VERONICA MARS on Kickstarter

VERONICA MARS on Kickstarter

So I've always been fairly dubious about Kickstarter. I found the websites overwhelming and off-putting.

But my brother Jon just sent me the link below, and I actually found myself pledging $50, which is WAY out of character for me.

http://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project

In part, it's because my daughter Erin and I are both massive Veronica Mars fans. And in part, it's because if this works, it opens up a whole new realm of possibilities.

Gargoyles on Kickstarter? Spectacular Spider-Man on Kickstarter? Young Justice on Kickstarter? Today it seems just a little less nutty than it did yesterday.

So check out the link. If you love Veronica Mars like I do, pledge what you can - because, damn, I want to see that movie - but even if V is of no interest to you, check out the link anyway. It's definitely giving me... thoughts...

SUCH BIG NEWS

Okay, in the period of just a few days, I have been rocked by two incredible pieces of news.

1. Last Thursday (8/27/09), Vic Cook and I were informed that in exchange for some concession vis-a-vis the live action Spider-Man features, Sony returned the television rights (including the animated television rights) for Spider-Man to Marvel. This took place the day before ComicCon, I'm told. But I was only informed of it this past week.

2. Today (8/31/09) comes the news that Disney has purchased Marvel outright.

NOW, before you ask -- before you post a thousand duplicate and/or overlapping questions to ASK GREG -- let me be clear: I have NO IDEA what this means for either Gargoyles or The Spectacular Spider-Man. Neither of these developments are by definition good news or bad news. Shocking news, sure. But how it will play out for either or both properties is a complete mystery to me. As soon as I have ANY information on either property, I will post it here at ASK GREG. Until then, don't ask. Seriously. Just don't. There's just no point in bogging down the queue with questions I have no answer to. Thank you for your cooperation.

LIFE IN THE REAL WORLD

This is something I wrote YEARS ago. But I don't think it's here in ASK GREG, or if it is, it's only in the old archives. Vash dug it up recently, and I thought I'd reprint it here, verbatim, I've added a few notes in [brackets]:

Life in the real world.

I know I've said this stuff before. Please read this carefully. I have a real fear that this might sound defeatist or condescending, but you can't possibly succeed in "saving" the show if you don't come to terms with these hard truths. I don't know what you've been told by other people. But I do know a few things about today's animation market. I've told you before that I did not believe that Gerry Leybourne was single-handedly responsible for not renewing the show. Dean Valentine is also not single-handedly responsible. Neither is Eisner. If the fans insist on looking for a VILLAIN to blame, they stand no chance. [Neither Leybourne or Valentine are at Disney anymore.] You say you're looking for a straight answer. But really you've been given and have ignored straight answers and what you are looking for is for simple answers. There are none. Here are some (but not all) of the many factors that have probably played into the non-renewal:

1) Quantity. A normal syndication package for any children's show is 65 episodes. If you don't make it up to 65 then you are considered something of a failure. If you make 65, then you have created a show that can have ongoing library use. That's a success. Anything above 65 is gravy and NO SHOW makes more than 65 episodes without significant financial incentive. They made 78 gargoyles (including Chronicles). The financial incentive for the last 13 was that ABC needed a boys action show with some "Marquee" attached to help fill out it's Saturday Morning line-up. You'll notice that no new episodes were made for syndication. There was no financial incentive in syndication. So they didn't make any more for syndication. [These days a syndication package can be as few as 39.]

2) Ratings. The ratings for Goliath Chronicles are, or so I'm told, lousy. Forget about the why for a moment, and just absorb this fact. If the ratings are lousy, we've just lost the financial incentive to make any more beyond the 13. On that level, Goliath Chronicles objectively failed. Gargoyles did a bit better in its day, but it never broke out and knocked down the competition. Aladdin did better business for Disney. And they're not making any more new Aladdin tv episodes either.

