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Considering you are part of the TV animation community, has anyone ever tried pitching an animation to a non-kids network ?
Do you think the cable and broadcast networks are too animation-phobic to actually try one out?
I'm not sure if "animation-phobic" is the correct term, but interest is not high.
Hi, Greg, just following up from what you said on twitter. Did you hear the comments Paul Dini made about why shows like Young Justice were not renewed?
Here's a link to the specific clip
And a link to the full podcast in case anyone else wants it
What are your thoughts on this?
For the record, I listened to the clip but not the entire podcast. So if I missed out on some important context, I apologize.
I agree with a lot of what was said, but I don't agree that the executives didn't want girls to watch. (And I'm not really sure that's exactly what was being said, though that's the way it's been reported on that internet thing.) The target audience for Young Justice was ALWAYS Boys 6-11. If we ALSO got girls that was fine. If we got older kids, tweens, teens and adults, that was fine. If we got younger kids, that was fine.
But we had to hit the target: Boys 6-11. And we did to some extent, but not enough to compensate for the loss of our toy line. Anyone who says the show was cancelled because too many people (of any specific demographic) were watching us, is, I think, grasping at straws. It's not that too many were watching, it's that NOT ENOUGH were watching in our target demographic. Even then, if the toys had sold, we would have been fine. But the toy line was cancelled, which took away our financing for the series. And that was that.
You had mentioned that you negotiated with Jeffrey Katzenberg to get the publishing rights for Rain of the Ghosts. Did you attempt to acquire the rights to any other property you developed while at Dreamworks?
I have turnaround rights to pitch a couple of other properties that I developed there.
Now that I've posted all my episode thoughts...(in theory I still plan on doing the same on the comics, but...) I want to say thank you for the series in general. (I'd go into details, but it seems redundant after posting all those responses.) I've thoroughly enjoyed it in all its parts. Well, by the time you read this the video game will be out. [Yep!] I probably will have to sit it out. Pathetic as it is, I have to admit to some motion sickness from a lot of video games. I'm assuming I'll be able to get some pretty detailed descriptions from the good folks here. I hope that there will be other continuations as well. (Also good luck on your new Star Wars series.)
I have to admit to more than a little annoyance that another show I enjoy is canceled, but also some confusion. If I understand correctly one of the major factors, if not the major factor in the cancellation is that the merchandise didn't sell as well as they companies had hoped. Good viewership numbers are almost inconsequential. If this is true, (big if, I admit), I don't understand the business model. Why continue making cartoons targeting the older demographic at all? I know the show aimed for a broad audience, but it aimed for each part directly. A lot of cartoons aim themselves at kids directly, and place bonus references and jokes for the older viewers. I've loved many shows like that. But the complexity of characters and plots in shows like Young Justice is not a bonus for older viewers, it is integral. (IMHO) A relationship like, for example, Guardian and Bumblebee is more relateable to a college or adult viewer than a kid. (I would have gone to Babs and Dick, but that was mainly expanded upon in the comics.) A kid would gravitate to the first season romances, or the M'gan/L'gan/Conner triangle. All the relationships were interesting and important to the show, and none were simple, it's just different parts resonant (from experience or at least plot type familiarity) better to different age sets. (Or for out of YJ examples- In Green Lantern- the complexity of Razor and Ia's relationship- given his past lost love, her resemblance, his survivor guilt and rage issues and her ultimate sacrifice is not something that targets the younger viewers of the show. They'll just accept the two are a couple and enjoy the fight scenes. It was perhaps more integral to the show than any Hal based plot. In Tron the entire looks of the show was aimed older, high teens and 20s would be my guess, and not particularly conducive to action figures to my eye.)
Older fans are less likely to buy toys, (or have toys bought for them), but they also have control over their own finances to buy what is actually advertised during broadcast. Between the 24 hour cable tv cycle and dvrs, grown ups will be watching when kids can't, allowing for targeted ads of the none happy meal/stompies/pillow pet variety. (For the record, my 4.5 year old adores her stompies. ~she's 5 now~) I get that a franchise like DC or Marvel or Star Wars can expect some cross product sales, and even a show not squarely aimed at a small kid can have a cool iconic action figure that sells well. But no one expects Smallville or Arrow to survive on toy and apparel sales, they stays on air based on the number and demographics of viewers, just like Birds of Prey did not last for the same reason. Have cartoons, or at least the beautifully animated ones, become loss leaders for merchandise like comics have become loss leaders for movies? And is that a reasonable burden to place on a show that does not squarely target the audience that will buy those toys? Is a high level video game an attempt to tap into an action figure equivalent of older viewers?
