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Seth Green Actor

Seth Green

Seth emerged as a worlwide star during his role as "Oz" on the action drama "Buffy The Vampire Slayer." Unknwon to many people is the fact that Seth has been acting long before finally rising to Hollywood stardom, to be exact, since 1984! A native of Philadelphia, Green was born February 8, 1974, and raised in the suburbs by his artist mother, Barbara, and math-teacher father, Herb. Although unbeknownst to him at the time, his first onscreen stint was as a newborn in a natural childbirth video. Green's more conscious interest in acting began at the age of six, when he had his first role in a summer camp play. With the help of his uncle, who was a casting director, Green was soon appearing in commercials and on various television shows. Getting his first real break with 1984's The Hotel New Hampshire, the young actor spent the next few years appearing in television shows before landing his first starring role in Woody Allen's 1987 film Radio Days. As Allen's young alter-ego, Green won a respectable amount of recognition (including an appearance on Johnny Carson's Tonight Show) for his part in the nostalgic tale of a boy growing up as part of an eccentric family in 1940s America. The role led to work in various films, such as Can't Buy Me Love (1987) and the following year's My Stepmother Is an Alien (in which he co-starred with his future Buffy love interest Alyson Hannigan).

The early '90s were not kind to Green, who found himself acting in a series of bad films and winning only small parts on the occasional television show, including The Wonder Years. In fact, if audiences recognized the actor at all, it was probably due to a series of Rally's commercials that featured him as the obnoxious fast-food worker who made "Cha-ching" part of the national lexicon for about three months. Things finally began to pick up in 1997, when Green won his substantial role on Buffy the Vampire Slayer. Coincidentally, he had been cast five years earlier in the original film incarnation of Buffy the Vampire Slayer, but his scenes had ended up on the cutting-room floor. Green found further success in 1997, when he landed a memorable supporting role as the son of Dr. Evil in the sleeper hit Austin Powers: International Man of Mystery.

Suddenly once again in favor with Hollywood's Powers That Be, Green appeared the following year in the Jennifer Love Hewitt film Can't Hardly Wait and in 1999 reprised his role as Scott Evil in Austin Powers: The Spy Who Shagged Me. Also in 1999, the actor landed a starring role as Devon Sawa's zombie friend in Idle Hands. The film, which was about a teen with murderous hands, had the unfortunate luck of opening a week after the Columbine High School shootings and quickly disappeared without a trace. However, this didn't seem to do substantial damage to the red-headed actor's career, as he continued riding high with his role on Buffy. Green also kept busy doing the voice of Chris Griffin on Fox's animated series The Family Guy. The turnover to the new millennium found Green increasingly popular on the big screen, with roles in such films as Rat Race and America's Sweethearts (both 2001). It wasn't long before the inevitable third chapter in the adventures of Austin Powers was to go before the cameras, and Green once again agreed to fill the shoes of Scott Evil.

After a role in the hit 2003 ensemble caper The Italian Job, Green geared up for a pair of high-profile comedic roles in 2004. First up, he played a museum curator with a crush on Velma in Scooby Doo 2: Monsters Unleashed. Then, teaming up with Dax Shepard and Matthew Lillard, he starred in Without a Paddle, an adventure comedy about three city-slickers who find trouble when they take a canoe trip together.

Known mostly for his movie and video rolls within the last 10 years, he's actually been active in Hollywood for almost 20 years. Don't believe me? Well, go out tonight and rent The Hotel New Hampshire, Can't Buy Me Love and Steven King's "It".

Hailing from Pennsylvania, Seth quickly felt the bite of the acting bug. When he was six, he appeared the a summer camp performance of, "Hello, Dolly!", and has since spent as much time as possible infront of the camera. Considered by many to be the Cameo King, he's made appearances in almost 50 TV Shows since 1985. He's tried everything from Sci-Fi to Sitcom, Saturday Morning Cartoon to Friday Night Horror. He's shown an outstanding ability to play just about any role offered to him. Not only that, but you gotta admit, he has a tendency to make you laugh so hard that you gotta pause the tape and recover.

If you look through his filmography and still can't place him, but swear you've seen him somewhere, then it's probably from one of his many TV Commercial appearances. He's promoted Burger King, Wendy's, Kodak Film, Hewlett Packard and The Sci Fi Channel, just to name a few. I think by now, it must be painfully obvious that the camera loves Seth.

