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Aves writes...
I'm not sure if you're the one to ask about this, but they've yet to make an "Ask Jamie" segment, so here goes:
It's a pretty frivolous question, anyway.
The Hound of Ulster was one of the better World Tour tales, if you ask me, but I found the character design and direction of the Banshee was superb, both in terms of looking like the Banshee of myth and just as a cool design in and of itself.
My question is: How much of that is Sheena Easton? I know she's a singer, but, wow! That was crazy! Was it enhanced at all, or was that all her? If it was, I'm very impressed.
Even if it's not, I'm still moderately impressed :)
Greg responds...
A lot of it was Sheena, but credit should be stretched around. To voice director Jamie Thomason too. But mostly to the wonderful people at Advantage Audio, our post-production sound house.
Marc Perlman and Paca Thomas combined to create sound and music effects to play alongside Sheena's voice. And then Advantage did a great job mixing that voice. (I'm afraid I can't remember who specifically did the mix but choose two from the following list: Jim, Bill, Ray and Melissa.) It was stunning stuff -- I remember thinking that at the time. Should have won a Golden Reel in my opinion.
Corrine Blaquen writes...
Recently I rewatched my tape of one of my favorite World Tour episodes, "Grief". While there are so many things I enjoy in that episode, the thing that never fails to blow me away is when Jackal becomes the avatar for Anubis. Oh, the merging of the Packster and the Death God's voice is just... W-O-W, wow! I absolutely love Tony Jay's voice, it's so powerful and majestic with just the right amount of creepiness, great as Anubis just perfect for any role of quiet menance and dignified sophistication. The technique of mingling the two speakers was brilliant-- it was so powerful, and expertly done. Just wanted to tell you I loved it!
Greg responds...
Thanks! I will take credit for the IDEA of merging the two voices. But of course credit for the execution of that idea goes to actors Tony Jay & Matt Frewer (and later Tony and Tony Shaloub) under the direction of Jamie Thomason. Plus the excellent soundwork of the gangs at the now defunct Screen Music Studios and at Advantage Audio.
John X. writes...
I noticed that in one episode a writer named Steve Perry is listed. One line makes me think this is the same man who wrote the "Matador" series of books back in the late 80's and early 90's: Hyena finds out that coyote is a robot and responds "Even better" with just a hint of sexual tension.
Is this Steve Perry the same one who wrote "Shadows of the Empire" for George Lucas, or am I seeing something that isn't there?
Greg responds...
I honestly don't know. Steve was hired by Michael Reaves. I've talked to him on the phone a couple of times, but I don't know him or his resumee very well.
Enigma writes...
I have a language question. The gargoyles (Manhattan Clan)come from medevil Scotland, right? Well, English 1000 years ago wasn't the same as it is now. It actually bears little resemblence to old English, so how could the gargoyles understand our English (Modern English) when they woke up in NY in 1994?
When you really think about it they should be speaking Scottish since they're from a time when people in Scotland spoke Scottish, not English.
So either way you look at it there should have been a lot of communication problems at first. (I can accept we can understand everyone in Scotland 994 since you'd have to use subtitles otherwise. Thanks :)
Greg responds...
You are essentially correct, although I'd use the term Gaelic, I think, rather than Scottish.
The "behind the scenes" answer, as I've mentioned before, was that we chose Scotland in part because it's a place where people CURRENTLY speak English, so we felt we could skate past the language question without too much of a problem.
The "in universe" answer, which I've also mentioned before, came, I believe, from Michael Reaves, who suggested that a spell was cast (perhaps by Demona before Goliath & Company were brought to the top of the Eyrie Building) to bring the Gargoyles up to speed language-wise without any of them realizing that they'd been effected.
Punchinello writes...
Hi.
I was just taking a look at your last ramble. I never noticed this liberty your background artists had taken which you alluded to. Their inclusion of all of these portraits of Elisa in MacBeth's home. I was wondering if that kind of material (outside where you probably would have intended to take the series) would have emerged as it's own story if it had the chance?