I don't want to turn this into a rant about how annoyed I am that YJ was canceled....er, not renewed. I will admit to being mightily confused why DC Nation isn't aiming to expand into more than an hour of programming. I just assumed it was planned to become a 2 or 3 hour block like the old Disney Afternoon, with perhaps a rotating stable of shows. But I am interested on your more insider insight on what the none creative aims are when a new cartoon is unleashed upon the world nowadays and whether they are reasonable. Thanks,
I think one thing to keep in mind is ratings these days are NOT what they used to be.
Ducktales was a ratings smash. It made it's money by itself. Any merchandising was gravy.
Our numbers on Gargoyles, back in the day, puts the ratings of many of today's quote-unquote top-rated animated series to shame. (And Gargoyles was a hit, but never a home run, ratings-wise. Just a single or double.)
So with lower numbers overall, that means less income is coming in from advertising. Meanwhile, the costs of production have either held steady or gone up. That's pretty simple math, isn't it?
So to pay for the production of these shows, you're counting on other streams of revenue to balance the books - and for an action show that mostly means TOYS.
So if the toys don't sell - for whatever reason - how do you pay for the series?
Whether that's reasonable or not is somewhat immaterial. It's just the cold, hard truth of the situation.
So EVERY show I've ever been asked to produce has a core target that it's trying to reach, and usually that's BOYS 6-11, because the belief is (whether you agree or not) that Boys 6-11 drive toy sales for action figures. Doesn't mean the networks object to other demographics (girls or younger kids or older kids, tweens, teens and adults) ALSO watching. But you still have to hit the target.
Picture it like a bullseye. Concentric circles. You MUST hit the center. But hopefully in hitting that sweet spot, you are also reaching the other demos. Back on Gargoyles, I was farely successful at hitting that target audience AND reaching other demos too. And that has always been my goal on these shows. We didn't quite manage it on W.I.T.C.H. We did on Spectacular Spider-Man. And our success was mixed on Young Justice. Ratings were decent overall (by today's standards though not by any absolute standard at all), but our ratings in our target demo were inconsistent at best. (We could go on forever about why, but it doesn't change the FACT of the numbers.)
Throw in Mattel's decision to abandon their YJ line (again, without going into the reasons behind it), and frankly it's no surprise we weren't renewed.
Because how could Warner Bros afford to make it?
After experimenting for two seasons and 46 episodes of YJ, why wouldn't they take the chance on something new that might bring in more money? Or at least pay its own way?
Frankly, we need a new business model. But the studios haven't landed on one that works yet. So they still chase hits.
Thank you for answering my previous questions!
You have made reference to SAG before, so presumably Young Justice has to abide by SAG rules or get boycotted. I have a few questions related to this and the voice acting part of the production process:
1. How do the voice talent get paid? A flat rate? Are they paid by the hour? By the line? By the episode? Or some variable rate?
2. When you voiced Lucas Carr, did you have to join the SAG union? Or is production allowed to hire non-SAG personnel as long as they pay them differently?
3. You have stated that getting a second character out of an actor entails no added costs. Since it is free, I am wondering why a few actors (Jesse McCartney comes to mind) doesn't get to voice a character other than Dick Grayson. Was it a matter of actor preference, producer preference, or a mix of the two?
4. How long does a typical recording session last? Do you sit in throughout the whole session, or leave it up to the voice director? How many episode(s) are typically recorded in a sitting?
5. When one of the voice actors sing a song (Reach for a Reach, Hello Megan), they get separately credited. Is this subject to a different rate, or is the singing part simply added as a "character" in determining pay?
Thank you, and I hope by the time you are reading this, you've already got several gigs lined up!
0. I'm not sure "boycot" is the correct word. The major studios sign contracts with SAG, that prohibits them from contracting non-SAG labor for their acting needs. They can get around this by SUB-contracting, but most don't on major projects.
