IN SUPPORT OF EDUCATION

I don't normally approve of letting people take "cuts". Or of breaking rules I've set myself, like the one about separate topics requiring separate posts.

But Lexy is writing a paper on GARGOYLES for her HONOR'S ENGLISH CLASS, and she needed some questions answered. I'm a big fan or Honor's English classes, so I couldn't resist. But I figured you all might be interested in the answers as well. So with Lexy's permission, I'm answering them here.

Dear Greg,

Thanks SO much for helping me with my paper. I hope
to do you,and the rest of the fandom,proud:) Here are
some questions I whipped up for an interview. But If
you have anything you think would be helpful to add or
to subtract from them, please feel free to do so.

1) What do you think are some reasons ppl find
mythological creatures, such as gargoyles, intriguing

GREG'S RESPONSE: I think people like to let their imaginations run. And why limit those imaginations to what we know exists. If a concept has its own internal logic, something real in its emotions and relationships for an audience to grab a solid hold too, then there's little limit to how far-fetched the fantasy can get.

2) What started your personal fascination with
Gargoyles?

GREG'S RESPONSE: A high school trip to Europe and hearing the tidbit that Gargoyles were placed on castles and cathedrals to scare away evil spirits. The notion that monsters were used against evil was very intriguing. And this was years before we developed the series.

3) Name some of your favorite books or stories you
enjoyed when growing up.

GREG'S RESPONSE: Wow. Um. How far back to you want to go? GO, DOG, GO was an early favorite. Later, I liked the Hobbit. I liked reading about myths of all kinds. I had the D'Aulaire's GREEK MYTHS and NORSE GODS & GIANTS books and I reread those over and over. I also was always a big fan of detective fiction. I liked Nancy Drew and the Hardy Boys. Later, Conan Doyle, some Christie, but my favorites were Hammett, Chandler and ROSS MacDonald. I loved the LEW ARCHER novels. I liked Heinlein in Science Fiction. "Requiem" is a heartbreakingly beautiful little story. I liked Mary Stewart and especially Mary Renault. I read a lot. I liked a lot of diverse stuff. I could go on for hours.

4) Did anything in particular inspire you to create
'Gargoyles'?

GREG'S RESPONSE: I've spoken to this before. Gummi Bears was an inspiration, as was Hill Street Blues (my all-time favorite tv show). My on-going fascination with stone gargoyles. And the pragmatic need to be constantly feeding the Dragon that was the Disney Afternoon.

5) Do you believe that gargoyles and other statuary
such as grotesques are rooted in evil traditions? Or
are they there for the common good through harsh
example? (explain)

GREG'S RESPONSE: Neither. I think they are symbolic (or rather emblematic) of something primitive and primal. They scare away evil. Not all monsters are against us. We need our dreams and nightmares.

6) (circa) When did you start work on the television
show 'Gargoyles'?

GREG'S RESPONSE: 1991.

7) When and why (circa) were you (and others) forced
to cancel 'Gargoyles'?

GREG'S RESPONSE: The question is phrased in such a way that it's difficult to answer directly. We never planned to do more than 65 episodes. That was a standard run for any show. Now in huge success, a show (like DuckTales for example) made additional episodes, and I won't deny I had hopes that we would to. But the answer came back no. Our ratings were strong. But we were a consistent second place to Power Rangers. So we weren't cancelled. But new episodes would not be made. Then ABC and Disney merged, and ABC wanted some Gargoyles. All my bosses at Disney had left and the new management wanted their own people on the show. So they made me an offer to continue that was designed to make me say no. In hindsight, I should have said yes anyway, but that's spilt milk. I left and they made additional episodes for ABC under the Goliath Chronicles banner. The ratings were not good. Neither, in my opinion, were the episodes. So it wasn't renewed.

8) What did the television show 'Gargoyles'mean to you
as it's creator?

GREG'S RESPONSE: It was and continues to be the highlight of my professional career. Nothing I've done, before or since, let me bring my vision so intact to the screen. It was very collaborative, not every idea was mine, but I still feel like that was the one show that achieved what I hoped it would achieved. I'm ridiculously proud of it, beyond all reason, really.

9) What was the central theme or message of the show ?

