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An Interview with Matt Schofield (Simpsons Storyboard Director) · Four Finger Discount (Simpsons Podcast)

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Four finger Discounted. Hey everybody, welcome to a very special bonus episode of
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four figure discomp This week, I am joined by the current storyboard director of
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The Simpsons. His name is mister Matt Schofield. He is a fellow Ozzie
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who has worked on the show since all the way back in season eleven,
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so twenty five years he's been working for The Simpsons, so he's got plenty
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of great stories. We discussed the recent writers slash actor strike and the impact
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that had on producing the show. We discussed the current diversity of the writer's
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room, as well as his amazing new comic. It's called Steamroller Man and
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it's better to be published for the very first time. It reached his goal
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on Kickstarter a ten times its goal, so it's been absolutely smashing it there,
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so check out the link for that in the description of this podcast,
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steamroller Man and support Matt there. As a result of that, we also
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discuss things like the Simpsons comics and whether they shall return, as well as
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Ozzy things like Bertie Beetle showbags. I'm sure there's Ossie listeners out there.
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He go, I know what a Bertie Beetles show bag is and looking forward
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to listening to these two gentlemen talk about it, but also please don't forget
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to rate and reviews on Apple podcast Spotify, where you do find this show.
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If you want to get in touch, it's mailbag at four figure discount
1:12
dot com dot au. If you want to get early add free access to
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all the shows he add the four figot discaut network. You can support us
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on Patreon. All the links in the inscription of this podic. For now,
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sit back and enjoy my conversation with Matt Scofield. So, Matt Simpsons
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in twenty twenty four, how is it. How's the life at the Simpsons
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studios this year? It's it's good. I mean, we just had the
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you know, we went through the writer's strike and then there was the actors
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strike that followed it pretty soon. And you know the great thing about that
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was that the animation workers and my crew, my fellow crew members and I
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were able to sort of keep working for you know, as long as we
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could. Basically, I think they got a six scripts before they had to
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go on strike, and so that kept us working for a good couple of
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months. Were there rules around that were what you could and couldn't do no,
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not really what There were rules that applied to the writers, and that
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meant that they couldn't do any rewriting. They could still give us notes on
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the animation, because I don't think that was technically considered writing. They're not
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coming up with new material, and they're not technically not modifying stuff that they
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had already written. They're just kind of telling us notes on designs and stuff.
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Is the stuff that they would normally do as part of their job.
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They still gave us notes on the artwork, and if they wanted a change
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to something that we had already drawn, they were still allowed to do.
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They just weren't allowed to write any new material. And so what that translated
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to on our side was we were working off their very first draft of the
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script. Normally, we would I think they would do a table draft and
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then they do a record draft, and we would work off of the record
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draft. In this case, we were just working off the table read draft,
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and we didn't have audio because well we had audio up until the point
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that the actors then went on strike. But yeah, so anyway, I'm
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making a longer story out of it than interesting. Yeah, So we were
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able to keep working for a couple of months after the writer's strike began,
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but then we started running out of script material, and as the show's got
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to the end of our part of it and we shipped the artwork and stuff
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to Korea to be fully animated, that's when they started rolling our crew off
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into unemployment essentially. But it was great to you know, have that much
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work. It's not a real great time in the animation industry right now.
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So for what reasons? Oh, it's like a perfect storm of many things.
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One is sort of the streaming bubble has kind of burst where you know,
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when streaming first hit and a lot of the studios started wanting to grab
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some of that Netflix business and they set up you know, HBO Max and
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Paramount Plus and so many of them, et cetera, et cetera. So
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now there's all these streaming services because they all thought it's like, oh,
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it's free money, but it's not. They're all going after the same audience,
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and people don't want to pay, you know, for ten different streaming
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services as an audience. Starting to realize we're going, wait a minute,
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this was a good idea at the start, but we're now paying more than
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we used to and yeap, so what's the point of what are we doing
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here? Exactly? And thus the bubble burst and so that was when a
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lot of the studios started canceling, especially a lot of their animated projects.
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Why do they see the animated projects as the ones to cancel first? What
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is it about? What's the mentality behind that? Do you think? I'm
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not quite sure what the real reason is. I would speculate that they see
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animation as lower profile and they see it as something that they can just kind
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of get back up and running quickly, whereas with I don't know, honestly,
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I'd just be guessing at the real reason why. But yeah, and
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you know, of course there were live action shows that got canceled as well,
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but movies were made and then shelved. Yeah, exactly. So animation
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got hit pretty hard and it's still it still hasn't recovered. So at this
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point, like I think everyone on The Simpsons is just happy to be working
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at this point because so many of our of our animation colleagues are still out
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of work right now. So a lot of people on the Simpsons, like
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me, thinking like Simpsons is a great place to be than yeah, great,
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exactly to have a job. Yeah, but yeah, I mean in
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twenty twenty four, the scripts we've been getting have been great. I would
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say that, like all the scripts that we've had since coming back from the
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strike have really impressed me personally. And the same writers as before. Did
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you pick up some new writers post the strike? Well, post strike,
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I don't think so, but definitely since we last spoke on your show years
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ago, which is years and years ago, now, we've definitely they've picked
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up new writers. They made a real effort which I thought was great to
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diversify the writing staff and especially hire a lot more women. And so I
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think that new blood in the writing staff has really made a difference, and
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we've been getting some great shows. And you know, it's just a sort
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of injection of new ideas and a new sensibility, just an atmosphere in the
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room. Well I'm not in the room, but I'm sure the and and
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the thing is like pandemic really sent everybody into their corners, right, so
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the writer's room was completely virtual. I know that they now have gone back
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to in person on the Fox lot to have their meetings, but we're still
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the animation part of things, like all the artists. We're still working from
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home? Wait really? Yeah? Yeah? Is that by choice? Do
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you prefer that or not? Me? I mean, it's great not to
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have a commute and to have to drive in LA traffic. But I did
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it once. I don't want to do it again. Yeah, that's right,
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that's right. But I certainly miss the camaraderie of being in the studio
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with my coworkers because you know, my side of the show is only to
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do with the storyboards, right, so I'm only interacting with the storyboard crew
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and the episode directors and then supervising director Mike Anderson and supervising producer David Silverman,
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and then a few production people. What's your actual job title now with
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The Simpsons supervising storyboard director. It's the same as it was, because I
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think I just started started off when we last spoke, so I'm still in
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that job. I've definitely learned the rhythms of that schedule, which is pretty
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intense, Like it's a new board that has to go out every two weeks,
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so it's definitely high pressure and high intensity kind of schedule. But I'm
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used to it after doing it for ten years. But yeah, I kind
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of miss seeing the other members of the Simpsons crew in the studio because you
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know, you don't have that experience of going into the kitchen to make a
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cup of coffee and seeing the background you know, a background designer, or
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seeing you know, a character layout artist. They become family. You work
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colleagues, total family because we have all worked together for so long that I
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really do see them as like my brothers and sisters kind of thing. You
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know, I know everybody so well because you know, we've been working together
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for I've been on the show for twenty This is my twenty fifth year on
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the show. Was Taking my wife Sleeves? Was the first one you worked
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on? Right? Was it? That one? Good memory? Yeah?
