A Station Eight Fan Web Site
Ask Greg Archives
Spectacular Spider-Man, The
Archive Index
: « First : « 100 : « 10 : Displaying #292 - #301 of 1206 records. : 10 » : 100 » : Last » :
Posts Per Page: 1 : 10 : 25 : 50 : 100 : All :
ILikeSpiderMan writes...
Hi Greg!
Obviously I'm a huge fan of your work, since I'm, y'know, posting on your site. I've just been sitting and listening to your Spectacular Spider-Man podcast interviews, which are offering some "spectacular" insight (haha, ha).
You talk about Gwen Stacy being the first (one?) true love of Peter's life, and her incredible importance to him. You've also discussed your desire to adapt the feel and general story of the original comics as faithfully as possible. Given that Gwen is most famous for being killed by the Green Goblin, what does that mean for Gwen's future in the series? I'm not asking what your plans for the show were (I don't want spoilers, as some small part of me still hopes that somehow this show will have a future), but I'm wondering if you and the other writers were even considering including Gwen's death in the series. Would it warp the show's tone irreparably? Would it still be possible to write a fun-loving, wise-cracking Spider-Man after this? Would the CW/Disney allow this on a children's program?
Or did you and the other writers/producers decide upfront to veto the idea?
I understand how this could easily be seen as a spoiler request. I'm less curious about the potential plotline of future SSM episodes, and more wondering about the considerations you and your writing team take when adapting material from the comics, especially grittier, less-child-friendly stuff.
Thanks profusely!
Greg responds...
All I can say - or rather all I FEEL like saying - is that we had (pipe-dream) plans to do five 13-episode seasons that would have taken us through Peter's graduation from High School. After that, our hope was to do a series of Direct to DVD movies that would continue the story into Peter's college years and beyond.
Justin F. writes...
Hey Greg. I wanted to let you know that I, and a large portion of the internet community, absolutely loved Spectacular Spider-Man. The show accurately portrayed who Peter Parker was, his troubles, his difficult choices, and his life as Spider-Man. Me, being a teen in high school, thought Peter was someone I could relate to, even though he had these extraordinary powers. Being able to relate to Peter Parker is something that should be constant (and for the most part, has been constant) in every Spider-Man story. I know I'm not the only one who thinks that the series should have went on for much longer. However, I know that the series' ending had to do with Disney/Marvel purchasing the animated series rights from Sony. Since this was pretty much out of your hands, I'm here to propose an idea.
Since the rights to the theme song, character designs, etc. for The Spectacular Spider-Man are locked by Sony, and you couldn't possibly resume the show even if you wanted to at Disney/Marvel, I suggest making, if you'd be fine with doing so, an INDEPENDENT episode (about 45 min. or an hour long)of The Spectacular Spider-Man and release it online. Sean Galloway could come back to do the designs, and you could get the voice actors who would agree to it back if the scheduling works in the favor of both parties. This is more than a scheduling thing than anything, when you're not busy with Young Justice and they're not busy with anything, but it may be able to work. And since it wouldn't be
released under the Sony or Marvel banner, and if you make it perfectly clear that it's a "fan film", no breach-in-contract would occur at all.
I'm sorry if I'm sounding selfish, but the show had a HUGE, HUGE fan base, and most of this HUGE fan base, when tuned in to watch Ultimate Spider-Man on Sunday, all cringed in unison (no offense to Marvel or anyone who likes the show). It just doesn't match the charm that your interpretation of Spider-Man had. So I would definitely like for you to take this into consideration. Would you be able to make an independent "final" episode of Spectacular Spider-Man exclusively for online, one that is a "fan film" of sorts? Thank you for your time.
-Justin
Greg responds...
Justin, it's just not up to me. I can't create a "fan film" with someone else's property.
For starters, who would pay for it? Even if I and everyone else involved were willing to donate services for free - which honestly I'm not - who would pay for the materials? None of us have the hundreds of thousands of dollars that it would take to do even one episode at the quality level you'd expect. And why would we want to produce something at a lower quality level? Why would you want to watch it at a lower quality level?
