Chapter XVII: "A Lighthouse in the Sea of Time"

Written by Brynne Chandler Reaves & Lydia C. Marano
Story Edited by Michael Reaves

Well, I watched "Lighthouse" again last night with my family. First thing I noticed was the bad "Previously" recap. This is all my fault. The recap features Macbeth, because I wanted to make sure the audience knew who he was. But that blows out the first act surprise reveal that he's behind it all. Up to that point in the story, you'd be thinking Xanatos. But because of the dopey recap, you know it MUST be Mac. Later in the season, after I got hammered over these recaps by the folks on the Disney Afternoon e-Mailing list, I learned never to put anything into the recap that wasn't revealed in the first five minutes of the show to follow. But here's a perfect example of me screwing up my own mystery.

We introduce archeologists Lydia Duane and Arthur Morwood-Smythe. Dr. Duane was named after writers Lydia Marano and Diane Duane. Professor Morwood-Smythe was named after writers Arthur Byron Cover and Peter Morwood. Arthur is Lydia's husband. Peter is Diane's husband. I don't know anyone named Smythe.

Macbeth episodes, at least up to this point, seem to be cursed with mediocre animation. (Of course, everything's relative. Mediocre on Gargs was still better than most series got. But relative to our expectations, this ep is pretty weak.) I bet Elisa would have really looked cute in that red baseball hat if the animation had been even slightly better.

I don't know how clear it is in the prologue. The idea there, was that the wind was blowing through the lyre. The haunting sound drew the archeologists further into the cave. They read the warning which indicates that the seeker of knowledge has nothing to fear, the destroyer everything. They are supposed to hesitate, look at each other, decide that they are seekers not destroyers and then open the chest. Merlin's clearly put a safety spell of some kind on the chest. An image of the old man appears and basically checks to confirm whether the archeologists are in fact seekers or destroyers. Satisfied, the spell disipates. But you can imagine what would have happened if a Hakon type had stumbled in.

Anyway, it never felt like all that came across. Did it?

Brooklyn (re: Broadway): "Ignorance is bliss." In High School, I had a classmate named Howard Bliss. We had chemistry together with Mr. Miller. Mr. Miller once asked the class a question that we all should have known. No one knew the answer, and our own idiocy generated laughter among Miller's students. He just shook his head and said: "Ignorance is bliss." He forgot that he had a student named Bliss. It generated more laughter. I don't know why I told you that. But it's what I thought about when Brooklyn read that line.

There's a semi-heavy-handed "Read More About It" feel to the clock tower conversation regarding Merlin. Goliath practically quotes those public service announcements, saying there are many books about him in the library. I don't mind. I had wanted to cite a few actual books -- like Mary Stewart's THE CRYSTAL CAVE -- but our legal department wouldn't give us clearance for that. Very short-sighted.

A connection is made between Merlin and the Magus. This was not an accident, as at that time, I had planned to have the Magus journey with Arthur on his Pendragon quests to find Excalibur and Merlin. I later changed my mind. But the Magus does at least play a Merlin-esque roll in the Avalon three parter.

I always wonder who was playing in "Celebrity Hockey" that night.

Macbeth's standard Electro-Magnetic weapon was my idea. I didn't design it exactly, but I did make crude little drawings of something that looked vaguely like a staple gun, with two electrodes that generated the charge. I was always proud of that weapon. It was uniquely Macbeth's (and Banquo and Fleances'). Set him apart from all the concussion, laser and particle beam weapons we used elsewhere. (I did the same kind of thing on the Quarymen's hammers.)

It's fun to listen to B.J. Ward voice both sides of the confrontation between Fleance and Duane.

Banquo's model sheet showed him squinting out of one eye. Some episodes, not so much this one, but some took that to mean he only had one eye. So he walks around looking like Popeye for the entire episode. (His big lantern jaw helps accentuate that.) There are a couple of Popeye moments in this ep. But more in his next appearance I think.

It was my idea to just have Mac's mansion rebuilt without explanation. I don't exactly regret it, but it's kinda cheap. We burned it way down. He has it rebuilt. It makes sense. But we usually dealt with consequences more than that.

When he rebuilds it, he installs those cannons. They were supposed to be giant-sized versions of the hand-held E-M guns. But they don't come off that way. Instead they fire at the gargoyles. And mostly seem to destroy the various turrets of Macbeth's own place. Ugghh.

As in "Leader" we get another scene of Goliath and friends confronting Owen at the castle. Looking for Xanatos, when in fact Xanatos isn't the threat. It made sense in both episodes. And it's always nice to showcase Owen a bit. But after two of those in four episodes, I wasn't gonna do that again. (At least not until KINGDOM.)

I love the "Macbeth Theme" that Carl Johnson created for the villain, which is featured at the end of ACT ONE.

Macbeth opens the "second scroll" and starts to read Merlin's seal. This caused tons of fan confusion, as he read "Sealed by my own [i.e. Merlin's] hand". No one seemed to get that he was reading that. They thought Mac was saying that he [i.e. Macbeth] had sealed the scroll. Of course that notion renders the whole thing confusing as hell. But it never occured to us that anyone would take it that way.

We also introduce Jeffrey Robbins and Gilly in this episode. Gilly is of course short for Gilgamesh, one of the legendary characters that Robbins once wrote about. It's just a bit odd, because Gilly is a female.

Robbins is a very cool character. Wish we had had the opportunity to use him more.

I like how when Robbins and Hudson are introducing themselves, Robbins gives his first and last name. Hudson says, I'm Hudson, "like the river". An echo of how he got the name. And a reminder that names aren't natural to him. Even if they are addictive.

John Rhys-Davies is just fantastic as Macbeth. I love his speech to Broadway. It accomplishes everything we needed it too. That line about the "human heart" by the way is a reference to the Arthur/Lance/Gwen triangle.

I also love his line: "I'm Old, but not THAT Old." This was a little hint to what we'd reveal in CITY OF STONE. Sure Macbeth's from the eleventh century, but not the fifth or sixth. It's like someone saying to someone my age, "So what did you do during World War II?"

Lennox Macduff. That was a cool touch. Also a hint as to how Macbeth feels about Shakespeare.

I like the Phone Book scene too. Hudson says "Hmm. Magic Book." Robbins replies: "Aren't they all." Great stuff.

By the way, as Robbins goes through the phone book, scanning names, he passes "Macduff, Cameron". One of my college roommates was Cameron Douglas, who was really interested in his Scotish heritage. That was a mini-tribute to him.

My daughter Erin reacts to the fact that Macbeth threatens to use Merlin's spells on Broadway. She points out that Macbeth had promised to let Broadway go after he had the scrolls. She's surprised he hasn't kept his word. My wife at that point reminds Erin that Macbeth is the villain. Erin gets that. But you can tell it isn't quite sitting right with her.

Later when Macbeth DOES let everyone go without a struggle, Erin is clearly not sure what to make of him.

And on one level, that's exactly as we wanted it. Macbeth is a troubled guy -- a hero who's devolved into a villain. A suicidal villain on top of that, though we hadn't revealed that yet. But he is a villain. Later, it's debatable, but here he's taken to being an ends-justify-the-means kinda guy. And even his ends are hazy at best.

I love Broadway's "precious magic" speech. It's so wierd hearing poetry from the big galoot. But that's so Broadway. The soul of a poet. Bill Faggerbakke was a huge help.

And I love Robbins "They are lighthouses in the dark sea of time..." speech. I love that it's not exactly the title. Brynne and Lydia did fine work on this one.

I wonder what happened to that lyre?

