I have to admit that it is a real treat to be given the opportunity to review this particular installment from The Write Environment, hosted by creator and writer Jeffrey Berman, given that I recently returned from my second year at Comic-Con. 

Here are a few highlights from the interviews with comic book legends Geoff Johns, Mark Waid and Marv Wolfman, who are featured on The Write Environment: Comic Book Series Special Edition DVD. 

Geoff Johns

Hands down, Johns may have the coolest work space of all of the interviewees in The Write Environment DVD series. He utilizes a hydraulic desk, choosing to write either standing up or sitting down. And there is an entire wall behind the desk filled with amazingly organized and labeled boxes full of comic books; every issue in his collection is carefully housed in an archive sleeve. I admire such thoughtful storage, and openly admit that I plan to improve upon the pop culture archives in my own home office using his method. 

Of the many enlightening facts that you will glean from his interview, I was surprised to learn that Johns’ introduction into the comic book world was less than traditional; he started out as an assistant to director Richard Donner (Conspiracy Theory, Lethal Weapon). 

Johns is a very disciplined writer, as he is able to write an entire comic in one week from start to finish. Die-hard comic book fans are familiar with Johns because he is responsible for the rejuvenation of the Green Lantern and Hal Jordan. This talented young writer has established himself with a very impressive body of work for both DC Comics (Blackest Night, The Flash, Infinite Crisis, JSA, Superman, Teen Titans) and Marvel (The Avengers, Ultimate X-Men, etc.). 

Mark Waid

“I give good cliffhanger.” Waid delivers the best line from all three of Berman’s interviews. 

His work space actually feels more like an extra bedroom with memorabilia-lined shelves than a regular home office. Truly, one of my favorite aspects of this DVD series is that we are invited to peek into the personal spaces of these beloved writers. 

In addition to being a renowned writer in the industry, Waid is a both a teacher and a visual thinker; he believes that you have to be able to write a wide variety of voices and empathize with the characters. In his interview, Waid elaborates about the relationship between the artist and the writer, which is a very collaborative effort. 

Waid’s stellar career began with The Comet and he wrote The Flash for eight years. Many regard the apocalyptic graphic novel Kingdom Come as Waid’s Watchmen. He also penned issues and series’ of Captain America, Fantastic Four, Impulse, Justice League, L.E.G.I.O.N. and X-Men, among many others. The most current Mark Waid comic is Irredeemable.

Marv Wolfman

Wolfman’s home office resembles your neighborhood comic book store; warm and jam packed with more back issues than you’d ever have time to page through. He is the first to admit that clutter drives him crazy…and yet his bathroom resembles an eBay stockpile of original comic book related toys!

Wolfman finds dialogue easier than story and structure, and works from a strong outline. He always starts with characters, loves writing comedy and horror because both appeal to emotion. 

Marv Wolfman co-created Teen Titans, and many feature films have been based upon his work (the Blade trilogy, Bullseye in Daredevil, the novelization of Superman Returns). A few of Wolfman’s characters have also been featured on the small screen (Lois & Clark, Smallville). While Wolfman also wrote issues of Batman, Doctor Strange, Spider-Man and Superman, his notable titles include Crisis on Infinite Earths, Nightwing (a character which he created) and The Tomb of Dracula. 

—

Listening to these three gentlemen discuss their characters and stories, it is obvious how much respect they all have for their predecessors and peers, as well as the craft. It is fascinating to discern the varying styles of each writer; for example, Mark Waid enjoys writing cliffhangers with no idea what the resolution is, whereas Geoff Johns prefers to have a 2 year plan in mind while creating his stories. 

Comic Con originated as a gathering to celebrate the art and enthusiasm for comic books. And while the current focus of the convention overwhelmingly leans toward the promotion of feature films and television shows, the artists and writers who continue to create comic books will never be overshadowed by the temporary landscape of these other mediums. The writers interviewed on this DVD and their vast contributions to the comic book community serve as an important reminder to embrace our tactile childhood memories; acquiring and holding first issues and playing with action figures are indelible experiences that Johns, Waid and Wolfman clearly understand and appreciate. 

