Monday, 7 July 2014

"You don't feel it after awhile; You take the beating."

Holy effing moly, did I take a beating on Friday. While I'd planned to watch all the BST acts from afar, my overzealous enthusiasm in the moment planted me pretty much bang in the middle of the mosh pit for the first five hours. So the main thing I've taken away from the experience is: Yep, I am too old for that shiz (also for using words like 'shiz', but let's stay focused). True, it did take me back to them halcyon days of going apeshit at the Astoria and Mean Fiddler, but that was when I was young and foolish and didn't carry valuables; Nowadays nothing puts the fear into an old prick like me than the possibility of a mildly-scratched HTC display. Cold sweats just thinking about it. Brrr.
As for the day itself, bruises aside it ruled. Lemmy and his bulge were on fine form, Ozzy and the rest of Sabbath absolutely killed it, Soundgarden were nice enough to play all of Superunknown and there also.
But Faith No More were obviously who I came for above all else, and they were utterly goddamn blistering. Of the four shows I've now seen them do, it could very well be the tightest, it's just a shame that as openers they only got an hour slot. The setlist kept to mainly tried-and-tested live classics, the only song I'd not previously seen performed being the unexpected deep track Zombie Eaters which they opened with. Also peppered throughout were all-time personal favourites Midlife Crisis, Caffeine, Everything's Ruined, We Care A Lot, The Gentle Art of Making Enemies and King For A Day. Oh, and there were the new songs they threw in near the end. The first new songs written in years, which they debuted for what I can only assume was my benefit. No biggie, whatevs. Jeez, chillax, yo.
In truth I think I experienced what women in the olden days referred to as 'the vapours'.
Being the quintet of mischievous cockteases they're known to be, there've been no subsequent updates as to what this indicates, but predictably I've been obsessing over the new material, this one in particular:
Whether or not it's a work in progress, I love it. It brings to mind moments of Perfect Crime, What A Day, Digging The Grave, even the pre-Patton days of Introduce Yourself. I am over the freakin' moon. Along with the mysterious song Matador, which debuted in 2011, this now makes for three new songs in five years of being back together. Another couple years and we might have ourselves an EP, people!
Now to not move for several weeks while my bones knit. In the meantime I'll leave you with some Faith No Moreoke:

Thursday, 26 June 2014

Where am I? And how can I leave?

Criminey, a month-plus of radio silence. Surely bliss for the blogosphere?
Well, here I am again. Reconcile yourself with that and tough it out, friends.
The end of this week should mark a return to a life where I have more time available in the day than the scant few minutes in which to graze or micturate the last couple of months have allowed. On top of animation work I've been dealing with all sorts of exciting Skwigly diddlywotsits, unnecessary Throat (the book, not my actual throat) concerns, organising some special music events and the most needlessly protracted flatmove imaginable - especially considering it's within the same building. On top of all this I've also been in the final stages of getting something I'll refer to as "Project Group-Hug" off the ground. Based on a meeting I had last week things are looking good and, if it happens, it'll be something pretty damned amazing, so think warm gooey thoughts and spray them in my general direction.
Going back to the Skwigly diddlywotsits, here's a round-up:
Meeting celebs
Myself and Laura-Beth went over to Annecy the other week for the Sunniest Animation Festival Ever (thank Christ it was by a lake or our UK-acclimated selves would've snapped before the week was through). Predictably it was superb and, while I was a little nonplussed with a good deal of the competition selection, the special events and industry gatherings were spectacular. Stay tuned for some in-depth coverage of new developments from Dreamworks, Disney, the NFB and Cartoon Network to name a few. In the meantime here's some festival coverage to sink your toothies into:
Latest podcast featuring: Greg MacLeod (of the Bros. MacLeod) on his and brother Myles's recent films 365, Isle of Spagg and the upcoming Marfa; Jackie Cockle, whose work as an animator and director spans some of the most prominent stop-motion TV productions in the UK, such as Pingu and Timmy Time. Also included is some of the panel discussion I recently participated in alongside Dani Abram, Jane Davies, Gareth Cavanagh and Kerry Dyer. Download, subscribe and/or stream!
The Lightbox series of mini-docs which started up back in May has been going strong. If you haven't subscribed yet, you can do so here and catch up with what's gone up so far:

Other new interviews of the written variety include Anita Kwiatkowska-Naqvi, whose pregnancy-themed film Ab Ovo is one of my absolute favourites from the festival circuit last year. Also as part of our Producing Animation series of articles I was able to chat with Annecy's current Artistic Director Marcel Jean on his prior career as an Animation Producer. Some really nice insights here, especially on transitioning from directing to producing.