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That's right? Yeap. So yeah, that was season eleven, and now
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we're just about to start season thirty six, which is crazy. Yeah,
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that's insane. Well, this season was the shortest one. I know it's
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because of the stripe, But was that a decision made during the strike or
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going into this season was always going to be a shorter one. I think
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that was probably a decision made during the strike. I mean to be honest
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with you, I don't know. That's sort of above my pay grade those
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kind of decisions. But my guess would be that that would be a decision
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that was made during the strike and possibly had something to do with getting caught
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up back to the regular schedule because we lost five months from the schedule due
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to that strike, which is that's almost half of our that's half of the
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season's episodes, right, So I mean it was a necessity, but I
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can imagine it must have been very frustrating as well. Yeah, I mean,
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I'm fully I'm a union guy through and through, so I'm fully in
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support. Were Australian, we're very union that's right. That's right. I'm
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blue collar from and I left since I left high school for sure. But
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yeah, I don't think it was frustrating personally for me, it was a
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little bit nerve racking. Was the vibe different at work during that time?
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The sense of it was certainly different when we came back from the strike because
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we had to compress our schedule because you can't compress the Korean animators schedule,
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right, because they need the same amount of time to animate twenty two minutes
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of animation for each episode. So what they did was they compressed the writers
11:24
and they compressed our schedule to get the storyboards, and I think they took
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a little bit of time out of the layout process as well, but definitely,
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like the first I think it was the first five shows after coming back
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from the strike, we had shorter time to get those storyboards done, which
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that was definitely a bit kind of you know, nerve racking, because everybody
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is sort of like, it's not you know, it's less time, but
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we still got to do the same amount of complexity in this scripts. And
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it's not a shorter show like length wise, it's still the same number of
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script pages that they're giving us. They didn't simplify the material. It's just
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that we got to blaze through this same material in half the time that we
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normally would have. Do you think the content suffered at all as a result,
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or do you think you just had to work twice as hard to make
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sure you got the right result. Personally, I don't think the content suffered
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at all in terms of the scripts. Definitely not. I think they just
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picked up right where they It was like they just hit pause. The writers.
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I mean when I say that they just hit pause, went on strike
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and then just hit the pause button un pause when they came back and they
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just picked up right where they left off. The first script that we had
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after when we came back from the strike was that I hope this is yeah,
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this has been broadcast already, the Primal, the one with the Primal
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parody. It's been broadcast, so you're find okay, great, great,
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I just don't want to like violate, Like, if it hasn't been on,
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I can't talk about it. We can triple check and if it's not
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we'll take it down. But it has been I'm pretty sure that's been on.
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But yeah, that was the first episode when we came back from the
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strike, And you can imagine, like I mean, having seen it,
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that's not a simple story where it's just the families just in the house and
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nothing's happening. It's like, you know, oh, this whole part has
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to be a completely different look and animation style. I can imagine at first
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you would love the idea of doing a different style of animation, but after
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a while you go again, yeah, I mean, it's it's fun that
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I love the fact that the writers are pushing us and pushing the boundaries of
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what the show can do and can be. But at the same time,
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it's difficult, Like there are all those shows are really challenging and tricky to
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do because the writers are asking like, no, we want it to look
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as much like this inspiration material as you can possibly do, but still make
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it look like the Simpsons. So you know, sometimes that's difficult, like
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the Fargo parody, the two part Fargo parody, which came out really successfully,
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but I remember when we first got it. The script was by Sesar
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Mazariegos, and he's one of the new writers, and he's great. His
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ideas are just on such a grand scale, but they're also really like really
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well written and so clever. So it's that double edged sword where you're like
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reading the script and you're thinking like, oh, this is going to be
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amazing, but then you think, oh, but we've got to make it
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amazing, Like don't someone else do it? Yeah? Kind of it's like,
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oh, okay, I guess it'll be it'll be good. Yeah.
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But so that's how we sort of keep our sort of selves as animators.
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Inspired is thinking of the end product and like, well, it's gonna look
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great when it's when it's all done, it's gonna be amazing. Do you
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still look to Silverman, I say silver David Silverman, I should say mister
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Silverman. Yeah yeah, and Mike Anderson for techniques or for advice, or
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you've working with them for so long you feel like they've they've passed their knowledge
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onto you or is there still always stuff you can learn from those two guys?
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Oh, there's definitely I do. I definitely do feel like I have
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learned and absorbed a lot of knowledge from both from working with both of them
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so closely for the time since I've been the supervising storyboard director, So I
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know ahead of time, Like I can look at a storyboard and be like,
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Mike Anderson is not going to like that. I know I know what
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to do to fix it, and I know how to make it look like
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something he won't react negatively too, And same with David, Like I know
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what they like and what they don't like to see in the show. Do
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you have an example of that or is it and you sort of don't like
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to talk about it? Yeah, yeah, no, I can. I
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can talk about it. So David likes cinematic techniques and he likes deep space
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compositions, which is something really close to camera and something far back. So
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if it's like a like the Whacking Day where Homer's face is close and the
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snake's really far in the distance. Yeah, yes, exactly. Those kind
16:19
of compositions they help avoid a flat kind of Hannah Barbera look to the cartoon.