I highly recommend that aspiring comic book, graphic novel and general entertainment writers order a copy of The Write Environment: Comic Book Series Special Edition from Amazon or The Write Store. This rare glimpse into the minds and worlds of these writers is well worth your $19.99.

If you’re interested, I also reviewed the first round of this fantastic DVD series, which featured television showrunners/writers: Doug Ellin (Entourage), Tim King (Heroes), Damon Lindelof (Lost), Phil Rosenthal (Everybody Loves Raymond), Sam Simon (The Simpsons) and Joss Whedon (Dollhouse). 

Born on the Fourth of July. Magnolia. Mission: Impossible II. Almost Famous. In the Bedroom. Swordfish. Vanilla Sky. Minority Report. The Grudge. Zodiac. World Trade Center.

[The following interview also appears on the official Adopt a Writer site.  Even though the Writers Strike has ended, this project will continue to support the WGA by highlighting writers and their experiences; putting faces to the names we see scrolling by in television and film credits.]

As someone who loves and works with music, I was tremendously
honored and excited to be given the opportunity to interview David Leaf for Adopt a Writer. As I prepared
to speak with this amazing music historian and writer, I popped in my Brian Wilson Presents SMiLE CD and
re-read David’s eight page liner note introduction.

David Leaf is the king of pop culture and music
retrospectives. He is one of the Peabody Award-winning writers of the 9/11
telethon “America:
A Tribute to Heroes,” for which he also received an Emmy nomination, and he won
a Writers Guild award in 2003 for “The Kennedy Center Honors: A Celebration of
Performing Arts.”  In addition, David is a
documentary filmmaker: he wrote/directed/produced the Grammy-nominated “Beautiful
Dreamer: Brian Wilson and the Story of SMiLE,” and co-wrote/co-directed/produced
“The U.S. vs. John Lennon.”

I always told stories. 
I just didn’t start writing them down until I was about 13.  I’m lucky in that I believe I was born with a
certain ability to glibly synthesize information and tell a story.  What my high school history teacher used to
call “BS.”   In junior high, I was writing about sports for
the school paper and was even sports editor of the Latin newspaper. In school, I
was a class clown.  Or at least I thought
I was funny. 

2.       How were you first introduced to Brian Wilson, in what was to become a
lifelong friendship?

For my college newspaper, I had written an article about
Brian.  That was inspired by reading
about his roller coaster of a life in Rolling Stone.  At that time, I was inspired by the work of
Edward R. Murrow, and thought I could be a crusading journalist.  So I decided that I wanted to write a book and
tell the real story of Brian Wilson’s life.   

I met him just after moving to California. 
I was shooting baskets with a friend at a local YMCA in 1976. Brian walked onto the court with his cousin,
who asked us if we wanted to play 2-on-2 with him.  What really makes this story even more unbelievable
is that his cousin was an NBA player.  

Anyway, a few years later, when I wrote and published my biography
of him, we weren’t friends at that point. Thanks to some friends of his, who
wanted me to have a better understanding of what he was really like, I’d gotten
the chance to spend a little time around him while I was writing the book.   Through the 1980s, I continued to see him
around town.  Ironically, given what
inspired your ‘adoption’ of me, it was during the WGA strike in 1988 that I got
a job at Warner Brothers Records that put me into regular contact with
Brian.  So it was around then that we began
to develop a friendship.

3.      
Are there any writers who have had
an influence on your careers?  Who are
your mentors in this industry?

For sports writing (which is how I started), Larry Merchant.
For journalism, Pete Hamill.  Both wrote
for the New York Post, which had an amazing, diverse collection of columnists
when I was a kid.

As for authors – Kurt Vonnegut.  To me, his world view was essential, letting
me know it was okay to see things differently than conventional wisdom would
suggest.  And of course, I’m the cliché:  J.D. Salinger. 
In fact, the first chapter of The
Beach Boys and the California Myth opens with a quote from The Catcher in the Rye.