It's nice to look at the above as some evidence that I have actually been being productive for the last little while. In truth I've been in a bit of a stress blur with the move, and my absence from this blog has been substituted with endless moaning at friends and family with each dull development and setback. What's given me tremendous perspective is just how good I have it as far as support from all directions when seas get choppy. Plus I've lost about 12lbs since I started flathunting, which I guess is a silver-lining. That and the new place is bloody lovely, so I have to concede it really was worth it.
Always darkest before the dawn, and July is also looking to be an exciting month ahead for fanboy reasons. You see, as a longtime David Lynch enthusiast, every two years or so I put myself through the strange dual pleasure/torture of watching a now-very-old show called Twin Peaks. Probably it doesn't need an introduction, it being such a staple of pop culture - it arguably did more for the landscape of television in the 90s than David Chase did with The Sopranos over a decade later. The difference being that, while I can think of *maybe* two episodes of Sopranos that didn't do it for me, at least a third of the episodes of Peaks are borderline unwatchable. It's one of the biggest and most well-known laments of the Lynch fan, that a show which starts off so brilliantly devolves so quickly (in all there are only thirty episodes, the first ten of which are pretty much faultless).
I suppose I'm really more a fan of Fire Walk With Me, the much-maligned movie prequel made after the show which resolves virtually none of the cliffhangers that remained when the series was canceled. Knowing nothing about the premise other than Mike Patton once covered the theme song and that it was a prequel, I figured it'd be a safe bet to start with it and then embark on the show if I liked what I saw. It was 2002 and my Lynch fandom was still in its early stages, you see. Of course, had I known then that the concept of time is treated very loosely in the otherworldly Black Lodge and that its being chronologically a prequel doesn't mean jack shit in terms of fully understanding what's going on - or, more crucially, that the show itself is a goddamned whodunit and so by watching the murder happen beforehand would undermine the whole mystery aspect of the show - I might have tracked down the series first. But then I wonder if I would have liked the film as much that way around, or if I would've even made it past the midway point of season two at all.
In truth, having not seen the show makes Fire Walk With Me a classic standalone David Lynch film, and easily my favourite. While a lot bears explaining, that's also the case with Lost Highway and Mulhulland Drive and, in the same respect, contributes to its appeal as a film to be dissected and pored over with all the time you thought you'd be spending having sex because, after all, it's your first year in college and you don't assume that the only intermittent play you'll get is from that one recent-divorcee townie wracked with Catholic guilt who you met at such-and-such's house party.
Ah, Gabrielle. I don't want to think too hard about how old she must be now. But I digress.
The genius of Fire Walk With Me is that, from a story perspective, it does actually flow perfectly into the events of the show. The pilot episode and first season, while more conventionally structured and far less intense, very much feel like they're carrying on the story, albeit with a sudden change of hairstyles all round. Knowing who the murderer is while everyone else is trying to work it out makes it a satisfying watch for entirely different reasons than it would've been when originally broadcast. A lot of confusing aspects of the film, mainly the backstories of characters we know nothing about having not seen the show are expanded on, though some aren't; A decade later I remain disappointed that Kiefer Sutherland, Chris Isaac, Harry Dean Stanton and David Bowie's characters, all created for FWWM, never show up in the series. It makes the more bafflingly lazy storylines introduced in the later episodes all the more frustrating. Also the frustrations a lot of the fans of the show must have felt when watching the movie can only be appreciated in hindsight; Looking back it must have been a bit jarring that a lot of the main characters - Ben and Audrey Horne, Sherriff Truman, Josie Packard, Pete Martell et al - don't show up at all. Plus one major character is completely redefined when, in FWWM, they commit a murder of their own, one which they're never held accountable for in the series.
Granted the show does pick up near the end. Were it not for needlessly hammy dialogue and a penchant for pantomimey theatrics, Windom Earle might have had potential as a villain. And the last episode is one of the most amazing things I've seen on television - though it's clearly of its time, nothing has quite matched what Lynch achieved with the Black Lodge sequence. Plus it isn't until the very end that the mythology on which most of FWWM is based is properly introduced. Basically if you threw the whole series into Final Cut, lanced out five or so hours of weak subplots and cheesey moments, you'd have an amazing overall story (surely some geek out there has done this already?).
One of the big white whales for Lynch geeks like me has been the promise that somewhere there exists literally hours of footage shot for FWWM that didn't make it into the final edit, chiefly vignettes involving characters from the series that otherwise don't make an appearance. Various versions of the film's script include these and, overall, it reads like a more cohesive Inland Empire, one bound within the Twin Peaks universe. Omitting the scenes made sense to keep the film about Laura Palmer's battle with the demonic BOB, but for devotees of the show like myself who realistically assumed it wouldn't return, these scenes have been something of a holy grail. Last month, over 11 years after I first became fascinated with the movie (and over twenty for those who were there at the time), this appeared:
I'd always hoped they'd see the light of day but assumed it would be in a dusty, found in a vault somewhere, low-resolution state that most deleted scenes from old movies show up as.
This shit looks fucking amazing.
It's like watching a trailer for an entirely new film in which the main cast have managed to sidestep twenty years of aging (and, in some sad instances, death). And we're being told they've put nearly 90 minutes of it together. I am a happy little cinephile, my friends.
If that weren't enough, something popped up on Twitter last month that got my attention:
What. The actual fuck. Does THAT mean? I asks ya...
If Faith No More start producing new music (a conclusion I don't want to set myself up for the disappointment of not being the case but that a lot of music news outlets have drawn) the same month that the deleted scenes from Fire Walk With Me are released...holy shit, we could just call it: 2014 wins. It'll be an amazing day regardless but when I see them on 4th there might very well be some indication of what exactly is going on. In the meantime I'm watching their Twitter feed like a fucking hawk.