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And that's something that that was a mandate from Matt Groening is he doesn't
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want it to look like a Saturday Morning cartoon. He wants it to look
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very cinematic and like nothing else on TV. And so cinematic means depth of
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field and interesting angles, and David's really awesome with like coming up with those
16:47
kind of things. And so I know in advance when I see a shot
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where it does look like it's just a flat background with no perspective, it's
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just a flat wall, like the flat wall behind me, and it's just
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a character standing like front three quarter kind of view. He doesn't like those
17:04
boring compositions, and for good reason, like because they are visually boring one
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after another, And so I kind of now preemptively will make those same kind
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of notes that he would normally make. And then Mike Anderson, Mike's very
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good with identifying like the acting and what the emotion of a scene should be
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at a particular moment in the scene. And so I think I've kind of
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learned from him. Like one thing is, even after a character stops talking,
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this is a note that he would give me often when I first started
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the other and the board artists as well, especially, but when I first
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started in this job. It's something I remember like being like, oh,
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yeah, yeah, that's a good idea, And it's keep the character in
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the emotion that they like. If Homer's yelling and he's got an angry face,
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you don't want to have him stop yelling and immediately just go back to
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the neutral eyes, neutral mouth model sheet pose. You want to keep him
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in that angry pose as he's listening to the reply of whatever character he was
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he was yelling at, right. Yeah, So yeah, it's just stuff
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like that that working with those guys so closely every week has sort of taught
18:21
me like, okay, this is it's almost like this is the Simpsons style
18:25
of storytelling and comedy and drama too, like because you know, you want
18:30
to want to make sure those dramatic moments in the show and those emotional moments
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between the characters are kind of playing as well as possible and sort of giving
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the audience that sort of rise of emotion as they're watching. Sounds like David
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Silvan's very good at bringing the world Springfield to life and might be Andison's very
18:49
good to bring the characters to life. Yeah, I mean, David's been
18:52
around since the beginning of the you know, he's been around since the Tracy
18:56
Alman shorts, So I feel it it's really valuable to still have him.
19:03
He's the man rushmore for me, well pretty much. Yeah, It's it's
19:06
not like, you know, I don't want to say like he's mister Simpsons
19:10
or something or something, but because he's been in the trenches from the very
19:15
beginning totally, I don't want to short change the other people who were also
19:18
there at the beginning, like West Archer and you know, Rich Moore and
19:22
all those guys. But yeah, David's still with the show, and I
19:26
think that's an invaluable person to have on the show as someone who's been there
19:30
from the beginning and has also like David's responsible for most of what you would
19:37
consider Homer acting, you know, like the little ooh finger twitterle that's pure
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David Silverman, And you know, he did the Homer heart attack drawings from
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that early show. Did you put that on? I think you put that
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on social media that he sketches. Yeah yeah, I mean it's amazing to
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like, I follow him on Twitter and Instagram and stuff, and it's it's
20:00
awesome to see all that stuff that he that he puts up, because it's
20:03
like, you know, I mean, that's like the holy relics of the
20:07
Simpsons history, you know. So I feel like he's just starting to sort
20:11
of realize how important just a little sketches like that are to Simpsons fans who
20:15
grew up watching the show, because he's probably sitting on the whole library of
20:18
this stuff, you know. I know, I'm actually surprised he kept so
20:22
much. Be worth money now too, you sit on yeah, oh yeah,
20:26
well, especially because there is no original artwork anymore. Like it's we
20:33
do post it notes like this during the storyboard meetings to just say no,
20:37
the shot should look more like this. And I've always joked that's the only
20:42
original Simpsons artwork left is those post it notes because everything else we do digitally
20:48
now on syntiques and stuff. You know. So I was going to ask
20:52
that, do you do digital for the story boys. I'm glad that you
20:53
still use post it notes because you need the authenticity I think as well.
20:56
Still yeah, and I find that at least when I'm like thumbnailing out ideas,
21:03
the ideas flow a bit better if I'm just doing it on paper versus
21:08
in the digital storyboard program that we use. Yeah. Yeah, So season
21:14
thirty six is coming out. I'm assuming that's going to be the full length
21:17
again, twenty two is that plan? As far as I know, I
21:21
don't know. I don't know. It just feels like for me people always
21:25
say, I mean, I'm middle manager band and there's still all these decisions
21:29
that like I don't get told until like they directly affect the storyboard department otherwise,
21:34
you know, because like this is a bit like inside Baseball, but
21:38
like as a result of COVID and we're all sent home. So, as
21:44
you probably know, like Los Angeles real estate and rent is very high,
21:49
so it's the highest in America, and so a lot of the a lot
21:53
of my coworkers decided, well, if I'm going to be working from home,
21:59
then I'm going to move to a place where the rent's cheaper. And
22:03
so we had a lot of crew like leaving town. But then because we're
22:07
still all sort of separated, there wasn't ever any like announcement of like,
22:12
oh, so and So's moving to Virginia or so and So's moving to Nevada
22:17
or whatever. You would just sort of find it out like a year later,
22:22
when you would be talking to somebody else and they'd be like, oh,
22:26
no, so and so they moved like a year ago, and I'm
22:29
like, oh, nobody told me. Yeah, boss, Yeah, yeah,
22:33
they told they told the boss. But yeah, so, I there's
22:38
certain things that I can't answer for reasons of confidentiality, and there's certain things
22:45
I can't answer just because I have no idea. You're my connection to Mac
22:48
Graining, So I just assume you know all. That's all. I've only
22:52
ever had one conversation with Mac Graning ever in twenty five years. Yeah,
22:59
so obviously you've remote now. But in say pre COVID, was he never
23:02
around at the animation studios at all? Ever? Not much. No,
23:06
he came in once every so often to do, like I think they would
23:11
do a yearly meeting with directors. It was the episode directors only, and
23:17
at that stage I wasn't a director, so once I became an episode director,
23:21
I got to go to those meetings with and that would be like with
23:25
him and al Jean, they would come and that would just be a meeting
23:29
where they would say, like, he's what we liked in the season that
23:33
we just finished, and here's what we didn't like and would like you guys
23:34
to kind of improve upon. And yes, but it's not like I don't
23:40
know. I don't really know him at all. It's it's not like,
23:42
hey, Matt, how's it going kind of thing. It's you kill You're
23:45
kill me man. Yeah, sorry, sorry to burst the buble, but
23:52
well, yeah, well season thirty six is coming, hasn't been renewed year
23:53
for season thirty seven anything like that. But as someone who works at the
23:57
show, yeah, you can't imagine since is ever going to end? Right,
24:00
Well, I'm hoping not obviously, you hope so, but realistically,
24:07
because I was born in eighty eight, right, so essentially the Simpsons has
24:10
been around my entire life, basically, I can't imagine a world without New
24:15
Simpsons. That's crazy. Yeah, I can't imagine that where without New Simpsons.