What I mean is, when creative contributors outside the writing team took liberties like that, or even if some kind of happy accident developed, did you ever try to develop them into their own story? I, personally, would have been interested in learning why Mr. MacBeth had those portraits adorning his home.
Greg responds...
Often, story ideas came from sources other than me or my writing team. Sometimes happy accidents definitely contributed.
I don't know whether I would have addressed those portraits because I find them utterly mystifying. I don't know what the bg painters were thinking. The only thought that comes to mind is that Macbeth is obsessed with Elisa -- and he's just not. So sometimes I ignore what I can only categorize as mistakes.
Still if a great idea occured to me, I certainly wouldn't be above using it...
Siren writes...
I was reading some of your answers and was reminded about how Broadway was originally female. I am an overweight female, and the thought that a overweight female gargoyle wouldn't have bothered me in particular. I think it is all in the way the character is. Broadway knows he is big, and his self esteem is pretty good, considering the jabs his rookery brothers make. He is smarter then he looks too. Naive, but so were the rest of the clan, it's a learning process. New time, new people, new culture, new ideas. I love Broadway, think he is a great character, but I hope one day they can come out with an overweight, young, smart female. Most overweight females are all the Miss Potts type. Mother hens, grandmothers, etc. I like the way Broadway is and acts, and I wouldn't want that to change, but I still want to see a similar female character one day, human, gargoyles, whatever. I know a some people blow things out of proportion when a female actress puts on a fat suit, like Courtney Cox in Friends. If your going to make the character humourous, it should be tasteful, not hurtful. Someone for people to look up to, not a joke, most characters should be. Look what they do to mentally retard people, Adam Sandler still does it, and it's still funny to a large amount of the public. (Not me.) Maybe it's just me about the whole thing, I am overweight, but I am secure in my look. I think the ones who bash the overweight characters are the people are unsecure with themselves. But there's my ramble. What do you think?
Greg responds...
I basically agree with everything you've written here. And, as I think I've admitted before, I'll blame our original decision (to change Coco into Broadway) on a combination of cowardice and commercial interests. We were doing a show that was designed to appeal to a wide audience on many levels. But fundamentally (i.e. economically), we still needed to hit our main target audience of Boys 6-11. We felt -- and I'm not defending our decision, just revealing it -- that that particular audience could enjoy and appreciate a tough male warrior garg that was (at least at the beginning) both overweight and fairly obsessed with food. We felt that the same character as a female would come across as (a) less interesting to that target audience and (b) likely to bring negative attention to the series.
The conventional wisdom, for example, at toy companies is that female action figures don't sell as well as male action figures. Kenner would not have been interested in Coco -- as they were not interested in Angela. But they were interested in Broadway.
Another conventional wisdom is that no good deed goes unpunished. We felt that if our one heroic female was overweight, we would not be praised for it, but attacked -- perhaps even called misogynistic, which I hope no one thinks our series is.
We justified all this creatively with the notion that the Gargs situation was more tragic when the only female left alive was the enemy Demona. But adding a female gargoyle to the cast was a huge priority for me for Season Two. Granted, Angela is quite svelte, but that made sense given who her biological parents were.
My hope, over time, was to introduce the audience to a whole bunch of individual gargoyles and gargoyle beasts -- in both genders and of all shapes and sizes.
Forliya writes...
hello, I want to say that if there is any way that any one cares,that I'm one of the third race(lol) and yes my real name is Forliya. how did you come up with the show GARGOYLES in the first place???????
viva Gargoyles!!!!!!!!
Greg responds...
A team of us worked together to bring it to life.
Personally, I've always been fascinated by Gargoyles. For more info, check the Archives for this site.
George writes...
Greg, what age group was gargoyles ment for and what age group did it attract?
Greg responds...
It's primary target was Boys 6-11. But the show was created and designed to reach a MUCH larger audience than that. For financing purposes we had to hit our target. (And we did, though not as well as Power Rangers.) But we also sought out and reached an audience that included both males & females and everyone from age six to sixty, as far as I can tell.
Entity writes...
