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lisa writes...
HI GREG!
you said that when you wrote avalon part one it was to long so some of the scenes were taken out. what were those scenes about?
Greg responds...
First off, I didn't write Avalon, Part One. Lydia Marano did.
I'm sure it was too long. (Most of our scripts were.) But I don't have it with me at this moment, and I don't remember anything in particular that was cut. Probably there were a few little trims here and there. No major scene cuts.
Avalon, Part Two had WAY more cuts.
Marc writes...
1.I was wondering about the Scottish Gargoyle's religion if there was one.
2. And in Scotland the Gargoyles are a very communal species focused on the good of the clan and do not individualize anyone (i.e. by not having names or parents). Yet almost immediately when the gargoyles arrive in NY they accept names, and then continue to break with their communal tradition by acknowledging Angela as Goliath's daughter and so on. Is this a practical adaptation that would occur when the Gargoyles encounter the US where individualism is treasured, or was it part of the philosophy of the show?(or maybe just necessary for the audience to identify them)
Greg responds...
All right, first off as Diane Maza pointed out, Angela is Goliath's daughter, by any definition.
So some of your assumptions are semi-faulty. But yes, some human customs are addictive and the gargoyles adapted. It wasn't a philosophy of the show, so much as it seemed real to us. As for the name thing, well, yes, we wanted the audience to be able to identify them, but we could have given them all biblical names back in 994 Scotland. We chose not to. And I like how we handled it. It doesn't have much to do with U.S. individualism. But I think we did want to contrast modern Manhattan with ancient community and clan.
As for Garg religion. Well check the Gargoyles Customs archive for more information. They didn't have a religion per se, but they had a set of traditions and belief in an pantheistic yet monotheistic guiding force.
Jay writes...
hello,
its me again. i just went to the archives and i did`t see this question ask so i will ask it. wen Demona become a human because of puck and she is closes to MaCbeth he feel the pain of her turning into a human and wen she turns back into a gargoyle. well why is it that wen Demona and Elisa are battling in the part that MaCbeth does`t feel he pain wen she is being hurt by Elisa? and wen Coldstond hits Macbeth why is it that demona does`t feel his pain? does the spell from the sister not work wen Demona is human? if not does that mean that Demona can be killed as a human?
ty for your time
Greg responds...
Part of the true answer is that we sort of lost track of the pain thing in that one scene. We screwed up.
But I'd argue that they did feel the pain. They were just prepared and covering.
sdoh writes...
hello,
i`am a big fan of gargoyles and star trek. so my question is how many star trek actors played on gargoyles? can you tell me the actors names and the roles they played please? ty for you time
Greg responds...
I know this is in the archives... <sigh>
I won't pretend this is a complete list, but off the top of my head...
Classic Star Trek
Nichelle Nichols - Diane Maza
Next Generation
Jonathan Frakes - David Xanatos, Coyote (robot)
Marina Sirtis - Demona/Dominque Destine, Margot Yale
Brent Spiner - Puck
Michael Dorn - Coldstone, Taurus
LeVar Burton - Anansi
Deep Space Nine
Avery Brooks - Nokkar
Colm Meeney - Rory's father
Voyager
Kate Mulgrew - Anastasia/Titania
Plus there are all sorts of actors who had guest rolls on the various Trek series, for example both Morgan Shepard (Odin, King Kenneth, etc.) and Salli Richardson (Elisa/Delilah) have guested on Trek. I don't know and couldn't possibly list them all.
But this is a start, right?
Marc writes...
How did you decide on pairing Angela and Broadway? You guys really fooled me because it seemed before The Journey all was hinting towards a Brooklyn-Angela pairing.
Greg responds...
We were never hinting toward Brooklyn/Angela. Quite the reverse. Gary Sperling and I made this decision together when he was working on Turf. But it just felt right. Broadway seemed the guy who was most attentive to Angela as an individual. The person most in touch with his so-called feminine side. Brooklyn was just after any chick with wings, frankly. And I think Lex pursued her because his brothers were and it seemed like the right thing to do. Only Broadway was interested in who Angela was. In my mind, he's clearly the most mature when it comes to this stuff. Brooklyn's a leader. And I love the guy, but he confuses a crush with deep abiding love. He needs a little more emotional maturity before he's ready for this "Gargoyles mate for life" thing.
lisa writes...
HI Greg!
1,you said that Disney would NEVER sell the rights to gargoyles, why is that?