24:18
It just seems like, yeah, it's just always going to be there
24:21
one day, it might happen. I think my personal feeling is the Simpsons
24:25
may eventually end up being a Disney Plus exclusive or something like that. They'll
24:29
still be aband in some way, but surely the Simpsons are going to be
24:32
out forever, right. Well, my personal feeling is that I think the
24:37
show itself will continue as long as it's profitable. I used to say as
24:41
long as the actors want to do it, but I feel like now that
24:45
Disney owns it, they will eventually find replacement voices for the actors when the
24:52
actors decide I want to retire. Yeah, because I think Disney sees it
24:56
as a really valuable property that they want to continue, you know, making
25:03
money off of and making new material from. So I think even if the
25:08
show itself came to an end, I think they would shift into some spin
25:15
off or a movie or I don't know. I just see that they're going
25:19
to keep it. It's the same thing they're doing with Star Wars, you
25:22
know. That's just they don't do it to Star Wars what they did to
25:26
Star Wars well, too much, too much content, I can't keep up.
25:30
Who knows, But you know, like Disney in it, at least
25:34
in its current modern day incarnation is a company that wants to make money off
25:41
all the stuff they own, and if they buy a property like Star Wars
25:48
or like Marvel, they want to keep making stuff. Yeah, milk the
25:52
Cow exactly. So I see that. I think that they will keep doing
25:56
that with The Simpsons in one form or more or another. It's just nice
26:00
for me knowing that The Simpsons are still being made though to the point now
26:03
where I think for a lot of my generation, the Simpsons feels like almost
26:07
an extended member of the family. Oh that's cool, that's cool to hear.
26:11
Yeah, I love that. You know, you know, you have
26:12
you had those uncles that you might see him twice a year, but right,
26:17
you just like to know they're still around. That's the Simpsons. Yeah,
26:22
yeah, I mean I share that sentiment as a fan because as you
26:26
know, like I was a fan of the show. Yeah the show came
26:30
the show started on TV in Australia when I was in my first year of
26:37
art college, so you know, I was a fan of the show.
26:40
Didn't start on as a worker on the show until season eleven, So for
26:44
those first ten seasons, like I was, you know, recording every episode
26:48
on vhs and playing them back until, you know, because it was pre
26:52
streaming obviously, and you know, replaying those those same episodes till the tapes
26:57
wore out and id a guy buy tapes off me? No, he paid
27:02
me to send my old Channel ten tapes Channel ten tapes, right, and
27:07
I recorded right, had commercials in them, and he wants to He now
27:11
has streaming parties of watching these Channel ten recordings of the Simpsons that I sent
27:15
to him, with the ads and everything, ads and everything, the usual
27:18
broadcast. Yeah, that's awesome. I know, right, that's pretty cool
27:22
because that's like a time capsule kind of historical artifact. Because you watch it
27:26
and he goes coming up next New Seinfeld. It's just like it's an all
27:30
new side felt. Yeah, but we're here today not just to talk about
27:36
the Simpsons. Steamroller man, Okay, so steam roller Man, this is
27:40
your new comic. First question for you, though, is is the comic
27:44
book guy going to stop this comic in the Simpsons. He's going to have
27:47
a little little cameo there. I think it's it's worth putting in there in
27:51
my opinion. Well, no, I don't want I don't want that to
27:53
happen. Then that would mean that Disney owns that. So I'm like,
27:59
no, no, stay as far away from my comic as possible. Yes,
28:03
but yeah, it's so very very exciting for you. Yeah, it's
28:07
awesome. This is when's this going to go up? This? This up
28:11
tomorrow today? Okay, so this will be the last day of the kickstarter
28:18
But yeah, it's been just incredibly successful, like more successful than I ever
28:23
imagined. Ten times the goal, right, ten times the goal, yeah,
28:27
exactly, which was crazy. So yeah, I'm just like so like
28:33
humbled and delighted that so many people have have found it through kickstart, you
28:42
know, because a lot of the because I've had a following for the comic
28:48
online for a while. But so how was it accessible until now? So
28:52
online? So until now I was publishing it online. I started off as
28:59
it was just I just set up a Facebook page and I just uploaded my
29:03
comic pages to that Facebook page for Steamrollerman. I remember when you were first
29:07
doing it. Yeah, yeah, that's right, I had. I had
29:10
just started it when we first spoke years ago. And so then I eventually
29:15
made a website steamrollerman dot com that's still up and that's where I post my
29:21
pages, but I also posted to a few different web comic hosting sites,
29:26
so up until now it's been exclusively on the web and it's all still available
29:32
to read for free. But my intention was always to print, get you
29:37
know, printed comic books, and because that's something I've wanted to do since
29:41
I was a kid, was make a comic book. And so yeah,
29:45
this Kickstarter is the vehicle that's going to help me get that print run done.
29:52
So yeah, it took about a year of planning to get the Kickstarter
29:56
campaign all kind of researched and organized and everything. Yeah, so I launched
30:00
it thirty days ago on May seventh, and June sixth is the last day.
30:07
But they've just opened up this late pledges function on Kickstarter, so that,
30:14
yeah, so handy for people who may not be seeing this or hearing
30:18
this until after the official end of the campaign. I'm still going to have
30:23
some of the rewards available on the Kickstarter page, which is kickstarter dot steamrollerman
30:32
dot com. I'm assuming it's going to be a second one now, right
30:33
with the success of the first one, Yeah, I'm definitely going to do
30:37
it. Yeah, because of the success of this one, this was almost
30:41
like the trial balloon type thing to see. Because I'd never never done a
30:47
Kickstarter campaign before. I was very dubious of it when people first started suggesting
30:52
it to me. For me, you feel kind of awkward asking for money
30:56
as well. That's how I always felt when I started doing Patreon for the
30:57
podcast. But then people, yeah, they want to support you, which
31:02
is great exactly. That was a definite mindset shift that I had to make.
