Ratface: Yeah, I love the details. Scott gives me all his details and we work out the in-jokes and stuff. Kevin loves to see them on-set and a lot of them do make it in; Kevin will go for a close-up here, or an insert shot of this and it’s my feeling that as long we give it to him, what he likes and has time for, he can bring into the movie and work with. Like the decorator brought this horrible, taxidermy marmot on the set, and it was not in the script, but Kevin saw just that horribleness of it, and him and Will Ferrell did a whole little routine about it. [Note: Sadly this scene, though hilarious in it’s own right, was dropped for time reasons from the final cut.] I really feel I can add to the movie when I can give more than what Kevin expects and then he can either use it or not use it, just as long as there’s enough toys on the set - visual things that Kevin can work with.

Mysterio: Speaking of all the visual things, props and stuff that get put up on screen, still unfortunately stuff does get lost. Ever thought about getting something together in a coffee-table style book, showcasing all the props and visual from all the flicks similar to what ‘STAR WARS’ did for their props and toys for the fans in book form?

Ratface: Well after the movie’s over, Kevin takes almost everything. So a lot of this stuff up to DOGMA and CHASING AMY, you can go see at his comic book store. So I guess that would be up to Kevin.

Mysterio: Just a thought. Take some nice photos, depicting where they were featured in the films, their relations to the ViewAskew timeline and universe, detailing inside gags and such. I believe the idea has even been talked about over at NewsAskew.com as well.

Ratface: I’d be excited!

Mysterio: Yeah, I think a lot people would be hip to that idea since this is indeed to be the last final chapter in the ViewAskewniverse.

Ratface: Yeah we should do that!

Mysterio: How easy is it in working with Kevin; from the standpoint of your working relationship of production designer and director? Do you guys have many creative differences or agreements when initially mapping out the process for a film?

Ratface: Well I think we end up agreeing on a lot of stuff. I’ve been on other movies where the production designer and director aren’t agreeing on anything. But I think, from what Kevin says to my ideas, about 80%. Either he’ll nix them while they’re still in the conception stage or it will get so far to where it’s almost done and Kevin will make radical changes. I’ve seen on other movies, whole sets will just be trashed because the director doesn’t like them. But Kevin gives you a lot freedom, I mean in all the departments – someone will suggest an idea before and Kevin will have you run with it, and you show him, and he’ll work it into the movie. For me, I think I’ve gotten more freedom on this movie in particular, and in all of Kevin’s films, than I have on any other movies I’ve done. In the way I feel that he appreciates my work, is that he uses it. He uses it, he likes it, he doesn’t come up to me and go, “This is horrible – fix that!”

Mysterio: When I was talking earlier with your graphics guru, Scott Purcell, he mention that working on CHASING AMY was probably the most difficult job for him because he had to start creating all these ideas and graphics for the Askewniverse essentially from scratch, but that it gradually became much easier on DOGMA and JAY AND SILENT BOB STRIKE BACK because Kevin essentially kept using the same concepts and designs only broadening the ideas from those original concepts. Would you agree with that, since most of the groundwork has already been pre-laid, that it does give you more room to play with ideas and more or less “stretch” out the Askewniverse especially with this film?

Ratface: Yeah, we started creating the universe on AMY and we had a basis for the things that are there. I mean the whole “Nails” thing came about because all the characters in AMY smoked cigarettes and we couldn’t get clearances on any cigarettes – Marlboro wouldn’t give in, I mean nobody wanted to be in our movie! So I said, “Let’s just create a cigarette,” because a cigarette pack is in a good 50-60% of the movie. So that’s how “Nails” came about. Whenever we would get any product like that, we would just try and create it and I just like the idea that we’re creating a whole different universe.

Mysterio: It’s funny how just from that one idea that came about in AMY, just because you we’re forced to come up with a cheap, creative solution around it, that it’s sort of help to erupt into this whole big bang theory of an alternate universe which has continued to grow and expand with each film, even branching out so far as to be included into a backstory of sorts, especially with Holden’s character in this film, which adds itself to being a sort of funny in joke.

Ratface: Yeah! After Holden has quit drawing comic books, he’s becomes a graphics designer. And we say, “Well, he’s a graphics designer, and maybe he’s sold out a bit and we can push his character a little.” So Holden’s doing an anti-smoking campaign, PLUS a big campaign for “Nails” cigarettes. Hopefully that’ll come out.

Mysterio: Yeah, having Holden sort of playing both sides of the coin there is pretty funny in it’s own right.