Greg responds...
That's not the business Disney is in.
Name one property they've EVER sold the rights too.
They're still making tons o' money off of Snow White.
They wouldn't sell the rights to Clarabelle Cow, even though she's not exactly a cash cow for them. Why risk that someone else would make a mint and embarrass them?
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.
Doug writes...
I'm a big fan of voice acting and was wondering. Are Frank Welker, Jim Cummings, Keith David and Jeff Bennett as cool as they seem like they would be?
Greg responds...
Yes. Keith and Jeff are truly great guys. Friends. I don't know Jim or Frank quite as well, but I like them both.
And talented... woo!
Scott Iskow writes...
First, I should say that I don't mean to offend anyone with this question. Greg, you've touched upon a lot of mythologies in some way or another, so I began to wonder...
Did you have ideas for how Jesus fits into the Gargoyles Universe? If so, what would he be? Extraordinary human, or normal fae? Perhaps something entirely different?
I'll understand if you won't touch this topic with a 50 foot pole.
Greg responds...
Believe it or not, I haven't thought about this much.
Obviously, it would be next to impossible to get anything with Jesus by Broadcast Standards and Practices, so while I worked on the show, there was no point in dedicating mental energies in that direction.
And I still haven't. Probably out of avoidance. Not too brave of me, I confess, but there you go.
Steven S. writes...
Regarding why Gargoyles ended after series 2;
was it because tv ratings had dropped?
or, the new 'regime' at Disney simply wanted to stick with classical Disney material?
or some other reason?
A gargoyle fan- now, and forever.
Greg responds...
Do you mean SEASON 2? Cause it didn't. It ended after the third season, which was sub-titled "The Goliath Chronicles".
Aaron writes...
Just out of curiosity, was MacBeth's Paris home based on an actuall house? Thanks.
Greg responds...
Not that I'm aware of, but it's possible that our layout artists used some reference for it.
MAui writes...
Hi there ;)
Just wondering...where did you guys come up With the Name Bouhdicca? (sp?) thanks alot, have a ncie day ;)
Greg responds...
Boudicca was a Celtic female warrior. I don't actually know that much about her. Brynne Chandler Reaves and/or Lydia Marano chose that name.
Heather N. Allen writes...
I'll mention here that I've reintroduced myself to Gargoyles only this summer via fan webpages and I've managed to get Toon Disney for only a month. Therefore, while not completly updated on every detail of each episode, I do remember quite a bit from the original airdates of them. And if this question has been asked before, forgive me, but I've only frequented Ask Greg for three months. If it's in the archives somewhere, just point the way. SOOO, without further ado...
I remember in a past question where you mentioned recycling characters. (Morgan, Margot and Brendan, Vinnie, etc.) While watching the AVALON episodes, I noticed that many of Angela's rookery sibs were identical to those gargoyles seen in Demona's renagade clan from 2nd century, right down to the clothing. As I understood it, she collected THEM from other clans that were destroyed throughout Scotland. No way for their eggs to end up in Wyvern's rookery, or even on Avalon for that matter.
So, here's the question: were these gargs mearly another batch of recycled characters? And if so, why use them on Avalon? Did you see any kind of conflict coming from this? Or is there another reason altogether that I'm missing entirley?
By the way, I REALLY envy you for having created such a great story, with all these fictional and factual elements mixed in to create the best animated series ever. Wish I'd thought of it :)
Greg responds...
If you're looking for the "Behind the Scenes" answer it's pretty obvious. We couldn't afford to design multiple clans of background gargoyles everytime we did a flashback story or went to Avalon. So we reused the models, figuring most people wouldn't notice.
But there's also a within the Universe explanation that works for me. When a Gargoyle clan gets too large for it's location, it splits and colonizes. The Wyvern Clan had been living in relative peace under Prince Malcolm. In my mind it got up to about 100 or so Gargoyles and Beasts. That was too large a number for Wyvern to sustain, so approximately half of the gargoyle population moved on to found a new colony, start a new clan. But all the eggs were left behind in the established Wyvern rookery. The new colony obviously didn't fair any better than Wyvern ultimately, but Demona collected up a few of its survivors, during the Maol Chalvim/Duncan era.
But some of those survivors left eggs behind at the Wyvern rookery, which explains why there are some look-alikes on Avalon.
As for the clothes.... Give me a break.
Zeliard writes...
Hi mr. Weisman!