If you've watched all of his movies and still can't seem to get enough of him, be sure to catch him on, "Greg the Bunny", "Buffy the Vampire Slayer" and "100 Deeds for Eddie McDowd" (in syndication) where you can get your dose of Sethness on a regular basis.

Seth Green - Did U Know?

Seth Green co-owns a production company, Lucid Films, with acting buds Ryan Phillippe and Breckin Meyer.

Seth Green's not the tallest hottie out there. He's only 5'4".

Seth Green's longtime girlfriend is named Chad.

Seth Green first played Alyson Hannigan's boyfriend in the '80s flick My Stepmother Is An Alien. Ten years before he played her boyfriend again, on Buffy.

Seth Green Says...
"There are two kinds of people in this world: Michael Jackson fans and losers."

Seth Green speaks about Robot Chicken

I hope a lot of you watched Robot Chicken when it premiered last Sunday. Robot Chicken is going to be the show that breaks Adult Swim to the mainstream. I loved the short sketches such as the Scarecrow getting knifed in the OZ sketch and also the longer sketches like the one where Optimus Prime gets colon cancer.

After the first Austin Powers we all knew that Seth Green was going to be a major creative force in Hollywood. But while he has gotten the chance to improvise in big budget movies like The Italian Job and Without a Paddle we have never seen him do something as the main creative force. But now he’s teamed up with a former editor of ToyFare magazine, Matthew Senreich, to write, direct, produce and lend his voice to Robot Chicken.

New episodes of Robot Chicken will air every Sunday at 11:30 pm on Cartoon Network’s Adult Swim.

Danie: I thought the first episode was fantastic and I’m not just blowing smoke up your asses.

Seth Green: There is already plenty of smoke up there. I’ve already had to open my mouth up real wide just to let some of the pressure out.

DRE: Have you guys heard of SuicideGirls before?

SG: Yeah I knew a girl that was involved with it for a while.

DRE: So Matt when are we expecting the cease and desist order from [Wizard Magazine Publisher] Gareb Shamus [because of Twisted ToyFare Theatre]?

Matthew Senreich: [laughs] We are really amicable and I talk to those guys pretty much every day. They knew about it when we were doing it for Sony’s website.

DRE: Was Twisted ToyFare Theatre an inspiration for Robot Chicken at all?

MS: It’s kind of the reverse. Seth was going to go on Late Night with Conan O’Brien and he wanted to create an action/adventure piece with his toy and Conan O’Brien’s toy doing something stupid.

SG: I wanted to do stop motion shorts in lieu of an interview.

MS: Seth was a fan of Twisted ToyFare Theatre so he called me up and asked if me and a couple of other writers wanted to do it with him. As we were producing that first one Sony’s website Screenblast picked it up and wanted to do a few more.

DRE: Seth I know that you get to improvise in a lot of the movies you work on but have you written screenplays that haven’t gotten produced?

SG: Yeah I had a movie in development at Disney for two years which was a complete waste of time. It was just a miserable experience which kind of shied me away from producing. But then Matt and I were just planning to do this as an independent self financed project. We got the opportunity to produce it for the Sony site then the opportunity came up to do it for TV. It wasn’t something that we actively sought out but instead it just happened.

DRE: The show must be a ton of work.

SG: It is. Matt and I are in the office from 7 am to almost 10 pm every night. We’re just here all the time because we oversee every aspect of production. We’re doing the job, which is exhausting, but it’s also incredibly satisfying. It’s been incredibly rewarding to literally pull something out of nothing and have it get on TV.

DRE: Seth you’re also a big movie star on top of all this. Is it taking time away from that or are you splitting time up?

SG: Splitting it up isn’t a very good idea. I actually did a movie in the middle of our production and had to do all the work via remote patching whether it was by email or FedEx. It was a dumb thing to do because the pace is too exhausting to keep up. When I finished that I promised myself I wouldn’t do that again. I’m not going to be working on anything else while we’re doing this.

DRE: I read that you are going to be doing 20 fifteen minute shows, is that true?

MS: Yes.