Chapter XV: "Metamorphosis"

STORY EDITOR: Michael Reaves
WRITERS: Brynne Chandler Reaves & Lydia Marano

The first appearance of Anton Sevarius and the MUTATES: Maggie the Cat, Fang and Claw. Derek had appeared before, but this was TALON's "first appearance" as well.

In our original development, the Talon character was called CATSCAN. He wasn't Elisa's brother. In fact, he was sorta Sevarius. That is, he was the scientist who created the mutagenic formula. At first he works for Xavier (Xanatos), but later -- when he realizes that Xavier was responsible for the "accident" that turned him into Catscan -- he tries to hunt Xanatos down, forcing Goliath to actually protect Xanatos in order to save Catscan's soul. This version of Catscan was basically the inspiration of my good friend Fred Schaefer, who was a Disney Development Associate at the time. Part of the team. Oh, and Catscan was a solo act, there were no other Mutates. And he didn't have wings either. He fired some kind of radiation bolt from his eyes.

Later, we began to prep Derek for the Catscan/Talon role. I don't remember if we knew Derek's fate way back in "Deadly Force", when he was introduced, but we definitely knew by "Her Brother's Keeper". One of the reasons we made him a pilot was to give him some flight background to justify how quickly we needed him to learn to fly. This was emphasized HERE by putting him in a glider.

Anton Sevarius became a separate character obviously. Michael Reaves, I believe, came up with his name. At first, I didn't like it. I thought it was too cartoony. Now I think it suits him.

Rereading my memo, it seems I was thinking of Brent Spiner to play Sevarius. I hadn't remembered that. Of course, no one else could be Sevarius except Tim Curry. And Brent was a perfect Puck for us too. So all's well that ends well. (But can you imagine if somehow the rolls had been switched?) Tim has some great lines here: "...Or has that changed?" is one of my favorites. He's so hungry.

FYI - That's Jonathan Frakes voicing Fang's one-liner in this episode. We couldn't afford to hire a separate actor for one line. So Jonathan stepped in. Of course, later Fang was taken over by Jim Belushi. But I don't think anyone noticed.

Gotta love the Snidely Whiplash reference.

As I mentioned in my last Ramble on "Leader", Xanatos' plans were getting more and more sophisticated. Here we had two humdingers in a row. The one in "Leader" is just a lot of fun. This one is cruel. Throughout the story, we (I think) tend to believe in Xanatos' mea culpa and his outrage regarding the Mutates ("They'll crucify you. And if they don't, I WILL!!"). Why? Because he's so darn likable we want to think well of him. (Who was fooled? I'd like to know.) Also his story rings true. When he tells Sevarius, "I've been in prison before." We know he has. We believe he could take it again. It's that touch of truth amid the lies that makes him so sharp.

And Owen was complicit. On one level, that shouldn't be surprising, yet there's something of the Mr. Spock about Owen. As faithful as you know he is, you don't actually expect him to lie.

And frankly, the plan is SO complex. I hope it's believable when all is said and done. We made a real effort to make sure that it could have worked, that if it hadn't gone EXACTLY as depicted it would feel like there would have been alternative scenarios that would have generated the same result. Of course the master-stroke is Sevarius' death. Our S&P executive raised an eyebrow over that, as she finished reading Act Two. Fortunately, she was the type who finished the script before knee-jerking us with an objection. We got away with depicting a violent death on-screen -- because it was fake. (But who was fooled?)

We tried to play fair with a number of clues throughout. We used Xanatos' own security team as the "hired mercenaries" that Sevarius was using. Only Xanatos checks Sevarius' pulse. When Matt and Elisa are later investigating the scene, there's no body and NO CHALK OUTLINE either. They have no idea that anyone even theoretically was supposed to have DIED there. And Sevarius is SO OVER THE TOP. That should have been a stylistic clue. It was way fun to do -- and it took great acting on Tim's part to act that badly and still make it play.

For once the script came in a tad short. So the board artist added the bit where the gargoyles break out of stone and we see the debris rain down on the people below. Pigeons fly off into the night. (Just a little touch of realism.) Very nice.

I was never too fond of Elisa's Zen Master joke. Still, in the comic book story I wrote before the Marvel comic book was cancelled, I created a Zen Master character. (Just compulsive I guess.)

My original plan for Gen-U-Tech was to abreviate its name as G.U.T.S. As in the company that twists yours up. (The full name is Genetic Undiscovered Technical Systems.) Instead it became Gen-U-Tech, which is probably better. But I can't remember who made the change. The script has plenty of GUTS references in the descriptions. But it may have escaped my notice that it has none in the dialogue. And the logos designed all read Gen-U-Tech, not guts. I wonder if Frank & Michael were slyly protecting me from a mis-step?

I like the conflict between Brooklyn & Broadway here. All the interplay with the trio is very well handled, I think. Were people really rooting for Brooklyn & Maggie to wind up together?

Not our best animated episode. Both the modeling and the animation leave a bit to be desired. Derek's ears look mid-transformation long before he's hit with that dart. Makes me cringe, but I guess if the audience isn't expecting him to get changed, they don't notice the subtle pointyness to the ears, until after the contents of the dart are revealed. But on a second viewing...?

Maggie Reed: "I'm from Ohio." As if that should explain EVERYTHING. I love that line.

"Morgan Reed", by the way, was one of our may early names for what eventually became Elisa Chavez, Elisa Bluestone and finally Elisa Maza. (I never waste anything.)

Observations from my daughter Erin:

1. "I like the click of their boots." [Erin complimenting the foley during the recapture of Maggie in the alley.]

2. "His hands ARE tied!" [My clever Erin catching the irony. Elisa says "My hands are tied." Brooklyn responds, "Well mine aren't." But then he turns to stone, prompting Erin's observation.]

3. "Hudson and Bronx always stay home." [Erin commenting on our proclivity for leaving Hudson & Bronx behind at the castle or clock tower when Goliath and the Trio go off. It is kind of a rip.]

Another great series of endings and false endings.

Xanatos tells Owen to bring him the "best geneticist on the planet."

The gargs arrive and fight the Mutates. Elisa arrives. Xanatos asks her to "stop this senseless violence". [Ahh, what a lovely bastard he is.]

Maggie makes the accurate observation that Brooklyn wants her to stay a monster. And yet despite that incite, she clearly still believes that both she and Brooklyn ARE monsters. She's as bound up in appearances as he is.

Talon names himself. It's kinda odd. But I think it works.

Elisa declares war on Xanatos. And for a split-second it registers on his face. Something has actually given him pause.

And then Owen brings in the best geneticist. I still wonder if it's immediately clear that this "new guy" IS Sevarius. He looks SO different. And Tim wasn't using the hoky accent anymore. Was anyone else confused, even momentarily? But anyway, it's another stunner Xanatos Tag. Did your eyes bug out? Or did you know by this time?

And finally, back to the Tower. Brooklyn is in a funk. But Elisa...

This entire episode is obviously a direct sequel to "Brother's Keeper". Right down to the end. In the end of that one, Elisa can do nothing but stare sadly out at the snow. But we're past that now. Now she cries. Xanatos doesn't wind up with the Mutates, though he correctly predicts there eventual return, but this is his clearest victory yet. The Mutates blame the gargs. Talon still believes X is his best chance at a cure. And he has an emotional and physical weapon against Elisa and the gargs. I was proud of us for ending a "cartoon" on such a relatively down note. Can't always have happy endings. How many people were surprised we ended it that way?

That's it. Comments welcome...

SEASON TWO

Well, my plan had been to finished transcribing the "Leader of the Pack" outline memo. Then start on my new ramble on seeing the episode last week. However, I'm at home today and the only copy of the memo is still at the office. So I'll finish the memo soon. Meantime, here's a ramble that "Leader" inspired with a little background info on the transition to Season Two...

