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When Savarius caught Angela he noticed, after looking over some DNA samples, that she was related to Goliath. Hudson and Broadway were also cloned later on in the series, but no body seemed to notice a correlation. Why is that?
No one mentioned it on screen.
More questions on Hudson's mate...you gonna start hating me soon
1.) Could she read?
2.) What were her feelings on how Demona treated Hudson? Or was she even alive when Demona started bashing him?
3.) Did she use weapons/shields/armour as Hudson' does?
Thanks for answering what ya can or want to :)
1. I tend to doubt it, but I haven't given it much thought.
2. No comment.
About Hudson's mate...
1.) Was she dead before the Wyvern Massacre in 994 A.D.?
2.) Was she alive when Broadway hatched?
3.) Did she die due to battle or of old age?
4.) Since Hudson's accent is more apparent then any other clanner, might her accent been just as strong?
3. Not old age.
4. Probably. I'd have to think about it.
sorry, should've added this one onto the last post...
Broadway was Hudson's third biological child... which means Hudson had no offspring in Bronx or Angela's generation but he did in Goliath and Demona's generation and the generation before that. am i right about all this? ok, good.
was Hudson the oldest gargoyle in the clan in 994? in 1996 is he the oldest gargoyle in the world?
i've been thinking about Hudson alot lately and i kinda wished he could've gone on the world tour with Goliath and Co., i would have liked to see his reaction to returning to Wyvern and meeting the other clans, but i suppose it was for the best that he remained in New York with the trio, i think they would've had a tough time without him AND Goliath, particularly Brooklyn.
I can't confirm your second paragraph. I don't have that info with me, and I've made mistakes about this before, so I don't want to be in error again.
As for your third paragraph, not necessarily. And not likely.
I tend to agree with fourth paragraph assessment.
ok, i know you don't ever plan to reveal on-screen the biological relationship between Hudson and Broadway, but i was wondering, does Sevarius know? afterall, he discovered the link between Goliath and Angela looking at their DNA, so when he was creating the clones in "The Reckoning" did he see the father-son relationship between Hudson and Broadway? if he did, did he tell anyone about it? Thailog? Demona? Xanatos?
I suppose he knows. I'm just not sure to whom that information would be interesting. Still, someday...
1. Okay, so G&E's relationship is the only bridge, and Clan Manhattan didn't mind it at all; how do the other clans around the world might approve of it ?
2. That priceless look on Hudson's face(The Awakening eps.3), what was he thinking about those two(G&E, of course!), and did he find it appaling at first?
1. Is this a reference to a previous response? If so, I've forgotten what we were talking about.
2. I'd say he was initially non-plussed. But I think he thought it healthy that Goliath was at least making a connection to a human.
when Goliath and Hudson return to Wyvern after the massacre is it me or did Hudson seem to take the whole thing pretty well all things considered? while Goliath goes into an uncontrollable but understandable rage, Hudson just makes some remarks about betrayal and bow strings having been cut. i don't want to say that Hudson had more reason to be upset than Goliath, but Hudson did have several generations of rookery children murdered and many friends that he has known most his life killed in the massacre, he doesn't scream in rage like Goliath or cry in sadness. did his long life in this "world of fear" and the death of his mate better prepare him for the death of his people than Goliath? Hudson just seemed really mellow about the massacre...
For starters, I think he was in shock. But we all handle tragedy differently. He fell back on his training.
And it's certainly possible that past tragedies may have better prepared him.
But I hardly think his response was "mellow".
What is Hudson's view on homosexuality?
It's none of his business.
In the episode long way till morning we see how princess Katherine gets her xenophobic behavior of gargoyles by her father telling her things like "the gargoyles would get you." Hudson hears this and tells her father "we will never hurt the lass" My questions are
1) Why did prince Malcolm tell his daughter "The gargoyles would get you" since he knows the gargoyles would never do such a thing?
2)What would Hudson do if he were to ever meet Princess Katherine again?
1. Malcolm is being expedient, not wise.
2. Thank her for raising the eggs.
And it's Katharine. With two "a"s.
Did Hudson have a biological child who was Goliath's age?
in any of the proposed spinoffs, did you have plans for an episode (or several episodes) in which Hudson would die/ be killed? Hudson is definitly my favirote gargoyle on the show but i think he would have to die sometime and probably before most other main protaganists, mainly to be realistic, but also because his views on immortality shown in "the price".
In theory, any character can die at any time.
on several occasions throughout the series the trio and Hudson mentioned or went to various movies, including Bambi, Star Wars, and all the cop movies Broadway watched. what were their favirote movies? also, when the trio went to see "Bambi" they had been in New York less than six months, i can't believe with all the movies they had never seen, they would have seen "Bambi" at least twice as evidenced by the line, "I don't remember any explosions in Bambi". it was funny but as an 18 year old male myself, i can't imagine why "Bambi" would hold such interest to them.
I've seen Bambi many times. It's pretty cool. Have you seen it recently.
Hudson's favorite show is Celebrity Hockey. His favorite cartoon character is Donald Duck.
They all used to be big fans of The Pack. But times change.
Was Hudson's mate killed or did she die naturally?
She did not die "naturally". *whatever THAT means*
what color was hudson's hair before it went white or was it always white? did his mate have hair? do any female gargs not have hair?
I'm not going to answer questions about his mate. I'm sure some female gargs have no hair, at least by choice if not by biology.
As for Hudson, I honestly haven't decided. I'm leaning toward his hair always being white, like Brooklyn's. But I may change my mind.
After asking about Goliath having foreknowledge of the Timedancer, I got to thinking of other gargoyles with foreknowledge of someone's fate--Hudson and Demona. In "Vows", Hudson's old self meets future Goliath, and Demona's old self meets future Goliath and Demona. My question is whether Hudson and/or Demona ever truly realized that those encounters meant that Goliath would survive for many years to come (well, exactly how many, they couldn't have known). Did Hudson ever use that as a reassurance that Goliath would return safely from patrols or other dangerous missions--because until "Vows", Hudson knew that Goliath didn't have access to the Gate, and wouldn't be able to accomplish his destined visit to the past? And during all those centuries, did Demona also rely on the memory of that visit as a reassurance that one day, Goliath would awaken?
Maybe. But keep in mind, until "Vows" they didn't know that Time was immutable. There was no guarantee that the future hadn't been altered in such a way that Goliath would never travel.
Certainly, when Hudson heard about Xanatos' wedding invitation, he had a hunch where the whole thing was going.
This is going to sound amazingly retarded but are Coldstone and Broadway related? I ask this because the two have similar skin tones, the unique 'fanned' ears, and Coldstone's hair is white like Broadway's father, Hudson (assuming Hudson's hair has always been white). Hudson supposedly has a child from Goliath's generation, so that fits with Coldstone. Spurious evidence perhaps, but nothing ventured nothing gained. Feel free to hand me the dunce's cap. <:(
God, I need sleep.
They may be related -- they're from the same clan after all, but they aren't biological brothers if that's what you are asking.
Did Ed Asner need voice coaching to do Hudson's Scottish accent, or was he just that good? I couldn't believe it was him until I read it myself on the credits.
He was just that good. (I think he even surprised himself.)
If the series had continued, would you have shown Hudson's reading skills grow and improve, or did you feel what was shown in the series accomplished your goals?
We'd certainly have touched on it.
You said that Hudson had two biological children and would have had a third if his mate hadn't been killed. Does that mean he mated after he was biologically 25? Because if not, they could have had conceived eggs in 928 (Goliath's generation), 948 (Broadway) and 968 (Bronx's generation) since his mate was killed in 971 as you've told us.
So, was it a miscalculation on your part, or did Hudson first mate late in life?
And does Hyppolyta belong to Goliath's or to Bronx's generation?