3) Shelf space. The Disney Afternoon, as we know it, is dead. The rise of FOX, the WB and UPN ate up almost all of the existing independent stations that aired the Disney Afternoon or (in lieu of the full two hour block) the individual shows that made up The Afternoon. We've known this was coming for awhile. Existing contracts kept the Afternoon alive through the end of this season. But after that it is gone in it's present form. Now, as I understand it, Disney has made a deal with Kelloggs to do a reduced version of the Afternoon. I think it's supposed to be an hour and a half long, with one new show and two library shows. The new show for next season is 101 Dalmations. For fall of 98, it's supposed to be HERCULES. There isn't room for new Gargoyles in syndication. ABC has similar problems. As a broadcast network, they've committed to air 3 hours of FCC/Kid friendly programming per week. That means 3 hours of their morning have to be reserved for that kind of programming, because unlike Fox, they don't have any other place in their schedule to air this FCC stuff. That only leaves them with about one and a half hours to fill their morning. They have an existing commitment to the Bugs Bunny cartoons that they air for an hour. That leaves them with one half hour slot to fill. Given Goliath Chronicles ratings, it just doesn't make sense to fill that one slot with a show that's failing, when you can take a chance on something new that might succeed.

4) Resources. The fans seem to regard Disney as this Giant that can do whatever it wants, and that's true up to a point. But Disney TV Animation has limited resources. There are only so many talented animators and storyboard artists out there. There's only so much money they can spend without profits to justify the expense. From Disney's point of view, Gargoyles had its shot. You and I may quibble about how that shot was handled. Whether it could have been handled better. I think everyone would acknowledge that mistakes were made. But not intentionally. EVERYONE at Disney wanted the show to be a huge success. IT WAS NOT. I wish I could tell you different. Creatively, I'm very proud of the show. We touched a substantial group of people. But an even more substantial group preferred POWER RANGERS on a consistent basis. They cleaned our clock. Disney has to decide how to allocate limited resources. If Gargoyles had 78 shots to be a hit, and didn't quite make it, you can see why they might think it's time to allocate their resources to something else.

5) Quality. Resources came into play with Goliath Chronicles. The decision was reached to allocate priority resources to shows and home videos that they believed had a better chance to break out. That's why Chronicles looks the way it does. In my opinion, the show is inferior to the original on almost every level. This doesn't mean that a lot of good people didn't work their butts off to make it as good as it could be. But limited resources result in limited success. The resource issue was the major reason why I walked away. I regret it now. The animation has been weak, but I should not have passed up the opportunity to tell twelve more of my stories. But that's spilled milk. Eric Lewald was under the gun from the moment he came on board the show. There wasn't adequate time to make the show at its previous quality level. There wasn't even adequate time for Eric to become as familiar with the show as I'm sure he would have liked to. I tried to help. I was paid to consult. But...

6) Time. Along with limited resources, the main reason Chronicles isn't up there is Time. The show didn't get a go ahead until late november '95. I began "The Journey" in December. Eric didn't really come aboard until January '96, as I recall. Look at where we are now. It's late February [1997]. Do you really want to see the GARGOYLES episode that would result if it started from scratch now and had to air in September [1997]? I WOULD NOT.

7) Expectations. I do believe that Disney in general views the show as a disappointment. They had tremendous high hopes for it. They rushed 52 episodes into production for it's second year despite my warning that they'd have to air a lot of reruns in between new episodes. The reruns, the weaker stations we were on and many other factors, including series content resulted in a solid but decidedly unspectacular performance. I do believe that the high expectations that many at Disney had for the show, led to greater disappointment in its real failure to break out and its perceived failure in general. That disappointment doesn't make a lot of people feel inclined to make more.

8) Strategy. O.k., I'm not at Disney anymore, so I'm not privy to their strategy meetings, but from outside observation, it doesn't seem like Gargoyles fits in their overall strategy plans. Maybe it never truly did. Now we can be mad about this. We can even try to change it. But first and foremost, we should be glad they made the show at all. Next we should realize that if it doesn't fit their plans, they aren't going to be too inclined to change them IN THE SHORT TERM.

