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HEATHER writes...

Hello. My dream ever since I was 4 years old is to be a Disney animator. I know that you no longer work for Disney, but are my chances pretty good at making my dream come true? I have just completed my sophomore year in college, as I am majoring in art. Any job openings?? (I know you wouldn't know this now, but it's worth asking you.) Also, when I get to work for Disney (thinking optimistically), I will do all I can to make them bring the "Gargoyles" show back, and see that you are re-hired as the producer, since you did such a FABULOUS job with the show. I love that show to death. I will do all I can to help bring it back. Thanks for your time, Greg!! :)

Greg responds...

Thank you.

I don't know how to answer your questions, however. As you pointed out, I don't work for Disney. You say your majoring in art, but are you studying animation specifically. Do you really want to be an ANIMATOR, or do you just want to work as an artist in the animation industry?

Disney TV Animation, where we pre-produced Gargoyles, doesn't hire animators. They hire designers, board artists, color stylists, directors, etc. (I'm not saying that some of these guys or gals don't know how to animate, I'm just saying that's not what they were hired for.) The actual animation was done overseas in places like Japan, Korea and Taiwan.

Disney Features Animation, where I've never worked, does hire animators.

Heather, if this is your lifetime goal, your best bet is to learn all this stuff backwards and forwards. At least to start.

Response recorded on July 26, 2000

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Fenrir writes...

Greetings Mr. Weisman!

Thanks for answering our questions. It means a lot.

I apologize if this has been asked before, but I did not see the answer in the archives. Approximately how many Gargoyle-Beasts were at Castle Wyvern in the year 994? There was at least one (Bronx) and presumably at least one female (to lay the Boudicca egg at the Wyvern rookery). What I'm getting at is: Who are Boudicca's biological parents? Is Bronx her father? Or would he be too young?

Greg responds...

Bronx is not Boudicca's father. He's too young. I don't know exactly who her bio-parents are. They had no names after all. But there was a goodly number of Garg Beasts at Wyvern. Animation budgets prevented us from showing you the full clan. Sorry.

Response recorded on July 26, 2000

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Amethyst Delena writes...

Did you come up with, draw and design...etc. Golith?

Greg responds...

No. I can't draw at all, which Aimee and Jody's sketchbooks can now attest to.

Greg Guler did the orignal design for Goliath. This was adjusted by Mr. Takeuchi of Walt Disney Television Animation Japan. Frank Paur also had input into the final model. (I had input too, I guess, but not with a pencil, just a memo.)

Response recorded on July 26, 2000

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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?


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Entity writes...

Hi Greg,

In an earlier response of yours, you state that the "Next time on Gargoyles" teasers were actually advantageous in that they padded out air time.

This confuses me. Well, actually, it somewhat disturbs me. You man having less time in which to tell a story was a good thing?

For me, in any half-hour program, I savor every minute because I know there are only twenty. It's not the same in hour-long shows. Yet, they often have the briefer teasers.

Greg responds...

By thirty seconds... DAMN STRAIGHT.

Budgets forced us to send shows overseas that timed out almost to the exact length that the show would air. But bad animation happens. Mistakes. Bad timing. Things we overlooked in board. Etc. If you can't cut anything because you're already more or less at the correct airing time, that limits what you can and can't fix. Having the freedom to cut another 30 seconds allowed us to tighten things up immeasurably. Action sequences have more punch, move quicker, I guarantee.

It's not like we were losing scenes or even lines of dialogue. It's not five minutes, it's just thirty seconds spread out over nineteen minutes worth of footage. It helps make each minute much more savory. Trust me.

Response recorded on July 05, 2000

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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...


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Pyro X writes...

Mr. W:

I read you post on "Enter Macbeth" again, and was wondering:

Could you tell us one or three of the shots that got reanimated?

thanks.

Greg responds...

Specifically, no. I just can't remember from that long ago. But quite a bit. It's easier for me to remember what we DIDN'T reanimate that I wish we had been able to, because that stuff's still present in the episode and really bugs me.

I do think that some of the early scenes of Xanatos in prison looked particularly Aladdin-esque in their modeling. I seem to recall we had those redone.

Response recorded on June 23, 2000

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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"...


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Vasy writes...

Hello Mr Greg Weisman. I wnated to ask you a question not about gargoyles in particular, but about animation and allthat other cartoony stuff in general. I am a Computer Scientist, and I am very interested in computer graphics, game graphics. I love looking at cartoons from 80's to today and see how better they have gotten. They even have 100% computer animated shows like Beast Wars and stuff. My question to you is, how do I go about getting a job in this field. I know gargoyles had some computer graphicing and animation involved. Basically, I am lost on my search to becoming a great animator. Can you give me any advice, tips on what to read, languages I should know, and anything else that might be helpful. Thanks a lot.

Greg responds...

Gargoyles had absolutely NO computer animation in it, except maybe in the main titles for GOLIATH CHRONICLES.

I've worked on some computer animated shows since, however like ROTG, Starship Troopers and Max Steel.

Still, I'm not an animator (computer or otherwise) so I'm really not the best guy to give you tips.

I recommend finding a computer animated show that you like (you mentioned Beast Wars) and contacting the studio that produces the animation (I believe that's MainFrame in Vancouver). Contact them politely, as you did me, and I'm sure someone there will be helpful. And if they're not, then contact another company that produces another show.

But, Vasy, first... LEARN TO PROOFREAD. Nothing impresses people LESS than typos.

Response recorded on April 07, 2000

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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.



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