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Anonymous writes...
Hi Greg! First of all, congratulations on the Young Justice video game! Can't wait for its release! I've just got one question, which I've been wondering about for a while:
1. When you use cultural references in the show (like Wally's Planet of the Apes reference in Alpha Male, or his 'Dumbledore' line in Denial) do you have to ask permission to include them in the script, or do you guys have pretty much free access to all Warner Brothers material?
Great job on the show! Its easily my favourite TV show right now- there's clearly a lot of talent and effort that goes into it, and it really pays off! Keeping my fingers crossed for a season 3!
Greg responds...
1. It depends on HOW we use it. A mention like that is what's known as "de minimus". That's a legal term which basically means it's of little significance. And that's okay. Parody is also okay, though the definition of parody can be tricky. Obviously, a bigger use like our Marvin the Martian visual would have taken permission if not for the fact, that, yes, Young Justice and the Looney Toons characters are all part of the larger WB family.
Greg Bishansky writes...
This is one I've wondered for a while now. That banshee like shriek of battle cry that Demona screams... usually when making her escape, here it is on youtube:
http://www.youtube.com/watch?feature=player_detailpage&v=DHt1Uocz-G8#t=386s
Is that Marina? Or a sound effect. I've wondered for a long time now. Either way, I always thought it sounded really cool.
Greg responds...
I'm pretty sure it's a sound effect, but it's been a long time, you know?
hallofjustice writes...
How old are Kevin Hopps and Jamie Thomason? I can't find any darn websites that will ever confirm their date of births!
PS: If they do make more DC Showcases, I personally believe they should hire Jamie Thomason as the casting and voice director for all them.
Greg responds...
I don't believe it's my business to tell you.
Lyla writes...
Whose idea was it for Demona to start turning into a human during the day and why did you add it to the series? Did you plan for that to happen from the beginning?
Greg responds...
I think it was mine. But so many years later, I can't be sure. So much of the series was a collaboration.
And, no, we didn't know we were going to do that at the beginning. But it became clear that was the way to go.
Curious writes...
I am so tempted to ask if Bette Kane (aka flamebird) Barbara Gordon ( aka Batgirl) and all those other high School students with alternate hero personas (Bumble bee, Herald) in the comic books are ever going to put on said costumes/personas on the show but I know better than that. So I'm just going to ask about another topic.
(1) Is it hard coming up with ideas and episodes for a show?
(2) When you get writers block is that when you raise the flag for a hiatus?
(3) Do writer's for t.v shows (any t.v show in general) use hiatuses in order to work on other projects?
Greg responds...
1. Nope. It's hard to leave things out. Thank goodness for the comic.
2. No. I don't have writer's block on this series at all. And we had no control, one way or another, over any hiatus. That's the network.
3. I suppose some do. I was busy on Young Justice.
Richard Jackson writes...
In the series, Demona gave several phony explanations of how she managed to live so long. Such as, stone sleep (Awakening) and stealing minutes of life from humans (City of Stone). Of course, also in City of Stone we found out that her link to Macbeth is the secret of her immortality.
But that was revealed in season 2 before the introduction of Oberon's Children. Demona let it slip in "Temptation" that she had survived through the centuries, but didn't elaborate.
When in production on the first season, did you know what the secret to her immortality would be? And were there other explanations you thought of but ultimately didn't use?
Greg responds...
Pretty much by the time we wrote "Enter Macbeth" we knew the basics. Didn't work out the details until "City of Stone".
Tom writes...
I've always appreciated that the show you create feature so many diverse characters with agency. It's great to see Elisa and her family, to finally seeing Spider-man in New York that features so many people of color in his cast, to having Aqualad and Artemis as such important, interesting characters in Young Justice. I love that your shows aren't engaging in the tokenism the way a lot of other shows (for kids or otherwise) do. And having strong women is a huge part of that--I remember friends in 4th grade fighting over who got to be Elisa or Demona at recess. So thank you for that!
I think with shows that are adapted from comics, there's this predicament of wanting to pay homage to decades of comic book history while not carrying forward the inherent racism and sexism of the eras when they were written. I think The Batman botched that when Detective Yin was replaced by Commissioner Gordon--closer to the comics, but axes a female, minority lead for a white male.
Not to mention the pressures from other areas. I remember hearing Dwayne McDuffie say that even in the height of its popularity, companies had no interest in making Static Shock toys, for example.
