A Station Eight Fan Web Site
Ask Greg Archives
Biz, The
Archive Index
: « First : « 25 : Displaying #93 - #117 of 156 records. : 25 » : Last » :
Posts Per Page: 1 : 10 : 25 : 50 : 100 : All :
Chris Krause writes...
Hey Greg!
I had a question. I'm currently a theatre student in college. However, I've always had my hand in multiple areas in the arts. It was only my love for writing and acting that had me not decide to go to a strict art college (I had wanted to be a comic book artist for a long time).
I plan to move to California eventually and try to make it in the show-biz, either through acting, my art ability (I'm currently doing a lot with prosthetics/mask making) or writing. My question was how exactly you got into your current field of work? It's something that interests me, what with my love for comics both in writing and art. So basically, I was just wondering how you got started.
Any advice would be greatly appreciated!
Thanks,
--Chris
Greg responds...
Chris,
For a fuller answer, check the archives here at ASK GREG under topics like "Weisman, Greg", "Animation", "Biz, The", etc. As I know I've answered this before.
But the short answer is that I started as a comic book writer for DC Comics, while I was still in college. I then became an editor there for a couple years after college. Then I went to graduate school to hone my skills as a writer, while interviewing at various studios. I was hired as a junior executive at Disney Television Animation, got promoted a couple times, developed Gargoyles and became a writer-producer.
Laura 'ad astra' Sack writes...
A while back I remember you commenting how it annoys you that when folks praise Batman the Animated Series they mention Timm and Dini (rightfully) but not Burnett. Actually, I just did a search and see you mentioned it several time, and that it mystifies you. Since I had wondered something similar, (his name was so prominent in the Dark Deco look episodes, and don't really remember it after), I was going to ask if you have a theory why. Instead I'll ask if it, in some small way, factored into the Naming of Owen Burnett?
Greg responds...
The "Owen" part of the name was in the original development. The last name Burnett came from writer Michael Reaves, so you'd have to ask him if Owen Burnett was a tribute to Alan Burnett.
And I don't have a clue why Alan doesn't get all the credit he deserves -- other than the fact that Alan doesn't seem to seek it at all. He's a modest guy. Not an attention whore like me, for example.
YLu writes...
Hey Mr. Weisman,
I noticed that in the Bad Guys issues, character's inner thoughts were shown through narration boxes, while in the final few issues of Clan-Building, Brooklyn's thoughts were shown in cloud-shaped thought balloons. Is there any reason for the difference?
Greg responds...
It's stylistic. I think captions are more distancing... so they feel more thoughtful, less immediate. Thought balloons seem more casual.
I decide those kind of things on a case-by-case basis.
Laura 'ad astra' Sack writes...
All the delays and schedule changes for Spectacular Spiderman, besides being terribly annoying, jepordize the chances of the series to catch on and continue. I listened to the podcast mentioned early and have a sense of the legal changes and problems that contributed to the crazy schedule, but still I can't shake the nagging feeling that there is a disrespect, perhaps born in ignorance, to animation that is greatly contributing to the problem. It wouldn't occur to TPTB to tell a cast of a live action show, "we'll let you know if we are picking you up for another season in 18 months." Let alone the none acting staff and crew. Beyond that, once the script is written, the turn around time for an episode is much shorter on a live action show.
Is there any truth to that nagging thought? The closest analogy I can think of was to how tv series handled the most recent writers' strike. It wasn't perfect, and some good shows died as a result, but the reoccuring question seemed to be, "do we try to rush in a delayed 2nd half to this season, or just pick up at the next.", not "let's send everyone home, wait a year, and then decide.
Greg responds...
I'm not sure how to respond. In general and IMHO, animation gets less respect than live action, but no company actively tries to sabotage its own show. Though mismanagement can do great damage.
James writes...
Disney as of recent bought out Marvel. That in mind will Marvel release thier comic adapton to Gargoyles as a graphic novel?
Greg responds...
I doubt it.
james writes...
Dear Greg
With your expertise in the writing industry I am hoping you would be willing to perhaps give me some advice in my own writing career. I have written a fantasy adventure story for pre-teens and have begun my search to get it published. I have been working with Children's Literary Agency and they have suggested me to go to Strategic Publishing, which I have done. They sent me a contract that sounds okay, but they are asking for a large fee up front and I am a bit concerned.
1; Is this a vanity company, which I have been advised to stay away from?
2; Is it normal for publishers to ask for a fee up front?