'Kingdom' ramble:
It's funny how you mention Xanatos finding out that Goliath is missing, then not hatching any kind of a plot as a result, because you honestly couldn't think of something. I strained my brain to try and figure out how X might possibly use such knowledge to his advantage, and came up dry, so when nothing happened, I kind of expected it. In fact, felt validated by it. In my head, knowing that Goliath was missing let him put two and two together in episodes like "Cloud Fathers."
X's new security system DID suck, but it's cool to know why it was installed (as a result of "Double Jeopardy"). Those cannons were out of control. I think the sequence would have worked, thanks to the atmosphere and X's cool lines, if the cannons just would have aimed AWAY from the castle. The redundancy didn't bother me. Sure, Mac's place has these spiffy blaster cannons too, but HE'S not Xanatos.
Where did those Cyberbiotics rifles come from? Why did Cyberbiotics abandon them? Okay, so they pulled out fast, but jeez, talk about corporate neglect, leaving an arsenal of deadly weaponry in a subway. So much for Renard's integrity. (I'm trying to bait you here.)
Oh, the climax with Maggie and the key card? One of my favorites. The build-up is perfect and Carl Johnson composes it well.
Greg responds...
Carl is great, but much credit should go to Marc Perlman, our music editor. We couldn't afford to have Carl score every episode. So Marc had to edit Carl's music to fit any situation. Though they were rarely in the same room together, the two made an amazing team.
Entity writes...
How you doing, Greg?
Okay, let's take a look at a hypothetical (this is my disclaimer in case you want to just stop reading now). If things had gone differently, and the show had never moved to ABC, meaning you never left, and Disney offered you 13 more episodes, but made it clear that these 13 would be the LAST 13 the show would get... how would you have approached them? Lord knows you had enough material to make another 13 just in picking up loose threads, let alone new ones such as The Quarrymen. Do you think you would have turned the whole third season into a good-bye like with "The Journey"? Would you have been more optimistic than that and ended it just like seasons one or two? Or would you have tried to wrap it up, like The Goliath Chronicles boys did with "Angels in the Night"?
Greg responds...
I don't think life COMES TO AN END. So I would not have attempted a full-on closure tone, as "Angels" did.
I would have, most likely, done the best 13 stories in my arsenal at that time. In continuity, as before, but 13 stand-alone episodes that were the best I could come up with, starting with "The Journey" and ending with an episode (like "Reawakening", "Hunter's Moon, Part Three" and "The Journey") that contained a sense of open-ended closure. A sense that even though we're going away for a time and some amount of loose ends (though surely not all) have been tied up in bows, that life goes on.
In between Journey and that Open-Ended Closure Episode, I would have done 11 other stories that picked up on the loose ends that were screaming the loudest to be addressed. One of which, certainly would have been the Illuminati. One would have been Brooklyn. One would have been the Weird Sisters. &tc.
babs writes...
I was wondering,theres alot of people and i mean alot of people that love this show, cant we do something to try to get it back into the making, a online petition maybe,we could send it to Disney im sure once they see how many people want the show back on the air they wouldnt pass up the rattings and money that it could bring in.
my question:
this is one of my fav. parts in all of the shows, In the episode Vendettas the guy that creams Goliath in the face with the banana cream pie, I notcied that afterwards when he is walking away he starts to hum the Gargoyles theme song, I was Wondering whos idea was it to put that in there?
Out of all the shows if I were to have a Top 10 list for the funniest parts that would have to be in my Top 5. its good to see that a somewhat of a dark show has its funny, caring parts in it.
Gargoyles Forever !
Greg responds...
The two biggest things that you can do to revive the show are (a) attend the Gathering and (b) buy the DVD when it comes out later this year. Show Disney that you're willing to spend money to get more Gargoyles, and they'll take notice.
As for Vinnie's humming, that was my idea. Glad you liked it.
Allexander writes...
As the creator of Gargoyles, what exactly did you do, did you write stories? Draw pictures?
Greg responds...
Isn't this old news? Anyway, to toot my own horn yet again:
I headed the development team that created the series and came up with many of the characters and concepts myself.
