Greg responds...

Eventually, way, way down the line, I see Elisa and Goliath addressing the
issue of children. All sorts of options are available, except natural
procreation between two widely and wildly divergent species. Elisa could
never be pregnant with Goliath's child without assistance from science or
magic. I've already stated that I don't see them going that way. But I do
see them raising a child together. But not without serendipity (and
some tragedy) playing a role. I don't want to say anymore right now.
As to Bronx and Boudicca, of course they could have offspring. One every
twenty years if they saw each other at the right times. I'm not sure what
"explanation" you're referring to that would lead you to believe otherwise.
And yes, hatchlings do turn to stone during the day. The lighting in the
scene you're referring to is misleading. It's night time.
In the future, please number your questions. (GDW/12-5-97)

Greg responds...

1. I've already explained the working time paradox that allowed the Archmage to save himself. If you haven't seen the explanation, check the archives for this page. If you have.... well, all I can say is that it seems pretty straight-forward to me, though you're not the only one who didn't get it. In any case, his "mentor" was not a look-alike. He was the more powerful Archmage of the future. And from my point of view, no "creative license" was taken, unless you count time travel itself as creative license. The classic story of this kind of time travel working paradox is by Robert Heinlein.
It's called "All You Zombies". Maybe reading that would help clear up "Avalon", Part Two for you. It's worked for others.

2. Hudson had had the most contact with Scotish humans.

3. In the movie version of "Awakening", which we originally produced for the DisneyWorld Premeire, my boss decided that references to the eggs slowed down the film and raised questions that "the movie" would not even attempt to answer. Since we were cutting the length down for time anyway, I reluctantly agreed to remove egg references. I had no idea that Disney's Home Video Division would later decide to use this edited version for the video. As to "Vows", I've mentioned before that mistakes were corrected in that and many other episodes after they first aired. (6-23-97)

Greg responds...