1.Are you still in touch with Michael Reaves, Frank Paur and Laura Perrotta?
2.Do you know what they're doing now since Gargoyles was cancelled?
Greg responds...
I haven't seen or talked to Laura in some time. She left Gargoyles between the first and second season of the series to become an Associate Producer on SANTA BUGITO at Clasky-Czupo, I believe. I ran into her in a restaurant once since then, but that's it. I think she told me she had moved to Warners, but I can't remember.
I last talked to Frank, last summer. He was trying to get to the Gathering 99 and was having flight trouble. Instead of calling the Gathering staff, he kept leaving messages for me at my hotel room. I called him back at an airport payphone. He had just finished work on season two (three?) of SPAWN. I'm not sure what he's been doing since. Maybe more SPAWN?
Michael Reaves and I worked together fairly recently. He wrote a couple of the STARSHIP TROOPERS and one of the MAX STEEL scripts that I edited.
Catwoman writes...
Dear Greg,
Who was it that named Goliath, and when was he given a name?
Greg responds...
Are you asking about within the world of the show or in our Disney offices?
If the former, I think the answer to that is Prince Malcolm around 971 A.D.
If the latter, I think I named Goliath in 1992 or '93. But I'm not sure.
Alaxk writes...
During pre-Avalon Gargoyles, you developed wonderful conflict in New York between various groups, why did you not continue to use them after Avalon?
Greg responds...
Sigh. I did. And I would have continued to. We did more with Demona, Macbeth, Thailog, Xanatos, the Mutates, Dracon, the ColdTrio etc. The World Tour didn't prevent any of that. We never got around to another Illuminati story, but I would have third season, if I had stayed on. We would have had more of everything.
Exactly what conflicts did you miss?
Alaxk writes...
Had to do over again, what would you change about the series? (have I biased you yet :>)
Greg responds...
Alaxk --
No you haven't biased me yet -- except maybe against this approach to asking questions.
No. There are details I'd like to fix and change. There are additional stories I'd like to do. There's more, more, more, I'd like to do.
But no, I wouldn't make the changes that this series of not-too-subtle questions is suggesting.
I don't agree with your point of view.
(Man, I hope this is the last of these. What a downer.)
Alaxk writes...
Why do you feel that it was necessary to include every mythology in the world in the series?
Greg responds...
It wasn't necessary. It was simply what I wanted to do. And I think, for the majority of our audience, it was a great and wonderful thing.
Clearly, it didn't work for you. Which is also fine. You know what you do and don't like. So do I.
Alaxk writes...
Alright Greg, a question. Do you feel the quality of the series went down after Avalon?
Greg responds...
No. Although I'm assuming you do or why would it even occur to you to ask the question.
But I look at M.I.A., Future Tense, Hunter's Moon, plus a few great moments in literally every other episode and I have no quality complaints.
Or rather no more complaints than I had regarding the episodes that preceded Avalon.
Still everyone's entitled to his or her opinion.
Zeliard writes...
1.Will tell us the content of the Gargoyle episode that never aired?
2.Why did this episode never aired?
Greg responds...
What episode is that? They aired every episode we made. Though Toon Disney currently refuses to re-air "Deadly Force".
Idea-wise, I had a bunch of ideas that didn't air. Most of them because I only had an order for 66 shows (total) and I had more than 66 story ideas.
Kraken writes...
Did you had any difficulties to promoted the Gargoyles project to your superiors at Disney?
Greg responds...
I'm not sure I understand the question...
Or rather, I'm sure I don't understand it....
Kraken writes...
Almost every Gargoyles fans doesn't carry Disney in their heart, but I'd like to know, were there anyone among your superiors in Disney that really loved Gargoyles and regretted that the show was cancelled?
Greg responds...
Sure. I think Gary Krisel and Bruce Cranston and Jay Fukuto were all very fond of the show. But Gary and Bruce left for DreamWorks before the end of the second season. And Jay left for MGM (and now Netter) shortly after I departed.
Darkling writes...
A couple of questions about the multi-talented Jeff Bennett...
1) How did Jeff end up being cast as so many different characters? Was it because the Magus and Owen (and others) were a bit too 'minor' (I use the term loosely) to warrant getting an actor in to play just those characters?
2) Which character (if any) does Jeff most sound like when he's not acting?
Greg responds...