Wednesday, 14 May 2014

Content Providers
This week on Skwigly we have a nice, stodgy clump of new content to rub into your ears and eyes. Firstly there's a slightly overdue new podcast featuring special guest Tim Searle, currently working on Mr. Bean whose other credits include Warren United, 2DTV, I Am Not An Animal and Have I Got News For You. Also on the podcast Laura-Beth chats to up-and-comer (well, to an extent he's both upped and come, but I'm sure there's plenty more upping and coming ahead for the fellow) Eamonn o'Neill on his work including I'm Fine Thanks and Left, while Steve and I keep things topical by giving The Return of Jafar the dressing down it deserves.
I'm also happy to say that this week sees the launch of a new video strand which we'll be hosting on our thus-far-underused YouTube channel. Dubbed Lightbox, it will serve as a series of mini-documentaries on all things animation. As with the site itself, this will span TV shows, interviews, major feature films, independent projects, behind-the-scenes goodness, all that jazz.
The first few weeks will mainly consist of videos we've already showcased in some way or other, after which we'll be keeping them as their own separate thing, with our Vimeo channel reserved for longer-form content like documentaries and such.
Fine young panelists
On a not-entirely-unrelated note, the Bristol Comic Expo panel events I participated in over the weekend were a success, so thanks again to Dani Abram for the invite and getting it all sorted. We managed to get it recorded so there's a good chance some of it will materialise in some form or other soon.

Tuesday, 6 May 2014

Geeks Like Me
It's been another dry spell on the blogging front. As predicted a while back, things have been busier than ever (with some extra, unanticipated time drains thrown in) but I'm cautiously optimistic life will return to relative normalcy late June/July. In the meantime here's a quick note to say I've been invited to participate in two animation-themed panels at this year's Bristol Comic Expo. They start at 1pm this Saturday (the 10th), the first one is on working in animation which I'll be on the panel for, the second's on Bristol animation studios which I'll be presenting. Lots of other talented folk will be there, including animation stalwarts Rumpus, Upstart Thunder and Wildseed. If you're in Bristol and fancy swinging by that'd be mighty delightful, more info including tickets and venue can be found here.
I've been to the con a bunch of times (in fact it was the first place I exhibited Throat mere days after its printing) and there's always lots of interesting stuff to attend and rummage through, I have however been told that this year it's advance booking only so if you're up for it make sure you get your passes online beforehand.
Much gracias to Dani for the invitation and getting it all organised.

