Other than books, regular office stuff and my famous Charles M. Russell framed prints, I don’t have a lot of pop culture stuff in my office here at the ranch. I do have a small wooden shelf that I display a handful of “toys” and Chicago Bears memorabilia. Three action figures stand guard on that shelf, my original Captain Action (Ideal Toys) from the 1960s in the rare blue and purple costume, my original G.I. Joe Adventure Team with life-like blond hair and beard – not to mention shoulder holster and pistol – and from the 1990s, my Action Man driller figure that has to be one of most testosterone filled action figures ever.

Granted, I have a lot of old G.I. Joes and more Action Man figures that are pretty neat, but these three are a great representation of top notch 12-inch action figures that have been made during my many years on this planet. The Captain Action means a lot to me because I played out so many adventures with him as a kid and the fact that I’ve been lucky enough to be one of the Classic Captain Action comic book writers. That has been a dream come true for me. If you would’ve told me as a 5^th grade school kid that one day I would get to write Captain Action busting heads and ignoring names, my head would’ve exploded. My greatest honor was getting to do those two stories with Eduardo Barreto doing the art.

Now if only I could get the chance to write some G.I. Joe Adventure Team stories, well, my head may blow up yet. I thought I’d share these 3 photos with you. Maybe they’ll haul up some great childhood memories for you as well.

Your amigo with Kung Fu Grip,

Beau Smith
The Flying Fist Ranch
www.flyingfistranch.com

Who determines when a comic book creator’s career begins to fade or simply end?

Sometimes it’s the creator themself. They’ll miss multiple deadlines with little or no excuses, they’ll become “difficult” and rock the editorial or corporate boat, they’ll become tired of the monthly grind of comic books and decide to return to the nine to five working world,  and sometimes they just lose their passion for creating comic books or go crazy and quit.

I’ve seen and worked with young and older talent that has chosen a path of self-destruction when it comes to their career. They were bound and most determined to plant roadside bombs on their own career path and then step on them. I’m guessing when that happens there’s a more deeply rooted emotional problem that is way beyond my education and general people skills. Those creators are their own worst enemies in their goal to create. As long as they don’t drag others down with them, then I figure it’s their own talent to waste, and trust me, I’m sorry to say, I’ve seen some major talent wasted.

A lot of those personal reasons for self-destruction I can understand while others can be more puzzling. I’ve witnessed some creative careers take nosedives because of an editor that comes down with what I call “Raccoon Syndrome”. That’s when they discard a creator that hasn’t done anything wrong or detrimental to the book – and the book may even be months ahead of schedule – but are kicked to the curb because the editor sees another creator that is new, shiny and sometimes unproven in regards to handing a book in on time. The editor(s) will shuffle the talented, established creator off to limbo, just south of Buffalo, and bring in the shiny new creator without training them in what it takes to produce a monthly book, not to mention how that must work with crafting a compelling story and not just being a working cog in the current event of the month. Editors should be editors and teachers, not just traffic managers.

In another time, creators were moved off of books when the sales continued to move down past the point of making a profit. and only after everything was possibly done with the story line and character development that could be done. If this were true today then there really wouldn’t be a lot of people working on comics. The sales today are nowhere near what they once were when there was a wide customer base and the comic book business wasn’t a niche market like it is today. The mass market has not been cultivated in decades and we have turned the direct market into a backwoods incest fest. Everyone has their fingerprints on this almost dead body.

Today we have seen many creators’ careers reduced to fumes because of nothing more than the statement that “we’ve worked with you before”. It’s true, I’ve sat in the marketing and editorial meetings where talented, on time creators’ names have come up for books and the remark was made “Yeah, they’re really good and I loved their work on (insert major character/book here), but we’ve worked with them before.”

Please don’t get me wrong, I’m not saying that new talent shouldn’t be hired. During my time at Eclipse Comics, Image Comics, Todd McFarlane Productions and IDW Publishing, I was always the guy that was seeking out talent, both old and new. I did a talent search when I was executive director of publishing for McFarlane where I personally took in over 1,000 art submissions and pored over every one of them myself. I did this knowing that I was obligated to also educate and mentor the talent I picked. I needed to lift their talent to the highest level I could so that they could produce compelling comic books to the best of their ability. If I didn’t, then I would not only be short changing them, but us as a publisher. (You may request my Sainthood now.)

Cliques within the established comic book publishing world have always been around. Like any job, they always will be. But the thing is we need to rein in those cliques to where it doesn’t hurt the product and the entertainment of the readers. Cliques have increased with each new cycle of readers-turned-pro. Right now, after more than a few generations, we are at an all-time high. It’s at a very dangerous level. Management, media, editorial and creative circles are all infested with chokingly tight cliques. It has never been harder for someone new or someone established to break in – or back in – to comics. It’s a cold hard fact that everyone knows, but few will admit. Everyone is or has been guilty of it. It’s got to be reduced before we niche ourselves out of a comic book industry. Cliques will fade a creator’s career faster than bleach being poured on a pair of blue jeans. Cliques won’t go away, but they need to be controlled.

What can you do to make sure your career doesn’t fade away? First and foremost as a creator, you have to always…ALWAYS produce the best work you can and produce it on time. That, along with networking, marketing yourself and honing the actual craft of writing/drawing comic books will put you where you need to be to maybe overcome some of the hurdles I’ve talked about in this edition of Busted Knuckles. If it doesn’t, then you’ll always know YOU did YOUR best and you won’t serve yourself sour grapes, you’ll fill your plate with dignity instead.

• I’ve always enjoyed Doris Day/Rock Hudson comedies. I like the ones they’ve done separately as well.
• I like using an old school fountain pen.



