But Greg and Myles, otherwise known as The Brothers McLeod, have gone a different route than JibJab and Homestar Runner. While they host shorts like The M Man on their website, they’re leaning on partners to help spread the word. For Spamland they used YouTube, and ended up on the homepage. For an unannounced, upcoming series, they’re working with the BCC, and today they’re trusting Cold Hard Flash to help introduce the second episode of Fuggy Fuggy to the world. That’s right – a Cold Hard Flash exclusive! Of course, Fuggyfuggy.com will be the official online home with MTV footing the bill on TV, but without further adieu….

AARON SIMPSON: When did you two start working on Fuggy Fuggy?

GREG MCLEOD: We started in the summer of 2005 with the first film being released online on December 21st, 2005.

AARON: Was there anything in particular that inspired the project?
GREG: We wanted to make something that would have a wide appeal online and that seemed to mean a Star Wars spoof or something with ninjas, we went for the latter. It was partially inspired by Bruce Lee films, Japanese monster movies and the Muppets.

MYLES MCLEOD: Greg’s sketch books are full of illustrations, and sometimes one in particular seems extra special, or seems to have a life of it’s own. Greg had drawn this little ninja character and had done a few comic strip panels for himself to develop the character. He had a different name to begin with, but then I came up with the word “Fuggy” – don’t ask how – and it seemed to fit.

AARON: Did you always intend Fuggy Fuggy to be a series?
GREG: We had it in the back of our minds but we wanted to see if the first one was a success. When it went well we decided to make a second.

AARON: How did you end up teaming with MTV?
GREG: Myles is writing for a BBC series called Frankenstein’s Cat (editor: due on BBC in September of 2007) and the executive producer Jackie Edwards put us in touch with a company called Wiretown who got us the deal.

MYLES: The deal is an international one (not US though). In fact I had a text message from a friend whose on holiday in Russia – he said he saw it on MTV out there. That’s great.

AARON: What can we expect from Fuggy Fuggy over the next year or so?
GREG: That depends on whether it goes down well on MTV. We probably won’t make another on spec as they take so long to make.

AARON: How long did the production of this second Fuggy Fuggy episode take?
GREG: It took 6 months.

MYLES: The first one took about 3 months with two animators. The second was one animator – Tracy Bartlett, so it took longer. Tracy wanted a challenge so Greg and I wrote the battle sequence to be quite complex – that’s where most of the time went in the making of it. In fact the battle sequence had two other scenes but it was just going to take too long to make as they were very intense scenes. Maybe one day!

AARON: Greg, do you still sketch on paper, or have you transitioned to an all digital process?
GREG: Still loving the paper, I have a healthy doodling habit and all my designs for characters and layouts all start on paper. I usually use an ink pen as it gives a great line and gets me covered in ink.

MYLES: From my point of view as the writer and co-director it’s great to see Greg’s visual mood and tastes change. We like to move around styles and try new things. At the moment, Greg’s getting into crayon again. Just like being kids again!

AARON: What software do you lean on during the production of a Fuggy Fuggy episode?
GREG: Fuggy was all hand drawn then scanned and the scenes composited in Flash. Flash is my main tool; I never had any conventional training and Flash allowed me to get going and I still swear by it. It suits the way I work, it’s intuitive and fast. I use Final Cut to edit and After Effects to add film effects, etc. All the sound is done in Pro Tools.

AARON: What’s your studio like?
GREG: I have a studio at home. I can’t animate with other people around – I just get crabby with them. Our main studio is an old coach house with views to the Malvern Hills. I tend to do meetings there and all the sound.

MYLES: I also work from home. Writing is best done where it’s quiet I find. The view from my window is Meon Hill which has been a site of habitation since the Iron Age – it used to be the site of a Hill Fort, but now it’s covered in trees and farmland.

AARON: How does your collaborative process work?
MYLES: We use the Disney concept of an ‘Ideas Room’ quite a lot – not that it’s actually a room for us. We have a part of the creative process where we just say that any idea is allowed without censorship. That way we’re not curtailing our own creativity. The process of criticism comes later.

Also a lot of what we do is comedy based. We generally only allow a gag through if it makes both of us laugh. Just one of us isn’t enough.