And that's aside from the fact, that I'd never be allowed to work for Marvel, Disney, Sony or probably any other studio again ever. I'm a pro. They know that. I can't make a fan film, stealing someone else's characters, and just get away with it.
For this to happen, Sony would have to make a deal with Marvel/Disney to do this - and then they'd have to reassemble the key players from the original cast and crew. I'd LOVE for this to happen, but I don't see that as realistic.
I mean, don't get me wrong. I'd love to do more SpecSpideys. But it's less likely than me doing more Gargoyles, even.
Laura 'ad astra' Sack writes...
Wow! Is it hard to keep up with even the questions to post new ones. Thanks for reopening the queue!
Condolences on the lose of your Grandmother. I remember the months before my grandmother died how she had retreated into herself and was all but unrecognizable, than all of a sudden came back to herself for a week or two at the end. I still treasure it as a great gift that we were reminded who she was before the end. She was a good deal younger than 100 so we were not quite expecting the end, but I can understand what you mean by feeling that the person you love is already on the way somewhere else. I am glad you have so many years and so many wonderful memories to look back on.
1- I see someone already asked if you can explain some of the terms you used when you broke down the stages the of episodes in progress. He mentioned ‘online’ in particular. If you didn’t already do so, can you also define ‘slug’?
2- I know you prefer to record the voice actors together in conversation, unlike many other cartoons that record the voices in isolation. In live action tv and movies are recorded out of order, that’s the most efficient way to use the sets and actors. Since there aren’t sets for cartoons, and you prefer to have all the actors together anyway, are the scenes more or less recorded in order?
3- You mentioned in the past moments when stories just come together and surprise you- when the next event seems to announce herself, unplanned but seemingly totally organic to the story. Like when “Owen is Puck!†announced itself. Or when you kept hearing “Thailog†when the video was being rewound. Did you have any such moments for Spectacular Spiderman and the other shows you worked on? Have you had any with Young Justice yet? Can you share any if they’ve already happened?
4-One last question for this catch-all batch... what do you think of the new DC Nation shorts? I’m not crazy about loosing the opening credits, but I love shorts and think it is an easy trade. I love that they are all different and playful and yet often also a series. My favorite so far is the one with Batgirl and Supergirl trying to convince Wonder Girl to ‘borrow’ Wonder Woman’s invisible jet. (Oddly I have become used to (and approve) on Dianna being portrayed as someone from another country, with a light to strong intonation of something foreign, but it never occurred to me the same would apply to Donna.)
Begin pontification: I’ve never loved the Teen Titan cartoon, (plenty to like, but never loved), but I love the fact it is turning up in the shorts. Back when Disney XD was Toon Disney I wondered why they didn’t run shorts. (To be fair I didn’t have a TiVO at the time and it was possible they were already running the “Have a Laugh†abridged classic shorts as well as Shaun the Sheep. But they weren’t running any new material.) It seemed odd to me they were trying to compete with the Cartoon Network’s reach into the older demographic and didn’t, for instance, declare one night a week the 10 o’clock older folks movie night, (say a Miyazaki flik), and intersperse it with shorts- gorgeous, varied, counter expectation shorts like they gleefully did for Fantasia 2000. (I had the idea a long time ago.) If some of those shorts were back door pilots...great. It worked for the Simpsons They could have led to another late evening night of new programming of new shows. They couldn’t compete with cheap nostalgic cartoons or crude adult ones because that just isn’t Disney. Disney can never put out a Family Guy type show under the Disney label. Maybe they could do it on ABC, but not something with Disney in the name. (Even Miyazaki’s Princess Monenoke had to be released in the US under the Miramax label because a PG-13 cartoon would be problematic under the Disney label.) It a rather obvious route for a high end cartoon station to go and might have netted a few Oscars away from Pixar. Or perhaps more for Pixar. End pontification.
Of course it would have been an ideal place to run a little Gargoyle related short. :)
Greg responds...
