Go­ing the Ex­tra Mile

Justin Roi­land and Dan Har­mon talk mak­ing the home video re­lease of their Adult Swim hit Rick and Morty as cool and es­sen­tial as pos­si­ble. By Tom McLean.

Animation Magazine - - Home Video -

Justin Roi­land and Dan Har­mon’s Adult Swim hit Rick and Morty is get­ting its first home video re­lease with sea­son one ar­riv­ing Oct. 7. The disc con­tains the first 11 episodes, cre­ator and guest com­men­taries, an­i­mat­ics and a limited-edi­tion comic book, with ev­ery­thing cre­ator-guar­an­teed to be “bet­ter than BitTor­rent!” We caught up with Roi­land and Har­mon, who also cre­ated and runs the live-ac­tion show Com­mu­nity, to find out how they sur­vived sea­son one, the video re­lease and to learn more about the up­com­ing sec­ond sea­son. An­imag: Tell me how you think sea­son one turned out ver­sus how you thought it would be when you started on the project? Justin Roi­land: We just started out by mak­ing our­selves happy and try­ing to fig­ure out what the show was. So it was startling and re­ally grat­i­fy­ing to see the pub­lic re­act to the show, par­tic­u­larly be­cause they seem to feel the same way and like the same as­pects of the show that we did. An­imag: Justin, how do you man­age to do the voices for both Rick and Morty? Roi­land: I have to be care­ful — more so this sea­son than in sea­son one in re­gards to switch­ing back-and-forth — be­cause I’ve found if I do too much Rick I can’t go back to Morty, or I can go back to Morty but he gets raspier and raspier and my range for him starts to in­creas­ingly shrink. So what I tend to do is I start with Morty, and then if there’s any op­por­tu­ni­ties in the script for me to ping-pong backand-forth and do a scene, I will do that. Then I switch over to Rick, and by the time I’m done with Rick my vo­cal cords are shred­ded and that’s it — it’s time for a few days, or at least a day, of vo­cal rest. An­imag: Dan, what do you like about work­ing in an­i­ma­tion? What do you think its strengths are? Dan Har­mon: The real rea­son I like an­i­ma­tion is be­cause, if I were al­lowed to, I would never re­ally leave the writ­ers room. I love, hate and am in­spired by break­ing sto­ries and solv­ing prob­lems on the writ­ten page, and I feel like the best job I can do is put out a re­ally good script. And when that script is be­ing shot and per­formed, some­times it gets bet­ter, some­times it gets worse, but it’s all out of my con­trol and I don’t nec­es­sar­ily know how to fix things on a set. But I’m a rea­son­ably good ed­i­tor, and I get to do that in an­i­ma­tion, as well, so ba­si­cally my fa­vorite thing about an­i­ma­tion is it elim­i­nates this thing I’m no good at any­way, which is man­ag­ing live-ac­tion per­form­ers and direc­tors. In Com­mu­nity, that sec­tion of the pro­duc­tion pipe­line gives me all kinds of gifts, but what I’m say­ing is I’m not in con­trol of them, I’m not the rea­son why Joel McHale is good, I’m not the rea­son why Ali­son Brie is tal­ented, or why the direc­tors that di­rect Com­mu­nity are good, or why the set dec­o­ra­tor did her job well. Those are all just flukes and luck for me. So an­i­ma­tion is a chance to fo­cus on story and character. Har­mon: Yeah it would take you so long to steal all this stuff that you might as well just buy it!

Justin Roi­land

Dan Har­mon

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.