Yeah. That was a mistake. A very annoying mistake. His eldest biological child is part of Goliath's generation. (Thus Goliath, Demona, Iago, etc. are all his rookery children.) His second biological child (Broadway) is obviously part of the Trio's generation. (And he's a rookery father to all of them as well.) His third biological child, and there is a third one, hatched in the same generation as Bronx. (And he was a rookery father to all of them as well. Well, all the gargoyles, not the beasts.)
Hyppolyta was part of the generation that included--
Wait a minute. Just cuz I made a mistake, doesn't mean I have to give everything away right now.
Whew. You almost had me.
Had a good time at the Gargoyles Adult Chatroom the other day, and it got me thinking. Someone named VP (or VJ?) made the point that everything I've done after, well, "The Journey" I guess, is fanfiction. At first, I misunderstood him. For example, I thought he was confusing Katana with Sata. But he made it clear, that he meant the quote-unquote Master Plan. My initial reaction was to balk.
But I think he's got a point.
Some of this stuff was completed while I was still on the Disney Payroll in late '95, early '96, but none of it's canon in my mind. Canon, as far as I'm concerned only includes the 66 episodes running from "Awakening, Part One" through "The Journey". The other 12 Goliath Chronicles are debatable. Because the show ISN'T on the air, I think I personally am free NOT to regard them as canon. If and/or when the show does get going again in some shape or form, then a more definitive decision will have to be made at that point about those additional 12 stories.
But putting Goliath Chronicles (and Marvel Comics and Disney Adventures, etc.) aside for the moment, that still leaves us with what to do about things like:
--"Once Upon a Time There Were Three Brothers..."
--Various ASK GREG and other revelations.
--The Spin-Offs: DARK AGES, GARGOYLES 2158, TIMEDANCER, PENDRAGON, THE NEW OLYMPIANS, BAD GUYS
--My further plans for the GARGOYLES main series itself.
Calling the work I've done on any of the above "fanfic" rankles at first, but that's largely a problem of semantics. It certainly isn't canon. At this point, legally, I have no more connection to the GARGOYLES property than any of you do. Plus, as I've said many times before, I won't be held to any of it. Hell, for all you know everything I've revealed is just one big snow-job to keep you from guessing my real plans. (It's not, but it might have been smarter of me if it was.)
I do think I'm something of an authority on the subject of Gargoyles. And I also think that if the show is ever brought back, the PTB at Disney would be likely (at least given current management) to come to me first to try and revive it. Plus I'm actively working on getting the show revived, again "in some shape or form".
But that doesn't change anything regarding the question of canon.
As many of you know, I've been working on a major revision of 2158. This is taking me longer than I thought, because -- and I shouldn't have been surprised by this, but -- it's effecting the ENTIRE chronology of the series. In addition to changing the year (and thus the title) of GARGOYLES 2158, I've already been forced to go back and make adjustments to both DARK AGES and "Once Upon A Time...Three Brothers". I now know that the last posted chapter of three brothers wound up being the last chapter of that little story period. Because "3Bros" really wound up being just a prologue to DARK AGES. And where "3Bros" leaves off is in fact right at the beginning of where DARK AGES begins.
The 2158 revamp has also necessitated minor changes in TimeDancer. And has clarified my thinking on Pendragon and Bad Guys as well.
[Thankfully, none of it has effected the Clan Contest. We should still be able to put that monster to bed soon.]
All this flux has made it difficult for me to keep certain details clear in my head. For example, at that Friday 9/1/00 chat, I revealed that Hudson had two biological children, Hyppolyta and Broadway. That was an error. Hudson had THREE biological children. (I got my dates mixed up.)
I'm hoping that the work I'm doing now will clean a lot of stuff up. I'm hoping that clarity (and my personal certainty) will return. But this flux isn't necessarily a bad thing. I know I screwed up at least a few times (Garg Universe-wise) within the 66 episodes. I tried to keep those mistakes to a minimum, but they happened. I'd like to avoid making more mistakes, even here at ASK GREG. I definitely feel like I'm getting closer to the "true" Gargoyles Universe, if that's possible and/or makes any sense.
Updates on all this should come over the next ten months. But I'm targeting Gathering 2001 for completion. I'm hoping to be able to make some big announcements there. So bear with me.
But to be fair to VP, he was right. I wouldn't call what I do "fanfiction". For starters, none of it is in the form of fiction. And so calling it that may be giving it TOO MUCH credit. But at the moment, I have no more claim to canon than anyone.
Rather, I'd say that if you like the stories I did come up with on the original 66, and think you might enjoy what I'd do next -- the way you might enjoy what Christine Morgan or Christi Smith Hayden or TGS does next -- than stay tuned. I've got more to tell you and more to reveal by and by.
1. Do Brooklyn and/or Lexington have any biological siblings on Avalon? Perhaps other blood relatives?
2. Does anyone in the Garg universe know or find out that Broadway and Hudson are related?
I know that these are questions that wouldn't matter to a gargoyle, but I was curious. :)
2. A non-issue. So no. I don't think so. (Unless I find some dramatic purpose for it that overwhelms what I think is the coolness of no one knowing OR caring.)
I've been a fan of Gargoyles since it's original run on the Disney Afternoon. My favorite character has always been Hudson. His age, wisdom, and disposition flow brilliantly into his character. Needless to say, I have built up a number of Hudson questions over the years. I've checked the v2.0 archives for these, and they are not in there...I've tried to read the original archives, but in all honesty, I've never made it through everything...sorry. Anyhow, here they are...
1) How did Hudson's mate die?
2) When did you realize Hudson was Broadway's farther?
3) Eventually Hudson would die. How would the following characters react to his death
g. His clone who's name escapes me right now(Sorry)
4) What would happen to Hudson's sword after his death?
5) I apologize for bringing up the Goliath Chronicles, but the Journey aside, the only episode I found even tolerable was the one where Hudson finds out he is going blind...I can't help but wonder...Was this based off of an idea of yours?
6) What gave you the idea to give Hudson more clothing then the other Gargoyles, along with the blind eye and the sword?
7)Did Renard ever meet Hudson? If so, what was his reaction? If not , what do you think it would have been?
Thank you very much for your time. I hope to write more questions soon. Take Care of yourself, and thank you for a wonderful TV show.
1. I'm not revealing that now.
2. During pre-production of the series.
3. Not going there now.
4. Haven't thought about his death. Let alone his property.
5. Very indirectly. Mostly no.
6. The sword was compensation for lack of speed. The blind eye was probably an art thing first, but it made him more visually interesting and gave us fodder for stories. The extra clothes lent dignity. Which was important.
I recently watched my tape of "Upgrade", and that prompted a fresh question on my part. In this episode, Goliath finally fills the SIC position, left vacant ever since Demona parted ways from the clan in "Awakening". What interested me was that Goliath took so long to finally think about appointing a second-in-command. "Upgrade" is 25 episodes after "Awakening Part Five", and in terms of the series' internal chronology, probably over a year later, but only now does Goliath finally get around to start looking for somebody to fill the second-in-command slot, after Hudson tells him that he needs a designated successor in case some enemy of the clan does kill or permanently incapacitate him.
So why did Goliath take so long to start looking for a new SIC? Was it anything to do with the fact that Demona had been the last one?
Not really. Mostly, I don't think that anyone was qualified at first. Brooklyn emerged as a leader. He didn't start out as one.
I think Goliath was de facto counting on Hudson to be his second.
I just have to say(write--whatever)that I started watching the show since the first episode aired on television, and I miss watching it alot. I don't get Toon Disney from my cable provider so I only get to watch it seldom.
I just had a question about Hudson. If Hudson got the Scottish accent from interacting with the humans on a regular basis, then why wasn't he named like Goliath was for the same reason?
