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Joshua P. Christie writes...
Hi Greg-- first off before my question I want to say that my previous question regarding Goliath using the Phoenix Gate to not return to Scotland in order to save his clan when he used it to save Griff in London-- I submitted that a year and a half ago and when I didn't see an answer I took it upon myself to copy and paste it during the chat you had a couple of weeks ago (Nov./03). So it was not a double post but you had answered it twice. For what it is worth, I understood it the second time around. :)
My question for 2003 is, with Gargoyles being property of
Disney and the reality of not being able to do much with
the show without their blessing, have you ever considered
coming up with an original idea for a show and trying to
get something new off the ground? Perhaps not even a
syndicated show but something more akin to Todd McFarlane's
'Spawn' on HBO? I am not suggesting any particular idea, just one of your own which created a new universe of characters and storylines that perhaps one day could be funded and see the light of day notwithstanding our hopes
of Gargoyles one day returning to the air. It is encouraging to see Fox considering reviving 'Family Guy'
after the syndication and DVD sales surprised the hell out
of everyone. Maybe Gargoyles can see the revival it needs
on DVD to open Disney up to that possibility. Thank you for your time and I hope to see you at the next Gathering that comes stateside again.
Greg responds...
I am constantly trying to sell new and original ideas. It's harder than it looks from a distance.
Julius Jacobson writes...
First off, thank you for creating a masterpiece. Undoubtedly one of the greatest animated shows of all time.
Now some questions about the TV industry:
1.You are quoted in the FAQ as advising aspiring television authors "If you can be happy doing anything else, do that thing." Working in the industry for all these years, do you feel that most of your peers have taken this advice, or do you feel surrounded by bitter and disillusioned cynics?
2. Why is it that you were given such a position of significant control with "Gargoyles" relatively early in your career, yet have been unable to find a position in similar role since adding that credit to your resume? Despite being a moderate hit, did losing the ratings war with Power Rangers attach a stigma to the show (and thus you) as "not being able to hit a homerun ", making it harder to get future opportunities (you have done some good work since, but nothing with the creative control or depth of Gargoyles)? Or is the industry understanding of what Gargs was up against (A barinless "Pokemon" like monster) and don't disparage it as a "failure" simply because it couldn't defeat a (ratings) behemoth, and your current situation is just the brakes of a volatile industry?
3. I don't necessarily want to be a TV writer (I'm into prose) but I am a big fan of animation. Do you think the FoxBox and the new Ninja Turtles cartoon (the blocks highest rated program by far), in going up against Kids WB, is in the same position Gargoyles and Disney Afternoon was in in 1995/96? Foxbox has moved to Sundays ostensibly to avoid the competition. As a creative Producer once in a seemingly similar situation, could you just objectively tell a worried fan if this is a sign of The End? ( TMNT has, however been signed on for more episodes up to 52, which according to you is succesful in todays market.) As an aside to this question, how much of keeping an animated show on the air has to do with sales of merchandise as opposed to pure ratings?
Thank you for your time.
Greg responds...
1. I am indeed surrounded by bitter and disillusioned cynics. Though most of us are pretty cheerful about it.
2. Mostly it's just the breaks. But I have been stigmatized here and there by various individuals who were in power... some of whom are no longer in power. Also there were a unique set of circumstances at Disney at the time of Gargoyles that resulted in me getting so much creative freedom and control. Circumstances that would be hard to duplicate. But since then, I have had substantial control over my ten Roughnecks episodes. I had some control over the first season of Max Steel. And on the show I'm working on now, W.I.T.C.H., I've had more control, more freedom -- and more fun -- than on any show I've done since Gargoyles.
3. I'm just not up to speed on the Fox Box/Kids WB situation, though I know that Kids WB is phasing out their weekday afternoon kids block. As for merchandise vs. ratings... Both can be HUGE factors. A network can't survive on bad ratings, but most shows have trouble making their budgets without merchandising revenue.
Dragon girl writes...
hi there!!
Im a fan of yours!!! and im a fan of manga, comics and drawing, i wish one day i could illustrate my own story
i only want to ask you: What things do you need to do
to have a nice story and character desing?,please answer me
My mail.- beautifulbeast_10@yahoo.com.mx
bye!!
Greg responds...
I don't know where to start. I'm not an artist myself, so I'm not the best person to advise you on that.
