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Where there any plans during the production of the Avalon world tour for the travelers to wear outfits from the London, Mayan and the ishimura clans?
No. Pragmatically, changing costumes - particularly back when we were producing Gargoyles in the 90s - was a costly, difficult thing. We did it, but sparingly. I doubt we even considered doing it in the way you're suggesting.
English isn't my native language, but i really want ask you some questions.
I know you are color blind and maybe this question is more suitable for Phil Bourassa, but since both are currently working in Young Justice: Outsiders, maybe you should ask him if you can´t answer...
1)Why decided make the Bart's eyes green? In all the comics his eyes are yellow (except in New 52 where were red and that Bart at the end wasn't Bart). His yellow eyes were an important part of his design, even his googles are amber color in order to hiding his eyes color because were so unique what could reveal his secret identity. His eyes were the first thing we saw clearly in Bart´s debut in Flash #92 (and i thought he was a girl because this close up of big eyes and hair locks looked like an image from a romantic comic XD) Change the yellow for the green, is like turning Superman blond.
2) I've noticed the Reach Scientist's dress look like a hijab with a niqab, and according to Young Justice wiki, i'm not the only who think that. So Is this intentional?
2-a) All the Reach women dress like her?
It´s a bit hard to see a woman with a "hijab" being ignored, despised and silent by a man (although she was smarter).
3) Why Traci 13 was redesingned like caucasian to the season 3? She was asian american in the comics and Young Justice had being doing a great work including divertsity in the members of the Team
I love Young Justice and i'm very happy for the season 3. Thank you very much for your great work
For the record, I'm red-green color deficient, not full on color-blind.
1. Maybe because of my color deficiency, I wasn't aware of Bart's eye color. I can't speak for Brandon, Phil or our color specialist James Peters, but it is certainly possible they weren't aware of that detail either.
2. Not that I know of.
2a. Not necessarily. No spoilers.
3. Look again. Thirteen/Traci Thurston is biracial in Young Justice. Her father is Caucasian. Her mother is Asian. I think that's always been true in the comics.
What will the run time of Outsiders be? Will it be longer than Invasion?
I assume you mean per episode.
We no longer have a set time constraint for lenth of episodes, as we did back on our cable days. Of course, we have budgetary constraints, so the episodes are still approximately the same length. But some ran a litttle longer than others, as we can now edit each episode to its ideal length and not to some arbitrary fixed length.
hey mr greg weisman i was just wondering were you aiming a little older and just had to keep it appealing for kids
We talking Young Justice? Gargoyles? Shimmer and Shine? Every series is different in its demographic targeting, sometimes even from season to season. In most cases, we tried to target multiple demographics simultaneously by writing in layers.
Can you tell us the meaning of the colors of the index cards you use to plan your shows?
It changes from show to show, even from season to season. And on YJ S3, because of index card shortages of specific colors (this happened, believe it or not), it changed more than once DURING the season.
As an example, in YJ S1:
Green - villains
Red - Justice League
Blue - The Team (hero stuff)
Purple - The Team (teen stuff)
Yellow - Stuff where a specific date matters (like holdays)
White - Stuff that we're laying pipe for but will not objectively reveal to the audience at this time
The following needs saying, so I'm taking time out from my very packed weekend - not to procrastinate, which would not be unusual - but to write up something that I think is important.
But first, some backstory...
I'm not particularly smart about very many things. I am in many ways a bear of very little brain. Ask anyone. I use an iPhone 4.0 because I literally believe that I don't have the brain space to deal with upgrading. I'm a slow reader. My dyslexia makes math difficult as I am constantly transposing numbers. I'm afraid of change. Etc., etc., etc.
But one thing - maybe the ONLY thing - I am smart about is STORY. Now, I've studied story for decades and decades in small ways and large. I also believe I have an innate gift for story. Like a great pianist, the gift itself would have been wasted without years of study and practice. I've had and done both.
What that means is that - when it comes to story - I have often (not always, but quite often) considered myself - with no modesty and tremendous arrogance - to be the smartest person in the room. In any room where this is a topic of conversation, but especially in any room where story was being professionally discussed. (You can see why - with an attitude like that - I'm so popular with animation executives and the like, and why I've been fired from so many jobs.)
Even on the many, many occasions when I have felt that I am among peers who understand story as well as I do, I never felt like they understood it better than I. As good, yes. Differently, sure. Stylistically, of course. But not better. I never felt anyone knew story better.