Wednesday, 16 April 2014

A Wee Springtime Roundup

Like most Canadians with dignity and self-regard, I'm still reeling from the tragic news of Pauline Marois bowing out. Always a sad day when you see the back of level-headed charmers like her.
While one of the low points of my recent Montreal visit was learning just how terrifying the degree to which certain brands of separatist nonsense had been tolerated, it did remind me that my actual reason for being there was to focus on the more positive state of the arts over there. The initial plan was to put together a Skwigly documentary on the National Film Board of Canada based on their proposed 2014 animation output, but in the intervening four months some of their plans have been shuffled around a bit, so I'm currently rethinking the best way to get the footage out there. As a number of their upcoming films are now all set to debut months apart I'm thinking something more episodic and filmmaker-specific would best suit, so stay tuned.
In the meantime some of the written NFB director interviews are already up, such as Claire Blanchet who directed the fabulous film noir short The End of Pinky, adapted from a short story by Heather o'Neill and which uses 3D stereoscopy to amazing effect; As well as fellow up-and-comer Emmanuelle Loslier, whose own short Inspector Street evokes the surreal humour of Jan Svankmajer, Walerian Borowczyk and PES, amongst others. I also teamed up with Laura-Beth for an interview with Theodore Ushev on his fabulous Gloria Victoria, the final installment in his 20th Century Trilogy, and got a chance to speak with Michelle Kranot, co-director of the fabulous Hollow Land, a story of misjudged assimilation which marries 2D theory with stop-motion puppets.
Most recently is an exclusive chat with current NFB Executive Producer Michael Fukushima, a supremely friendly and well-dressed fellow who I feel very privileged to have gotten some time with. There are many more similar interviews in the chamber which will hopefully be up soon, not to mention part two of our 2013 Festival Special which is sitting in After Effects, ready to be rendered out. I'm just waiting on some final permissions for footage so knock wood it won't be much longer.
Lastly, for all you consumers out there who, much like myself, still have that lingering impulse to keep your cultural interests on display in big lovely boxes, I've put up a review of the NFB's spectacular DVD set Norman McLaren: The Master's Edition which puts together seven discs' worth of films and documentaries. The set's a few years old now but given that April is the kick-off month of numerous McLaren centenary celebrations it seemed worth a nod.

Monday, 31 March 2014

Cotton Anniversary

It seems like only two years ago that we began the Skwigly Animation Podcast, mainly as it has. So my time perception is functioning highly, which is nice.
This month's entry also marks our twentieth episode and doesn't disappoint on the guest front, with Steve chatting to the spectacular The Eagleman Stag director Mikey Please on his new film Marilyn Myller while Laura-Beth brings us some insight from Ainslie Henderson on his crowdpleasing short I Am Tom Moody as well as his collaborative work with the equally-talented Will Anderson. Also featured are Vivien Halas, currently in charge of preserving the legacy of UK studio Halas and Batchelor, and BAA sting winner Jack David Evans.
Also marking the anniversary is a slightly-tweaked version of our Selections From the Skwigly Podcast compilation I originally put together for a promotional CD last year. Featured on it are some of our most noteworthy guests from the first year, including Peter Lord, Genndy Tartakovsky, John Kricfalusi, Bill Plympton, Billy West, Brian Cosgrove, Barry Purves, Robert Morgan and Signe Baumane among others. Since then we've been privileged enough to get such equally notable talents as Eric Goldberg, Adam Elliot, Joanna Quinn, Richard Williams, Chris Landreth, Daniel Sousa, Chris Shepherd, Jerry Beck, Michaela Pavlátová, Lauren MacMullen, John DiMaggio, Richard Starzak, Kirsten Lepore, Daniel Greaves and Marc James Roels, with many more lined up for the rest of this year. I'm pretty proud of what we've managed to achieve and that we've stuck with it rather than let it peter out, which has been the fate of a lot of similar endeavours out there.
All of this is irrelevant, however, as for the third time in five years everything in my life has to take a back seat to the news that, once again: FAITH NO MORE are back!
Granted, it's a support slot, but I'm not exactly going to sniff at getting to see Black Sabbath as well, am I? Or Lemmy, fer chrissakes?
Okay, I get it, I'm old. But in my defense, these bands were already old when I was a kid, so I'm not that old. Just an old soul. A merry old soul.