31:07
And I also think it could be again that Australian thing where you don't
31:11
want to feel like you're like you're big, noting yourself kind of thing.
31:17
And yeah, so I definitely was way moving, way outside my comfort zone
31:22
asking people to like, oh, can you join would you want to join
31:26
my email list? And would you want to do this and that? And
31:30
I just felt like I don't want to bother people. But then yeah,
31:33
it's a thing where like, well, no, the people who say yes
31:37
they want to join your mailing list, they want to hear from you,
31:41
to hear about like what are you doing with the comic? I want I
31:45
want that regular update and so, and it's the same with Kickstarter, like
31:49
these people want a print copy of the comic. Makes it feel real,
31:53
right, having that physical one. Absolutely. Absolutely. Yeah. I printed
31:59
out like a a printer's proof copy of the comic and that was like an
32:02
amazing moment to actually because that was the first time I saw my work in
32:08
print. Have you got it there? I do have it here, hold
32:12
it up, we want to see it. Yeah, So hit the microphone.
32:17
So this is the comic there, it is Steamroller Roller Man. So
32:22
I love the theme some by the way, Thank you. It just it
32:24
feels it just feels I know when you first sort of started doing this,
32:28
I was like, oh, that's cool, he's doing a comic, but
32:29
it literally feels like an actual, proper, full fledged show comic everything.
32:32
Now it's like a brand. Thank you. Is the plan to eventually hopefully
32:37
have places stock this or do you want to try and keep this as your
32:38
own personal thing? Yeah? No, I would like to have it get
32:43
big enough that it's in comic shops all over the world and all that sort
32:45
of thing. So cool have kids saying, oh, yeah, when I
32:47
was a kid, I've read Steamroller Man. Hell yeah, that would be
32:51
awesome. That would be awesome. Yeah. Sell a movie to Disney.
32:54
Yeah, And well, no, I want to I want to retain control
32:59
of it. So my model would be something like teenage Minton Ninja Turtles.
33:05
Right. So, because Kevin Eastman and Peter Laird started that in a very
33:09
similar way to the way I started Steamroller Man. They were just doing it
33:14
as a joke for fun, and then they started very small, printed a
33:19
black few copies black and white, started selling it at conventions and stuff,
33:23
and it's sort of you know, grew and grew and grew, but they
33:28
retained control of it for a long time. They eventually did sell it to
33:32
Nickelodeon a lot of money for a ton of money. Yeah, So if
33:37
that sort of thing happened with Steamroller Man, I think that'd be great.
33:42
Well, he needs to he needs a team. You need to think of
33:44
some some buddies. Well, yeah, I think of the action figure line.
33:47
Yeah. The second issue has I start introducing more characters. He needs
33:52
a love interest, right, that's that's still to come, that'll be Yeah.
33:58
I've got all these ideas planned, but the idea is now matter because
34:01
people actually want to hear more. It's like sometimes you have these ideas and
34:05
you think I'll do it someday, but now there's a demand for it.
34:07
Well, yeah, that was. I mean, that was me. I
34:09
was that guy who was saying like, oh yeah, one day, I
34:13
want to make one comic. And I eventually just got to that point where
34:16
I was like, well, I'm not getting any younger, and I'm the
34:19
only person who has these ideas and who can make this comic, so I'm
34:22
I just have to do it. And so, yeah, it's been as
34:27
I was saying, it's it's been really you know, humbling and gratifying to
34:31
see the reception to the Kickstarter campaign and to just see so many people respond
34:37
so positively to it that it's you know, it's it's it's over ten times.
34:43
It's it's goal. So it's variant covers. What else do you get
34:47
for being for Kickstart? So I've got quite a few variant comic book covers,
34:52
and all the variant covers are only available during the campaign. Okay,
34:59
so that'll be what I wanted the secondary market exactly. I wanted to create
35:02
that scarcity that supporting the Kickstarter campaign gets you something that you're not going to
35:08
get if you just see me at a comic convention. You can get these
35:12
variant covers and they're going to be very rare. Would say limited limited exactly.
35:21
So yeah, I've got variant covers. I was offered a limited number
35:24
of original sketch cover draw like I'll actually draw on the front cover. Wow,
35:30
that's cool because I've got these kind of things printed. It's blank,
35:35
yeah, and then I do a drawing of Steamroller Man or whatever character from
35:39
Steamroller Man you want on the cover for people at home who are just listening.
35:43
It's basically just it's a title steam Roller Man with just a blank white
35:46
and that's pretty just a white a white cover, literally your own unique cover.
35:52
Yeah, so it's a one of a kind piece of artwork on the
35:54
front. Make sure you write on there as well to make it feel special.
35:59
I only offered like four of just the front cover, and then two
36:04
of front and back cover. Okay, so you know because it opens up
36:08
like that, So for two of them, I'll do like an illustration across
36:13
the entire thing. And then I did a bunch of stretch goals. You
36:19
know, if you're familiar with Kickstarter, you know what stretch goals are,
36:22
But if you're not, stretch goal is once you reach your initial goal,
36:25
you offer little bonus freebies to anyone who backs. If you reach an amount
36:32
of all of your and yeah, if you get to more money total funds
36:37
and so yeah, I had to keep coming up with stretch goals because it
36:42
was it was just going so well. I was like, what else,
36:46
what else can I offer? So this is this? I think this is
36:50
going to be a career. You can you can sort of sense it,
36:52
like the fact that it's got ten times what you needed already in the first
36:54
issue. It's going to it's going to get more and more as you go
36:58
on. I just think the demands more people about it. I'm excited for
37:00
you. Yeah, I hope so yeah, I'd love that. I think
37:04
that would be just what a figure. That's what I want me too.
37:08
Well, keep reaching off screen. Funny you should Funny you should say that,
37:19
oh no, ways, you got one? I mean like this he's
37:22
got one whoa availled all good toy stores. Yeah, unfortunately not like this
37:29
is a custom action figure that a friend of mine made and he's he just
37:32
does it as a hobby. He makes custom actions, so cool, and
37:37
so this this is like a Martian Manhunter body yep, that he repainted.