I appreciate you answering all our questions in your free time!
He may have had a name at one point. But it didn't stick.
Do you know if Hudson and his mate had any more biological children other than Broadway? I know all the younger rookeries are their children and that they wouldn't consider Broadway and ?? any more their children than the others, but I was just wondering if they had another egg?
Probably had a couple others over the decades.
Um, just one question. I heard a rumor that Hudson was Broadways father, is that true?
Biologically, it's true.
You recently mentioned in your "Leader of the Pack" ramble about Hudson's good eye for deductions and strong tracking skills. It occurred to me that this is almost a parallel to Broadway's gift for strong perception (manifested in such cases in the series as his understanding not to call Angela "Angie" before she shouted "STOP CALLING ME 'ANGIE'!" and his recognizing what Elisa was up to in "Protection"). Are these similar traits of the two gargoyles what gave you the idea for Hudson being Broadway's biological father?
They didn't hurt. Probably contributed. But I'd be lying if I said it was that conscious a decision.
The fact of Broadway and Hudson's (largely unimportant) biological relationship just seemed right to me. Another message broadcast from the Gargoyles Universe, I guess.
Hey, Greg! How come only Hudson has a Scottish accent (a pretty strong accent, too), and the others don't? Goliath has a very mild one when he sometimes says "Aye", but that's about it. Brooklyn had a slight Scottish accent, too. What's the reasoning behind this? Thanks! :)
I've answered this a lot.
Do you want the in-Universe answer or the behind-the-scenes answer?
In Universe, Hudson had the most association with humans (i.e. Scottish humans). The others did not and therefore had a more neutral accent. If you listen carefully, you'll here that the trio have a more classical sound to their voices in the tenth century. They were just quick to pick up American idioms in the present. Goliath and Hudson, being older, remained consistent.
Behind-the-scenes, we wanted Hudson to be emblematic of the past. A connection to our characters heritage in Scotland.
Story Editor: Brynne Chandler Reaves
Writer: Lydia C. Marano
Arguably the best single episode of the series. The animation is fluid, dynamic and very strong. The writing is sharp, even quite funny over and over. And yet, dramatically the story is still potent. It really advances the Goliath & Elisa romance arc. Changes Demona permanently. And introduces Puck -- and by extension, the entire third race: The Children of Oberon. All in a mere 22 minutes.
It's also very gratifying for me. A bit of a vindication. As you may have seen from the memos I wrote to Brynne & Lydia, there was some considerable resistance to the notion that none of the characters would notice their own personal change from one species to another. Most of my collaborators thought the idea was way too complicated to pull off. I argued that it might seem complex, but in fact it would play cleaner on screen -- and funnier and more directly to theme. In my mind, another title for this episode could have been -- had we already not been using it for our Werefox episode -- "Eye of the Beholder", because all the transformed characters really noticed was when someone else was "OTHER". Being a monster or being "normal" was based on their point of view, not any objective look in the mirror. [As it is, the title is the kind I like. Simple, objective and yet metaphoric. At one point, it was titled: "Mirror, Mirror". But we simplified it even more.]
But anyway, when the human Brooklyn, Lex and Broadway are confronted by "Gargoyles", the scene is an intentional mirror of the scene from AWAKENING, PART ONE where Brooklyn says, "If they think we're beasts and monsters..." Again, this is playing with the idea of "beasts and monsters" being merely in the eye of the beholder. The species have reversed, but the situation is exactly the same simply because the Trio remain in the minority. I suppose that's one thing that X-Men's mutants have in common with the Gargs. Both are a metaphor for being part of a minority. Feared almost automatically.
On the other hand, when Elisa is transformed, she believes that Goliath & Co. have been transformed into something like her. I think her immediate reaction is very telling about how she ALREADY felt about Goliath at that point. She's thrilled. She throws her arms about him. Now they're the same species. There's no impediment to their love. What's interesting is that if you stopped and asked Elisa under normal circumstances whether she would wish for Goliath to be transformed into a human, the answer would most certainly be "No." She knows that being a Gargoyle is fundamental to who he is. You can't change that without changing him -- and yet in that instant, in that unguarded moment, her desire to be with him overwhelms that rational knowledge. She's just happy.
At the museum, Elisa looks at herself in the mirror. She then moves, but the reflection holds. That was the idea of one of our board artists. A little clue that the mirror is magic. (It's not an animation error.)
Family Reactions #1
During that museum chase, my wife wanted to know why no alarms were going off. I figure Demona or the thieves just shut them off.
Erin didn't realize that that was Elisa dressed as a security guard at first. We were trying to withhold that information for a bit.
"Titania's Mirror", "The Children of Oberon", "Oberon sent me." We were laying groundwork to expand the entire series' base. But I don't know if back then I knew that much about what if anything I had planned specifically for Titania & Oberon.
Anymore than I knew then what I'd do with the "Dracula's Daughter" reference. But we try not to waste anything.
Coming up with that "Children of Oberon" name was a struggle. And so many people have asked me since whether or not Oberon is literally everyone's father, I almost regret landing on that choice. Our thought process is largely present in the episode when Goliath et al, go through various noms: Fair Folk, Dark Elves, Changelings, Shape-Shifters. Of course, at the time we were misusing the term Changeling. I think that was Odo's influence frankly, but I should have known better. I suggested "The Oberati". But the Reaves didn't care for that. I think they thought it sounded too much like an Italian sports car.
I do love the moment when Brooklyn cites Shakespeare's play as a sort of reference work on the Children. I hope we sent a few people to the library with that line. Did we?
I also love Hudson's line in response to Elisa's question: Are they real?
Hudson: "As real as I am, if the stories be true." It's full of delicious dramatic irony. If you can suspend belief on a bunch of gargoyles, then this shouldn't be a problem for you. I love things that work on multiple levels.
I also love Hudson's "Be careful what you wish for" line.
We were trying to show a bit here how Demona had managed to operate in the modern world up to this point. One of the thieves has clearly worked for Demona before without ever having laid eyes on her. Of course, showing Demona's M.O. here, was like giving it a swan song. Because after this episode, though she clearly doesn't realize it yet, her life is going to get MUCH easier. Being a human during the day is a great boon to all her scheming. I'm very curious about everyone's reaction to that? Shock? Amusement? I also tried to work very hard so that in that last two minutes of epilogue, everyone would get that she only was human during the day. I was very afraid that the audience would think she was permanently transformed into a human. Was anyone confused? Or was anyone surprised that Puck's revenge/gift STUCK? We wouldn't really explore the change until HIGH NOON. Had you forgotten about it by then?
Family Reactions #2
As Demona's casting the spell that will summon Puck. (Which I always thought was very cool, with the feather and all.)
Benny: "That's a magic mirror. Is Demona going in there?"
Erin: "Puck's gonna come out."
As I've mentioned before, during the writing of this story we figured out that Owen was Puck. So to play fair we dropped a hint here. Demona (who knows) says to Puck: "You serve the human. You can serve me." Puck changes the subject, replying "Humans [note the plural] have a sense of humor, you have none." This was done intentionally to distract the audience away from the hint we had just dropped. But obviously, in hindsight, it's a clear reference to Owen serving Xanatos. Anyone get it right off the bat? Anyone even take note of the line the first time? Originally, the line read, "You serve him, now you can serve me." With the "him" referring to Xanatos. But our S&P executive was afraid the "him" could be taken to mean Satan. I know that seems silly now. But keep in mind, we were very paranoid back then about the show being attacked for promoting devil worship. So we made the change.
Sensitive Broadway: "Maybe even love." It's a nice moment. Wistful.
Puck reminds Demona that the mirror isn't "Aladdin's lamp". At the time, the Aladdin series was still in production at Disney. So that's a bit of an in-joke.
