The website is the UK branch of Will Ferrell’s hugely successful approach at online comedy. Funny or Die UK is run by James Serafinowicz who is also brother of our own personal hero, Peter Serafinowicz. What’s special about Funny or Die UK is that no one so far has put the amount of effort, professionalism and backing into a comedy video site that has as much an aim to promote emerging talent as it does to provide star comedians with a new media platform.
As Message in A Bottle never really had a proper chance to say hello on the blog , here it is:
They said, ‘It couldn’t be done!’… well more, ‘I don’t want to do it!’. But one digital pen, 3 dogs lives and lawsuit later I had proved them wrong. If you’re interested… Excuse me. Yep. Hi… here’s the original scribbles I did on a tiny scrap of paper a few years ago. The words are me trying to give it a title.
We’re looking to put together a team to start making some low-to-no budget comedy sketches. Our aim is to populate our successful YouTube partner page with material to build a strong presence as producers of quality comedy content.
What we need is a camera operator with their own equipment or access to equipment, someone that knows their way around lighting, and someone with knowledge of sound recording for film. All of the material will be written by us, a lot of which is already done and waiting to get made. We will also be looking for additional actors to fill supporting roles once a definitive list of sketches to film has been decided.
The main qualities a team-member should possess are a sense of humour, enthusiasm for making some funny films, and an easy-going approach to help everything move along smoothly. Being local to Birmingham will be a bonus and flexible availability at the weekend or week-nights will help.
Participation will be on a voluntary basis and hopefully for the enjoyment and experience of the process as we’re learning like anyone else. However, concerns about personal expenses can be lodged with us on an individual basis and we’ll see what we can do.
Of course, you will receive full credit for your work and the potential to join bigger projects as we progress. We will also provide our recommendation to others requiring similar services for team members.
Please leave your details or questions in the comments section of this post, or email us directly at admin@diceproductions.co.uk
The other day I heard one of the most amazing and wonderful facts. One of those facts that on first hearing, seems unbelievable, farcical and absurd. You desperately want it to be true, but inevitably, it seems forever destined to be exposed as a sham.
I was reading an interview with the former ringmaster of the circus at Blackpool Tower, Norman Barrett, apparently one of the most famous ringmasters to crack a whip and don the top hat. He explained, in a most matter-of-fact way, about his life in the circus and the strains of traveling for a living. All routine stuff for a ringmaster you’d assume.
But then I came across this question, again answered in the straight-faced tone of utter truthfulness:
Q. Is it true that clowns have to register their faces with the clown museum? A. Yes. They’re painted on eggs and kept so no one copies anyone else’s make-up. They are all slightly different.
This intrigued, amused and confused me in equal measure. Firstly, clowns have to register their face paint. That’s incredible in itself. Secondly, the records are kept at a central depository. This level or organisation in the clowning profession is astounding. And thirdly, they keep the records painted on eggs! That, ladies and gentlemen, is genius.
I so wanted this to be true, and as such, I decided never to find out and remain in an ignorant state of happiness, safe in the knowledge that such a practice exists and is upheld. But after telling a few people, including an unbelieving Chris Unitt, a skeptical Emma Jones, and an amused Chris Randall, I was forced to back up my incredible claims.
With trepidation I entered my search terms. “Clown egg face”. And there it was. The Egg Registryas a photo set on flickr.
With a rush of eggs-citement (groan) I dug further, finding the museum that holds the fabled chamber of eggs. Here is what they say on the matter:
One of the things to see inside the museum is the egg register. This shows the make-up (known as “slap”) used by clowns both past and present. It is an unwritten rule that a clown never copies the make-up of another clown – each one is unique and is designed to suit the individual’s face.
This was equally amusing:
** Membership includes a one off Administretion Fee which is used towards the cost of registering your ‘slap’ (clown face) on a china egg. which will be added to our famous Egg Collection.