I guess if I had a mentor, although he would have laughed at
the idea, you could say my comedy writing mentor was Greg Fields. Working with him
was like getting a Masters in comedy writing. He was extremely influential for
me, teaching me how to spend every minute in the office making comedy out of
life, teaching me that nothing was off limits when it came to comedy. He knew
how to make everything funny without being mean. I think he was an extraordinarily
talented comedy writer.

4.      
How long have you been a member of
the Writers Guild of America?

For just over twenty years now. I wrote my first spec
features and spec sitcoms in the early/mid-1980s.  Then, I earned my WGA membership in 1987 writing
a Beach Boys anniversary special for ABC television. A year after that, I got
hired as a staff writer on The New Leave
it to Beaver.

5.      
How did the Writers Strike affect
your current development deals and projects?

Being on strike and picket line felt like being inside a
TiVO and waiting for someone to hit play. Everything was in suspended
animation. It was a frustrating yet unavoidable situation for everybody. I had
spent most of last year writing, developing and pitching, and I guess the way
it affected my current deals was to bring everything to grinding halt.  Now we all hope to reignite the momentum that our
projects had. 

6.      
What level of involvement with the
Writers Strike did you have? Were you out on the picket lines? How often were you able to participate? Can you describe that experience?

I was on strike in 1988, but it was different back then in
terms of organization and membership involvement; we only picketed sporadically.
This time, it was very well organized. I was on a specific team with a specific
assignment, 4 days a week for four hours a day.  From my point of view, it was very important
to be on the line every day.  And from
the team I was on, there were about a half dozen regulars who walked together
and became friends. It was like being in a writers’ room, without any deadlines
or scripts to write. It was a very good support system during what were tough
times for everyone.

Unless you’re on staff on a show, you probably don’t spend that
much time with writers. Being on the picket line provided the opportunity to
reconnect with other people trying to do same things you were; writing,
selling, pitching, developing, etc.  We
had some great days out there and were lucky with the terrific weather in California. We’d tell
each other stories, talk about the business and the creative part of writing.
It was a positive part of the strike – the sense of being in it together. 

Another positive thing was that we were able to walk and
talk with some of our own writing heroes; major screenwriters, legendary TV
writers like Allan Burns (Mary Tyler
Moore), Jay Tarses (The Bob Newhart
Show), Ken Levine (M*A*S*H, Cheers
& Frasier) and writers from The Simpsons.
It was a community of writers and ideas. 


Unlike the strike in 1988, we felt like we were working
together in battle. We were on strike; that’s where we should have been, out on
the picket lines.  We didn’t start the
fight or pick it, but once we were in it…we were in it for the duration. 

7.       How did you become involved with FremantleMedia, the company
responsible for shows like American Idol?
Can you reveal any details about your future plans with them?

I was approached a few years ago to work on a multi-part History
of Rock and Roll project. We’re still developing it and hope to get it made
sometime soon. They contacted me after Beautiful
Dreamer appeared on the BBC, and I was flattered to be considered by them for
such a prestigious project.  And there’s
a production from my company that’s “in the works” that they’ll be
distributing.

8.      
Your long list of credits as a
writer/producer of music specials for television is very impressive, from
benefit and live concerts to pop culture icon profiles. You’ve covered artists
and performers as varied as Elvis, Frank Sinatra, Christopher Reeve, Billy
Joel, the Marx Brothers, the Bee Gees, Jonathan Winters and Nat King Cole. Do
you approach an opportunity to write for and about these particular individuals
as an admirer, as a writer, or both?

For me, the idea usually starts in the same place—what is it
about these artists that I love and think is important for others to know about?
 I then figure out how to tell their
story using their work to speak for themselves, which is essential when the
artist is no longer with us.