9) Management. (The one I suppose you've been waiting for if you still insist on playing the blame game.) There has been a lot of management shake ups at Disney. Jeffrey Katzenberg, Rich Frank, Gary Krisel and Bruce Cranston all left. So did I. We were all supporters of the show. But Eisner didn't leave and he was a supporter too. I haven't talked to him recently. I don't know what he thinks about the show. Maybe he's disappointed. Maybe he's not. Maybe for him it's just the resource issue. Gotta take a shot with something new. Maybe he's not involved in this decision in a significant way. No way to know. But I wouldn't be so quick to label him a villain. It doesn't hurt to let him know that you love the show, but it can't help to blame him for its demise.

I don't know Gerry at all. I've never met her. I'm also a little vague on her responsibilities at Disney, thought I've heard she's responsible for scheduling ABC's Saturday morning. But before you blame her, or even guess at what she personally feels about the show, reread all the above, particularly the section on shelf space, strategy and ratings. Now she may not like the show. I have no idea. Neither do you. If she doesn't care for the show, I'd personally be curious to know what she bases her dislike on. Goliath Chronicles? Gargoyles? Both? Whatever, she's entitled to her opinion.

I've met Dean. I've heard that Gargoyles isn't his thing. I've heard that he believes that it may not be Disney's thing either. But I don't know any of that. And again, Dean's personal view of the show is, positive OR negative, way down on the list of reasons not to make more. See above.

Buena Vista. Mort Marcus ran Buena Vista at the time I left Disney. I have no idea if he's still there. Mort was a big early supporter of the show. He was also very disappointed when it didn't perform up to expectations. Buena Vista is taking its next shots with Dalmations and Hercules. But even if the Afternoon had survived, there wouldn't be any new episodes of Gargoyles in syndication. Look at the Disney Afternoon's history. A new show premieres with new episodes. Over the next few years, the reruns move down through the Afternoon. That's cause they couldn't afford the MILLIONS of Dollars that it would take to make new episodes for early time slots that don't deliver very many kids. If there aren't any (or many) butts sitting in front of the t.v. then advertisers don't want their products advertised there, in which case they don't pay much for commercials. So networks won't pay much for the shows, so the shows operate at HUGE budget deficits. Gargoyles operated at a huge deficit. Ultimately, I'm sure it will make an overall profit for the company. It may have already. But let's not pretend this was the LION KING.

Other divisions. Some did better than others. But no one is clamoring for more gargoyles product, so none of the other divisions are clamoring for more shows.

SO WHAT DO WE DO?

We begin by admitting, at least to ourselves, that in the short term, we lost the battle.

Then we go on and try to win the war.

We have one big chance and a general small chance. Both are long shots.

The Big Chance is the Touchstone Live Action Feature. If this ever gets made and if it succeeds, then there will be renewed interest in the show.

The general chance is that television is cyclical. He-Man rules until DuckTales comes along. Rescue Rangers rule until Batman comes along. Soft and quirky is big now. But times change. And Gargoyles has a marquee. (It's a trifle damaged, but it's real.) There's a chance it could come back.

The best thing we can do is keep the flame burning. Keep executives, particularly if there's any executive turnover, informed that there is a fan base for the property. Write letters to Buena Vista, to Eisner, to ABC, to Disney TV Animation, to Touchstone. Write letters to local stations, asking them to air reruns. Write letters to the Disney Channel for the same thing. If the reruns are airing in the U.S., we have a much better chance of someday making new episodes. Keep these letters respectful. Don't try to assign blame. My god, what difference does that make. If I thought it would help I'd take 100% of the blame myself. I certainly deserve some of it. Just let people know that you loved the show. Praise it's virtues. Show "Deadly Force", "Lighthouse..." and "The Green" at grade schools. Make the GATHERING a yearly event. Increase it's budget and scope on a slow and steady basis until it becomes an important event. (Don't try to get too big too fast. If you go bust early on, you won't get a second chance.) Keep the fan base excited about the show. (This to me is the main virtue to the whole fanfic thing, which I have many mixed feelings about. If it keeps the fans interested, great.) Don't let the fans marginalize themselves with hostility or esoterica. If they get territorial they keep new fans out. No new fans. No new episodes. Prove to Disney that you are part of that great consumer demographic that they are hunting for. BUY STUFF. Buy all the stuff you can find. Prove that the show can still make money for the company. Buy all the videos off the shelf. Then write Disney's home video division and have them make more. More copies of existing tapes and more episodes on tape. Show those taped episodes to new fans. Particularly young fans. Adults and college kids are great too, but if kids don't like the show, we are doomed. Try to convince Disney records to release Carl's music on C.D. Buy animation cells from authorized Disney dealers. Talk it up.