If you’d like to see the eggs in all their glory, the Clowns Museum / Exhibition is now housed as part of the Wookey Hole Experience in Somerset. It is the place to visit if you enjoy the antics of the clowning profession and would like to see what and who lies behind the greasepaint.
Following our feature on Channel Frederator’s Episode, ‘Robbery! Notes! Goats! SWINE! #177′, we did an interview with the big red robot himself. Here’s the jist of it in their words:
Dice Productions’ comedy trio (animator Louis Hudson, and writers Ian Ravenscroft and Tom Reid) talk about why they work funny, what’s next for them, and the hardest thing they’ve ever been bludgeoned with.
You can read the interview here, or here’s a repost of it for your ever loyal eyes…
Dice Productions‘ comedy trio (animator Louis Hudson, and writers Ian Ravenscroft and Tom Reid) talk about why they work funny, what’s next for them, and the hardest thing they’ve ever been bludgeoned with.
Channel Frederator: Louis, where did you study animation?
Louis Hudson: I went to Edinburgh College of Art and graduated last summer. Going to university bought me time and contact with some very talented people, but I probably got most of my education from books like Richard Williams’ Animator’s Survival Kit, internet tutorials, blogs and podcasts. University gives you a lot of opportunities but you have to be very careful not to become ‘institutionalised’
CF: Ian and Tom, did you receive any education in regards to comedy writing?
Ian Ravenscroft: I don’t think formal training in comedy writing is that necessary, but my training as a journalist has definitely improved my style. I think the best training I ever had was to watch other comedy shows, absorb some of the tricks you can play with language and start to look at the world differently. It’s just about observation and trying to see the humour in everything you can. If I didn’t write comedy and laugh at things a lot, the world would seem a lot more cruel and depressing, I think.
Tom Reid: Doing a stint of playwriting at university helped me to focus on dialogue and overall narrative, but I’ve not done anything geared towards comedy specifically. I’d agree that the best education in writing comes from watching the comedy that’s already out there; being subjective about shows allows you pick up new techniques and methods that you can use to shape your own ideas. Other than that, working with others is the best way to craft and shape your own style, whilst making yourself laugh in the process.
CF: What has influenced your work the most?
Ian: In terms of existing work, comedy shows like The Day Today and Brasseye are big influences. I was literally raised watching The Simpsons too, so that has been burnt onto my brain. Spinal Tap and anything in a mockumentary-style like Summer Heights High always get me laughing too, well, almost always.
Tom: In terms of the telly, for off the wall ideas I’d have to go for programmes like Big Train, The Adam and Joe Show and of course the obligatory Python; shows where any concept is viable, no matter how strange or absoludicrous. For language and dialogue, Brasseye and Peepshow are by far my favourites, they’re witty, intelligent and consistently hilarious. In terms of the everyday, taking a twisted view of reality is the best way to get inspiration from the mundane or if that fails just write down real occurrences, it’s amazing how many funny things happen in the real world that never get written down.
Louis: I grew up on the markets and went round pubs with my dad as a little kid. The bizarre drunken stories, strange people, and places I encountered have definitely had an effect. Vic & Bob, Blackadder, Porridge, The Young Ones and old Warner Bro’s cartoons are good old TV favourites, but the biggest influence is the very first time I saw Terry Gilliam’s animations. That actually changed my life – it’s the reason I started drawing jokes. Vic Reeves’, Sun Boiled Onions did a lot of bending on my sense of humour too.
Can you tell us about any upcoming projects?
We’re making content for MySpace Comedy UK at the moment, and hopefully trying to branch out into live action with that. Meanwhile Louis’ getting his short animated film “All Consuming Love (Man in a Cat)” ready for the summer”. The trailer alone has done very well for us on YouTube.
Alongside that we’re trying to get scripts sorted for a sketch show and sitcom that we’ve been working on too.
Most painful thing you’ve been hit with in the face?
Ian: Definitely a wall. Although it’s debatable whether I hit the wall or the wall hit me. I’ll go for the wall, because let’s face it, who wouldn’t move out the way of a seven year-old running around with his eyes closed? It’s just wrong.