SG: Yeah we’re wrapping up the filming of the 16th and we’re recording for episodes 18 to 20 now.

DRE: That’s a huge amount of episodes especially for Adult Swim.

MS: We’ve been working on this for a while. We started writing back in July 2004 and we started production in September.

DRE: I thought the whole show was going to be one note jokes but you have some pretty complex stuff in there sometimes.

SG: One of things we try to do is give each episode three tent poles. The goal is to have three or four sketches that are a bit longer like one to four minutes long.

MS: We have one eight minute sketch coming up later on.

SG: It’s going to play as two parter over one episode.

MS: We realized that the one to two minute sketches play out the best. It’s in and out then we’re on to the next thing.

DRE: How do you two split up the duties?

MS: We split them up a little bit but pretty much Seth, me and [head writers] Douglas Goldstein and Tom Root pretty much cover all the aspects. Everything from directing shots, calling agents to sitting with the editors.

SG: It’s too much work for any one of us to do by ourselves so we really have to work as a cohesive team.

DRE: The press release was kind of vague about how you two met, “Green and Senreich met through their mutual love of toys and action figures.” Did you meet at some convention?

SG: It was a furry convention.

MS: [laughs] When I was at Wizard I saw that Seth was a big action figure collector. So I called up his publicist and she said he would get back to me. A few minutes later Seth called and we just hit it off.

SG: An editorial director from Wizard called me and I ended up writing three or four articles. But Matt ultimately wooed with a Love Boat’s Boat's Isaac and a Black Hole Bob both on the card in mint condition. That’s how we fell in love.

DRE: Will we see a sketch that has a Scott Evil figure versus an Oz from Buffy figure?

SG: One of the real tricks of the show is that you have authentic dispensable parodies to make some sort of social commentary with. We really don’t randomly have anything in there.

MS: To give an idea. Tom and Doug’s action figures will probably appear tons more than Seth’s.

DRE: The Transformers toys you used don’t look like real Transformers toys.

SG: A lot of the stuff we have made or modified. For stuff to be animated you have to break it and wire it so it can move in ways they weren’t meant to. Sometimes we have to concede that the figure has limited poseability because it plays into the silliness.

MS: We have a puppet department of about seven people that do nothing but wire armatures of bodies that we could put heads and arms onto.

SG: We’ll also custom sculpt the likeness of someone like Former Secretary of Education Rod Page.

DRE: Dana Plato spent all of her money on drugs and Seth you spent it on toys.

SG: I really don’t spend a lot of money on them.

DRE: On the Jimmy Kimmel show you said you had one that cost $1700.

SG: The book price on that toy is $1700 but I didn’t pay that. That would be crazy. If you have $1700 to literally throw out the window, don’t spend it on a toy just throw it out the window. It would be easier to say that you threw it out the window rather than say you spent it on a Greatest American Hero box set.

DRE: Seth, is this your chance to finally boss around [Family Guy creator] Seth MacFarlane?

SG: [laughs] He’s great. You’re talking about one of the most brilliant and talented guys of our generation. I love the opportunity to work with him on Family Guy let alone having him come in and screw around on our show.

DRE: How many new Family Guy episodes have you recorded so far?

SG: I think we’re halfway through the fourth season and we got a pickup for the fifth so we’re really excited about it.

DRE: Is the evil monkey in the closet back?

SG: Yeah we’ve recorded two gags with him already.

DRE: After you finish these 20 episodes of Robot Chicken do you hope to do more or even a feature film?

SG: I don’t know. We’ll cross that bridge when we come to it because first we want to get it out there and see how it does. I don’t think any of us would turn down the opportunity to do a second season but we’d have to modify the way it’s done. It’s an intense production so we have to figure out how to take breaks.

DRE: What kinds of Standards and Practices issues are you bumping into?

SG: It hasn’t been too bad. It’s mostly related to sex and violence.

DRE: Have you done a major sex scene between two figures yet?

MS: We have a great porn scene with popsicle sticks.

SG: Yeah it’s a reenactment of Debbie Does Dallas. We also have something in either episode 13 or 14 that’s an example of scrambled porn.

DRE: Are you going to have recurring characters?

SG: We’ve done varying versions of the bloopers sketch three times over 20 episodes. That’s probably the only thing that’s really repeated.

