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RJB writes...
Hi Greg,
1. Do you think that "quality of writing" is something that the average person might have a stronger opinion about compared to other subjective creative forms like art or music? Does that make it more likely that you'll get people complaining about the quality of the writing in a show rather than any other aspect of it?
2. Is it fair to say that a lot of complaints of this nature are ignorant of the many factors that go into making a show outside of purely creative decisions? Stuff like budget, scheduling or availability that might influence what's reasonably possible to do in a specific time frame?
3. Have you noticed these kinds of criticisms getting worse over time? I feel there wouldn't have been as many people complaining about "Hello, Megan" during the time of Gargoyles, or maybe even Spidey.
4. I get that armchair criticism has always been around and that social media has provided a bigger platform for it, but the recent negative reception to stuff like the ending of Game of Thrones or Star Wars The Last Jedi has made me curious about your perspective on this kind of thing.
Greg responds...
1. I do think that. My hypothesis - untested, unconfirmed - is that in a literal sense, nearly everyone knows how to "write". They know how to grab a pencil, pen or keyboard and put words on a page in an order that is at least comprehensible to another human being. So there is, perhaps, a subconscious assumption that if they just set their minds to it, that they could write stories, too - as good or better as most of the professional writers out there. On the other hand, to take your examples, not everybody believes they can draw or make music. Those talents seem esoteric, special, unique. I believe they strike a bit more awe - at least generally - than writing does. So the writing becomes the easy target. Or at least the easier target. But, of course, I'm a writer that can't draw or make music. So it makes sense that I should believe I'm under attack more. Human nature. So take it all with a grain of salt.
2. I think that's very fair to say. (And this is reading a bit like I posted these questions myself in order to defend myself with the answers. Not that I'm complaining.)
3. The internet is... well... awful... in so many ways. And its spread and influence has increased over the years, so, yes, it is definitely getting worse. But it hasn't really changed. Back in the pre-internet days, I'd still get nasty letters (sent via the post office) on Captain Atom. And the basic percentage of praise to criticism to abuse is really about the same. It just feels multiplied by the internet. The quantity of feedback is exponentially larger. And, again, human nature being what it is, I can get literally 50 tweets of praise, which are then wiped out of my mind by one mean tweet.
4. Well, I hated the ending of Game of Thrones, too... and I had mixed feelings about Last Jedi... but that wasn't the point of your question. It definitely FEELS worse. The main thing that people don't seem to get is that I LIKE MY SHOW. Brandon and I like what we've done. Not every frame, mind you, but overall, we LIKE OUR SHOW. And we are making the show WE WANT TO MAKE. I don't mind that people don't like it. (It'd be lovely, I suppose if we had 100% praise for the thing, but I honestly don't expect that. Ever.) What gets on my nerves is the assumption that many "fans" (or hate-watchers) have that we should be making the show that THEY WANT US TO MAKE, and that we're failing because we're not MAKING THEIR SHOW instead of MAKING OUR SHOW. That does grind on me. You want to shout out: "GO MAKE YOUR OWN DAMN SHOW!! No one's forcing you to watch ours!" But, of course, that's not a particularly politic statement to make. And more hate-watchers are still more watchers.
TNT writes...
Hi Greg,
In the time that you've been working in TV animation, you must have seen many changes in the industry. In terms of the "nuts and bolts" elements of making a show (storyboarding, animation, retakes, sound mixing etc), things must have changed quite a bit.
1. What aspects of production have become easier over time?
2. What has gotten more difficult?
3. Would these changes have more to do with changes in technology, your own level of experience in the industry or to the studio/property you're working with at the time?
4. Is there anything about the industry that was specifically different in the intervening decades with Spectacular Spider-Man or the earlier seasons of Young Justice that wasn't the case before or since?
5. If Gargoyles were to come back with you involved, obviously the most important thing is the continuity of the story, but to what extent would it have to change in its art or animation style to be made today?
Greg responds...
1. I'm not sure "easier" is the term I'd use, but "possible" includes a lot of fixes we can make in editing and post-production on voices, on picture, on effects, etc. There are things we can do now that we flat out couldn't do before.