I don’t ignore sensational aspects of an artist’s life, but
my focus is more on the artist and how they created their art. Naturally, their
private life will come into the story as it affects their work, but it won’t
come into the story unless it’s relevant. In some senses, I’m a fan and
proselytizer, but more than anything else, I consider myself a storyteller. I
ask myself, what is the most important story I can tell about that particular
artist, a story that you as a viewer need to know.  Watching these retrospectives, if you are a
fan, you might get a deeper understanding and love for the artist. If you’re
not a fan, you might become one. Or at least come to respect the artist.  The goal is to experience their art and at
the same time, enhance your appreciation of their work.  I want to keep the focus on where the art came
from, but also get the artists to reveal something about themselves.   Most of all, I make the show I would want to
watch. 

9.      
Besides specials and awards show,
your career as a primetime television writer for series has been sporadic; a
staff writer on The New Leave It to
Beaver from 1988-1999 and Party of
Five and Beverly Hills 90210 retrospectives. Were sitcoms and primetime dramas just
not your cup of tea?

Not at all.  I’ve
always been a big TV addict, I love sitcoms and one-hour dramas. I started as
staff writer on The New Leave it To
Beaver in mid-February of 1988, but within three weeks the industry went on
strike. When the strike was over, I did one full season of that show.

That was just about my favorite job of all time, being on
staff on a sitcom. I would love to do it again in the future. You’re paid to reveal
your ‘inner smartass.’ There is nothing more fun that trying to make people
laugh all day long.

10.   Now that the Writers Strike is over, do you look forward to a
normal life of writing and producing again? 
Is there a specific project that you’ve been itching to return to?

I
don’t know if there is any such thing as normal life for a writer.  The last four months, however, have been very
abnormal.  During this strike, I shut
down for the first time in a very long time. The only writing I did was e-mail.
But the reality is that in the blink of an eye, many of us went from ‘striking
writer’ to ‘unemployed writer.’  It’s
very strange. But we are all pretty excited that we can get back to it.  We’re all going to have to readjust, but we
are all anxious to put this behind us and get back to where we were before the
strike started.

 

There
are two projects in particular that I want to reignite ASAP. One is a feature
spec, the first draft of which I finished just before the strike started.  I can’t wait to take that out into the
marketplace.

I’m
really proud of it.  I think writers often
feel that ‘this is the best work I’ve ever done.’  But this is a script that really ties
together everything I want to do as a writer, and hopefully someone out there
will see that and also see the movie I see.
 

The
other is a feature spec pitch that I sold. I am looking forward to my agent
completing the deal so I can start outlining and writing it.
 

But
I’ve learned not to predict what’s next in my writing career, because I certainly
didn’t plan my career to go the way it went. I didn’t plan to become a director
and yet I became one.

I
didn’t set out to make retrospectives, but I’ve done a lot of them. I didn’t
plan to spend lots of time developing and pitching as a producer, but that is
what I’ve done.

 

I
came to L.A. to
write sitcoms and write movies.  Last year,
with the developing/pitching/writing I did, I was back in touch with ‘pure’ writing.
 Even the picketing had that effect.  I feel much more like a writer today than I
did a year ago.

I would like to thank David for participating in this interview,
and for sharing some of his incredible experiences! He was very generous with his time and information, and it was a real pleasure to speak with him at length about writing, television and music.

A few years ago, Kevin Collins was a writer on the Showtime series Soul Food.
He started out as the assistant to the Executive Producer and
transitioned to Writer’s Assistant, which led to a freelance job (and subsequent membership in the WGA) and then to a position as a Staff Writer.

Right now, there is nothing that Kevin would like more than to grab a picket sign and join the ranks of his fellow screenwriters in Los Angeles. But he is physically drained.

And there is nothing that Kevin would like to do more than network with the other writers on strike. But he is mentally exhausted.

Because right now, Kevin is battling a rare form of thyroid cancer. He just completed week 5 of radiation therapy, and has 2 more weeks to endure.

His pencil is down, but his medical bills are on the rise.

Even
though Kevin is undergoing treatment as we speak, he very kindly took the time to
answer a few questions to provide his perspective about the
current writer’s strike.