GREG'S RESPONSE: There wasn't just one. Among the messages was the obvious DON'T JUDGE A BOOK BY ITS COVER moral. Plus plenty about the preciousness of life and hope. Themes of redemption are very important to me. Guilt, fear, love, trust, loyalty. You name it, at some point we through it in. Often episode titles were designed to remind both audience and writer of what the major theme in that story was.

10) How many Gatherings have you attended?

GREG'S RESPONSE: All three. Two in NYC. One in Dallas. And I hope to continue to go as long as you folks want me.

11) What is your opinion of the Gatherings?

GREG'S RESPONSE: It is always one of the true highlights of my year. How could it not be? I'm basically treated like royalty for 72 straight hours. Since that doesn't happen to a guy like me much in real life, it's pretty damn cool.

12) What do you hope ppl who watch 'Gargoyles'will
come away with?

GREG'S RESPONSE: First and foremost, I hope they were entertained. Not a little, but a lot, and on multiple levels. I hope we got the adrenaline going. I hope we touched their hearts. I hope we gave them something to think about. I hope we educated them a bit, or more likely gave them reason to want to be educated about, say SHAKESPEARE or Scottish History or King Arthur or Native American customs or whatever. I'm greedy. I want all of this.

13) What did you like most about the show 'Gargoyles'?

GREG'S RESPONSE: I'm not objective enough to answer this one.

14) What did you like most about working on the show
'Gargoyles'?

GREG'S RESPONSE: Honestly, the autonomy. The freedom. I also had some incredibly talented collaborators and when we were in gear, we really hummed. But for sheer fun, it's hard to beat those voice recording sessions. That was the part of the job that generally was the least like work. It's where all the potentials of the show come to life and few of the problems are revealed. Just fun.

15) Why incorporate so many classic dramas and other
time honored themes within 'Gargoyles'?

GREG'S RESPONSE: Purely for my own amusement. And with the hope that some people will either also be amused or will come to be amused as they discover these things. Plus it made my job easier. The story of Macbeth is so good, that adapting it practically wrote itself.

Thanks so much for all your help:)!

Lexy;)

GREG'S RESPONSE: You are welcome. Let me know if I can be of any more help.

AWAKENING, PART THREE

Watched this with the family half an hour ago...

More random observations...

RE: Our supporting cast...

Who knew that Brendan & Margot would wind up being so important? Credit Marina Sirtis, for making Margot so gloriously bitchy.

And then there's Vinnie's first appearance on that motorcycle. Of course, no one knew Vinnie existed back then, which is thoroughly appropriate to his character.

And credit Keith David with breathing real life into Morgan the cop. Morgan didn't even have a name then. He was just a place holder, someone for Elisa to respond to. But Keith made me interested in him.

Little things still bug me. Xanatos' floating ponytail in the scene where he and Elisa first meet.

In the Kitchen, the Freezer door was supposed to have one of those easy to open latches on the inside. The irony being that Broadway could easily extricate himself, if he just knew how to operate the latch (or even what it was). Something a kid could do, assuming the kid was born in the 20th century. But BW has to bust down the door.

In the original script and the recording of that script, it's Brooklyn who says "So many wonders..." and it's Broadway who says "Goliath said not to let anybody see us." But in those early days, lots of people in L.A. and in Tokyo kept confusing their names (and Bronx's) so the animation came back as you see it. And it was easier to re-record the voices then to reanimate. (Or am I getting all this totally backwards? I just saw the show again half an hour ago, and already, I'm confused.)

(CAVEAT: In all these little things, I'll probably be pointing out animation errors here and there. But please understand, I think most of the animation we got, particularly from Walt Disney TV Animation - Japan, was brilliant. I think those guys did a great job and don't get enough credit. But anecdotes generally come out of when things go wrong, not when they go right, so it may seem like I'm talking about mistakes more often than not. Sorry, in advance to Roy Sato or anyone else who might take offense.)

When Elisa is first being checked out by the Trio, there was a scene in the original animation where Brooklyn seems inordinantly interested in her behind. We had to call a retake, cuz the guy was practically drooling. I wonder if that's where I got the idea that Brooklyn would fall for anyone in a skirt (or with a tail).

Also, after Goliath saves Elisa from falling off the building we have a point of view shot from her. It begins at Goliath's feet and pans up to his face, as she takes him in. In the original animation, the pan started at his head and panned down. That seemed less effective, so we had our editors reverse the pan, without calling for a retake.