3; Do you know anything about either of the two companies listed above?
Being new to this industry I am hoping that you will lend me your professional opinion.
Greg responds...
1. If they are asking YOU for money, then it sounds like a vanity company at best. There's nothing wrong with that, per se, if it's legit. You pay to get the books published and succeed or fail on your ability to market and sell your books. (Good material helps of course, but isn't mandatory.) But make sure it is legit so that you're not sending money to someone who's just going to pocket it.
2. No.
3. No. But keep in mind, I have no experience in that end of the business. Comics and animation is the sum total of my background - at least so far.
Lance writes...
Hey Mr. Weisman,
Before I ask my question I just want to thank you very much for Gargoyles I'm not sure that any other piece of fiction has stuck with me so profoundly. I thoroughly enjoyed the final volumes of the comic series though I had to stifle back tears as I realized it was over. I will never stop hoping that there will be more Gargoyles for me and my future children to enjoy.
My question is focused around the recent buy out of Marvel by Disney. I don't imagine you have many more insights into it than anyone else watching the news reports but I do wonder if you've thought of approaching Marvel now. Marvel being such a well established comic publisher may see the merit in continuing your run of the comic series. I would hate to see them take it and make it their own of course, we'd never see your true vision of it, but it would be nice to see them allow you to continue what you started. Just something I've been thinking about as I very badly want to see Gargoyles continue.
In a similar line of thought, I asked this question sometime ago and never got a response. Would there ever be a time that you would make a more detailed version of your overall plot for the rest of the series and its spin-offs available to read. The Three Brothers story was great. I'd love to read more like that. I've always feared that if enough time passed we would never get to know what else was lurking in that wonderful brain of yours regarding our beloved Gargoyles. Would you ever reach that point if things didn't look good for the series being continued that you would allow us more bits of your vision?
Thanks,
Lance
Greg responds...
Re: Marvel. Check the archives. I've answered this ad nauseum.
Re: My master plans. I throw out tidbits now and then and if the whim strikes me, I might give out a bit more. But beyond that, any story is only as good as its execution, so I'm not likely to just ... vomit up ... a report of my plans.
Nick Gawel writes...
Now that Marvel is own by Disney how will it affect your plans with Gargoyles comics or other media?
Greg responds...
Asked and answered multiple times. Check the archives.
RandomStan writes...
What animal noises and sound effects were used to make the gargoyle sounds, like when they roar, growl, sigh? Also for Bronx and gargoyle beasts as well? What sound was used for when the gargoyles would dig their claws into stone? That one sounds a bit familar, almost like popping bublbe wrap.
Greg responds...
I don't recall. Sorry. Been too long. And I was never at foley sessions anyway. Just the mixes, when the effects had already been created.
Professor Mangle writes...
What does Disney's aquisition of Marvel mean for the future of Gargoyles?
Greg responds...
Probably nothing.
Todd Jensen writes...
Did you find it spooky that Disney bought Marvel so soon after you wrote and put on the Gargoyles/Spectacular Spider-Man crossover Radio Play for the Gathering? I know that it was just a coincidence, but I still found the timing a bit eerie.
Greg responds...
Eh... few things (in this business) truly surprise me these days. Which is NOT to say I saw this coming, because I did not. But hearing about it, I was hardly shocked.
Jeremy Pierce writes...
In the latest move by The Walt Disney Corporation in acquiring Marvel, Disney has shown a renewed interest in comic book and superhero literature.
Can you see this as beneficial to getting Gargoyles back as an active property? Id Disney sell-able on making a now lateral pass of the Gargoyles property as a new Marvel entity? Given your stint writing for Spider-man, could you foresee a world in which The Manhattan Clan was a full member of the Marvel Pantheon?
Greg responds...
1. Possibly.
2. I have no idea.
3. No.
Landon Thomas writes...
Hi, I'm posting on Disney/Marvel Merger Day and I'm looking for some historical perspective. Someone in the comment room says "I recall Greg once saying that back in the 90s Disney was interested in buying Marvel, but instead decided to create their own universe with Gargoyles." I've found this on the New Olympians episode ramble:
"ORIGINS
Well, the Greek Myths of course. But that's not really what I'm talking about. As many of you know, The New Olympians was a concept -- originally created by Bob Kline -- that we began developing at Disney TV Animation even BEFORE Gargoyles. It was definitely a concept that evolved, but it was also a concept that we felt fit nicely into the Gargoyles Universe. So this episode was created as a backdoor pilot. At the time we had big plans for the Gargoyles Universe. Hopes that it would eventually evolve into Disney's equivalent of the Marvel or DC Universe. The World Tour expanded our Universe in many ways -- mostly for the sake of the Gargoyles series itself. But also to demonstrate that our universe had the "chops" to go the distance."
