kevin encouraged me not to hold back — and I don’t need much encouragement to go completely nutso. We did four or five takes, and I know that some of the folk on set had a hard time holding it in until they heard “Cut!” Of course, it was so over the top that it had to be cut back and shortened because it threw off the rythym of the scene. (Amusing side note: in the cast list on IMDB I’m listed as “Hooper’s lover.” Who knew?)

  VULGAR: Now that was a workout (but, again, a wonderful crew made it so much easier). Although not much of my footage survived, I had eight different camera set-ups and it took a good part of a day to do all of my stuff. I sure loved my costume: my saggy, not-so-whitey briefs and a ratty old robe, with belly bulging and hair askew. It was a skanky location: a boarded up little house that must have been condemned and was probably torn down soon thereafter. It was very hot, what with all the heavy lights and hardly any air moving. Pretty damn foul (and thus very appropriate for VULGAR).

  CG: Can you tell me about your company I.C.I.? How can up and coming filmmakers obtain your services, be it eligibility and cost?

  BH: As I said above, I mainly consult on scripts and cuts of film and strategize festivals. Anyone’s “eligible” and I work with a lot of first timers (and veterans as well). I’m thorough and honest, I hope in a constructive way, and I don’t blow smoke up anybody’s ass. My rates are reasonable and I charge a flat fee, not by the hour. Anyone who’s interested should check my website — www.filmhawk.com — then e-mail or call me and we’ll work it out.

  CG: Out of all the films you’ve consulted on, which ones have lived up to your over all expectations? Any stand out that didn’t quite live up to their full potential?

  BH: This is a hard one to answer — impossible, actually. For the first question, I’d hate to have anyone feel left out, and I couldn’t possibly list all of the films that I feel HAVE lived up to their potential — or exceeded expectations. As for the second part, not in a million years would I mention specific films that did NOT realize their potential. I have a strong sense of loyalty to my clients as far as a code of professional ethics and confidentiality. Like Vegas, what happens here stays here (or something like that).

  CG: Do you have any new projects or events coming up?

  BH: I always have something coming up. Next is a personal documentary called PRODIGAL SONS (in final edit as of October ‘07). It’s about three brothers from Montana. One is a transexual (the New York-based filmmaker, Kimberly Reed), once a quarterback on the football team, going back for HER 20th high school reunion. Her younger blood brother is just your average normal gay guy living in San Diego. The THIRD brother, adopted at birth, turns out to be the illegitimate grandson (and the only grandchild) of Orson Welles and Rita Hayworth. There’s lotsa drama, a few laughs and some tears. It’s already been pre-sold to the Sundance Channel and the BBC. Look for it in ‘08.

  I’m also developing a script, THE END OF GRACE, on which I would be one of the producers. Written — and to be directed — by a very smart young filmmaker, Nick Katsepetses, it’s a wickedly black comedy. (To be reductive, it’s kind of like ICE STORM meets AMERICAN BEAUTY, but I’m sure it will have it’s own unique stamp. After all, it will be truly independent.)

  CG: What is your favorite View Askew/Kevin Smith flick (Clerks/Chasing Amy excluded)?

  BH: Another tough one, but I have to go with DOGMA (certainly Kevin’s most ambitious film so far, and I think he really pulled it off). I’d also like to add a warm hug for CLERKS 2. And I hope whenever the Director’s Cut of JERSEY GIRL comes out (you will have to wait for awhile because Mr. Smith does these in order) that the world will finally see some of the great stuff that was test-screened to oblivion (but still exists, somewhere…)

  CG: And finally, what are your thoughts on Mr. Smith’s new direction in the genre of horror, with the upcoming Red State? And what do you think the future holds in store for him?

  BH: Well, as I said before, CLERKS 2 rounds out a circle — the first circle. RED STATE, I believe, begins a second circle. I hope that Kevin has three or four circles in his lifetime. He’s certainly fertile, and a deep thinker, although his persona is unpretentious (thank god). I think there’s much still to come, and that he will continue to surprise us. I predict that RED STATE will be awesome — and you won’t get another word out of me on that one! Thanks for having me.

  This may be our favorite of the Graves interview series yet. Thanks to Chris, and very special thanks to Mr. Bob Hawk for graciously giving his time and insightful answers.