1. The short answer is yes. But the truth is that both Jamie Thomason (our voice director) and I knew just how talented Jeff was/is. We auditioned and cast him as Brooklyn, knowing we'd have a very versatile actor for a number of other rolls. Magus and Owen were the first.
2. Probably Brooklyn, though Jeff's voice isn't quite so raspy. Also he's from Texas, so occasionally you can detect a slight accent.
Snow writes...
In watching Bushido, I noticed among other things that the village/town of Ishimura seemed to be located in a fairly flat area of Japan, not located among many hills or mountains. Living in the country for a while, it seemed to me that a tiny away place like that would be somewhere up in the mountains...
Therefore I was wondering how much researching of other countries was done for these Avalon-traveling episodes?
Greg responds...
Quite a bit, but I don't know that I agree with your assessment of Ishimura's locale. Gary Sperling wrote and researched that show. Not everything makes it onto the screen, but we try...
Michael Norton writes...
Were any of the physical characteristics, mannerisms, or other traits of the Gargoyle characters modeled after or inspired by the actors who supplied the voice talents? For instance, is it just a coincidence that both Ed Asner and Hudson are older, portly gentlemen?
Greg responds...
It's not a coincidence. Hudson was modeled on Lou Grant.
Jalapeña was something Keith David liked to say.
The human versions of the characters seen in "The Mirror" were definitely influenced by the actors.
And Elisa was (somewhat) modelled after Salli.
But keep in mind we had the basic characters first. Then we cast the parts. I believe the actors added a huge dimension to each character, but it's not like we modeled Goliath to look like Keith.
Siren writes...
Some questions about you and your feelings on Gargs,
1.) When Gargoyles first aired on national TV, how did you feel?
2.) Did you and the rest of the cast and crew have a party?
3.) Did you get any episode ideas from your own life or life of other's you knew?
Greg responds...
1. Elated, excited. You name it.
2. We had a premiere party a few days before the launch. As I've mentioned before, that was the party where Laurel Whitcomb our publicist met Marc Perlman our music editor. They're married now.
3. Inevitably.
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.
Scott Iskow writes...
Did you ever see the show "Freakazoid?"
If so, did you catch the multiple "Gargoyles" references?
What did you think of them?
Greg responds...
I've seen a couple Freakazoids. And I think I've seen a couple references, but I can't remember any of them right now. Sorry. (Although, I'm sure I wasn't offended, if that's what you mean.)
Todd Jensen writes...
What inspired you to give the names "Ophelia" and "Boudicca" to the female triceratops-crested gargoyle and gargoyle beast on Avalon? I can easily guess as to why the choice of the names "Angela" and "Gabriel" for the other two named Avalon gargoyles, but why did you choose the names of Hamlet's girl-friend and the ancient British Iceni queen for these two? (I might add that I did like the names, which were part of that very literate tone to "Gargoyles" that I enjoyed).
Greg responds...
I didn't choose Boudicca (though I approved of the choice). Her name was picked by either Lydia Marano or Brynne Reaves or both.
As for Ophelia, I'm not sure who picked that. It might have been me, further pandering to Shakespeare. Or it might have been one of my editors or writers, further pandering to me.
Of course, now that these names are chosen, it suggests story ideas, that I'd like to some day capitalize on. Even if the real reason the names were chosen is more prosaic.
Todd Jensen writes...
A little side-note. I happened to see the episode that you wrote for "Disney's Hercules" - I thought I'd mention it after noticing that somebody else on the list mentioned it. I quite enjoyed it - particularly the portrayal of Theseus as a sort of ancient Greek version of "Batman". I also noticed, as a side-note, that there was a certain thematic echo of "Hunter's Moon" in it (although I don't know if you'd intended it or not) where Hercules got so caught up in his efforts to wreak vengeance upon the Minotaur that he lost sight of what was really important, much the same way as Goliath in his pursuit of the Hunters.
Greg responds...
First off, Todd, thanks for the kind words.
There are certain themes that interest me, and so you'll see them revisited in my work (probably ad nauseum) over and over. The theme of, well, let's call it "What Profit Vengeance?" is one of my favorites. So I wasn't deliberately trying to echo "Hunter's Moon" so much as I was servicing a set of ideas that seemed apropos to both series.
As for the Theseus-as-Batman stuff. Well, that's a no-brainer. The Superman/Batman dynamic -- that is the teaming of a hero possessing superhuman abilities with a hero who merely makes the best possible use of his human abilities -- originated with Herakles and Theseus. (Or at any rate, it goes back that far.) So the notion of flipping that, and playing Herc/Theseus as Superman/Batman seemed wonderfully ironic and a fertile place to find comedy.