• While reading in bed at night I always have The Weather Channel on. Nobody ever yells on that show.
• I hit the mute button on 99.9% of all TV commercials when watching a TV show.
• I’m a notebook/memo pad freak.
• I always carry a pocket knife. I have all my life.
• I own over 10,000 bookd in my personal library. (That’s just the hardcovers and not even counting comic book related stuff.)
• I own well over 100 pocket knives.
• I wipe down library books with Clorox disinfecting wipes when I check them out.
• I read one to two books a week. I sometimes have four books going at once.
• I’ve been a Chicago Bears fan since 1963.
• I’ve been a Cleveland Indians fan since 1964.
• I’ve been a Philadelphia Flyers fan since 1970.
• I still have over 500 vintage vinyl albums.
• I have a lot of guns.
• I love the internet and I hate the internet.
• I’ve had over 100 letters printed in comic books.
• I’ve had letters of comment published in TV Guide, Newsweek, Sports Illustrated, Surfer Magazine,Musician and Adventure Magazine.
• I once flew to Las Vegas with Pro Wrestling champ Bruno Sammartino. He told me many stories about the old country and wrestling.
• John Wayne’s oldest son, Michael Wayne, called me on the phone and left a message once.
• Actor Billy Campbell (The Rocketeer) called me and left a message once looking for Dan Fraga’s phone number.
• I was the fastest kid in grade school and Junior. High. Second fastest in high school. In college I was in the top five, for a while.
• I failed math every year from 7^th grade through 11^th grade. Summer School was my friend.
• I’ve never struck a female in my life.
• I’ve never done any drugs.
• I have 20/10 vision, but have to wear reading glasses (1.25)
• I misspent my youth.

Super Heroes: Should’ve, Would’ve, Could’ve

By Beau Smith

A few weeks ago here at The Flying Fist Ranch, we talked about the fact that after all these years Marvel and DC are still the cocks of the walk in the comic book business. The readers also made it quite clear that super hero comics and characters are still the most bought and sought.

For over 60 some years Marvel and DC have cultivated super heroes like crops of wheat with the best fertilizer. Others have come and gone, but Marvel and DC continue to stand strong with their super heroes.

Other publishers have tired to establish their own lines of super hero comics. In the 60s there were a few, Tower Comics, Gold Key, Dell, Harvey, Charlton and even Archie Comics, just to name a few.

The 70s proved to be a time when Marvel and DC really put some distance between them and any competition that reared its head. This was also the time when the mass market was changing and comic books were no longer a mainstay in super markets, drug stores and other traditional outlets of retail. Some even used to say that comic books were gonna die and this was a good day for it.

Then the 80s came along and with it came the power days of the direct market. The 80s brought on a real surge of other companies lookin’ to establish their own super heroes. Please remember, this was a time when the direct market was really strong. A time when a new generation of former comic book readers were now retailers, distributors, publishers as well as creators. By the mid 80s there were quality publishers poppin’ up that knew what they were doin’ and also brought some innovative twists to comics. I’m sure you remember names like Comico, Eclipse, First, Dark Horse, Pacific and others that made very strong impressions on the way comics and super heroes were bein’ done. It sure made Marvel and DC wake up and take notice.

This power surge kept right up into the early 90s. That’s when the things hit a peak of quality.

It was around 1992 to 93 that the inmates started runnin’ the asylum. The next batch of former readers started fillin’ up the positions of power in comics. It was just like when cousins start datin’ cousins. The more they reproduced the more messed up the product became. Art became more important than story and characters. The steak sizzled really nice, but it tasted like donkey dump. We had Image Comics, Valiant and more others than I really care to remember. Granted, I was a part of this durin’ my own time at Image Comics and Todd McFarlane Productions. At first I thought I was doin’ the right thing by educatin’ these guys on the details of retail, distribution and marketing, but I soon found out it was like teachin’ kids how to build a campfire and then havin’ em’ turn it into a flame thrower and start scorchin’ everything.

Just like after the fall of the south in the civil war, in the mid-90s the Carpetbaggers arrived. This time they came in the guise of speculators, foil, chromium, glow-in-the-dark, signed, variant covers. The locust that ruined the sports card market came in and devoured comics. Sucked em’ dry like an over-saturated vampire in a Steve Niles comic book. When they were through they left and moved on to action figures, card games and anything else they could strip mine.

I think that there was a huge misfire of potential during this time of Image, Valiant and the others. I really think that if attention would have been paid to story and the view of the bigger picture they could have up rooted Marvel and DC. If not uprooted then made them better. There is nothing wrong with good, strong competition. I think if you look back at the 80’s you’ll see that when the independents produced quality story along with quality art that it made Marvel and DC amp up their game as well.

When I worked at Image and TMP from 1992 through 2000 I always said that Image could have been the biggest muscle ever flexed in entertainment. Not just comics, but entertainment as a whole. The power and creativity was there. The problems and hurdles were many. Image needed to work as a team and not studio against studio. It was one company, but it was divided into many camps. Those stories I’ll save for another campfire tale here at The Ranch.

Image, Valiant and the others could have super-sized what happened in the 80s. All of comics would have been made better for it. For once the financial backing was there. They could have created a base for super heroes and characters that would have gone on for 60 plus years. I feel that they could have even taken things beyond just super heroes. That’s what would have separated and made them pass Marvel and DC. It was obvious that Marvel and DC was happy with just selling comics to the same readership and didn’t want to expand further. Or just didn’t know how.

Soon with the threat of Image and the others gone, like old people, Marvel and DC could once again put their teeth in a glass and take a nap.

Their world of super heroes was safe again.

The next time they would have to wake up was when CrossGen came around. But they only had to wake up for a little while. It was the annoying nudge of CrossGen wooing top line creators away that got the attention of Marvel and DC. The fact that CrossGen also had money made them go back to the gym and start joggin’ once more.

It wasn’t long before they started hittin’ the snooze button again when they found out that CrossGen wanted to do everything BUT super hero comics. CrossGen was a dangerous beast when DC and Marvel thought about them havin’ A-List super hero creators and money. Two very dangerous things to contend with. When they started hearing of CrossGen’s publishing plans and how they were goin’ make the readers change their buyin’ habits without super heroes, well… they knew it wouldn’t be long before they could start countin’ sheep again.

Think about it, if CrossGen had taken those creators and that money and started pumpin’ out superheroes, if Mark Alessi would have kept out of the creative folks face with his ideas, it might’ve been a whole different prom date.

To help expand things in comics a publisher is gonna have to own a few important things. First they are gonna have to have money. Next, top flight creators. They’re gonna need innovative creative management. Management that has a history of what has come before and also what it takes to go beyond. Management that guides and lets creators do what they do best and still keep them on track towards the bigger picture. With the market the way it is they’re gonna have to build with super heroes. After they’re established they can then widen the path with other types of books. But the splash has to be made with super heroes.

If you want to have a really nice house with fine art, and really nice things, you’re gonna have to make sure that your fancy house is built on a really strong foundation. Right now with the way the market is in comics, with distribution and with the buying habits of the readers, super hero comics are gonna have to be that strong foundation.