I came up with all 66 original springboards (i.e. the story ideas for the first two seasons + "The Journey"), though many people contributed nuggets of ideas.
I supervised all the writing. In essence, I story edited the story editors.
I also wrote and story edited one episode myself ("The Journey").
I supervised all the voice recordings. And I voice directed one episode ("Vendettas"), plus a few pick-up and phone patch sessions. I even performed the voice for one of Xanatos' Goon Squad (the guy who says "Nice Mask!").
I had input on all aspects of design and direction
I co-supervised all post-production, except the tele-cine process, which involves aspects of color too subtle for my color-deficient eyes.
I was the one person involved with the show from it's inception through the end of the third season, though my involvement in the third season (after "The Journey" was voice recorded) was limited to consulting work. And much of my consultations were ignored.
I have no credit on the television version of the pilot 5-parter because I was still an executive when those were posted, and at the time executives did not receive credit. I do have a Co-Producer credit on the Movie/VHS version of the pilot, because I supervised the post-production on that.
My official credit on the rest of the first season was "Co-Producer".
My official credit on the second season began as "Producer". Later it became "Supervising Producer" when two of our directors were promoted to Producer.
I'm also the credited "Writer" and "Story Editor" on "The Journey" and the credited "Voice Director" on "Vendettas".
I was supposed to receive a credit on the third season, but I waved it because it seemed dishonest as much of my advice wasn't taken.
Having said ALL THAT, Gargoyles was the work of literally hundreds of talented people, all of whom contributed to making it the success that it was. I think of it as my baby, and I'm often credited as it's creator. But I never lose track of the fact that it was a team effort.
Congratulations, Monique!
Went to a wedding today.
My good friend Monique Beatty married Tim Eldred.
Monique, as some of you may know, was my assistant and a script coordinator during the Gargoyles years. She was literally invaluable to me then, keeping my schedule (known then as "Greg's Nefarious Plan to Take Over the World") and keeping me on track. Among other things, she offered tremendous moral support. She's now a Line Producer at Nick. Tim is a story board and comic book artist.
They are both, great, great people. And I am so happy for them.
It was also nice to see Deirdra, Shan and Kevin at the wedding.
Vic writes...
Hi again.
I was just wondering how much of yourself you tend to put into characters you create, on average. Or how much you tend to empathise with or even envy them in a way.
Eg: I wish i was Brooklyn, sharp, lean, predatory looking bastard who could probably get the females (or males if so inclined) easily.
Hope this question makes sense.
Greg responds...
It makes sense enough.
I put a lot of me into every character from the best to the worst. Sometimes, I get pretty literal, as with Vinnie's last speeches in "The Journey".
Usually, it's not quite so on the nose.
I tend not to envy them much. My life (if not my career) is pretty darn great, so there isn't one of them I'd like to change places with. But I do empathize with them a lot. A lot.
Entity writes...
Hey, Greg!
In your memo for "Upgrade," you mention the following line:
"MONTAGE vs. NO MONTAGE
Sorry. After cuts were made for both S&P and for things that I did not want to reveal, there wasn't anything left. So out it went."
I thought S&P didn't really play a role in GARGOYLES. Do you remember what the cuts were?
Greg responds...
Nope.
And I never said that S&P didn't play a role. I said we had a common sense S&P person, Adrienne Bello, whom we respected and who respected us and what we were trying to do.
That didn't mean that she'd let us show Sevarius amputating Hyena's arm on camera.
Noorie writes...
Can't you move the show to like...channel 20, in canadian time setting....thing... well, it's just that my family dosnt have "Disney Channel" and i used to watch Gargoyles when i was little, and i remember, me and my little brother used to tape all the shows! i loved the show until it went off, and i never got around to finding out why it got off...well, this is my first time craving to see the show again! it's just that i found out that the shows going to be starting again from the beginning, and i dont have that channel! :( i'm 14 years old right now, and i'm totally getting into mythical creatures and things like that, and i hardly know anything like that...