Ratface: Well, we’ve loaded this entire movie with not only inside jokes from all of Kevin’s movies where we’re wrapping up things left out there, but we’re also bringing in things from all the movies that we’re spoofing. Pus just all kinds of popular culture things that if you looked at every single scene in this movie, you could watch it again and again and find more in jokes and things. Not everybody is going to be able to get all of them, but I think if you’re seeing it with say a group of ten people, some will get this and some will get that that it’s almost factions in to be like a puzzle movie in that way.

Mysterio: You know Rat, I’m beginning to see a drinking game in here somewhere. But I’d think with all the pop culture and multi-references in this film, that would be extremely difficult do and design and map out as such that it would, in a sense, be more difficult than AMY. Can you go into detail and explain how you came up with the design and concepts for one of the films major set pieces that must’ve set you back a couple hundred bucks – The Bluntcave?

Ratface: Well the first thing we did was look at the comic books and see what kind of Bluntcave references there were. And some of those references are from different ‘Batman’ and superhero flicks. And I grew up in the sixties – I’m 39 years old – I always end up being the oldest one at all these meetings I go into.

Mysterio: Well somebody has to, Rat.

Ratface: I know… usually the DP gets to be older than me.

Mysterio: Hmmm… he is isn’t he?

Ratface: Yeah, almost always the DP.

Mysterio: Well, there ya go then – you’re saved by the DP from being singled out as being the elder of the bunch.

Ratface: (laughs) So I really like the 1968 Batcave. I’ve always just loved the look of that cave. So we kind of went with that shape and brought in some of those elements. For example: The Bong Reactor is the 1968 Bat Reactor – so I thought that was funny. We made the decision, because we we’re shooting in Hollywood and not anywhere else, that I would find as many Hollywood props and get as Hollywood as possible and then make fun of it on top of that. So you’ll see machines from ‘VOYAGE TO THE BOTTOM OF THE SEA’ from ‘THE TIME TUNNEL’ to whatever I could possibly find. And I don’t even want to give them all away right now.

Mysterio: Well this interview is gonna hit upon the film’s release, so please, if you will Rat, spill.

Ratface: Ok, well also in The Bluntcave you’ll see ‘The ROCKETEER’ jet pack is in there (next to the “Blunt saber”) – that’s the newest thing that’s in there, but some of the machines are older than that. There’s stuff from ‘BATMAN’ and things like that and all those labels, things Jay would say but in the ‘Batman”-style. In other scenes, there’s the diner in front of Vasquez Rocks called the “Arena Diner” from the ‘STAR TREK’ episode where Capt. Kirk fights the lizard monster; there’s things like, “Marshal Willenholly” from ‘LAND OF THE LOST’ and we decided to do “Sleestak” County, Utah on all the badges and police cars. There’s just things in every scene.

Mysterio: So going back into The Bluntcave, how did you come up with the design for The Bluntmobile?

Ratface: The Bluntmobile wasn’t in the comic book, they did more of the modern Batmobile and I kept thinking that we’ve already seen it. No matter how spoofed you can make the Batmobile it’s not gonna really visually read, and it was just going to be on the set – they weren’t gone ride in it or touch it or anything, so I decided to go for a real “Bluntmobile” look. So I took, what we shaped into a giant joint to sit in the middle and two marijuana pipes on either side, but they would fit in the pipes of the cockpit. And then the back would light up to look like it was burning – it would be the exhaust and the fire…

Mysterio: And you’ve got bong pipes steaming out from the back of the car as well.

Ratface: Yeah, the back has more exhaust pipes like a dragster. And then we put a cloth across the middle, like a big band, that read, “Jersey Blunt”.

Mysterio: What kind of material did you create The Bluntmobile from for those that would like to try and duplicate a model of their own?

Ratface: It’s mostly fiberglass, but some is Styrofoam that we had computer shaped, some is sculpted foam. Then we hard coat that and set it on a metal chassis, use plexi-glass for the exhaust pipes, add in the dashboard and you’re all set!

Mysterio: Now going back to Scott Purcell’s role on the film, doing all the designs and stuff in the flick, it seems that his stuff is what most fans see in the flick and immediately want for their own. Whether it be a poster, or T-shirt…

Ratface: Kevin takes a lot of the T-shirt designs and you can buy those (at ‘Jay and Silent Bob’s Secret Stash’ – http://www.viewaskew.com). Now the News Askew site (http://www.newsaskew.com) has a lot of Scott’s designs on there that you can download, like the “Nails” cigarette packs, stuff like that. Maybe we’ll make some more of that available.

Mysterio: Now I was lucky enough to have been on-set everyday, and in such, have talked with you on numerous occasions, seen early blueprints and designs that most people outside of your department wouldn’t be privy too. I’ve also witnessed how you and your team put your problems skills to work during such a tight production schedule such as on this film (one such instance was detailed in my earlier on-set reports). Can you detail the most difficult and/or problematic task you and your crew had to overcome and how you went about handling and resolving that as a team?