Tuesday, 18 March 2014

Libidinous Fruition

Grand news to report, in that Love, Lust and Libido, the Skwigly screening I put together with the lovely Ms. Laura-Beth went down a treat last night. Great turnout and audience response, hopefully we enlightened some folks. Here's the final film list as screened:

Yeah Just There
Dir. Grant Orchard

Amourette/Lust to Dust
Dir. Maja Gehrig

Teat Beat of Sex – Kirby
Dir. Signe Baumane

Dir. Marcus Wende

Dir. Tor Fruergaard

Divina Lomax
Dir. Òscar Julve
Little Deaths
Dir. Ruth Lingford

Dir. Joseph Mann

Teat Beat of Sex – Hair
Dir. Signe Baumane

Dir. Michal Socha

The Banjo String
Dir. Matt Oxborrow

Dir. Barry Purves
Teat Beat of Sex – Envy
Dir. Signe Baumane

El Gato
Dir. Galen Pehrson

Base Wanking
Dir. Ross Butter

How to Make Love to a Woman

Dir. Bill Plympton

There's a good chance it might get some repeat showings at other venues around the UK, though probably with a tweaked playlist (El Gato was CineMe's contribution and a couple of the others only granted one-time screenings). Many thanks to James from CineMe for his assistance and Ed from...I'm not sure where, but he helped get us set up on the night. Special thanks of course to the filmmakers themselves and to Laura-Beth for coming up with the main idea. Here are some more of the online flyers I slapped together to promote the event in the days leading up to it:

Also on Skwigly this week is an exclusive video from our recent British Animation Awards coverage in which we interview finalists Tim o’Sullivan (Sarah and Duck, Karrot Entertainment), Bjørn-Erik Aschim and Sam Taylor (Everything I Can See From Here, The Line), Gergely Wootsch (The Hungry Corpse, Beakus), Mark Nute (Laish – ‘Carry Me’):

Tuesday, 4 March 2014

What Once Was

This here's one of those procrastination posts, the kind that keep me from getting on with the crop of proper, important stuff I have laid out for the rest of the evening.
I'm gonna go ahead and come clean, the blog's gonna be pretty sparse for the next little while. Aside from Skwigly roundups like documentaries and podcasts, since the Channel Flip contract ran its course I've gone back to working on projects that can't be publicly discussed. As far as personal projects go, there's always stuff on but I feel like some streamlining needs to be done. I recently sat down in front of Excel and put together a grand master plan to see if I could tie up all the loose ends I have as far as unfinished projects by the end of the year. The conclusion, in short, was "No effing chance."
Nothing new about this. I'm a habitual bite-off-more-than-I-can-chewer, always have been. For every five things I set myself, if I can get two done it's a minor miracle. I guess on some subconscious level I've adopted the approach from my musical hero, entrepreneur and sometime anger sphere Mike Patton:
Study the above video well, mainly the bit before the awfulness of Wolfmother deservedly gets a dressing down. Let's recap the upcoming projects he lists from about seven years back:

•"A couple film soundtracks" - these you gotta give him, as he's scored three feature films and an indie short in the years since.
•"A record of 60s Italian music with an orchestra" - this also got done, came out in 2010 and is bloody great.
•"A record with Dan The Automator" - one assumes this is a project called Crudo, very little of which ever saw the light of day if it was finished at all.
•"A record with Amon Tobin" - Yep, this never happened
•"Me and Rahzel are gonna do a record" - If only, but nothing's appeared as of yet.

So that's two out of five. Am I calling the man lazy? Hells no. I admire his proactivity, and one thing I myself have experienced many a time since this video was filmed is that lots of creative projects fall through for a multitude of reasons. Also, plans change; The Amon Tobin, Rahzel and Dan The Automator albums never materialised but instead we got three live DVDS (with Fantômas, Melvins and Kaada), a third and fourth Tomahawk album, six Moonchild albums, an album with Ictus Ensemble and over twenty guest spots on other records. Oh, and he also had the good manners to rejoin Faith No More for a three-year reunion tour. He performs countless live shows, does voices for video games, runs his own record label - the man's a busy sumbitch. Seriously, I don't understand why someone wouldn't be a fan, if you don't like one of his records you only have to wait ten minutes for a new one that sounds completely different.
So I doff my cap and try and take some cues from his attitude and overall approach as an artist. Not everything one wants to have happen will happen, but as long as you're enjoying the process, go for broke.