Cant you just change it into some...common channel? I mean, it could get you more people to watch it, rather then getting better cable JUST to watch the show..(hope i'm not offending you!! i just really loved that show!!) lol, well, i hope my plea's got to you, you're probably like.."R....ight, what a weirdo!" heh, well, im no weirdo..anyways...ya..! k, gotta split! ;)
Greg responds...
You're not a weirdo, you simply don't seem to understand that I have absolutely no control over when and where the reruns air.
Mark: PRJibaroPapi69@aol.com writes...
Hey Greg! Long time fan first time posting! I was wondering, you said that Gargoyles is the total property of Disney. Does that mean that even though you are the creator, you can't do anything with the series unless they give the okay? If so, does that mean your unable to buy ALL the rights to the show? If not, do you ever plan to reair the show with all new episodes in the future? The reason I ask these questions is because Disney was stupid in pulling the plug on the series just because they wanted to move on to something new. But if your able to buy the rights, I'm sure there's more than enough studio's out there who are so eager for ratings that they'll finance the reintergration of the show back to television. The WB would definatly welcome the show to it's programing as it was aired on that station in New York. Is there anyway that, at the very least, you can create a book series of Gargoyle novels that bring a close to the storylines that were never closed while the series was on the air? I just think that if Gargoyles will never make a big TV come back that comic books or novels should be made in it's place that bring a big close to the universe once and for all. Well... an official close because we all know that Gargoyles will always live on in fanfiction. That's all I guess. Thanx for writing such a wonderful series. One more questions, although it's not documented, in your most best thought opinion since the Gargoyles are the guardians of Manhattan, how do you think they reacted when, upon waking up from their stone sleep, they saw a big gapeing hole and a huge smoke screen on what used to be the world trade center on September 11th??? I, and alot of the fans, would really like to know.
Greg responds...
Yes. Again. Disney owns 100% of Gargoyles. They don't sell their properties, and even if they did -- WHICH THEY DON'T -- the cost would be way prohibitive.
I don't know if they were stupid to pull the plug after Goliath Chronicles. I'm not sure they exercised much smarts in pushing me out the door prior to Chronicles, but that's a VERY complicated story and in any case, should be attributed to individuals who no longer even work for the Mouse. Including me.
I also think, unfortunately, that you're wrong about other networks like the WB wanting the show. It's a moot issue, because Disney won't sell, but I see no indication that there is a single network out there looking for something like Gargoyles. No indication at all. Gargoyles has the greatest fans in the world, and I'm hoping that the DVD release will make enough of a splash and attract fans, both old and new, to wake people up to the possibilities that the series represents.
In the meantime, I haven't given up trying to get the property up and running again in some way, shape or form, and publishing (comics or novels) is something I'm extremely interested in.
As for the fans, the best thing they can do -- at least until the DVD's release -- is to come to the Gathering (our annual Gargoyles Fan Convention), this August, 2004 in Montreal.
Check out their website:
http://www.gatheringofthegargoyles.com/
The more fans that show up to the convention, the greater our collective voice, the more likely that Disney takes notice.
Finally, I've answered the 9/11 question many times. Check the archives.
White writes...
Hello again.
It's been a long long time that I've been waiting to post this.. You probably don't remember, but a long time ago, I asked you if you knew why there were sound differences between the reruns and the original episodes.
( by original, I mean the first time they showed an episode )
You were wondering if I was talking about the movie or an other language.. but I'm not.
and now.. I have the proof.
So, I wanted to show it to you, perhaps you could then tell me if you know why they changed what some people said.
I made waves with episodes that I recorded on TV.
Not the movie, I also have the movie and I know there are more differences.
Sooo... if you could just go and listen to those waves.
I posted them on a page that has nothing else, except explanations of what those waves are.
I know I should not post URLs in here.. but It's the only way I can show this to you.. Unless I ask someone to put the sound waves on this website...
Hope you'll give me news about that.. because I find this quite odd :)
( http://gargoyles.topcities.com/odd.html )
Thank you
Greg responds...
Well, I don't usually go to links, but I did this time. But of course two years have passed (or nearly) and the page is no longer there.