2. Nothing particularly springs to mind, unless it's the glut of content that makes getting attention for one's project more difficult.
3. Mostly, with changes in technology. I like to think that I'm better at certain things now than I used to be, too. Of course, the flip side of that is that I'm also more demanding than I used to be. Different studios have different strengths and weaknesses, but I haven't noticed one being stronger or weaker overall, and I've worked at a LOT of different places.
4. Post-production visual FX work became much more commonplace since. But it was largely not done previous.
5. That depends on all sorts of factors that are hypothetical. But there's no reason why - at least in theory - we couldn't simply use the same design style, assuming TPTB approved.
Isaac writes...
Hello! I was wondering if you ever watched Robert Kirkman's Invincible (2021) animated series? It's about superheroes and gave me the same vibes as Spectacular Spider-Man and Young Justice (just WAY gorier). I really enjoyed it, and one aspect of it that I absolutely loved was the longer episodes, running about forty-to-fifty minutes each. I know it's way above your pay-grade, but I was just curious, if you had the choice, would you want to extend your episodes to fifty-some minutes like Invincible? Or would you want to keep them a little over twenty minutes? Assuming of course you'd be able to still produce twenty to twenty-six episodes for each season, which Invincible didn't do at just eight episodes per the first season.
Anyways, Happy Halloween! I'm eagerly awaiting the next episode of YJ Phantoms! Artemis' arc is looking to be fantastic!
Greg responds...
I haven't seen Invincible.
In some ways, I'd love to stop worrying about episode lengths entirely. But I'd still want the same quantity of episodes (or more). And budget is definitely a factor. It's been great on the last couple of seasons of YJ that if we have (within our budget) been freed from the constraints of a maximum length. But I don't feel like we've been hugely restricted by running between 22 and 27 minutes. Don't know that we need "fifty-some".
ruby writes...
This is my first time writing in, so I just wanted to say thanks for having this website up! I can't imagine the amount of time it takes to answer everything. It's truly appreciated. I picked up YJ not long after the third season wrapped up, and I'm delighted I got into it when I did.
I especially have to thank you (and the rest of the YJ crew, of course) for Artemis. I was in a bit of a rough patch when I watched it first, and I saw a lot of myself in her. Watching her overcome her fears, especially in the first season, was a reassuring inspiration. There's been more than a few times when I found myself thinking of her as I braved through things. She means a lot to me, and I'm thrilled to see her still working things out now, even though she's been through so much. (I was beyond excited when we found out she's leading the Team now! I can't wait to see that!)
Anyway, I've had these lying around for a bit, so here we go.
1) You recently mentioned some of the organizations you’ve reached out to for help with YJ’s characters of color, cultures you’re unfamiliar with, and the LGBTQ+ community. It’s wonderful to hear that you’re working with them! Which other groups have you worked with (both today and during the first and second seasons) and how does that relationship work?
2) What does a day in the life look like in the YJ acting booth? (I have to imagine it’s pretty fun with that particular group of actors and directors!) Any idea when you’ll be able to record in person again?
3) From what I understand about acting (both voice and “regularâ€), it’s incredibly important for actors to be able to play off of each other. How does that work with recording during the pandemic? Do actors record lines individually and then play off those recordings, or are Zoom meetings used to imitate the booth as much as possible?
4) One last question about voice acting: how much influence do your actors have over the characters' personalities? Are their ideas about the characters integrated into the writing?
5) I’ve always loved the glimpses we’ve seen of YJ’s interpretation of Atlantis. Many of the versions I’ve seen are basically just a very large underwater city with little oceanic inspiration. YJ’s version seems to have been created with a lot of thought toward how the structure of the seafloor and plant life interact with it, as well as the intense influence of magic. The colors also often feel particularly vibrant and ocean-like. Given that you’re not one of the artists, I’d guess you may not know much about how it was designed, but is there any insight you could give to choices made regarding Atlantis’s design and culture?
