Introducing 20Q(-ish). A new feature in which Sketchcenter, and it’s intrepid Staff, interview the best and the brightest in the sketch comedy community.

Sketchcenter Founder, and member of Seattle's Train of Thought, John Boyle speaks with Sam Reich of Dutch West TV about blogging, great production values and gettin' started in the Big City.

Sadly, Renee Zellweger is only briefly mentioned.

Dutch West hails from New York City and produces one of the most popular sketch comedy series on the Internet.

Q1 John Boyle; Staff, Sketchcenter: What’s your background in sketch? How did you get started?

As a kid I was a big fan of Monty Python and Kids in the Hall. I would draw comics and make movies with my brother and try to create unique worlds like the ones above. Mostly I wanted to be an actor. When I didn’t grow any taller than 5’6”, it was clear comedy was going to be my way in. I didn’t do improv until a year before Dutch West, and didn’t do sketch until Dutch West.

Q2 John: You’re credited as the creator of Dutch West. Why did you start the group?

I created Dutch West in so far as I conceived of it and brought the group together, but I’m no more responsible for its success than any other member. I’m definitely not its leader. Every week the other members tear off my clothes and pee on me to remind me that.

Originally the website was meant to expose us as actors and writers. It was a while before we even considered ourselves a troupe. We were more of a project. We intended to create funny, viral movies and put them on the web and eventually be ad-supported. Then people started referring to us as a troupe and we went, “Oh, so we can get managers and do live shows and all that.” It’s nice because we don’t feel like we’re in anyone’s shadow. Despite all our inspirations, we’re trying to do something completely different.

Q3 John: Why the name Dutch West?

Dutch West is a tribute to the Dutch West India Company, the Dutch settlers of NYC. We’re the Dutch West Internet Company. The god of puns just secured me a place in heaven.

Originally we were iTV New York, or Internet Television, but our lawyers advised us that we were infringing on iTV Britain’s copyright. Then we wanted to be Donald Sutherland, but they said, “Yeah, that’s no better.” I still think that would be an incredible name for a troupe. “In honor of the dead actor… may he rest in peace.” Then New Amsterdam, but there’s already New Amsterdam entertainment. They’re responsible for the made-for-TV Steven King’s “Langoliers” with “Perfect Strangers’” Bronson Pinchot. Who could forget it? Then finally Dutch West. So the name wasn’t easy.

Q4 John: How did you assemble the cast?

Josh (Ruben), Elaine (Carroll) and I all knew each other from the Boston University Theatre Institute when we were sixteen. Josh knew Vincent (Peone) from childhood and went to acting school with Matt (Moore). I didn’t really know Vince or Matt heading into it. There were benefits to that. Our professional relationships came first and our friendships second. We all tried to impress each other with how clever we could be. Not anymore. Now we fart into each other’s mouths and go “That’s a webisode!”

Q5 John: What are the roles members of Dutch West play? (writing/editing/producing)

These days I do most of the editing and run the website. Vince is a forth-year cinematography major at SVA and really was responsible for coaching the group in good filmmaking. We all write, direct and act. And argue. Boy, do we argue. About what’s funny and not funny and why. I think great comedy writing is mostly invulnerable to this kind of analysis, so we always know something’s surefire when we don’t have to talk about it.

Q6 John: Describe your writing process. Do you work together or do members bring work in separately?

We tend to come up with ideas collectively and then draft them separately. For instance, we came up with “Surprise Party” at Vince’s surprise party. Vince or Josh was like, “Wouldn’t it be funny if someone shot themselves at a surprise party? ‘Like, I don’t want to steal the spotlight or anything…’” Then I contributed the bit about him coming out of the closet and turning into a zombie. Vince drafted it, Josh added to it and we all said “Go.” It’s really a collaboration with rough borders. Like the United States and Mexico.

There are a lot of exceptions to this. I came up with “Street Magic” out of the blue. Same with Josh’s “Zarnia” and Elaine’s “Chimney Sweeps.” Sometimes it’s better not to share an idea before it’s scripted. Then people are like, “I imagined it differently…” We’re on our tenth draft of “The People vs. Loch Ness” and still aren’t happy with it just because it’s so big in our minds.

Q7 John:Tell me about your first show together as Dutch West.

Josh had this improv thing in the basement of the bar Identity in the East Village, and Elaine, Matt and I performed in that. We came up with some good ideas there. But because the show didn’t have the Dutch West name, it was never much of a draw. Again, Vince is a filmmaker first and actor second, so for a while he was reticent to do live shows. We finally did in October 2005 and the fans just poured out. It was really moving. The thing about producing for the web is that you never know who or how vast your audience is.