Jo: What are the benefits of being a member of the Writer’s Guild of America?

Kevin:
Being a writer is much like being an independent contractor. The Guild
is out there negotiating to make sure you are handled in a professional
manner. This ranges from pay to health and retirement benefits. The
Guild is also responsible for tremendous programming of seminars and
events for writers who want to grow creatively and professionally.

Jo: Do you receive residuals from the many episodes of shows that you’ve written?

Kevin: Yes, residuals are great, in particular for most writers who work on and off.

Jo: Is your medical insurance being covered by the WGA?

Kevin:
The WGA covers medical insurance for writers who are working. When I
was employed as a writer, I was covered, and my coverage spanned for a little more
than a year after my last job.

Jo: What is your overall opinion about this strike?

Kevin: I see our strike as the canary in the mineshaft that is the entertainment business. The ‘industry’ is and has been rapidly changing, but the business models are not keeping up. There is a great need for reform throughout and writers are simply trying to push that along.

Jo: Do you see the potential for a quick resolution?

Kevin: For the potential to be there, all involved parties must have some common ground. So far, that doesn’t seem apparent.

Jo: How do you feel about the digital distribution of TV and film?

Kevin: In recent years, we have seen Netflix grow into a great business model, mostly due to the convenience. It’s no longer necessary to go out and wait in line at a store. The future of that business is on the demand/downloading ability. What would be easier than coming home and having it already on your TV?

Jo: How has the writer’s strike affected your career?

Kevin: It has affected
every aspect of my life, not just my career. Certainly, getting treated
(surgery to remove the thyroid and 22 lymph nodes, followed by radiation) has required an almost complete interruption of
everything I was doing. At the same time, this kind of event is
inspirational, in that it makes you reflect on all aspects of your
life. I am sure there will be evidence of this in my future projects. But you can’t work during the strike. Even if you have the greatest idea, you just have to sit on it.

Jo: So you are honoring the Pencils Down Means Pencils Down credo that Writer’s Guild members are encouraging/enforcing?

Kevin: Absolutely. It is strange that the strike is coinciding with my radiation treatment, because it truly has been a reflective period for me to “think.”

Jo: What were you working on before the writer’s strike began?

Kevin: I was working on several scripted TV show concepts and a screenplay.

Jo: After the strike is resolved, what will be your first move?

Kevin: To go out and begin pitching my ideas.

—

I only met Kevin once, several years ago through a very good mutual friend. I find his positive outlook and spirit, in the face of illness, mounting bills and an industry on strike, to be quite inspiring. And I wish him great health and recovery.

So keep your eye out for the name Kevin Collins on future small and big screen endeavors, because he is one of the many thousands who are responsible for the entertainment that we take for granted, and he deserves our support. While you’re at it, add some Soul Food to your Netflix queue, my friends.

I
recently returned from a cruise to Alaska, where we were treated to
performances by the hilarious Michele Balan on the ship. As a huge fan of NBC’s
Last Comic Standing (she was a
finalist and the Last Woman Standing in Season 4 last year), it was great to
experience her show live.  I highly
recommend that you get tickets to see Michele the next time she comes to a town
near you!

Sixteen years ago this month, I was unpacking boxes in my dorm room on the first day of college when a guy with long hair in a ponytail appeared in my doorway to chat. He was very friendly and funny, and my polar opposite – a boarding school kid from the East Coast. Although he started out as my next-door neighbor, we wound up living together for most of the next three years. Long story short, he began to date my roommate almost immediately. They have been together ever since.

His name is Matt Nathanson. And outside of family, he has been the most influential person in my life for the past 16 years. Immensely talented and musically gifted, Matt has been an inspiration to be around, as well as a very good friend. Throughout my many professional and personal endeavors, he has encouraged me to set my sights high and follow through with what I aspire to be and do. Truthfully, Matt is the reason I began to blog, and his ongoing music education has contributed to the success I’ve had at my current job.