Could you elaborate?
1) Is it true that Disney considered buying Marvel in the 90s?
2) Did the Disney higher-ups want a Gargoyles Universe to rival Marvel/DCU, if briefly, or was that your idea?
3) How heady were the days of season 2? Was Gargoyles being positioned as a significant face of Disney? I remember the Anaheim Gargoyles baseball team memo is from around that time too.
Greg responds...
1. Yes.
2. It was my suggestion, but it was a suggestion that my bosses, including Michael Eisner liked. At least for one meeting.
3. They weren't all that heady. There was a lot of potential in the property, but the schedule was also both long and brutal, and we were still producing episodes into May of 1996, even though the season had premiered in September or October of 1995. By January it was pretty clear that reruns, preemptions, the O.J. Simpson trial and Power Rangers had combined to severely damage our momentum. In addition, the death of Frank Wells and the departures of Jeffrey Katzenberg, Rich Frank, Gary Krisel and Bruce Cranston, i.e. some of the people who had been such great backers of the property, hurt too. As did Eisner's decision to step back from the hands-on decision making he had done vis-a-vis Disney T.V. Animation. It left us quite at sea. New people came in who had no affinity for the property, long before we were even done producing Season Two.
Lylat Warrior Galaxia writes...
So does this mean that Gargoyles is part Marvel?
Greg responds...
Not really.
Michael writes...
What do you think about the Disney Marvel merger? Do you think it will change anything for you(or in other words you're struggle to get more episodes of Gargoyles made)? Do you think we will see you're gargoyles comics published by Marvel in the future?
Greg responds...
1. I'm withholding judgement.
2. I don't know.
3. No.
The Fox Bandit writes...
I see there are two other questions about Disney buying Marvel - but I'm going to ask two other related questions:
(1) Were you aware ahead of time that Disney would be purchasing Marvel?
(2) I'm sure the legal complexities involved in this transaction are very... well, complex... as they interface with your show. However, to your knowledge, how does Disney's purchase of Marvel impact the possibilities of using previous off-limits characters on Spectacular Spider-Man? (Especially Kingpin, but also other characters you said you wanted to use on rare occasion, such as Human Torch.)
Greg responds...
1. No.
2. No idea.
Joltman writes...
Now that Disney is buying Marvel, do you think will affect, positively or negatively, The Spectacular Spider-Man's future?
Greg responds...
I really don't know.
Chris writes...
Will Disney buying Marvel Comics mean anything for the Gargoyles comic book series?
Greg responds...
I don't think so, but I don't know.
Spawn Guy writes...
Hey Greg,
I've always wondered how building a writing team works exactly. Obviously Sony liked your pitch for Spectacular (and I'm very glad they did)and we wound up with great efforts from Matt Wayne, Kevin Hopps, Andrew Robinson and Randy Jandt. But did you hand pick these people or were they provided for you by Sony? Or did they have their own takes on Spidey that convinced you that they, out of the many people who must have been vying for a spot on the show, had the right stuff for the series? And you guys had a pretty solid rotation system, so how does whatever selection process used differ from freelancing for a show?
Greg responds...
Hmmm.... the order of things...
I think it started with Randy, who had been my script coordinator on many previous series. We offered him the job of apprentice writer, a union position that would allow him to be a script coordinator but also take the next step up and write one script per season.
My next hire was Kevin Hopps, who was brought on as a staff writer. Kevin and I go way back to my Disney days. He's given me work; I've given him work. He's great and someone I can count on.
The rest of the "staff" was in fact freelance. Andrew Robinson was an obvious choice. He had done great work for me on W.I.T.C.H. I didn't know Matt Wayne, but my boss Michael Vogel was big on Matt's stuff... so I gave him a try (with great results).
Having chosen these writers, we did start something of a rotation.
I wrote the pilot and reserved the twelfth (origin) episode for myself. Then staff writer Kevin, was followed by freelancers Matt and Andrew for episodes 2-4 and 5-7. Randy took episode 8, a middle episode that would give him a chance to get acclimated on the series. 9-11 were taken by the "rotation". I did twelve. Kevin did 13.