I know other publishers have tried to establish new super hero lines. That’s part of the problem. They always feel they have to have a line or a banner to put these characters under. That’s puttin’ the fat lady before the buffet. When publishers come out with a line/banner of characters or instantly start their own universe they cripple themselves right out of the box.

Readers have told me that they would rather a character start out on their own. Other new characters should be established from within that book. If a publisher does have three new characters then they should each have their own books and not be related. After a year or so, when they have proven they can make it on their own two legs, THEN you cross em’ over. No need to rush things. The retailers that write me and that I’ve talked to, have told me that they tend to order lines/banners about the same and they also cut them at the same percentage as the line rolls out. They order them as one thing instead of each on their own merit. That’s what they tell me. Remember, retailers are ordering things months in advance and sometimes haven’t even seen preview art or any kind of decent promo. Most of the time all they get from a publisher is a wad of hype followed by a “beauty shot” and a terrible tag line from an old Chuck Norris movie (“This time it’s personal” “It’s Payback Time!” You get the ugly picture.)

Publishers make an event before there’s an event to be made. Some things are supposed to build at a slower pace. Characters are one of em’. That’s also why money is such a key factor. It allows a publisher to take the time to grow the characters. The problem is most publishers don’t have that luxury.

As readers, do you think another publisher besides Marvel and DC can really make a run at creating super heroes that will be around for the long haul or are super heroes something we’ll all just have to submit to Marvel and DC?

Would you support super heroes from another publisher long term? What do you think they would need to do to make this happen? When it comes to super heroes will there ever be another publisher that can stand toe to toe with “The Big Two”? This isn’t an “Everybody vs. Marvel and DC Thing”. I’m just askin’ if you think there will ever be room for another super power.

I’m not askin’ for a debate on if there should even be more super hero comics . Fact has it that super heroes are the biggest and top sellin’ books. It’s obvious readers want em’. Can anyone else do em’ for the next 60 years?

I’m sure you’re gonna let me know. When ya do I’ll make sure everyone else knows.

Your amigo,

Beau Smith

The Flying Fist Ranch

This week’s Busted Knuckles is a little longer and a little more serious than usual. All your regular Busted Knuckles features will return next week so do not fear. This week we’re gonna focus our sights in a little and just cover one subject. One you may have strong thoughts on.

Recently, news Editor for The Comics Journal, Michael Dean contacted me when he had read the press release for my upcoming IDW Publishingmini-series, Cobb: Off The Leash. What had caught his eye was the mention of Al Qaeda being in the comic book and attempting a terrorist act on American soil.

I told him I was glad to talk about it. As all of you regular Knuckleheads know, I rarely miss a chance to talk about one of my projects or me. I’ve always respected The Comics Journal, it’s Editor-In Chief, Gary Groth, and Michael Dean. I may not always agree with them or understand all the strange, weird, comics and art they write about, but that’s just a matter of personal taste. Remember, I’m just an ol’ dumb stump-jumper. The thing I’ve always admired about The Comics Journal is that they ask the tough, smart questions. The questions other news sources in comics seldom ask. I may not always understand everything they cover in The Comics Journaland there are always big words I have to look up, but It always makes me think. I always learn something.

In the latest issue of The Comics Journal #275, which is on sale in comic shops and books stores everywhere, Michael Dean, along with R.C. Harvey and others, does a very in-depth and thought provoking article on“Cartoons Of Mass Destruction-The Whole Story Behind The Danish 12” and the article that I appear in called “The New Patriotism-The Comics Industry and The War In Iraq.” This article was written completely by Dean.

The Comics Journal #275

In this article he talks to me about Cobb and how terrorism plays a part in the Cobb story line. He also talks to the publisher of Freedom Three dealing with terrorism and super heroes fighting the terrorists, Rick Olney.

It is a long and thought out article that most everyone that reads comics or has anything to do with them will want to read. It’s one of those articles where everyone will have a strong opinion or thought.

I have to say that Dean worded the article much better than I could have. What I am going to do this week in Busted Knuckles is give you the raw, “unplugged” questions and answers that Michael Dean and I had so he could do this article. After you read this I highly suggest you order or buy The Comics Journal #275 to read the whole thing as well as the article on the Danish cartoons. You may agree or disagree, but you will find it of interest. Issue #275 is a thick magazine of over 195 pages. There is a lot more that you can read…and possibly explain to me. You can order the single issue here. In case you wanna order it old school, you can reach them at: The Comics Journal, 7563 Lake City Way NE, Seattle, WA 98115. As always, tell ‘em Beau sent ya.

Here is the “Unplugged” version of the Q&A:

MICHAEL DEAN: I expect to encounter a certain amount of your trademark manliness in a Beau Smith comic, but there can sometimes, especially in the current environment, be a thin line between machismo and jingoism. I don’t know exactly how Al Qaeda figures into your upcoming Cobb comic, but I’m curious as to whether you were concerned at all about how your Arab characters were depicted in the comic or how those depictions might be received. Were you worried at all that the use of Arab villains might contribute to a generalized mistrust of or violence toward Muslims in this country?

BEAU: Michael, in Cobb: Off The Leash, Al Qaeda plays a secondary antagonist role. In the story the main antagonists are the Russian Mafia. This particular Russian Mafia has worked out a “business” deal with Al Qaeda. In exchange a whole lot of money the Russians will give Al Qaeda some very special stealth detonators that the Russians have in their possession. Al Qaeda plans to use these special detonators to release a toxic nerve gas in a certain famous tourist spot in Florida. That’s how Al Qaeda figured into the upcoming Cobb comic.

Cobb: Off The Leash

When writing fiction stories my first concern is making sure that the story and the characters are entertaining in the roles that they play. Al Qaeda, The Russian Mobsters and Cobb himself are all characters in this story. They all have roles to play. Al Qaeda and the Russian Mobsters will be playing antagonists in this story line. Although they do things for different reasons they both will be indulging in things that are against the law in America where this story takes place. Cobb, being the protagonist will be trying to stop them from doing these crimes on American soil.

When most people pay money for fiction they generally know what the word fiction means. “Fiction is storytelling of imagined events and stands in contrast to non-fiction, which makes factual claims about reality. A large part of the appeal of fiction is its ability to evoke the entire spectrum of human emotions: to distract our minds, to give us hope in times of despair, to make us laugh, or to let us experience empathy without attachment. Fictional works—novels, stories, fairy tales, fables, films, comics, interactive fiction—may be partly based on factual occurrences but always contain some imaginary content.

