Here's the statuts on other projects Kevin has either written or been involved with:

CLERKS 2
Kevin : "That was a rumor I started. We tacked that on to the end of DOGMA like “Jay and Silent Bob will return in CLERKS 2” and it was something we were toying around with doing and then we came to our senses and said there’s no reason to do a sequel. We’ve been doing sequels, more or less, to CLERKS ever since, so why would we go out of the way to do it. I love those characters, Dante and Randal and I really like Brian O’Halloran and Jeff Anderson and I really wanted to do something else with them but I’ll do it in another capacity, why try and do CLERKS again? Plus, what a ridiculous idea. It’s like you’re opening yourself up for “More money, less funny” and “Give this kid the black and white again because he obviously can cut the mustard in color.” Also, CLERKS also kind of tapped into the zeitgeist of that moment. I don’t know if it necessarily is something we could repeat, or if there’s a story we could tell that would necessarily have the same connection with the audience that that movie wound up having. So, yeah, it is something we toyed with seriously and then decided not to do."

MALLRATS 2
Kevin : "I remember one day I was sitting around and I was on the website and I actually threw out there, “Hey what do you think about a sequel to MALLRATS?” Because MALLRATS is kind of the unfinished business of the stuff we’ve done. It’s a movie I do believe that if it had come out 3 years later than it did, it probably would have done well. Maybe if Dimension had existed when we were making MALLRATS, and if they were more than just a sci-fi genre arm--because that’s what they kind of started as--if they had been willing a comedy, we would’ve stayed there and done it there. Harvey and Bob know how to get a film to its audience, so the movie would’ve had a better theatrical life than it did. And it always kind of irks me that people say “Oh, that movie is terrible.” It’s not much worse than other flicks I’ve seen and it’s not much worse than the flicks we’ve done. It’s not much worse than CLERKS. Maybe it’s not better, but it’s not that far removed or a terrible picture. And I’ve added to the mythos of that film myself by always describing it as the film that went in the shitter, or the flick that everyone hates or the red-headed stepchild of all the flicks we’ve done that just gets beaten and slapped around. I think in retrospect, people think that it’s worse than it really was and I guess it’s worked in favor of the flick, because you have people saying “I really liked MALLRATS” or “I finally saw it and I really liked it.” I guess it builds low expectations by the way people talk about it or they we talk about it. In truth, we got some really nice reviews on the movie. Not all the critics hated it. Entertainment Weekly gave it a good review, Janet Maslin gave it a good review. Then there were some like Ebert hated it and Kenny Turan of the L.A. Times hated it and wrote this review that I’ll take with me to my grave. He said, “If Sundance or the AFI ever gives a course on what not to do as a second film, MALLRATS should be at the heart of the curriculum.” And then he went on to chew it a new asshole. It didn’t get nearly as favorable reviews as the other flicks, but it also wasn’t universally panned. So there were notions like that where we thought it probably would work because it was so popular on video and it was a great sell-through title and the DVD was a real hot seller like the audiences would show up if we did another one. And so I posted it on the board one day and asked if it was a good idea and most people thought it was a good idea and then there were a few honest souls who said, “No, it’s not a good idea, you should probably move on.” That’s true and it’s more of that sequel thing. Why bother?"

