Greg responds...

OTS stands for Over The Shoulder. It means the Camera is placed at an angle looking over the characters shoulder onto the subject of the shot. (It foregrounds said character and puts him or her in relation to the action or background).

And I'm glad you liked the Roswell script!

Great to see you at the Gathering again, by the way.

Greg responds...

These were business decisions -- not emotional or "how it sounds" decisions.

Initially, Buena Vista only ordered thirteen because Gargoyles and "Action Friday" was an experiment.

Keep in mind that the first season's thirteen episodes represents thirteen weeks of airing the show once a week. That's enough to fill "one quarter" of the year. (52 weeks in a year divided by 4.)

For the second season, they decided that they wanted the series to air FIVE days a week. So multiply 13 weeks by five episodes/week and you get a total of 65 episodes. We had 13 made already. So subtract 13 from that 65 total and you get the second season order of 52.

The third season wasn't produced for syndication. It was aired on ABC's Saturday Morning. And for ABC, it was going to be a bit distinct. (Thus the Goliath Chronicles title and the little sermons Goliath gave at the head of each episode. Neither of which I cared for.) So they started over. Saturday is once a week, so they ordered 13 episodes to cover the 13 week quarter.

Now the obvious question is why 13 weeks? What's so magical about one quarter of the year? Why not 1/8 of the year or 1/2? I don't have a good answer for this, but at that time the conventional wisdom was that kids needed new material in the fall through Christmas. After that, stations could get away with airing reruns.

It's actually gotten worse since. Five-day-a-week series used to be 65 episode orders. Now they've dropped to like 39. It's not so much that conventional wisdom has changed -- rather the economics have gotten so bad, that 39 is the lowest number that networks and studios think they can get away with. Until recently it was forty. Eight weeks of five new episodes a week instead of the old 13 weeks. We did 40 Starship Troopers, for example. (More or less.) But Team Atlantis only ordered 39. There's NO rhyme or reason to that number that I can see other than the fact that it is one less than forty. Thus having mentally adjusted the audience to 40 down from 52 down from 65, they've now chipped one more episode off the total order.

It sucks.

What was your question?

Greg responds...

Can't you see the difference?

Raven's "fake clan" had, what, like three members?

We didn't have the man-hours to design 36 separate gargoyles for Avalon. But we did design some members of the Avalon clan. Angela, Gabriel, Ophelia, Boudicca, at least.

Greg responds...

Sphinx isn't particularly human-looking. She's certainly less human looking than Boreas, for example.

Mostly we took out Medusa in a lead role, for two reasons...

1. We thought she'd be very hard to animate. So we wanted to be able to use her sparingly.

2. I liked the ability to use angelic imagery for the first meeting of Terry and Sphinx.

Greg responds...

For starters, where do you live?

If the answer is anywhere but L.A. or maybe New York, then my second question is When are you moving?

It's not impossible to have a voice career elsewhere, but the odds are stacked against it.

Once you're here there are classes I can recommend. But you can't take them long distance.

Greg responds...

Part of it is a function of design.

Some of it I'm sure came from the board artists/director and producers.

Some from the animators.

Greg responds...

Do you mean "anime" or maybe "mime"?

And what exactly do you mean by that? Do you want bigger eyes?

Greg responds...

No. Actually, on the whole, I'd say Gargoyles got much BETTER animation than the average tv show. For starters, many of our episodes were done by Walt Disney TV Animation Japan. Those guys kicked ass.

And we also did very well by our Korean sub-contractors. Not every time. But often enough that I don't want to complain. Well, to be honest, there were always things to complain about. From every studio. That's the nature of tv production. But we got pretty lucky over all.

Greg responds...

Haven't I answered this a hundred times?

No. In those days, Disney TV Animation did not give out "Executive Producer" credits. I started as a "Co-Producer". Then became a "Producer". Then "Supervising Producer". Through all these title changes, my duties never changed. [Which is to say, that a title doesn't necessarily give a consistent read on an individuals responsibilities or efforts. So I can't speak for all Executive or even Supervising Producers. I can just tell you what I did.]

I came up with all 66 story springboards and supervised the writing staff. Though I didn't have the title, since my producer credit rendered it redundant, I was the Supervising Story Editor for the series. I personally wrote and story edited "The Journey". Though I did not produce the Goliath Chronicles episodes, including Journey.

I also supervised all recording sessions with the actors. I voice directed one episode (VENDETTAS).

I don't draw, but I did give notes and approvals on all designs and storyboards. I also supervised post-production. Called retakes, supervised final edits, mixes, on-lines, etc.

I didn't do any of this stuff alone. But along with Frank Paur, I was the final word on everything.

Greg responds...

Well, I wasn't an Executive Producer. Gargoyles didn't have any executive producers.

I was a Supervising Producer. I came up with all the springboards, reviewed all premises, outlines, scripts. Supervised Voice Recordings, edit sessions, sound mixes and on-line sessions. Gave notes on all designs, storyboards and animation. I was a busy boy.