So the second season begins. And we had a new system in place. Tiers and tentpoles. As you may recall from a previous ramble we had run into huge scheduling difficulties with "Enter Macbeth". The animation had come back very problematic and the nature of the story was such that we couldn't air it out of order. I received a mandate to make sure in Season Two's fifty-two episode killer schedule that we do everything possible not to run into that kind of problem again.

Trouble was, I liked the sequential nature of the series. If all the episodes could air in any order with no effect on each other then how could the characters grow, evolve, change? How could the situations?

My solution was tiers and tentpoles. We would create tiers of episodes that could air in any order as long as they aired BETWEEN their tentpole multi-parters. We'd pay special attention to the Tentpole episodes to make sure THEY didn't get into production trouble that would derail the entire airing schedule. But if an individual episode within a tier ran late, we could skootch another one forward without causing any harm.

Tentpole One was retroactively set as the "Awakening" five-parter. Tier One was retroactively everything between that and "Reawakening", which became Tentpole Two by default. (Now obviously the Season One airing order was very important, but they had aired already, so I didn't have to worry about them anymore.)

Tentpole Three would be the "City of Stone" four parter. Tier Two would include eight episodes: "Leader of the Pack", "Metamorphosis", "Legion", "A Lighthouse in the Sea of Time", "The Silver Falcon", "The Mirror", "Eye of the Beholder" and "Vows". In theory, I was supposed to make sure that these eight could air in any given order.

In practice, it never turned out to be that simple. For example, how could I air "Vows", the episode where Xanatos & Fox wed before "Eye of the Beholder" the episode where they get engaged? I wound up having a strong order preference for ALL 65 episodes. Tiers and Tentpoles be damned. But the truth is, the system served us well. It did tend to keep us on track. Creatively, it allowed us to build to strong multi-parters. And we rarely ever HAD to air episodes out of my preferred order. We only screwed up twice. "The Price" aired too soon. "Kingdom" aired too late. But only someone paying VERY careful attention would notice that. (Of course, anyone fanatical enough to be reading this was probably one of those people paying VERY careful attention.)

So anyway, "Leader" was my choice to open the new season. Lots of action. Some really great twists and turns. Some great character moments. It all seemed like a great way to intro potential new viewers to the series. BTWE, is there anyone out there for whom "Leader" was their first GARGOYLES episode? I'd love to hear from you here at ASK GREG.

We made other changes off the first season, as well. We had rebuilt the opening titles sequence to include some new footage. Keith David/Goliath's narration was added as well. This was written by Gary Sperling and myself. And hotly debated around our offices. Hotly debated inside my own brain as well. Frank Paur and I both felt that the titles were more powerful, more dramatic WITHOUT the narration. But we wanted to make sure that the series was still accessible to new viewers. The narration would serve the same function as the GILLIGAN'S ISLAND theme song. If you missed our pilot, you could still get the set up. Frank & I could see the wisdom of both positions. Even our boss, Gary Krisel, could. He left it up to me. I finally decided to err (and air) on the side of caution. I needn't have worried about "drama". Keith's voice, as usual, was so dramatic, that the opening narration became a classic -- reprinted on nearly every garg website I've ever seen. My kids love to shout out "WE LIVE AGAIN!" in chorus with Keith.

Another thing we did was to permanently install those "Previously on Gargoyles..." recaps at the head of EVERY episode. This was done for three reasons. One, see above, we wanted new viewers to have a chance to get what was going on without requiring them to see every episode that had come before. So the salient points could and would be summed up in those recaps. Two, since at some future time there was the possibility that the episodes WOULD air out of order, the recaps would help ground a viewer in when this particular episode was falling. And most important, three, it helped us in editing.

You see, footage would come back from overseas. And sometimes it would be great. And sometimes not. But no matter how good it was there wasn't a single episode that couldn't be improved by trimming a few frames here, a few frames there. No scenes were cut wholesale, but timing was improved and sped up. Mistakes were edited out. The recap gave us thirty extra seconds per episode of editing flexibility.

Now, on some level, the recaps may have backfired. Though they provided useful information, they may have given new viewers the IMPRESSION that there was too much to learn. I'm not sure it's true, but I've heard that argument. Also, I started hearing from the Disney Afternoon mailing list that everyone hated the recaps, because what they included tended to give away too much in the episode that was about to air. We fixed that problem midway through the season. Me, I still have no regrets. As I've mentioned before, HILL STREET BLUES was a major influence. The "Previously on..." format (which everyone uses today) came right out of Hill Street, so I was comfortable with it. And that 30 seconds of editing flexibility absolutely helped the shows play better.

NEXT TIME ON GREG'S RAMBLES...
More from my original memo to Michael Reaves and my specific responses to reviewing "Leader of the Pack"...

ATTENTION ANIMATION WRITERS-IN-TRAINING

Writer-Producer Kevin Hopps and I will be teaching a class through UCLA EXTENSION at Universal CityWalk
starting next week. There are still seven spaces available for "From Script to Cel: A Complete Writer's Guide to the
World of Television Animation" The class meets Wednesday nights, through early September (with a few weeks off in
the middle). In addition to Kevin and myself, we'll be having numerous guest speakers from every discipline of
producing an Animated series. And students will come out of the course with a completed spec script. I'd recommend this
class to anyone living in the Greater Los Angeles area who is truly interested in writing for TV Animation. If you're
interested contact Brandon Gannon or Kathy Pomerantz at UCLA Extension's Writer's Program. 310-206-1542.

Chapter XI: "Long Way To Morning"

"Long Way To Morning" This was my title, based on an idea I'd had from way early in the development of the series. It was always obvious to me that the fact that the gargs turned to vulnerable stone at sunrise, gave the series a built-in ticking clock that added tension. But given the gargoyles' healing factor (to borrow a Wolverine term) it occured to me early on that there might come a time when sunrise couldn't come fast enough. That was the origin of this episode and the title. (I think I may have even mentioned the scenario in the Series' Writers' Bible.)

The other obvious purpose of the episode was to give Hudson a showcase episode to equal the Trio tryptich. As I've mentioned before, Gargoyles was originally developed as a comic series, and one of the funny little gargoyles in that show was "Ralph", a very domestic couch potato Gargoyle who loved to stay at home and watch T.V. Hudson developed out of Ralph, but he spent much of the first few episodes "Guarding the castle" (or the clock tower). We'd given him some great action in AWAKENING. But we still felt a major need to UN-RALPH him.

I wanted to deal with his age as realistically as possible. To have him doubt himself, maybe even be aware of his limitations, but then have him prove to himself that he still had something to contribute. I think we basically succeed in that here.

But this ep afforded us other opportunities as well. Opportunities to explore Wyvern backstory in our parallel flashback story:

--We find out definitively that Hudson WAS the leader of the clan and that Goliath was his second. We also get to see the baton get passed.

--We learn how Hudson was blinded in one eye.

--We meet Prince Malcolm and get a sense of how Princess Katharine became the bitch she was at the start of "Awakening". I think this was very important in paving the way for her role in the "Avalon" tryptich. By the end of "Awakening", she's remorseful and has seen the error of her ways, but it doesn't change how badly she acted. But this episode reveals how and why her antipathy toward Gargoyles was created. It doesn't excuse her behaviour, but it helps to explain it enough so that we can buy her as a heroine when we next see her. Malcolm doesn't come off as well. I wanted to present how easily casual thoughtless words could be hurtful, and even lead to tragic consequences. My daughter Erin (age 5 1/2) had seen this episode at least once before. But this time, that aspect of Malcolm's inadvertent damage and Katharine's mistaken blame really grabbed her attention. The injustice of it really troubled her. Which is exactly the response I was looking for. (My kids are so cool. She also noticed Hudson's eye getting injured, and commented on how smart Hudson was to jump off into the waterfall.)