FLETCH 3
Kevin : "FLETCH 3 was something that came about before CHASING AMY came out. My agent sent out the script to CHASING AMY and, suddenly, people were interested in me again for a few minutes. And I had some meetings where people were like “We really like the writing, we’d like you to start writing for us.” That’s when I started the rewriting career and SUPERMAN came out of that. When I met with Universal and Stacey Snyder, they said, “Would you like to do something here?” I was like, “No, because you guys really didn’t do well with the movie we did here. And I just don’t want to go through an experience like that again, but you guys do have a property I think you still have it which I was always very interested in which is FLETCH.” They were like, “Really, you want to do a FLETCH movie?” And I said, “Well, I’d at least like to write it. I don’t know if I want to direct it, but I would like to give it a shot writing,” because I was a huge fan of the Gregory McDonald novels. And they said “Well who do you see as FLETCH?” And I said, “Well, I mean, Chevy Chase is Fletch. He’s still alive.” And they said “Yeah, but he’s old. We’re not really in the Chevy Chase business anymore.” I said, “Well, I think it’s the only way you can go, I mean, he’s still around and he was really funny in the first two.” So, they sent me over to Brian Grazer at Imagine and he was all “Yeah, I’m up for it, let’s do it.” And I signed a deal and was supposed to start writing and then I got knee deep into DOGMA and it just kept getting put off and put off. And I remember my agent called me while I was on the set of DOGMA and he was just like, “Well, Universal wants to know if you are ever going to get around to FLETCH.” And I said, “Well, I’m filming the flick right now and I’ll be editing it for the next 6 months, I won’t get to it for at least a year.” And then he said “Well, why don’t you just pass. Why don’t you just let it go. And that way they’re not waiting on you and you’re not carrying the reputation as the guy who can’t meet a deadline.” And I let it go, it went by the wayside and then I read that Chevy Chase was really pissed off at me and said that I was real Hollywood and that was a real Hollywood move. And I was just like “Buddy, you can accuse of me being a lot of things, but Hollywood just never seems right.” It doesn’t fit, but I don’t know, he seemed pretty pissed off about the whole thing. And it really irked me because I was like “They didn’t even want you in the movie, dude. I had to fight for you and granted I didn’t make the movie, at least I was on your side. That I didn’t get around to doing it, hey I’m sorry, but don’t snipe at me because of it.” So, that won’t happen either."

COYOTE UGLY
Kevin : "From what I saw and can recall (mind you, this WAS a while ago), the only true line of mine that made it into the flick was "I'm not a lesbian. I played in the minors, but never went pro." There's a context which would do it a bit more justice, but if you're really curious, you'll go see the flick.

When I'm hired to do rewrites, I always imagine it's for dialogue. Oddly enough, on this flick, they kept scenes, scenarios, and set-pieces I wrote, but used someone else's dialogue. The big things that stick out which I contributed to the script...

1) Mostly all the names of the characters.

2) The father, as written in the first draft, was very old-country Italian. I made him John Goodman, more or less, and gave him a job working the Garden State Parkway.

3) Many scenes where - as mentioned above - characters meet and talk who hadn't met or spoke in the prior draft. But again - none of my dialogue's in there (which - while I may be biased - is a darn shame).

For the record, a major plot-point which I had NOTHING TO DO WITH is something that most people are going to assume I wrote. The love interest of the main character is into comics, and 'Amazing Spiderman' #109 figures prominently (first appearance of the 'Punisher'). I didn't write any of that in; a writer who came after me did (I believe there were - total - eight writers on the flick, with only one being credited; in true Writer's Guild fashion, it was the first writer, even though the film little-resembles the first draft, in my opinion).

I think the flick will play huge to sixteen year old and under little girls. I'm sure it'll be the number one flick at the box office this weekend. If you like watching girls dance to Charlie Daniels Band tunes atop bars, you might want to check it out yourself.

But if you're looking for my brand of slime all over the picture, don't get your hopes up. Outside of the fact that it's set in Jersey, there isn't much Askew in the movie."

ALIEN LOVE TRIANGLE
Kevin : "Bob Weinstein had asked me at one point because they had IMPOSTOR and another sequence was called ALIEN LOVE TRIANGLE. They needed a third because MIMIC was originally a part of it and was blown into a full feature, so he needed another thirty minute sci-fi short. And he called and said, “Do you have anything?” And I said, “There actually is this one story that I wouldn’t mind giving a shot,” so I guess that’s how the rumor got out there. But then that kinda went by the wayside because they took IMPOSTOR and blew that up into a feature as well, so all that’s left of the original three is ALIEN LOVE TRIANGLE which Danny Boyle of TRAINSPOTTING did. So I don’t know what they’re going to do with it, but I don’t think they’re trying to make an anthology film with it anymore. And the idea that I had for the flick, I think I may hold on to and do as a feature one day."