1. A "slug" is the section of action BETWEEN lines of dialogue. A "slugged board" is a board that's been timed, i.e. the time for each action has been calculated - and since each line of dialogue has also been timed - you have an exact length, and you know whether or not your episode is going to be long, short or right on the money. If it's long or short, we need to cut or pad to get it to time.
2. Generally, yes. But for example, I poked my head in at a recording on Monday for "Beware the Batman". And there was one actress at the record who was only in one scene, and it happened to be the last scene. So after the rehearsal, they recorded that last scene first, so that the actress wouldn't have to sit through the entire record. It's a courtesy thing. Other times, it may be a scheduling thing. But, again, generally, we record the whole episode from start to finish.
3. It happens all the time. I wish I could remember a specific example from Spidey, but nothing immediately comes to mind. And it's too soon to discuss this stuff on YJ.
4. I love DC NATION. Sincerely. I think some of the shorts have been great, and some have fallen a little flat, but in general, I LOVE the FACT that they're doing the shorts. I just wish they'd expand DC Nation to two hours or something.
5. I'm game for ANYTHING that brings me back to Gargoyles.
JayBe writes...
Hi Greg, first off I just wanted to say you're awesome. Spectacular Spider-man was THE best Spider-man cartoon/interpretation of all time and IMO the best superhero cartoon of all time (although YJ is now a close second for me). It still pains my heart that it didn't reach past a 2nd season. And despite not being interested when I originally heard about Young Justice, it's quickly become one of my favorites due to the awesome character development/continuity that seems to be your trademark. Having just seen the new Ultimate Spider-man (which I read you won't be watching), I can safely tell you that although it's not the complete crap-fest I thought it would be, it's nowhere near the level of greatness of Spectacular Spider-man.
So anyway, my question is actually about SpecSpider-man (and sorry if it was asked already, I went through as much of the 600+ search results as I could). Could you possibly go into the general idea of what we were going to get out of the next few seasons if it hadn't been cancelled? I know there's probably a thousand details you could give (which would be awesome), but was there any overall story concepts you had that were going to blow our minds? For instance, were we actually going to see Gwen Stacy die?
Thanks for reading even if you can't/don't want to answer.
Greg responds...
ASKED AND ANSWERED. But thanks for the kind words.
SpideyFan writes...
I've just gotten a chance to sit down and watch Spectacular Spidey, and it was absolutely mind-blowing. Between it and YJ, I am totally sold on your work. I love the way you structure your stories (on an episode-by-episode basis, and the way you build up longer arcs), and how you manage to present only the most pertinent/interesting information, and trim the narrative fat. It makes your shows a total joy to watch; the stories have such a deliberate sense of movement, everything seems to have purpose. Watching your work inspires me!
Here's the "Ask" part:
In the series finale (S2E13 "The Final Curtain"), Spidey's big confrontation sees him fighting pumpkin-headed grunts in little flying goop-shooting ships. Was this something the creative team was gung-ho about putting in the series, or was it more related to pressures from the powers-that-be about opportunities to sell toys?
Also, how often is marketing, or promoting the DC/Marvel/what-have-you brand a consideration for you when you're creating a show?
Finally: how did you start writing? I don't mean on the level of occupation (i.e. what jobs got you started), but how did you establish for yourself the discipline and confidence in your skills necessary to write professionally?
And I'm sorry to hear about your grandmother. It sounds like it was her time. My own great-grandmother just passed on, and I can tell you she was as ready for it as we were resistant to it. It certainly made the mourning process a lot harder to initiate, since there was this enormous sense of relief that she wasn't in any more pain, or so lonely anymore. I think a sort of hollow initial response is natural. Hope this is some condolences.
Thank you and adieu,
SpideyFan
Greg responds...
1. These were our creations, and as far as I know Hasbro never made any toys based on them. Which is too bad, don't you think?
2. I don't know how to answer this. It doesn't go into the development of our series at all. But I'm hired to do these shows, and whether or not this was a factor in what shows the studios and networks and comic book companies choose to do, is not something I'm privy to.