1. I don't want to speak for EVERY show. In my experience, a voice actor gets paid a flat fee for four hours of work and up to two character voices. For a tiny additional fee, you can get a third voice. But this holds per episode. So for example, even if you could record one guy playing four roles over two episodes in a single four hour session, you'd still owe him two payments. The fee is negotiable, as long as it's above union minimum. But most series pay the union minimum plus 10% and have favored nation clauses in their contracts, which prohibits them from giving any individual actor a raise without simultaneously giving raises to EVERY actor on the series.
2. I first joined SAG to play Donald Menken on Spectacular Spider-Man, and am still a member in good-standing. No union shop can hire non-union actors.
3. Well, Jesse often DID voice additional characters, like Thug #2 or whatever. But generally, there are some actors who have the ability to change their voice enough that they can convincingly play multiple characters without the audience balking. Others really - as talented as they are as performers - only have their own voice.
4. Sessions typically go three to four hours. But often we'll be there all day. We can only keep each individual actor for four hours without incurring overtime, but we could start one actor at 10am and have him until 2pm. And we could start another actor at noon, and have her until 4pm. And a third at 1pm and keep him until 5pm. That way, we have overlap to record their scenes together, but we also have more time to get everything done.
5. Singing is a separate rate. And it's also an additional character, unless they are singing IN CHARACTER. That is, if Nightwing suddenly burst into song, we'd have to pay an additional fee to Jesse for his singing. But we wouldn't have to count that as a second character (or third, since he's also doing Thug #2).
My friend and I really want to start a comic book company, but we do not know how. I was wondering if you could give us some helpful hints or tips for getting started. Thank you very much for you time and answers.
Hints on starting a company? No, sorry. I don't know how.
1a. When you are working on a series and have to deal with a story bible or design document, is it inclusive of scripts and detail or just an over view.
1b. If they get to large is it common to separate them into their own documents? ex. A document for characters biographies and another for plots/timelines.
2. When changes are made to either a script or story bible do you use strike-through until it is finalized or simply delete the content?
3. When I am working on story boards or scripts I try to make characters actions be causality based and driven by their personality, moral alignment and available options. Is this similar to how you create your story lines?
4. How can I make characters engaging and direct through dialogue in scenes that are relaxed?
5. What is your going rate for projects and would you be interested in working with Mark Crilley or Luaren Faust?
1a. Most series bibles are written in advance of scripts. Mine TEND to be very thorough, including plans for stories, etc. But, no, by definition, it does not include all the details included in all the scripts. I try to update/revise the bible as we proceed. But by that time no one's looking at the darn thing anymore, so keeping the bible on track is a luxury and a low priority and almost always falls by the waysid. I'm not sure what you mean by a "design document".
1b. For a television series that doesn't seem like something that would ever happen. Years ago, I did do the bible for the entire Platinum Comics Universe, and that was so long that I did split it into multiple sections.
2. See above. But I tend not to use strikethrough very often. I tend to just revise.
3. Yeah, pretty much.
4. Get in their heads. Be clear what they want. Be clear on the difference between what they want and what they know they want. HEAR THEIR VOICES.
5. I'm not going to tell you what I get paid. Sorry.
5a. I'm always interested in collaborating with talented folks, but I'm not going to get specific about any individual.
Are you cursed? If so please provide name of curser and last known adress, thank you.
Let's please not perpetuate this "cursed" thing. I mean, seriously, that's all I need. For the next guy who might want to hire me to think I'm cursed and/or incapable of going beyond two seasons.
Why do networks love canceling your shows? Seriously, your shows are always my favorite on any network that they're on, and yet that network always thinks that it's a great idea to cancel it!
It's nothing personal. Believe me. I'd love to indulge my paranoid side and think it is, but it just isn't.
1. When you write an animation spec how much blocking do you put into the episode? My research says I should describe every single twitch of the character's face and body so that the animators in Korea will get everything right. But I wrote a short episode for a company that told me I should only do that if I'm both the writer AND the animator. I should just stick to short details like I would for live action. So who is right?
2. I assume the best way to answer that question is to read examples of animated scripts--Is it possible to obtain copies of Young Justice scripts from season 1 somewhere? Should I go to a script library in LA or attempt to contact Cartoon Network for a copy?
1. There is no right and wrong. Every series has it's own rules. I'd love to say there's a standard, but there just isn't. On MY SHOWS, we use the scripts to direct the entire episode, including camera angles, etc. The actual directors and storyboard artists aren't restricted to doing the script exactly as written, but by being thorough like that, I feel more confident that at the very least, they know what I'm looking for. If they come up with better ideas, great. I don't know that I've ever seen an animation script that was totally Master Shot style, a la live action. But I've seen many that lean way more in that direction. But it's not the way I work.