1. We do the voice work first. Animators animate to the voices, not the other way around.
On extremely rare occasions we did something called ADR (short for Automatic Dialogue Replacement). This is something done as a last minute fix in both animation and live action. In that case, we do have a screen. The actor (usually, one at a time) looks at the lip movements, practices getting the rhythm down that he or she needs to match, and then speaks the line (cued by an electronic tone which tells the actor exactly when to start speaking).
ADR is a tremendous pain in the rear, so we avoided it whenever possible.
2. I've answered this... in the same answer where I listed Elisa and Demona's old names. I'm not sure how you could have missed it. No other names for Angela. No other names for Goliath that we considered for more than a minute or two. The trio had names like Coco, Lassie and Amp in the original comedy development.
ANOTHER RAMBLE FROM GREG:
"Once upon a time there were three brothers..." PART TWO
[Disclaimer: I should have mentioned this somewhere before or after Part One. The historical framework for this story is all true. Most of the details, on the other hand, I'm making up.]
The year is 962. King Indulf is 58 years old. Prince Culen is 40. Neither are happy men. Culen is childless. He is heir to the throne, but it's beginning to look like Indulf's dynasty will end with his only son. Assuming it even lasts that long.
No one likes Indulf very much. The main problem is that everyone knows that he has kept (the former Queen) Katharine and her young son Malcolm prisoner in Edinburgh Castle. This alone is enough to make people believe that he is a tyrant. After that, any little infraction on Scottish liberty is viewed as more evidence that Indulf is unfit to rule. Honestly, Indulf wouldn't mind dumping both prisoners, but, aye, there's the rub. Katharine and Malcolm are the only insurance Indulf has against Malcolm's older brothers Duff and Kenneth.
And as Indulf's popularity has waned, Duff's has waxed. Even noblemen who had once helped Indulf to the throne approach the fifty year old Duff and his thirty year old brother Kenneth and pledge their support if only Duff will act. But Duff stubbornly refuses to risk Katharine or Malcolm's lives. What kind of King would he make if he can't even keep a vow made to his own father on the man's deathbed?
Malcolm isn't exactly a happy child. He's eight years old, and he's never been outside the walls of Edinburgh castle. He has only one friend. A peasant boy named Robbie who's twice his age. Robbie's a short, stout lad with a face like a bulldog, but he's loyal and helps Malcolm with some petty acts of ceremonial sabotage that would only earn Malcolm a reprimand if he was caught, but would certainly cost Robbie his life.
Malcolm's mother Katharine is a strong woman but she knows the situation is intolerable. She conceives a plan, and through Robbie, sends a letter to Duff. Duff and Kenneth consider her proposal. They argue about it. But, ultimately, they agree. They summon Robbie, who knows nothing of Katharine's plan. They give him no details, only a date. They send him back to Katharine. Then Duff and Kenneth gather their forces.
Word of Duff's rebellion reaches Indulf, but he's slow to react. After all, he has his hostages, safe at hand. But then on the pre-arranged date, Duff and Kenneth march on Edinburgh Castle. They demand Indulf's unconditional surrender. Indulf orders his guards to bring Katharine and Malcolm to him. Soon, Katharine is dragged before the king. But Malcolm cannot be found. Indulf orders Culen to personally search every inch of the castle. Duff and Kenneth and their armies settle down to wait.
Culen searches for hours. Katharine seems anxious. Still, Malcolm cannot be found. Indulf draws his sword and threatens to cut Katharine in two if she doesn't reveal Malcolm's whereabouts. She hesitates, but finally agrees.
She leads them to the tallest tower in the castle. Malcolm isn't there.
Indulf threatens to throw her off the ledge, but she points to the ground below. There in the moonlight, Malcolm can be seen riding away from the castle, his purple cape flapping in the breeze, toward the safety of Duff's camp.
Indulf is furious! But he still has Katharine. Duff still won't attack.
But Katharine doesn't agree. Her tone becomes threatening. She commands Indulf to open the castle gates and let Duff's troops enter. He laughs at her. Why would he do that? "Because," she tells him as she climbs out of his reach onto a battlement, "If you don't open the gates, I will jump off this tower." Indulf starts to laugh again, but the impulse catches in his throat. It all becomes clear. If Katharine throws herself to her death, than his last hostage is gone. Worse, his last hostage is martyred. Duff and Kenneth will lay siege to Edinburgh and in time, they would ultimately triumph and then... And then things might go very badly for a tyrant.
He makes a quick decision. He and his son will be granted safe passage to Ireland immediately following his "voluntary" abdication of the throne to Duff. Culen protests, but Katharine agrees to his terms. She remains on the tower's battlement until the gates are open and Duff and Kenneth are at her side. "Hurry," she says, and rushes with her step-sons to the Castle's small cemetary.
Robbie is already there, still wearing Malcolm's purple cape. He is digging up a fresh grave. Some of Duff's men are helping him, but Duff and Kenneth push them aside and personally begin to dig. Katharine falls to her knees, pulling dirt aside with her hands until a waiting woman is brought to comfort her. The coffin is unearthed. Robbie has a crow, and snaps off the lid with the kind of bull-like strength he would one day be famous for. Malcolm lies still in the grave. Suddenly he gasps for air. He is alive. He had been buried alive with a slim wooden tube to provide air. But he had spent hours below ground. And the tube had been only barely sufficient. Much longer and he would have succumbed. But now the brave boy rocks back and forth in his mother's arms. He smiles at his good friend Robbie. And then he is introduced to his two older brothers for the very first time. He has worshipped them from afar his whole life. But it is they who are impressed.
Duff, soon to be King Duff, lifts Malcolm to his feet. "Prince Malcolm," he says, "I am honored to be your brother."
TO BE CONTINUED

Greg responds...

1. This is too big a question to answer here.
2. 11 issues worth of stuff. I consulted on the comics, but I'm hardly an authority on them, so you'll have to look to another source for that information.

Greg responds...

Demona is always alone, even in a crowded room. But basically, the answer to your question is a story (actually many stories) for another day.

Greg responds...

From the beginning, yes, though that doesn't mean he wasn't physically attracted to her.

Greg responds...

"Faeries" is one name. The Fair Folk is another. So is Dark Elves.
Changelings. Fae. The Children of Oberon. The Third Race. The Aesir Gods. (The Vikings took certain very powerful Children of Oberon to be gods. For that matter, so did the Egyptians. So did at least two Native American tribes and the Hauka tribe of Nigeria. (At least, that's how we played it in the GARGOYLES Universe.)) The generic name doesn't matter so much. Because it changes depending on who you're talking too.
As to their immortality, it depends on how you define it. Certainly they are extremely long-lived. Certainly they are difficult -- but not impossible -- to kill. Certainly, they are almost all shape-shifters, so no matter how old they are, they can always look as young as they desire. So, again, it depends on point of view.