So, how do you handle this? Whether it's selecting minority/women characters from comics, creating new ones, or changing characters races like in Spectacular Spider-man, what's that process like when you make your shows?
Greg responds...
Um... mostly... I just try to reflect the world I see. I'm a sheltered white boy, but even a sheltered white boy would have to be blind not to see that the world is populated with more than just sheltered white boys. So putting in strong female characters and strong characters of color seems natural and easy, frankly.
If you're asking for process, though, it's very much case by case. We don't sit there and go, "We need 2.5 minorities on the Team with 23% females." Instead, we build a diverse cast of characters, character by character. When adapting a property (as opposed to creating one from scratch, like GARGOYLES), we DO pay attention to tradition. But some characters are certainly more iconic than others. So Robin, Kid Flash and Superman's clone remain Caucasian, and there was never any thought of changing them. But by using Garth's Tempest identity, it freed us up to create a new Aqualad, as the son of Black Manta - in part, to demonstrate the alternate Earth idea, i.e. this is Earth-16, and one decision changed the course of it's history (continuity) from what we're familiar with in the comics. As for Artemis, we felt she was obscure enough to make her half-Vietnamese, without fundamentally changing what mattered most about her. Likewise, her mother Paula Brooks-Crock seemed obscure enough to go ahead and make her the Vietnamese Paula Nguyen-Crock, as that also helped us make her Cheshire's mother, since Cheshire has always been the daughter of a Vietnamese mother and a Caucasian father. Maybe "obscure" isn't the right word, but I think you get the idea. As for Miss Martian, well, obviously she's a Martian, but I suppose we could have made her Megan Morse identity a minority too. (We portrayed her uncle John Jones as African, after all.) But again, we're not trying to meet quotas, and as you'll eventually see, we had reasons for the choices we made with Megan.
Anonymous writes...
Hi Greg! First of just wanted to say that I'm absolutely loving the Young Justice series, it's fantastic (particularly Home Front!) I just have a few questions about the process of voice recording for Young Justice.
1) Do the voice actors record in the same studio and interact with each other during the recording? Or do you often have to record separately due to conflicting schedules?
2) How long does it typically take to record each episode?
3) Who generally directs the voice actors during recordings?
4) Do the actors input their own suggestions for how the characters may react in a certain situation?
5) Does the script go through 'last minute' revisions during the recording?
Thank you so much for taking the time for looking at all the fan's questions and I look forward to seeing the rest of season 1 and 2!
Greg responds...
1. Both.
2. Three to four hours or so.
3. Jamie Thomason.
4. Occasionally. But unfortunately, we don't have a ton of flexibility.
5. Occasionally. Nothing major.
Jo writes...
Hi, again! First, thank you for answering my previous questions! I know you must be stressed, but, like others have said, it's awesome that you take time to answer questions like this. :)
And, now questions.
1. As a writer, how much say do you have in how the story is told? I mean, I know you write the script (duh), but it's the director who ultimately decides how it's told. So, do you both consult heavily on the matter?
2. Do you sit in on recording sessions? If so, why?
3. Um, I think this ties in with both the previous questions, but, do you have much say in how an actor performs their lines? Because, you must have written it with a certain tone, inflection, and emotion in mind, but the actor might interpret it differently.
4. How long does it normally take you to write an episode?
5. Do you find it easier or harder to write characters that have been created before you came along, as opposed to your own characters.
6. As far as character development goes, how deep do you go? Like, do you consider things that probably won't be presented in the project, or do you stick to things directly relative to the story?
I think that's it...not that I can't come back and ask some more. Thanks so much!!
Greg responds...
1. Well, it depends if I'm a freelancer or a show-runner. If we're talking Young Justice, than Brandon and I have final say on everything. The directors work for us. Though of course, they are immensely talented people, and we value what they do. The writers likewise work for us, but we've worked really closely on the stories and scripts with them. And as we proceed forward into design and direction, it's all in service of those stories.
2. Yes, of course. All of them.
2a. Voice recording is (a) one of the most important parts of the process and (b) the most fun part of the process. I wouldn't miss them for both reasons. We need to make sure that what we record is what we intended and needed. And I enjoy it. This year, for various reasons, I've also recorded a lot of scratch track, i.e. I've been the temporary voice for various characters when the actors we needed were temporarily unavailable. Just to give the board artists something to work with, until we can get the correct actor in there.