Fiction has often been the target of censorship or boycotts, escalating into book burnings or bans. Extremist regimes like the Taliban have been even more prohibitive, restricting all reading to religious texts.”—Wikipedia Definition.

Fiction is a fundamental part of human culture, and the ability to create fiction and other artistic works is frequently cited as one of the defining characteristics of humanity.

You asked me if I were concerned about how the Al Qaeda characters in my story would be received and depicted. Do you mean am I concerned how Actual members of Al Qaeda will react? If they will refuse to buy the comic book? I doubt if they are going to be a major part of the consumer base of the direct market. As far as the general comic book reading public I hope they receive these characters as the fictional ones that they are written and depicted as. I would also guess that you are concerned about the other characters in the book as well. How will the Russian readership receive the Russian Mafia characters? Will they feel that I have caused mistrust? I guess I should also wonder how the large, white, blond, American male readers will react to Cobb himself. Will that cause mistrust of any large, white, blond, American males that don’t insist on saving the world from those that seek to do it harm?

I think that if any writer or creative person were to stop and dissect every character, brush stroke or block of clay they were working on then nothing would ever get created. That strange form of self-censorship would truly stifle any fiction or creative expression.

Yuri the Russian Mobster Talks Of His Deal with Al Qaeda

MICHAEL DEAN: What would you say to critics who believe that comics as a medium inherently trivialize whatever they depict and that terrorism is too serious a matter for comics to deal with?

BEAU: Like most novels, films, TV and other sources of entertainment and fiction, the greatest actors to put upon the stage are good and evil. Granted, depending on your location, beliefs and heritage, good and evil can often switch places. That’s where your demographics, consumer audience and location factor in. What sells in Japan may not in Brazil. Good vs evil is also serious. War, death, drugs, violence, murder, hate, love all these things are in comics (and the other forms mentioned) and have been since the beginning. Are these also too serious a matter to be in comics and other formats of fiction? What does that leave us with as a base of creation? Most of these critics, let’s take the ones you mentioned, need to do their homework and research before they become critical. It always helps when trying to prove your point and also to better understand the thing your are being critical about. I’ve found that most critics haven’t done their research or are merely looking to promote their own agenda using the cloak of a critic to do so.

I think an equal critical eye needs to be turned on the critic to insure that they are qualified to address the subject.

MICHAEL DEAN: I’ve seen at least one comic (Freedom 3) that attempts to replicate the Captain America cover wherein Cap punches Hitler ‹only with that title’s protagonists substituted for Captain America and Osama bin Ladin substituted for Hitler. Arguably, there was an atmosphere of titanic struggles between good and evil during the 1940s that had a lot to do with the expansion of the superhero genre in comics. How would you compare that atmosphere to what we have today? Do you feel the public would welcome a heroic figure who kicks Arab ass? Or are things too complicated, scary or tragic in the war on terrorism for it to yield much in the way of straightforward adventure entertainment? If your villains are going to be Arabs, how do you draw a line to keep the story from tipping over into racism as the anti-Jap propaganda comics on the 1940s often did?

BEAU: Time has a way of healing and forgiving. But one thing time should never do is forget. We cannot learn, progress and move forward if we do not learn from what has come before. If we forget, we do not learn.

Our world is a much different world than it was 60-70 years ago. Is it more complicated? No. It is just as complicated for us now as it was for others 60-70 years ago. The difference is we have the luxury of knowing our world and theirs. I’m sure they found the times of WWI and WWII just as complex as we find our time today. In fact, I’m sure they thought that their time was much more complex, scarier and more tragic than that time of the Civil War. Just as those of the Civil War must have thought their time was more scary, complex and tragic than that of the Revolutionary war. Why? Because like us, they can look in the present and the past, but none of us can look into the future.

It is very conceited for us to think that our time is the most anything. We lose all empathy with those that have come before when we think in that self involved way. It makes me wonder about how history is taught or if it is being taught if anyone is really listening. Unless a younger person of today would really sit and listen to another that was a part of that time what can they really know? I wonder if people forget what really went on during WWII. You mentioned the anti-Jap propaganda but not anything anti-Nazi. Have people forgot we were at war with Germany too? Germany prided themselves on being the original big ol’ white boys. Was it also anti-white propaganda when we had Batman giving Hitler a fist to the jaw on the cover of comics?

There were some very horrific things done by our enemies in WWII. Things just a tragic and terrible as 9/11 and things in the middle east today. Things not just done to and against us in America, but in their own countries against their own people.

America in more of a melting pot today than ever in it’s entire history. People from different countries have come here because they have chose to live here. Chose to become American citizens. I think that is a huge honor. We should be very proud to have a country so wonderful that people choose to come here and live. I am 100% behind always knowing where you came from and what your heritage is. If your family came from Russia, Sweden, Africa, China, wherever, you should always be proud of that. You should know your personal history. Something I’m not 100% about is the isolation factor of the becoming an hyphenated American. To me that is a dividing wedge that shouldn’t be hammered into a country that needs to unite not divide. It almost borders on the same vein as racism.

I will state here that I am a prejudiced person. I’ve always been prejudiced against assholes. Assholes come in all shapes, sizes, colors and religious backgrounds. If they’re an asshole then I don’t like em’. Every country on this planet has been an asshole at one point in their history. I guess the next thing is to figure out who is the biggest asshole. That seems to change from decade to decade.

You ask if I think there is a part, large or small, that wants to see Captain America or Superman kicking a terrorist’s ass on the cover of a comic, then my answer would be yes. I think there are people out there that would like to see that. You can’t say an Arab. Why? Because not all Arabs are assholes. Not all Arabs are terrorists, just as not all Americans are assholes. Were the people that destroyed the World Trade Centers Arabs? Yes, were they assholes? Yes. Is the Arab guy across town that owns the car dealership an asshole? No. Not everyone is an asshole. People should waste less time getting in the “Victim” line and spend ore time focusing in on who the real assholes are and how we can keep them from hurting all the non-assholes.

Being politically correct is like a union. If you don’t have enough it’s bad. If you have too much it’s just as bad. A medium ground must be found for it to be of any use.

MICHAEL DEAN: I know Cobb (release date is May 31, 2006) is not out yet, but have you gotten any feedback or concerns from editors or fans?

