A taste of Toast from this Sunday’s episode.
“The Coldplay" LMAO!!!!
If I’ve said it once, I’ve said it a hundred times – "Yes I can hear you, Clem Fandango!”
One year ago today, Fourth Wall Studios laid most of its staff off – me included.
The year since has been such a roller coaster ride.
We need to work as a community to develop a language of transformation so we can talk to one another. And we probably need to steal these words from places like animation, theater, puppetry, dance, and choreography. Words matter. They are abstractions, too—an interface to thought and understanding by communication. The words we use mold our perception of our work and the world around us. They become a frame, just like the interfaces we design.
*cough* transmedia *cough*
I never saw myself leaving New York. After Henry Hudson defeated the giant Cloverfield monsters wandering Manhattan Island by trapping them in steel and turning them into skyscrapers, it seemed like the perfect place to live, with just the right amount of wizards. Now, there are too many wizards, and it’s time to go.
WHO THE HELL MADE THIS?! I LOVE YOU!
This is awesome.
My favorite part of Broadchurch was whenever he came on screen, we yelled, “Rory did it!”
I left Doctor Who because I could not get along with the senior people. I left because of politics. I did not see eye-to-eye with them. I didn’t agree with the way things were being run. I didn’t like the culture that had grown up, around the series. So I left, I felt, over a principle.
I thought to remain, which would have made me a lot of money and given me huge visibility, the price I would have had to pay was to eat a lot of shit. I’m not being funny about that. I didn’t want to do that and it comes to the art of it, in a way. I feel that if you run your career and– we are vulnerable as actors and we are constantly humiliating ourselves auditioning. But if you allow that to go on, on a grand scale you will lose whatever it is about you and it will be present in your work.
If you allow your desire to be successful and visible and financially secure – if you allow that to make you throw shades on your parents, on your upbringing, then you’re knackered. You’ve got to keep something back, for yourself, because it’ll be present in your work. A purity or an idealism is essential or you’ll become– you’ve got to have standards, no matter how hard work that is. So it makes it a hard road, really.
You know, it’s easy to find a job when you’ve got no morals, you’ve got nothing to be compromised, you can go, ‘Yeah, yeah. That doesn’t matter. That director can bully that prop man and I won’t say anything about it’. But then when that director comes to you and says ‘I think you should play it like this’ you’ve surely got to go ‘How can I respect you, when you behave like that?’
So, that’s why I left. My face didn’t fit and I’m sure they were glad to see the back of me. The important thing is that I succeeded. It was a great part. I loved playing him. I loved connecting with that audience. Because I’ve always acted for adults and then suddenly you’re acting for children, who are far more tasteful; they will not be bullshitted. It’s either good, or it’s bad. They don’t schmooze at after-show parties, with cocktails.
A new Collins and Collins video emerges.
Vaporizing Dihydrogen Monoxide
This video exists because we had a Kickstarter perk that had us create more Collins and Collins videos. Only one person bought the perk but since we were all getting together to do one, we figured we should make some more.