I've just seen the first episode of Phantoms, and it's looking spectacular so far. Good luck with finishing up post-production, and thank you again for your hard work!
Greg responds...
1. I'm going to hold off answering which other organizations we've worked with for now, as I think revealing the organizations would by default reveal content. I'd be happy to answer this after the season's over. But I've already stated that we've been working with GLAAD and OUT and MPAC (Hollywood Division). Plus, we've run every single outline and script by Dr. Janina Scarlet (superhero-therapy.com and @shadowQuill on Twitter). She's helped us with psychological and therapeutic details, while also generally acting as a sensitivity reader for our work. And there's also Warner Bros' own DEI department, who've been very helpful. There are more organizations, but the rest will have to wait for now. As for process, it can differ slightly. But generally, we discuss the stuff we were thinking about doing with them and get their feedback. Then we show them our outlines. Then our scripts. Sometimes even animatics or animation. At each step, we listen, take their notes and make sure everyone feels good about what we're doing before we take the next step in the process. We don't do anything that doesn't work for our story and characters. But we admit to ignorance on many fronts and many levels, and we like educating ourselves and allowing that education to be reflected in the work.
2. Well, it is fun! (Or, you know, most of the time. Nothing's perfect.) But pre-pandemic, we'd bring a majority of any episode's cast in together. (Although our casts are SO big, that sometimes we might split that cast into two shifts, trying to get folks who have scenes together to record together.) Jamie usually has them do a first run through without much direction. Then he might dive in and nuance an exchange or a line. Or even a certain phrase. We like to have options, but we want to make sure we get at least one version that hits the nail on the head. And we also make sure that we have at least two versions of every line. Post-pandemic, everyone was recording alone. Which is still great but not quite as much fun. There's a lot of playing back what one actor did for the other actor. (Whomever went first, kinda gets to set the tone for any scene, in these cases.) As for when we'll get back to recording in person, I don't know. Not on Season Four. That's all fully recorded.
3. See above.
4. After an episode or two, we definitely begin to incorporate their performances into their characters. With regulars or our long time recurring actors, we often sit down and talk to the actors about their characters, and I'm not at all adverse to listening to their takes on their own characters and importing those ideas into future episodes.
5. We wanted to fully bring their culture and milleu to life. To see Posiedonis - which is all you've seen of Atlantis so far - as its inhabitants see it.
Thank you for watching!
Todd Jensen writes...
Rewatched "The Green" today.
I might be reading too much into this, but I noted that the ones responsible for the theft of the Mayan Sun Amulet and the deaths of most of the Mayan clan were called "poachers" - a term for illegal hunters. Given the recurrent theme about gargoyles being hunted and facing danger from hunters that I've been paying close attention to in the 25th anniversary reviewing, I thought that an apt word choice.
This episode featured five "clawmark" transitions, the most I've noted to date in any individual episode of "Gargoyles". (I've been keeping track of those during the silver anniversary reviewing, and counted fifteen up to this point, of which five were in this episode - one-third, in other words.)
Greg responds...
Wow. That's a lot of claw wipes. But we also had more location transitions from Manhattan to the Green and back.
Todd Jensen writes...
Rewatched "Shadows of the Past" today.
Bronx was definitely not enjoying the wild boat ride through the stormy seas - his response put me in mind of the "series Pitch"'s description of him as angst-ridden and not fond of adventures.
I really enjoyed the little animation details in this episode - Elisa cautiously climbing up the path from the shore, grabbing hold of the stone wall at one point to steady herself, or Bronx slipping a bit when he starts climbing up the cliff.
The entrance to the rookery looked different than it did in "Awakening Part One" - apparently those doors and the gargoyle-like face over them were removed by Xanatos to New York, along with the rest of the castle. The depiction of the now castle-less cliff - with a huge gap - brought home just how much of it Mr. X had removed.
I really like the illusory Demona's words to Goliath "Join me in the dark" - it's an illusion of her, of course, but those words capture so well in metaphor what she's been trying to get him to do (when not simply trying to kill him).