MS: There are a few characters you’ll see over and over again.

SG: The character may not exactly be germane to the sketch but we just like seeing different puppets show up again.

DRE: I heard that the name Robot Chicken came from some Chinese food menu.

SG: Yeah we used to get takeout from this Chinese restaurant when we were writing the show so we used to order the Robot Chicken.

DRE: What dish is the Robot Chicken?

SG: It’s like a sweet and sour garlic chicken.

DRE: You’ve got a lot of voices guest starring like Seth Macfarlane and then of course Abraham Benrubi.

SG: We’ve had great success with voices. We also had Ryan Seacrest, Mark Hamill, Burt Reynolds and Dom DeLuise. We just had Phyllis Diller in also.

DRE: Do they know exactly what they are doing in there?

SG: No one gets made fun behind their back.

DRE: How awesome was it getting Kurtwood Smith in there?

SG: Kurtwood killed! He came on for The 70’s Show sketch then he also did one that was the further adventures of Walt Disney’s head.

MS: He played a Lemming in a nature show parody.

DRE: I saw a picture of a set with the Diff'rent Strokes characters. Will the real Conrad Bain do a voice?

SG: He does as a puppet but since it was just three words we didn’t approach him. In a lot of cases, like when we did a Corey Feldman puppet, it is just a couple lines of dialogue so we won’t go to the real people.

DRE: Matt, are you are still at the magazine?

MS: Unfortunately I had to leave the magazine because it was too much work. But I just wrote a pilot for FOX. It’s a one hour drama that’s kind of like if The X-Files was run by the church.

DRE: Seth, have you heard much about an Italian Job sequel yet?

SG: There is nothing official yet. I heard there was a draft of the script that Paramount liked and it went [Italian Job director] Gary Gray. That was the last thing I heard.


Seth Green Talks About "The Italian Job"

Seth Green has been acting in films and commercials since the tender age of seven. Over the years he's appeared in such notable movies as "Radio Days," "Hotel New Hampshire," and "Enemy of the State," however he gained a whole new group of fans with his portrayal of Dr. Evil's son Scott in the "Austin Powers" movies.

Director Gary describes Seth's style of acting this way: "Seth is an extremely funny guy with incredible mprovisational skills and a sharp wit. I love when an actor can produce a range of performances on the spot. In fact, there were actually times when I wondered if Seth was writing stuff and bringing it to the set."

In "The Italian Job," Green stars as a computer nerd who can take control of just about any organization's computer system.


In "The Italian Job," your character claims to have created Napster. Do you know anything about computers in real life?
No, you probably know more than I do. Although we did get Shawn Fanning [the guy who created Napster] in the movie, which was a blast. I like that guy a lot.

The movie features a lot of Mini-Coopers. Did you get to drive one?
I got to drive one on the test track when everyone was just kind of screwing around, but I didn't get to drive one in the film.

How was filming in the Alps?
It was cold, very cold. It was at the end of the movie when we were just exhausted and freezing.

How would you describe this cast?
Fantastic. It was like a dream cast.

Seth Green's One of the New Guys in "Scooby-Doo 2: Monsters Unleashed"

Seth Green plays a museum curator who falls for Velma in "Scooby-Doo 2: Monsters Unleashed." Like all good "Scooby-Doo" episodes, you don't know whether or not he's a bad guy until the final few minutes of the story. That element of possible 'badness' is what helped get Green cast in the role of Patrick Wisely. "Seth brought a level of authority and a slightly sinister air to this nerdy character, which makes Patrick a really interesing suspect. He's able to adapt to the style of the actors he is working with, which is a sign of his experience and skill," says director Raja Gosnell.

"Scooby-Doo" star Sarah Michelle Gellar's known Seth Green since she was seven, and has nothing but compliments for his work in "Scooby-Doo." "I can honestly say that everything funny I do in this movie is probably Seth's brainchild. He embodies so much, I can't even describe it."


When you think back on filming "Scooby-Doo 2," what immediately comes to mind?
It was a blast. Every day – there’s no real individual experience that stands out, it was just a really good time. Great people, we had a lot of fun together.