Oh, I've made mistakes, missed opportunities, slipped up, ad nauseam. I'm human and have never claimed perfection. I've collaborated with some brilliant and wonderful people. The list is nearly endless. But none of that ever shook my basic feeling that when it came to story, I was as smart or smarter than anyone in the room.
All that changed with YOUNG JUSTICE.
So let me state it for the record: when it comes to story, BRANDON VIETTI is the Smartest Human Being in the Room.
I'd love to tell you - BELIEVE ME, I'd love to tell you - that he learned all this at my ancient knee, and that if the student has surpassed the master, the master can at least take some satisfaction in that. But that, dear readers, would simply be a load of crap.
From Day One of YJ, as witness Kevin Hopps could attest, Brandon Vietti knew story, understood it deep, the way I do. And he was smarter about it than I.
The ultimate example of this dropped this past Friday.
Episode 307 of Young Justice: Outsiders, entitled "Evolution."
SPOILERS coming, so if you haven't seen the episode then please go watch it first before reading any further.
Like all YJ episodes this season, Brandon and I broke this story together. A pretty even 50-50 collaboration. There were certain things I wanted specifically to see, like the Cave Bear. Certain things I had researched such as that in (actual documented non-DC Comics) mythology, Nabu was the son of Marduk. And there were certain things that BV wanted in there, like the meta-human kid that Kalibak sacrifices. Certain things he had researched like The Art of War by Sun Tzu (a.k.a. Vandal Savage, a.k.a. Genghis Khan, a.k.a. Marduk, a.k.a. etc.)
And together, we created a pretty kick-ass story for the episode. I don't actually remember the day of the week, but for the sake of simplifying the story, let's say we finished breaking/building the story with index cards all neatly pushpinned into my office bulletin board on a Monday. Monday evening. We both felt pretty good about it, or at least I did, and we left for the day.
Tuesday morning, he comes in and says, "Something's missing."
I tell him he's crazy. There's nothing missing from 307. Nothing. It's a great damn episode. Maybe one of our best.
BV says no. Something's missing.
I say, "What? What's missing?!"
BV says, "I don't know yet. Something. Give me a day."
I roll my eyes in as pronounced a fashion as I possibly can and say, fine.
Wednesday morning he comes in and says, "I want to add a character."
I'm resistant. "It'll mess up the works, I tell him."
But he explains, and of course, he's right. Because Brandon Vietti is the Smartest Person in the Room.
The character he wants to add is Olympia. Olympia Savage. (I take credit for the first name only.) That's right. In our first version of this story, Olympia simply did not exist.
Try to picture "Evolution" without Olympia. Be honest. It's still a solid story. A few of the actual things Olympia does, we had Cassandra doing. But otherwise the plot remains almost completely unchanged.
But not the ending.
With Olympia in the story, the episode isn't merely a solid YJ episode. It's not merely a great YJ episode. To my mind, "Evolution" transcends YJ. It is a phenomenal, even revolutionary twenty-plus minutes of television.
And I tried to talk the guy out of it.
Of course, BV's contributions don't end there. He wrote the script, too, which is fantastic. And if you knew how much he contributed to every facet of production it would humble you. It humbles me, and as you can see above, I'm NOT a humble guy.
But screw all that. I'm not talking about pretty pictures, or color, or sound, or music or even dialogue.
This post is ONLY about STORY. And when it comes to STORY... BRANDON VIETTI will always be the SMARTEST HUMAN BEING IN THE ROOM.
I bow to his greatness. And trust me, I do not do that lightly.
To be honest, he's so good, it's pretty damn annoying.
But it's an honor to be his partner.
Are they any bisexual and trans gendered gargoyles in the gargoyle universe?Have we seen them without mentioning who they are. the tv show and comic were theyre closeted for now?
Thank you and the crww for a great cartoon ahead of time.
Bisexual for sure, and yes you've seen some, though keep in mind that most gargoyles mate once and for life, so you're less likely to get proof. I'd think there would be trans-gendered ones, as well, but I'll admit I haven't yet written any.
Back in the day, we weren't allowed to objectively present LGBTQ characters. That doesn't mean the characters were in the closet. We tried to write with consistency - even to the things we weren't allowed to do.
hi Greg i was just wondering were you making gargoyles for kids or did you just have to appeal it to them to and were aiming for older
Our primary target was dictated to us as "BOYS 6-11". But our intent was always to reach a much wider audience. We had to hit that center target, and we did. But we intentionally created a series that would work for kids as young as four. For girls and women. For tweens, teens, college students and adults.
Are all of the premises for individual scripts generated by you and Brandon? Or, does your team of writers pitch some story ideas to you? Can you give a specific examples in regards to Young Justice how this collaboration works?
