Greg responds...

0. I'm not sure "boycot" is the correct word. The major studios sign contracts with SAG, that prohibits them from contracting non-SAG labor for their acting needs. They can get around this by SUB-contracting, but most don't on major projects.

1. I don't want to speak for EVERY show. In my experience, a voice actor gets paid a flat fee for four hours of work and up to two character voices. For a tiny additional fee, you can get a third voice. But this holds per episode. So for example, even if you could record one guy playing four roles over two episodes in a single four hour session, you'd still owe him two payments. The fee is negotiable, as long as it's above union minimum. But most series pay the union minimum plus 10% and have favored nation clauses in their contracts, which prohibits them from giving any individual actor a raise without simultaneously giving raises to EVERY actor on the series.

2. I first joined SAG to play Donald Menken on Spectacular Spider-Man, and am still a member in good-standing. No union shop can hire non-union actors.

3. Well, Jesse often DID voice additional characters, like Thug #2 or whatever. But generally, there are some actors who have the ability to change their voice enough that they can convincingly play multiple characters without the audience balking. Others really - as talented as they are as performers - only have their own voice.

4. Sessions typically go three to four hours. But often we'll be there all day. We can only keep each individual actor for four hours without incurring overtime, but we could start one actor at 10am and have him until 2pm. And we could start another actor at noon, and have her until 4pm. And a third at 1pm and keep him until 5pm. That way, we have overlap to record their scenes together, but we also have more time to get everything done.

5. Singing is a separate rate. And it's also an additional character, unless they are singing IN CHARACTER. That is, if Nightwing suddenly burst into song, we'd have to pay an additional fee to Jesse for his singing. But we wouldn't have to count that as a second character (or third, since he's also doing Thug #2).

Greg responds...

It was a long time ago. But if you're asking if I have naked production pictures of them, I'm sure the answer is no.

Greg responds...

The great team at Audio Circus, led by Otis Van Osten, creates our sound effects.

AND BIG NEWS, our sound mixer CARLOS SANCHES was just nominated for an EMMY AWARD for the sound mixing on the YJ episode "Bloodlines"!!!!

Greg responds...

1a. Most series bibles are written in advance of scripts. Mine TEND to be very thorough, including plans for stories, etc. But, no, by definition, it does not include all the details included in all the scripts. I try to update/revise the bible as we proceed. But by that time no one's looking at the darn thing anymore, so keeping the bible on track is a luxury and a low priority and almost always falls by the waysid. I'm not sure what you mean by a "design document".

1b. For a television series that doesn't seem like something that would ever happen. Years ago, I did do the bible for the entire Platinum Comics Universe, and that was so long that I did split it into multiple sections.

2. See above. But I tend not to use strikethrough very often. I tend to just revise.

3. Yeah, pretty much.

4. Get in their heads. Be clear what they want. Be clear on the difference between what they want and what they know they want. HEAR THEIR VOICES.

5. I'm not going to tell you what I get paid. Sorry.

5a. I'm always interested in collaborating with talented folks, but I'm not going to get specific about any individual.

Greg responds...

1. There is no right and wrong. Every series has it's own rules. I'd love to say there's a standard, but there just isn't. On MY SHOWS, we use the scripts to direct the entire episode, including camera angles, etc. The actual directors and storyboard artists aren't restricted to doing the script exactly as written, but by being thorough like that, I feel more confident that at the very least, they know what I'm looking for. If they come up with better ideas, great. I don't know that I've ever seen an animation script that was totally Master Shot style, a la live action. But I've seen many that lean way more in that direction. But it's not the way I work.

2. You can. But I don't recommend it. Currently, though we're not thrilled about it and hope the situation changes someday, YJ is dead. You want your spec script to be for a show that's CURRENTLY IN PRODUCTION. On that level alone, YJ doesn't qualify as a good way to spend your time if you're serious about getting work in the industry.

Greg responds...

I don't have a preference if the series is developed correctly for the medium it's using. I did Roughnecks: the Starship Troopers Chronicles in CGI, and I think it worked great. I did Max Steel (Season One only), and although I'm proud of our scripts, I DON'T think it worked great, because the series as it was developed (by me but under marching orders from multiple very large companies) didn't work in CGI.

Greg responds...

6. Nielsen ratings pre-dates my professional career - by a lot. (How old do you think I am exactly?) Anyway, ratings mean different things in different times. Before People Meters, kids ratings in general were way higher than after People Meters became standard. There isn't some fixed number that says this is good. Below this is bad. Everything's relative.

7. As important as for anything. Bigger numbers are better than smaller. But a show that's cheaper to produce can get away with lower numbers and skate by. But ultimately, if a program is dragging a network down, it's toast.

Greg responds...

1. As far as I know, anyone can PAY to get Nielsen results. But if you don't feel like paying, then you're reliant on getting those results from entities that have paid. Those entities tend to be news organizations (that may not think enough of the general public has an interest in cartoon ratings) or networks (who are only going to display ratings that make them look good and/or suit their current strategy). But I'm no expert.

2. You've got it backwards. Nielsen is a COMPANY that charges for its services. It's not some public forum that networks have somehow forced to withhold info from you. If you really want the info, go pay for it.

3. Very inconsistently.

3a. For example, on YJ, we occasionally got ratings reports from CN via our bosses at WB.

3b. Often, we got no info.

3c. Absolutely not, because by the time ratings came in we were way past committed to whatever creative decisions had been made. Whether those numbers effected air dates, hiatuses (hiatusi?) or pickups is a your-guess-is-as-good-as-mine thing. I haven't seen enough of the raw numbers myself to make an evaluation.

4. As I recall, during our first season on Gargoyles, when we were weekly, our ratings were very strong. Our second season, when we were on five days a week, was during the peak of the Power Rangers craze, and although our ratings were solid, we were consistently beat by that show, coming in at number two for our time slot week after week after week.

5. There's no contractual obligation, but there are political considerations. Plus, as I said above, I'm not always informed. And I'm not fond of passing on rumors or making half-assed guesses.

Greg responds...

The link wouldn't open for me, but NO. To the best of my recollection, we didn't double track Nokkar's voice (as we did with Anubis-as-Avatar), though we may very well have futzed it - especially with his helmet on, and that futzing may have been similar (though not the same) as the futz we used on Anubis (when not an Avatar and for his piece of the double-tracked voice when he was an Avatar).