In high school, I acted in a play called THE WARRIOR'S HUSBAND. I played Theseus, and I've had a real affinity for the character ever since. In that play, Hercules was kind of a mope. (Very strong, but a mope.) The Greeks were waging war against the Amazons. Hercules was in charge, but Theseus was the real brains of the operation. Yet he's also the guy who really falls hard in love for Antiope, sister to Queen Hyppolyta. So instead of conquering -- as he had originally intended -- Theseus winds up manipulating everyone into a compromise. I like that in a hero.
Theseus is part of a sub-genre of archetypes, (an off-shoot of Trickster figures like Puck, Coyote or Odysseus/Ulysses). He's the primary example of the Archetype of "THE BASTARD", which includes such diverse characters as Shakespeare's Edmund from KING LEAR, Joan of Arc's ally Dunois and multiple characters from Arthurian legend (including Merlin, Arthur, Percival, Galahad and Mordred). There are so many parallels between Arthur and Theseus that reading Mary Stewart and Mary Renault seemed almost redundant. (Not really.)
In fact, Luach (or Lulach) is also a prime candidate for that archetype. When he was born, Gruoch was still married to Gillecomgain. But gossip around the castle hinted that the babe's true father was Macbeth. After Macbeth and Gruoch married, Macbeth adopted the boy as his own. At which point the gossip shifted to insist that Gillecomgain was the boy's father. (You can't win.) Pre-DNA testing, there would be no way for Luach to ever be certain of the truth. Maybe Macbeth didn't even know. Hell, Gruoch might not know.
Life's a bitch when you're a bastard.
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.
Zeliard writes...
Hello mr. Weisman!
1.You said that cetain scenes of "Avalon part 2" had been cutted because the episode was too long. Will tell us what was those missing scenes?
2.Why the Archmage chose Demona and MacBeth as allies?
Greg responds...
1. Stuff with the Archmage-Plus mentoring the original Archmage and guiding the Weird Sisters.
2. His "future" self told him too.
Matt Dymond writes...
Resubmitting this one as required...
Is there any particular backstory as to why Elisa drives her particular make & model of of car (either within the context of the series itself, or a reason one of the writing staff wanted that particular car used?).
Greg responds...
No. We just wanted her to have a cool car.
Of course, knowing me, I might someday come up with a "story behind the car" story. But I don't have one yet.
Aspiring Animator Jennifer writes...
Greg, thanks for taking the time to read this.
What were some of the artistic inspirations for the varied Gargoyle designs? Were there specific types of architecture or animals the artists looked at for inspiration? For their different designs, what species' anatomy did the artists look most at? Please share some of the working ideas leading up to the final character designs we all know. Also, please share the artistic reasons or design necessities for the Gargoyles' different colors.
Greg responds...
Jennifer,
I'm afraid I'm a bit out of my depth with your question, as I'm not an artist myself. (Plus, I'm somewhat color blind.) There are others who could better answer this for you.
In particular, Kline, Guler, Felix, Schwartz, Takeuchi, Paur. Roy Sato may know more than me too.
What I provided was character detail, physical type. I knew I wanted Zafiro to be inspired by Quetzacoatl. Leo, Una and Griff by English heraldic gargoyles.
I knew what physical type I wanted Goliath to be, Hudson to be, Broadway, Brooklyn, Demona, Angela, etc. But the inspiration, the anatomical reference, etc. Was left in the capable hands of talented folk who could draw.
Obviously, actual stone gargoyles were a huge influence and inspiration.
As for the WHY to there multiple colors, well, we were making an animated show. It seemed more visually interesting.
Hoped that helped.
Joxter the Mighty writes...
Hey Greg,
You've said in the past you intended to fit in every legend and such ever made, right?
1. How would you have fit the men in black in? They are a real legend, but now Warner Brothers has a big ol' licensed series about them... Did you have any plans on this?
Greg responds...
No immediate plans for MIB. And what I said was that given enough time and enough episodes I'd fit in every legend, but that didn't mean I had a working plan to do that yet.
Airwalker writes...
I've heard that when you pitched DARK AGES to CBS they suggested instead pitching a future based series instead. Was that the first time you started to think about GARGOYLES 2158 or did you previously have a developed idea of what the Gargoyles future would be like?
Greg responds...
