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Vanessa writes...
Ok, My question is not related to the content of the show, but the production.
1. How closely did you work with each of the departments (ie. writers, artists, actors, etc.) while you were making the show?
2. Who had the final say about what actually aired and what got cut?
Greg responds...
1. The writers and story editors worked for me directly.
The actors worked for our Voice Director Jamie Thomason, but I sat right next to Jamie at every recording, so I knew them very well.
The pre-production artists worked under Frank Paur, Dennis Woodyard and Bob Kline, and I largely dealt with those three Director/Producers as opposed to having direct contact with the artists. BUT -- there were tons of exceptions and I got to know many of the storyboard artists fairly well. Plus I had brought our (2nd season) lead character designer Greg Guler onto the show in its development phase. So I worked fairly closely with him.
I also had one on one meetings with our timing directors.
As for the actual overseas production artists. People like Roy, I had no real contact with them. Mostly I left that to Frank, though I occasionally communicated with the head of Walt Disney Japan via FAX.
In post, I worked directly with everyone. Editors, Sound folk, music, etc.
2. There isn't one answer to this. I had a tremendous amount of authority on the first two seasons, but I did have people I answered to. Largely, they gave me pretty free reign. Frank had equal authority. We generally agreed or at least could reach a solution together. Occasionally, whether we agreed on something or not, a decision would go up the ladder.
Derek writes...
Hi again Greg, sorry about my last Mega-post, I posted all those questions as a lump before you asked us not to, so sorry.
ANYWAY- Here's my question...
Where did Dracon's white streak come from? It wasn't there in DEADLY FORCE and then in THE SILVER FALCON, it was. Was there both a behind the scenes and a "real" reason for this like the change in the mutate's appearance? That's it, thanks.
Greg responds...
Yeah. Two reasons.
I felt that Dracon didn't look distinctive enough in his first appearance, so Frank and I discussed it and decided that Goliath scared him so badly it turned part of his hair white. We even considered doing the same thing to Glasses. The idea appealed to me on some level, but it just seemed to artificial. And in some ways Glasses already looked more distinctive. (I always loved Glasses.)
Ay Lynn writes...
1.) This has been killing me. Lexington and Broadway are bald as Gargoyles. When Puck transformed them into humans -- they had hair! Any reasons for this? (Personally, I'm rather partial to a Lex with hair, but... curious...)
2.) Lexington is noticably different from the rest of the Gargoyles (his wings being the most differing feature) and he is dwarfed by his clan members. Is he a different breed of Gargoyle? Is there such thing?
3.) Not a question, really, but I just wanted to add my voiced appreciation to all the others for bringing the universe of Gargoyles into creation. Much thanks.
Finally, I'd like to express my suprise at no matter how much we (the fans) nitpick and analyze this series, it somehow always still makes sense in the end... Kudos!
Greg responds...
1. Behind the scenes, we wanted Lex and Broadway to resemble Thom Adcox & Bill Faggerbakke as much as possible.
Within the universe, though some gargs are bald, few human teens are. So it made sense to add hair.
Plus, I've never said that Lex and/or BW ARE bald. Maybe they shave...
2. Lex isn't a different species. He's also not fully grown yet, so he will get bigger. Though he'll never be as big as Brook or BW. Some guys are just short. Like me.
3 &tc. Thanks.
--D writes...
I don't suppose you might be able to tell me where I can purchase copies of the original episodes?
Greg responds...
Nope. Sorry.
Airwalker writes...
Would you have given some personal history to Jackal and Hyena as time went on?
(I'm curious as to what kind of people would be so willing to mutilate themselves. What kind of a past could have moved them to doing that to themselves?
Wolf mutating himslef didn't bother me because if anything he was increasing his senses, his physical being, while Jackal and Hyena were diminishing theirs. They threw away perfectly good body parts for what - dull feelingless metal?)
Greg responds...
Probably. But it wasn't a high priority for me. Sometimes it's fun just to have a couple characters who are nuts. Characters who don't have complex reasons for their actions. I'm very proud of the complexity that abounds in both Demona and Xanatos. But sometimes it's fun just to cut loose.
Zeliard writes...
My compliments to Gorebash for hosting the "Ask Greg".