• Kevin made a surprise guest appearance on XM’s “Opie And Anthony” show this morning, and our pal Will Wilkins was there to capture it for us. There’s a few drop-outs this time due to XM transmission problems, but otherwise, once again you can enjoy the Kevin goodness as he chats up the guys. MP3 format only available right HERE. Will also created and runs the brilliant Radio Askew podcast which has been showing up around once a month these days. Thanks to Will for the audio once again, and all he does to keep this stuff in our archives.
• Bullz-eye.com interviews the great Ray Wise, currently stealing the show on “Reaper” as one of the best turns as the devil in Hollywood history. Kevin’s shown some love in this interesting chat:

  Bullz-Eye: So “Reaper” probably received more positive press than any other show of the new season.

  Ray Wise: Yeah, I think so! We were very fortunate.

  BE: I’m sure you’ve done enough TV where you don’t get too excited about a project’s long-term chances right off the bat, but did you ever find yourself slipping and thinking, “We might be onto something here?”

  RW: Oh, absolutely. Yeah, I did that from the get-go. It was a great pilot script and a great character, and I felt that, y’know, with Kevin Smith on board as our director for the pilot and as a consultant of the series, I thought we were really onto something.

  BE: Were you a fan of his work?

  RW: Oh, yes, of course! Tremendously, yeah. Of course, “Dogma” is a favorite Kevin Smith film of mine.

  
  “Reaper” is currently #9 in the site’s TV Power Rankings which list the best programming currently available on the tube.

• And finally today — This in from Vernon, NJ – Bear is driving car? How can that be? See ya next time.

• Yes folks, that’s right — Kevin promises that just one week from tomorrow — On Friday, November 16th, our Zack and Miri will both be revealed to us…And the world! We’ve been doing this site for over 11 years now, and we can’t ever recall more speculation or excitement over role announcements. We’ve known the title for so long, and loved it — So naturally, to know these key players, both of whom we’re now guessing are newcomers to the world of Askew…Well, it’s a big deal for us. The speculation can continue, rumors will spread. On Friday, we’ll all find out together. Of course, we’ll have the cast announcements here for you at News Askew and all of the surrounding Askew locales on the web. It’ll be a fun day to be here.

  In other news, for those of you wondering why the IMDB title is still shortened up, rest assured – Kevin tells us he’s awaiting for the title correction to show up at the site. This means that they have indeed been contacted and corrected, and that the film in no way has been retitled “Zack and Miri”. As of this writing, the film remains “Zack and Miri Make A Porno”. And we sure hope it stays that way.

• Southland Tales will hit theaters in just one week (this Wednesday, the 14th) — So has anyone caught it yet? We’ve all heard the rumors that Kevin’s role is still there, but possibly cut down to help with the runtime. In a recent interview, Richard Kelly cited the fact that it’s one of the plots he was saddest to see go. So we’re wondering — How much Kevin do we got? Let us know, or comment to this post. The film itself is very ambitious, and rumor has it, will baffle audiences — Just the kind of flick we LOVE. We can’t wait to see it.

  With the release, of course, comes the press. As this isn’t a View Askew production, we won’t be covering every single tiny news item, but just some major stuff — And of course, anything where Kevin’s name comes up. Like this Wired interview for example, where Kelly credits Kevin for his help in getting the prequel comics for the film out there:

  
  Wired: You also penned a bunch of comic books that give backstory on the film…

  Kelly: Kevin Smith helped publish them. There’s going to be a bound collection — like a graphic novel — available in bookstores soon.

  
  Also, the official film soundtrack was released earlier this week. It’s a sick soundtrack that features unreleased songs from Moby and Black Rebel Motorcycle Club. A complete track listing can be found at Amazon or the Milan Records site. We’re stoked to hear that Moby score in the film.

  See “Southland Tales” next week for a unique experience at the theater AND to support Richard Kelly, a longtime friend and fan of View Askew. And of course…Don’t forget, Kevin’s in it!

• We made the correction, but in case you missed it — Kevin’s “Kevin and Bean” appearance was actually on the Tuesday, November 6th program. Hope we didn’t lead anyone on a wild goose chase, there. The link from yesterday is still valid.
• An immediate answer to our Clerks II inaction figures query from yesterday — Current targets have the new set showing up in late Spring, 2008. So, sorry, not in time for the holidays this year. We’re sure that the gang wants a quality product, so the wait will be worth it. These things actually go through a lot of testing and approvals with test molds before the final models are produced. We’ll keep you posted on the progress.