I can't deny that CBS' suggestion was the first time I really DEDICATED thought to a specific future. (It was after that conversation, that I nailed down 2158 as the year of the setting for example.) But some of the material that I had planned for the show, had already been racing around in my head. The Nokkar stuff in particular. The Demona stuff. The children of Angela and Broadway.
But it was more amorphous, timeline-wise.
Aris Katsaris writes...
When "City of Stone" was first written and produced were you planning that the Hunter legacy would continue through the Canmore family or had you thought that Macbeth had taken up the mask and was now the last of the Hunters?
Greg responds...
Well, it's more complicated then that.
"City of Stone" was originally pitched as a Direct to Video movie. My boss, Gary Krisel, immediately rejected it as a video. (Though, obviously, he had no problem with it being done as episodes.) He felt that a Gargoyle video needed to focus on our heroes -- and I had to admit that "City" was really the story of two of our villains: Macbeth and Demona. Goliath and company have supporting roles at best.
But Gary liked the HUNTER angle. So immediately, Michael Reaves and I came up with the basic story idea for "Hunter's Moon". We made a sincere effort to make both multi-parters stand independent of each other. "City" came first, but the two ideas were born so close together, I can't really give you a definitive answer to your either/or question except to say (in my smart-ass fashion) "Both."
Derek writes...
A long time ago (according to the archives) you said that you wanted to do a Gargoyles story involving scarecrows because they had a lot in common with gargoyles, but that you had trouble making it different from the Batman villian. But, you said someday you would crack the story. Have you?
Greg responds...
No.
But I haven't tried. I've been busy working on other shows, other projects. Gargoyles is like a hobby for me now. Which means that I rarely write anything down. Rarely do any of the hard work of writing. I do the easy stuff. I let the ideas come to me. Since the Scarecrow idea was never easy, it hasn't come to me. To crack that, I'd have to really dedicate time to it. And I haven't.
But someday...
Airwalker writes...
Who designed the Golem? In all the legends I read of the Rabbi Loew's Golem, he was a huge giant but of Manlike proportions, not like he was in the episode, but more like a taller version of Bane from BATMAN & ROBIN.
Greg responds...
I'm not familiar with Bane. Isn't he just a big guy?
Anyway, I'm not sure what you're asking? Do you mean who on Frank Paur's team designed Golem or are you asking if Rabbi Loew designed him?
Airwalker writes...
In the archives, you mentioned that originally 6 episodes were planned for Season 2 before the order came down to expand to 52. Which 6 episodes specifically did you originally have in mind?
Greg responds...
"Leader of the Pack"
"Metamorphosis"
"Legion"
"A Lighthouse in the Sea of Time"
"Eye of the Beholder"
"Vows"
Though they might have been very different had I not gotten word partway through that they were going to be 6 of 52 instead of 6 of 6.
Airwalker writes...
On the Mutate redesign, why eliminate the cat tails? I always thought it gave a sense of balance to the designs.
Greg responds...
That was Frank's call. You'd have to ask him.
Airwalker writes...
Would you ever consider reprising your role as Xanatos Goon #3 if the show ever returned?
Greg responds...
Actually, I was the 2nd Commando.
But I'm not in the Union. So theoretically I never said "Nice mask!" Never. Understand.
Confundrum writes...
Hi Greg. I wanted to drop a line and congratulate you and the rest of the team responsible for Gargoyles. I saw the show for the first time this summer, and I enjoy it thoroughly. It's just raggedy that several of the episodes seem like they won't be aired. I guess I'll just have to be patient until some brave tv station will air the rest of them.
My question is about the plot of Gargoyles. My favorite part about Gargoyles is that each episode affects the ones to come. The plot builds, like a soap opera with the important distinction being that Gargoyles is cool. It almost seems that Gargoyles was created completely in advance, because it fits so well together. How did you anticipate how many different directions Gargoyles could and did go when creating it? ... especially since the story never became sketchy or contradictive?
Greg responds...
Thanks.
Some of it was dumb luck. Serendipity. We started out with a pilot that had Vikings attacking a Scotish castle in the year 994 and then after the fact discovered that such an event was historically accurate.
After that we made an effort. We did research into both history and mythology (of multiple cultures). I already had an extensive background in Shakespeare (and a number of other random disciplines).
And we planned ahead. A whole bunch or us. Myself, Frank Paur, Michael Reaves, Brynne Chandler Reaves, Cary Bates, Gary Sperling, Lydia Marano... etc.