2. You can. But I don't recommend it. Currently, though we're not thrilled about it and hope the situation changes someday, YJ is dead. You want your spec script to be for a show that's CURRENTLY IN PRODUCTION. On that level alone, YJ doesn't qualify as a good way to spend your time if you're serious about getting work in the industry.
Hello, Mr. Weisman.
These questions are an extension of the previous question I submitted.
6. Before Nielsen ratings were released for animated programs, what size audience had to be attracted in order to keep a show alive on a network? Since you worked on a number of projects over the years, it would make sense that you'd have a pretty good grasp on the matter.
7. How important are Nielsen ratings for animé dubbed into English and subsequently aired on the channels? Ratings for these shows almost never appear on ratings outlets, like Zap2It (http://www.zap2it.com/) and TV Series finale (http://tvseriesfinale.com/).
Thank you for your time.
6. Nielsen ratings pre-dates my professional career - by a lot. (How old do you think I am exactly?) Anyway, ratings mean different things in different times. Before People Meters, kids ratings in general were way higher than after People Meters became standard. There isn't some fixed number that says this is good. Below this is bad. Everything's relative.
7. As important as for anything. Bigger numbers are better than smaller. But a show that's cheaper to produce can get away with lower numbers and skate by. But ultimately, if a program is dragging a network down, it's toast.
Hello, Mr. Weisman.
I had a few questions that pertain to the Nielsen's ratings system.
1. Why isn't there any public information about Nielsen's ratings for most of the animated series that have been on television? Classic cartoons and many of the modern ones have virtually no ratings tied to them. In the past few years, the figures have been released for programs that have performed well for cartoons, such as the animated series that currently air on Fox, Avatar: The Legend of Korra on Nickelodeon, Adventure Time on Cartoon Network not to mention Young Justice, as well as a few other programs on or were on the air.
2. Are networks allowed to request that the ratings for a show be withheld or simply not released to the public? In addition, why are the ratings released for some episodes of animated television programs, such as Young Justice or Scooby-Doo! Mystery Incorporated, while not being provided for others?
3. As someone who has worked on a variety of animated projects over the years, were you given the exact ratings of a program to work with? By that, I mean were the exact ratings made available to you, and if so, who provided them? Or was that information not provided? And did these particular ratings have any leverage on what would go in the animated universe?
4. What were the ratings like for your original animated series, Gargoyles? A search on Google turns up an article, http://www.highbeam.com/doc/1G1-15899915.html, which requires a subscription to read in full, reads:
"Walt Disney Television Animation's Gargoyles new animated show delivered a strong 2.8 Nielsen metered-market rating and an 8 share average over a special stripped debut Oct. 24-28. That was up 33% in share from its,"
5. Are you even allowed to discuss the ratings of an animated program, or is there a contractual obligation that prevents you (and others) from doing so?
Thank you for your time.
1. As far as I know, anyone can PAY to get Nielsen results. But if you don't feel like paying, then you're reliant on getting those results from entities that have paid. Those entities tend to be news organizations (that may not think enough of the general public has an interest in cartoon ratings) or networks (who are only going to display ratings that make them look good and/or suit their current strategy). But I'm no expert.
2. You've got it backwards. Nielsen is a COMPANY that charges for its services. It's not some public forum that networks have somehow forced to withhold info from you. If you really want the info, go pay for it.
3. Very inconsistently.
3a. For example, on YJ, we occasionally got ratings reports from CN via our bosses at WB.
3b. Often, we got no info.
3c. Absolutely not, because by the time ratings came in we were way past committed to whatever creative decisions had been made. Whether those numbers effected air dates, hiatuses (hiatusi?) or pickups is a your-guess-is-as-good-as-mine thing. I haven't seen enough of the raw numbers myself to make an evaluation.
4. As I recall, during our first season on Gargoyles, when we were weekly, our ratings were very strong. Our second season, when we were on five days a week, was during the peak of the Power Rangers craze, and although our ratings were solid, we were consistently beat by that show, coming in at number two for our time slot week after week after week.