How tough is it to be the new guy on the cast?
Oh it wasn’t that hard because I knew all these people, so I didn’t feel like an outsider trying to step into something. I had a familiarity and a friendship, and everybody made me feel welcome.

Your character really isn’t in the cartoon series, right?

So how tough was it to create him?
Not at all. It was a blank slate.

And that’s easier for you as an actor?
Yeah, I like a little bit of creative freedom and James Gunn wrote a really smart role so I just had to make it my own.

He wrote it but didn’t you do a lot of adlibbing?
A little bit. There was only like one or two places where it was appropriate and then the rest was just by the script.

What was it like reteaming with Sarah Michelle Gellar?
I love working with her. I’d work with her anytime.

And you get a love story with Linda, too. How lucky is that?
(Laughing) It’s PG so it’s all off camera.

Is your character going to be back for a third "Scooby-Doo" film?
I don’t know.

Would you do it?
I wouldn’t say. It’s all about the scripts for me.

Are you going to do another "Austin Powers?"
You know, I don’t know. A lot of people talk about it but nothing for sure yet – so maybe.

What’s up next for you?
Matt Lillard and I did a movie called “Without a Paddle” that’s coming out this summer. It’s three guys on a canoe trip – it’s me and Matt and Dax Shephard. It’s great – I love it. It was an amazing experience. It’s an adventure comedy. We go on a canoe trip and it goes really bad. It was a really great experience because all three of us work the same way.

Toyfare Interviews Seth Green on "Robot Chicken"

Toyfare Magazine has interviewed Seth Green, co-creator of Adult Swim's Robot Chicken. Green describes the show as "a stop-motion variety show. It’s like Saturday Night Live with stop motion. Only it’s funnier."

What viewers can expect to see in the show:

* A "shot-by-shot re-creation" of the Kill Bill movie trailer.
* Spoofs of American Idol (guest-starring AI host Ryan Seacrest), and That ’70s Show featuring the voices of the entire cast.
* In addition to guest stars previously reported, Sarah Michelle Gellar, Rachael Leigh Cook, and Pat Morita are lending their voices to the series. And Mark Hamill provides the voice of "Chucky" from the Child's Play movies.
* Appearances by scads of TV/movie characters and action figures: Smurfs, Transformers, Star Trek, Diff’rent Strokes, Pokémon, Battlestar Gallactica, and a "break dancing" Voltron.

CN Announces 'Robot Chicken'

Stop-Motion CultureCartoon Network has announced the new animated program from Seth Green and Matthew Senreich. The announcement was made at the annual Television Critics Association in North Hollywood earlier today. The stop-motion series entitled Robot Chicken is scheduled to join the late-night programming block Adult Swim in late February 2005. Anticipated for many animation fans are aware of the creative talent that Seth Green holds, the premiere should certainly be something to keep an eye out for. The following is the press release from the network:

A new type of animated series will join Cartoon Network’s Adult Swim on Sunday, Feb. 20, when Robot Chicken, from actor/producer Seth Green and Matthew Senreich, premieres. Using stop-motion animation to bring pop-culture parodies to life in a modern take on the variety/sketch show format, Robot Chicken will air Sundays at 11:30 p.m. (ET, PT).

In Robot Chicken, no pop culture target is safe. Legions of action figures are used to spoof everything from Quentin Tarantino’s blood-spattered action epics to The Real World, in which a cast of superheroes takes the place of drunken 20-somethings. A team of artists and technicians create miniature sets, tiny yet elaborate costumes and props and intricate action scenes for sketches skewering popular entertainment, politics and celebrity culture. Green and Senreich lead the writing staff and provide voices for the fast-moving weekly series, and a number of celebrities will provide voices, including Scarlett Johannson, Burt Reynolds, Ryan Seacrest, Mark Hamill and Macauley Culkin.

Green is well-known for his acting roles in dozens of movies like Without a Paddle, The Italian Job and the Austin Powers films. He has also appeared extensively on television, starring in the hit series Buffy the Vampire Slayer and as the voice of Chris in Family Guy. Senreich began his career working in comic books before joining Wizard Entertainment, a publisher of magazines covering comic books, action figures, anime and collectible card gaming. Senreich was named editor of ToyFare, then editorial director for all of Wizard’s publications.