37:44
And then this I don't know what he made the roller out of because it
37:47
actually rolls. Roller face is a Thomas the Tank Engine wow face that he
37:53
just cut off the train and stuck on here and then you know, kind
37:58
of sanded it down to all looks smooth. I wish I had those talents
38:01
me too. It's the stuff he puts. It's what's his name, let's
38:07
yeah his His name's Aaron Davies and his guy went to college with He's now
38:12
a storyboard artist at swear. He works on a bunch of stuff, okay,
38:16
but you can find him on Instagram. His handle is the Storyboard Guy.
38:23
So yeah, he puts a lot of his toy making stuff and toy
38:29
customization stuff on his Instagram. It's fascinating like the stuff he does. I'm
38:34
just like, you were so talented. I wish I could do all that
38:37
stuff exactly amazing. So yeah, a mass produced line of Simpsons of Steamroller
38:44
Man action figures would would be awesome. But for now, I've just got
38:46
that one. You need to introduce some more baddies and some more gang first
38:51
and had the whole yeah yeah, yep, and then twenty years will have
38:55
one Day and twenty years will have the toys that made us Steamroller Man.
39:00
Oh Yeah, that'd be awesome. That'd be awesome. So what are the
39:02
plans going forward? So when did the comics arrive? So everyone who's who's
39:07
pledged yet? So soon as the So the campaign ends Thursday morning, US
39:14
time. So I believe that Kickstarter usually takes two to three weeks to kind
39:21
of process everybody's credit cards and take all their fees out. Yeah, basically
39:27
they take the fees and they send them. The money clears in your bank
39:30
account. As soon as the money comes through the book as you can.
39:35
As you saw, like the comic's all done and it's ready to be printed.
39:39
So as soon as the money comes through, I'll be sending the files
39:43
to the printers. I'm using printers in Australia cheaper, well, it's cheaper
39:50
for Australians. Like the reason was behind that was since I am from Australia
39:55
and I still have a lot of family and friends in Australia, I knew
40:00
that I would probably have at least a few people in Australia wanting to back
40:05
the campaign. But you have to hop on now and back at myself.
40:08
Oh thanks, so having backed campaigns myself from you know, from America,
40:16
but by Australian creators. You're paying thirty bucks postage for a comic that is
40:25
ten bucks. And so I really felt like I can't ask my friends and
40:30
family to do that, And so did some research and worked out an arrangement
40:37
with an Australian comics publisher called Comics and they're going to do the distribution.
40:45
And there's an Australian print company called Comic Books on Demand, which is located
40:50
in Sydney. They're going to be printing it. So what the result of
40:53
that is that it only works out to cost Australian backers five dollars extra on
41:00
top of the pledge amount for postage rather than thirty bucks extra on top of
41:07
the pledge amount. So conversion at the moment, it's terrible for us.
41:10
Yeah, yeah, no, I know. So you know that was that
41:14
was my sort of attempt to somehow mitigate that, you know, because there's
41:19
nothing I can really do to lower the shipping costs except like, well,
41:23
if I printed in Australia, then it's only being sent from Australia, not
41:29
from America kind of thing. So are you putting so you're printing some in
41:32
Australian, some in America depending on yeah, okay, yeah, yeah,
41:37
So only the only ones printed in Australia are going to be for the Australian
41:40
backers. Everything else I'm doing in America and I'm going to be sending that
41:45
out myself. So unfortunately, I can't do that same local printing for every
41:52
country in the world. So for overseas backers who aren't from Australia, I'm
41:57
giving them like a free set of print that's twenty dollars value as just sort
42:02
of like a thank you gift for paying the thirty bucks postage for the rewards.
42:09
So yeah, the plan is send it to the printer. Printing should
42:15
take between two and four weeks, and then it's going to be sent out,
42:21
you know, it'll be sent back to me or to comics in Australia
42:25
and then it'll be sent out. So that should be another two weeks,
42:30
two to three weeks to get everything sent out. So I'm hoping that people
42:36
get their rewards by September, but I've added the estimate that I said on
42:42
the Kickstarter campaign was end of October because I just added a month just for
42:46
contingencies in case something happens at the printer. Or there's something with the shipping
42:52
and slows things down. So yeah, so I'm saying everyone should have their
42:57
rewards by the end of October this year. Question I need to ask you,
43:00
though, is I think the list is probably wondering who is Steamroller Man?
43:05
Tell us about him? Oh? Okay, So Steamroller Man the comic
43:09
is a it's a comedy superhero comic about a superhero who has a giant steel
43:16
roller for a head that's about a head on either side of his shoulders wide.
43:24
Well, that's still to be revealed, Like, we don't know his
43:30
origin yet, and he doesn't know himself where he came from. He just
43:32
woke up one day in the city of Kurtzburg, which is a fictional city
43:39
in the US. And so yeah, the premise is he's a superhero.
43:45
He's oblivious, he is full of hubris, and he thinks he can solve
43:52
any problem. Unfortunately, his power is essentially destroying things. So if there's
43:59
a problem that arises that doesn't necessarily benefit from things being destroyed, he's still
44:05
going to race in to the rescue and probably do more harm than good.
44:10
Way, he needs a team, right exactly. Don't worry, don't worry
44:15
Brendan, I no, no yet to come mate, But what was I
44:17
going to say? So? Basically he doesn't know anything about his childhood.
44:20
Who would you compare him to? Superhero? Wise? If someone out there's
44:22
going if I like this guy, I'm probably gonna like Steamroller Man. What
44:27
kind of vibe are we going for? If you like the Tick, you
44:29
will definitely love Steamroller Man. Steamroller Man was definitely influenced by the Tick.
44:35
If you like stuff like Venture Brothers, you like the Steamroller Man? Is
44:38
that what you collected when you were a kid. Oh, I definitely was
44:40
way into the Tick comic when it was first started in the early nineties.
44:45
Yeah, hell yeah, that Blue That comic blew my mind when I was
44:51
I think that that was coming out when I first started college or was finishing
44:57
high school or something like that. But yeah, I loved it. I
44:59
loved that that comic, and I think it sort of did permanently sort of
45:04
change my taste in comic and in comedy for a lot of people as well.