DAREDEVIL
Kevin : "I worked on the comic and then at one point the comic was up for grabs and I called up Bob and Harvey and said, “There’s this great comic book. It’d be perfect for [Matt Damon] and he’s familiar with it and he used to collect the comic and you could get Robert Rodriguez to direct it and I’ll do a draft.” And they said, “Great, let’s do it.” And they started pursuing it and Marvel’s Avi Arad was asking for ridiculous concessions like they wanted a 60-70 million dollar film with a 40 million dollar marketing budget. And it’s not really a special effects extravaganza, it’s a blind guy in tights, so they never made the deal work and I think it wound up over at Columbia. For a long time, Chris Columbus had it and then it got free of Chris Columbus and that’s when we were trying to option it but we were opposite the guy who was attached to it until recently Mark Steven Johnson. Miramax threw up their hands when Marvel wanted a lot for it, so there was just no way we were gonna pay that much for this movie and I said “Look, I’m with you. Let it go.” So it went to Mark Steven Johnson who did SIMON BIRCH. And I guess he was attached to it for a while, but I heard that nothing’s happening on that either."

MAGE
Kevin : "I worked with Matt Wagner on the Oni Double Feature and I contacted him before that because I loved Grendel and Mage. And I wondered if anybody were optioning theswe and I thought Grendel would make a cool flick And Mage was very influential—you could see a lot of Mage in DOGMA—the structure is pretty much the same. So, at one point, when he had an option deal with these two guys, Andrew and Ross, we were going to bring it to Miramax. And they drug their heels on the whole thing, and didn’t treat Andrew and Ross very seriously and it took a long time, like a year, to try and finish this deal and it wasn’t really panning out. So, Andrew and Ross took it to Spyglass Entertainment and I was working on stuff and they asked on last time if I was going to do the adaptation and I said, “No, I’m busy right now, I could get to it in a year maybe.” And they wanted to go now, so they went with somebody else, which is cool, I’m just happy to see the movie get made."

GREEN LANTERN
Kevin : "GREEN LANTERN only came up once in a discussion with Lorenzo DiBonaventura, I think I was just finished working on SUPERMAN and he thought maybe we could work on another DC comic. He said “How about Green Lantern? Do you think Green Lantern would make a good movie?” I said “I guess under somebody else, but I’m just not a huge Green Lantern fan, and I don’t think I’m the guy you want adapting it. I’m sure there are people out there who are massive fans and who really know a lot about the character. Maybe those are they guys you should be going after and not me.”"

PREACHER
Kevin : "[Preacher creator Garth Ennis] asked me and Scott if we would attach our names to it and see if we could set it up anywhere with Miramax, of course, being the first option. And Miramax passed on it because Rachel Talalay was attached as the director and they sold off most of the foreign rights for financing. So, all Miramax would have was domestic and they like to have to worldwide when they do stuff and also Bob wasn’t a big fan of the material, he said he didn’t quite get it. He said, “THE CROW, I understand. This I don’t get. Is he good or bad?” So, it kinda went by the wayside and we’re still attached, but we told Garth, “Look, if having us in the mix helps, great, the moment we’re a hinderance, we’re off.” No money changed hands or anything, it was just, “Yeah, our names are on it for as much as it helps.” But apparently it hasn’ t helped that much. I think it would be a tough sell at this point after DOGMA for any studio to go like, “Yeah, let’s do it,” because you see what happens when you make a movie even remotely about religion."

