A Station Eight Fan Web Site
Can you tell us the meaning of the colors of the index cards you use to plan your shows?
It changes from show to show, even from season to season. And on YJ S3, because of index card shortages of specific colors (this happened, believe it or not), it changed more than once DURING the season.
As an example, in YJ S1:
Green - villains
Red - Justice League
Blue - The Team (hero stuff)
Purple - The Team (teen stuff)
Yellow - Stuff where a specific date matters (like holdays)
White - Stuff that we're laying pipe for but will not objectively reveal to the audience at this time
I've heard a lot about the "core truth" concept you and your team use in your approach to characters.
Are some of these core truths secrets, or would you tell us any that we ask?
I don't think they're secrets because we put it all up on screen. But my inclination is to let our interpretation stand on its own, influenced by each viewer's own interpretation, as opposed to explicating everything in writing here. Still, I don't mind talking process. I'm not going to go down a laundry list of characters, but if someone were interested in one specific character as an example of the process, I might - depending on my mood and clarity - answer this kind of question once or twice.
I have questions regarding adapting DC comics.
You see there is certain fan adaptation running around on the net( I won't mention it for obvious reasons) , and to be honest all the changes seem silly, cringe inducing and fanfic like.
Yet all your changes seem logical. I mean replacing Aqualad with Kalduram or Cassie as Wondergirl would be controversial but it's logical and I like it. You even improved on many characters like from the source material like Artemis and Sportsmaster.
Most of the changes you have done are like apple products they just work.
So my question is How do you make earth 17 feel so cohesive and faithful despite doing some heavy changes to the source material?
Well, for starters, it's Earth-16.
But otherwise the goal is to get down to the core of every character that you're adapting and be true to that. Not all the details matter, proven out by the fact that over 75 years of comics history, a lot of the details about any given character keep changing. But who the character is at her or his core does matter.
All this is influenced by what we've already done in a universe that we're trying to keep cohesive and coherent, so we think about how any new character would fit into that schema. Or if they'll fit. Things like scope effect us too. For example, we talked about including Supergirl in both Season One and Season Two, but her story was too big to fit in either season without derailing our main overall plot or skimping on her story. We'll get to her eventually - no promises as to when - but it'll have to be when we could do justice (YOUNG justice) to her story.
I think that in #3 of this question (http://www.s8.org/gargoyles/askgreg/search.php?qid=22075), Lenny was actually asking if a company would consider a recommendation *for* a more seasoned producer, not *from*. i.e. If the newbie who's idea was picked up by the company wanted Dini, Cook or Vietti to produce it, would the company consider that request or just provide their own producer? (I have a feeling I know the answer, but wanted to clarify what Lenny was asking)
Ah. Yeah, I didn't get that.
I guess you could ask for whomever you wanted, but whether they can cooperate with that suggestion will depend on a load of factors, including but not limited to availability, cost, interest, studio needs, etc.
Hi! I'd like to ask you a question from a writing standpoint if you don't mind. When juggling a lot of plotlines, how important is it to develop relationships on-screen? On the one hand, obviously the main couples should be. But for the minor ones/background characters, I'm not sure if it's better to leave their relationship status static (which would be unrealistic for most) until I can properly develop something for them, or sometimes put them in side relationships based on chemistry even without much prior development. This would be provided that these relationships could be used to further individual storylines, just not important enough to warrant too much attention from the main plot. It's okay if you don't have an answer, but I'm curious if you do.
Every character should have his or her own life, even if you don't always have the screen time for it.
I found a tumblr post that talks about great characters with the link below.
I also remembered you answered a question like that.
"I believe they exist as fully as possible. I create backstories for them, whether or not those backstories will be revealed on screen or on the page. I make them real to me."
So for the actual questions:
1. What do you think about the tumblr post? I think "compelling" and "fascinating" seem too subjective.
2. What exactly do you mean by "exist as fully as possible"? I'm guessing you want to give as much of an image of a character as you can, but I'm also sure that's the main task of any story.
3. You also said that you want to make the characters seem real to yourself, but how do you make them real to the viewer?
4. This one might be redundant, so it probably doesn't need to be answered. But just in case, how do you make characters and stories that the audience can enjoy?
5. I also know you've said that you write your passion, but how do you know it will appeal to others? It all sounds like being hopeful.
1. Perhaps. But so is "relatable" and "sympathetic". They're directions to head not a detailed map.
2. It's not the main task to make of any story to make EVERY character in the story fully realized. My feeling is - within reasonable parameters - that it SERVES the story to have fully realized characters, who have their own backstories and motives that are specific to them.
3. I cross my fingers that if it works for me, it'll work for a substantial portion of my audience.
4. I write what I like, and cross the above-mentioned fingers. The alternative is pointless. If I can't get passionate about my story, how can I possibly expect anyone else to?
5. That's all it is. Honestly. See above.
Hello Mr. Weisman,
I had just a couple of questions.
1. One thing about the animation industry is that once a season is over there is no guarantee that the next season will be picked up. Should some one have a plan B for another profession if the next season does not work out? Or is there plenty of work in California that if you did your job well, finding another one should not take long?
2.If someone has a animation idea they want to pitch and have all the details worked out (pitch bible, characters, story, and pilot script) how would they know when they could pitch the idea?
3. I had a question for attires for animation shows. Does it cost more to have different episodic attires for characters or do characters have only one attire to save time? I know in Spectacular, Peter had a winter attire with the jacket, or that one time he had the black shirt with brown pants during the symbiote removal episode but is there a choice on whether they can change their attire episode by episode to add more realism?
1. Well, uh... There are no guarantees. I try to have other work lined up, pretty much always. And sometimes I'm just flat-out unemployed for stretches. This gig is not for the faint of heart, I guess.
2. I'm not sure I understand the question. If you're ready, pitch. But my caution would be to be careful not to poison the water. If it's a work in progress, and isn't actually very good (YET), then I wouldn't pitch. Make sure you're only showing the best possible version of what you've got. On the other hand, there's not much point in noodling forever on an idea. If it's solid, go for it.
3. Every design - and new clothes are a new design - cost time, which costs money. So, yes, in animation, we need a pretty good reason to give characters additional wardrobe. But if we need it, we need it.
Not so much a question as an attempt to clear some things up. You said that you didn't remember our first exchange, so, here's a link:
The follow-up exchange:
I do hope this clears things up. I checked the links on my end and they appear to work. If they don't work for you then I'll just have to copy and paste, which will probably take up more space than I wanted to use.
Okay, yeah, reread it all. (You've got the links switched, but they're both there.)
As I suspected, I wasn't upset the first time. I don't even seem to be annoyed. I was just giving you my honest response to your question, which was that I thought to some extent it was the wrong question for a writer to ask.
As for the second post, as I noted, you seemed to have a better handle on things.
So no worries on my end.
Good luck with your stories.
As a general rule of thumb, how far do you like to plan ahead with stuff you write?
All the way. At least to the end of each season, with at least some clear sense of where we'd go next.
I am getting ready to write my first professional scripts for animation. At the risk of asking a really broad question, what is the number one thing from your experience you would tell a starting out writer in the medium to keep in mind?