At the end of Act Two, the door slides open revealing Demona in silhouette, clearly plotting something with Xanatos. That always really bugged me. I didn't want to give away that she was alive in this episode. I didn't want to know who Xanatos was talking to. How did you guys react to this? Did that spill everything? Did any of you not know that Demona was alive? Did any of you, by this point, not know that she and Xanatos were the bad guys?

Elisa says something like "This is where Dracula shows up." when she's walking through the corridors of the castle. If you take that literally (and you might as well), then you gotta figure that someday, Dracula will be roaming that very hallway.

Elisa loses the first in her series of guns, when Goliath crushes it near the end of Act One.

Goliath tells a joke: "And please, don't fall off the building this time." Goliath tells a joke. Can you believe it? It wasn't bad either. We should have let him tell jokes more often.

Elisa's surprise that Goliath can talk is indicative of what I thought a 20th (or 21st) century initial response to the gargs would be. That's why Goliath Chronicles' trial episode bugged me so much. I don't think humans would take for granted sentience. And I think most humans, those less open than Elisa, wouldn't even buy talking as enough evidence that the gargs weren't just beasts. (Cf. Margot Yale.)

Goliath is a pretty begruding hero. That's somewhat unique for cartoons. Elisa asks if there are more gargs, and Goliath responds: "Barely." He cuts her very little slack. But already you can see their relationship developing. I still think Hudson's expression after Goliath sweeps Elisa up into his arms is just priceless.

In that same scene, Hudson gets named for the river. I love that scene, as I loved the scene where Tom, Brook and Lex are talking about names. Of course, the desire not to name most of the gargoyles until we got to NYC '94, was mostly pragmatic. It allowed us to use those fun, cool NY names for most of the characters. But once we came up with the rationale for it, and once I managed to explain it to everyone, I really fell in love with the concept. Hudson's lament, here, that humans don't think something is real until they've put there stamp on it, is, to me at least, so damn true. And Elisa's response is so feeble and circular. "Things need names." Pathetic. But I'm no different. <SIGH> I'm such a human. But I aspire to gargoylosity. Anyway, after Hudson points to the river, and Elisa basically tricks him into taking that name, she used to have a line, as I may have mentioned before, where she said (under her breath) "Good thing we weren't facing Queens" -- implication being that Hudson nearly ended up being called Queen, I guess. It was always funny, but S&P didn't care for it, and I couldn't really defend it. So out it went. We tried another version, where she just says, "Good thing we weren't facing East." But it didn't play. So out it went too.

The thing that struck me most, however, was the almost thorough lack of action in this episode. After all that Viking stuff in Part One, and Vikings and a full act of commandos in Part Two, Part Three is a mood and character piece. Sure Elisa falls off a building, but that was a problem easily solved. Until the commandos' Central Park attack in the last seconds of Act Three, nothing else happens that could genuinely qualify as action. That was mostly a result of what was once a four-parter being turned into a five-parter. The reason we made that change is because Michael Reaves wrote a brillaint four-part script. It was amazing. But it was WAY too long. I was faced with either having to make drastic cuts (as I would later have to do in Avalon and Hunter's Moon) or expand it. Fortunately, Gary Krisel and Bruce Cranston saw the wisdom of expansion. For one thing, it would save us money. But also, it made sense because we could run the five parts across a whole week of the Disney Afternoon like a mini-series special event. It wouldn't require us to re-program one day of that first week. So we were all agreed, the four parter would become a five parter.

But that meant adding act breaks, and redividing everything. The episode that most benefited was Part One. In the orignal version, Part One covered all of what is currently part one, plus the first act of what's currently part two, i.e. ALL the Scotland stuff. The episode ended with Goliath's "suicide". A great ending, but we would have obviously had to cut a TON out of the flashback. This way we were able to expand into part two and preserve almost all of the story.

So Part Three winds up being nearly action-free. And by the way, I love that. I still think the episode works great, and it proved to me that the charcters themselves could really hold the audience's attention. (I'm such a proud papa. Unashamedly so. It must be pretty obnoxious.) I wish we had always had the luxury to be so... well, luxurious. To expand and play character. But generally a half-hour format makes it tough. I'm very sick of writing half hours, actually. But the powers that be in Animation believe that kids can't or won't sit through an hour long show.