BEAU: The first press release on Cobb has been out for about a week or so. I have had only positive response so far. Every one seems really impressed with the art of Eduardo Barreto and I have been blessed with support from readers that are looking for a non-psycho, likable tough guy. Ted Adams, Robbie Robbins, andChris Ryall at IDW Publishing have backed me 100% on Cobb and feel that it is my best work to date. They feel that Cobb is the most commercial tough guy comic to hit comics in over 40 years.

They’ve read the first two scripts and have asked for no changes or had any concerns.

MICHAEL DEAN: How do you feel the comics industry has responded to the war in Iraq so far? I’m thinking partly of Frank Miller’s recently announced project and of things like the shipping of comics to soldiers overseas. Has there been too much patriotic chest-thumping or too much pussyfooting around controversy?

BEAU: Comics is an entertainment/pop culture place. Like Films and TV most think that since it is a creative community and business that it favors a liberal stance. Creativity has always been closely tied to a liberal base…even taken for granted. That’s a mistake. That is what has kept comics in this sales slump for so many years. Most publishers in comics, like movie studios, haven’t really cared or taken the time to find out who their consumers really are. You hear editors all the time whine and wonder why their book isn’t selling well. They can’t understand it… “All of them in the office love it.”

That’s the hitch. All of “Them” love it. Well, all of “Them” ain’t paying for the comics.

I think the less liberal factor is the big silent majority of the comic book reading public. I think they are well aware of what is going on in the world and in Iraq. I think they would love to have an escape area where there are solid good guys defeating bad guys. I think people want that outlet to release that steam that has built up since 9/11. The entertainment world didn’t give America an outlet to blow off non-violent steam after 9/11. Others have tried to compare Pearl Harbor and 9/11. They are equal parts the same and so different all at once. The difference was America was given a chance to blow off steam as the saying goes, when it came to entertainment in that time. We were not given that this time.

With Pearl Harbor we were given the chance to inhale what had happened then exhale. With 9/11 we had to hold our breath. As a nation we never got to exhale.

Too much chest thumping or too much pussyfooting in comics when it comes to terrorism? The PC factor was doing over time. The PC Factor put everything into a broad stroke not giving America and the rest of the world enough credit for knowing an asshole from an non asshole. There are good Muslims and there are bad Muslims just like there are good Baptists and bad Baptists. We should spend more time working on the asshole factor and less on the PC. We’re smarter than they give us credit for. It’s about time we asserted that intelligence.

MICHAEL DEAN: Speaking of controversy, there has been considerable criticism of the U.S. government lately for its covert surveillance of U.S. citizens without court approval and for its increasing willingness to take on the role of unilateral global policeman without sufficient approval or involvement of other nations. With its secret agent protagonist in the context of a war on terrorism, Cobb would seem to have the potential to step on both of those landmines. Have you given any thought to addressing those criticisms in the comic either by way of defending the government’s position or by questioning it?

BEAU: Cobb is a former level one secret service agent. He wasn’t a spy or secret agent. To be honest with you in this four issue series the story and action takes place in a short amount of time and there is not nearly enough of a clock for any of that to take any real play in the story. In fact, until Cobb lets himself come back on the government’s radar in the story he was pretty much off the grid. He has been in the system and knows how to work it.

MICHAEL DEAN: What inspired you to do a comic like Cobb? This one caught my eye, but have you done any other work recently that deals with either the war on terrorism or the war in Iraq?

BEAU: I pretty much grew up in a “Leave It To Beaver” lifestyle. I was pretty blessed with a nice normal life. I can remember early on being very impressed with the way my dad carried himself. He seemed to be liked by everyone and always did the right thing. I saw him concerned, but never scared. Due to his line of work in rough places I also saw that he could handle himself in bad situations. He never started a fight, but you could count on him finishing one. He treated women with respect and always had a polite way to him that others really admired. As a little kid I asked him one time how he learned to be that way he kinda smiled and told me that his dad taught him. He said that you just do the right thing and be a man. The important part was knowing the difference between right and wrong. The rest will take care of itself.

I found those same qualities in the movies & TV I’d watch as a kid as well as the books and comics. People likeJohn Wayne, Kenneth Tobey, Teddy Roosevelt, Race Bannon, and others were the ones I looked up to as a kid. I always wanted to be like that if I could and write characters like that. Cobb is one of those characters. I have to admit, I also modeled Cobb after one of my dogs. I’ve got an Australian Shepherd named Blue. As a working herding dog he doesn’t have any cattle or sheep that he has to herd and watch over. Aussies are real smart dogs and they like to have a job. It’s born in em’. When you don’t have a job for them they tend to invent one for themselves. In this case, Blue invented guarding me, the pack leader, 24/7. He is with me from the time my foot hits the floor in the morning until I crawl back into bed that night. He is with me from room to room. Always making sure that he is in maximum protection position to ward off an sneak attack from any direction.

He won’t let anyone into my office with out my say so. He won’t even let my wife in the bed unless I tell him it’ ok. He loves her, but he is devoted to me first. So I put that instinct to protect into Cobb. It’s hardwired in his DNA. He can’t help it. It’s been that way all his life.

One other thing on Cobb. A few fans have already found this “Easter Egg” I hid. If you look real close at Cobbyou’ll see that he kinda looks like somebody. Somebody that had grown up to be a full grown man. That person is Jonny Quest.

The most recent work that I have done involving terrorism and that sort of thing was right after 9/11. Paul Levitz from DC Comics called me up and asked me if I would write a story for their 9/11 book that they were doing. I said of course and jumped right on it. Wrote it that afternoon and had it to him the next day. Val Semieks drew it. I also did one for Billy Tucci at Crusade for a 9/11 book that he published.

That was the “Unplugged” Q&A for The Comics Journal. If you get the chance buy issue #275 and see how it turned out in print. As always I appreciate you taking the time to read all this and as always I invite your thoughts via email, message board postings and other outlets. I’m sure Michael Dean and the guys at The Comics Journal would also appreciate and invite any thoughts you may have. Remember, this is a civil discussion and not picking a fight. Smart folks, both liberal and conservative should always enjoy an intelligent discussion. Be one of the smart ones. I wanna thank Michael Dean and everyone at The Comics Journal for their time and enjoyable conversation. I wish them many more years of asking the tough questions in comics.

Back in 1990, I created, with artist Brad Gorby, a fun, over-the-top exploitation, drive-in-movie type of comic book series called Parts Unknown. It was a mix of those wonderful 1950’s space alien invasion movies, 1970s exploitation films with the much missed 1980s direct to video action movies.