Greg responds...

[Questions numbered to make life easier. As usual, no other editing.]

1. Hi? Uh, hi back to you.
2. The development team? None. Well, me. Keep in mind, the team that developed the show was largely not the same team who produced the first two seasons. The unsung (read largely uncredited) people who worked on the development of the series included the following:
Greg Weisman - Director of Series Development (Greg went on to be Supervising Producer of GARGOYLES.)
Bob Kline and Dave Schwartz - Development Art Directors (Bob later became a Producer/Director of GARGOYLES in its second season.)
Paul Felix and Greg Guler - Development Artists (Greg became lead character designer for GARGOYLES in its second season.)
Fred Schaeffer, Paul Lacy, Kat Fair, Cindy Chupack, Ellen Gurney - Development Associates.
(I hope I'm not leaving anyone out; we had a lot of development
associates at Disney, and I'm not 100% sure if any of the others worked
on GARGOYLES specifically.)
Also Gary Krisel and Bruce Cranston - my bosses, who were very involved in
developing the show.
And Tad Stones - who provided some important conceptual advice.
After the show was developed and sold, we began assembling a production team for the first season, most of which was pre-produced and produced in Japan.
I was still a development executive at the time. I asked to be switched over to Producer, but my bosses wanted me to prove that I could do the job while I simultaneously held down my Executive slot. So that's what I did.
We went through a couple of writers who didn't work out, and then Michael Reaves was brought aboard as writer and story editor.
In Japan, Kazuo Terada, Saburo Hashimoto and Takamitsu Kawamura were brought on as directors. Kazuyoshi Takeuchi was our lead character designer. And that's just the tip of the iceberg in terms of Japanese talent that worked on the show. (But I don't want this answer to turn into me just rewriting 66 episodes worth of credits down here.)
Back in L.A., Frank Paur was hired as our producer. Jamie Thomason was brought on as voice director. Laura Perrotta was our production coordinator. Dave Witting was our production assistant. Denise Byrne was our script coordinator. And Carl Johnson was our composer. Again, a lot of other people were involved, but that was the basic team for the first thirteen episodes.
Some of you may have noticed that I don't have a credit on the episodic television version of "Awakening". That's because, I was still officially an executive, and Disney executive's don't receive credit. The decision to allow me to officially move over from Executive to Producer came after the pre-production of the first season was completed. In fact, it came during post-production. As a matter of fairness, it was decided that any work that I had done as an executive would still not be credited. Frank Paur posted the five part "Awakening" by himself, while I posted the "Movie Version" for our Disneyworld Premiere. So I was credited as co-producer on the "movie" (which later became the home video) and on the other 8 episodes of the first season. Co-producer because I hadn't participated in pre-production except as an executive. I received no credit on any of the five parts of the television mini-series "Awakening" because my pre-production contributions were as an executive and
my post-production contributions were minimal, because I was busy on the "movie".
The second season was a whole other story. We did 52 episodes and the crew expanded geometrically. Most (though not all) of our pre-production was brought back to the U.S. We added Bob Kline and Dennis Woodyard as Producer/Directors. Lisa Salamone was brought on as Associate Producer.
(Laura Perrotta left Disney around this time.) Tom Pniewski was added as another Production Assistant. Greg Guler became our lead character designer. Butch Lukic, Patrick Archibald, Doug Murphy and others were brought aboard to storyboard and design, etc.
I officially shared producer credit (later supervising producer credit) with Frank. Michael remained a story editor and Brynne Chandler Reaves, Cary Bates and Gary Sperling were added as additional story editors. Lydia Marano became a regular writer on the series. My assistant Monique Beatty made the move with me and joined the Gargoyles team as a script coordinator.
Since I was no longer an executive, new executives were assigned to oversee the show. Jay Fukuto was director of current programming. Initially, he had Ellen Gurney watching the show. Later, my former development associate Kim Christianson took over. Adrienne Bello was the S&P executive from day one.
Again, refer to episode credits for a fuller listing of people.
GOLIATH CHRONICLES was a whole different animal. I wrote and story edited one episode only. Jamie Thomason remained the voice director. Denise stayed on as script coordinator. Tom Pniewski was promoted to Production Coordinator or Manager (sorry, Tom, I get those credits mixed up). Cary Bates wrote a couple episodes. Lydia wrote one. Another of our writers, Adam Gilad wrote one. Jay and Kim were still overseeing the scripts, but otherwise Pre-Production and Post- Production were moved to Nelvana in Canada. A new Supervising Producer, Scott Thomson was brought in. A new story editor, Eric Lewald, was brought in. Officially, I was a consultant, but I had my consultant credit removed, because I felt I hadn't been consulted enough
to earn that credit. I believe Frank Paur may have consulted a bit as well, but I'm not sure. For the most part, it was a complete turnover in creative personnel. I've always thought that hurt the show.
But there were also other problems that I've gone into before, (and this "answer" has gone on long enough). I should say, however, that Goliath Chronicles is probably still an above average cartoon show. Any problems with it are probably relative.
3. When Gary Sperling and I were working on the episode "Turf" we realized that we needed to know who, if anyone, Angela would wind up with. We talked about it. In some ways, Brooklyn did seem like the obvious choice, but it soon became clear that he was the wrong choice. It had to be Broadway.
Nothing else made sense. There are some subtle clues in "Turf". For example, Broadway never refers to Angela as Angie in that episode, despite the fact that he had been the first one to call her that in "The Gathering, Part Two". By "Turf" he had already realized she didn't care for the nickname. Lex and Brooklyn didn't figure it out until she told them (at high volume).