45:09
I think just yeah, yeah, comedy was so yeah. So if
45:14
you like stuff like the Tick or Venture Brothers, or also like the old
45:19
Batman's sixties TV show I wish they do Batman movies would just go back to
45:23
being campy again. Yeah, wouldn't that be fun? I grew up with
45:27
I know, yeah, the Keat and Batman's but I had Batman Forever and
45:30
Batman Robin as a kid. That was my childhood, right right. Those
45:32
movies are terrible, I go, yeah, but they were fun. Why
45:36
is Batman always sad and angry? I mean, I get it, but
45:37
can we get us be fun again? Please? Yeah? Well, when
45:42
you look at those movies, you can see that Joel Schumacher was definitely referencing
45:49
the old Batman TV sh with the colors and the weird angles and stuff that
45:54
was. It was totally like he was doing a modern version of that,
45:59
carry on the Tim Burton style. He clearly wanted to go back to a
46:05
more campy version of you know, the six a modernized version of the sixties
46:10
Batman. So Steamroller Man sort of would he fit into that kind of universe?
46:15
Do you think? Yeah? I think, I mean, you know,
46:19
it's sort of like the style of the humor in Steamroller Man is characters
46:25
an adult kid, No, it's general audience. Like what I what I
46:30
wanted to do was create a comic that, like the Batman TV show,
46:35
kids could enjoy on the level of it's just a superhero story adults. Adults
46:42
can get a little bit more out of it because I'm putting in jokes that
46:46
you need to be a bit more literate to get the references and stuff.
46:50
It's still not like I'm not putting like there's no nudity, there's no swearing,
46:53
there's no blood or anything. So it is no I don't think so
46:59
either. It's the kind of book that you can basically give to anybody,
47:02
and I think I think they'd enjoy it, especially like people who are into
47:07
comics and people who have been reading comics for a while will really like it.
47:13
I think because well, superhero comics to be specific, because they're going
47:17
to get all the references. Like I put references and stuff and jokes based
47:22
on comic book history and certain characters. You know, you can see like
47:27
you almost like, for instance, not canon, but it's almost like he
47:30
could potentially be in the same universe as those superheroes. Maybe ye, maybe
47:35
the steam Roller Man universe is a little bit wackier than Marvel or DC.
47:39
I like wacky though, like the Mask and things like that. That's for
47:43
me. Yeah, so so yeah, if you like those kind of things,
47:45
you'll definitely like Steamroller. Man. Can you remember your first comic book?
47:50
Yeah? I can. It was a Marvel comic called The Man called
47:53
Nova and I think it was issue twenty four. Wow. Well I went
48:00
back like because I always remembered the cover. And so once the Internet became
48:05
a thing where you could just look anything up at any time, I was
48:08
like, I wonder if I can find what that comic actually was, and
48:13
so I searched and I was like, that's it. It's hard to describe
48:15
that rush of nostalgia when you've discovered something from your childhood like that, isn't
48:19
it. Yes, Yes, and I've done that with a few things actually,
48:23
and all thanks to the Internet for me. My first comic was I'm
48:29
in Geelong. If you know where Gelbourne, I do the Geelong Show getting
48:32
a showbag and they always used to throw free phantom comics in there. Oh
48:37
yes, that's where I discovered phantom comics. Was Brisbane show. Yeah.
48:42
I don't know whether the showbags are a thing in the States, right,
48:44
show bags an Australian thing. Well, I think the closest thing that we
48:47
would have over here to those royal national shows would be the county fairs.
48:55
And I've never been to a county fair, so I don't know whether they
49:00
sell those shows anymore. No, it's just I don't want to be around
49:07
crowd people. I don't like being around people yet, pretty much like I
49:12
just like staying in my house. So yeah, so I don't know whether
49:16
they do show bags over here, but yeah, that would definitely. I
49:21
mean that's such an Australian birdie beat or showbag mate. Oh yeah, that
49:24
was a good one. Yep, yep. I used to like the Darrel
49:29
Lee licorice bag. Yeah, very good. Yeah, and I think that
49:31
was the one. It was either the Mars Bar showbag or the Darrell Lee
49:37
licorice one that had the Phantom comics in yeah, when I was a kid.
49:43
Yeah, so that's pretty much how I built a collection of Phantom comics
49:47
was just from the showbags every year, a whipper cushion and the show bag
49:52
and a comic. Yeah, yeah, totally, yeah, yeah exactly.
49:55
So did you ever read the Simpsons comics before we before we go? You
49:59
go the Simpsons come, Because for me, I'm a huge fan of them.
50:00
I'm so disappointed they don't do them anymore because you read them. I've
50:04
got the whole lot behind me here on the shelf. You think, how
50:07
were these not made into episodes? The stories are so good? Yeah,
50:10
I mean I wasn't like a regular reader of them, but yeah, the
50:15
ones that I did read, I was really impressed with because of exactly what
50:20
you said, Like, the the stories were, you know, on a
50:23
par with what was on the show, and sometimes like they were really clever.
50:29
Yes, you would. You would read a comic and you'd be like,
50:32
oh my god, this would make an awesome episode. Why don't they
50:36
do this story as an episode? You've been reaching something to show you?
50:42
Yeah, no, go ahead. So these here, so this is a
50:45
home can't see them, but they're Every Tree Horror in one hardcover, and
50:51
so volume one and volume two, every Tree of Horror comic. I highly
50:53
recommend getting these. Yeah, because the Tree How. I love the Tree
50:59
How of Horror comics because they would have guest artists who were like real big
51:05
names in the mainstream comic industry and just draw the stories. Yeah, that's
51:10
fantastic. Yeah, is that like a holographic thing on the front or something.
51:15
Yeah. But basically these eyes here on the front of all the Simpsons
51:20
and the creatures, they all glow in the dark. Yeah. Oh that's
51:22
cool on Amazon. That is a very nice presentation of packaging of of that
51:30
collection. Keeps them safe from my children. Yeah, I know how that
51:37
is your son. I'm assuming he's a fan of Steamroller Man. You had
51:40
any input in the Yeah, yeah, well, both both my kids are
51:44
fans of Steamroller Man, and my youngest son was actually the the one who
51:49
came up with the name steamroller Man, and that's what sort of spurned the
51:52
whole idea in my head. Was we were around the dinner table when they
51:58
were little kids. So he's going to be executive producer when they make a
52:00
film out of it. Yeah. Yeah, well, you know, I
52:02
mean the great thing is that like creating this comic, like it's my own
52:07
sort of ip that I can, you know, I can leave to my
52:10
kids and they can do with it what they want after. It's pretty exciting.
