A Station Eight Fan Web Site
Hello Mr. Weisman,
I had just a couple of questions.
1. One thing about the animation industry is that once a season is over there is no guarantee that the next season will be picked up. Should some one have a plan B for another profession if the next season does not work out? Or is there plenty of work in California that if you did your job well, finding another one should not take long?
2.If someone has a animation idea they want to pitch and have all the details worked out (pitch bible, characters, story, and pilot script) how would they know when they could pitch the idea?
3. I had a question for attires for animation shows. Does it cost more to have different episodic attires for characters or do characters have only one attire to save time? I know in Spectacular, Peter had a winter attire with the jacket, or that one time he had the black shirt with brown pants during the symbiote removal episode but is there a choice on whether they can change their attire episode by episode to add more realism?
1. Well, uh... There are no guarantees. I try to have other work lined up, pretty much always. And sometimes I'm just flat-out unemployed for stretches. This gig is not for the faint of heart, I guess.
2. I'm not sure I understand the question. If you're ready, pitch. But my caution would be to be careful not to poison the water. If it's a work in progress, and isn't actually very good (YET), then I wouldn't pitch. Make sure you're only showing the best possible version of what you've got. On the other hand, there's not much point in noodling forever on an idea. If it's solid, go for it.
3. Every design - and new clothes are a new design - cost time, which costs money. So, yes, in animation, we need a pretty good reason to give characters additional wardrobe. But if we need it, we need it.
I am very interested into breaking into the animation industry. I am currently in college working on my English writing skills and drawing skills as well. I heard in one of your previous interviews that moving to California would be smart as thats where alot of the animation jobs are. By the time you read this question I would hopefully be done reading "Gardner's Guide to Writing and Producing Animation" by Shan Muir. I should get a better idea about the industry itself from reading that book, but since you have experience as a animation producer I just had a couple of specific questions hopefully you can answer.
1. Would animation companies be more interested in investing original show ideas or original ideas on licenses they already acquire? I.E. an idea that some one made up and wanted to make into a show or having original material for a Marvel Spider-Man show or DC Superman show?
2. I have never been to California but I heard the cost of living is higher than any state (considering that Im from the east coast) should one wait to have an agent then move to Cali or should they move there, settle in, get a part time job then pursue after the animation career?
3.If by some miracle a persons idea gets picked up by a company, they might not immediately give them control over production. Could a recommendation for a more seasoned producer ( like Paul Dini, Victor Cook, or even Brandon Vietti) be made and considered? or is it 9/10 they provide their own producer?
4 (Last one) Animation on live television has changed drastically over the past couple of decades. With online streaming services such as Netflix, Hulu, and even Amazon Prime have shown that people rather binge a season versus figure out what time slot it will appear on television. So my question is, if a person has an idea but would think that idea would perform better on a streaming service versus online television, should that be included in the pitch or should they let the executives worry about that? For example Marvel hasn't made a Spider-Man 2099 cartoon series yet and if it were to be adapted truly it would probably do way better on an online streaming service where people can watch and binge episodes on their own time, versus live television in which a shows lifespan can be cut at any moment.
That's all the questions that I have and I hope I haven't broken any of your guidelines. I hope to break into the industry within the next five years and is willing to do almost anything to make my dream come true. Thank you for your time!
1. Marquis value is always something sought after, but there's no way to predict what a given network or studio is looking for from the outside in. You can come in with a take on Wile E. Coyote, and find out that Warner Bros already has plans for him. So, I tend to advise people to spend their time on something they can own. But it's not a hard and fast rule.
2. I don't know how you get an agent without getting work first. And frankly, I don't know how you get a first job if you're not here pounding the pavement. There's work in New York. And a few other places. But most of the animation writing work is in Los Angeles.
3. How could you possibly get a recommendation to be a producer from anyone if you've never produced? Dude, you have to work your way up through the ranks. Freelance writer. Staff writer. Story editor. Producer. If you come in with a brilliant idea that they're desperate to have, I suppose anything is possible. But it's not likely. Prove yourself. THEN sell your brilliant idea.
4. You can suggest whatever you want. But if you sell to Netflix, for example, of course they're looking at a binge-model. And if you sell to Cartoon Network, of course they're NOT. So try not to limit your options.
Do you enjoy having conversations with people about your work (If they are not asking for spoilers or trying to pitch you ideas etc.
What in the animation industry has changed since you first got into it, for better or for worse?
Tons. And nothing.
The biggest change for me, right now at least, is the end of animation in broadcast syndication and for the major networks, through the rise and (plateauing) of cable stations, into streaming services.