As usual, I welcome posts here responding to this episode. Both your original reaction to seeing it for the first time, and your current reaction if you've seen it again recently.

Miscellaneous...

My DC Comics editor finally sent me a few copies of that Justice League comic with the Captain Atom/Gargoyles story. I had forgotten just how many Gargoyle in-jokes I put in that story. There's much more there for a Gargoyle fan then for a Captain Atom fan. Though I think the scenes of Cap kissing Bette (and the mention of Las Vegas) would make a couple people (Simon Del Monte, Melissa Page, for example) a bit nostalgic. I think the story turned out pretty well. Anyway, I'm happy. My editor made a couple small changes. He removed the two references to the year the story took place (1991). And he changed the title. It was called something like: "An Exercise in Self-Indulgence". Now it's called "The Flashback of Notre Dame". Both are accurate, but his is much more clever.

Lately, I've been giving away a lot of ASK GREG tidbits for some reason. Not sure why. I'm just in the mood, I guess. But it suddenly occured to me to register this caveat.

There's canon and there's canon.

As far as I'm concerned the only true canon is the 66 episodes of the series running from "Awakening, Part One" through "The Journey". As many of you know, I don't like to consider the other twelve episodes of Goliath Chronicles to be canon, let alone whatever other stories got published by Marvel or Disney Adventures Digest or whatever.

But to be honest, even some of my ASK GREG answers cannot truly be considered canon. They're closer. But I won't be held to them in any absolute sense. Part of the wonder of producing the first two seasons of Gargoyles involved things discovered along the way. I won't etch things in stone (pun intended) just for the sake of making these ramblings and off-the-cuff answers sacrosanct. If I got the chance to produce the show (or one of its spin-offs) again, I'd ABSOLUTELY incorporate much of what's here. But I'd be a fool not to hold everything up to a microscope and decide with consideration what would and wouldn't be best for the new series.

Having said that, I've been giving some particular thought to G2158 recently, studying timelines for example. And I've changed a few things in my head. Nothing major. But certain things have changed that would in turn effect things in TimeDancer and present-day Gargoyles. Maybe even New Olympians and Pendragon. (So far nothing that would alter Bad Guys or Dark Ages.)

The good news is that none of these changes effect our three current contests. (Wouldn't that be an ASK GREG disaster?)

And all this thought has gotten me thinking about how I might handle a couple of thorny problems in any revival of the original series, specifically the time gap between 1996 and whenever the new show hit the air, and/or the existence of those 12 non-canon Chronicle episodes.

And frankly, I think the internet is the answer.

Goliath Chronicles exists. I can't change that. But I think I can ignore it. For example, if I wanted to do my version of the trial of Goliath -- the one where the question before the court is his very sentience -- couldn't I just do it?

New fans wouldn't know about the Chronicles trial and thus wouldn't be upset about it. Old fans could check here and find out why it was being ignored.

That only leaves a small percentage of people, who, for example, see the Chronicles episode on Toon Disney and wonder about it, but don't have the resources or whatever to find a site like this and learn the rationale. Would they be very put off? Is that too selfish an approach for me to take?

Likewise, the time gap. What if in the fist season, I did that Halloween story I've mentioned before. I wouldn't mention what year it was. For a new audience, they'd just assume that the story took place in say, October 2002. No harm done. But I could post here and tell people it took place in 1996. Then, by the end of the first season, I could have the series caught up to 2002, but still have gotten to do the stories that would have depended (continuity-wise) on proximity to the events in Hunter's Moon and The Journey.

What about that?

I'm very interested in all of your opinions on these notions. Please post them here.

Jonathan Frakes

Last night, my wife and I went to the WB's fifth anniversary party.

I talked with Alan Burnette and Rich Fogel. Two guys who I used to work with at Disney, but who are now on BATMAN BEYOND.

I also saw a number of celebs, including the actors who play the title roles in ANGEL and FELICITY. Plus Diedrich Bader, (Oswald on DREW CAREY and Jason Canmore of "Hunter's Moon"). I also literally bumped into Shiri Appleby who's "Liz" the female lead on ROSWELL. And she was very nice about me being a clutz.

And, best of all, I ran into Jonathan Frakes, who's an exec producer on ROSWELL. He was terrifically charming as always to both myself and Beth. (Beth and Jonathan's wife Genie Francis were once in MOMMY & ME classes together after we both had our respective first kids.)