This time around, looking at the giant skull-like shape left over from the Archmage's battle with the gargoyles in "Long Way Till Morning", I tried to work out (but wasn't certain) whether it was a real skull (if so, it belonged to something really huge) or just part of the cave sculpted into the likeness of a skull. I'll have to pay closer attention to it, the next time I watch "Long Way Till Morning".
Greg responds...
The animation on that episode was just lovely..
Charles Beale writes...
As a live action film producer/director, I’ve often thought some ideas might be created as an animated series. What guidance would you give to someone looking to branch into animation? Assume I have no existing relationships.
Greg responds...
Your best bet is to go through your agent, who should be able to get you meetings with animation execs.
DK writes...
As a writer and creative, you've been responsible for some of my most cherished childhood and adulthood favorites. Given your experience, I wanted to know what one's approach would be when they come up with a story that they could see manifesting as an animated series? Do you flesh the whole story out as if writing a novel, or do you try and create episodes on paper and tell the whole story; is the process entirely different altogether? I would love your insight on this sensei. Thank You
Greg responds...
Are we talking about selling or producing? They're two very different processes.
Marvelman writes...
Hi Greg,
Having watched the first half of season 3, I can honestly say that the writing on Young Justice is as sharp as ever. As always, some episodes like "Evolution" and "Nightmare Monkeys" are better than others, but that's going to be true of any show.
However, I recently re-watched "Depths" from season 2, and I have to say that the quality of the animation on Outsiders is just not at the level of the animation on seasons one and two. What would account for this? Is your budget smaller? Did you switch animation houses? Or, do you not agree with the premise of my question?
Don't get me wrong. I think the animation is okay. It's just not as good as prior seasons.
Greg responds...
Our budgets are technically higher, but are (with inflation) more or less the same. We did switch animation houses. But we had to. The world has changed. There's way more production in Seoul than there used to be. It's way more competitive for studios and artists over there.
But basically, I don't agree with the premise of your question. We've had mixed animation success in every season, with strong episodes and weak episodes and everything in between. I'd put the animation on "Nightmare Monkeys" up against anything we did in Seasons One or Two. And there are episodes in all three seasons that had us pulling our hair out over the animation. In the end, however, I think they all cleaned up respectably.
danny writes...
hey mr greg weisman i was just wondering were you aiming a little older and just had to keep it appealing for kids
Greg responds...
We talking Young Justice? Gargoyles? Shimmer and Shine? Every series is different in its demographic targeting, sometimes even from season to season. In most cases, we tried to target multiple demographics simultaneously by writing in layers.
Marvelman writes...
At what point will Outsider be considered to be in-production? The writing is considered to be pre-production, right? I know you are now recording the voices. Is that part of the production phase?
Greg responds...
It depends how you're defining your terms. Broadly speaking, Young Justice: Outsiders is in production and has been for over a year.
But if you're going to divide the broad term "Producton" into it's three main components, i.e. Pre-Production, Production and Post-Production, then:
Writing, voice recording, storyboard, design, direction are all elements of pre-production, and are all done here in Burbank.
Overseas animation is the actual production, done in Seoul, South Korea.
Editing, retakes, music, sound effects, visual effects, foley, sound mixing and on-lining are all elements of Post, which is also done here in Burbank.
Young Justice: Outsiders is very deep into Pre-Production, and pretty darn deep into Production, and beyond the shallow end in Post-Production, as well.
In any case, we're still right on schedule.
Jack Carpenter writes...
I've heard a lot about the "core truth" concept you and your team use in your approach to characters.
Are some of these core truths secrets, or would you tell us any that we ask?
Greg responds...
I don't think they're secrets because we put it all up on screen. But my inclination is to let our interpretation stand on its own, influenced by each viewer's own interpretation, as opposed to explicating everything in writing here. Still, I don't mind talking process. I'm not going to go down a laundry list of characters, but if someone were interested in one specific character as an example of the process, I might - depending on my mood and clarity - answer this kind of question once or twice.
Carl Johnson writes...
Hello Mr. Weisman,
I had just a couple of questions.