And how about that: Demona is still carrying a torch for Goliath. On some level, she wants him more than almost anything. Yet she continually allows her hatred to get in the way. And the irony is, that at this point, pre-Vows it isn't yet too late for them. But her actions further serve to cement the Goliath/Elisa relationship. More now than ever before.
Puck/Brent Spiner is just fantastic. I love that "charming personality" line. And "You don't know what you're asking, believe me." And "I'll do EXACTLY as you asked." And "My mistake." And "A very long nap." He's just so rich.
Plus the boarding and animation on Puck is just great. As is the sound work that accompanies him zipping around.
I always wanted Puck to be the one character who could break the fourth wall and talk directly to the audience. Every time he appeared, we'd put a line or two in the script that was addressed to the audience. And every time, Frank or Dennis Woodyard would cut it out of the board. They didn't like breaking the fourth wall. (A lot of guys don't. I tried to do that with Max on Max Steel, but Richard Raynis and Jeff Kline wouldn't allow that either.) Oh, well....
Puck also establishes that Oberon's Children generally use rhyming spells instead of Latin or Hebrew or whatever. (Thus making life slightly -- but ONLY slightly -- easier on me and the writers.) But Puck isn't too formal: "Human's love a battle hearty, so does Puck, come on, let's Party!" Fun. (And I like Brooklyn's line, "Party's over." too.)
Family Reactions #3
When Elisa's transformed into a gargoyle.
Erin: "She looks cute." [I very much agree. Though I always wonder where her red jacket goes.]
Ben then asked why she was transformed.
Beth explained that Demona didn't want Elisa to be human anymore.
Erin then corrects my wife and explains that Puck is tricking Demona.
KIDS GET IT! Adults need to pay closer attention!
Goliath suddenly has lust in his heart:
G: "I never realized when you were human just how beautiful you were."
E (with a smile): "You mean you thought I was ugly?"
G: "Uh... careful! Updraft!!"
Man, that guy is smooth.
Anyway, that's one of my all-time favorite exchanges. I think it reveals so much. Somewhere underneath, Goliath has been attracted to who Elisa IS deep-down -- at least since AWAKENING, PART THREE. But he never thought of her as a potential love interest. He wasn't brought up liberally enough to think that way. After all, she has no wings, no tail. And those human shaped feet!
But suddenly, she's revealed as a FEMALE. Now, even when she goes back to being human, his perspective is permanently altered. Hers, however, is not. She's already consciously had those thoughts. Consciously rejected them. So at the end of the episode, he wants to discuss these (for him) new feelings -- but she does not. And the sun helps shut him up.
G: "That's not what I meant."
E: "But that's the way it is."
Another of my all-time favorite exchanges. (I'm really partial to things involving the G/E relationship. I know, I know, I'm a romantic sap.]
I also like the ongoing confusion. Elisa: "Everyone in Manhattan has been turned into... HUMANS!" Goliath: "No, no, no, no, no." And when the Gargoyles are changed into humans, Brooklyn is so sure that they've always been humans, it's funny. Like that moment in CITY OF STONE, when he's convinced that the "statue of Elisa" is a bad likeness of her: "They got the nose wrong."
FYI, there was an honest attempt, within the logical parameters of what our gargs looked like, to make their human versions resemble the actors who played them. Thus Goliath has darker skin than the others, because Keith David is African-American. (Though otherwise Goliath really looks like Conan to me.) The bald Lex has brown hair and the bald Broadway has blond like Thom Adcox and Bill Fagerbakke respectively. Brooklyn resembles Jeff Bennett but with Brooklyn's white hair instead of Jeff's blond. And Hudson looks like Ed Asner with a beard. More or less. Thom Adcox is the one who most looked like the human version of his character.
Cool little touches:
Demona nudges an unconscious Puck with her tail.
She continues to call Hudson, "Old Soldier". Her tenth century "name" for him.
Her line about the "gift of being a gargoyle". I love that superior attitude.
Lexington's "Fun, but weird" line.
Hudson wrapping the sheet over the mirror.
Elisa and Demona have a brief "cat-fight" as Gargoyles. Not quite as diverting as the one they'll have as humans in High Noon. But it was nice to put them on equal physical footing for a change. Let them have it out.
Demona mentions that Puck isn't too tired to make himself "invisible to the crowd". This was us trying to plug a hole in our story. We felt it would undercut the mob's reactions to our newly human heroes if they had the same reaction to seeing Puck. And yet Puck clearly looks more human than Gargoyle. More "other". So we slid that line in to avoid the whole problem.
FAMILY REACTION #4
Beth laughed at Hudson's very Scots reading of "No doubt about it." Which is pronounced more like: "No doot aboot it."
More sappy stuff (which I love):
Goliath's line: "I'll always be there to catch you."
Elisa completely forgetting her fear of flying in order to save the MAN she loves.
That brief moment when both Elisa and Goliath are humans at the same time.
Hudson's wistful line about seeing the sun, just once.
Although it had little to do with the metaphor, we couldn't really resist the notion of showing Bronx transformed into a dog. We picked the biggest dog we could think of, a Wolfhound type, though a bulldog might have been more reminiscent.
In the script, Demona smashes the mirror upon seeing her human reflection in the glass. But somehow the scene never got animated. So we added the sound of the mirror being smashed to the exterior shot at the end. This was important in order to give the story full closure. The initial point of the episode was to prevent Demona from getting Titania's Mirror. Structurally, therefore, I couldn't allow her to keep it.
But no fear, later we introduced Oberon's Mirror (clearly part of a matching set) in THE GATHERING, PART ONE.
I wonder what all those Manhattanites thought when suddenly they realized they were all barefoot.
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?
I haven't re-watched "A Lighthouse in the Sea of Time" yet. But we all know that's next, so I thought I'd go ahead and post the memo I sent to Michael Reaves, Brynne Chandler Reaves and Lydia C. Marano, based on the first draft outline they gave me on this story. Here it is, unedited:
Notes on "A Lighthouse in the Sea of Time" Outline...
O.K. I'm gonna suggest some major changes here, though not without purpose. Brynne, they come right out of the phone conversation that led us to trade Xanatos & Demona for Macbeth. I don't think we've adjusted enough from the premise to meet our objectives.
THE MAIN OBJECTIVE
Remember, our primary objective is NOT to teach Hudson and Broadway to read. It is to ENGAGE them in the wonder of reading, to convince them it is a worthwhile, rewarding and magical endeavor. To make them WANT to learn how to read.
We discussed that Hudson and Broadway had two very different reasons for not wanting to learn. Broadway thinks it's a waste of time. He's got television, video, movies and a very exciting life. (The latter is the most important. I'm not going to preach the evils of the visual media, which are other legitimate windows into "other worlds", but which cannot and should not substitute for reading.) At any rate, Broadway doesn't see the relevance of reading to his life. This is a major cause of illiteracy among teen-agers.
Hudson doesn't learn for a very different reason. He's ashamed that he hasn't learned already. This is the main cause of continued illiteracy among adults.
I'm not getting a clear distinction between the two characters -- partially, because we're not getting much screen time for Broadway at all. We've got a lot to fit in here, but we still need to have enough time to explore both Hudson and Broadway's very different arcs. I think there's a relatively simple solution. Cut Elisa from the story, (at least for the most part). She's a great character, but she doesn't have a lot to learn from this adventure. We're wasting screen time on her. Make Broadway the V.T.O.L. stow-away instead of Elisa.
We also discussed toning Robbins' role down. I know some of that has been done, but the guy is still coming across as St. Jeffrey to me. He's an integral, not incidental part of the plot. Now normally, I'd cheer about this, but here it's not convincing. Hudson happens to be injured near the house of the one author that Goliath loves and Elisa mentioned, who also happens to be an Arthurian expert, who if not for his blindness, would be the only person who Macbeth could get to translate the scrolls. It's just too much.