As for the petition, hell, make copies. Send it a lot of places. Buena Vista for sure. Don't worry about whether or not it's read cover to cover by the president of the division (Mort Marcus, I think). It'll make an impression. But I don't see why you shouldn't send it to Gerry too. Send it to Dean Valentine at Disney T.V. Animation. Send it to Barry Blumberg (at the same place). Have someone in every market send it to their local ABC affiliate. Gerry isn't giving you bad advice there. If the local stations want the show, they'll make their voices heard at the network. (But remember, you need locals to send it to local stations. A petition postmarked Newark won't be taken very seriously in Cleveland.) Send it anywhere you think it might help. But you might want to read it over first. If it's full of hostile and antagonistic attacks, then we've marginalized the petition. Also try to make sure that there's no doubling up. If people signed the petition twice and Disney figures that out, then they'll figure the entire document is compromised, and they'll freely ignore it. If it's a rational statement from real existing fans than I promise you it'll make a positive impression.

But I don't want to kid you. We are probably past the point of no return, at least for this coming fall [1997]. I appreciate that you refuse to give up, and I'm not telling you to. But if you want to save yourself some heartbreak, I think you might want to start focusing on the long term instead of the short term. Even if we could change everyone's minds overnight, we've all but run out of time to put new episodes of any quality on the air by September. I don't like saying that, but I figure it doesn't help anyone to beat around the bush.

Now let me say in advance that most of this won't work. Sorry. The odds are against us. I take some consolation in knowing I was involved with 66 episodes that I can be proud of. I told the stories I wanted to tell. Not nearly all of them, but many. I ended it with Hunter's Moon and Journey, in a way that gave us some small closure but left it open in case I get another shot. A shot I'm longing for. All this offers some consolation. I hope you and the other fans feel the same. It's something to hold onto through what's bound to be a LOT OF REJECTION. There are no guarantees that we'll ever get the show back on the air in any form. But what I've written above is the most practical plan I can think of. If I can help in any way, let me know.

Otherwise, Good Luck. You are going to need it.

GREG

Miscellaneous...

My DC Comics editor finally sent me a few copies of that Justice League comic with the Captain Atom/Gargoyles story. I had forgotten just how many Gargoyle in-jokes I put in that story. There's much more there for a Gargoyle fan then for a Captain Atom fan. Though I think the scenes of Cap kissing Bette (and the mention of Las Vegas) would make a couple people (Simon Del Monte, Melissa Page, for example) a bit nostalgic. I think the story turned out pretty well. Anyway, I'm happy. My editor made a couple small changes. He removed the two references to the year the story took place (1991). And he changed the title. It was called something like: "An Exercise in Self-Indulgence". Now it's called "The Flashback of Notre Dame". Both are accurate, but his is much more clever.

Lately, I've been giving away a lot of ASK GREG tidbits for some reason. Not sure why. I'm just in the mood, I guess. But it suddenly occured to me to register this caveat.

There's canon and there's canon.

As far as I'm concerned the only true canon is the 66 episodes of the series running from "Awakening, Part One" through "The Journey". As many of you know, I don't like to consider the other twelve episodes of Goliath Chronicles to be canon, let alone whatever other stories got published by Marvel or Disney Adventures Digest or whatever.