--I love the subtle changes that Jeff, Keith and Marina made in their voices when playing the young Magus, Goliath and Demona. It's interesting to see Demona's progression in hindsight from "Vows" to "Long Way" to "Awakening, Part One" to "City of Stone" to the present day. She really is a fascinating character, if I do say so myself. Here, you see her ambition. But no villainy. Of course, it made for a nice counterpoint with her vicious murderous tendencies in the present day story.

--Throughout production of this episode, I had to keep pointing out to the artists, etc., that the flashbacks all had a point of view, i.e. Hudson's. That Demona and Goliath's "private conversations" could NOT be as private as they thought. Hudson had to know what they were saying about him. Both because it further eroded his confidence in both the past and present (the true demon he had to overcome) and because if he didn't hear those conversations it would be cheating to include them in HIS dreams and flashbacks.

--We also intro'd the ARCHMAGE. A one-shot villain if I ever saw one, except that David Warner was so amazing, I knew I had to bring the character back. When he falls into the chasm, you can just here the Phoenix Gate exploding open down there. (Of course, to some people that sounded like him hitting bottom. Their mistake.)

Continuity:

Brooklyn still has it in for D. Broadway is now Ultra-Protective of Elisa. Hudson has superior tracking skills in the past and the present.

And Demona has clearly focused her hatred on Elisa. (Who, by the way, loses her second gun of the series.) It was important for these early episodes that we fool Demona into thinking that Elisa was dead. Otherwise, how else do we explain why she doesn't just kill her.

Demona at the end, uses her cannon as a club. This was designed to be ambiguous. Did Hudson's sword damage the weapon? Or was Demona just so furious that she wanted the satisfaction of cudgeling the old guy to death? Yeah, it was designed to be ambiguous, but no one ever EVER thought that the gun was damaged. They all assumed Demona just lost it. Which is probably true.

Speaking of that Waterfall thing, that image was important retro-pipe for Hunter's Moon, Part Three. (More on that in 54 chapters.)

Animation-wise, I just wish Demona hadn't come off as such a lousy shot.

I love Hudson and Goliath's last exchange. Goliath assures Hudson that he still has "Years of fighting left". Hudson, glad to be of use, is still less than thrilled at the prospect. It's a great wry beat, but it was also important to me to point out that no rational person would wish to fight like that forever. The gargs, including Hudson, fight the good fight because they have to, because it is their duty, part of their natural protective instincts. But none of them WANT to fight.

As usual, I'd like to encourage responses to this episode here at ASK GREG, particularly how you responded to viewing this for the first time.

Chapter IX: "Enter Macbeth"

Another episode by episode ramble. Feedback encouraged.

So here's where all that great continuity got us in major trouble.

The episodes were all designed to play in a certain order. But I didn't tell my bosses that in advance. I know it sounds sneaky, but it wasn't really. We wrote the darn things and sent them off in order. It never occured to me they wouldn't be able to come back and air in order. I mean, how could a newer episode get the jump on an older one? How could an older episode not be ready before a newer one? Then the footage came back on "Enter Macbeth".

This was the first episode not animated in Japan. And immediately we knew we were in trouble. I'm not talking about the version you all have seen. The one that aired. I'm talking about stuff you never saw. Much of the original footage we got was unusable. This wasn't about just calling retakes. This wasn't about us bitching how "Thrill" wasn't as well animated as "Awakening". This was a major disaster. So my bosses said: "Air the next one." And I responded, "We can't."

And not just because they were all designed to air in order. It was a horrible coincidence, but this episode, this episode that was unairable, was a tentpole. Yeah, if Thrill or Temptation had been reordered it would have been sad. Same with "The Edge" and "Long Way To Morning". But big deal, right? Better to get a new episode out and not make the audience deal with repeats this early in the season. (Remember, we had aired our first five episodes in one week. This was only week five. In those days, week five was considered way too early in the year for reruns.)

But this was the follow-up to Elisa's injury. It was important to us that we continue our policy of "repercussions". We put her on crutches to show that a gunshot wasn't something that was solved in twenty-two minutes. This was an ongoing recovery. If you pulled the crutches out by airing Edge next, you blew out the sense of repercussions.

But that wasn't the clincher. Of course, the clincher was the Clock Tower. This was the episode where the Gargs were "banished" from the castle and moved to the Clock Tower. That was a major shift. If we cut straight to Edge, the audience would be lost. Fortunately, Gary was convinced. In a way, I was lucky that our first crisis of order came on such a pivotal "tentpole" episode. We couldn't reorder these. So we went with reruns. But it was a lesson learned. And it would effect the way we approached the second season.

But meanwhile, we had the problem at hand. We couldn't reanimate the entire show. So we picked shots to redo judiciously. There are still some awful looking scenes. When Goliath says, "How Dare You?!" to Elisa, he looks like an Animaniacs parody of Goliath. And that sarcophogus/iron maiden thing that Goliath follows Macbeth through looks like a prop out of CHIP N DALE'S RESCUE RANGERS. (Another perfectly good series, but with a slightly different art style, if you know what I mean.) Or how about the GIANT remote that Macbeth pulls from his duster in order to summon his ship? "Enter Macbeth" is still, as aired, the worst looking episode of the first season. And that really killed Frank and I, because we both really loved this story. We were sure that the bad animation would kill any interest in Macbeth. The fact that generally, the character did catch hold of fandom's collective imagination is a true testament to the work of Steve Perry, Michael Reaves, John Rhys-Davies and Jamie Thomason. And, oh, yes... William Shakespeare.

The weak picture forced us to use a lot of little tricks to get a final cut. One thing we did, which I regret, is reuse dialogue. Elisa says "You aren't safe here" like three times. And it isn't three different takes. It's just the exact same take reprinted and reused. Lex & Brooklyn also reuse lines to get Bronx to find Goliath. That sort of thing drives me nuts.

There is one really nice moment in the animation. When Macbeth chooses his sword off the wall, the reflection effect is quite sweet. And I also like the down shot of Bronx running right down the middle of Broadway (the street not the gargoyle). I also love how Goliath makes no attempt to hide. That really spoke to the Gargoyles attitude about living among humans. They wouldn't hold press conferences, but they would not cower.

Anyway, we ran reruns. Awakenings. And obviously all five episodes on five consecutive weeks. That might have been a good thing for people who had heard about the show by word of mouth in week two or later and needed to catch up. But for anyone who had been following the show from its premiere, it was a long time to wait for new episodes. By the time we came back, so much time had passed since "Deadly Force" that we felt the need to put a "Previously on Gargoyles" at the head of the episode. Another trick I cribbed from HILL STREET BLUES. Cartoons rarely did that sort of thing. Sure multi-parters had to. But single episodes... For some reason, it made me feel very grown up. (Which only proves how immature I really am.) The "Previously" also allowed us to cut 30 more seconds of bad looking footage out of the episode. That little bonus was something I'd remember for season two as well.

HOME

As we pushed guns in the previous episode, this one is laced with the imagery and language of home. What is it? What makes it? What price is one willing to pay to keep or secure it? There are four homes depicted. Well, really five. The Gargoyles' castle. Xanatos' prison. Macbeth's mansion. The Clock Tower. And the Castle again, once it is reclaimed by Xanatos and thus becomes a very, very different place.