1. One thing about the animation industry is that once a season is over there is no guarantee that the next season will be picked up. Should some one have a plan B for another profession if the next season does not work out? Or is there plenty of work in California that if you did your job well, finding another one should not take long?
2.If someone has a animation idea they want to pitch and have all the details worked out (pitch bible, characters, story, and pilot script) how would they know when they could pitch the idea?
3. I had a question for attires for animation shows. Does it cost more to have different episodic attires for characters or do characters have only one attire to save time? I know in Spectacular, Peter had a winter attire with the jacket, or that one time he had the black shirt with brown pants during the symbiote removal episode but is there a choice on whether they can change their attire episode by episode to add more realism?
Thanks!
Greg responds...
1. Well, uh... There are no guarantees. I try to have other work lined up, pretty much always. And sometimes I'm just flat-out unemployed for stretches. This gig is not for the faint of heart, I guess.
2. I'm not sure I understand the question. If you're ready, pitch. But my caution would be to be careful not to poison the water. If it's a work in progress, and isn't actually very good (YET), then I wouldn't pitch. Make sure you're only showing the best possible version of what you've got. On the other hand, there's not much point in noodling forever on an idea. If it's solid, go for it.
3. Every design - and new clothes are a new design - cost time, which costs money. So, yes, in animation, we need a pretty good reason to give characters additional wardrobe. But if we need it, we need it.
Lenny writes...
Hey Greg,
I am very interested into breaking into the animation industry. I am currently in college working on my English writing skills and drawing skills as well. I heard in one of your previous interviews that moving to California would be smart as thats where alot of the animation jobs are. By the time you read this question I would hopefully be done reading "Gardner's Guide to Writing and Producing Animation" by Shan Muir. I should get a better idea about the industry itself from reading that book, but since you have experience as a animation producer I just had a couple of specific questions hopefully you can answer.
1. Would animation companies be more interested in investing original show ideas or original ideas on licenses they already acquire? I.E. an idea that some one made up and wanted to make into a show or having original material for a Marvel Spider-Man show or DC Superman show?
2. I have never been to California but I heard the cost of living is higher than any state (considering that Im from the east coast) should one wait to have an agent then move to Cali or should they move there, settle in, get a part time job then pursue after the animation career?
3.If by some miracle a persons idea gets picked up by a company, they might not immediately give them control over production. Could a recommendation for a more seasoned producer ( like Paul Dini, Victor Cook, or even Brandon Vietti) be made and considered? or is it 9/10 they provide their own producer?
4 (Last one) Animation on live television has changed drastically over the past couple of decades. With online streaming services such as Netflix, Hulu, and even Amazon Prime have shown that people rather binge a season versus figure out what time slot it will appear on television. So my question is, if a person has an idea but would think that idea would perform better on a streaming service versus online television, should that be included in the pitch or should they let the executives worry about that? For example Marvel hasn't made a Spider-Man 2099 cartoon series yet and if it were to be adapted truly it would probably do way better on an online streaming service where people can watch and binge episodes on their own time, versus live television in which a shows lifespan can be cut at any moment.
That's all the questions that I have and I hope I haven't broken any of your guidelines. I hope to break into the industry within the next five years and is willing to do almost anything to make my dream come true. Thank you for your time!
Greg responds...
1. Marquis value is always something sought after, but there's no way to predict what a given network or studio is looking for from the outside in. You can come in with a take on Wile E. Coyote, and find out that Warner Bros already has plans for him. So, I tend to advise people to spend their time on something they can own. But it's not a hard and fast rule.
2. I don't know how you get an agent without getting work first. And frankly, I don't know how you get a first job if you're not here pounding the pavement. There's work in New York. And a few other places. But most of the animation writing work is in Los Angeles.
3. How could you possibly get a recommendation to be a producer from anyone if you've never produced? Dude, you have to work your way up through the ranks. Freelance writer. Staff writer. Story editor. Producer. If you come in with a brilliant idea that they're desperate to have, I suppose anything is possible. But it's not likely. Prove yourself. THEN sell your brilliant idea.