Green and Senreich met through their mutual love of toys and action figures. They hit it off and began discussing a way to bring them to life through animation. After collaborating on a project for Sony’s Web site, the duo pitched a fast-moving pop-culture sketch show to Adult Swim. Robot Chicken was given the greenlight in Spring 2004.

About Adult Swim: Adult Swim (www.AdultSwim.com) is Cartoon Network’s late-night block of animation aimed at adults. The block airs Saturday-Thursday from 11 p.m.-2 a.m. (ET, PT) with a replay from 2-5 a.m. (ET, PT). Adult Swim’s programming is a mix of quirky original comedies like Aqua Teen Hunger Force, Sealab 2021 and Harvey Birdman: Attorney at Law; popular favorites Futurama and Family Guy; and thrilling action/adventure like Inuyasha, Cowboy Bebop and Fullmetal Alchemist.

''Robot Chicken'' on DVD now

Call it an incredible bout of Fate, some oddly defined stroke of mere Chance, or just plain Irony; but I'm sitting here reviewing the episode "Junk in the Trunk" of Robot Chicken only a week or so after I've finished reviewing a wonderful DVD release about Ray Harryhausen. In any case, the new stop-motion television series Robot Chicken comes from the minds of Seth Green and Matthew Senreich with the intention of making fun of popular culture as much as possible. The television series (scheduled to premiere on Adult Swim on February 20th 2005) is a parody series inside and out, and shows signs of both a moderately successful program, and of a stagnant melting pot of animated comedies.

The genre of Parody is a tough area of interest to master. This is true because your content is far form being original, which then forces you to approach the project as one would a theater play, primarily addressing the presentation and delivery rather than content. Robot Chicken gives you socially recognized individuals… as puppets... and plays with them.

There isn't any real series of plots to this television series. This isn't to say that the program isn't structured, but only to clarify that the orientation takes great liberty with the program's pacing and the viewer's attention span. The cuts between scenes, better defined as skits, are blurred and frazzled snowstorm intermissions, as if the channel were being changed. It is an interesting concept that certainly suits the oftentimes frenetically paced program that is Robot Chicken. It's a fun diversion, which moves the show along very fast… the only problem is that by the end of the episode, you won't really know that it's over unless the credits are rolling. In other words, nothing is sequential or serial.
But what is Robot Chicken really? So far I've just muttered something along the lines of stop-motion and popular culture parodies. And yet, to be honest, that's all there is to this televisions series. Robot Chicken goes from a mocking reenactment of Rachel Leigh Cook's don't-do-heroin commercial, to Optimus Prime with prostate cancer, to some guy in a suit taking a lollipop from a baby in a carriage… who then proceeds to physically punch the baby in the carriage, and all in a matter of minutes. This animated television series takes pride in reliving past events in television or film in awkward ways, just as much as it loves to reinvent new "opportunities" or circumstances for these characters to engage in.

This is where Robot Chicken has the chance to be quite successful; well aware of the conventions of the Parody genre, the television series works best when it take a certain public icon or figure or even concept, and then places this icon or concept into an unfamiliar environment, this includes the traditional out-of-character routine that many animation fans only achieve through their imagination.
There is a wide range of examples that I could pick from "Junk in the Trunk," but I'll choose a certain sketch involving two particularly popular pocket monsters to illustrate the many upsides to the series. Open scene: Pikachu and Squirtle are sitting in an open grassy field, joyously squeaking out "Pika-pika!" and "Squirtle!" to their own endless delight. But the humor comes roaring in as Squirtle cracks from the pressure of the ludicrousness. "For the love of Christ kid, go read a book or something…" he fumes, only to later finish off with a good series of bleeped curse words and other obscenities. Now, Pikachu on the other hand, while Squirtle is going crazy, Pikachu is on the verge of having a nervous breakdown; Pikachu's eyes become very shifty, and he says, "Say... say the line... before you get the gas." The idea that Pokemon are held as captives and are forced to perform all of that mundane franchise work is hilarious, and exposes the multi-billion dollar franchise as an inept, money-making scheme and nothing more.
My favorite though, would have to be a short scene which is a parody of HBOs Oz series. Who would ever think that the Scarecrow (of the "Wizard of" film) would end up in a maximum-security prison, lumped together with some of the worst criminals in the region? The creators of Robot Chicken would. I guess that the brain either came in a little late from the Wizard, or the brain the Scarecrow received had something else planned in mind that was aside of finding the square roots of prime numbers. In any case, this scene can't be any more than ten seconds long, but it's one of the best. The scarecrow is walking through the prison cafeteria with his tray, when all of a sudden; some other convicted criminal walks up from behind him and stabs the Scarecrow in the chest. Robot Chicken continues as the Scarecrow starts freaking out as oodles of hay pour out of his chest. He has his hands and arms out in front of him, and some of the hay piles up in his grasp... causing him to go into shock, and, in an instant, dies. End of scene.