SCOOBY DOO
Kevin : "When there was Turner Pictures, Amy Pascal asked me if I wanted to do SCOOBY DOO and I said “Yeah.” I did have an interest at one point I wanted to write it with Scott because he’s a Scooby Doo fan, but he had no interest, which was weird, and then I said, “No, there’s really nothing I can do for it.” Then I guess Mike Myers got interested, so, of course, it’s way better to have him interested than me"

SIX MILLION DOLLAR MAN
Kevin : "SIX MILLION DOLLAR MAN was something that came about during MALLRATS. Jim Jacks the producer was really good friends the guy who plays Oscar Goldman but he had the rights to SIX MILLION DOLLAR MAN and he wanted to make it into a movie and we went out to lunch one day and I told him “I’d love to write it.” I was a huge fan and had all the toys and such, so I pitched my idea for the story and he said, “That’s great. Let’s do it.” We went in and pitched it to Universal to Nina Jacobson, she dug it and I was hired and sent off to go. It took me a year to turn in a first draft because I was working on other stuff. Getting the job was fun, but having to actually do it was really tough. I would get up and some days and I’d be like, “Fuck, I don’t know what Steve Austin does today. I have no interest right now.” So, I finally did get around to doing it and I approached it like a comic book and turned in my draft. By that time Nina Jacobson was gone and replaced by another guy and he was gone and replaced by Kevin Misher and he read the script and said, “This reads like a comic book.” And I said, “Does it? Awesome.” He didn’t like that. I didn’t have to do another draft and when I was finally done with it, I really did like it. I didn’t try to push the edges of the envelope technologically, like inventing shit where they had to craft shots, it was really kind of retro in its low tech approach. I was told, “The exec doesn’t want to do another exec’s project.” That I get. Him saying it was too much like a comic book, I think he meant as an insult, but I felt it was a compliment. Now, they’re making it into a comedy and I think the Farrelly brothers are involved."

NAME and BUSING
Kevin : "BUSING was a script that I wrote for the now defunct Hollywood Pictures--the Sphinx that Stinks--at the time they were still around. They’d flown us out there, after CLERKS got picked up at Sundance, to make the studio rounds and meet people. That’s when we got offered weird, stupid projects. And on the last day of our trip out there, we had to sit down with the head of Hollywood Pictures and pitch them something because they didn’t fly us out there for nothing and I said, “BUSING.” They said, “What’s that?” and I said “It’s CLERKS in a restaurant. This is good to go.” I turned it in and they didn’t like it. Cary Woods was the producer and he was just like “I don’t like it. It’s terrible “ even though it was the exact fucking thing I pitched em and very close to CLERKS and MALLRATS. So that was it. I turned it in and got paid like $75,000 back in ’94 which I was like “Holy shit. Seventy-five grand” and eventually we got it back because they didn’t want it. So, a lot of it, I was actually going to use for the CLERKS sequel, but we didn’t wind up doing that, so it just kind of stays where it is right now. There’s some good funny stuff in it. And NAME is something I said was a flick I wanted to do and just never followed up on it."

OVERNIGHT DELIVERY
Kevin did a page one rewrite of awhile back. However, when they filmed the flick the director allowed the actors (Paul Rudd and Reese Witherspoon) to change quite a bit of the dialogue. Kevin’s name came off the project after that.

SEX AND ROCKETS
Kevin : "There was a book that I really liked that I wanted to option. It’s a great book and would make a hell of a flick. It’s called SEX AND ROCKETS. It’s about Jack Parsons, the second most important rocket scientist in history who designed the jet propulsion system they still use today on the space shuttle who also happened to be a practicing Satanist. It’s just a weird fuckin’ movie and it’s something that when I read an article about it in Mean magazine and I dug it and I was just like “This is a weird fuckin’ American story. You know it’s about the ultimate separation of church and state--in this case it’s like the church of Satan. But it’s also just a weird tragic American figure, who led this bizarre double life and never quite reconciled it. There’s a magazine called Mean magazine and I read the article in it and then I saw the book a few months later and I saw it in a comic book store in Los Angeles and picked it up. It’s called SEX AND ROCKETS and it is a great read and a weird story and it just really quietly kept speaking to me and it’s a movie that somebody should make and I don’t know if it’s made but somebody should definitely make it. And then I spoke to Don Murphy the other day and he’d optioned it and I was so happy that somebody thought it was worthy of trying to turn into something."