DID YOU READ

Catching up with 2012 Subway Fresh Artists finalist Libby Klein from “The Loop”

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If the world is going to end in 2012, then Libby Klein suggested that it might happen at the end of a Subway sandwich: in “The Loop,” her entry in Subway’s Fresh Artists™ Filmmaker Series competition, two young men discover an unexpected – and hilarious – nexus in time and space when they accidentally create duplicates of themselves while devouring breakfast at their local sub shop.

Klein, the project’s producer, helped her fellow collaborators put together “The Loop” for the competition, which enlisted aspiring filmmakers to create a web series that incorporates their sponsor. IFC recently spoke with Klein about where the idea for “The Loop” originally came from, and about the challenges she endured and lessons she learned in the process of participating in the competition.

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Watch the rest of “Frat House Musical” and learn more about the SUBWAY Fresh Artists™ Filmmaker Series by clicking here.


IFC: Just to get started, talk about how you first became aware of the contest and then how you and your collaborators came up with an idea that you thought would be appropriate or suitable for it.

KLEIN:NYU Stern has a student-run group called Promotion Pictures. And every year Promotion coordinates a collaboration between the business school where I attend, the film school, and this year also the Interactive Media School. So in past years they’ve [involved] a new sponsor for a new contest similar to what we did with Subway this year; although, with Subway it was a much bigger contest. So I heard about it through Promotion Pictures ‘cause they are the ones that really like go out and reach out to the students and kind of work — and did all the organization. And so that’s how I heard about it.

IFC: How did you and your collaborators come up with an idea that you thought would be well suited to the competition?

KLEIN:As the producer I wasn’t that involved in the idea creation. My team originally came up with a script that had to do with he end of the Mayan calendar and I looked at that script and had many comments and was like, I don’t think this is really going to work with what our sponsor wants and I don’t think it works with the medium. And instead of kind of reworking that concept they came back to me with the current script and I was like, “Great, I love this. Let’s do it.” And but it just, the concept in general it was like fresh, it was young, it seemed like it would — it matched like the target audience that Subway is trying to reach. And we just thought it would be like fun and exciting to shoot. We also thought it would be, it was like right on the edge of what we thought kind of technically we should do with the budget that we had and we wanted to push the budget as far as we could.

IFC: What were the specific challenges that you had to undertake for this because of maybe working at a scale that was different than what you had done in the past.

KLEIN:Well, before this I was a reality television producer and I also produced and directed media for political groups, so there were many challenges. I’ve never been in charge of such a large budget and so much hiring, so like balancing the creative demands and our budget was really a challenge, but a great opportunity.

IFC: How much did you have to think about Subway in the process of incorporating them in to the existing story that you guys had?

KLEIN:Our story wouldn’t have existed without Subway. It wasn’t like we had a story and then tried to adapt it to Subway. Like it evolved together with the concept of Subway, so from the beginning we wanted to have Subway in each of the episodes. We tried to have Subway in the episodes with a little bit of humor around it, and then our characters start in Subway in the first episode. In the second episode, there’s more just allusions to it and in the third episode they go back to it.

IFC: Was this dramatically different than other stuff that you had done in the past, or given the sort of experiences you previously had, it was actually not that much different?

KLEIN:It was different in that my role was different. As a reality TV producer, I wasn’t on the budgetary side. I was on the more creative and daily logistical side. So although the budget was definitely was smaller for this than it is for a reality show, this is the first time I’ve been in charge of it.

IFC: How indicative do you feel like this particular project is in terms of what you want to maybe do going forward?

KLEIN:This is exactly what I want to do going forward. I’d like to do both episodic and single production, whether it’s movies or one-hour television shows, but this is a great opportunity to try the things that I had not done before. And in addition to the web series we also produced a mobile app for Android that’s coming out. So for me it was also an amusing experience to have more projects with super deliverables, and really working in expanding the story world that we created in the episodes to a separate app — and trying to figure out how you do that. And how you manage the production and how you manage resources I think will be part of my career going forward, and it was another great opportunity.

IFC: What are you working on now?

KLEIN:Right this moment I’m looking to get a job for the summer producing or working in production or development.

IFC: Ultimately what do you feel like you took away from this experience that you feel like you’ll take with you to new jobs, or that could be applicable to your future career?

KLEIN:Well kind of like I said this is pretty much exactly what I’d like to be doing in the future, producing narrative content. So going forward I’ve been looking for new things and I’m glad [the series] is in my pocket, to say, “Here’s an example of something that I produced and here’s what I can do and how I did it and I think I’m ready for a bigger budget.”

IFC: What through this process do you feel like maybe was the sort of most important lesson that you learned?

KLEIN:I guess it’s harder to manage a team than I expected. It’s important that you communicate with everyone and express expectations as early as possible, or then that’s usually what happens. But also I guess that it’s okay to have a little conflict and resolve it.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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