As for story, I'd recommend education. Read a lot. (And not just manga and comics.) Write a lot. Proofread. Read some more. Write some more. Proofread. Go to college. Get a solid liberal arts education. Read the classics. Read the daily newspaper. Read some more. Write some more. Proofread.
(Get the idea?)
Dragon boy writes...
Greg, i am making some "comics" cause my dream is becoming a professional japanese comic maker (mangaka) ,here is my only question:How can you become a good drawer and how can you make things that people really like?
here is it, please answer me,ops! and im a fan of yours n.n !!!!
n_- bye !!!!
Greg responds...
I wish I knew how to "become" a good artist. I'd love to be able to draw. But I don't have that talent, so I'm not the greatest person to answer that question.
As to how to "make things that people really like"? I usually start by trying to make something that I really like. If I'm not passionate about it, how can I expect anyone else to be?
Vashkoda writes...
Hey Greg. Concerning all the different series you've worked for and all the jobs you've held in them (creator/producer/voice director/writer/etc.), which do you think actually "sells" your talent to companies to make them want to hire you? Do you feel any particular works of yours outshine the rest and really impress the execs? How well is "Gargoyles" regarded by these company execs, for instance? Or do you think it is instead the fact that you've worked for big name companies in the past, like Disney and WB, that impresses the execs, rather than any particular works you've done? Or when you apply as a freelance writer, for example, do you just submit several sample scripts of your ideas, and they decide from that whether to buy the story or not, regardless of your actual background? I'm just curious how it all works. Thanks!
Greg responds...
Uh.... all of the above, really.
There was a time when clearly Gargoyles was actually a liability for me on my resume. Thankfully, that time has passed, at least for now, and it is once again my biggest selling point and calling card. In part, this is because a new mini-generation of execs has surfaced. The group that I was part of respected my work on the show. But then a slightly younger group came in that didn't know the show and didn't care about it. Now we've got a group that remember it fondly from their youth.
Yes, I'm just that old.
But frankly, my "Resume" is GIGANTIC, and I think the mass of it is impressive to people who value experience and good credits. To people who are intimidated by those who might know more than they do, I think it's a roadblock.
Obviously, everything depends on the job at hand. The folks at Disney (but not SIP) were nervous about hiring me for WITCH because they were convinced I wasn't funny enough. It occured to me that they might not have read my comedy scripts, and so I sent a couple of them over. Having read the stuff, I was funny again -- and hired for the job. So the work itself can help. When asked to submit script samples, I have a ton to choose from. So it becomes a guessing game. I try to get a sense of the project or kind of project they're interested in me working on and then choose scripts that seem to fit ... in tone at least. But you never know if you're sending the right material or not. And sometimes they don't bother to ask for it.
It also truly helps to be able to talk a good game. I give good meeting. I have off days, but I generally do pretty well in a room. That helps. It's ironic, because I'm shy and lousy at small talk. But ask me about creative stuff, and you pretty much can't shut me up -- as anyone who's attended a GATHERING can attest to, including, I'm sure, you, Vash . I am also a pretty consumate bullshitter... and yet not afraid to admit that I haven't figured EVERYTHING out yet.
I think that covers the basics.
Francois Ferland writes...
Sorry, it's me again. I know you must be getting tired of me, but I just rediscovered Ask Greg after five years, and I have tons of questions to ask.
I have an animation question.
1. I'm fairly certain without being 100% sure that all the episodes of a multi-parter are being done by a single studio. Is that true? It sure seems that way, like "Awakenings" and "Hunter's Moon" having gorgeous animation throughout and "City of Stone" and "Avalon" having moderately good animation all accross their parts.
I can see how it might be better this way. It insures a lot more consistency within the same story, and that includes scene continuity from one part to the next. Character models and background for all parts will be done by the same staff or supervised to make sure they fit together. I can't see communication ever being good enough between two distant animation companies to insure that two episodes would mesh together seemlessly.
Of course, sometimes it might be difficult for a company to complete 3, 4 or even 5 episodes at the same time, but I assume that those studios had their episodes assigned a lot of time in advance, with as few other episodes as possible being expected from them while the multi-parter was being done.
You mind shedding some light on the matter?
Thanks!
Greg responds...
As far as I can recall, multi-parters went to the same studios... although often not to the same exact crews. (Often a studio has multiple crews.) For all the reasons you stated above, it makes more sense.
Mike Cohen CKayote@worldnet.att.net writes...
