A Station Eight Fan Web Site
I am very interested into breaking into the animation industry. I am currently in college working on my English writing skills and drawing skills as well. I heard in one of your previous interviews that moving to California would be smart as thats where alot of the animation jobs are. By the time you read this question I would hopefully be done reading "Gardner's Guide to Writing and Producing Animation" by Shan Muir. I should get a better idea about the industry itself from reading that book, but since you have experience as a animation producer I just had a couple of specific questions hopefully you can answer.
1. Would animation companies be more interested in investing original show ideas or original ideas on licenses they already acquire? I.E. an idea that some one made up and wanted to make into a show or having original material for a Marvel Spider-Man show or DC Superman show?
2. I have never been to California but I heard the cost of living is higher than any state (considering that Im from the east coast) should one wait to have an agent then move to Cali or should they move there, settle in, get a part time job then pursue after the animation career?
3.If by some miracle a persons idea gets picked up by a company, they might not immediately give them control over production. Could a recommendation for a more seasoned producer ( like Paul Dini, Victor Cook, or even Brandon Vietti) be made and considered? or is it 9/10 they provide their own producer?
4 (Last one) Animation on live television has changed drastically over the past couple of decades. With online streaming services such as Netflix, Hulu, and even Amazon Prime have shown that people rather binge a season versus figure out what time slot it will appear on television. So my question is, if a person has an idea but would think that idea would perform better on a streaming service versus online television, should that be included in the pitch or should they let the executives worry about that? For example Marvel hasn't made a Spider-Man 2099 cartoon series yet and if it were to be adapted truly it would probably do way better on an online streaming service where people can watch and binge episodes on their own time, versus live television in which a shows lifespan can be cut at any moment.
That's all the questions that I have and I hope I haven't broken any of your guidelines. I hope to break into the industry within the next five years and is willing to do almost anything to make my dream come true. Thank you for your time!
1. Marquis value is always something sought after, but there's no way to predict what a given network or studio is looking for from the outside in. You can come in with a take on Wile E. Coyote, and find out that Warner Bros already has plans for him. So, I tend to advise people to spend their time on something they can own. But it's not a hard and fast rule.
2. I don't know how you get an agent without getting work first. And frankly, I don't know how you get a first job if you're not here pounding the pavement. There's work in New York. And a few other places. But most of the animation writing work is in Los Angeles.
3. How could you possibly get a recommendation to be a producer from anyone if you've never produced? Dude, you have to work your way up through the ranks. Freelance writer. Staff writer. Story editor. Producer. If you come in with a brilliant idea that they're desperate to have, I suppose anything is possible. But it's not likely. Prove yourself. THEN sell your brilliant idea.
4. You can suggest whatever you want. But if you sell to Netflix, for example, of course they're looking at a binge-model. And if you sell to Cartoon Network, of course they're NOT. So try not to limit your options.
Hello, I wanted to ask a bit of a silly question. Doesn't it make you uncomfortable when people pair up Bart and Jaime because of their age gap? I know that a 20 year old dating a 23 year old isn't that much, but for two teenagers a 3 year gap is really significant and such.(especially if it's,say 14-17) I'm sorry if this comes across as rude in any way
I do think folks don't take age gaps - at these ages - into account in their ships sometimes. I'm not going to comment on this particular fan ship. But I do think it's a legitimate concern that we pay attention to over here on the show.
After Marie Logan was killed by Queen Bee was put into a grave? If so where is her grave ?
I haven't thought about this.
Uhm I read the points of the guideline, but I don't wanna spoilers about I what ask, I just wanna know what think about the Bluepulse(JaimexBart, you know) Well...This is my question..I respect your decission, but I hope you respond this question
Good Luck with JY3 and all your proyects,Greg :)
If I had an opinion and told you what it was, it would be a spoiler. So I can't even acknowledge whether or not I have an opinion, because by acknowledging that, I'm in essence giving information that on this or other questions, would allow inference.
Why didn't the showers at the Cave have partitions between them? It seems weird that people who wear masks to hide their identities would share an open shower area. There's no privacy in the League when it comes to personal higiene? What about the Team? Did Robin shower with his sunglasses on?
Robin kept his eyes closed.
I have some questions about Star Wars Rebels.
1. Can you go through the process of making a complete episode of Star Wars Rebels?
2. What was your role while working on the show?
3. How long did it take to complete a whole episode?
4. Did you make any voice cameos in the show like Dave Filoni has?
5. What is Dave Filoni like, and what was it like working with him?
1. Um. Sure.
In the broadest terms, we broke the stories together.
Writers went off and wrote outlines.
I edited the outlines.
I got notes on the outlines.
Writers went off and wrote scripts.
I edited the scripts.
I got notes on the scripts.
I revised the scripts.
We recorded the dialogue.
Design work, which began off of us breaking the stories above, continued with more specificity based on the scripts.
Storyboard artists began storyboarding based on the scripts and the dialogue tracks.
Directors turned the storyboards into animatics for review.
Animation was done overseas.
Footage came back, which was edited in post-production.
Music and effects were added.
There's way more to it than that, but that covers the basics.
2. I was the story editor on Season One. I also wrote a few of the episodes myself. And I even voiced a couple of Storm Troopers. As a producer, I was involved in casting, and many other aspects of the series. And I ran the writer's room where we broke the stories.
3. About a year.
5. Dave's great. We had a blast.
1. Did you see Rogue One? If so what did you think of it?
2. Are you excited for Episode VIII?
3. Have you been following Star Wars Rebels after leaving the show once season 1 was done? If so, what are your thoughts on the show and where it is going.
1a. Generally, liked it.
3. I watched season two and thought it was great. Have DVR'd everything since, but I've just been too swamped to watch it yet.
1. When did Aquaman and Mera get married?
2. When is Iris' due date for the twins?
3. On Earth-16, is Vandal Savage considered the first ever cannibal?
4. How old is Wally and Artemis' dog Brucely?
5. Is Wally's sacrificing of himself to save the world public knowledge, or did the League keep it under wraps?
1. I haven't nailed that down.
2. The September immediately following Season Two.
3. When did you stop beating your wife?
4. He was two in season two.
5. No spoilers.
Do you enjoy having conversations with people about your work (If they are not asking for spoilers or trying to pitch you ideas etc.
Do you ever whistle just for the fun of it?