1). You say to fans a good way of showing they want Young Justice to return, is to buy the comics, DVDs, and the game (and the toys still?), but how much would fans have to buy for this to happen? Is there a goal to reach maybe or perhaps just enough to get noticed by DC/WB that it's still something that people want more of?
I would think they'd be more interested in what was selling when the show was still on the air, because that's obviously what Mattel was looking at for it to pull its funding.
2). If by miracle, YJ does get brought back by Netflix, where would the funding come from? Having Mattel as a backer makes it look like it couldn't be made without it. Not every Warner Bros. Animation show has a backer (unless there's a silent contributer), and most of the Netflix shows have a backer (helped by broadcasters who air it around the world), so what would happen with YJ? Would it just be supported by Warner (and DC), itself? And I guess, Netflix.
Well, this is all largely moot now, but...
1. I never had a NUMBER or AMOUNT. It takes more to get a company's attention after a show is off the air, then it takes to keep a show on the air. The other thing to keep in mind is that buying toys (or whatever) second-hand does nothing to get a company's attention. So, for example, I was not advocating buying YJ toys this year, because those toys were off the market. Any purchases were second sales and does nothing for Mattel or WB or DC's bottom line.
2. So YJ's coming back, but I don't know where it will air. The term "backer" doesn't really fit, either. It's about MONEY. Money to produce the first two seasons of YJ came from Mattel and Cartoon Network. (Mostly from Mattel.) When Mattel pulled out, the money from CN wasn't enough to produce the series. Period. For season three, Warner Bros itself is paying for it, for now. They have confidence, I guess, that wherever it winds up and whatever merchandise they may or may not eventually release or license, they'll still make a profit. That's based on what the fans proved over the last few years.
After so many years what is your opinion of the current status of Animation in America?
Second with how animation in motion pictures is telling more diverse type of stories than before with DC having great success with there direct to video animated films having success directed at a more general audience the success of anime as a genre and animation widely accepted as a medium for adult comedy why don't great series of drama action and adventure, intelligent well told stories such YJ fet taken more serious?Why are they seen as directed ot young boys who buy toys?
Let me answer your second question first and work my way through the others from there.
I don't know.
I don't know why animation isn't taken more seriously by the general audience of adults. But the fact is: it isn't. Wish it wasn't so, but it is so. Even Pixar movies are largely viewed by MOST adults only if they are parents taking their children. There are a ton of exceptions, of course. And, of course, parents would rather see a movie that works on multiple levels, so that there's something for their kids, but also something for themselves, i.e. for adults. So parents/adults have learned to expect more from the animated movies of Pixar/Disney/Dreamworks/etc. because they've seen good movies from those companies and have started to learn the difference between a good animated move and a bad animated movie. And what is that difference? Well, your mileage may vary, but it's basically the same difference between a good movie and a bad movie, period.
As for a series like Young Justice, your thinking is backwards. Young boys don't buy toys. How could they? Where would they get the money? Parents buy toys for kids (boys AND girls) based on (a) what they think their kids like and (b) what their kids tell them they like.
A show like Young Justice is PAID FOR by the money that toys bring in. If there weren't toys, there wouldn't be any money to make the show. So, frankly, bitching about the shows being directed to kids for the purposes of selling toys is basically bitching about the show being made at all. Because, again, without the toy component, there is no show. NO SHOW.
That's why YJ didn't get a third season. The toyline failed. (We can spend hours discussing why, but that's another topic.) So no more money was coming in from the toy company. No money. NO SHOW. (Or no third season under that financial model, anyway.)
And I am 100% fine with that. Because I WANT kids watching Young Justice. Like a good Pixar movie, YJ is written on levels. There's plenty of eye candy for younger kids. Explosions, young heroes in costumes, etc. And plenty for tweens, teens, college students, adults and geeks of all ages to enjoy as well. That's the game plan. We have a target audience, we MUST hit, i.e. boys 6-11 years old. As long as we are successful in that demographic, everyone is happy. And everyone is HAPPIER if we also get girls 6-11 and boys 11-13, and girls 11-13 and teens and adults of all genders, etc., etc.,etc.
As for anime, and/or the DC animated movies, they are doing well - or better, at least. But let's not kid ourselves. They are still only serving niche audiences in the United States. They serve geeks of various flavors (myself included). On a grand scale - say, compared to LION KING or SHREK - they're not doing big numbers. They're just not. Fanbases on the internet fool themselves into thinking things are more popular and money-generating than they really are. "I like it and my friends like it and a bunch of strangers on the internet like it, therefore nearly EVERYONE must like it!' But that's a fallacy.
Which finally brings us to your first question: what is [my] opinion of the current status of Animation in America?
I don't know.
Big fan here (I reply to you on Twitter sometimes!) and I thought I'd make use of this site to get some help with my intention to write for television in the future!