4. You can suggest whatever you want. But if you sell to Netflix, for example, of course they're looking at a binge-model. And if you sell to Cartoon Network, of course they're NOT. So try not to limit your options.
killuaDev writes...
Do you enjoy having conversations with people about your work (If they are not asking for spoilers or trying to pitch you ideas etc.
Greg responds...
Very much.
Anonymous writes...
1) Have you read much from the old DC Vertigo imprint? If so, what were among your favorites?
2) Do you see a realistic path towards animation becoming acceptable among the general adult population in the near future?
Greg responds...
1. I read everything prior to 1996. Almost nothing that came after. Sandman and Swamp Thing were obvious favorites, back in the day.
2. Depends what you mean by "acceptable."
John writes...
Hi Greg, hope your day is going well, just wanted to say thanks for creating and producing all of these great shows, comics, and novels, and thank you very much for taking time out of your probably busy schedule to answer fan's questions.
1. How long does it take to make an episode of an animated series, like Spectacular Spider-Man or Young Justice?
2. Is Aquaman's son really named Artur, or was that just a typo in the video game?
3. What would it take to relaunch the Young Justice comic book series?
And I know these are probably spoilery, so I won't ask, but Zatanna and Rocket were some of my favorite characters in season one. Really hoping you guys get enough episodes to bring a resolution to the Zatanna/Zatara/Dr.Fate storyline, and we can finally find out who Rocket'a husband is! But if neither of these end up happening, I'm sure we'll get a fantastic Season 3 story from you guys no matter what. Ecstatic that YJ is back!
Greg responds...
1. Depends what you mean. You see, no one makes a SINGLE episode. From coming up with the springboard for the story, all the way through post-production, until it's in the can, it takes somewhere from between ten and thirteen months, depending on the schedule.
2. Artur is correct.
3. It would help if a lot of people bought electronic versions of the issues already published, either on the DC App, Comixology or iTunes.
Snaggle Fraggle writes...
What in the animation industry has changed since you first got into it, for better or for worse?
Greg responds...
Tons. And nothing.
The biggest change for me, right now at least, is the end of animation in broadcast syndication and for the major networks, through the rise and (plateauing) of cable stations, into streaming services.
Ah-Bee-Cee-Dee writes...
Is it my imagination, or are 11-minute/11-minute episodes steadily replacing 22 minute animation as the norm?
Greg responds...
I don't know about norm. But I do see a lot more series going the eleven minute route. (Not YJ, in case you were concerned.)
Robert Misirian writes...
Hi Mr. Weisman. I remember we met in WonderCon last year and I asked you questions about writing spec scripts for cartoons. I remember you said that I should write three scripts, then go over them, and only submit one of them if you're absolutely sure it's good.
Knowing what you and your crew got away with in Young Justice, how do how people like you and Gennedy Tartakovsky on Sym-Bionic Titan get away with the TV-PG content and make your show with teens in mind? And since I plan to make TV-14 shows for the main Cartoon Network channel, would the channel accept them?
Greg responds...
You'd have to ask them. The needs of ANY given channel are constantly changing.
And I don't write for an older audience. I write on levels so it works for the widest possible audience.
Green Lantern's Nightlight writes...
1). You say to fans a good way of showing they want Young Justice to return, is to buy the comics, DVDs, and the game (and the toys still?), but how much would fans have to buy for this to happen? Is there a goal to reach maybe or perhaps just enough to get noticed by DC/WB that it's still something that people want more of?
I would think they'd be more interested in what was selling when the show was still on the air, because that's obviously what Mattel was looking at for it to pull its funding.
2). If by miracle, YJ does get brought back by Netflix, where would the funding come from? Having Mattel as a backer makes it look like it couldn't be made without it. Not every Warner Bros. Animation show has a backer (unless there's a silent contributer), and most of the Netflix shows have a backer (helped by broadcasters who air it around the world), so what would happen with YJ? Would it just be supported by Warner (and DC), itself? And I guess, Netflix.
Greg responds...
Well, this is all largely moot now, but...
