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Anonymous writes...
Why is it that you couldn't afford to design the Avalon clan yet you could afford to design Raven's fake clan?
Greg responds...
Can't you see the difference?
Raven's "fake clan" had, what, like three members?
We didn't have the man-hours to design 36 separate gargoyles for Avalon. But we did design some members of the Avalon clan. Angela, Gabriel, Ophelia, Boudicca, at least.
Anonymous writes...
You once said that you had a medusa character in NO that was eventually replaced by Sphinx. So did you take out the medusa character because you wanted to show that there were also human looking NOs?
Greg responds...
Sphinx isn't particularly human-looking. She's certainly less human looking than Boreas, for example.
Mostly we took out Medusa in a lead role, for two reasons...
1. We thought she'd be very hard to animate. So we wanted to be able to use her sparingly.
2. I liked the ability to use angelic imagery for the first meeting of Terry and Sphinx.
Bethany writes...
This doesn't neccesarily have anything to do with gargoyles per se, but i was wondering if you had any advice for me on something: I'm a theater major, and looking into voice work, either for animated shows or commercials..is there anything in particular I should avoid/definetly do in looking for this sort of work? I am in the dark.
Greg responds...
For starters, where do you live?
If the answer is anywhere but L.A. or maybe New York, then my second question is When are you moving?
It's not impossible to have a voice career elsewhere, but the odds are stacked against it.
Once you're here there are classes I can recommend. But you can't take them long distance.
Duncan Devlin writes...
I noticed a contuning theme with the drawing of Xanatos. When there are other characters around, he seems to dominate everyone in size, with the notable exception of Goliath.
This was strongly evident in Future Tense, when Demona kicked him. She was about 1/3 his size.
Any comments? Did this happen on purpose? Was it your idea or animation's?
Greg responds...
Part of it is a function of design.
Some of it I'm sure came from the board artists/director and producers.
Some from the animators.
Sapphire writes...
Wouldn't it be cool if gargoyles was done in amine?
Greg responds...
Do you mean "anime" or maybe "mime"?
And what exactly do you mean by that? Do you want bigger eyes?
Entity writes...
Hi Greg,
Thanks for giving my comments about AWAKENING (the portrayel of the Trio and the cut prologue) a fair explanation. (I'm glad to hear that you would've preferred the prologue, too -- maybe I just wanted to know it wasn't cut for quality reasons.)
I understand the usage of the Next Time and Last Time segments better now, too. Though I have to ask: Is the quantity of bad animation you got back on GARGOYLES typical of an animated show?
Greg responds...
No. Actually, on the whole, I'd say Gargoyles got much BETTER animation than the average tv show. For starters, many of our episodes were done by Walt Disney TV Animation Japan. Those guys kicked ass.
And we also did very well by our Korean sub-contractors. Not every time. But often enough that I don't want to complain. Well, to be honest, there were always things to complain about. From every studio. That's the nature of tv production. But we got pretty lucky over all.
Jim R. writes...
I am curious. You were an "executive producer" for Gargoyles, right? What does an executive producer do for an animated series? Did you work on any of the artwork? Any of the storyline? The voice actors?
What is it that an executive producer does? In a nutshell, of course, I know you're busy...
Greg responds...
Haven't I answered this a hundred times?
No. In those days, Disney TV Animation did not give out "Executive Producer" credits. I started as a "Co-Producer". Then became a "Producer". Then "Supervising Producer". Through all these title changes, my duties never changed. [Which is to say, that a title doesn't necessarily give a consistent read on an individuals responsibilities or efforts. So I can't speak for all Executive or even Supervising Producers. I can just tell you what I did.]
I came up with all 66 story springboards and supervised the writing staff. Though I didn't have the title, since my producer credit rendered it redundant, I was the Supervising Story Editor for the series. I personally wrote and story edited "The Journey". Though I did not produce the Goliath Chronicles episodes, including Journey.
I also supervised all recording sessions with the actors. I voice directed one episode (VENDETTAS).
I don't draw, but I did give notes and approvals on all designs and storyboards. I also supervised post-production. Called retakes, supervised final edits, mixes, on-lines, etc.
I didn't do any of this stuff alone. But along with Frank Paur, I was the final word on everything.
Pyro X writes...
Hello;
Generally, what does an Executive producer do, as in preparing a show like Gargoyles?
Greg responds...
Well, I wasn't an Executive Producer. Gargoyles didn't have any executive producers.
I was a Supervising Producer. I came up with all the springboards, reviewed all premises, outlines, scripts. Supervised Voice Recordings, edit sessions, sound mixes and on-line sessions. Gave notes on all designs, storyboards and animation. I was a busy boy.
melcelestial@hotmail.com writes...
Seriously, how'd you get noticed by the world of your high-qualitied animations, A-Z starting from college? What inspired you to start the career as a cartoon animator? Do prefer 2D or 3D? What gave you the inspirations to start a cartoon????????
Greg responds...
O.K. First off, I'm NOT an animator. I'm a writer. And largely, at the time, I followed the work and the opportunities. I got a job in animation and followed that course until it eventually led me to create Gargoyles. But it was in that order, not the other way around.
As for 2D and 3D, I have no absolute preference. I like good animation, no matter the format. I like well-told stories. Some subject matter works better in 2D, some in 3D. And I like doing shows where the content and the format are working together as opposed to at odds.
SEM writes...
Given what you learned from STARSHIP TROOPERS and MAX STEEL -- if you were told that you could do GARGOYLES again but only if it could be done in 3D Animation would you? Do you think GARGOYLES could even work in 3D?
(I know it's a hypothetical, but this was the main selling point that got VOLTRON back on the air after 10 years as VOLTRON: THE THIRD DIMENSION for 26 episodes.)
BTW for the person who asked what program MAX STEEL is rendered in -- I know Netter Digital (now defunct) used Lightwave, and that Foundation Imaging used Lightwave for season one (as well as for the work they did on STARSHIP TROOPERS). I presume its still being used for the current season but not sure. Lightwave's major competitor is a program called Maya.
Sorry if I wandered too far off topic, Greg, but since I knew this came up thought I'd answer it for the archives.
Greg responds...
Yes, I think Gargoyles could work in 3-D. And if that was my only option for bringing it back, I'd jump at the chance.
If I had multiple options, however, I'd use the animation style that best suited the subject matter of the series.
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