Greg responds...

1. Yes.
2. Brendan & Margot were in "Awakening". They had lines. They were in the script. The animation is done last. In other episodes we began using them as background characters. That became amusing to us. So we kept using them as recurring. We made a particular effort to parallel their appearance in "Hunter's Moon" to their original appearance in "Awakening". Later, I decided to make more use of Brendan & Margot in the third season -- develop them beyond their cliches, which is why Margot had such a prominent role in "The Journey". But then I didn't do the rest of the third season, so I had no control over how Margot was used or how Brendan wasn't. But the animators only put in the characters we told them to use. As far as I know.
A LITTLE BACKGROUND (aka GREG'S ABOUT TO RAMBLE):
"Once upon a time their were three brothers..." PART ONE
The year is 954. The King of Scotland, Maol Chalvim I, is 66 years old. He is very ill.
He has two sons. They are half-brothers. (Maol is the father of both, but they had two different mothers, both of whom died in childbirth.) The eldest son, Duff, is 42 years old. The youngest, Kenneth, is 22 years old. Despite the twenty year age difference, they are the best of friends.
Maol Chalvim also has a new, young wife. Very young. And very pregnant.
She is 18 years old, and her name is Katharine.
On his deathbed, Maol begs his sons to support each other and to protect his third wife and their child. The brothers vow to do just that. Duff assumes he will be the new king. Kenneth assumes he will be Duff's strong right arm.
Indulf has other ideas. Indulf is a 50 year old nobleman and is, himself, a descendant of kings. He has a 32 year old son named Culen, and hopes to launch a dynasty of his own. While Duff and Kenneth wait by their ailing father's bedside, Indulf makes alliances. While Duff and Kenneth close their father's eyes for the last time, Indulf gathers his troops. While Duff and Kenneth take their father to be buried on the holy Island of Iona, Indulf has himself crowned King on the Lia Fail at Scone.
Needless to say, Duff and Kenneth aren't too pleased. They prepare for battle, but Indulf pulls his trump card. He has Katharine. And he will kill her if they raise a sword against him. Bound by their vow and their sense of honor, Duff and Kenneth retire to a family stronghold and wait.
At Edinburgh, Katharine gives birth to a boy. She names him Malcolm, (which is a more modern variant on the name Maol Chalvim). Indulf is now willing to return Katharine to her step-sons. But the babe will stay in his custody as insurance. For obvious reasons, Katharine chooses not to leave.
TO BE CONTINUED...