3. In sixth grade, I started writing my first (of many) unfinished novels. Most of the time I need a real deadline to get work done. By nature, I'm both lazy and a procrastinator. But with a deadline, I get the job done.
Thank you for the condolences.
akif writes...
the new spider man show isn't that good i wish that you can continue the show anf young justice at the same time
Greg responds...
I haven't seen "Ultimate Spider-Man", but it's got some real great people working on it, so I'd suggest giving it a chance.
The Greenman writes...
Hi Mr. Greg Weisman,
I have been a fan of yours since Gargoyles. One of the things that interest me is the basic structure of the themes and world building in the series. One of the styles I see continue to pop up in your series is the relationship between science and sorcery. This is something I have been a fan of in comics like Iron Man and Fantastic Four (specifically Dr. Doom versus Reed Richards). I love the simple explanation that energy is energy.
1. Now I didn't see much of this argument come up in your Spectacular Spider-Man series, because Peter debunked Mysterio, but can you say that you ever planned to and who you would've used to explore that science versus mystic aspect?
2. I am upset that directors such as Jon Favreau and Shane Black have knocked down the very idea of Mandarin showing up as not to approach the so-called mystic aspect. Though, it could be be alien in origin or something, as they claim and prove that even super-science isn't allowed in the MCU. Have you read and understand the Iron Man comics specific to Mandarin and Tony's relationship to science versus sorcery? Was it influential at all in your writing?
Greg responds...
1. Well, we had Calypso. I'm not going to get into much beyond the fact that we would have explored her character more.
2. I'm not sure specifically to what you're referring. I've read comics from the 60s, 70s and 80s with Iron Man and Mandarin. Probably nothing more recent than that. In any case, I don't think it influenced me much if at all.
Mike writes...
1. How did the Rhino overcome his hydration problem?
2. What are the names of Tombstone's bodyguards?
3. Is Tombstone the Big Man or is it someone else entirely?
Greg responds...
1. I don't recall, I'm afraid.
2. I don't think we ever gave them names.
3. Tombstone is the Big Man. (Wasn't that obvious?)
FanMan writes...
Being that the Spectacular Spider-Man was cancelled almost two years ago now, are you yet able to reveal details of what you had planned for season 3? Or do you still intend to keep that information back in order to use it on a later show or if Spec-Spidey gets (against all odds) renewed at a later time?
An Ask Greg Helper responds...
Greg Weisman says:
"I had many specific ideas, some of which would undoubtedly have changed over the course of production. But I'm just not too inclined to reveal them. It's not that I'm trying to torture you, it's just that there's no way I can do them justice in this format. I write 'X' would have happened, and that one statement will get dissected across the internet. And any idea is only as good as its execution - which you'll now never get to see. It may sound stupid here, but I might have been able (with the help of Vic Cook and all my other many collaborators) to pull it off on the series and have everyone think I'm a genius. Or not. But at least it would have had a shot. I just don't feel like opening myself up to potential second-guessing based on raw notions as opposed to executed episodes."
[Response recorded on August 5, 2010.]
Derek writes...
I'm a big fan of continuity as I gather you are too based on your use of dates, your shows in general and an interview you did years ago critizing the X-Men for not evolving and moving forward. I think DC has some fantastic characters and concepts, which is one of the reasons I like Young Justice. However, I've found that without fail whenever I start reading their books and enjoying them, they erase characters and storylines I've become fond of from existence in a big reset or reboot in an effort to become “new reader friendly†e.g Linda Danvers, Helena Bertinelli, Stephanie Brown, Cassandra Cain, Team Titans, Infinity Inc etc.
In the end, this practice alienated me as a reader and I no longer buy DC books because as a reader I find this extremely irritating. So first of all, I'm glad that your not doing that with Young Justice. The characters in show have already greatly progressed through season 1 and I'm very optimistic about the Season 2 based on the first episode.
I'm curious though as a comic book reader what do you make of DC comics and their practice of the "reset"?