Hello Mr. Weisman. You said that you worked on other Disney projects years ago like Darkwing Duck and Tale Spin. I was wondering...:
I.In a Darkwing Duck episode, Launchpad disappeared in a time machine and returned minutes later, but he says that he spent the last 5 years in Rome trying to fix the time machine. Did that gave you the inspiration for the Timedancer?
II.In Tale Spin, the Air Pirates used an Air Fortress. Did that gave you the idea for Fortress 1 and 2 for Cyberbiotics?
Now for the Gargoyles:
1.In "The Mirror", why did Demona refused the suggestion from Puck. i.e. "Make Goliath fall in love with Demona again"? Or take over the mind of Goliath or the clan like in "Temptation"?
2.Why Xanatos hasn't place Coyote's (the robot) artificial intelligence in the Steel Clan robots? They would have given the Gargoyles a real challenge.
3.What are exactly the Space-Spawns? Humanoids? Insectoids?
4.I learned that the space war involved 3 races: Space-Spawns, Nokkar's people and another race. What is the name of the other race and Nokkar's spicies?
Thank you for your time, bye!
Zeliard
Greg responds...
I. Sorry, I did work on Darkwing, but it wasn't my show, and I'm not that intimate with the details. And no, it didn't influence TimeDancer.
II. It didn't directly give me the idea, but it may have been one of many airship influences floating around in my head.
As per our new rules, I invite you to resubmit your remaining questions as multiple separate posts.
*The Bride of Ringo* writes...
Hi again... :-)
My question this time is are gargoyles right handed or left handed the way humans are? I know it's kind of silly, but I've always wondered that since I've never seen any of them take a pen or pencil and write anything.
Greg responds...
I suppose many are ambidextrous. Since in animation, that's not a detail we have the luxury of paying much attention to.
Airwalker writes...
If included inside GARGOYLES itself instead of getting it's own spin-off, how many episodes would you have given to Timedancer? (Would it have been 5 parts like AWAKENINGS, 3 parts like AVALON, 2 parts like THE GATHERING, or just a single episode?)
Greg responds...
I don't know. It was originally going to be one episode. Just one inside what became THE GOLIATH CHRONICLES. (How it morphed into "Runaways" is beyond me.) Then it would hang out there as a potential spin-off or back-door pilot. If that never got picked up, I'd eventually have told some of Brooklyn's adventures in various scattered flashback episodes within the main series. Some might have wound up as multi-parters. But I don't pretend, I worked that much out. I was hoping it would spin off -- at which point I'd have forty years worth of material to cover.
Airwalker writes...
You mentioned this in the comment room but I'm asking again here so that the answer will be a part of the Archives.
If you continued Gargoyles in comic book form, would you continue from where TGC left off or not?
Greg responds...
I won't be held to this, but....
I think I would skip all of TGC except "The Journey". In a comic book, I'd have the opportunity to include a Text Feature, where I could explain what I was doing and why. That Text Feature would also allow me to bring new readers up to speed on what they need to know. That would give me the freedom to limit cannon to the first 66 episodes as opposed to the whole 78.
Airwalker writes...
How would you deal with the time gap that cancellation has given us?
(Let's say that the show came back after 5 years of cancellation, in 2002, would you start off in 2002 or would you pick up right where TGC left off in 1997 or would you just be in favor of skipping all of those problems and just going far enough in the future, 2158, so that a time gap wouldn't matter?)
Greg responds...
Honestly, I can't answer that without knowing the circumstances of our proposed ressurection.
Are we coming back on TV or in some form of print media or both?
If TV: Are we coming back as an hour show or a half-hour again? Are we coming back as a daily or weekly? As prime time or in kids?
To take your specific example, lets say we came back in 2002 as a kid's show. I'd probably just set things in 2002, and assume that most of my audience hasn't seen any of the old episodes. I would maintain continuity for my old audience, but I would clearly have to introduce the show and its characters anew. Some things would seem to pick up right where we left off. Others would be different, and we'd occasionally do flashback stories (both from the distant past and from the 1997-2002 gap) to bring both audiences up to speed.
Also keep in mind that although I had planned to do, for example, TimeDancer in 1996, I didn't get to. So there's nothing to stop me from introducing TimeDancer as a brand new concept in 2002.
As to doing 2158. I'd be happy to do that anytime. But it doesn't prevent or preclude me from doing stories in the present. In fact, I'd love to do BOTH.
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