I tried to make sure, as much as possible, that every episode had that kind of underlying theme. (I recently tried with very limited success to do the same thing in MAX STEEL. Someone asked me once, why the one-word S-Titles for all the Max Steel episodes. They were my attempt to make me and the writers focus on the theme of each story.)

And how do all these homes turn out? Macbeth is so obsessed that he loses his home to a fire. Xanatos finally gets out of prison. (Not on Halloween by the way, or that would make the dates depicted in Double Jeopardy innacurate. Obviously, Halloween was circled on his calendar because the guy just loves Halloween. And after all, Owen specifically says in a LATER scene that Xanatos has one week left before he gets out. The wall calendar had shown only a few days.) The Gargoyles lose the castle, gain the clock tower, but realize that home is literally where the heart is. And Xanatos... well all other concerns of Grimorum and gargoyle of destruction and competition pale next to the simple pleasure of being back home.

And how many of you were suprised that the Gargoyles lost the castle? That was supposed to be another pretty shocking development. I mean, sure, Batman might lose the Batcave for an episode, but for 56 episodes? When Goliath said "We'll be back to claim that which is ours" at the end, did most of you think he'd be back next week? Next month? By the time, the gang finally did return in chapter 65, did anyone still remember Goliath's vow?

MACBETH

I've discussed this before, but Macbeth's origins (at least in terms of our series) were (ironically) an early attempt to play the notion of THE HUNTER. I was looking for someone human who could physically take on the Gargoyles as prey. Someone smart, with an agenda. We actually started with the notion of trying to create our own KRAVEN THE HUNTER type character. But it quickly moved in its own direction. Frankly, away from Kraven and more toward BATMAN. In those days, we were constantly being told that we would be accused of ripping off Batman. So Frank, Michael and I decided to create a villain who, at least in M.O. would be our Batman.

I had a semi-separate idea to add a human to the cast who was from Goliath's time. Thus creating a good thematic nemesis or opposite for him. (The key to creating a good villain, in my opinion.) But this villain would have lived through the centuries. So that he was familiar with the very latest in technology. This dove-tailed with our anti-Batman, and was also exactly how we viewed Demona. So it soon became clear to Michael and I that the two characters must be connected in some way. That suggested that he shouldn't merely be 1000 years old. He should be Scottish as well. All that was left was a name. And given my love of Shakespeare, I'm surprised it took me so long to figure it out. Our nemesis was Macbeth himself. An immortal Scottish King. What Scottish King was more immortal than Macbeth? More mortal too for that matter.

This was the beginning of countless Shakespearian references that I would either slide (or force) into the show, or that the writers would stick in knowing I was a sucker for them. And I love the little exchange between Lex & Brooklyn...

[dialogue approximate]
LEX: "Wasn't "Macbeth" the name of that play by that new writer Shakespeare that Goliath was talking about?"

BROOKLYN: "Have you read it?"

LEX: "No. Have you?"

BROOKLYN: "No. But maybe we should."

This was my little way of trying to encourage our viewers to read or at least learn about the play. If they wanted to know who Macbeth was, it wouldn't hurt to go to the primary source.

And at the time, Shakespeare was my primary source for Macbeth. This was long before Tuppence Macintyre and Monique Beatty did all their research for me for "City of Stone". Back then, the only Macbeth I knew about was Shakespeare's.

We gave him a sense of honor, but a twisted one. And we gave him a very interesting motivation. I didn't yet know the particulars, but this guy was after Demona in a major way. He had stained glass windows in his home depicting the two of them. He was the man who named her. It was all pretty intriguing stuff to me. I love the exchange between him and Goliath. Goliath is a pawn. Mac wants the queen and believes that endangering Goliath is the surest way to ensnare Demona. And how does Goliath respond? By gum, if he doesn't laugh -- MANIACALLY!! And watch how the tables turn. Macbeth is not infallible and suddenly Goliath has him on the defensive. Goliath even uses a MACE!! Great stuff.

Incidentally, we had in the script described Macbeth as wearing a thin layer of exo-armor. And Goliath was supposed to dig his claws into it. Macbeth would escape by detaching from the armor. Instead, the artists did the bit with the duster coat. But I remembered the claws in armor thing and eventually found a place for it... in HUNTER'S MOON, PART THREE.

Finally, watching the episode tonight, my five year old daughter said she spotted the Mona Lisa on Macbeth's wall. I didn't see it. But I believe her. And I wouldn't be at all surprised if that was the original. Too bad about that fire.

Chapter VII: "Temptation"

[More rambles on individual episodes. As usual, I encourage you to post your responses here.]

Part two of our trio tryptich. Brooklyn looks pretty cool in this one. I have to admit, I didn't realize what a break-out star Brooklyn was back then. I mean I liked him, but I didn't yet realize how much he would really capture a huge chunk of fandom's imagination. (Of course, back then the show hadn't aired yet, so there wasn't any fandom.) But seeing this episode in hindsight, you can sure see how cool this guy was. Good-looking with the hair and the muscles and everything. Even the snout adds to the look.

And he's so sympathetic too. Yes, he gets "turned" by Demona. But he immediately realizes that what she's doing is wrong. He admits his mistake and tries to correct it. He's such a good guy. Later, of course, I'd recognize the star power and attempt to give him his own series: TIMEDANCER.

Back then, of course, I had really modeled the ensemble nature of the show on HILL STREET BLUES. Goliath was my Frank Furillo. Everyone would get their own stories, but Goliath carried the weight. So, although the tryptich was designed to deepen the characters of the trio, you can see that each episode also prominently features Goliath. THRILL: Lex & Goliath. TEMPTATION: Brooklyn & Goliath. DEADLY FORCE: Broadway & Goliath. (And later, LONG WAY TO MORNING: Hudson & Goliath.) Don't get me wrong, I don't regret this at all. I think those are all great stories, and without Goliath they would not have worked as written. But I think the design of them betrays a bit of insecurity. We weren't sure if the other characters could carry their own episodes alone. The nice thing about the tryptich (and LONG WAY) was that it proved to us what a strong ensemble of characters we had built.

Lex has some real attitude here: "You rode a horse once, does that mean you could build one from scratch."

The motorcycle is interesting. It was one of three toy driven elements we consciously put into the show. (The others were in "Her Brother's Keeper" and "Eye of the Storm".) It was a rare moment of Kenner and Disney being in semi-synch. And the toy actually looks like the motorcycle. But of course, what the hell were we going to do with a motorcycle? How could we make that an on-going element in the show. Sure Batman has a batmobile, but the garg-cycle just sounds silly. So we put it in, but Michael, Brynne, Frank and I are so subversive that we blow the thing up before the end of Act One. Kenner never said anything. I'm not sure if they ever saw the episode. (But we weren't being very good partners.) But what goes around comes around. I'll tell the flip side of this when I ramble on Keeper and Storm.

S&P required that Brooklyn wear a helmet when riding. That was fine with me, but I wanted to make an effort to make it organic. Brooklyn puts it on because it's "All part of the look." Helmets make it cooler. Thus helmets are cool. Thus kids will wear their helmets. Aren't we sneaky?

Also, Brooklyn loses yet another pair of sunglasses.

Morgan's back. But he litters. That always bugged me. Talk about setting a bad example.

And is that Margot Yale's actress sister on the television sitcom saying, "Who do you think you are... Elvis?" [Add laugh track here.]