An Ask Greg Helper responds...
Greg Weisman says:
"As you noted, I have NOT had the time to read the New 52, so I will not comment on that specifically. Whether or not it works creatively depends more than anything else on execution. Since I haven't seen the execution, I can't respond to how it works creatively. But I KNOW that commercially it's been a HUGE hit. I like to believe that it wouldn't have done quite so well, if it wasn't executed well too.
But generally, on the idea of reboots, I do have a handful of thoughts:
1. I don't want to be a hypocrite. When we started Spectacular Spider-Man and again on Young Justice, we were effectively doing a continuity reboot. I feel when adapting something to a new media, that's essential, but it doesn't change the fact that (a) we did it and (b) I was relieved to be able to do it. Relieved to be able to jettison elements that I felt didn't work or were redundant or confusing, etc. Our goal, particularly on Spider-Man, was to come up with something Classic, Cohesive, Coherent, Contemporary and Iconic. So how can I object if the comics themselves want to do this?
2. In the end, whether or not either SpecSpidey or YJ was/is successful depends on our execution of our ideas, additions and cullings. I like to think both shows are successful, but that's a judgement each individual viewer would have to make for him or herself.
3. I was working on staff at DC Comics during the publication of the original Crisis on Infinite Earths. In fact, during my very first editorial meeting, I raised the question as to why we weren't starting ALL our books over (with the numerical exceptions of Detective and Action Comics) with issue #1. I remember very clearly a collective groan rising up from the conference room table. (They had dealt with this question for months before my arrival.) On the one hand, they wanted Crisis to be a real sea-change, a true reboot (before we knew that term). On the other hand, if you truly reboot Batman, then Robin doesn't exist yet. No Robin, no other sidekicks either. So no Teen Titans. And at the time, the New Teen Titans was the company's best selling book.
4. So the end result was that some things got rebooted and some did not.
5. This was complicated by the fact that certain creators came late to the party, and certain characters got reboots too long AFTER Crisis.
6. And so, as a READER, I couldn't help feeling that - rather than simplifying the continuity - Crisis made it more complicated. This will happen in general, naturally, as time passes and more and more comics are produced by a variety of creators and editors, but Crisis seemed to exacerbate the problem for me personally.
7. In part this was because, I really liked the DC Multiverse. I agree that it was abused to the point of confusion. (And I think it was nuts that Earth TWO had the forties heroes and Earth ONE had the sixties heroes. Just the odd backwards numbering itself created additional unnecessary confusion.) But if limits had been placed on the number of parallel earth stories and crossovers, I think it could have been fine.
8. ESPECIALLY, if they had created a new Earth-THREE, starting over with heroes of the eighties, with Superman and Batman (being new to the hero thing but) remaining relatively constant. But with a new Green Lantern (for example) as different from Hal Jordan as Jordan was from Alan Scott.
9. But that didn't happen. And in fact, though I've read very few comics since 1996, my understanding is that reboots have hit over and over at both DC and Marvel. That negates reader trust in the worth and weight of the stories they're reading. It's more insidious than obvious. And you risk alienating old readers, even as you may or may not attract new ones. You'll always get a short term gain off of a reboot, because everyone wants to check it out. But long term...
10. And going back to my first point - which is that most everything depends on execution - I personally didn't love the execution of some of the post-Crisis rebooting. Some people may have loved it. And that's totally legit. But some of the rethinking on certain individual characters didn't work too well for me.
11. Though personally I think the Bates-Weisman-Broderick reboot on Captain Atom from his Charlton incarnation was brilliant. ;)
12. So, personally, my feeling on reboots in general is that you either do them or you don't. You've got to be thorough and ruthless about it, or don't bother, because otherwise - long term - you're creating more problems than you're solving.
13. And still and all, ultimately, it all depends on execution."
[Response recorded on February 15, 2012.]
: « First : « 100 : « 10 : Displaying #292 - #301 of 1206 records. : 10 » : 100 » : Last » :