For season two, I added Nicole Dubuc (another W.I.T.C.H. success story) as a freelancer to give us a another voice. While Nicole got acclimated, we began with the same Kevin, Matt, Andrew rotation for episodes 14-16. Randy did 17. Then we had planned to start the rotation again, with Nicole added in. (So the PLAN was to have 18-21 be Kevin, Matt, Andrew, Nicole). But by this time, Matt was getting pretty busy on other series. So Nicole also jumped in and took Matt's spot in the rotation, and 18-21 became Kevin, Nicole, Andrew, Nicole. We then started a new rotation without Matt. And Kevin, Andrew and Nicole took 22-24. I had reserved 25 for myself. And Kevin again finished out the season with 26.
That's the way I like to work. Have a small "staff" (mostly freelancers for budgetary reasons) that do multiple episodes. That way the writers really learn the show. We all break episodes together, helping each other out pre-outline. It really becomes a team.
Robby writes...
My brothers and I are impressed by the fluid animation in Spectacular Spider-Man. We imagine it must be very expensive. How much does it cost to do those cool action scenes?
Greg responds...
I can't spit out a number for the action scenes in a vacuum. SpecSpidey had a fairly standard "per episode" TV Animation budget. We tried to get as much bang for our buck as possible.
Tonya writes...
Hi Greg! I was reading an earlier post of yours where you mentioned that it's harder to pitch original ideas (I'm guessing to networks, but maybe it's the same with comics, books, etc...?) now than it was when you originally pitched Gargoyles:
1. Why is it more difficult to pitch original ideas now than it was then? (I would think they'd be anxious for new concepts???)
2. What's probably the #1 thing that the people being pitched to are looking for?
3. Is a successful pitch sometimes tied to the person you are pitching to? (I mean, if you're pitching to one guy on Tuesday, but had you gone on say, Thursday and had a different guy, could the outcome of the pitch be different? I guess I mean do you depend on getting lucky with whomever you're scheduled to pitch to? And if not, can you ask to pitch to someone else?)
Thanks! I hope my questions were clear enough to get across what I'm trying to ask. I'm thinking of writing professionally (IF I'm any good) and wondered how hard it would be to "pitch". Thanks again! (Love your work by the way.)
Greg responds...
1. They're not. They're afraid of new concepts and would rather have something that's "proven" in some other medium or era. This, in my opinion, is a direct result of the vertical integration of these companies that makes the decision making process a long uphill struggle.
2. It differs all the time, but marquis value doesn't hurt.
3. Luck-of-the-draw and incidental timing are huge factors.
MARVEL-FAN writes...
Greg, how come in the Spectacular Spider-Man it doesent use realistic gunshot sounds? But, Batman: The Brave and The Bold it uses realistic gunshot sounds, other Batman cartoon shows.
Greg responds...
Different networks have different rules, I guess.
Bazell writes...
In response to two of your previous responses to me (via everyone):
You wrote, "If I am going to "lift", I try to be direct and on the head about it, so that I'm acknowledging the debt as opposed to trying to get away with something."
Would you say that this is simplified explanation of the difference between 'homage' and 'rip-off'?
As for Free Comic Book Day, it's the first Saturday in May every year and is sponsored by some of the larger comic book companies as a way to support the industry and local comic shops. Here is their website:
http://www.freecomicbookday.com/index.asp
Greg responds...
Yes, I think in bald terms that is the difference between 'homage' and 'theft'.
Bobby Drake writes...
Hey, Greg. I heard some scenes in Gargoyles were censored by Disney. In one episode in season 1, I remember a part where Hyena says "Would you like an autograph?" a girl (forgot her name) pulls out a knife on the guy and says, "Maybe I should sign it on your face!" And that's when Jackal says, "Might as well get in on the fun." And I heard there were a few more episodes that had censors.
I would say Spectacular Spider-Man is a little violent for a children's show. So far, your show has had drug addiction, Tombstone getting stabbed in the back by the Green Goblin, Doc Ock promising Rhino the "permission" to impale Spiderman's heart, George Stacy saying the F word in "Shear Strength", a funeral, and also violent fights. I've considered most of the fights in this show (especially the season 2 fights) a little bit violent for little kids.
So here's my question: Will Spectacular Spider-Man suffer from censors the same way some scenes of Gargoyles have? Were there any censored scenes in the show so far in Spectacular Spiderman on Disney? If yes, which scenes? Also, I heard the "Natural Selections" episode had censors. Is that true?