GREG: We tend to work together at the start of a project. During the ‘ideas’ process we’ll brainstorm and get loads of stuff on paper. Then once the idea is pretty tight, Myles will do a treatment and I’ll start designing. Then Myles does a script and I’ll storyboard. The it’s me animating, Myles tends to do most of the voices with me doing the odd one. Then I do all the soundscapes, editing and sound FX. Myles always acts as another pair of eyes and ears throughout.

AARON: When did you both first know you wanted to be professional animators?
GREG: When we were doing it, we never expected to make a career out of it. It started as a hobby and then all of a sudden we had a commission and off we went.

MYLES: I knew I wanted to be a Policeman at the age of 3. By 13 I knew I wanted to be a Doctor. At 16 I was heading for Veterinary Science. At 21 I wished I had a Green Card so I could be a Forest Manager in Mount Hood Reserve. Next week I’ll want to be a photographer or a balloonist.

There was a cartoon series I watched a lot as a kid – Mr Benn – about an everyday normal chap that went to a magical shop and tried out being all kinds of crazy roles – a pirate – a caveman – an astronaut. I think that’s the thing about being a writer – you can be whatever you want to be for little blocks of time, especially in the world of animation where you can go anywhere.

MYLES: We went to their big party bash last year at Bristol Zoo. It was a fine affair and fun to visit the zoo again – I used to live just around the corner and you’d hear the lions roaring in the evening – a strange sound considering you’re in the middle of a UK city.

AARON: Can you tell us anything about the project you guys set up with Nickelodeon?
GREG: It’s called Super Charlie and Super Lauren, two sibling superheroes. It’s early in development but we got the deal on the strength of a pilot we made 3 years ago.

MYLES: Super Charlie is one of those animations that kids and parents seem to love – it’s fun, a little irreverent and just plain silly. It was first seem at the Bradford Animation Festival 2003. A few people expressed an interest but Nickelodeon were really keen on it. We’re looking forward to see how it turns out.

AARON: You’re currently writing a feature script – what’s the story about?
MYLES: I’ve written a first draft of a feature script – it’s an Arthurian Road Story. I’ve taken the old Arthurian tales and then retold them from a different point of view. I now have some funding from a Lottery Script Grant to write a second draft with the help of a script editor. The film isn’t an animated idea, but Greg and I do have plans to write a feature length animation – hopefully with some money from the Film Council’s Development Fund. We’ll see!

AARON: Can you tell us about your animated series The Tiger Lounge?
GREG: It’s on hold at the moment due to other commitments. It’s very close to our heart though as it’s one of the first things we ever made and it’s due an update.

MYLES: Greg has done some excellent new concept drawings and we’ve written a script. We’re looking forward to making it when we have some more time in our schedule!

AARON: How do you think advances in online video distribution has effected your careers?
GREG: It’s enabled more people to view our work and get our name out and we’ve been approached by several broadcasters as a result.

MYLES: I think it has made it a thousand times easier for commissioners to find out (a) who we are and (b) recognise that lots of people like what we do.

AARON: Your first Spamland short was featured on the Youtube homepage in 2006. What was that experience like?
GREG: It was nuts. We’d only just put some of our stuff on Youtube and then bang we were featured and we were getting thousands of views. The comments were fun as well – either ‘wtf’ or people loving it. Then arguments breaking out between the people who got it and those that didn’t – it was hilarious. However this was the best comment.

AARON: Are there any more Spamland shorts in your plans?
Yes – we have another one in the pipeline. It’s all down to time. We’ve got a massive project on with the BBC at the moment (can’t say what yet) and that’s taking up loads of time.

AARON: What would you say to animators currently studying animation?
GREG: Just tell stories you want to tell and keep making stuff and showing people. Don’t be shy about approaching broadcasters or festivals, make good stuff and you’ll get noticed.

MYLES: I’d say make sure you study story as well as the art of animation. A well made animation with a crap story is disappointing because you see the potential and see that it’s been wasted.

Many thanks Aaron – Greg and Myles

You should also check out a Christmas-themed Flash short Greg and Myles created for Esky.