Without any prompting from me, he bemoaned the fact that Disney stopped making GARGOYLES. He's still a big fan of the show. We started to talk some more but he was approached by Ray Wise, the actor who played Laura Palmer's father on TWIN PEAKS. I left them to talk, and we didn't get to hook up again before Beth and I had to leave. (Babysitters, school nights, plus as glamorous as it may sound, I feel very out of place at this kind of party. Very uncomfortable.)

Anyway, I realize it's not much of an anectdote, but I thought you'd like to know.

TITUS

I saw TITUS on Saturday with my wife Beth and three people who worked on GARGOYLES.

1. Fred Schaefer, who was a development associate who helped develop the show. (I think it's safe to say that Talon was sort of Fred's idea in a very early pre-Derek form. We called the character Catscan then.) Fred is currently a producer/executive/story editor at Porchlight Entertainment.

2. Monique Beatty was my assistant during the Gargoyles years. She did a lot of research for me. She's now a producer at Kinofilms.

3. Tuppence Macintyre is an old friend of mine. She also did a lot of Scotish research for Gargoyles, just as a personal favor and because it interested her. She's a Deputy District Attorney in Los Angeles.

Anyway, the five of us went to see TITUS in Santa Monica. The film is based on one of Shakespeare's early tragedies, TITUS ANDRONICUS. It was adapted and directed by Julie Taymor, who adapted and directed THE LION KING for the Broadway stage. So it's not surprise that the film is visually stunning. Monique didn't like the anachronistic style of the film (depicting chariots and motorcycles side-by-side for example), but it's not the first time I've seen that kind of interpretation, so it didn't bother me.

And the acting is fantastic. Anthony Hopkins (who I've loved forever -- does anyone remember the movie MAGIC?) plays Titus. He's brilliant. His lament to the stones is heartbreaking. Jessica Lange is good as "Tamara, Queen of the Goths" (now tell me that isn't a Gargoyles' character in the making). And Alan Cumming (who voiced John Castaway in "The Journey") is a nice, twisted villain as Saturninus, the Roman Emperor. But the revelation is Harry Lennix as Aaron the Moor. Amazing.

The story of Titus is not for the squeemish or for children. It's a real pot-boiler. Something just this side of a horror movie with a hard R rating for violence and nudity, though thankfully a minimum of on-screen gore.

The play was a big hit for Shakespeare in his day. But it's been dismissed as a critical flop. And I can see why. I've read it a couple times and thought it awful. Which coming from a bardolitor like myself is pretty harsh. It seemed like none of the characters were sympathetic or interesting.

But I'd never seen it performed, so I was looking forward to the movie. As usual, Shakespeare plays tens times better than he reads. In the movie, I had -- at moments -- plenty of sympathy for nearly all the characters. And the wonderful thing is that my sympathies are constantly shifting. No one is without sin. All share the blame except for Aaron's son. And Aaron himself is amazing.

Although, I can't help agreeing that Shakespeare wrote TITUS at least in part as parody of the tragic genre -- the way SCREAM was designed to be both parody and exemplar of the horror film -- I can also see flashes of KING LEAR, HAMLET and CORIOLANUS in Titus' character.

But Aaron prefigures Othello, Iago, Edmund and Shylock at least. He's a remarkably progressive character for the time. A villain, who is the only character to succeed in preserving a sliver of innocence within the world of the play.

Anyway, I really enjoyed it. And I recommend it to any Gargoyle Fan over the age of 17.

UPDATE

Hi Gang,

I'm back. And determined to pour through these questions. I can't believe I'm still backlogged until JULY!!!

But first, let me give you a quick update on what I've been up to recently.

STARSHIP TROOPERS
Post-Production has been completed on my first arc of stories. They are all set on the jungle moon TESCA NEMEROSA. I think they turned out wonderfully. I'm still very proud of the writing, but I'm wildly impressed with the CGI. (And yes, there are a few small things that bother me, but...) Overall, I think it's a very powerful set of stories.

MAX STEEL
We've completed writing and recording all 13 episodes for the first season. Post-production should begin after the first of the year. The CGI series should premeire in February on the WB's Saturday Morning. And now that the heavy lifting is done, I'm all but unemployed, which means I should have plenty of time for ASK GREG.