On seasons one and two, all the springboards were generated by Brandon, myself and Kevin Hopps, working together to break the stories. That is, we didn't go off separately and come up with premises and then pitch them to each other. We sat in a room and worked it all out together. I then wrote all the premises, and those were handed to the writers, who wrote the outlines and the scripts.
Season three has been similar, except it's just been Brandon and myself generating the springboards and breaking the stories. I then go off and write all the beat outlines. And those are handed off to the writers to go straight to script.
Do you enjoy having conversations with people about your work (If they are not asking for spoilers or trying to pitch you ideas etc.
Hey Mr.Weisman, managed to check out Starbrand and Nightmask and it was pretty good to no one's surprise. Also congrats on a season 3 of Young Justice. I just have two questions regarding that show.
1. You mentioned that there was both a timeline(that only you and Brandon are privy to) and a series bible(with details like Vandal Savage being Attila
the Hun supposedly). In the context of Young Justice, is their a difference or are they more or less the same.
2. You mentioned on this site that you used post cards and a giant billboards with different cards with different colors to establish certain dialogue or plot points. Do you also use them for events off screen such during the time skip or prior to the series?
Thanks in advance for time.
1. They are two different documents. I'm constantly updating the timeline. The bible, I haven't looked at in five years.
2. Index cards, not post cards. And, yes, sometimes.
What in the animation industry has changed since you first got into it, for better or for worse?
Tons. And nothing.
The biggest change for me, right now at least, is the end of animation in broadcast syndication and for the major networks, through the rise and (plateauing) of cable stations, into streaming services.
Why didn't SpecSpidey or YJ have "Previously On" segments? Was it a network or production decision?
I'm vehemently against using them. I learned painfully from Gargoyles that they actually have the opposite effect then one would think.
Instead of acting as small reminders or hints, they convince people that they've missed too much to join the series now. They were never necessary. Everything you truly NEED to know to enjoy a given episode is spelled out in one way or another within the episode itself.
Did it ever get annoying having to make almost every single character in Gargoyles you wanted to kill fall off something?
Eh. More amusing than annoying.
Hi big fan of the series gargoyles thank you so much for your part in creating the show. My question is during the creation of the gargoyles were did the ideas of there look come form for instance London clans animal features wyvern clans beaks horns human faces and so on also Hm which were your favorite clan artwork my personal favorite wyven/avalon clan
I don't really play favorites. They're all my children.
The idea that the London clan would be modeled (loosely) after heraldic animals was mine. Not the execution, of course. Credit for that goes mostly to our lead character designer Greg Guler.
The idea for Zafiro being serpentine was also mine. We just looked to Aztec, Olmec & Mayan art for inspiration.
Hi Mr. Weisman. I remember we met in WonderCon last year and I asked you questions about writing spec scripts for cartoons. I remember you said that I should write three scripts, then go over them, and only submit one of them if you're absolutely sure it's good.
Knowing what you and your crew got away with in Young Justice, how do how people like you and Gennedy Tartakovsky on Sym-Bionic Titan get away with the TV-PG content and make your show with teens in mind? And since I plan to make TV-14 shows for the main Cartoon Network channel, would the channel accept them?
You'd have to ask them. The needs of ANY given channel are constantly changing.
And I don't write for an older audience. I write on levels so it works for the widest possible audience.
How long did it take to write and make an episode for Young Justice?
By the way, you are THE BEST writer on TV ever!!!
Um... well, it takes a minimum of nine or ten months to go from an episodic springboard to a final complete episode in the can, ready to air. Often more like a year.
Hi Greg, I was just wondering, how do you react to negative criticism on a show you worked on before like all those people who heavily criticized something you that you and your team liked, like the Joker in Young Justice for example? Would you stick to the creative choice despite how the majority of the audience did not approve or would you make changes to that criticism even if you thought it was fine the way it was.
I know I'm not obligated to advice the creator what to change or not not to change, I am merely asking how the creative team would react in this situation, because I too am learning in production management and how to plan construction for a form of entertainment media.
It would really help,
I have to stick to my guns. In part because of the long lagtime between production and airing. And in part because I need to maintain my passion for a project. If I'm taking notes from everyone who can make a suggestion on the internet, I'll (a) never get anything done and (b) quickly lose my passion for the project.
If I had listened to all the YJ criticism that came down the pike early on, I would have, for example, cut Miss Martian, Superboy and Kid Flash from the series. I would have made the season one Robin Tim Drake and not Dick Grayson, which means we would never have gotten Nightwing in Season Two. I would have lost Dick's laughter and his wordplay. Aqualad would be another white guy and not the son of Black Manta. Etc. Etc. Etc.