I do not believe that after nine centuries, Macbeth needs any mere mortal to translate a book for him. It's not like he has only just now started searching for magic books. If he needed to know a language he didn't know, he has had plenty of time to learn it. If no one could translate the spells, that would be another thing. But the notion that some mortal knows a Celtic language that's a mystery to the immortal Celtic Macbeth doesn't play for me.
Again, I think the solution here is simple. Macbeth doesn't get the scrolls until near the end of the play. After Macbeth's men steal the scrolls, we have Hudson and Broadway steal them back before Macbeth can get his hands on them. Hudson's injured and washes up and into Robbins' lap. Mac's men return without Hudson's scrolls. Mac and his men have to go after them. They track Hudson to Robbins' nest. Now with this change, we don't need Robbins to be the only guy who can translate these spells. He doesn't have to be the foremost authority on all things Arthurian.
In fact, he doesn't have to be the foremost anything. Frankly, he doesn't even have to be Goliath's favorite author. He doesn't have to be famous or collectable. In a way, I think it works against us if he is. What if he's just a relatively average guy. He writes novels that take myth, legend and/or history and try to render them believable and "true". Think Mary Stewart or Mary Renault. He's had some success. Enough to make him comfortable. But he's no Stephen King. He's just a writer operating in relative obscurity. (We can all relate.) I feel strongly that this makes him a better messenger for our purposes. The guy just loves his job. It hasn't made him rich or famous, but he loves it. He gets to do all this research, all this reading, on the period he's going to write on. He writes. (He loves words, and his dialogue should show it -- no easy task, because simply giving him a big, latinate vocabulary won't cut it.) And then he gets a tremendous kick out of knowing that people read what he wrote. It's immortality. And a better kind of immortality than Macbeth's. (I mean, hell, that's why I'm in the business -- fame and wealth would be nice, but what I really need is to live forever.) Maybe he's never even written about Merlin or Arthur before. Maybe this adventure inspires him to. It would be a lot less contrived if all this were true.
Another thing that I think we should cut is Macbeth's little village. I don't know why it's been created. It seems to thematically fit our idea of visiting other places and times through books, but in fact it works against that theme. (As Broadway would say, "Why do I need to read about this stuff, when I can spend an hour at this glorified museum and see it? Not that I like museums.")
PHONE BOOKS, ETC.
Unfortunately, some of my changes are going to force adjustments to all the truly wonderful incidental references and uses that we put "reading" to in this outline, but we need to make sure the tail doesn't wag the dog. Let's get the structure squared away, and then work to fit as many of these as possible back into the show. Or come up with new ones. (Sure, easy for me to say.)
THE SCROLLS OF MERLIN
Let's refer to them as the SCROLLS OF MERLIN, not MERLIN'S JOURNALS. The former is neutral. The latter implies that they are exactly what they turn out to be: a narrative. We want everyone thinking that this is a book of spells. And that's everyone, not just Macbeth. We're tipping our hand otherwise. The treasure is the narrative, but it's a secret treasure. The notion of our gargoyles and all of New York getting hyped for narrative early on, makes the revelation less special. Plus, I don't want to be flagging to our audience from moment one that this is an episode about "LITERACY". Let the audience believe what Macbeth believes: we're hunting a magical macguffin. We'll sneak up on them with our true purpose (and Lord knows we're not being that subtle, so there won't be any doubt about it by the end). That way when Hudson meets Robbins, our audience won't say, "How convenient? Story about reading, and Hudson meets a writer!" They won't know the story's about reading when this happens.
With all of the above in mind, I think we need to be careful about dressing Elisa like Guinevere. It comes across as a fad here, and she doesn't seem the type to go in for a fad. It's not like this is gonna suddenly become standard attire in NYC. Let's not oversell our point, or I'm afraid we won't make the sale at all.
MORGAN THE DOG
Sorry. We already have Morgan the Cop. You need a new name. (Again, I wouldn't chose an Arthurian reference. Let this episode pique Robbin's interest in Arthurana. Up to now he's been writing novels about Beowulf or Gilgamesh.)
Instead of making them mercenaries, let's just give him two specific henchman. Tough and very well-trained. Maybe not geniuses, but definitely not stupid. (Why do intelligent villains always employ such dumb henchmen?) Maybe their real names are Mel and Steve, but Macbeth calls them BANQUO and FLEANCE. A private joke that maybe they don't even get. (When I got to page 10 of the outline I was gonna suggest Banquo and Macduff, until I saw the Lennox Macduff thing on page 11. So I switched Macduff to Fleance. We can still use the Lennox Macduff alias.)
Macbeth has a code of honor. It's flexible, but it exists. He's clearly willing to take prisoners. Hostages and ransom were an established and legitimate part of medieval warfare. But I don't know if he'd hold a knife to someone's head to facilitate his own escape. This isn't a hard and firm note, just keep it in mind. Also, I don't think his men have made a habit of stealing statues for him. After 900+ years, I doubt he'd be that much into material possessions. That's more Xanatos' gig. Macbeth keeps a fine house, but it's easier to buy than steal, and he's very wealthy.
Don't really see any purpose to it anymore.
1. Open with a prologue that shows us the British archeologists discovering the two large scrolls. More exciting than watching a report about it on television. Maybe the underground chamber was sealed magically. (A red herring to get us thinking spell book, instead of narrative.)
2. But now we segue to the clock tower. Lex is reading a newspaper article about the scrolls out loud to the rest of the gang. It seems the Scrolls are coming to NYC for authentification or whatever. Elisa says she and Matt volunteered to guard the shipment of the scrolls, and they got the nod. She admits that it's silly for her to be so excited, after all, she won't get to read them, but the whole thing really intrigues her.
Brooklyn wants to know more about Merlin. He had heard of him even back in the 10th century. He knows Merlin was some kind of 5th century magician, but that's about it. Goliath recommends some books.
(Adrienne, can we recommend a real book? Mary Stewart's THE CRYSTAL CAVE is a wonderful novel about Merlin. I read it for the first time in eighth grade. I'm rereading it now to Erin. I know we usually don't want to appear to be endorsing anything, but given this episode's subject matter, shouldn't we make an exception? Wouldn't this be a public service? We could slip in the titles of a number of good books throughout this episode. They do it on CBS with those "Read More About It" segments. Anyway, let me know.)
Broadway doesn't get it. He doesn't know how to read, and he doesn't see why he should bother to learn. Let's rent the video. They argue a bit. Hudson pointedly refuses to give his opinion, but we don't reveal his illiteracy here. (Let's make a small point of showing Hudson's rapport with Bronx here though.)
Goliath wants to know what the scrolls contain? Elisa says the seals won't be broken until they are authenticated, but the rumor is they might be Merlin's magic spells. Goliath looks concerned.
3. Dark, stormy night. Low visibility. Harbor attack by two VTOLs. Elisa and Matt are guarding the two scroll containers. But Banquo and Fleance outgun them by a mile. They each take one container into their VTOLs. Thank goodness the gargoyles were gliding nearby. (Goliath was worried that the magic scrolls might be a prime target for Demona or Xanatos.) The gargoyles attack the VTOL's. (Maybe Broadway makes a crack: "When your life is this exciting, who needs books?")
In the confusion, Hudson manages to rip open the hatch of Banquo's VTOL. He grabs the container from the shocked Banquo, but Banquo manages to get off a concussion blast that severly wounds Hudson. He's blown out of the VTOL and into the bay, still clutching the water-proof container. None of the other gargoyles see this happen.