CONTINUITY

"Kindred Spirits" - Brooklyn quotes Lex from Thrill and attempts to make the same kind of connection with the bikers that Lex attempted with the Pack. With similar results. Later, Demona refers to Lex's little adventure with the Pack. This was the moment when Michael Reaves and I decided to attempt to treat the series as episodic but sequential. The order of the episodes would matter. Yes, you should be able to enjoy any individual story... but viewing is enhanced when you see the shows in order. This was not an obvious decision. Most shows REQUIRE that episodes are airable in ANY ORDER. We had that requirement too, up to a point. But we wanted to add something more. To play with continuity. With evolving lives. This wasn't an issue in the pilot five parter. Of course, that had to air in order. And then there was Thrill. Just the first one we made after Awakening. That aired next. But we didn't think about it. But here, we had to decide. So we opted for an episodic but sequential series. (My favorite kind.) We referred to previous conversations. (Elisa's still pestering Goliath about the Xanatos-ticking clock.) And we laid pipe for future episodes, by having Demona rip a few spells out of the Grimorum. (At the time, I didn't even know what those spells were for. But I knew she had them. I knew we'd use them.) We had Demona admit she had lied about how she had survived to the present. Etc. Anyway, all this continuity would later bite us on the ass a bit. (I'll talk more about this when we get to "ENTER MACBETH", which forced us to slightly change our M.O. for season two.) But again, I have no regrets; I think it's one of the things that makes the show special.

Meanwhile, how did Demona know about the Pack & Lex? Although the pact with Xanatos clearly hasn't been broken yet (not till CITY OF STONE, obviously), she also doesn't exactly have free run of the castle. She has Brooklyn steal the book. Of course, she wants Brooklyn complicit. And it's hard to sneak around the castle, when the Gargoyles (at least think that they) are the proprieters. I just always wondered whether Demona might not have been following Lex & Goliath around throughout that entire Pack battle. Or whether, Xanatos just phoned her and told her. Obviously, the former is much more interesting.

ANIMATION

Another great looking episode that we didn't fully appreciate at the time. Lots of great little touches. I love when Demona casts her spell, and then closes the Grimorum with one last flash of magic. So cool. And, as I said, Brooklyn really looks great throughout.

But there are a couple things...

The bikers approach Brooklyn. They get very close, and he's not in shadow. But they don't notice he's a "monster" until he takes off his helmet. What?! The snout didn't give it away?! That scene continues to drive me nuts. I just hate how it was staged.

And when Elisa's lecturing Goliath she is wagging her index finger in his face. That's annoying enough. But worse, the finger seems to get longer (like Pinocchio's nose) the more she wags (or nags). It's sorta mesmerizing. In that scene, I can't see anything else.

CHARACTER

I love how Marina Sirtis' voice bristles when Brooklyn mentions Elisa to Demona. Demona/Marina forces herself to say that the Detective may be "The exception [to human evil] that proves the rule." It seems sincere, but I really hear the hatred underneath.

Elisa tries to talk Goliath into leaving again. This time, she's got an idea where he can go. (So although that seems to be a repeat of their conversation from THRILL, we actually advanced that plot too. Weren't we smart?)

[And yes, I realize that all these rambles sound incredibly arrogant and immodest. I'm sitting here praising me and my team's own work. But what can I tell you? I do really like it. And I figure you guys might still be interested in my -- totally biased -- observations.]

Anyway, I love how what Elisa's saying to a very close-minded Goliath plays right into what Brooklyn heard from Demona. Brooklyn tries to argue Elisa's point. Putting Elisa and Demona, ironically, on the same side. Kudos to Brynne and Michael. It's a great little scene. Of course it ends with Brooklyn and Goliath turning to stone mid-argument. Just like Lex & Goliath did in the previous episode. Frank came to me and warned me not to do that again. Twice in two episodes was enough. At least for a while.

I also love Goliath's lines about "half-truths that [Demona] has thoroughly embraced."

LITTLE TOUCHES

Goliath just loves saying "Joy-Ride". It seems so pleasant.

Lex's double take reactions to finding out the motorcycle was blown up.

Elisa's "Thanks, I think." reaction to Brooklyn saying that he knew that she at least was a worthwhile member of the human race. Brooklyn still isn't quite free of prejudice. A work in progress.

The DEAD BODY. I held my breath on that one. We've got a chalk outline. And a corpse in a body bag. I was sure S&P would balk. But Adrienne was great. She saw that it was important to the story. And since we didn't dwell on it or explain it, she figured little kids wouldn't get it and/or be traumatized. As you can see we had a great working relationship with S&P. I mean, a DEAD BODY! It still shocks me.

Did Demona pay that family to perform their little scene for Brooklyn? I didn't think so at the time. But now I'm suspicious.

Brooklyn has a perfectly innocent line about the Cloisters being a place like the "world we came from" or something like that. Meaning of course, the medieval time that they came from. Once this aired, I immediately start seeing e-mails claiming this as evidence that Gargoyles are from another planet. This misapprehension may be one of the reasons I so quickly got involved with fandom.

Did we cheat? Elisa solves Goliath's slave-spell problem by using the spell to unhex him. I love that little bit. But Michael Reaves and I had a long back & forth discussion where we debated whether we were cheating the audience. (I seem to recall that at different times he and I both came down on both sides of the argument.) We finally decided to go for it. And again, no regrets. I do think it worked. And we sort of both promised each other that we wouldn't pull that kind of thing again. (Airwalker, I think there's a mention of this in the City of Stone memo I sent you.)

CHAPTER VI: THE THRILL OF THE HUNT

More musings on individual GARGOYLES EPISODES. As usual I welcome reactions and responses posted here based on both your original impressions from when you first saw the episode and later thoughts from repeated or recent viewings.

After the semi-epic "Awakening" multi-parter, Michael Reaves and I consciously set about creating a tryptich to develop each member of the Trio. Lex up first.

In hindsight, we probably didn't do enough Lex episodes. (I think this is Thom Adcox's favorite. He said "Leader of the Pack" at the pro-chat the other day, but the more I think about it, the more I think he was describing "Thrill".) We tried to give each member of the Trio equal coverage, but down the road, Lex might have been cheated a bit. But not here.

I love the fact that Lex is RIGHT. Sure, he's wrong about the Pack, but he was so right about taking chances on people. And I love that as stubborn as Goliath is, he's capable of admitting his mistakes, giving Lex full credit for, uh, rightness. Practically quoting back to Lex everything Lex had said to him.

You may notice that starting with this episode and running through the end of the first season, the writer's got their credit at the beginning with the title of the episode. This was a function of the Disney Afternoon. Michael Reaves rightly objected to the "gang credits" at the end of the two hour block. It had never been an issue before, because annually each new series, i.e. the one with original episodes, had always aired last with its credits immediately following. But in Gargoyles' first season, we aired on Fridays at 4pm, a half-hour before the last show. That meant that the writers' credits didn't appear until a half hour after the show ended. Gary Krisel agreed to make an exception and display writer's credits at the head of the episode for that one season. I wish I had fought to make that rule permanent. I didn't. Mea culpa.

I think Thrill is important right off because it established a few things which today we take for granted, but which I think were, at the time, fairly unusual for a cartoon series.

CONTINUITY.
--Xanatos was still in prison. He hadn't just "somehow" gotten sprung between the end of Episode 5 and the beginning of 6.

REAL RAMIFICATIONS.
--The Gargoyles won the Awakening war. And the castle still wasn't theirs to keep. At every turn, Michael and I just tried to make things play in a slow, steady logical progression. I wasn't trying to change the world in every episode. Not because I'm against world changing, but because each new situation was fascinating to explore. But we wouldn't let the world stand still either.