1. I never had a NUMBER or AMOUNT. It takes more to get a company's attention after a show is off the air, then it takes to keep a show on the air. The other thing to keep in mind is that buying toys (or whatever) second-hand does nothing to get a company's attention. So, for example, I was not advocating buying YJ toys this year, because those toys were off the market. Any purchases were second sales and does nothing for Mattel or WB or DC's bottom line.
2. So YJ's coming back, but I don't know where it will air. The term "backer" doesn't really fit, either. It's about MONEY. Money to produce the first two seasons of YJ came from Mattel and Cartoon Network. (Mostly from Mattel.) When Mattel pulled out, the money from CN wasn't enough to produce the series. Period. For season three, Warner Bros itself is paying for it, for now. They have confidence, I guess, that wherever it winds up and whatever merchandise they may or may not eventually release or license, they'll still make a profit. That's based on what the fans proved over the last few years.
Blake writes...
Me and a friend of mine are making a show about war and we wanted to know if we should go with animation from star wars rebels or go with retro animation from the 90s.
Greg responds...
Okay, so...
(a) Are those your only two options?
(b) Are you defining "retro animation" as cell animation as opposed to CGI? Cause cell animation isn't by definition retro.
(c) Are you in fact MAKING this yourselves, or are you coming up with a pitch? If the former, evaluate what you can and can't manage. If the latter, keep your options open.
Domenic writes...
How long did it take to write and make an episode for Young Justice?
By the way, you are THE BEST writer on TV ever!!!
Greg responds...
Thank you.
Um... well, it takes a minimum of nine or ten months to go from an episodic springboard to a final complete episode in the can, ready to air. Often more like a year.
Annonymus writes...
Hi Greg, I was just wondering, how do you react to negative criticism on a show you worked on before like all those people who heavily criticized something you that you and your team liked, like the Joker in Young Justice for example? Would you stick to the creative choice despite how the majority of the audience did not approve or would you make changes to that criticism even if you thought it was fine the way it was.
I know I'm not obligated to advice the creator what to change or not not to change, I am merely asking how the creative team would react in this situation, because I too am learning in production management and how to plan construction for a form of entertainment media.
It would really help,
Greg responds...
I have to stick to my guns. In part because of the long lagtime between production and airing. And in part because I need to maintain my passion for a project. If I'm taking notes from everyone who can make a suggestion on the internet, I'll (a) never get anything done and (b) quickly lose my passion for the project.
If I had listened to all the YJ criticism that came down the pike early on, I would have, for example, cut Miss Martian, Superboy and Kid Flash from the series. I would have made the season one Robin Tim Drake and not Dick Grayson, which means we would never have gotten Nightwing in Season Two. I would have lost Dick's laughter and his wordplay. Aqualad would be another white guy and not the son of Black Manta. Etc. Etc. Etc.
People don't know what we have planned, and they react. Often negatively - especially on the internet - to things that they will eventually love if we and they are patient.
Kyle Kale writes...
Hey Mr. Weisman
Given your experiences in animated media, do you think that animated shows have it harder (in terms of having to prove themselves as viable for gaining additional seasons) than live-action shows? I ask because it seems to me that you have, alongside collaborators, spearheaded numerous projects (such as WITCH, Spec Spidey, Young Justice) that have, critically and in terms of viewership, been very successful (I can't speak for Spec Spidey or WITCH, but I know that Young Justice consistently maintained numbers that even some live-action shows do not get or maintain), yet they have all been cancelled for various reasons. Meanwhile, there is no shortage of live-action shows that have been looked upon with far less critical or viewer approval and have been renewed for more than three seasons (of 16 to 21 episodes). If your answer is 'yes,' do you think that one reason for this increased difficulty on the part of animated shows is that most of them are forced into, in addition to maintaining constant viewer numbers, maintaining a toy line?
Greg responds...
I dunno. It's easy to complain, but the truth is MANY shows don't make it to a full season, let alone two or more.
Budget plays a role in any series, but a kids series - particularly a kids' action series - seems particularly prone to the need for an alternative revenue stream beyond ratings.
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