Fleance and Banquo hit their turbo buttons and go shooting off into the night. Goliath, Lex and Brooklyn can't keep up, but a flash of lightning reveals that Broadway has managed to dig in and hitch a ride on the underside of Fleance's VTOL. They don't see Hudson, but they assume/hope that maybe he's done the same. They retreat as police helicopters approach the scene.
But Hudson (still clutching the container) is in the water, maybe going down for the last time.
4. Banquo & Fleance land their VTOL's at their boss's compound. (It might as well be Macbeth' mansion from episode -008, rebuilt since the fire.) Banq tells Fleance that he lost his container. "WHAT?! The boss is gonna kill us!" Well, big shot, where's yours? Safe in the hold of my VTOL where it belongs. Well, one scroll is better than none. Let's bring it to him. They go to get it, but the hull's been torn open and the scroll is missing.
5. Down by the docks, Elisa confers quietly with Goliath, Lex and Brooklyn. They are all worried about Broadway and Hudson. Plus this whole theft smells like Xanatos to Elisa. But no proof. So no warrant. Goliath doesn't have that problem.
6. Still raining. Hudson sees the sillouettes of a bunch of gargoyles and heads for them. He just barely makes it to shore. He's hurting bad, and is wildly disappointed when he realizes that the sillouette's weren't Goliath and the trio, but "phonies". He collapses.
7. Goliath, Brooklyn and Lex arrive at Xanatos' castle. Owen's there alone. Goliath insists on searching the place... top to bottom. (At this point in story, we should not feel that Goliath is wasting time. Owen should be ambiguous enough so that the audience WILL think that this is a Xanatos plan.)
8. Back at the Compound's hangar, we find Broadway in hiding, clutching the second container. (And feeling like this "old book" definitely isn't worth it.) Well, Banquo and Fleance are going nuts looking for the stupid thing. Now seems like a good time to bolt for the exit. He goes for it. Catches B&F off-guard and bulls his way past them. Only to be taken down by... the boss. Macbeth.
9. Broadway recovers and attacks. But Macbeth makes short work of him. By now B&F have him totally covered (by high-tech futuristic non-imitatable weapons of course). Macbeth opens the container and carefully removes the scroll. He examines the seal and confirms that the scroll is authentic Merlin and that it is the second of the two scrolls. He doesn't break the seal, because he believes the scrolls contain magic. It's dangerous to get things out of order. Where's the first scroll?
10. Still raining. Robbins and his dog find Hudson, who. is regaining consciousness. Robbins surmises that Hudson was mugged, and Hudson lets him think so. The dog likes Hudson. Hudson says he's good with animals. Robbins appreciates that and is solicitous. Hudson sees that Robbins is blind. He gets an idea. He just needs a safe place to rest 'til morning. Then he'll cease to be any trouble. Robbins invites him inside, offers to help. But Hudson won't let him get too close. They go in.
11. Mac, Fleance and Banquo are in a VTOL, heading back to the harbor. Broadway is there too, in VERY heavy chains. Macbeth's keeping him around until he gets hold of the other scroll. Banquo protests: he blew that old gargoyle away, the other scroll is probably lying on the floor of the bay. Macbeth says it better not be, or Banquo will join it.
12. It's still storming outside. Breathing heavily, Hudson lowers himself into an easy chair and looks around Robbins' home. It's wall-to-wall bookshelves. Hudson doesn't like being here, but he's a bit of a captive audience. There's an uncomfortable silence. On a table near his chair, Hudson picks a medal off a display case. Also on the display case, is a plaque of some kind that clearly reads something like: "ROBBINS RECEIVES PURPLE HEART", but Hudson still asks what it is. Eventually, we get the idea that Robbins lost his sight in the war. (Vietnam? Korea? How old do we want Robbins to be? If we want him to be the same (biological) age as Hudson, we should go with Korea.) Hudson points to his one blind eye, which was also injured in battle. (Against the Archmage in episode #11, but Hudson won't go into details.) The two old warriors have made a connection. Now they can become friends. Robbins asks Hudson what he does. Hudson says he's...still a soldier. Robbins is a novelist. Or he used to be, before he ran out of ideas. He did have a few minor successes. Maybe Hudson's heard of them. Hudson doesn't read much, but he's shocked that the blind Robbins can read and write. Robbins is borderline insulted. Hasn't Hudson heard of braille? Hudson hasn't. Robbins is surprised. He hands Hudson a braille book (one that he wrote). Hudson runs his fingers over the bumps. Robbins then hands him the same book in standard English. Hudson lets slip that the bumps mean as much to him as the chicken scrawl. Robbins puts two and two together. And we find out that Hudson can't read.
13. In the harbor, near dawn, The VTOL searches for some clue. Broadway asks Macbeth what all the fuss is about. Who was this Merlin guy? Just another stupid magician. Macbeth tells him who Merlin was. Tells him about what he, Arthur and Guinevere created. Maybe he quotes Tennyson or Muir. But he's eloquent and evocative, and Broadway listens with rapt attention, perhaps (do we dare?) even visualizing Macbeth's words with hazy images. When Macbeth finishes Broadway says with awe: "You describe it like you were there..." Macbeth tosses off his reply (he doesn't realize the effect he's had on Broadway): "I'm old, but not THAT old. Obviously, I read about it in books." But Broadway can't help repeating to himself: "But you describe it like you were there..."
14. Back at the castle, Goliath and co. have obviously, found nothing of value. It won't be long til sunrise and they dare not stay much longer. Owen enters with the early morning edition under his arm. He's deduced what they're after from the news story. Suggests that the VTOL described in the article has more in common with the kind of vehicle that Macbeth is wont to drive. (Goliath feels like big dumb jerk. But there's no time to fight about it.) Goliath, Brook and Lex leave.
15. Hudson: "I'm too old to learn to read now." Robbins: It's never too late. I had to learn to read all over again, learn to read braille after I was blinded. Hudson: Who would teach me? He's ashamed to tell his friends he doesn't know how. Robbins offers to teach him, but makes the point that Hudson should only be ashamed to continue his illiteracy. There's no shame in learning -- ever. Hudson doesn't respond.
The storm is breaking and dawn approaches. Hudson, still hurt, gets up to leave. Robbins is afraid he's gotten too preachy. But Hudson insists he must go. He goes to the terrace. Takes his place among the gargoyles. Turns to stone, still clutching the scroll container. The dog barks. Robbins calls out to his new friend. But there's no sound, no movement. He doesn't know how Hudson got away so fast, but he did.
16. On the VTOL, Broadway, still in chains, has turned to stone. Macbeth spots the gargoyles of Robbins' terrace. He orders Banquo to head that way.
17. Robbins and his dog hear a noise on the terrace. He calls out "Hudson?", but the dog is growling and he knows Hudson isn't there. It's a man named Lennox Macduff, who claims to be a friend of Hudson's; he's looking for him. Robbins is suspicious. But Macduff is very polite and leaves without incident. What Robbins doesn't see is that Macduff slips the container out of Hudson's stone hand.
18. Sunset. Hudson bursts free. But the scroll container is gone. The noise has again brought Robbins to his terrace. Hudson claims that when he left in such a hurry this morning, he must have left something here accidentally. Has Robbins "seen" it? No, but you're friend Lennox Macduff was here, maybe he took it. Hudson knows no Macduff. Robbins isn't too surprised. He thought the name was odd. The two characters who found the dead king in Shakespeare's MACBETH. Hudson: "Macbeth?!!"
And maybe here is where we get the looking up of "Lennox Macduff's" address in the phone book. (Hudson never saw Macbeth's mansion in Episode 8. Goliath, Brook and Lex did.)