Early on, you can still see signs that to the creators, the audience AND the other characters, the Gargoyles themselves were still a wonderfully alien species. (And I don't mean that literally. Geez.) We tried to maintain the perspective of creatures out of their time. Goliath is stubborn, even dense and condescending toward Elisa, when she tries to convince him to leave the castle. But I think from his POV, his responses were perfectly natural. Xanatos was banished. The castle was theirs. The concept of ownership was sketchy for the Gargoyles at best, but if they did understand it, they understood it in the "Possession = Ownership" sense. The notion that Xanatos could still "own" the castle after an embarrassing defeat was completely ALIEN to Goliath.

Likewise, look at Fox's actions at the end of the episode. Can you imagine Fox in any later episode crudely taking a hostage? It seems like she checked her brain at the door. But it works for me because at that time, she (and we) didn't truly know what an angry gargoyle was capable of. Maybe Goliath would dismember her. Our boys got so borderline cuddly as the series progressed that I had to remind everyone just how dangerous they could be in HUNTER'S MOON. But Hunter's Moon wouldn't have worked back in Season One. Because in Season One, no one would have been shocked by Goliath's desire for Demonaesque vengeance. Maintaining that edge was always very important.

But if Fox wasn't acting her brightest here, I think Wolf was. That scene with Susie and Billy, where he pretends the Gargoyles were monsters sent by the evil ninjas, is about as smart a move as we ever see Wolf make. When you think about it, it's pretty darn clever. For him anyway. In later episodes, I think I got too big a kick out of making him dumb. I could justify it after UPGRADE. But if I got back, I think I'd give him a bit more of a mental edge.

And speaking of Wolf and Fox, how about that Pack? Their first appearance. The thing I was most struck by in viewing it here is how great they were cast. Clancy Brown, Laura San Giacomo, Matt Frewer, Cree Summer and Jim Cummings. Man, what a great ensemble. Hats off to casting and voice director Jamie Thomason. Time and again, he assembled great, great people for us.

There are a lot of little touches that make me smile. Jim Cummings "narration" during the appearance at Madison Square Gardens is priceless. We were consciously trying to do a professional wrestling meets (the hated) Power Rangers thing, and it amuses me to no end. There's that very anime shot of the Pack standing absolutely still (a held cell) while spotlights pass over them. It's very cool.

I even like that we got the notion of the Daily Tattler into the episode. That was something I wanted to expand on more. The Gargoyles never made any real attempt to keep themselves very hidden. Oh sure, they weren't holding New Olympian style press conferences, but they didn't sweat it if they were spotted. But we figured that the more of an urban myth they became, the less the majority of the population would believe in them. And once stories about Gargoyles started regularly appearing in the Tattler, people would be sure the whole thing was faked. I'm not sure we mentioned the Tattler again until Hunter's Moon, which is too bad. Though it does show how consciously Michael and I were echoing first season concerns and contrasts in that final mini-series.

Fox and Lex. Their relationship is established in that one moment when she strokes him under his chin. Even I didn't know that down the road they'd become flat-out allies thanks to Alex. Hell, back then I didn't know Alex was on the way. Didn't even know that Fox and David were an item. The characters were just beginning to teach me who they were and what they wanted.

Action-wise this thing is taut. The Pack just keeps coming and coming. The Gargs never have a chance to catch their breath. And, then, suddenly, they do. And the tables turn fiercely. And the Point of View, as well. We are ALWAYS on the side of the hunted. When it's Goliath and Lex, we get very little of the Pack. Just snatches of them attacking. The gargs struggling to stay alive. But up on that roof, we abruptly switch POV. Suddenly, we're following the Pack. Even, dare I say, sympathising with them. Not that we want them to win. But we begin to identify with them as they battle these strange creatures. I love that.

It's hard to believe, but when Frank Paur and I first saw the animation on this episode we were crushed. I look at it now and think its gorgeous. But we were so spoiled by the Awakening animation, we thought this was a debacle. Later we'd get some truly mediocre animation and learn to appreciate the good stuff more. But back then... we were idiots.

Those tv lines were my idea. I love television. I mean I really, really love it. And I hate when people attack it. I think on a percentile basis, there's more good work being done in television than any other medium. Doesn't mean there isn't a lot of crap being done. But that's true in everything. But still it's fun to poke fun. To bite the hand that's feeding you every once in awhile. One of the trio says: "The Pack is just like us. They fight evil. And they do it on television." (I just saw the episode half an hour ago, and I can't be sure who said it. That's pathetic.) Of course, whoever said that didn't mean to say that the Gargoyles were also on television. That was an afterthought. But it's a bit of an in-joke for us and our audience, because the Gargoyles are just like the Pack. I just like to think they had a better show.

But my favorite is Hudson's line: "Maybe we shouldn't believe everything we see on the television..." A lesson we all should live by.

And finally, "Thrill" contained the first of what would soon be a Gargoyles Trademark. The Xanatos Tag. Our favorite manipulator snatching partial victory from seemingly overwhelming defeat. Again, something vaguely revolutionary for a cartoon. You gotta love the guy.

AWAKENING: PART FIVE

More tidbits and observations...

The first appearance of the Steel Clan. It's a silly little thing, but at the time I was ridiculously pleased by the name "The Steel Clan". It just seemed so right. Cool sounding, tough. And yet original and appropriate to the series. It was one of those early moments that made me feel like I was really tapping into the Gargoyles Universe.

Also the first appearance of the Eyrie Building Lobby Security Guard. The one that Oberon will later do his Obi-wan number on. I never forget a minor character.

One reason some of the editing is different between the video version and the tv episodic version has to do with when the two separate products were due. (I'm not referring to the TV movie version that's been appearing recently. I have no idea who edited that one. Or when. Or why.) As I've mentioned before, the video version was not originally created for video. It was created for our world premiere on two big screens at the movie theater multiplex on Pleasure Island at Walt Disneyworld. That premiere was in September of 1994. But the series premiere was almost a full month later. While I was supervising the editing of the movie version, Frank was (relatively speaking) taking his time on the five episodes. In my editing bay, we didn't have the luxury of waiting for all the retakes to come back before we had to complete OUR edit and lock picture for sound design. In fact, sometimes we were editing to pencil test animation. That's animated pencils without background paintings or ink or paint. It can sometimes be very hard to read at all. But we had to make decisions based not soley on "ART" but also on what we likely thought we'd get back in time to get the two prints made for the Florida premiere. Sometimes we cut little pieces that wound up turning out fine and making it into the episode.

Generally, I think the animation in this episode is just stunning. A few examples.
--Hudson lifting Bronx off that train.
--The whole scene with Xanatos, Demona and Owen standing beside the Steel Clan robots while they are covered with sheets. Some incredible shadow work. And the character stuff is so sweet.
--Some gorgeous battle stuff with those robots.
--The castle tower blowing up, crashing and falling apart.
This and more can still take my breath away.

I love all the Demona-Goliath-Elisa triangle stuff. It's all spelled out in the confrontation when Goliath wants to go keep his appointment with Elisa, and Demona's trying to stop him. If Demona hadn't been so bloodthirsty aboard FORTRESS-1, would Goliath have even remembered his appointment with Elisa? Or would he be off cuddling with his long-lost love?

Anyway, that whole conversation is just full of delicious irony -- all working against Demona. Goliath says, "I cannot make war on an entire world," completely unaware that that's exactly what Demona wants to do. He says, "Doesn't Xanatos prove that some humans can be trusted?" But of course, Demona knows that Xanatos absolutely cannot be trusted. Every statement Goliath makes pushes Demona toward further extremism. And he isn't even trying. Finally, after Demona reminds him of the Wyvern betrayal and Massacre, he says that the ones responsible for that "have been dead for 1000 years." Now putting aside that the Captain and Hakon aren't quite as dead-dead as Goliath thinks, this has got to push Demona over the edge. Deep down she knows her own responsibility. Again Goliath is wrong, because the traitor is standing right in front of him. My hats off to Michael Reaves. What a great scene! "So be it." she says. Goliath won't know it until VOWS. But they are DONE. Right there.