Ratface: Hmmm… I mean everyday there ends up being something; there’s just so many details. Construction has to go in and build it first, the painters have to paint it, and then the set-dressing department goes in, then the painters age it – all the time it has to work. The there’s little details like Kevin decides that maybe we have to remove a seat from one of the vans we have. So we remove the seat, which we haven’t removed before, and then we’re looking at a big, unpainted hole. I’ll have seconds to get someone to paint that.

Another thing is the schedule – it’s so “star”-related. Every day it could be a different star and if we don’t have that star’s availability we end up having to move that set. Then sometimes we have to take down that set, that’s already done, store it away, put another set in it’s place and return it at a moments notice. So that’s been the hardest thing. On any movie, the communication is really difficult because someone will - say on-set, they’re rushing around, they’ll make a change, it’ll filter down to me hours later, which then my crew’s off for the day so we’ll have to do it in the morning. One of the biggest things was in our sewer tunnel set. Kevin looked at the hole he had to slide down and get stuck in, and looking at it he thought it wasn’t tight enough so I had to make it smaller. We had seen it before and talked about it so now it’s way late in the day, about five or six o’clock and we have to shoot it for the very next morning. So we looked at the problem, we realized that there’s no way to solve the problem BUT to rebuild that one section of the set. So I sit down with all my departments and we figure out how to solve the problem. In this case we decided that we can cut one of the tubes and squeeze it tighter and tighter together – rebuild and repaint the wall and then we just spent time and worked through the night to get it done. That’s the only time on this movie that’s it’s happened, although it did happen also on DOGMA.

Mysterio: Really? What problem was that?

Ratface: When the “Shit Monster” appears and he explodes out of the toilet, we blocked it out on blueprints and talked about it with Kevin, but when we got the set that day, working it out, Kevin decides it just has to come from the other side of the room. We looked at, we called in all the crews and moved the bathroom from one side of the room to the other side, and we worked all through the night to do that. I’m lucky that I’ve got really great crews. Elise Viola, who has been my art director on DOGMA and on this one, is really, really good. I couldn’t do it without Elise. I mean, basically I can’t do anything without my staff! I’ve been so lucky to get really good like Scott Purcell and Elise Viola, my construction coordinator, Eric Schultz. On DOGMA, Buster, my construction coordinator on that, was amazing. The problem on DOGMA was that we were going to have a real train and because of a schedule change, we lost the real train. So we had ten days to design and build a real train over the Easter holiday. So I had crews working 14 hour days, 7-days a week.

Mysterio: They must’ve loved you for that.

Raftface: (laughs) Yeah! So we ended up building that train from scratch and then UNBREAKABLE bought it afterwards and they shot with it.

Mysterio: So the same train you built dor DOGMA was used in the opening sequence of M. Night Shaymalan’s film then?

Ratface: Exactly.

Mysterio: So your fingerprints go on beyond just working on Kevin’s films then?

Ratface: Well I worked on THE SIXTH SENSE and UNBREAKABLE just as a decorator assistant, which is the buyer. So the designer would plan the set, the decorator would talk about what the mood of the rooms should be, and if they needed a sofa or a desk here, I then have to physically go out and find that particular item.

Mysterio: Since you’ve worked with Kevin on the past 3 flicks and work alongside pretty much the same crew, you MUST have some entertaining Kevin stories to tell. So do tell Rat.

Ratface: Um…

Mysterio: Let me guess, there are just sooo many stories to tell that it’s hard to just think of one, right?

Ratface: Um, yeah. Hmmm…

Mysterio: C’mon, I can tell just from the look on you’re face that you want to talk, so talk!

Ratface: Well, when it comes down to it, I’ve worked on a lot of movies where a lot of nasty things have happened, but the crew on Kevin’s movies, are just nice, genuine human beings, so there’s really nothing to tell.

Mysterio: Ok then. Let’s move on and say for anyone out there who is thinking of getting into this field as a production designer and do what you do, what advice would you give them towards getting closer to becoming a production designer?

Ratface: Well if they’re going to go to school, I’d really recommend they take theater design courses; learn to draw, learn to style. I think a really good resource now is in different magazines - all kinds of different magazines. Research, and find your hobbies and bring them in, learn what all the film positions do. If you had some carpentry experience and knew how to build things and paint things, know how movies are made and have been around film sets that’s obviously a plus. The other thing is to just to work. Go work on movies – small independent movies, you’ll want to make your mistakes on those and learn from them there.

Mysterio: And student films…

Ratface: Definitely student films, but just work. If you want to do it, just do it. Somebody out there is making a movie for forty dollars somewhere and just get on and work with them.