But to be honest, even some of my ASK GREG answers cannot truly be considered canon. They're closer. But I won't be held to them in any absolute sense. Part of the wonder of producing the first two seasons of Gargoyles involved things discovered along the way. I won't etch things in stone (pun intended) just for the sake of making these ramblings and off-the-cuff answers sacrosanct. If I got the chance to produce the show (or one of its spin-offs) again, I'd ABSOLUTELY incorporate much of what's here. But I'd be a fool not to hold everything up to a microscope and decide with consideration what would and wouldn't be best for the new series.

Having said that, I've been giving some particular thought to G2158 recently, studying timelines for example. And I've changed a few things in my head. Nothing major. But certain things have changed that would in turn effect things in TimeDancer and present-day Gargoyles. Maybe even New Olympians and Pendragon. (So far nothing that would alter Bad Guys or Dark Ages.)

The good news is that none of these changes effect our three current contests. (Wouldn't that be an ASK GREG disaster?)

And all this thought has gotten me thinking about how I might handle a couple of thorny problems in any revival of the original series, specifically the time gap between 1996 and whenever the new show hit the air, and/or the existence of those 12 non-canon Chronicle episodes.

And frankly, I think the internet is the answer.

Goliath Chronicles exists. I can't change that. But I think I can ignore it. For example, if I wanted to do my version of the trial of Goliath -- the one where the question before the court is his very sentience -- couldn't I just do it?

New fans wouldn't know about the Chronicles trial and thus wouldn't be upset about it. Old fans could check here and find out why it was being ignored.

That only leaves a small percentage of people, who, for example, see the Chronicles episode on Toon Disney and wonder about it, but don't have the resources or whatever to find a site like this and learn the rationale. Would they be very put off? Is that too selfish an approach for me to take?

Likewise, the time gap. What if in the fist season, I did that Halloween story I've mentioned before. I wouldn't mention what year it was. For a new audience, they'd just assume that the story took place in say, October 2002. No harm done. But I could post here and tell people it took place in 1996. Then, by the end of the first season, I could have the series caught up to 2002, but still have gotten to do the stories that would have depended (continuity-wise) on proximity to the events in Hunter's Moon and The Journey.

What about that?

I'm very interested in all of your opinions on these notions. Please post them here.

UPDATE

Hi Gang,

I'm back. And determined to pour through these questions. I can't believe I'm still backlogged until JULY!!!

But first, let me give you a quick update on what I've been up to recently.

STARSHIP TROOPERS
Post-Production has been completed on my first arc of stories. They are all set on the jungle moon TESCA NEMEROSA. I think they turned out wonderfully. I'm still very proud of the writing, but I'm wildly impressed with the CGI. (And yes, there are a few small things that bother me, but...) Overall, I think it's a very powerful set of stories.

MAX STEEL
We've completed writing and recording all 13 episodes for the first season. Post-production should begin after the first of the year. The CGI series should premeire in February on the WB's Saturday Morning. And now that the heavy lifting is done, I'm all but unemployed, which means I should have plenty of time for ASK GREG.

NAZCA
A good friend of mine did the English dub for this Japanese Anime series. Thom Adcox does the voice for one of the leads, and I do a few incidental voices here and there. (Yes, the man who brought you "Nice Mask!" and "Father, the rockets aren't working!" is back behind the microphone. God help us all.) It's available on home video in stores starting mid-January.

JUSTICE LEAGUE GIANT
As many of you already know, I did a CAPTAIN ATOM/JLE/GARGOYLES parody team-up for this comic book. I wrote it a year ago and I still haven't seen the final result, but I'm told it turned out all right. And every copy you buy puts about a tenth of a penny into my pocket... Seriously, it wouldn't hurt if this issue sold out and was followed by a letter writing campaign asking DC to do an actual Gargoyles comic. Don't know if it would work, but it wouldn't hurt.

UCLA EXTENSION
For those of you living in the L.A. Area, Kevin Hopps and I are teaching a twenty week course on writing for Television Animation through UCLA Extension's Writer's Program at Universal CityWalk starting this Spring and running through the Summer. Hope to see some of you there.

Now, back to your questions...