Parts Unknown had a simple premise that there are invading reptilian aliens known as the Scalons who were seeking to not only take over Earth, mate with Earth women to create a new hybrid race and harvest tissue and organs from the men, then enslave or kill them. It was up to a couple of former alcoholic super cops, Pendlton Spurr and Maria Lucci, to stop the Scanlons. Spurr’s girlfriend, a former beauty queen and now news anchor, is kidnapped as the prime breeder by the Scalons and it’s up to Spurr and Lucci to save her.

Of course, no one believes two former drunk cops suspended for police brutality, and a former beauty queen that there are sex crazed alien killers on the loose, but that’s the way it goes in my sick comic book world.

The Parts Unknown series – there have been three, one each from Eclipse Comics, Image Comics, Knight Press – garnered more of a cult following than Gorby and I could’ve ever dreamed of. It seems we weren’t the only ones that loved science fiction B-movies. Even 21 years after Parts Unknown hit the stores, I still get letters and emails every week asking about it, talking about and signing copies through the mail and at conventions.

I’m always flattered by the loyalty and love for this politically incorrect little sci-fi series. This week I thought I would share with you some of the pages from the unpublished Parts Unknown Annual and the final wrap up issue of the last series. The art from the wrap up issue is by Warren Martineck, Evan Quiring, each penciled and inked their own 8 pages of the chapter. The Parts Unknown Annual was penciled by Chris Ready and inked byBill Nichols. As you can see by the pages, all the artists captured that fun, semi-animated, action packed style that Brad Gorby started 21 years ago.

I hope you enjoy these looks behind the curtain and maybe they’ll cause you to re-read your own Parts Unknown issues of seek them out online or at your local comic shop. Remember, anytime you want to talk Parts Unknown, just drop me an email.

A Comic Book You Must Read And A Character You Must Love

Justice League Unlimited #29

“Untamed”
Writer: Adam Beechen
Artists: Carlo Barberi & Tom Fowler

I’ve always said that the TV show Justice League Unlimited was everything the JLA comic should be. Well, this issue of Justice League Unlimited adds to my feelings. THIS is the JLA done right.

You’ve got great icon and obscure super heroes with lots of action and interaction. You’ve also got entertainment for all ages without talking up or down to either generation.

Best of all… you’ve got B’Wana Beast! Yes, you read that right… B’Wana Beast. Not that politically correct mistake, “Freedom Beast”. (Groan… that musta took a PC think tank to come up with.) No sir! B’Wana Beast, the real deal, the real “Lord of the Jungle.” Best part is B’Wana Beast is shown in all his manly, politically incorrect glory. He’s fighting, burping, bad mouthing and taking no prisoners. Superman can’t contol him and he can’t even contain this jungle wild man. He has to talk Animal Man into it.

Did I mention that this issue also has one of DC’s greatest bad guys in it? Gorilla Grodd! It’s like I died and went to Four Color Heaven.

Adam Beechen does a wonderful job in fleshing out B’Wana Beast and showing his Alpha Male personality. It’s funny; it’s fresh and downright entertaining. There is quick and witty dialogue exchanged throughout the story by every character. Everybody gets a good line or two. Animal Man tells this story and does it in a way that you understand and enjoy. Even though Animal Man may look like the Vertigo Comics version, he is much more enjoyable and real than that LSD trip we were all drug through in the 80s and 90s.

It’s a treat for me when two of my favorite obscure childhood characters get some spotlight in the DCU. No wonder this book is my favorite monthly comic.

The art by Carlo Barberi and Tom Fowler is perfect for the story and the book. Everything is big, clear and bright. The story telling is dead on and you can understand what’s going on without any ten ton blocks of text. This is a book you can hand to your kid or keep for yourself. Big time pleasure will be had by all. Beechen proves that you can write straight ahead action/adventure without any talking heads, gore, cussin’ or perverted twists. This is what mainstream comics should be all about. After the last two columns I did on the state of mainstream super hero comics its only fitting that this issue of JLU pop up to show that the right way can still be done. This is proof of what can be done when writers write for everyone (including themselves) and not just for themselves.

From the front cover and Grodd’s classic line to the last page, this issue of Justice League Unlimited is the best $2.25 you will spend this month. My wife said I liked this issue because B’Wana Beast and I act and talk the same way. Hmmmph! I told her she was crazy and then sent her to fix me a sandwich and fetch my loin cloth and helmet. Women! Can’t live with em’, can’t stuff em’ into a sack.

My suggestion is for you to go buy this issues and treat yourself to some fun the way it’s supposed to be. If you love the classic and obscure DC heroes then here is a place where you can get them without all the whining, preaching, endless jibber-jabber and intergalactic mumbo-jumbo. Please make sure you drop DC Comics an email and tell them that you want me, Beau Smith, to do a B’Wana Beast mini-series.  I will carry on the torch that Adam Beechen has so gloriously lit with pride.

A little red meat aggression is good for the soul. Just ask B’Wana Beast.

Your amigo,

Beau Smith

San Diego Comic Convention. I’m not there. Do I miss it? Does it miss me?

I attended my first San Diego Comic Con in 1987 while working as VP of Sales and Marketing for Eclipse Comics. It was in a small convention hall and the booths were basically card tables with some backdrops. It took me all of a minute or two to get from one end of the show to the other. It was all about comics and the only toy/movie stuff was vintage stuff that comic book dealers were selling.

The show had a family feel to it. By that, I mean everyone there felt like family. You knew almost everyone and in most cases everyone liked each other. You didn’t have hotel problems unless you want to count dodging street drunks, hookers and other shifty characters a problem. There wasn’t a Gas Lamp area. Instead the streets were lined with porn shops, tattoo parlors and “Sports” Bars where the main sport was seeing how many rubes you could bust in the head with a beer bottle.

As the years passed by, things changed, slowly but surely. The convention moved to the huge fancy home it has now, even thought it only took up a very small part of it. Newer and nicer hotels were built and they cleaned up the streets and made downtown San Diego a great and semi-safe place to be.

I noticed the subtle changes when I found I had less and less time after hours to hang out with friends for beers and dinner. More and more events and activities were planned that were con related and you were “on the clock” most every day. We still had fun, but you could feel the changes.