3. Yes. Ultimately, Brandon and I have final say. But again, we trust and appreciate the great work done by our stellar cast and by voice director Jamie Thomason.
4. To write a script: eight days. To write an outline: four days. To write a beat sheet: one day. To break the story: two days. Add it all up. Throw in time for notes and editing at every step. And you're talking about six weeks, give or take.
5. A well-thought out character is easier to write, whether I created it or someone else did.
6. We have detailed backstories for all our leads and supporting characters. Sometimes even a one-liner character has backstory in our minds.
PPL Ltd. writes...
Hey Greg,
Looking at the TV series producing industry as a whole, something I've always noticed is that, when it comes to live-action, comedies like "How I Met Your Mother" are always produced to fill one half-hour time slot, while dramas like "Dexter" always fill an whole hour time slot. Every show ever made is bound to contain elements of both drama and comedy, of course, but it seems like it is the overall tone of the series that decides the length of each episode.
For example, comparing two recent shows with a vaguely similar premise, the two medical shows "Scrubs" and "House". Anyone will say that "Scrubs" is a comedy show with dramatic elements at times, while "House" is a drama that often incorporates humour. Scrubs was a half hour show, House is an hour long show.
So the general line of questioning I'm leading up to with all this is the following, why is it that that there has never been an animated series which consists of hour long episodes spread over a whole season, even though animated shows can also be seen as dramatic?
The closest thing I can think of as an exception is the early 2000s Justice League series, which always had at least two part episodes throughout its run (until it became Justice League Unlimited), but those were always divided into smaller chunks, even if many channels just aired them back-to-back anyway.
HBO's Spawn can easily be said to be more drama than comedy, yet the episodes still were not as long as any other dramas on the channel, even though there were only six episodes a season.
I'm not trying to say that quantity is the same thing as quality, I'm just wondering if you have any insight as to why the episodes of a regular animated series are always of about the same length, regardless of their tone, while live action ones are not.
Greg responds...
The "conventional wisdom" is that kids won't sit through an hour.
I'm not saying I agree. But that's what the wisdom of the conventional states.
A.B. Washington writes...
Hi, Mr. Weisman!!
In the episode "Eye of the Beholder", I've seen "Fox"(a.k.a. Jeanine Xanatos" turns back into her human self and she was naked in this episode, how did you guys come up with that story which aired many years ago??
Greg responds...
Um... I'm not actually sure what you're asking.
The Eye of Odin was created by the video game folks, but we gladly brought it into the series. The discovery that Fox and Xanatos loved each other was a revelation that came with the "Her Brother's Keeper" episode. The idea of the gargoyles being free to walk around on Halloween seemed natural. Otherwise, the characters just sort of brought it all together, giving us what they would do.
Sean writes...
Dear Mr. Weisman,
I've been a huge fan of yours for years and just wanted to thank you for supplying or helping to make 1/3 of the cartoons of my childhood. I'm currently following Young Justice and I love it! I do have one question that I couldn't find in the archives though.
I noticed in episode 10 what seemed to be some height inconsistencies with Red Arrow. Cheshire was said to be 5ft 6in tall. But when the two of them were having their stare down in prison, Roy only looked a bit taller than her. Meanwhile, he seemed to be a bit shorter than Lex Luthor as well. In my animation classes, my professor mentioned a tendency for teenage characters to be drawn slightly shorter than adults, to make them easier to distinguish. Is that what happened here, or was it just animation error/camera trick?
I know in a previous post you said that he was the tallest of the teens, with Aqualad in second, but I was hoping that you could tell me their actual heights (and the rest of The Team's), or at least your best guess.
Thank you for your time and good luck with the rest of the season.
Greg responds...
We have height charts for all our characters and those charts are sent overseas to our animators for reference. I won't deny that animation errors take place sometimes, but none that I noticed in 'Targets'.
I can't tell you their actual heights. We don't put that information on the charts. I can only tell you how tall they are relative to each other.
spence writes...
A few questions about voice-over.
1) Is it recorded before the episode is animated?
2) How long does it take from recording the voice work until the episode is completely finished?
3) Do all actors get together in the room when recording one episode?
4) Are you present?
Greg responds...
1. Yep.
2. Months.
3. Ideally. Sometimes people aren't available on the day of the record, and we pick them up later. Sometimes if someone only has a line or two in the episode, we take pity on them and get them in and out fast. Sometimes, a single episode has two completely separate plots intertwining. We'd ideally record every actor in the first plot together, and then record every actor in the second together. But since the two groups don't interact, there's no need to record the entire group together and force a lot of actors to sit through scenes they're not in at all.