5. There's no contractual obligation, but there are political considerations. Plus, as I said above, I'm not always informed. And I'm not fond of passing on rumors or making half-assed guesses.
Facts and Fiction about "Deadly Force".
We got a shout out here:
15 Temporarily Banned Episodes of Popular TV Shows
"Deadly Force" made #5!!! Which is very, very cool!
It's ALWAYS nice to be talked about, and I don't want to sound like a churl, but in the very short paragraph describing the situation, there are at least four errors. Here's the original text from the website:
5. Gargoyles, "Deadly Force"
While pretending to use a gun in "Deadly Force," Broadway accidentally shoots Elisa and attempts to cover up his crime. Although this episode was initially pulled from the rerun cycle thanks to objections by advisory groups, it was eventually re-aired after editors removed some of the blood from Elisa's shooting. It has since been added to the DVD collection.
Error #1: Broadway wasn't "pretending to use a gun". He was playing with an ACTUAL gun, pretending to be a cowboy. (This one may sound nit-picky, but I don't think the original phrasing is clear at all.)
Error #2: "[Broadway] attempts to cover up his crime". Not really. He's so afraid and ashamed, he runs away and hides. When Goliath accuses Dracon, it takes Broadway a few minutes to own up to his culpability. But there's no attempt at a cover-up.
Error #3: "[T]his episode was initially pulled from the rerun cycle thanks to objections by advisory groups..." That's untrue. In fact, the REVERSE is true. Advisory Groups LOVED this episode. For example, we got a positive write-up in Madeline Levine's "Viewing Violence", which I can tell you was not overly kind to most animated television series. No, the truth is we were fine when the series was in syndication and when it was rerun on the USA network. But when it moved to what was then called "ToonDisney", a new group of Disney S&P execs over-ruled what our original S&P exec had decided and ignored ALL the good press that the episode had received. Thus (for a long while), TPTB removed it from the rerun rotation.
Error #4: "...it was eventually re-aired after editors removed some of the blood from Elisa's shooting..." Again, this is inaccurate. The episode aired ONCE with the excessive blood, because Frank Paur and myself didn't get the retake with less blood back from Japan in time. WE were the ones who wanted less blood, because (a) we didn't want it to appear that Elisa had already bled out and (b) that much blood seemed distracting, like we were trying to get away with something instead of trying to tell the story. By the episode's second airing, the retake was in and the episode aired multiple times with less blood in syndication and on USA before the series' reruns moved to ToonDisney, and the version with less blood was pulled from the rotation. It's reinstatement had nothing to do with quantity of blood. It was originally brought back for Halloween marathons - I suppose because TPTB at ToonDisney thought they could get away with it on Halloween. Then later, when we began airing VERY, VERY late at night, I suppose they figured there was no reason not to include it.
Anyway, so there you have it. Still glad we were mentioned, but I figured I should set the record straight on these points.
I'm sure you're all still wondering why my presence here at ASK GREG has been so minimal. I'm still quite swamped with work, but I wanted to try to post a little something...
1) Reading the Stargate bible, have ever considered a Star Trek animated series? I know Paramount is very strict on that property.
2) Will you ever do another series of your own creation?
Thank you very much. Have a HAPPY NEW YEAR!
1. I'd love to do one, but no one's asked me. (Keep in mind, I was asked to develop Stargate. I don't just go out and independently develop series based on properties that somebody else owns.)
2. Again, I'd love to, but no one's bought anything original that I've pitched in a VERY long time.
Young Justice: Invasion is the only comic series I've bought regularly (came close with the Jaime/Blue Beetle one couple of years ago). Like the TV series it's got a great mix of characters and tells a bunch of engaging stories at an all ages level. I love being able to read a series and share it with my younger brother (So many of the 'normal' series are intensely violent and feature sexual assault so often...).
So, thank you and your staff for making this series so great! It's always sold out at our local store. I'm sorry to hear that it's ending in two months.
What are your thoughts on how to keep comics relevant and get them to people, particularly younger crowds? Are downloads making a difference? Would releasing more series as longer graphic novels twice a year rather than shorter monthlies help? What about the content? Thanks for your time!
I don't claim to be an expert on these topics. Generally, I just write the kind of stories that _I_ would like to read.