And now Matt has graciously provided me with the opportunity to officially interview him for this Blog, as he celebrates the release of his new album.

If you haven’t heard of Matt Nathanson yet, you will soon enough. His new CD, Some Mad Hope, is out TODAY on Vanguard Records, available in stores, online and on iTunes. Matt will be embarking on a national fall tour in support of the new album beginning next month.

Before we get started with the interview, here are the essentials for you to read and watch:

MATT FACTS
Born and raised in Lexington, MA. Went to Proctor Academy in New Hampshire. Graduated from Pitzer College in Claremont, CA. Currently resides in San Francisco with his wife and cat.

QUICK DISCOGRAPHY
1993 – Please
1997 – Ernst
1998 – Not Colored Too Perfect
2001 – Still Waiting for Spring
2002 – When Everything Meant Everything (EP)
2003 – Beneath These Fireworks
2006 – At the Point
2007 – Some Mad Hope

LISTEN ONLINE NOW ON VH1.COM

ORDER THE NEW CD

BEHIND-THE-SCENES VIDEO: THE MAKING OF SOME MAD HOPE

OTHER ESSENTIAL VIDEOS

TOUR DATES & MORE INFORMATION

And now, on to the interview…

Jo: How old were you when you received or bought you first guitar? What was its life span?

Matt: I was in 5th grade.  My mother bought me a K-shaped, candy apple red Ibanez guitar. I had it until senior year in college, when I sold it to buy a Telecaster. I’ve regretted it every day since. 

Jo: Where/when was the very first time you took the stage to perform?

Matt: I had been in school plays since I was a wee lad. But the first time I ever really performed was in 6th grade, at a talent show called ‘The Big Event.’ I had a band called ‘One Way Out’ and we played a Police song and a Beatles song.

Jo: How old were you when you wrote your first song? What was it called?

Matt: I was in 7th grade. The song was called “It Was Only a Dream,” and it was awful. I played it at ‘The Big Event II.’

Jo: What was the first concert you attended?

Matt: J. Geils Band at the Boston Garden. I was in 3rd grade, and went with my student teacher, who I was totally in love with. It was unrequited.

Jo: What is the story behind the title Some Mad Hope?

Matt: I was watching the movie 300 and the main character said it as he led his troops to their death. I though it fit my life perfectly.

Jo: How long, from start to finish, did it take you to complete Some Mad Hope?

Matt: I think just over 3 years. We (co-writer Mark and I) wrote the first version of ‘Come On Get Higher’ in 2004.

Jo: How did you wind up with Vanguard as your new record label?

Matt: I was really wary of signing with another major label after my stint on Universal. Vanguard were just hands down the best indie option I had. They are super enthusiastic, music nerds…and I felt an immediate kinship.

Jo: At what point did you decide that the album cover/art work wouldn’t feature photos of you?

Matt: I have never really been into the idea of having my picture on the cover. I feel like an album cover should help tell the story, help set the mood. I’m still a huge believer in a record being a whole experience, not just a collection of songs. And the cover is crucial to that experience.

Jo: From the cover art to the lyrics, this album seems more personal and exposes a darker perspective/outlook than albums past. Would you agree?

Matt: Maybe. The songs on this record follow me through a pretty serious realization that I had in my personal life. And it was pretty heavy shit…so yeah, I guess it’s heavy, but not necessarily darker.

Jo: Will ‘Car Crash’ be your first mainstream music video? Do you have an idea when it will debut, and if it will be on iTunes and/or MTV?

Matt: We are shooting a video for ‘Car Crash’ at the end of August. It’s being shot by Justin Francis – he is a total bad ass and did the new Modest Mouse video for ‘Little Motel.’ The treatment for our video is pretty rad. Not sure if it will be on MTV – do they even show videos anymore? It will definitely be on iTunes and everywhere else…

Jo: Your songs have appeared on popular television series’ like Scrubs and Men in Trees. Are there any shows you hope to add to that list with songs from the new album, or is it out of your hands when and what is submitted?