People don't know what we have planned, and they react. Often negatively - especially on the internet - to things that they will eventually love if we and they are patient.
Going through the archives, I find the point by point summaries you give of the production process behind your various shows very interesting. It isn't necessarily obvious how much work goes into animated shows so I appreciate that you provide these brief insights.
Have you made a lot of changes to your approach or has it remained largely the same over the years? To put it another way, was your day to day work on Gargoyles significantly different to that of the work you did on WITCH, Spectacular Spider-Man or Young Justice?
Are any changes more to do with your own personal preferences, or are they largely determined by shifts occurring in the industry in general, with improvements to technology and so on?
Day to day, little has changed of substance. But my process of breaking both arcs and stories continues to be refined with every new series. And there are technological changes that influence things too. I used to review timing sheets. Now, I almost never do. In fact, on Star Wars Rebels, I never even saw storyboards - just animatics.
But every series is slightly different. A lot depends on who you're partnered with, and the processes at any given studio, etc.
And yet, at the end of the day, the process is still basically the same.
I was recently watching the Gargoyles episode "Eye of the Beholder" (which is one of my favorite episodes) and I was curious about one aspect of that episode's production. Was the Werefox's roars, snarls, growls etc. performed by Frank Welker? Some of the effects sound quite similar to other large beasts that Frank has performed. Thanks in advance.
I don't recall. Was Bronx in that episode? If not, then probably not - as we're not allowed to use Frank's voice without paying him. And I don't think we'd have brought him in ONLY to roar for a guest werefox.
In any case, I'd think most were done with sound effects.
But it was so long ago.
You have stated that to do Dr. Fate's voice Kevin Michel Richardson (the voice of Nabu) and whomever is playing the host (Jason Spisak/Kid Flash, Khary Payton/Aqualad, Lacey Chabert/Zatanna, or Nolan North/Zatara) are recorded saying the same lines. Then in post production, the voices are double-tracked, so the audience hears two voices.
1. What is the process step by step in order to be able to double-track?
2. Is double-tracking something that requires a studio in order to be able to do or could it be done from a smart phone?
1. Um, it's pretty much what you listed above. It didn't really matter who we recorded first, so that was based on scheduling. If Kevin was in the recording booth first, we'd record Nabu first. If the host body actor was there first, we'd record him or her first. If they were both there, it was sort of Voice Director's choice. We then played the take from whomever recorded first for the second actor, who attempted to match the basic cadence and tempo. But we consciously chose NOT to have the second actor try to match the first exactly. We like those moments when they aren't perfectly aligned. Then during my attended edit of the dialogue, we'd lay those tracks over each other for storyboarding and animation purposes. (It helps that the Helmet of Fate doesn't reveal any lip movements, that might cause confusion between which track to animate.) Finally, in post-production, specifically at the mix session, we'd mix the tracks so that you can hear at least a taste of both flavors.
2. Uh... I don't know enough about smartphones to answer that question. I wouldn't know how to record one track on my smartphone, let alone two, let alone know whether or not I could double track 'em onto a single track.
hey Greg, i've been a fan of Gargoyles since i was 11 yrs old, i was wondering, how did you come up with the distinct roars, growls and snarls for each clan member? (you can include Demona if you want)
We worked them out on two levels. First with the various actors and voice director Jamie Thomason. Then with our sound effects editor Paca Thomas at Advantage Audio.
FYI - Advantage Audio is also where we did The Spectacular Spider-Man and where we are currently posting the Rain of the Ghosts AudioPlay.
I leave tomorrow for MomoCon 2015. More information on it can be found at their website: http://www.momocon.com/
But here's MY schedule for the weekend:
FRIDAY, MAY 29, 2015
BREAKING INTO ANIM 12:30pm - 01:30pm
Main "Villains" Room Omni-International
w/Floyd County Productions
SIGNING 03:30pm - 05:30pm
YOUNG JUSTICE 08:00pm - 09:00pm
Main "Villains" Omni-International
SATURDAY, MAY 30, 2015
SIGNING 11:00am - 12:30pm
ANIM CREATORS 02:00pm - 03:00pm
w/Ben Mangum, Mike Reiss
SIGNING 05:30pm - 07:00pm
SUNDAY, MAY 31, 2015
SIGNING 11:30am - 01:00pm
GARGOYLES 02:00pm - 03:00pm
Main "Villains" Omni-International
That's right! Both Keith "Goliath" David and Crispin "Red Arrow" Freeman will also be at MomoCon!