Hello Greg Weisman, thank you for this interesting opportunity. I'm a big fan of Young Justice and it's great to see another great DC show around. I'm sorry to say this is the first show by you that I've watched (I should fix that). Snappy writing, fun undercurrent of mystery, and from what I understand is a staple of your shows, not assuming your fans are incapable of following an ongoing plot line.
I love the fight scenes in the show. Very fluid animation; and I enjoy in particular when the "normals" get to cut loose and drop some martial arts on each other. I also find it fun when Superboy gets to utterly wail on people.
Anyways, I have a question that has been plaguing me in recent years. I'm not sure if the answer varies from show to show but here it is. How much say do the writers get in the crafting of the action scenes? Do you guys lay down some guidelines for what must happen in a fight or do you ultimately leave it up to the animators and/or artists?
Well, there's my question that quickly devolved into a multi-question, I'm sorry. But, please, keep the awesome coming man! I hope this show keeps on keepin' on! Six seasons and a movie!
Every series is different. On YJ - and most of the shows I've produced - I make sure that the script spells out the action in real detail - in part to attempt to assure that we're not winding up with an episode that's too long or too short. Having said that, I then am happy to have our board artists, directors and my fellow producer (on YJ that's Brandon Vietti) go to town and PLUS the action and visuals. But I do get approvals on all this to make sure we're staying on point with our story and not doing stuff that's out of character or off-tone for our series. Then you have the timers and, of course, the animators contributing too.
I just read a comment there about shows being leaked on youtube. Not taking away from what you creative guys do but I think a lot of the blame should go to how the industry is structured. Taking Young Justice for example, If you live somewhere like America were Young Justice is screened on tv, catch up service on the Cartoon networks website(probably), available for purchase digitally from Itunes or Amazon or on a region 1 DVD, then there's no excuse. But due to international copyright laws that's not the case for those outside of the US, the show hasn't been made available to purchase in any way.
And it goes both ways. There are popular european tv shows, particularly british shows that US citizens want but can't purchase due to the DVD region system. Or if they can they are expected to wait for two-three years possibly, indefinately. Look at Gargoyles. It's only been partially released in the US, there's been zero releases to the rest of the world.
The best way to discourage piracy, in my opinion, is to make content available universally, so people are actually able to purchase the SAME content at the SAME time. If not through DVDS then digitally. I don't know why the entertainment has such a problem with this?
I'm very much in favor of entertainment companies making their product available.
Hi Greg! I looked through the archives and found that you previously mentioned that the first couple seasons of Gargoyles cost $400k-500k per episode to produce.
Assuming the cost of haven't changed dramatically, it seems as though animation is cheaper than the standard scripted network show. Given that, I'm surprised there aren't more animated shows on the major networks, especially with anime so popular in the US now, particularly among older audiences.
I think the only weakness to Young Justice is that it feels like the stories are big enough to fit in a whole hour, but are being condensed to thirty minutes. Again, assuming the cost of animation is in the ballpark of what it was for Gargoyles, an hour-long show doesn't strike me as financially prohibitive.
1. Can you say how much Young Justice costs to produce? A ballpark would be fine if you can't/don't want to give exact numbers.
2. What are your thoughts on the lack of non-Fox/non-comedy prime-time animation? Do you think this is something that can change in the future?
3. Do you think we might one day see hour-long dramatic animation? Did you ever consider making YJ an hour long?
Thank you very much for many excellent shows and opening yourself up for questions from the community!
Your assumptions are faulty. Animation and anime have not - in this country - hit the kind of critical mass among adults that you seem to think they have. A few comedies, like Simpsons and Family Guy have worked in primetime, but others have failed. Even the great BATMAN THE ANIMATED SERIES - which was a huge success in the afternoons - didn't fare well in primetime.
In addition, costs HAVE changed dramatically. Budgets have not, but that means we have to learn to do more with less, generally.
More important is the issue of shelf space. An hour - per conventional wisdom - is a LONG time for kids to sit and watch an animated show. We're told, with some evidence to back it up, that they get bored. And kids still define the economics of most animated product. So if you are going to use up the VERY limited shelf space that any network has with an hour show, it darn well better kick some major butt in the ratings. Because otherwise, for nearly the same money, they could put on two shows (if not four) and have twice (or four times) the opportunity to grab the audience.
In fact, the trend isn't to longer shows, but to SHORTER shows. 11 minute episodes.