Personally, I had some long term plans. I was just careful about laying groundwork. I spent years working in comics which was good training for the kind of episodically serialized tapestry that we were creating. (I've also been watching ALL MY CHILDREN on and off for nearly thirty years, which didn't hurt.) HILL STREET BLUES was a big influence too.
And mostly, the stuff just wrote itself. I don't want to make it sound easy. But I had a definite sense that the Gargoyles Universe existed somewhere and that my job was to tap into it and discover what happened. Sometimes things just seemed right. Of course, Owen was Puck. Of course, Fox and Xanatos were in love. I didn't know these things when I started. But the answers became self-evident.
Nothing in my professional life, before or since, has ever given me as much pleasure.
David G. writes...
And now for something almost completely different: (a) Was the Cauldron of Life inspired by the Celtic legend of the Cauldron of Bran (which could restore the dead to life)? (b) Would the Cauldron of Life have worked if the user had been completely submerged in/drenched with the waters (thus making the fact Xanatos melted it down for scrap rather ironic)?
Greg responds...
a. It was inspired by multiple Celtic Cauldron legends. You'd have to ask Michael Reaves whether he had a specific one in mind.
b. It would have worked. It would have turned the whole body to stone.
Airwalker writes...
How much input did you have in the designs of Gargoyles outside of the main Manhattan clan like Gabriel, Ophelia, etc? Did you just suggest a general design that got fleshed out by the rest of the production team or did you have a detailed picture in you head that you wrote out and submitted to them?
Greg responds...
I wouldn't say I had a detailed written description. But I had some ideas, many conversations and co-final approval (with Frank).
I was more specific about Leo, Griff, Una, Gabriel, Angela and Zafiro then about some of the others.
Airwalker writes...
How did you get Tom Wilson and Sheena Easten for the show? Did they come to you, did you call them?
Greg responds...
Tom auditioned for one or more of the Trio. He wasn't right, but I really liked him, and I suggested him to Jamie Thomason when we created Matt.
I am now a HUGE Tom Wilson fan. I created the role of Pete Costas in MAX STEEL with Tom in mind. (Originally it was a bigger role, but the WB cut it back. He's still great in it though.) And I think the work he's doing on NBC's FREAKS & GEEKS is brilliant. He does so much with so little. Taking a cliche that we've seen a hundred times before (remember Robert Picardo in THE WONDER YEARS) and investing it with so much humanity. I can't tell you how great I think he is. Someone should really give this guy his own live action show.
As for Sheena, she was my original choice for Princess Katharine. She wasn't available and Kath Soucie who I had never worked with before was terrific. But Sheena was always in my head to give something to. Finella seemed a great opportunity. So we brought her in. She was great. So we brought her back. She was astounding as Molly/Banshee, so we brought her back again. I was prepared to build the entire BAD GUYS series around her and Jim Cummings (with some help from Jeff Bennett, Jim Belushi and William Devane) but I couldn't sell it. I tried to cast her in as Molly McGrath in Max Steel, but again she wasn't available.
But I'd work with either Tom or Sheena again, anyday.
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...
Siren writes...
We's were wondering, my precious, if Lexington's look inspired by the Golem, from Lord of the Rings? ;)
They look alike save the tail and wings. Is it just coincidence?
Greg responds...
Don't know. If so, I doubt it was conscious. But you'd have to ask all the artists (starting with Bob Kline and Dave Schwartz and continuing on to Kazuyoshi Takeuchi and Frank Paur). Mr. Takeuchi, by the way, is often the unsung hero of our final designs.
Aris Katsaris writes...
When did you decide that deities like Odin and Anubis were part of the same race with the 'elves'? Was it part of the original conception of the series or a later thought?
(Btw, I agree with it. In various mythologies the distinction between elves and gods is almost non-existent, so it's very reasonable.)
Greg responds...
Thanks for the support. But the question is harder to answer, because it was gradual. Keep in mind the whole concept of the Third Race (introduced with Puck in THE MIRROR) was a late addition to the concept. I think we came up with it halfway through the writing of the first season.
Including the other gods came during the writing of the second season. I definitely knew I was headed that way. But I do remember Frank and Dennis being surprised when the script for "The Gathering, Part One" included Odin, Anubis and Coyote at Avalon. By then, I was certain that was the correct way to go. But I guess I had forgotten to tell anyone.
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