Mysterio: And I think lack of budget forces you to become more creative and cost conscious as well. Like with your work on AMY, what was your production budget on that?

Ratface: Not including payroll - money just to spend on all the sets, props, everything you see in the movie including all the graphics and posters, the TV set, was about $10,000.

Mysterio: Which is a very paltry scale, but nonetheless looks terrific with what you and you crew did and came up with for what little you had.

Ratface: To me that’s the fun of design. We had so little, but we had to do so much. I think there are very few sets on this movie that are less than $10,000.

Mysterio: You and Kevin seem to have a very close working relationship together. Do you see yourself continuing to work with Kevin past this film and into other films of his?

Ratface: Kevin’s been happy with all the sets. I think that both of us will both want to work together again, if our schedules permit.

Mysterio: Speaking of sets, what was Kevin first impression upon seeing his precious Bluntcave completed?

Ratface: With all the lights turned on and the Bluntmobile in the spotlight, he just loved it. He gave it a big “Sweeet”. Kevin’s highest praise is “sweeet.” When he just looks at it and gives you “sweeet.”

Mysterio: You know you’ve reached the pinnacle of your career with a compliment like that!

Ratface: There’s no higher praise!

[Just then Rat gets another call from the stage. It’s been his second since doing this interview.]

Mysterio: So it sounds like it’s back to the set with you so with that Rat, I’d like to thank you for taking time out of your extremely busy schedule in sitting down and talking with us. It’s been “sweeet.”

Ratface: Thanks!

As for those wondering were my review for the film is, well do you really want such a biased review? I think not and besides, many of you have already seen the film and it’s been reviewed on this site as well as several others, mostly giving way to many favorable reviews, that there’s really just no point. I’m sure if you’ve followed my reports over the past eight months (whew!) you pretty much already know my feelings about this film and where I stand on it.

Although granted, there have been some negative press on the film (Hollywood Reporter, Variety), but this film isn’t a film for the critics, it never was intended to be. In fact, Kevin thought he’d be slammed much harder by the critics on this film more so than any of his others, but he didn’t let that notion stop him from making this film, his last and final “valentine” to his fans who’ve stuck by him, even through DOGMA. But for every negative review, there have been at least a dozen positives, if you’ve been reading the net or talkbacks of recent. Even those who weren’t familiar with Kevin’s past films seemed to enjoy the film immensely in the test screenings and focus groups that given that, if you don’t laugh watching this film, check your pulse - you might be dead.

When I read the script back in January, I knew how much fun this was going to be, and hopefully for those who’ve already seen the movie (and to those that intend to this weekend), you’ll see and know why I’ve stuck it out for this long and have given this film as much coverage on this site as I have. Kevin has been more than gracious to me, allowing me full access, access that would not exist given any other way, and yes, there were things I knew that I chose not to divulge out of respect given the situation. But for everything that was withheld, there were also so many “exclusive” things that Kevin allowed me to bring to you all in turn: interviews, photos, Q&A’s and such. I know no other director that would feel comfortable enough in doing so, and for that I’d like to say, “Thanks Kev – it’s been fun.”

But now it’s over. Yes, sadly it is. Some of you have given me shit, and rightfully so in some cases, but this gig was no cakewalk either. Either way, some of you will undoubtedly ask me, “What happened to so-and-so’s interview” and such. If any other such interviews incur (which they may), I’d look for those later down the road closer towards either the DVD or documentary release.

The movie’s pure summer fun, and a lot of folks worked damned hard on this film, trying to make it as much fun as possible, so I urge you all to sit through the end credits and give ‘em all well deserved props, it takes a lot of work to make you folks laugh so hard, and hopefully laugh loud and hard you will this weekend. But trust me, you’ll want sit through them end credits (especially if you’re a reader of this site or have ever mouthed off in the talkbacks, I’m sure seeing this film will give all you shit-talkers something else to bitch about. So gas up, and then bring your fire!).

Bottom line - if you’re a Kevin Smith fan or even a moderate Kevin Smith fan, this movie is for YOU. For those that never liked Kevin Smith or his films (you know who you are and you’ll prove it in talkbacks), this film will probably not sway your opinion of the man or his flicks. But don’t take my word for it, here’s the critic’s review ads that’ll be running in papers this weekend.

So enjoy the flick, and thanks to the crew over at View Askew, News Askew, Dimension Films and everyone whose been reading and following these reports and interviews since day one. It’s been a helluva fun ride - now go see a helluva fun flick.

-Mysterio

Wait!! It's over?!?! You mean, that's it?!? But... but... but it CAN'T be over!! Who's going to teach me new dirty words and give me funny cigarettes and entertain me with a constant parade of movie stars??!!