Production
The episode was written by John Swartzwelder and directed by David Silverman. Swartzwelder came up with the idea and his script required very little rewriting. The episode is one of Silverman's favorites and he was pleased to direct it, after enjoying Swartzwelder's script. Silverman felt he himself "brought a lot to the party on one," and although "people didn't like at the read-through," Silverman thought "the script was really funny, and I had an idea for the opening and presented it with a lot of circus music that inspired the music they used for it. It was great fun." He used it, along with "Three Men and a Comic Book", to help him when directing The Simpsons Movie.
Brad Bird also helped Silverman, particularly with Krusty's design. An early idea for The Simpsons saw Krusty the Clown being revealed as Homer Simpson's secret stage identity. This storyline never developed, but this episode allowed writers to comment upon the design similarity of the two characters. Krusty's appearance and design is just that of Homer's, with clown make-up. Silverman enhanced the lines under Krusty's eyes, and reshaped his beard line in order to make a clearer distinction between the two characters.
Homer beating up the Estonian dwarf (who first appeared in "Burns' Heir") was a joke Matt Groening "had trouble with". David Mirkin wanted the scene to be violent, but Silverman stated that he thought he had animated the finished product to be too realistic. However, nothing was changed. Fox objected to the mafia buying ammunition from a Big 5 Sporting Goods until Mirkin pointed out that Big 5 sold ammunition. The second act break was, up until the animatic, after Fat Tony's line "cancel the world search."
Joe Mantegna returned as Fat Tony. Mirkin said Mantegna is a joy to direct and that Mantegna loves the role so much, he wishes to voice him "even if he only coughs". Dick Cavett guest starred as himself. Mirkin commented that Cavett's part was probably the "meanest" they had ever been to a guest star. Cavett often told stories involving himself and other famous people and Mirkin decided to make light of that. Cavett did not have any objections.
Read more about this topic: Homie The Clown
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—Gus Hall (b. 1910)
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“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. The Limits of the Novel and the Limits of the Film, Novels Into Film, Johns Hopkins Press (1957)