19. Inside Macbeth's compound Macbeth is preparing for some magic ceremony thing. There's a flame pit and other magical acoutrements. Broadway's flesh again, but still bound by heavy chains now anchored to the floors. He'll be Macbeth's guinea pig for trying out Merlin's spells. He starts to open the first scroll.
20. Outside the compound, Hudson is reunited with Goliath, Brook and Lex. They briefly exchange info. Then they attack. But Banquo and Fleance are ready. They're on turret mounted laser cannons that turn and twist like the ones on the Milennium Falcon (or something like that).
21. Macbeth tries to open the first scroll. It has been magically sealed, but a simple spell can break it open.
22. Goliath, Hudson, Brooklyn and Lex defeat Banquo and Fleance. They head inside.
23. Macbeth begins to read aloud from the first scroll. (I'm tempted to say he translates from Latin, but I don't know if that serves our aim. We could ignore the translation question. He reads it to us in English. Which may mean he's translating it for us automatically without bothering to mention that fact. Or we just do what we always have in this series which is ignore the differences between Old, Middle and Modern English, extending it to whatever Celtic dialect Merlin might have written in.) As he reads aloud, it soon becomes clear that it is not a spellbook but an autobiography, a narrative. A history. You get the idea. He's furious. All that trouble for a stupid book.
Hudson, Goliath, Brook and Lex storm in. Macbeth is unprepared, so he flips a release on Broadway's floor chains, but then uses him as a hostage for his escape. (Now I know I said to watch out for this. And we still need to. Macbeth needs to rationalize this. Probably outloud.) Goliath threatens to drop the scrolls into the fire if Macbeth doesn't release Broadway unharmed. (Goliath still believes that this is a book of magic, i.e. a dangerous human weapon.) Macbeth is about to laugh at this threat, when Broadway protests. "Goliath, you can't." Broadway now believes that the scrolls are infinitely precious. Goliath is surprised to hear this from Broadway. Where'd he get this from? From Macbeth. Those scrolls are magic. They can transport us back...all that good stuff. Even Macbeth is impressed. Cautiously, he releases Broadway. He tells the gargoyles they are tresspassing on his property. Take the scrolls and go.
24. The gargoyles wing their way back towards the clock tower. They plan on giving the scrolls back to Elisa, so that she can return them to the museum. Goliath's sure that after the museum has authenticated them, they will be transcribed and published. But if the others want, he can read the scrolls aloud to them, before he gives them to Elisa. But Hudson says no. For a moment, everyone is a bit taken aback. Then Hudson says that he wants to read them himself. As soon as his friends help teach him how. They glide off across the city.
25. Dissolve to Robbins at his house with his dog. He's reading a braille newspaper about the recovery of the Scrolls of Merlin. "Hmmm.... Scrolls of Merlin.... I think I've found my next novel."
And we get our Tuchman quote, probably read by Robbins (Ray Charles?).
O.K. That's it. Let me know if you have any questions or problems.
Story Editor: Michael Reaves
Written by Marty Isenberg & Robert N. Skir
I just watched "Legion" again. Time to Ramble.
From the memo I posted earlier this week, you'll see that the never used on screen names of Othello, Desdemona and Iago were my idea. But I've always wondered if that's the case. The outline that Marty and Bob wrote immediately prior to that memo had all the Othello elements very, very present in the story. All they didn't do was NAME the characters. I always wondered whether they and/or Michael had the Othello story specifically in mind, consciously or un-, and I just capitalized on it.
The Goldencup Bakery Building, which semi-secretly houses a defense department hi-tech research and development installation is modeled after the Silver Cup Bakery Building -- which actually exists in Brooklyn (as I recall). That Building was trashed in the original HIGHLANDER movie in the final battle between Connor and the Kragen (who was played by a pretty damned horrific Clancy Brown). Small world.
I was always worried that the whole Othello, Desdemona, Iago, Cassio (whoops, I mean Goliath) backstory was a bit vague in this episode. Did anyone have problems getting it?
I don't think I'd like to be one of those Goldencup Guards. Coldstone punches one of them out. That's gotta hoit. He just seems fairly unstoppable in that Xanatos-program controlled sequence. I like how that plays.
Matt says to Elisa: "You never let me drive." My wife's reaction: "Was that in homage to me?" My wife, you see, almost always drives when we're together. She gets carsick when anyone else drives. And I don't much care.
Speaking of Matt, we've got that line about him spending six months reading RECAP manuals to justify why a normal detective would be in charge of RECAP in the first place. Just trying to avoid either adding a superfluous character and/or making the situation seem artificial.
Another appearance of the Scarab Corp. Logo, even though Scarab is never mentioned by name. Oh, well...
Coldstone flees the Goldencup. Goliath and Lex pursue, and Coldstone attacks them. Then he immediately stops, when he sees it's Goliath. The problem I always had with that scene is that the lighting made it obvious that it was Goliath from moment one. (Not just to us, but to Coldstone.) If Goliath had been in shadows, it would have played better.
Minutes later Lex asks Goliath if it's wise to take Coldstone into their home: "He hasn't always been your friend." This was, theoretically, a reference not simply to the most recent attack, nor even only to the events of "Reawakening", but also a reference to the pre-Massacre backstory of the actually non-existent love triangle (or square or pentagram if you include Demona) that caused Goliath and Othello to fight way back when. Lex remembers those days too. Othello was always a bit of a hot-head.
I love Goliath's response: "Without trust there can be no clan." And I love that this is part of a Lex/Goliath exchange. It fits in perfectly with the message they taught each other in "Thrill of the Hunt". Gotta take some chances on occasion. Or else you'll always be alone. It's an anti-Demona mentality. Or rather a mentality that is strikingly un-Demona-esque.
From the moment Coldstone premiered in "Reawakening" I knew (that if we survived to a second season) we'd discover that he was created from three Gargoyles. Tried to work that conceptually into the design more, but we never quite achieved it. So basically that becomes something that the audience has to take on trust.
Which brings me to the title "Legion". It's a one-word title which usually is a tip-off that it's one of mine. I know it's a biblical reference. Some possessed guy with a demon/devil inside who goes by the name "Legion". But that's not actually where I got it. When I was a kid, I saw this tv movie based on Mary Shelley's FRANKENSTEIN. It starred Michael Sarazan or Chris Sarandon. (I always used to mix those two guys up.) It was trying to present a more realistic believable version of the Frankenstein story. I was pretty young. And I don't remember too much about it. I do remember that I was supposed to be asleep -- past my bedtime in the days before my parents gave up and I began going to bed long after they were asleep. But instead of being asleep, I was watching it, in the dark, with the volume turned as far down as possible, me sitting right by the set, so I could flip it off if I heard my parents' door opening. (This was long before remote controls were common.) Anyway, the one scene that I really remember is a scene where they put the Monster under hypnosis. The voices of all the people who "donated" body parts begin to speak. And one of them quotes the "Legion" thing from the bible. But I didn't know that. That is I didn't know back then that he was quoting anyone or anything. It just seemed like a very powerful, poetic and humanly true statement. So it wasn't until college that I read that passage in the bible and realized where it was from. Can anyone cite the actual quote? I can't remember where exactly it's from, and I don't feel like searching right now.
Anyway, all this is relevant because Coldstone was ALWAYS our Frankenstein character from the "IT'S ALIVE!" moment to the "Legion" stuff here.
Coldstone calls Hudson "Mentor". That's a "name" I've been long considering for Hudson's "designation" in the DARK AGES prequel spin-off.
Coldstone shoots Goliath at point blank range. Goliath gets up unharmed. A far cry from what happened to G in "Long Way to Morning." Now in the outline and script, it says that Coldstone uses his "concussion cannon" as opposed to his laser cannon. But nothing in the as-aired episode makes that distinction. And so it just looks irresponsible to me. Like suddenly we're saying violence has no repercussions. Did that bother anyone else?