Tom: It has to be a tennis ball in primary school, it hit me square in the nose and made me bleed from both nostrils, it wouldn’t stop for several minutes and made a permanent stain on the playground. Yet another example of why Henmania isn’t for the faint hearted.
Louis: A rowing boat. I still have a dent in my forehead.
CF: WOW.
You guys are the best! Thanks for the interview!
You can check out Dice Productions’ short film “Message in a Bottle” right here on Channel Frederator!
So you’ve accepted the painful truth. You want to form a band but haven’t got the talent or drive to write your own material. It’s ok, I respect your honesty. But what next? The answer, quite simply is…form a tribute act.
That’s right, covers bands are the last remaining hope of the wannabe rock star and a tried and tested route to the stage and shining lights of…um…a back room of a pub. So, to help you on your journey towards mimicking your idols in a not-at-all fetishistic kind of way, here is some expert* advice:
You’ve accepted the inevitable, now you need a new goal. The first step is to pick the band you want to tributalise. But this is not as easy as it sounds. Choosing a popular band, like The Beatles say, may bring in scores of punters, but on the flip side, may also leave you open to the most extreme prejudice, abuse and possibly violence seen outside the penal system. Pick an obscure personal favourite and, well, who knows what could happen.
The safest option is to decide based on your probability of success. If you want to be Led Zeppelin, but can’t master the first chord sequence in Wonderwall, then think again. If you want to be the Ramones but have the voice of Kathrine Jenkins, again, try something else. If, however, you can play a few Smiths tunes and have a yodeling mate with a quiff…you get the idea.
The Name
Key to any tribute band’s success is the name. If walk into a venue and a tribute band with a hilarious name is playing, you will go to see them, it’s practically the law. It is also your primary marketing tool. Somehow, if the name is good people automatically assume that the band will also, by extrapolation, be good. “What creative and insightful minds they must have!” they say in awe.
So, think hard. Past favourites have been AC/DShe, Bjorn Again, Fred Zeppelin, The Clone Roses, etc etc. But you can do better than that. My personal fave is the MeatLoaf tribute called MaltLoaf. Get this right, and you’re half way to success.
The Look
Once you have a name, you need the look. This can go one of two ways. Surprisingly well, or really, really shit. On past form, expect the latter, but for best results aim for the former. Have they got an idiosyncratic hat? Are they famous for a certain outfit? Do they have characteristic movements or a unique bodily feature? Whatever ever it is, copy it as best you can. And this goes for all band members (if you have any). Although any Def Leppard tribute acts, may draw a line at amputating their drummer.
The Sound This is probably the least important aspect of being a tribute act, but still you’ve come this far, why not give it a go. Step one is the singer. Without this you are merely a live karaoke machine without lyrical prompts. I suggest singing in the shower every day (and night for you clean types), because then you can blame the awful monotone warbling on the distortion caused by the water and steamy air.
Once the vocals are cracked, get your band together and practise. The key word in that sentence is ’together’. It’s no use learning all your parts separately and rocking up to the gig to play. You will undoubtedly sound like discordant avant-garde jazz, despite trying to emulate The Beach Boys.
So there you have it, you’re a tribute band. Now you can sit back, relax and think about why on earth you thought it was a good idea in the first place. Enjoy your meagre earnings, disinterested audiences and sweaty dives, you are well and truly a rock star.
Chuffed to see a Bored Stiff and Message in a Bottle is getting some love from the Funny or Die UK team, with Bored Stiff getting a lovely ‘Best of the Week’ honour.
You’ve accepted the inevitable, now you need a new goal. The first step is to pick the band you want to tributalise. But this is not as easy as it sounds. Choosing a popular band, like The Beatles say, may bring in scores of punters, but on the flip side, may also leave you open to the most extreme prejudice, abuse and possibly violence seen outside the penal system. Pick an obscure personal favourite and, well, who knows what could happen.
YouTube