Robot Chicken does a lot of great things with regards to poking fun at a variety of cultural icons and the like, however, at one point or another, the show suffers from a few misfortunes. These misfortunes include the innate primitive nature of the medium of stop-motion animation, and the limited conventions of the Parody genre.

Stop-motion animation, let's face it, is the most primitive form of animation next to a hand-made flip book that you can craft during the spring semester of your Algebra class. Nevertheless, one must verily keep in mind that the result of the medium is directly proportional to the charisma the project's creator places in each and every character and environment. From the independent character movement of models, to the general fluidity and placement of such motion/movements, to the program's narrative structure; each facet of animation is ever so closely tied to one another in stop-motion animation, should any one of these links disjoint, then the entire project will slowly come apart.
For Robot Chicken there are occasional moments of less than articulate character movement as well as times where figures "jerk" here or there, due to a sudden quickening of the production photographer's preferred pacing. Several times, characters will not display any body emotion whatsoever, save for the flailing of their arms. While fine in a few contexts, it becomes tedious and unprofessional when all five to ten characters of a scene resort to such actions. When the puppets have no life other than their voices and flailing arms, the program isn't animation, but a childish soap opera that any kid can make with a GI Joe and a Barbie doll.
Additionally, the Parody genre allows its program creators only a certain range of professional value. Not in the fact that the producers of Robot Chicken need authorized clearance for their parody work, but in that one can only joke and make fun of a certain subject area of interest for so long, and only in a limited number of fashions as well. The truth with parody is that there is no original content, which then forces project coordinators to generate innovative and creative presentations of various ideas, and if such producers, writers, or directors lack the skills to manifest a believable and/or trusting environment, then the program will, without a doubt, fail in its aim.

Robot Chicken, as do many other parody-based programs, occasionally falls into a repetitive nature. Not to say that the stop-motion program is already abundant with predictability, but only to clarify that the show runs such risks when over-indulging itself on a genre and style of animation (or film) that has already been approached by dozens of other producers, writers, and directors successfully. Robot Chicken can easily avoid this slipstream of weak entertainment; however, like any other creative project of which these troubles are posed, it will take time and effort it iron out such wrinkles.
Overall, Robot Chicken is a funny program, but risks falling into monotony due to the naturally opposing issues of its medium. Some jokes are hilarious--such as Rachael Leigh Cook hitting a puppy dog with a cast iron cooking pan--but some are simply over done and played out in the most mundane of fashions for minutes on end--such as a certain parody of Battlestar Galactica. As a total package Robot Chicken has potential. This considering the present awareness of animation for adults in the west, on top of the separate fan bases for stop-motion, Seth Green, and Adult Swim, Robot Chicken will more than likely appear as an achievement to many fans.

Sony shopped around this stop-motion series for some time, and Adult Swim of Cartoon Network finally bit. I'm willing to bet that its more than the quirkiness that caused Adult Swim to bite, wherein with Robot Chicken lies the possibility of venturing into an area of interest (the Parody genre), of which other Adult Swim programs have already exhausted, but perhaps... just perhaps, with a fresh methodology.

Seth Returns to Evil Territory

Seth Green/Austin Powers in Goldmember Interview

Seth Green has been on the scene for years. The eloquent 24 -year old is best known for his work in Buffy, but other credits include The Hotel New Hampshire, Big Business and To Gillian on Her 37th Birthday and many films in between. More recently he was seen in such diverse projects as Rat Race, and the TV series Greg the Bunny. Apart from his co-starring role as Scott Evil in Austin Powers in Goldmember, he is about to start work on The Italian Job and has Party Monster next year. Paul Fischer caught up with Green in Los Angeles.