4. Yep.
Matthew writes...
This is about pretty much all the series you've worked on. I've noticed that most of your series has a large cast of recurring characters (and that despite this characters tend to be very well delineated.) Now for Young Justice, WITCH, and Spectacular Spiderman that may be just because they were pre-existing properties and already have large casts. However, Gargoyles also had a large cast.
Was this a because of conscious choice?
Do you perfer working with a large cast of characters?
Greg responds...
I do. I like creating worlds that feel real and populated.
Anonymous writes...
Was the notion of stone gargoyles coming to life at night an original concept of the television show, or does it have a basis in historical legend?
Greg responds...
Gargoyles as protectors is legend.
Specifically having Gargoyles only come alive at night, is -- as far as I know -- an invention, if a completely logical no-brainer one, of the series.
Anonymous writes...
How different of an experience is it to work on a show were the seasons are 13 episodes(Spectacular Spiderman) from one where the seasons are 26(I think it's 26 might have read 28 somewhere)?
I mean do you have to pace yourself differently?
Which do you prefer?
Are you more comfortable including sub-plots that you might not get to adress in 13 episode seasons?
You know stuff like that.
Greg responds...
The more episodes the better as far as I'm concerned. More EMPLOYMENT, first of all. Plus more room to maneuver, to add more subplots, more characters, etc.
Henry writes...
Are the "bibles" something that just you do, or is it standard for animated series?
Do live action television series do it to?
Also do all animated series have time-lines like you've made?
Or do they just kinda make it up as they go?
Greg responds...
1. It's pretty standard, though mine tend to be longer than standard.
2. As far as I know, though I've never worked in live-action.
3. That I doubt.
4. I'm sure each series is different.
Laura 'ad astra' Sack writes...
I asked an unclear question a little back:
Laura 'ad astra' Sack writes...
You've always (wisely) refused name one series you've worked with a favorite over another. It'd be like choosing which child you love best. But is there any instance of one work being a favorite instance of X and another of Y?
Greg responds...
Uh... I'm not too clear on what you're asking....? Is it a chromosome thing?
Me again...
Sorry. I meant that do you look at the various shows you worked on and when you think of one or the other does one particular aspect stand out as for you favorite example of getting that particular thing right, or conveying another thing the best as you've ever done it? Either in general terms like saying your favorite John Wayn western versus military flick. Or in a very specific terms like saying you think you really aced a concept- like a relationship or a philisophical concept or bravery or human foible etc.
Greg responds...
Hey, there are a lot of great moments that I love (he says without modesty) in all the series I've produced. Even in the stuff where I was just a hired gun.
But the thing is... I mostly work in the same genre (i.e. super-heroes) nearly all the time. It's a bastard genre (he says with affection) that includes fantasy, science fiction, detective and mystery, thrillers, etc., plus -- at least the way we do it -- romance and comedy on top of the action and adventure. So it stays fun for me, fresh for me. But it doesn't lend itself to the western vs. military comparison you make above. All of them are all of it. So it's just about the execution. In general, there aren't any episodes of a show I've produced that I hate. Some work better than others. But for me it's mostly about the moments.
Anonymous writes...
Should a storyteller be telling us stories we want/expect to hear, or are they allowed to tell us whatever story they want, regardless on if we like it or not?
Greg responds...
Uh... I don't know that there are or even should be rules.
But as for me personally, I try to tell the stories I want to tell, the ones that I'd want to see - that way I maintain passion for the material. Then, of course, I desperately cross my fingers and hope that others also like the stories I'm telling.
Whether these are stories they wanted or expected, who knows? The audience isn't monolithic, so I'm not sure it's possible to give EVERYONE what they want or expect. But if a majority LIKE the stories, I figure I'm good.
Ada writes...
Being an Nigerian, it was exciting in Gargoyles to see the Black Panther story line done in Nigeria! I am curious to know why you chose Nigeria to create the story?
Greg responds...
English is one of the national languages there.
Harlan Phoenix writes...
So what's the specific appeal of animation to you? Or rather, the appeal of writing it (and by extension, comic books) primarily over other mediums?
I could make guesses, but I'd be curious to know what exactly thrills you.
Greg responds...
Well, the MAIN appeal is that they'll hire me.