So I don't know what to tell you. We made occassional changes, but not many sound changes between first airings and the subsequent reruns in syndication. But maybe you're comparing first airings with cable airings -- all of which aired AFTER I left Disney.
Both USA Network and Toon Disney edited the shows themselves, (the former for length and the latter for S&P). That may have forced them to make some sound changes, though it seems unlikely that they'd spend the money on a new mix.
Shawn Asbury writes...
Mr Weisman,
It is true that Gargoyles was a very innovative and popular animated series. However, I would like to know why you chose for it to be as such. It seems to me that the concept and storyline of Gargoyles was severely restrained by the childishness and politically correctness of the Disney Co. If you really wanted it to be an animated series, why didn't you opt for a network such as HBO? This would have allowed for some more authentic character emotion and less g-rated cuteness due to the allowance of violence, blood, nudity, and swearing (All of which are real believable occurances. At the very least, Gargoyles could have made an epic collection of Novels which would have elaborated on the development of the characters and and would have made for some great dark gothic mental imagery.
Greg responds...
Gargoyles would not exist without Disney. Period.
You speak as if Gargoyles existed in a vacuum -- perhaps in the vacuum of my mind?
In fact, Gargoyles was created by me and by my development team while I was a development executive (Director of Series Development) at Walt Disney Television Animation. Aside from the fact that Disney owns the show, it also was the catalyst for the series' very existence.
After the fact, you could say: "Gee, how much more freedom might you have had on HBO." But that assumes so much. (1) That HBO would have wanted it. (2) That HBO would have actually given me more freedom than Disney did. (3) That I wanted more freedom. I doubt the first two would have been true. I know the last one is not.
With very, VERY few exceptions, I got to do what I wanted on the first 65 episodes of the show. I think we made an epic collection of episodes.
I'd love to write GARGOYLES Novels if I could find an interested publisher. I haven't been able to.
matt writes...
in "The Price" after Hudson's statue was destroyed was the Clan in effect beginning to perform the Wind Ceremony on Hudson when they were standing around talking about him?
also, in the credits of that episode there was a mention of parts of the episode being inspired by material in the comic books (presumably the Gargoyles comic books) any idea what thats about? i have a few of the comic books and i have no idea what the credits are referring to...
Greg responds...
No. They were just trying to get their heads around his death. The Wind Ceremony would have come later.
The story was inspired by an idea by Lee Nordling in a Gargoyles story he did in an issue of Disney Adventures Magazine. It was his idea (though he used Goliath, not Hudson) to have Xanatos replace a sleeping gargoyle with a stone statue to fool the rest of the clan.
That was the only thing from his story that we used, and I've never even met Lee, but it was a great idea.
Todd Jensen writes...
This is something that came to mind after reading your comments about how you and other folks at Disney were worried that "Gargoyles" might be seen as a rip-off of "Batman: TAS", and which I finally remembered to post something about.
I saw an episode of "Batman: TAS" once (after "Gargoyles" went off the air) called "Avatar" which did strike me as having a certain similarity to "Grief", in which Batman went to Egypt to stop Reis al-Ghul from coming into contact with an undead sorceress-queen from ancient Egypt who had "power over life and death". What struck me about it was the points that it had in common with "Grief": the Egyptian setting, the word "avatar" (in the dialogue in "Grief", in the title of the "Batman" episode), and the ancient being with power over life and death (Anubis in "Gargoyles", the Egyptian sorceress-queen in "Batman"). The similarities could have been just a coincidence, but I thought that I'd mention that here.
Greg responds...
The similarities aren't entirely coincidental, in that both were written by Michael Reaves.
As I recall, the springboard for "Grief" was mine, but Michael ran with it -- putting some stuff in "Grief" that he had WANTED to put in "Avatar" but which had NOT made it into the final version of that episode.
Roxz writes...
Where did you come up with such a good idea?
Are you going to start the show up again(If you do will you try toget it put on at a earlier)?
Greg responds...
Check the ASK GREG FAQ and Archives.
Lord Sloth writes...
I have a few questions about the Leica reel for Bad Guy's, as I've never seen it (but really want to).