So with all that in mind:
1. No. That's proprietary information I'm not authorized to reveal.
2. Yes, I think it can change. But I won't pretend it would be easy to change the corporate culture that doesn't believe in this notion at all. What it takes, of course, is one network taking a chance on one show that's SO GOOD, that it's a hit in defiance of that culture and all conventional wisdom. That would break the floodgates. The inevitable result would be a lot of crap would go on the air, fail, and the conventional wisdom would come back into play with a vengeance. The one hit would be the "exception that proves the rule" and that would be it for awhile. That's what happened after Simpsons. (Who remembers Fish Police?) But the door would be open at least a little. Over the very long haul change is possible.
3. One day? Sure. In fact, I hope so.
3a. I'm not saying it's never crossed my mind. I'd love it, of course. But (a) it's not up to me, and (b) it's never been a realistic possibility.
The first season of "Young Justice" takes place over the course of half a year, starting on the Fourth of July and continuing to New Year's Eve in the Season One finale (with episodes set on Halloween and Thanksgiving along the way). I remember that the first season of "The Spectacular Spider-Man" similarly stretched from the start of the school year in September to Thanksgiving (with a Halloween episode along the way), and that the second season got up at least to Valentine's Day. The time progression in "Gargoyles" was more vague, but we had two Halloween stories ("Eye of the Beholder" and the Double Date story) and three wintry episodes in New York ("Her Brother's Keeper", which ends with a snowfall, "Re-Awakening", and "The Price"), as well as a clear timeline for the Stone of Destiny story.
I like this sense of the year's progress through the seasons and landmark days (like the Fourth of July and Halloween), but it doesn't seem that common in animated series outside your own work. I've seen two speculations on why that element is so rare in animated series. One is that a lot of the people who engage in such creative work aren't big on continuity and change, far less than you are. Another is that most people involved in creating animated television series live in or near Los Angeles and other parts of California, where the climate is pretty much the same year around and there's less a sense of four seasons than in other parts of the United States. I was wondering what your thoughts were on these theories.
Both these theories seem valid to me, but they probably pale from the economic explanation: if you progress through the seasons then you have to redress backgrounds and characters, and that's expensive. Me, I believe it's WORTH the expense. But that's only true if you're really going to DO something with it. If you're not, then there's not much point. (We also did it on W.I.T.C.H. by the way.)
Just watched Downtime and it was a great episode! I'm impressed by the amount of detail in the choreography and backgrounds, and the number of voice actors you had in the episode. While I thought cutting from scene to scene of each YJ member during their downtime would be a bit choppy, it was actually very insightful, and it made it very realistic to see each of their lives.
How do companies decide what kind of budget to give to cartoon shows? Some older cartoon shows (ie from the 90s) had worse animation as the series progressed. I noticed the even the batman's animation wasn't as good as its earlier days(although still never went that bad).
Have you or brandon watched avatar the last airbender? I feel your show is taking some cues from the show (ie, the water sorcery, the diverse locations the team travels to each ep).
I have a question about aqualad. He obviously does not live at mount justice so would he not return to atlantis when he's not crime fighting? So wouldn't that mean he sees tula and garth still? Or is he that busy?
Let's answer these in reverse order.
As I've MENTIONED BEFORE, Aqualad DOES go home to Atlantis (the continent/country) between missions. He just doesn't live in the city of Poseidonis, so that, yes, a couple months had passed since he had last seen his friends. He was surprised that it had been that long. But time flies, you know...
I don't know about Brandon, but I've begun watching Avatar with my son Benny. We're near the beginning of Season Two. I like it. I don't know how much of an influence there's been, since we started YJ before I started watching Avatar.
The way companies decide on budgets is an arcane science beyond my pay grade. But guys like Brandon and myself make it our mission to squeeze as much onto the screen from whatever budget we have.
I'm sure it's cliche and you're tired of hearing it by now, but I loved Gargoyles as a kid and continue to do so...I guess there's no need to go into any more detail than that. Just wanted to start off by saying thanks for all the hard work.
Anyways, onto the questions:
1. With the Marvel/Disney merger, what are the odds now that we'll see you pick up where you left off on the Gargoyles comic?
2. Does SLG still own all the rights to the comics you wrote for them or is it all owned by Disney and thus now a part of Marvel as well?
Now that the semi-practical questions are out of the way, time for my far nerdier side to kick in:
3. If asked to do a Marvel/Gargoyles crossover, who would be your first choice in Marvel character to cross over with? And since it's likely to be Spidey, who's your second?