(Only semi-kidding there.)
Anyway, I love the semi-contradictory notions of the control I have over the final product and the collaboration I get while making my way there.
Anonymous writes...
Apart from the work that he's done with you, what's your favorite thing that Kevin Hopps has ever written?
Greg responds...
I don't know off the top of my head.
Anonymous writes...
I have some questions concerning episodic details
1. I noticed the original documents thread only has your memos on the pilot outline up to when Michael Reeves became the new writer, are we ever going to see rest of those memos(assuming there were more).
2. Concerning your tiers and tentpoles plan that started in season 2 you said awakening retroactively became tentpole 1, rewakening tent pole two, city of stone tent pole three and avolon tent pole four. Im curiouse what episodes made up the next sets of tentpoles after those ones. I figured Future tense or the Gathering was probably one of them with hunters moon obviously being the final ones, but what was the tentpole in the middle of the world tour episodes? I assume there had to be one more otherwise that would have been more episodes than usual in that tier.
3. You mentioned after Hunters Moon changed from direct to video to a three episode finally you had to cut 3 planned episodes. You said one was simply the vinnie episode being merged into vendettas, but what were the other two? Was the Coldston world tour story that made it into clan building one? Was Bronx's side story youve said happened during vendattas/turf one? If not do you remember what they were?
4. Youve said somewhere that the wierd MacBeth story was nixed because your superiours wanted it to be one episode instead of a two parter and you didn't think you could do it justice in two if Im not mistaken. Where would that two parter have taken place if you had been allowed to do it? Ive tried to figure out a spot in season 2 where it could have gone but none really seem to make sense and Id be curiouse to know. Also if you ever get the chnace to write more issues of the comics would you try to do this story now?
Thanks for your answers.
Greg responds...
1. "Ever" is a long time. But the issue is that I don't have those memos electronically archived. So I have to transcribe them. And I've just been (a) too busy and (b) at my Warner Bros office (and before that at my Sony office) most days, and not in my Beverly Hills office, where I have that stuff.
2. "The Gathering" two-parter was the next tentpole. Then "Hunter's Moon". There was no tentpole in the middle of the world tour. There were more episodes than usual, but Season Two was WAY longer than Season One, so we needed that flexibility.
3. I honestly forget now. (Isn't that sad?) I do have that info written down, but again -- it's in Beverly Hills, and I'm in Burbank.
4. It would have gone in the final tier of Season Two around the time of Vendettas.
4a. Yes.
Lost writes...
are you friends with Diane Duane?
Greg responds...
Nope. Never met her.
Blizzard Sprite writes...
Hello, Mr. Weisman.
My next questions are for Brooklyn, who was one of my favorite characters in the franchise. Not only did he come off as cool, but he was a relatable character who came off as a sort of rebellious youth. So, here are the questions.
1. I read in a 2008 interview that Brooklyn was quite popular with the fans of the show. How and when were you able to determine that? Nowadays, I figure it would be pretty easy given the pervasive nature of the internet and how fast information can be circulated. But back in the 1990's, during the show's original run when internet use was not as prevalent, how were you able to obtain feedback about certain aspects of the show, such as character popularity?
2. Brooklyn’s encounters and love interests in the twentieth century always seemed to have an unhappy ending to them (his initial encounter with Demona and his initial interests in Maggie the Cat and Angela come to mind). Because of this, he seemed to come off as the most unfortunate character in the original Manhattan clan, at least to me.
a. Do you think that all of these unfortunate letdowns were necessary in developing his character, and preparing him for what was to come in Timedancer?
b. Do you think that Brooklyn having fewer ties to (new) people in the twentieth century made it easier for him, mentally and emotionally, to jump around different points in time?
3. Were you concerned about the audience perception of Brooklyn when you had him return from the Timedancing adventures not only with a family, but an eye patch? I think one of the qualities that made Brooklyn such a likable character, in addition to his personality and his cool voice, was that he was a physically attractive and handsome gargoyle. One external change might not be all that drastic though.
Thank you for your time.
Greg responds...
1. From the internet. It may not have been AS prevalent back then, but it was prevalent enough. There was like an e-mailing list. Uh... for the Disney Afternoon in general, I think. Then my sister helped me find Station 8.
2a. It just felt organic to us.
2b. No.
3. I don't think he's any more or less handsome now. If you liked him before, I can't imagine the eyepatch would cause you to think he's unattractive now.
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