1. If you can't/don't want to spread the reel all over the net, could/would you write a detailed/some what detailed report on how the story goes. You of course don't have to, but I'm sure it would satisfy a lot of people who have never gathered to a gathering.
2. What IS a Leica reel? Is there anything animated about it, or is it more of a montonage <sp?> of art work with voice-overs from key characters?
3. How much detail is shown in the animation/stills (i.e.: sketches or paintings or stuff the like I see in Gargoyles)?
4. How long dose it run for?
*Note* I could have asked the CR about all this, but I enjoy the way you write, when you do :^B (enough flattery?).
And I hope to see it for myself someday, not in Virginia, but in NY, 2003 if all goes well.
Greg responds...
1. No. Sorry. It's a special treat for Gathering attendees, and I don't want the story in it to become common currency. I still have hopes of selling it someday.
2. A leica reel can be many things. The spelling suggests it has something to do with a Leica camera, but I've been assured that it really is code for IT'S LIKE-A REEL. It's also sometimes called an ANIMATIC or SIZZLE TAPE. There is no true animation, though I've seen some recent stuff using flash. It's basically a filmed storyboard, with a few fancy editing tricks, like panning, scanning, pushing in, pulling out and maybe a few dissolves or wipes. That's put with actual recorded vocals and hopefully some music and sound effects. It's an effective way to tell a story, like a glorified comic book for the screen. But it's supposed to be done for a relatively small amount of money. A few thousand dollars as opposed to tens of thousands of dollars.
3. It depends. Some are very detailed some are very sketchy.
4. Again, it depends. I think BAD GUYS runs about 7 minutes, which is probably too long for anyone but garg fans.
Or maybe you can come see it in Montreal in August of '04.
Joseph Tek Fox writes...
I'm curious... What possessed you all to do the episode, "Future Sight," where basically, everyone died, the world was taken over, and Xanatos's Tower blew up in a flaming ball of scrap? BTW, I'm fully aware that this was just a dream. ^-^;
Greg responds...
That was "Future Tense". But I'm not sure how to answer your question beyond the obvious that we thought it would make a VERY powerful story, while furthering a number of our subplots. We also had some thought of doing the episode in 3D (though I honestly can't tell you if that meant computer animation or the kind of 3D where you put on special glasses and the pictures seem to jump off the screen. At the time, I thought we were talking about the latter, but it now occurs to me that some of the people in the room might have been talking about the former. No wonder, we couldn't pull it off.)
JAXS writes...
Have you ever seen those posters that read "Everything I Need to Know in Life I Learned from (fill in the blank)?" Well, that saying goes true for Gargoyles. All throughout highshcool, I have been learning about things that I already am familar with from the show, such as the Aboriginal Dream Team, Mythology, and such and Shakespeare, Religious beliefs. King Arthur etc. I think it's incredible how the show evolved such a complex web-work for all these stories to be connected. I'm talking about how Oberon ruled Avalon, and all his children stretched from the Native American Trickers, Raven and Coyote, to the Banshee, the Mythological Proteus, and such. It was an ingenious idea. I wanted to know who came up with the original concept.Was this sub-story line composed from the begining, or did it just happen as the show continued? Was there a seperate research comittee who created this? How thought-out was it to have all these inccorporate into one big picture? Thanks
Greg responds...
Not to toot my own horn (or at least not to toot it anymore than I usually do), but the intent to create this tapestry was mine -- and pretty much from the very beginning, though I had no idea whether the opportunity would continue to present itself.
In terms of actually creating the tapestry, I had MUCH help. The obvious culprits include our story editors Michael Reaves, Brynne Chandler Reaves, Gary Sperling and Cary Bates. Many writers obviously contributed as well, especially Lydia Marano.
We had a couple of contributing researchers: Monique Beatty and Tuppence Macintyre.
And lots of other people threw in ideas as well, especially my partner Frank Paur and our co-producer/directors Dennis Woodyard and Bob Kline.
Some of the tapestry was serendipitous. Much was planned WAY in advance. Often both luck and planning came into play.
Mostly, we just wanted to tell good stories and this simply helped.
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