Topic: Weisman, Greg
As a result of watching 'too much' TV as a kid, I find myself wanting to work in writng TV and movies. I'm starting my freshman year of college in August, and I have no idea about how to get into my chosen profession. I tried asking my school's advisors and the film department people and looking on the internet,etc. but nobody knows anything about it.
So I figured that ask someone who's been there is doing that.
So how did you end up with a job writing all those Disney shows? Where did you go school? What did you major in? Who did you have to meet to get where you are?
Thank You Very Much,
Mike Cohen
CKayote@worldnet.att.net
Greg responds...
Well, let's see. By now, you must be almost done with your Sophomore year, and I hope you haven't been waiting that long to hear back from me.
My bio in brief:
B.A. Stanford University in English with an emphasis in Fiction Writing.
M.P.W. University of Southern California. M.P.W. stands for Masters of Professional Writing and my emphasis was in playwrighting.
In between, I worked on staff at DC Comics for two years. And I freelanced for them for about eight years -- beginning during my Junior Year at Stanford and ending after I was well-ensconced at Disney.
Before I left USC, I interviewed at numerous places... and hit it off with Gary Krisel, who was putting together Disney's TV Animation unit. A year later I started there as a VERY junior creative executive. It was supposed to be my day job while I wrote at night. But I didn't do much writing over those five years. Instead, I got steadily promoted, eventually rising to Director of Series Development. I developed numerous shows including Gargoyles, and then moved over laterally to produce that show.
Eventually left for some unfulfilling years at DreamWorks, and then went Freelance.
My first recommendation to anyone who's interested in the biz is to find something else to do... unless you just feel like NOTHING ELSE could do it for you. It's a brutal business full of rejection, so unless you have the passion to carry you through, over and/or around all that brutality and rejection, I'd go elsewhere.
Second rec is to move to L.A. That's where all the action is.
Third rec is to write, write, write.
Fourth is to read, read, read.
Fifth is to learn how to proofread, and practice the art religiously.
Anonymous writes...
In a previous question, you told someone to send a script to a production studio, as a way to break into the business. I was just wondering if someone would actually read the script, or just throw it away?
Greg responds...
Did I really say that? It doesn't sound like me at all.
You are correct, they'd either toss it or send it back to you unread. Unsolicited material is dangerous for studio execs to read, particularly if its based on that studio's properties.
I believe what I suggested was to send a sample to an agency. They still might throw it away, but they are much more likely to read it.
Haleigh Costantino writes...
I am a digital imagery student and freelance artist in Arizona. I wanted to know how you got started working and if you can tell me about any companies that accept freelance artists for concept art, etc. And please keep the idea of that Gargoyles movie going!
Greg responds...
All the animation companies go through phases of hiring and not hiring. You posted your question in early 2003, and I'm answering in late 2004, so I assume you haven't been waiting on me to pursue your goals.
My oft-repeated story is elsewhere in the ASK GREG archives under "Weisman, Greg". But the short version is that I've wanted to be a writer since grade school. I eventually got professional work as a freelancer at DC Comics. From DC, I transitioned to graduate school. While at graduate school, I interviewed at Disney and eventually got a junior executive position at Disney TV Animation. I developed and supervised numerous series for TVA, including, finally, GARGOYLES, which I then moved over to produce.
Justin writes...
Greg,
This isn't a question, so much as a comment. I just rewatched Awakenings Part 2, and I must say it was absolutely stunning. The part that really sticks out for me is when the great acting the voice artist do in the opening scene. The parts that stick out in my mind are as follows:
"These bowstrings have been cut... there was betrayal here."
As you said Hudson was falling back on his training.
And Keith David and Bill Fagerbakke were excellent in their exchanges.
The animation during this scene is amazing in my book. Maybe not the models that I liked in episodes like Hunter's Moon, but it is still amazing. Each character display such emotion. I know Bronx is only a beast, but it even feels like he gets what happened. I loved the scene. Hudson knocking some Vikings into hay as he swoops in. Broadway using what he knows best... food! The action really picks up here and I feel so sorry for these characters. I must admit that in October 1994 when this first aired I thought many more died than about forty. Which is the number I think u said. But nonetheless it is so sad. I just lost a friend of mine back in November. So it taught me that if even one life is lost is just hard if hundreds are lost.
Anyway Kudos on an awesome episode.
Greg responds...
Thanks. Glad you liked it.
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