Then it was more time before we finally committed ourselves to writing new sketches for new live shows every few months. Now we perform at Upright Citizens. I love it there. The walls are covered in history. Or is that Horatio Sans’ spit?

Q8 John: Your production quality is top notch. Really. How do you create such high quality videos? Any tips on how groups who don’t have access to such great equipment can do it?

Not to pat ourselves on the groin, but I don’t think it’s a matter of money so much as cleverness. Get film people involved in your group, not just actors and writers. If there’s one thing this process has opened my eyes to it’s how much shot and edits can make or break a performance or joke. Then think about what locations you have at your disposal. “Gay Assassins” was filmed in a warehouse Vince had access to and “American Vikings” in Josh’s parents’ backyard. Locations are by far our hardest resource to come by.

We shoot on the DVX100 camera, which is the industry standard for low-budget 24p. 24p means film frame rate, which is great for a cinematographic look and if you’re ever going to television. We edit on an Apple G5 with Final Cut 5 and are just starting to use Motion. I’m really not a web designer, and we could use someone better in my job. We want to convert the whole site to Flash. Can you believe I get chicks?

Q9 John: How long does it take to put an average sketch together – from the writing process to the final edited product?

It depends on how expensive the script is. The group just rejected a script of mine called “Time Traveling Restaurant Critic” because it would have required a shoot-em-up scene in an 1800’s Parisian café. Filmmaking is 90% preproduction. If the script is solid and we have a location, the process can take as little as three days.

Q10 John: Which do you like better: performing live or producing sketches for the net? Why?

That’s a hard question. I hate you. The internet is self-publishing at its best. All that’s between you and the rest of the world is a URL. Of course we intend to gravitate to other media, but I think we’ll always come back to the net as it’s the shortest possible distance between us and our viewers.

Of course an even shorter distance is theater, and there’s nothing like it. It’s viscerally more satisfying as a performer and audience member because it’s immediate. Unfortunately you can only fill up a theater with so many people. What we really need is a medium that puts screens in front of large audiences all across the nation. And there could be popcorn.

Q11 John: You’re located out in New York. Is it easier or harder for a group to get started out there in the big city?

Easier. New York is a big city but a tight community. Agents’ doors are open, even if they say don’t drop by in Ross Reports. In LA you find an iron gate and Cerberus. We’ve got great comedy clubs and improv venues. And there are actually audiences for this stuff, people who pride themselves in attending obscure performances. Sure, New York can be rude and dangerous, but I think it’s just buckling under its own weight. Like the grandfather that picks you up and throws a disc and curses.

Q12 John: What’s Chicago like?

I’d give it two-and-a-half stars. Renee Zellweger wasn’t that great.

Q13 John: LA?

A note to follow so.

Q14 Matt: Temple Owls or Villanova Wildcats?

Both: Wildcats.

Q15 john: Dutch West, like many sketch groups, has a blog. Have you found that to be a useful tool in reaching your audience?

Our blog was supposed to be a literary forum, but we soon realized it was distracting us from more important obligations. Generally our forum has been a more useful tool in terms of talking back with fans and building a community.

Q16 John: Where has Dutch West gotten to and where is it going?

We have managers in Rory and Peter Rosegarten at the Conversation Company. They represent Ray Romano and Adam Ferrara and the like. We’re in conversations with a few big media people about online comedy series. I’d say more, but they’re holding a gun to my head. Eventually we’d like to found a studio and do what Monty Python did and make movies. Maybe even branch outside of the realm of comedy.

Q17 John: Ok! It’s the Sketchcenter Lightening Round (patent pending):

Favorite…
Color: Purple Mountain Majesty
NY Team: Rockettes
Food: New England clam chowder
Sketch Group: Invisible Engine
Movie: American Beauty
Actor: Phillip Seymour Hoffman
Actress: Phyllis Seymour Hoffman
Superpower: Lightning fast bathroom trips
Band: Dispatch
You break a starlet’s heart! Who is she? Scarlet Johansson
Coke or Pepsi? Diet coke and Mentos
Boxers or briefs? Boxer briefs
Pants or No Pants? Trench coat
Sketch or Improv? Sketch
Cats or Dogs? Cats
Good or Evil? I’ll finish this game of Fable and then tell you.