Through the years I rarely missed a San Diego Con. As I mentioned, I was representing Eclipse Comics after that, Image Comics, Todd McFarlane, McFarlane Toys and IDW Publishing. The last time I attended SDCC was the only time I was there as a freelance writer and not doing marketing business for a company. Most of the time my trip and expenses were paid for by the company I worked for; that can tend to spoil a fella. I never abused that privilege, but it was nice to know that I could take a party of retailers out for dinner, drinks and entertainment and not have to worry about if I could pay for it or not.

In later years, as the con got bigger and bigger, the show could become a bit of a grind. I found myself having to make sure I was in shape before I went out there. I had to plan my “boy’s night out” and limit it to one night. After all, I was there to work and I was raised to do my best for those that employed me. ‘Sides, when you have meetings early in the morning that could make or lose your company a lot of serious money, you want to be the most alert guy in the room. It pays off.

My time working for Todd McFarlane was the best of times and the weirdest of times. In the 1990s Todd could do little wrong in comics and toys and at times I felt like Laird Hamilton surfing a 60 foot wave. Rooming with Todd was like being in the eye of a funny talking hurricane. We were up at the crack of dawn and ran until, well, the crack of dawn. I don’t mean partying. Todd doesn’t drink or embrace the bar life. His energy levels are on the same level as fellow comic creator Billy Tucci Shi, Sgt. Rock.)

You should have tried to move across a jammed packed convention floor with Todd in tow during the height of his comic book career. Todd always took time to talk to folks and unlike some of his other Image partners – though not all – he was always nice to everyone. Todd rarely carried a wallet or money or wore a watch. That meant I had to be ready to whup out the company American Express card and haul him to the next meeting we had and make sure he was on time. Most of the time we had meetings from the start of the day until….well, like this one time, we had been going hard at it since 6 am. Something very important had come up and we needed to have a meeting with Steve Geppi and Bill Schanes of Diamond Distribution. This was during the days when there was more than one distributor and everyone was trying to sign publishers on exclusive.

Todd and I had meetings and functions all evening long, as did Steve and Bill. It was well into the wee hours of the morning. Todd and I looked at the schedule and saw that we had 4 A.M. open. That’s right, 4 A.M., as IN THE MORNING.

I called Bill Schanes up and he said that he and Steve could meet with us…at 4 in the morning. Todd was the only one that thought this was normal and fun. I think I can speak for myself, Bill and Steve, fun was NOT the first word that came into our heads. The meeting was important and that was what really mattered. The relationship between Diamond and Image was important and if 4 AM was the time, then so be it.

It was a good meeting that went on until 6 AM. It changed the way Image and Diamond would do business from there on out. Even in my sleep-deprived state, I have to say it was entertaining. Rarely was a meeting with Todd anything but boring. Todd and I caught about an hour of sleep, or in my case a coma like state, and then we set out for another day of the same.

My early SDCC days with Eclipse Comics were innocent and a lot of fun. It was the last of the era of multiple distributors, large per capita retailers, close relationships between publishing rivals and what I like to refer to as “The Closing Of The Old West”.

My years at SDCC with Image and McFarlane started out simple and innocent, but quickly changed into serious business and a tsunami of industry change. As I said before, it was the best of times, it was the weirdest of times.

My years with IDW Publishing was a throwback to my Eclipse days in the fact that we were a small company made up of old Eclipse friends, Like IDW President and co-founder, Ted Adams and writer Steve Niles, as well as bright new creators like Ashley Wood and Ben Templesmith. We started out with one Ashley Wood book at SDCC and look where IDW is today. It’s a nice, full circle touch that Dean Mullaney, former Publisher and co-founder of Eclipse Comics is now doing a wonderful line of books , The Library Of American Comics, through IDW. This is the kind of stuff I got into the comic book business for.

I left IDW about a few years ago and became a freelance writer full-time. (Well, almost 100%. I still do some side marketing work for various companies in comics when the urge hits (and the opportunity is interesting. You can always HIRE ME!) It’s also been a few years since I attended SDCC. Oh, I know of the crush that it’s become, and part of that I don’t miss, but there’s also a part of it that I do miss. It’s just like boxing. You don’t really enjoy feeling your ribs get sledge hammered or your nose getting busted up, but somehow it all becomes worth it when you’re in the middle of the fight, breathing through your mouth because your nose is caked with dry blood, one eye is swollen half shut and you think you want to hear that bell ring. Then you see the opening, give ‘em one to the ribs and seal it with an uppercut that shakes their whole family tree. In reality you may be standing in the middle of a half taken down booth with the sound of forklifts running by, but in your head, you made it through the fight of your life and somebody is calling you champ.

So to answer my own question, Do I miss the San Diego Comic Convention? “Yeah, I do.” Does it miss me?

I sure as hell hope so.

Your amigo,

Beau Smith

The Flying Fist Ranch

If you’ve listened to me before then you’ve heard me mention my passion for low budget, direct to video/DVD, B-Movies. They’ve been something I’ve enjoyed even before I knew what they were.

When I was a kid I just thought they were cool monster and tough guy movies. I didn’t know A-List from D-List. I didn’t know or care if a movie was made for 10 million dollars or 10 cents. If I liked it, then that was good enough for me.

In the last 20 years I’ve come to appreciate B-Movies even more. I’ve met and become friends with lots of folks that have made and continue to make low budget films. Folks tend to call them independent or “indy” films now days. That’s fine. The meaning of words change all the time anymore.

By getting to know some of the people that direct, write, produce and star in low budget movies I’ve come to find that they have the same passion for film making that we do in making comics. The two are a lot alike. They’re different processes and mechanics, but still very close to being the same.

The passion and desire of the creative people is the same as comic book creators. The sad and bad part is that the “suits” meaning the money people, distributors and studios are worse than most publishers, distributors, promotions and marketing people in the comic book business. I don’t mean to paint them all with black hats, but I work on both sides of the fence and know the workings and reasons of both sides. It can sometimes be the most frustrating part of the industry.

Something that the creative end should always remember is that no matter if it’s comics or films it is still a business. You’re in business to make money. It’s not a charity. The thing that the business end need to remember is that they are NOTcreative talent and they should leave that to the ones that are.

It’s sadly amusing how both sides always seem to forget these things. Everybody thinks they know how to sell and everybody thinks they know how to create.

It just ain’t so.

The main point of this week’s Busted Knuckles is to get you to think about trying some of these low budget films that are out on DVD. I’d say try em’ at the local movie theater, but the chances are slim that you’ll find em’ there. Your best opportunity is to check out your local Blockbuster or Mom & Pop video store. Online is a great way to treasure hunt these hidden gems as well.