First off, I'd like to say how much I love Young Justice. From the moment I finished the first episode, I was hooked. I'm quite a seasoned animation fan but I must say Young Justice is probably one of the best things I have ever watched; particularly it was the animation and writing that drew me in the most. I wasn't really into comic books too much before with the exception of adaptions from TV like Adventure Time, and manga; but Young Justice awakened a part of me that just had to look further into the characters, and now I'm completely taken in by the DC universe, it's so wonderful and for that I thank you for helping to bring Young Justice to light!
The show is truly an inspiration for me; I intend to become a writer for television, animation being my ultimate goal, in the near future. In September 2014 I will be starting a screenwriting course at university. I live in the UK, but hope to move to America in future to have a better chance of landing a writing job in animation.
1) What would you recommend I seek to do when I finish university? Would becoming an assistant at a TV studio help as a start?
2) Do you draw storyboards? I am not very confident in my drawing abilities and I'm worried this might affect pitching and demonstrating my ideas.
3) What are some key terms or quotes that have stuck in your head during your writing career? Things that people have told you and you have remembered and applied to your work?
4) Who are your inspirations? What programmes did you enjoy when you were a kid/teenager?
Thank you so much for taking the time to read and answer my questions!
1. It wouldn't hurt. Get in there. See first hand how things are done. The main thing I recommend, you already plan to do, which is to move to where the work is. Second, WRITE. Third, REwrite. Fourth, PROOFREAD RELIGIOUSLY.
2. No, I can't draw stick figures well. I team up with very, very talented artists.
3. "Less is more."
4. Space Ghost. Speed Racer. Jonny Quest. Herculoids. Anything with Marvel or DC heroes in them. Hill Street Blues. Cheers.
Hi Greg. I am a big fan and I have a copyright question for you . The characters you use in Gargoyles are besides the main cast are mythological. So that would put them in the public domain, but your spin on them is that protected by copyright. Such as Oberon and Titania's connection to Avalon and their devours.
Thanks and Cant wait for Rebels and whatever else you do.
Oberon and Titania, to use your examples, are public domain. But our designs of them are not. And it one began to hew too closely to the backstories we created for them, Disney could, in theory, sue.
I leave tomorrow for MomoCon 2015. More information on it can be found at their website: http://www.momocon.com/
But here's MY schedule for the weekend:
FRIDAY, MAY 29, 2015
BREAKING INTO ANIM 12:30pm - 01:30pm
Main "Villains" Room Omni-International
w/Floyd County Productions
SIGNING 03:30pm - 05:30pm
YOUNG JUSTICE 08:00pm - 09:00pm
Main "Villains" Omni-International
SATURDAY, MAY 30, 2015
SIGNING 11:00am - 12:30pm
ANIM CREATORS 02:00pm - 03:00pm
w/Ben Mangum, Mike Reiss
SIGNING 05:30pm - 07:00pm
SUNDAY, MAY 31, 2015
SIGNING 11:30am - 01:00pm
GARGOYLES 02:00pm - 03:00pm
Main "Villains" Omni-International
That's right! Both Keith "Goliath" David and Crispin "Red Arrow" Freeman will also be at MomoCon!
As usual, at my autograph sessions, I will happily sign anything you bring along with you for free. But I will also be signing and selling copies of my two novels RAIN OF THE GHOSTS and SPIRITS OF ASH AND FOAM. ($10 per book, cash only.) If you purchase both books (signed and personalized for $20 cash total), you get a FREE art surprise. I will also be signing and selling copies of my animation and radio play scripts (from GARGOYLES, MEN IN BLACK, STARSHIP TROOPERS, TEAM ATLANTIS, W.I.T.C.H., THE BATMAN, THE SPECTACULAR SPIDER-MAN, DC SHOWCASE: GREEN ARROW, BATMAN: THE BRAVE AND THE BOLD, THE SPECTACULAR SPIDER-MAN MEETS GARGOYLES, YOUNG JUSTICE, BEWARE THE BATMAN, GARGOYLES MEETS THE SPECTACULAR SPIDER-MAN MEETS YOUNG JUSTICE and KIM POSSIBLE). Each signed and personalized script is $20 cash. I'll also be giving away #RainoftheGhosts AudioPlay postcards for free!
So please stop by and say hello!
1. Did you ever worry that you would be approached to start working on shows you've done in the past while you were already working on one? (Ex: Let's say you were working on Young Justice, but Disney approached you to work on Gargoyles again.)
2. What would you do if situations like that ever came up?
1. No, I should have such problems. I'm usually lucky to find one job. Having two I wanted that badly has literally NEVER come up.
2. I don't really deal in hypotheticals. The realities in front of me are confusifying enough.