Cultural Differences 101: Elisa is trying to convince Goliath not to trust Xanatos. I don't remember the exact line, but she says something with the word "three" in it. (Maybe refering to the three disks or the three Cyberbiotics installations...?) Anyway, to indicate three she holds up her index finger, her middle finger and ... her thumb. It still looks totally goofy to me. I don't know anyone who wouldn't use their ring finger with the other two, using the thumb to hold the pinky down. Does anyone know if in Japan the thumb is preferred?

When Demona's destroying FORTRESS-1, Goliath is standing around stunned. She tries to get him to leave, but he refuses. Finally, she pulls him out. What was supposed to happen was that the tilting ship was supposed to dump him out the hatch at the same time Demona was pulling. So that he was more unwilling to abandon the crew of the ship. But it never animated with the tilt going the right way.

In our original development we planned on making a lot bigger deal of all the various Xanatos Enterprises sub-divisions. You got a taste of that with PackMedia Studios and Gen-U-Tech (a.k.a. Gen-U-Tech Systems or G.U.T.S.). But we were also going to make a bigger deal of his robotics division, which was going to be called the Scarab Corporation. (Thus the scarab design that appears on the transmitter.) But Xanatos wound up being even more hands-on then I anticipated. Less Lex Luthor. More his own glorious self. So Scarab never got much of a spotlight because Xanatos handled those kinds of adventures himself and/or the robots handled things themselves (cf. Coyote in Leader of the Pack). For those of you who have been to one of the Gatherings and seen the original Gargoyles Pitch, you might recall a giant chrome cockroach climbing up the side of a building to attack Goliath. That was going to be a Scarab Corp. creation.

Isn't Xanatos just too cool:
"Let's let them play out there little drama, shall we?" He's so amused. He can't resist watching the confrontation. And for once I don't feel like it's cause he's a villain stupidly giving the hero time to turn the tables. He's sincerely entertained by the show.

"Without me you'd still be gathering moss." Nuff said.

There's another great little dialogue editing moment. Real subtle. When Demona says: "The plan was perfect." Goliath whispers "Plan?" She says something else and then he completes his thought "What Plan?" That little overlap wasn't scripted. It was another product of me having the luxury to really nurse those dialogue edits on those early scripts.

There is good and evil in all of us. Human and Gargoyle alike. Hey, Lexy, there's another major theme of the series. No one group has a monopoly on either attribute.

One thing that never quite worked for me, was the reveal of Demona's name. She makes such a big deal of it. But the name (at this point in the series) just doesn't have enough resonance for me yet. Later, sure. "Demona". We all sit up and take notice. But there. "Demona". Yeah, so? Did that moment play for you guys?

Goliath is about to toss Xanatos off the building. Elisa begs him not to. That'll make you just like Demona she says. Then Hudson pipes in and says, "She's right, lad. Is that what you want?" I intentionally instructed our voice director Jamie Thomason to direct Ed Asner to read that line with ambiguity. Hudson DOESN'T care whether Goliath tosses David or not. He simply wants Goliath to make an informed choice.

And yeah, yeah, David & Goliath. Perfect opposites.

Elisa: "Maybe, we'll catch a Giants' game."
Goliath: "Giants?"
Were any of you surprised when a Giant Oberon attacked the castle?

As usual, I encourage responses posted here, on either your original feelings when seeing the episode for the first time and/or newer more recent observations from repeat or recent viewings.

AWAKENING: PART FOUR

More random observations...

Jogger's first appearance.

Cyberbiotics first true appearance.

Bruno (aka the Commando Leader) gets a bit of character development. I remember when voice director Jamie Thomason asked Jeff Bennett to do that voice. Jeff asked what Jamie wanted and Jamie said something like: "Do a George C. Scott/Patton thing." I don't know if that's what I'm hearing, but I like the end result.

We see Vinnie for the second time. Of course, we still didn't know that was Vinnie yet. His nose is HUGE. He must have had a little work done between this show and Metamorphosis. (Not the smartest way to spend money when you're out of work.) One of my favorite bits in "Vendettas" is the reveal of how exactly Vinnie was knocked out by Goliath aboard the airship. In Awakening IV, Goliath lifts Vinnie out of the shot. We hear a loud <SMACK> and Vinnie falls unconscious. The implication being that G knocked him out. But in Vendettas, Cary and I showed what was previously off-screen. You see that the <SMACK> came from G hitting his fist against the wall. Vinnie wasn't knocked out. He fainted.

Elisa looks damn good with her jacket off. I wish we had had more opportunities for costume changes with her. They always work so well.

I always thought that the tranq the Commandos used on Goliath in parts III and IV was pretty unreliable. It seems to knock him down. Then he's up again. Then he's staggering. All very story convenient. You could look at it as a flaw in the episodes. Or you could justify it by saying that they had never had the opportunity to test the stuff on Gargoyles before. It had strange effects.

Owen has one line in the whole episode: A very effective clearing of his throat. You gotta love a character who can be so memorable with so little.

The Commandos seem to be pretty bad shots, until you realize in episode V that killing Goliath isn't really what they're after. In my head, they were told NOT to kill him if they could effectively put a scare into him. Elisa was probably much more expendable. Bruno's discretion.

This seemed like the first episode to use the "CLAW WIPES"... but I'm not sure. A Wipe is one means of moving from one scene to another. Other methods are straight CUTS or DISSOLVES, etc. But Japan started doing these very dramatic CLAW WIPES, where a Gargoyle hand seems to be tearing the old scene away with his or her claws. It wasn't called for in early scripts, but after we had seen it a few times, we started to call it out.

Elisa puts the transmitter on a dog she calls Rover, a dog that's scrounging through garbage in the park. In the very next scene, Hudson is watching TV and a dog that could easily have been Rover as a pup is seen starring in a dogfood commercial. How the mighty have fallen.

There's a few great moments with the trio in this show. Maybe not the obvious ones. I love their exchange of dialogue to Hudson when they come back from their night on the town. We had the opportunity to really edit the dialogue with multiple overlaps and rhythms before it went to Japan. The scene really snaps. In later episodes, we wouldn't always have that luxury.

The scenelet where they fly away from the castle on their way to the Cyberbiotics Tower is also very cool. A combination of animation, editing and sound, that really gives SNAP to their departure. I love it.

Of course, the naming scene is great. Names are so addictive.

And I still like the character development in our love triangle here. Goliath doesn't trust Elisa even yet. Hasn't told her about his daytime vulnerability. And he might not have, if he hadn't been caught outside. But her loyalty and steadfastness really impresses him. I feel the connection very strongly. And I think she does too, when she asks if she can see him again later tonight. It's not just curiosity about a new life-form.

And Demona. I love that wing hug when she and Goliath are reunited. But you have to wonder about that reunion from her point of view. Yes, she's scheming here. But she must be thrilled to see him and the other gargs awake and alive. THRILLED. All those years of lonliness and now her true love is awake. But she never hesitates to prioritize her scheming. All those years of bitterness have stunted her emotions even more.

Finally, lots of people keep telling me that Elisa says "Damn" in the boathouse in at least one version of this thing. But it's not true. We never even recorded her saying Damn. Why would I? No way it would get by S&P, so why bother. Didn't even occur to me. She does grunt right before she says "Empty". And I suppose that grunt might sound a bit like the word "Damn." I mean, I don't think so, but it's the only explanation for this myth that I can come up with.

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.