Greg responds...

Very rarely, these days.

Partially, this is a free time issue. As in, I don't have any...

But partially, it's a reaction to the horrible things I know about the animation business. I get angry about behind the scenes stuff, and I don't need more reasons to be pissed off.

Greg responds...

Not that I'm aware of, but it's possible that our layout artists used some reference for it.

Greg responds...

It would depend on the show.

I think G2158 would be perfect for CGI. But I'd hate to do Dark Ages in CGI, though maybe not for the reasons you think.

Greg responds...

All this was a process. Keep in mind, this was never a one-man show. I always had various inspirational designs and drawings in front of me. I also have a fairly visual imagination.

Greg responds...

There's no one way to get into the business. (I assume we're talking about as a writer.) But I think it's safe to say that the best thing you could do is get a superb education. If you were in 5th grade when the show was on the air (which by the way, makes me feel like a complete geezer), then I'm guessing you're in 9th or 10th grade now. Finish high school. Go to college. Study literature. Study mythology. Study creative writing. And write. Read. Write. Write some more. Write every day. Read your own words out loud. Read the classics. Read the newspapers. Write. Write some more. Proofread. Etc.

If you really want to be writing cartoons, move to Los Angeles. Get sample scripts and write your own "spec" scripts. Take classes. I periodically teach a class in Animation Writing through UCLA Extension. (Kevin Hopps and I will be teaching a comprehensive 20 week version of the class this April - September.) But even when I'm not teaching it, UCLA Extension usually has someone else teaching it.

But mostly write.

Greg responds...

Jennifer,

I'm afraid I'm a bit out of my depth with your question, as I'm not an artist myself. (Plus, I'm somewhat color blind.) There are others who could better answer this for you.

In particular, Kline, Guler, Felix, Schwartz, Takeuchi, Paur. Roy Sato may know more than me too.

What I provided was character detail, physical type. I knew I wanted Zafiro to be inspired by Quetzacoatl. Leo, Una and Griff by English heraldic gargoyles.

I knew what physical type I wanted Goliath to be, Hudson to be, Broadway, Brooklyn, Demona, Angela, etc. But the inspiration, the anatomical reference, etc. Was left in the capable hands of talented folk who could draw.

Obviously, actual stone gargoyles were a huge influence and inspiration.

As for the WHY to there multiple colors, well, we were making an animated show. It seemed more visually interesting.

Hoped that helped.

Greg responds...

1. The writers and story editors worked for me directly.

The actors worked for our Voice Director Jamie Thomason, but I sat right next to Jamie at every recording, so I knew them very well.

The pre-production artists worked under Frank Paur, Dennis Woodyard and Bob Kline, and I largely dealt with those three Director/Producers as opposed to having direct contact with the artists. BUT -- there were tons of exceptions and I got to know many of the storyboard artists fairly well. Plus I had brought our (2nd season) lead character designer Greg Guler onto the show in its development phase. So I worked fairly closely with him.

I also had one on one meetings with our timing directors.

As for the actual overseas production artists. People like Roy, I had no real contact with them. Mostly I left that to Frank, though I occasionally communicated with the head of Walt Disney Japan via FAX.

In post, I worked directly with everyone. Editors, Sound folk, music, etc.

2. There isn't one answer to this. I had a tremendous amount of authority on the first two seasons, but I did have people I answered to. Largely, they gave me pretty free reign. Frank had equal authority. We generally agreed or at least could reach a solution together. Occasionally, whether we agreed on something or not, a decision would go up the ladder.

Greg responds...

Nope. Sorry.

Greg responds...

I was very impressed with it. I liked it. It was gorgeous. And it's certainly closer to Burroughs than most Tarzan movies are. But I must admit it failed to really move me. It didn't reach inside me as, for example, GREYSTOKE: THE LEGEND OF TARZAN did. That movie I loved. Closer in spirit to Burroughs than anything I've ever seen.

Still, Disney's TARZAN was a magnificent achievement.

Greg responds...

I suppose many are ambidextrous. Since in animation, that's not a detail we have the luxury of paying much attention to.