NAZCA
A good friend of mine did the English dub for this Japanese Anime series. Thom Adcox does the voice for one of the leads, and I do a few incidental voices here and there. (Yes, the man who brought you "Nice Mask!" and "Father, the rockets aren't working!" is back behind the microphone. God help us all.) It's available on home video in stores starting mid-January.

JUSTICE LEAGUE GIANT
As many of you already know, I did a CAPTAIN ATOM/JLE/GARGOYLES parody team-up for this comic book. I wrote it a year ago and I still haven't seen the final result, but I'm told it turned out all right. And every copy you buy puts about a tenth of a penny into my pocket... Seriously, it wouldn't hurt if this issue sold out and was followed by a letter writing campaign asking DC to do an actual Gargoyles comic. Don't know if it would work, but it wouldn't hurt.

UCLA EXTENSION
For those of you living in the L.A. Area, Kevin Hopps and I are teaching a twenty week course on writing for Television Animation through UCLA Extension's Writer's Program at Universal CityWalk starting this Spring and running through the Summer. Hope to see some of you there.

Now, back to your questions...

Captain Atom & the Gargoyles

Reprinting (for posterity) what I just posted in the comment room:

Just a quick response/explanation to Alex (aka Simon).

I couldn't really do a full-on Captain Atom story. I was limited to 10 pages (and it takes a lot of time to write that short) and it was a JLA GIANT, so I was obligated to include the JLE from that era. Those were my marching orders.

So Dan Raspler (my editor) and I decided to do something fun. Something with Captain Atom elements, but something more in the tone of the JLE of that era -- admittedly, a sillier mag than the CAPTAIN ATOM book I used to write back then. But even in those days, when I put the JLE into Cap's book, I tried to split the difference on the tone, so that the transition wasn't too jarring.

I suggested making it a real exercise in self-indulgence by including a bit of a GARGOYLES parody. He went for it.

Now, in my first draft, I did open the story by showing the Funeral-At-Sea of Heinrich Megala. But my editor felt that it was too serious. That it clashed with the tone of the rest of the story. I didn't disagree. (I just didn't care.) But he didn't like it. So we went with what you saw.

Or so I assume. I haven't seen it yet. I called Dan yesterday, and he promised to send me a copy. Originally, Pat Broderick was supposed to do the pencilling -- a reunion of sorts. I don't know exactly what happened, but Pat didn't end up doing the story. So I can't even imagine what it looks like. And I don't know how much or how little I was edited. I hope it plays.

And I hope that clears things up.

By the way, I'm almost done with the writing and editing of Max Steel. I promise that after the first of the year, I'm going to try to MUSCLE through the backlog here at ASK GREG.

Sorry for the delays.

Where have I been...

I can't believe I'm still answering questions from back in July.

Please have patience with me. I have been completely swamped working on a new series for SONY (makers of MIB & Starship Troopers) and the WB (the network of BATMAN BEYOND). It's called "MX1: MAX STEEL", and if I survive the production process it should be a pretty cool show.

Here's a little info:

I'm the story editor and one of the producers.

It's not the same job/responsibility/freedom that I had on Gargoyles, but it is the closest I've come to it since way back then.

The Executive Producers are Richard Raynis and Jeff Kline.

The other Producer (on the art side) is Bob Richardson.

Sue Blue is our voice director.

We've got an order for 13 episodes. Each stands alone, hopefully, but as usual with my stuff they'll play better in sequence. I hope they air in order someday.

As of today, the writing breaks down as follows:

1. "Strangers" by Greg Weisman.
2. "Sacrifices" by Greg Weisman.
3. "Shadows" by Lydia Marano.
4. "Sportsmen" by Jon Weisman.
5. "Seraphim" by Michael Reaves.
6. "Spear-Carriers" by Kevin Hopps.
7. "Snow-Blind" by Mike Ryan.
8. "Sharks" by Katherine Fugate.
9. "Sabres" by Cary Bates.
10. "Sphinxes" by Gary Sperling.
11. "Swashbucklers" by Jon Weisman.
12. "Scions" by Cary Bates.
13. "Shattered" by Kevin Hopps.

The voice cast is pretty impressive to, with quite a few names familiar to Gargoyles fandom...