Thank you for answering my questions.
Greg responds...
GARGOYLES wasn't censored in the traditional sense of the word when the shows first aired. Since then, I'm told, ToonDisney/Jetix/DisneyXD may have made some cuts. But I haven't watched their versions of the shows.
George Stacy never said the "F-word" unless you and I have VERY different ideas of which F the F-Word stands for. I don't think THE SPECTACULAR SPIDER-MAN is too violent for kids. Of course, I grew up on Coyote and Roadrunner cartoons.
You're sort of throwing the c-word (censorship) around willy-nilly. I'm not sure you really get what it means in a practical sense. But in any case, the 1st Season and half the second season have all aired on DisneyXD, and nothing has been cut from the versions we made.
And, no, nothing was censored out of "Natural Selections". Where did you hear that?
A few thoughts...
Got easily a hundred calls, texts, e-mails yesterday about the big Marvel/Disney news and a few about the Sony/Marvel/Spidey news, so here are a few random thoughts to go with what I posted yesterday...
1. SPEC SPIDEY: The main thing that's changed about the Spec Spidey situation is that Sony is now out of the loop/decision making process about whether or not there's a third season. Before Sony was waiting to see if Disney picked up the series. Then they'd decide on its economic feasibility for Sony. Now Sony isn't part of that equation, leaving the whole thing in Marvel and Disney's hands. Of course, now that Marvel and Disney are kinda one hand, so-to-speak, I don't know what that means for us. Other than the obvious, which is that I'm sure we're not exactly Disney/Marvel's highest priority at the moment. How and when this decision gets made is really up in the air, but a former negative does feel good -- now -- that our last six episodes won't start airing on Disney XD until late October. That means our last episode won't air until early December, which may be a better time for Disney/Marvel to focus on the show. (Or not.) Of course even a positive decision in December or (more likely) January means a HUGE gap between Seasons Two and Three, but I'd take that over no new episodes.
2. FLASHBACKS:I can't help but be reminded of events in the mid-nineties, when Michael Eisner (then CEO of Disney) wanted to buy Marvel, so that he'd have super-heroes to compete with Warner Bros' DC Universe heroes (including Superman and Batman). Back then, however, Marvel was, or so I was told, a corporate mess. And it wasn't just that -- as now -- various studios already had the rights to individual characters, but that the rights had been double sold all over the place, and that every character pretty much represented a lawsuit in the making if not already in the works. Eisner was advised NOT to buy Marvel, and of course he didn't. But he REALLY wanted to be competing in the boys action/super-hero market. That was when the Gargoyles Universe was raised as a possible alternative. We pointed out that the Marvel Universe began with the Fantastic Four, and that we could use Gargoyles as a springboard to more properties and to an entire Universe. We were encouraged by Michael to create spin-off properties, backdoor pilots, etc. And that was THE major impetus for us to work on things like New Olympians, Bad Guys, Pendragon and Dark Ages. (Gargoyles Future Tense -- which became Gargoyles 2198 and TimeDancer came later.) It was also a reason to be expansive with the World Tour and introduce more and more new characters, etc. Of course, by the time all this stuff was actually made, the world had changed again. Frank Wells died. Michael and Jeffry Katzenberg went to war, with Jeffry eventually leaving to found DreamWorks, and taking two of my immediate superiors, Gary Krisel and Bruce Cranston, with him. Rich Frank (another of my bosses up the chain) also left. Dean Valentine was placed in charge of Walt Disney Television Animation and he had no affinity for Gargoyles or its spin-offs. And Michael, who had initiated the whole thing, had way bigger concerns on his plate. I was more or less forced out. But for one bright, shining moment...
3. GARGOYLES: I'm sure a lot of people are wondering what this means for our favorite winged warriors, but in the short term, I'm sure the answer is "Not much." Gargoyles is pretty much under Disney's radar right now, and really doesn't exist on Marvel's radar at all, as far as I can tell. We'll be an extremely low priority. Our best bet is still SLG, which HOPEFULLY will be motivated by the sales of the Trades to want to make more content with me. Having read Dan "Mr. SLG" Vado's recent reaction to the Disney/Marvel merger, I'm hoping he isn't too discouraged by being in bed with his competition. But I have no doubt that the best way to get Dan fully on board is to make it worth his while by having those trades sell VERY well. So again, buy the trades and/or SPREAD THE WORD!!!!
: « First : « 25 : Displaying #93 - #117 of 156 records. : 25 » : Last » :