4. Have you been approached about bringing Gargoyles into a future Kingdom Hearts game?
1. I don't know that the Marvel merger has any effect on Gargoyles.
2. For starters, Disney owns Marvel, not the other way around. Marvel has no control or say over Gargoyles. But I don't know the specifics of the Disney/SLG deal or who owns the reproduction rights. I do know that Disney maintains ownership of the intellectual property including anything added in the comics.
3. Uh... I'm not that excited about the idea at all. But I guess the Defenders.
Sneaking in a question or two at work lest I start falling far behind again. I apologize if I overlap anything already asked, I've been trying to avoid Spiderman spoilers. I have a stack of set aside responses for after the rest of the season airs. (Though I wonder if I should have bothered; what I didn't pick up just skimming I probably read checking the 'waiting to be asked' que. Oh well...)
First- Love the show.
I did have that first reaction to still art some did thinking it looked a little young, but between prioritizing fluidity of motion for the web slinger on the one side, and not getting that overly static look from being too faithful to the comic art on the other, I am completely won over.
Also, I am not terribly well versed in Spidy lore. (It's too expensive to get hooked on two major comic universes and I started on DC first.) Despite not getting all the references, the deference shown to the history, right down to mining the comics with the intent of not creating a single new character, really shows. Very impressive.
I thought it was particularly classy to post the credits of the episodes because they went by too quickly to be seen on screen. I assume people like working with you because they know they are not taken for granted. (Just like changing the "Staring..." in the opening credits shows respect to the characters. Love that.) I do wonder -
1- If each episode is written by a particular person or team, what do the staff writers do?
2-If you already have a voice director, what does 'casting' do? Or does the voice director not choose talent too? (I think this question was more involved when I scribbled it on my note sheet months ago, but I didn't write out the details and no longer remember.)
3- How did Cheeks Galloway end up with that nickname? I took a glance at his website and saw his autobigraphy is named "Cheeks Unclenched" Much mirth followed.
1. Most of the writing is done freelance. That is, they get paid a fee to write a script. And they don't have offices with us, but work out of their homes or wherever. Our staff writer on Spidey, Kevin Hopps, was paid by the week and had an office at Sony TV Animation. He's still writing scripts, just like the freelancers, but he's also there to bounce stuff off, which given the way I work, is a hugely important resource. He also did things like writing the audition sides and other small tasks, and he really helped break the entire second season with me.
2. Well, in our case, our voice director and our casting director were the same person: Jamie Thomason. But you could have a casting director (in charge of casting various roles) who doesn't actually direct the actors' performances, which is what the voice director does.
3. That's really not my story to tell - and I couldn't do it justice. But "Cheeks" refers to the anatomy you think it does.
Hello I was just wondering if you could help me with something I know you've answsered questions like this before but this one is different. I think that I would like to write lyrics and get paid for it haha I was just wondering if this is a real job? I know your not in the musuc bussiness but you are a writer and have written music before so any help would be apprciated. Were would I go with this? And who do I talk to to make this Happen? Thank you very much for your time and any help you can give, I really appriciate it!
I wouldn't personally want to do it for a living, but it's fun to do every once in a while. But I'm afraid I have no career advice to give in this area beyond confirming, that yes, some people do lyric-writing for a living.
What is youre opinion of the script writer's strike going on in New York and Los Angeles?
I believe that the writers are 100% in the right. And I wish that my guild, the Animation Guild, was able to get residuals -- ANY residuals -- for its writers.
"4. Would Disney ever consider selling the rights to Gargoyles?
No. They won't even let go of Clarabelle Cow. They don't want to take the risk that someone else could make a mint on their property and make them look bad."
"Clarabelle Cow" is actually a bad example, I think. She's making regular appearance in Non-US Mickey Mouse stories, acting as best female friend to Minnie Mouse.
You're talking LICENSING, not selling the rights. Clarabelle acting as Minnie's best friend does not mean they've sold the rights... unless you think they've SOLD THE RIGHTS to Minnie Mouse. (And just to be clear, they HAVE NOT.)
These are two very different financial concepts.
Non-US Mickey, Minnie or Clarabelle stories are under a licensing agreement. But Disney retains the rights.
It's the difference between leasing a house and selling one.
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