As usual, at my autograph sessions, I will happily sign anything you bring along with you for free. But I will also be signing and selling copies of my two novels RAIN OF THE GHOSTS and SPIRITS OF ASH AND FOAM. ($10 per book, cash only.) If you purchase both books (signed and personalized for $20 cash total), you get a FREE art surprise. I will also be signing and selling copies of my animation and radio play scripts (from GARGOYLES, MEN IN BLACK, STARSHIP TROOPERS, TEAM ATLANTIS, W.I.T.C.H., THE BATMAN, THE SPECTACULAR SPIDER-MAN, DC SHOWCASE: GREEN ARROW, BATMAN: THE BRAVE AND THE BOLD, THE SPECTACULAR SPIDER-MAN MEETS GARGOYLES, YOUNG JUSTICE, BEWARE THE BATMAN, GARGOYLES MEETS THE SPECTACULAR SPIDER-MAN MEETS YOUNG JUSTICE and KIM POSSIBLE). Each signed and personalized script is $20 cash. I'll also be giving away #RainoftheGhosts AudioPlay postcards for free!
So please stop by and say hello!
Hello, Mr. Weisman.
I had a question regarding the adaptation of original characters from television to their comic book counterparts. One of the more displayed occurrences of the comic book integrating a character from a television series was with DC comics integrating Harley Quinn from the Batman: The Animated Series. Since you had similar experience when the Aqualad character you created in conjunction with Brandon Vietti and Phil Bourassa became the official Aqualad of the DC comics universe, I thought you could answer a few questions on the subject.
1. What is the official process a comic book marketing company must use in order for its writers to begin using an original character? Do representatives from the comic book corporations contact writers from the television program and make negotiate to gain permission from you and other important figure heads on the television program?
2. How long does the process take for the comic book corporation to acquire all of the rights to the character and include the individual in the comic books?
3. How do these companies determine what makes an original character worthy of being integrated into the comic book continuity of these fictional universes? Since the version of the Aqualad character you created became the official one in the DC Comics universe, I imagine that the officials representing the comic book company would have explained what properties stood out the most.
4. Which party retains the copyright stemming from the creation of the character?
5. What are the chances that another one of your original characters from your Young Justice series, Green Beetle, will be adapted for the DC Comics continuity? After seeing the show, I was very surprised to learn everything about the character had not already been adapted from the comic books, but was an original creation on your part. Despite the limited screen time compared to some of the main characters, the character was fleshed-out and well-developed. I thought you had put enough creativity for the character to make a jump to the comic book continuity.
Thank you for your time.
1. I'm not too comfortable answering this generically. I'm sure every case is unique. So I can only speak to examples I've been involved with, specifically - as you mentioned - Aqualad. In that case, the thing to keep in mind is that no one employed on the production has any rights in ANY of the characters we create. It's all being done under a "Work For Hire" contract, which means that Time-Warner, the company that owns DC Comics, Warner Bros Animation and Cartoon Network, owns all our work product outright. So they don't need our permission to use characters they already own, including Aqualad, which (a) was based at least in part on the existing Aqualad that they already owned and (b) they owned from the moment the idea for the new version came out of our heads, pens, tablets and keyboards. Geoff Johns did contact us and talk to us about the details of our version. He then went off and did his own revision on that for DC Comics.
2. See above. They already owned it. So it took NO time.
3. I think Geoff just liked the character - and/or thought he could do something with him - but you'd really have to ask him.
4. There are no parties. There is only one big corporation with multiple divisions.
5. I think it's unlikely, because if it didn't happen back when the show was on the air, why would it happen now?
1) Do you ever grow tired or weary of writing and working on only super hero type of shows? I'm assuming working on this new star wars series must of been a breath of fresh air for you?
2)When it comes to the projects you create and produce how do you pick the correct voice director for the project? Do you have a process you go through or that type of thing out of your hands?
1. They're not that different. And I love super-heroes. It's a bastard genre born from every other type of genre fiction, which allows me to do almost anything.
2. Well, when it's up to me, I tend to go with Jamie Thomason, who's both amazingly talented and a good friend. We have our rapport down to a science, and so it makes the process both fun and phenomenal. But sometimes it's not my call. And then there are a number of other great directors I've also worked with, in particular Ginny McSwain, but also Andrea Romano, Curtis Koller, Dave Filoni, Sue Blu and others. I also enjoy voice directing myself, so if schedules permit, I'm game.