Matt: I would love to have a song on Family Guy, but I’m pretty sure they don’t do that kind of stuff.

Jo: Who or what influences your music?

Matt: My life pretty much influences my music. I’m not super good at the whole fictional storytelling stuff. My songs come from my own shit, for better or worse. And in terms of who…I’m wide open. I can be influenced from any direction. I’m pretty malleable that way.

Jo: How would you describe your fan base?

Matt: Kick ass! Truly. I am not really a fan of this word…but I am totally blessed. The folks that come to my shows are amazing. And passionate. And total freaks. And I love it!

Jo: What is the most unique thing a fan has ever said or given to you?

Matt: For a while, I was getting statues of religious figures. Like Jesus, the action figure. And Moses. I actually got a disturbing sculpture of Jesus teaching a boy to swing a baseball bat. And I’m not religious at all, so that was a pretty strange gifting period.

Jo: Have you performed in all 50 states? Anywhere outside of the US? Any plans to?

Matt: I think I’m still a few states short of 50. Definitely haven’t played Hawaii or Alaska yet. And I think the Dakotas are on that list as well. I’ve never really toured outside of the states, though that plan is starting to come together nicely…

Jo: You are an unusually gregarious performer at your live shows, with a penchant for language unsuitable for the under PG-13 crowd. Is language ever an issue – do certain venues forbid or discourage it?

Matt: Sometimes I’ll play a college where they have a swear/don’t get paid policy. I can totally refrain from swearing if I have to, but it feels like I’m playing the show with my hands tied behind my back, and use of only about half my brain. I LOVE me the swears!

Jo: Would you recommend MySpace to other musicians as way to market yourself and reach out to the fans?

Matt: It is crucial. It’s the perfect forum for spreading the word.

Jo: Do you take the time to read comments and blogs about you and your music?

Matt: If I’m feeling particularly shitty about myself, I have been known to Google my name in hopes of finding kindness from others on the world wide web. Yes, but I’m not in the habit of it…

Jo: At last count, there were over 500 clips of you on YouTube, with everything from Prison Break scenes set to ‘Laid’ and guys in front of web cams singing songs from your new album. Flattered or frightened?

Matt: Totally flattering…and hilarious.

Jo: You’ve covered songs by James (Laid on the American Wedding soundtrack), Cat Stevens (The Wind on Wake Up Everybody) and Prince (Starfish and Coffee on For The Kids Too!). Were you asked to do so, and did you have to seek permission from the original artists to perform each?

Matt: Fuck no. It’s totally legal to cover other people’s songs. Probably not legal to cover as many Journey songs as I do, but I’m in the clear on James and Prince.

Jo: When you’re on tour and have some down time, what do you like to do? Do you ever actually explore the cities you’re visiting?

Matt: I spend a lot of time exploring a 4-block radius of whatever club/theater we are playing. A lot of the time, that isn’t so spectacular. And I’m always on the lookout for a Whole Foods. If there is a Whole Foods in your town, you can pretty much count on finding me there!

Jo: What is your guilty pleasure television show? Movie?

Matt: I don’t really have guilty pleasures. I’m pretty open about my love of stuff that other people think is terrible. I have been known to watch an entire Olsen twin’s movie when it comes on cable. And I guess I’m not super proud of that.

Jo: What is on heavy rotation in your iPod right now? Who are your favorite artists of the moment?

Matt: The new National record. Tegan and Sara’s new one, The Con. Cansei De Ser Sexy. M.I.A. Lily Allen. Kiss – “The Destroyer.”

Jo: Do you have a favorite song from the new album? Is there a song from any of your previous albums that you still love to perform live?

Matt: My favorite song from the new record is definitely ‘Falling Apart.’ It just sort of sprawls out and soars in a cool way. I never get tired of listening to it. As far as older songs, I don’t really get tired of playing ‘Suspended’ or ‘I Saw.’ Those are always fun.

(Photo: Matt and I at the Mandalay Bay Beach in Las Vegas, where he opened for Pink in June of 2006.)