52:15
Yeah. So, but you know, I intend to. I want
52:19
to be one of those creators who is just keeps creating and keep making Steamroller
52:24
Man comics until, you know, post retirement kind of thing. You know,
52:29
just keep me busy early. I'm just excited for you. You've actually
52:31
legitately created a comic line. That's crazy. Thanks. Yeah, well it
52:37
was what I always dreamed of doing when I was a little kid, So
52:40
you know it is. It's an amazing feeling. And I love like you
52:45
said before too, you just made it happen. You know, we all
52:46
have ideas, but only a small percentage of us actually goat and do something
52:51
about it, right, Yeah, well, I mean I'm not. I
52:54
don't think I'm any different from anyone else. I think anyone can. Got
53:00
to follow your passion, you know, and if you want to do something,
53:04
you've got to well A, I think you've got to stop making excuses,
53:07
because that's what I was doing for a long time, always make excuses.
53:10
Yeah, so there's always a reason why I'm not doing it. It's
53:14
not my own fault, it's something else, yep, exactly, and procrastinating
53:17
and then yeah, I just got to the point where I was like,
53:21
well, nothing's going to happen unless I make it happen, and so I've
53:24
got to just start. And I didn't really know how to make a comic
53:30
or how to do you know, I knew how to draw, and I'd
53:32
read a lot of comics, but I've learned so much about just the comic
53:37
creation process just through the act of doing it, because that was another thing.
53:42
For years. I was like, Oh, but I don't know how
53:44
to do this, and maybe I should read all these books about, you
53:47
know, writing comic books and stuff, and that just delays you getting to
53:52
the point of actually making something. So I also might take away from what
53:59
you naturally just think should be in your comic book because you well they say
54:00
I should do it this way exactly. Yep, it's got to come from
54:05
you. Do you write and draw the artwork? Is it all you?
54:07
Everything? Yeah? I write and draw and letter and everything. Yeah.
54:14
Is that a I can imagine it must take a long time. It is
54:17
one just one what's it called, like the square in the comic? What's
54:21
that called? Like one frame? Panel? Panel? It was a frame
54:23
of panel. How long would a panel take? Oh, a panel would
54:28
take a few hours, Like one page. My artwork is quite detailed.
54:35
I do put a lot of you know, mileage pen mileage into each page,
54:40
and so one page would take me between like maybe ten or eleven hours
54:45
to do from five hundred hours of work then, yeah, so start from
54:52
start to completely done with inking, all done, lettering, all done,
54:58
ready to go on to the next one. So ten or eleven hours for
55:01
each one. So so yeah, a forty page issue would be like four
55:07
hundred hours or so. Yeah. No, I'm going to sound like an
55:08
idiot asking this question, so forgive me. But so when you draw each
55:12
panel, so you work on a panel full size and then it sort of
55:16
gets shrunk down to the comic size. Is that how it works? Well,
55:19
that would be if I was working on paper. Yeah, but I'm
55:22
doing it digitally, Okay, So with digital you can basically, you know,
55:28
because you have the ability to zoom in and out and also change the
55:32
size of your brush tip digitally, you know, And so with those functions,
55:40
you can basically work at the actual print size that it's going to be
55:45
and you just zoom in to get the detail. So I do it that
55:47
way because that way, if I want to see what the line work's going
55:52
to look like at print size, I just say, you know, go
55:57
back to one hundred percent view, right, And so yeah, I worked
56:02
that way. But yeah, normally, well not normally because most most comics
56:07
are there's some digital element these days, but the traditional way of doing comics
56:13
was to work on like for a regular comic size, you'd be working on
56:16
like a piece of a three paper like eleven inches by seventeen inches kind of
56:22
size, and yeah, it would be shrunk down. I think it's about
56:27
fifty five percent or sixty percent of the full size artwork. Makes you appreciate
56:31
the hard way that goes into those earlier comics, doesn't it before digital?
56:34
Yeah? Oh yeah, yeah, totally. It's I mean, it's a
56:37
it's an art it's an art form, you know, and all that that
56:42
implies. It's been so great to finally catch up with you again, Matt.
56:45
Likewise, it's been great to talk to you, and congratulations on the
56:49
on the success of your of your your podcasting empire, which makes you Yeah,
56:55
it was only the beginning when when we last talked to you ago in
57:00
a couple of months that I just got out of my desk chair said I'm
57:02
going home and I'm never coming back, quit my job and just started this.
57:07
I know. That's amazing. When you did that, I was like,
57:08
wow, it's it's a point where he like living off it. That's
57:13
amazing. Yeah. Well, basically, I'm lucky that I've got a wife
57:15
who's very good at her job as well. She carried the workload for a
57:20
while there to help pay those bills. But you know, eventually it's all
57:22
evening out now, and like I said, sometimes you could just go take
57:25
a chance on yourself. I remember saying to Nix out and my wife that
57:30
I would rather be forty have tried this and failed than be forty and stuck
57:32
in the same job and wish I had tried it, you know exactly.
57:36
Yep, yeah, I thought the same thing about steamroller man. Yes,
57:38
exactly. Well, I will give it a go. So yeah, everybody,
57:49
thank you again for listening to my conversation here with mister Matt Schofield,
57:52
current storyboard director of The Simpsons. Was a really good time, a lot
57:54
of fun to just sort of talk about Aussie stuff, and I'm sure he
57:59
appreciated as well, because living in the States for twenty five years, things
58:01
like Betty Beetles, show bags, they are coming up in the conversation,
58:04
so I'm sure you had good fun with that. Again, though, thank
58:06
you to everybody who has supported us for the last nine years. Are at
58:08
four Figure Discount. You continue to do so by writing and reviewing us on
58:12
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58:14
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58:17
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58:28
WeDo. Thank of you guys for all of your sport. Next week we're
58:30
going to be returning with our review of Trias of Horror eighteen with Guy Davis,
58:34
But for now I'm down to thanks again and I'll catch you all next
58:37
week. S