Our five regulars...
Christian Campbell
Jacob Vargas
Shannon Kenny
Chi McBride
Lauren Tom

Recurring & Guest Cast includes (in order of appearance):
John de Lancie
Keith Szarabajka
Jean Gilpin
Martin Jarvis
Thomas Wilson (aka Matt Bluestone)
Edward Asner (aka Hudson)
Jason Marsden
Jeff Bennett (aka Brooklyn, Owen, etc.)
Julia Kato
Obba Babbatunde
Cam Clarke (aka Young Gillecomgain & Eric Sturlesson)
Thom Adcox Hernandez (aka Lexington)
Greg Rainwater (aka Natsilane & Coyote Trickster)
August Paro
Robert Cait

And that's just after having recorded five episodes.

The show is 100% CGI. We have high hopes.

In other news, I just attended what could be called my first GARGOYLE wedding. Marc Perlman (our music editor) and Laurel Whitcomb (our publicist) met at the Gargoyle Premiere Party in 1994. They've been an item ever since, and finally made it official yesterday. The wedding was great fun, and I was singled out as being responsible for bringing them together.

Geez, talk about pressure.

I loved it.

I will get back to answering questions as soon as I can. Hope this little update tides you over a bit.

CORRECTION

I can't believe I said I "wrote" ten episodes of Starship Troopers. That's flat out untrue.

I meant to say I story edited ten episodes of Starship Troopers:

16 - "No Substitute" by Jon Weisman
17 - "And Then There Were Two..." by Cary Bates
18 - "Marauder" by Michael Reaves
19 - "Liquid Dreams" by Greg Weisman
20 - "Heart" by Lydia Marano

36 - "Funeral for a Friend" by Greg Weisman
37 - "Spirits of the Departed" by Jon Weisman
38 - "Gates of Hell" by Lydia Marano
39 - "Circle of the Damned" by Cary Bates
40 - "Final Inferno" by Michael Reaves

As you can see I wrote two episodes and story edited ten. My apologies to Cary, Michael, Lydia and Jon.

Episodes 37 - 40 were the ones yanked out of production. And of course, the numbers listed above reflect their ideal airing order. There's little chance that they'll actually air in that order. At least not the first time through. And of course, SONY doesn't show the titles on SCREEN. So the best you can do is look out for the above five writers names. These are all scripts I'm VERY proud of. Hopefully, the episodes will turn out as good.

Greg

P.S. Now, watch -- I've probably made some new dopey error.

Where's Greg....?

Greg is up to his neck in work right now. Sorry.

Here's what's been going on.

As many of you know, I wrote ten episodes of the forty episode order of STARSHIP TROOPERS (now dubbed ROUGHNECKS: THE STARSHIP TROOPERS CHRONICLES (or something like that)).

My episodes were orignally slated to be #16-20 and #36-40.

My first arc (16-20) were set on a jungle planet. My last arc was set on Earth (36 in Colorado & 37-40 on Hawaii specifically).

Then all hell broke loose.

Two CGI companies were originally doing the CGI for the show. One of these companies bailed -- as I understand it they declared bankruptcy -- still holding onto five episodes worth of SONY's money. But Sony still had to deliver 40 episodes. And they didn't want to pay for 45. So now they've added three clip shows. And taken a couple of single episodes and made them two-parters. In the process they chose (at least for now) not to make my Hawaii episodes. Hopefully, they'll be made later for Home Video or a second season or something.

I've been watching the shows on my local channel. Missed the premiere episode. Then saw the next five. The first one I saw, (the second to air in syndication) was an episode from the third week arc (had to be 16, 17 or 18 in the original airing order) set on the planet Tophet. They followed that with the first four episodes set on Pluto in order. Then yesterday they aired the first episode for at least the second time in two weeks.

Obviously, we're having some delivery problems.

And all of the above, completely out of my control.

The good news is that the five episodes I saw kicked some major ass visually. And the stories were pretty great too. (And I had nothing to do with them.) Maybe that bodes well for the six episodes of mine that should get made soon.

Meanwhile, I've been swamped working on a CGI show for Sony that should air on the WB in January. It's on an inhuman schedule that's literally killing me, but hopefully you'll like the finished product.

Sorry if I haven't had much time for ASK GREG recently. But I love doing it, so I will get back to it as soon as I can.

I swear.

Greg