Obviously paid work comes first, but as far as things to attempt to get done in my free time, right now I have:
Bullies - fourth film which has been 'finished' since 2013 but still just doesn't quite hold together. If I tweak away at it much longer it's in danger of falling apart completely.
Speed - fifth film I don't think I've ever mentioned before, which is 'half' animated but, complicatedly, not completely written yet.
Throat: Book 3 - pretty much ready to go but waiting on final sign-off for the additional content.
Brain Scrapings - a second volume of sketches following on from Brain Spillage
My Pretties - a compendium of character designs, a very limited run of which went out in 2011 but since the surge of design work last year brought in I'd like to put out a proper, updated edition.
The Birdcage - latest Struwwelpeter album that has been marinating since 2011 after the release of The Book of Women.
Erica - first graphic novel since Throat, although I'm contemplating releasing it as a miniseries of five 20-page comics first.
On top of all these are two potentially major projects I have to bite my tongue about, remastered reissues of all my major musical releases in the past decade or so, an assortment of behind-the-scenes vids, promotional whatchimajiggery and the demanding mistress that is Skwigly, which in and of itself involves documentaries, podcasts, regular written content and the odd field trip.
So, which of the above will get done? Who the bloody bloodying hell knows? Irritatingly I have two more film ideas I really, really want to get started on now, but that would take an already ridiculous situation and make it outright farcical. Realistically the next few months will yield two more Skwigly documentaries which I've been having a blast putting together, the final volume of Throat and, if I'm being super-optimistic, the final cut of Bullies. Whether or not that means other stuff will evaporate remains to be seen. I hope they don't but I don't exactly shift enough units to suggest that the world would stop turning if they do.
So I'll be retreating for a while, to focus on the slog and poke my head out for podcasts and whatnot. On a sort-of related note, I'll be with Skwigly at this year's British Animation Awards to get some coverage of the event, so knock wood there'll be a nice little featurette out of it next week sometime. If any of you folks will be there and I don't seem too squirrely, tap me on the shoulder and say hi.

One last thing, I recently found some source files for two EPs I put out in the lead-up to The Book of Women, one in 2008, the other in 2010. Both feature a smattering of early versions/alternate mixes and I figured there'd be no harm reposting them on my Facebook page. The physical versions of each have long since run out but they each come with printable artwork if you're old school and like your music in them shiny plastic boxes.

Download Sibling Ribaldry EP (2008)
Download Digital Stimulation EP (2010)

Monday, 3 March 2014


'Chick' (Dir. Michał Socha)
Following the success of our first showcase evening, in two weeks we have a new Skwigly screening event here in Bristol. This time around we're teaming up with James Ewen of CineMe and Tobacco Factory Theatres to present Love, Lust and Libido. As the title indicates, the focus of the screening is themes of relationships and sexuality, so things are bound to get a little risqué.
Flier design by Sereena Knapp
Spanning all forms of animation and storytelling styles, the event is the brainchild of Laura-Beth Cowley and it's been a joy to curate it with her the past few weeks. Some of the international filmmakers involved include Skwigly favourites Ruth Lingford, Signe Baumane and Grant Orchard as well as a bumper crop of both established and up-and-coming talent. For a mere £5 (£3 with concessions) it's sure to be a fun evening out, so swing by and enjoy the ribaldry!
Love, Lust and Libido takes place Monday March 17th, 8pm at the Tobacco Factory Brewery Theatre. For more info and tickets click here.

Thursday, 27 February 2014

Shiny Metal 'Cast

♫ New podcast day, new podcast day, ♫
♫ Life's a bit less crap because new podcast day! ♫
Another good'un, alongside myself and Steve's riveting discussions of crucial industry developments like the Postman Pat movie and a possible Shrek 5, we have two fabulous guests, John DiMaggio (who was Bender off Futurama, currently Jake in Adventure Time) and Laura-Beth chats to "tiny director/animator" Kirsten Lepore. Kirsten directed the fabulous short film Bottle as well as her more recent Move Mountain which was recently released online:

On top of his voice work, John recently produced a documentary on, fittingly, animation voiceover artists. It's called I Know That Voice and looks pretty damn decent, so keep your eyes peeled for it:
The podcast, as always, can be downloaded, streamed and subscribed to and is still cheap as free, so go get it:
This episode is dedicated to Harold Ramis, a fine chap who, along with the likes of James Gandolfini, Patrice o'Neal and Philip Seymour Hoffman, has joined the ranks of too-soon-departed men I never met but admired hugely.
RIP sir.