Question: Is this movie going to be the end of the franchise, do you think?

Answer: It's not my choice to make. I don't have any expectation of it. I really don't have any expectation of it going any further than this. I feel like it is a fitting end and is a well-tied together trilogy. So, if Mike Myers and (screenwriter) Mike McCullers decide that there's a story left to tell, we'll go from there.

Question: But you'd be willing to do it?

Answer: I don't see me resisting being a part of this group, but I'd take the same stance as I did for the second one and the third one where it's got to be the script. If it's a good script, if there's a story worth telling and it makes sense and it's as good as the last one, you know, then yeah, of course I'd do it.

Question: What is "it" about your co-star Beyonce Knowles that is making her the current "it" girl?

Answer: I can't speak to what's "it," but as far as Beyonce is concerned, she's just talented. She's talented and she's kind and gracious. All of those elements are very appealing when combined. There's a lot of talent without grace and there's a lot of success without kindness and when you see someone with those qualities, you gravitate towards them.

Question: Beyonce was telling us she can't land a boyfriend. Do you believe that? Do you think she's intimidating?

Answer: Here's what I suspect. I suspect that the type of people she is able to meet in the places she may go or the environments - I know that when I go out or when I have gone out, the type of women that are willing to come up to me are never women that I want to get together with. You know what I mean?

Question: Why?

Answer: How do you define that? You meet someone...first of all, I think it's a really unfair advantage to start a relationship. It's an awkward foundation when someone's really familiar with you or believes that they are and they're completely a stranger to you - that's not a fair basis to begin a healthy and successful future relationship. I don't see it working. I'm not saying it's impossible, but it hasn't been my experience. So, I can imagine for her that most guys who would be the kind of guys she'd want to go out with are not bold enough or brazen enough or obnoxious enough to approach her. And the types of guys that are - are not the guys she wants to get together with. We haven't talked about it, but that's my suspicion based on all the interviews I've read of models.

Question: What was it about Greg the Bunny?

Answer: What was it? Did you watch it? You know what it was. You know exactly what it was. I couldn't resist that. It was so unbelievably creative and fun and it was just something unlike...something like things that I'd seen that I loved. And when I had that opportunity, I can't turn it down. And I met those guys - I met Dan (Milano) and Spencer (Chinoy) - and they were just the real deal. I knew there was nothing that was going to keep me from doing that show.

Question: What are you working on?

Answer: I'm about to start a movie called The Italian Job, which is a remake of The Italian Job. It's a faithful re-telling, but it's modernized.

Question: The look of the original had a really specific "look" and "style" that defined that picture. Is this remake going for the same thing?

Answer: It's not. It's original in all those details. We do have the Mini's though. It's really cool. I play a guy that didn't really exist - I'm the technical guy. I'm the satellite/computer guy - a role I've honed. But I get to play a live-wire thief, which is fun. I like doing things like that. I just finished this movie Party Monster. I'm sure we'll be talking about that in a couple of months and I've got Knockaround Guys coming out in October.

Question: Will you talk a little about the plot to Party Monster and who you're playing?

Answer: Well, do you remember the club kids in the early '90s that were on all the talk shows? This is that story.

Question: This is the movie with Macaulay Culkin?

Answer: Yeah, and let me say something about that. He is just going to blow you guys away. He is one of the most tremendously impressive individuals, both personally and professionally. He's really got it together. It's so funny because so much of what the public really sees is all just calculated playing. You've got to look at a guy who is in that position at such a young age with so many people acting so ridiculous all around him publicly and then orchestrating that and sitting at home and knowing that you've made everybody nuts for five minutes by dying your hair magenta. It's very funny. I'm excited about the movie. I think we made a good movie.

Question: What about Knockaround Guys?

Answer: Knockaround Guys. I'm just glad because we made this movie a couple of years ago and it got tied up when New Line went through all its marketing department and hierarchy changes. All these movies just fell by the wayside and it was just so frustrating letting it sit because the longer something sits, the more people think it's no good and that's just not the case. This movie is great, it just got held up. Finally, they found a date and what's funny is, they moved it up to the 12th of October. The company's really behind it and there's going to be a big push.

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