One of the online tools that I find most helpful is The Internet Movie Data Base http://www.imdb.com I’m sure most all of you have been in the know about this site for years. It’s a great resource to find out more about the people and films that make very entertaining low budget movies.

Back in the stone age of vinyl record albums I used to pour over the liner notes to see who produced and played on records I liked. I would then look for these people on other records. I figured if they were on something I like they must be making great music elsewhere. I was/am a pop culture marketing department’s dream come true. I continue to do all their leg work for em’. I always did the same hunting with movie and TV credits.

I know that some of the low budget films take themselves a little serious, sometimes too serious. They are the first to call themselves “indy” films. Like some of the “indy” comics, they ride a high horse and think they are much more clever than anyone else in comics , especially those “childish” super hero books. It’s kinda funny when these die-hard indy creators get a nibble from Marvel or DC to do a super hero book they jump on it like my buddy Crabtree on a drunk babe at closing time.

It’s the people that make the low budget Action and Sci-Fi films that ya see on cable TV late at night or on the Sci-Fi channel in prime time that have my admiration. They know what they’re doing and they’re having a good time doing it. It’s a wonderful minor league filed to learn and hone their craft. For actors it’s a great place to make contacts, be seen and try and take a sub-standard script and make it shine. It’s a great place to grow and learn. It’s also a great place for older actors to work regular and squeeze every dropout of their name. As we all know, in Hollywood they want youth, well in low budget movies they still admire and love to work with vets that can teach by example to younger actors starting out.

There is no shame in being in a low budget film. It’s a positive opportunity on a learning, teaching and film making level. The chance to make connections and learn is priceless. You can use it to move up into bigger budget movies or stay and make a home for yourself. As long as you learn , earn and have fun then it is worth it.

Today I’m gonna give you a list of some low budget Action and Sci-Fi movies that you should rent or buy. I’m gonna give you some names of actors that frequent low budget movies that always give you a fistful of entertainment. I’ll also list up a few directors to look for when searching up some fun beer and Chili Cheese Fritos films. You should use The Internet Movie Data Base to research these films and people even more. I think it’ll open up a whole new world for ya.

Keep in mind that you have to go into this with the right attitude. You have to leave your film snob ego at the door. You have to look at these as guilty pleasure entertainment. This is the fast food of the film world. Yes, there are some hidden gems here. I think you’ll find that there are some actors, screenwriters and directors that are as good if not better than any A-Lister out there. Remember, there is more to Hollywood than just being good. There’s the minefield of agents, producers, suits, lawyers, publicists, media and other ticks that can keep a good person down or off the radar.

You know how much I believe in word of mouth. Consider this me practicing what I preach.

Here’s the list. I’m not gonna go into any reviews or long notes. I’ll let you and The Internet Movie Data Base have that fun. I think you’ll be surprised at just how much fun you’ll have. I will post up a Four Star symbol **** for those that are must sees. These are in no particular order. I realize that I may not list or remember one of your favorites, I ain’t perfect so don’t get bent out of shape if one of your favorites is left off or forgotten. This isn’t here to start arguments it’s just a starting point, a guide line and I hope an opportunity for you to be entertained. All of us would love to hear about some of your favorites. Share in the wealth. We all wanna be pop culture rich! Have a little fun.

Beau’s Manly B-Movie, Low Budget, Direct To DVD/Video Choices:

Films:

The Immortals ****, Top Of The World ****, The Elite, Double Tap **** (Geoff Johns was an assistant on this), Made Men ****, White Tiger, Thick As Thieves, Detour, Lone Justice, Project: Shadowchaser ****, Automatic ****, The Fighter ****, Nemesis ****, Deep Evil ****, High Voltage ****, Supreme Sanction, Body Armor ****, Montana ****, The Mountain Men ****, Last To Surrender, The Stranger, Acts Of Betrayal ****, Peacemaker **** (NOT THE GEORGE CLOONEY ONE), Ghost Rock ****, Blood, Guts, Bullets & High Octane, Bounty Hunters, Back To Back ****, Back In Business, Drive ****, Blackout, Stone Cold ****, One Man’s Justice, Mean Guns ****, Rapid Fire, Direct Action, Detour, Crossworlds ****, Deathwatch ****, Dog Soldiers ****, Under The Gun, Deep Rising ****, The Substitute, Critical Mass, Lethal Force, Absolon, Equalibrian, Maniacts ****, Killing Cupid ****, Curse Of The Komodo, The Eliminator **** (So bad it’s good), Unstoppable, Freeway ****, Sniper, Lone Star State Of Mind ****, Red Scorpion 2, The Circuit 1 & 2

Actors:

Roddy Piper, Olivier Gruner, Martin Kove, Frank Zagarino, Cary Tagawa, Eric Roberts, Brian Bosworth, William Forsythe, Billy Drago, Danielle Burgio, Ona Grauer, Jeff Fahey, Gary Busey, Michael Worth, Cynthia Rothrock, Gary Daniels, Michael Rooker, Michael Madsen, James Hong, Jeff Kober, Matt McColm, Ron Perlman, Clint Howard, James Russo, Frank Stallone, Tim Thomerson, Reb Brown, Vernon Wells, Marc Dacascos, Richard Norton, Don “The Dragon” Wilson, Michael Dudikoff, Christopher Lambert, Dolph Lundgren, Treat Williams, Richard Tyson, Paul Logan, Tim Abell, Marshall Teague, Kathy Long, Rachel McLish, Brion James, Sonny Landham, David Patrick Kelly, James Remar, Wolf Larson, Patrick Kilpatrick, Lou Diamond Phillips, Jason Scott Lee, Robert Ginty, Sam Jones, Gail Harris, Melissa Brasselle

Directors:

Art Camacho, Rick Jacobson, Albert Pyun, Isaac Florentine, George Erschbamer, Sidney J. Furie, Ringo Lam, Mark L. Lester, Jim Wynorski

You might wanna try out any film from DEJ Productions. They’ve got a lot of fun low budget movies that will entertain ya.

I know it’s a long list , but trust me, I could’ve made it longer. I hope ya have some fun trying these out and maybe finding some new favorites. Remember, these are not supposed to be Oscar Award Winners. Good thing, because most movies that win Oscars bore me to death. So if you’re looking for The Notebook, A Beautiful Mind and Terms Of Endearment …don’t look here or in my DVD collection