I love the dark comedy of Coldstone going bonkers at Ellis Island. Fighting with himself. I think Michael Dorn did a terrific job playing all four aspects of CS's personality. Which of you figured out what when? I'd like to know.
The Trio has the Recap visor. Now all they have to do is find Goliath, Hudson and Coldstone. How will they do that? "Three guesses?" A very elegant way to explain how in a huge city, they're able to locate three gargoyles.
Kenner's Coldstone toy is a lot of fun. With it's window into Coldstone's soul. And the spinner that allows any of the four personas to take over at random.
Xanatos doesn't even appear until the VERY END of Act Two. And it's not even really Xanatos, just a program designed by him. Normally, I'd say that wasn't playing fair. But I feel like his presence was obvious all-along. (And did David personally design that program. Or did he just put his stamp on it, management-style?)
There's a moment when Goliath, thrilled to see his rookery sister again, hugs Desdemona. She is immediately annoyed, because she knows that hug is prone to misinterpretation. It's a nice little touch in the animation.
I always wondered what if anything Demona thought about that ancient conflict way back when. Was Iago playing her as well? Trying to make her jealous of Desdemona? I think maybe he did try. But wouldn't it be cool if she didn't credit it for a second. If she just knew intuitively that Desdemona didn't present any threat at all to her relationship with G? Because, I feel the opposite is true. That Demona knew intuitively that Elisa DID present a threat. Say what you want for Demona, but her subconscious knows her man.
I love that moment where BOTH Iago and Xanatos are whispering in Othello's ears. Poor slob never stood a chance.
We've got a nice little Xanatos tag in this one too. Certainly not a doozy as in "Leader" or "Metamorphosis", but it's got a nice little kick to it, I think. And that's THREE episodes in a row. X had been busy.
And then I love the last beat back at the clock tower. Goliath has confiscated Coldstone's body, to keep it safe and "among friends" should he/she ever wake up again. I wanted to keep it in the corner from that point until "High Noon". Always present and visible. We didn't for two reasons. First, we figured it would be a bit confusing. The Batcave can get away with the giant penny and other souvenirs from Batman's cases, because there ARE multiple souvenirs. But just having one immobile gargoyle in the background, as cool and creepy as that is, would be horribly distracting for any audience member who missed this one particular episode. And second, we had our tier system. What if "Legion" wasn't ready as scheduled. We couldn't have Coldstone sitting around the clock tower in later episodes that we'd be forced to air first. Talk about disconcerting. So we invented a back room. Where Coldstone, the Grimorum, the Gate and eventually the eye could be stored.
Comments welcome, as usual...
In *three* out of the four episodes between 'Gathering' and 'Hunter's Moon', namely in 'Vendettas', in 'Turf' and in 'Possession', Hudson and Goliath are out in patrol together. It seems far too much of a coincidence: was this done intentionally so as to leave the Trio alone with Angela?
In a sense, were the two older gargs realizing that with the coming of Angela, the youngsters would appreciate some time together without intrusion from elders?
Uh, in my head, Turf and Vendettas were happening simultaneously. I'm not sure that really works as aired. Or really matters for that matter. But that's what was in my head back when we were writing them. So that explains two out of the three. As for Possession, we really did that to make Puck's trick work, if I'm going to be honest.
However, I like your interpretation, so yeah, why not?
I'm going to try to be really delicate with this question because I know TGC is a difficult topic for you (and I'm with you. I didn't like the eps either). I was wondering, though, if *your* Jeffrey Robbins really knew that Hudson was a gargoyle? From A Lighthouse in the Sea of Time, I suspected that he would have, since a blind man's other senses are so acute... and especially when Hudson placed his talon on Robbins' shoulder, I thought he had to suspect that his fingers were a bit sharper than a human's...
Not back in "Lighthouse". Why would it even occur to him back then. It's not like he had smelled a gargoyle before and could identify that smell when he sniffed Hudson. (Which sounds kinda rude when you think about it.) And Hudson wasn't touching the bare skin of his shoulder either. You're giving Robbins not just heightened senses but psychic power.
Now after Hunter's Moon. The whole thing changes. Then the idea of gargoyles is in his head. Then, yes, he might put two and two together.
A response to your ramble on "Long Way to Morning."
When I first saw this episode I was enthralled. Hudson has an easy competence about him that reminds me of my father, so I was happy to see him get his time in the sun, or out of it as the case may be. I truly enjoyed watching him be alternately crafty and amazingly physical. That spinning leap with the sword was one of my favorite moves in the series.
Unfortunately, this was an episode that didn't age well. After "City of Stone" Hudson's line about age and waiting really didn't mesh with Demona's background. I'd guess the back story hadn't been filled in when "Long Way to Morning" was written, but it still strikes me as a continuity glitch.
Not true. I knew Demona's backstory -- or at least the gist of it -- by then. There's no glitch that I can see.
Demona doesn't get what aging's all about. Anymore than Xanatos understands true immortality. Demona escaped growing old. She has no patience for it or much of anything else.
(And don't start with "she was patient with the Medici Tablet". You don't know that.)
Ahem, first, I'd like to thank you, Greg, for helping to create the show. It's the best dang cartoon I've ever seen and you're a genius! I hope you see this and answer my little questions...
1. Who taught Goliath how to read?
2. Does Goliath know how to write?...and if he does, who taught him?
3. Who taught Goliath those great manners of his? Is he just naturally well mannered? It can't be because his elders taught him that because "all" the Gargoyles would be as, or near, well mannered as he. He's got the best darn posture I've seen among all the Gargoyles. And the graceful way he moves...wow! It seems like he went to Charm School...! Sorry, I hope I don't sound too much of a fool, I'm just curious. Thanks if you answer my questions.
2. Yes. Demona.
3. Generally, I'd say it does come naturally to him. Certainly the posture thing is inherant. But he learned a ton from Hudson, of course. And quite a bit from Hudson's mate.
I've already dealt with the changes between the first and second seasons of GARGOYLES. (See a previous ramble on that subject.) And hopefully you've all read the serialized postings of the memo I wrote to Michael Reaves in July of 94. Note the date. I was writing that memo to Michael a good three months before the first season of the series would actually premiere. Meaning, Michael, myself, all of us, were just guessing.
Now, finally, I have the time to sit down and ramble about my recent re-viewing of "Leader"...
STORY EDITOR: Michael Reaves.
WRITER: Steven Perry.
Some things were coming to fruition in this episode. A CY.O.T.I. robot had been part of the original development of the show and the Pack. Six characters seemed like a bit much, but the main reason we left CY.O.T.I. out of "Thrill of the Hunt" was because of the way we wound up intro-ing the Pack, that is as a group of T.V. super-heroes. Giving them a realistic robot in that context didn't seem to fit. By the time we got around to introducing the show's version of the Coyote robot (note the NORMAL spelling) much had changed in how we conceived the thing. And yet many of the original elements were still present, if altered. The orignal CY.O.T.I. (CYber-Operational Technical Individual -- or something like that) was a hovering robotic head. But not a Xanatos head. It was a dog-faced head. The head could attach to multiple different robotic bodies, as well as lock into various vehicles as a kind-of autoMATED pilot. One of the robotic bodies was four-legged, dog-shaped. Another was bipedal. But in either case there was never any question that the robot was a robot.
But by the time, we got to "Leader" we had learned so much more about our characters, that our whole conception of CY.O.T.I. changed into the Coyote you know. Part of the change came right out of how sophisticated Xanatos himself was. David constantly made Michael and I jump through hoops to come up with trickier and trickier plots. Plots that would allow the Gargoyles to generally triumph, and yet allow Xanatos to snatch some real victory out of seeming total defeat in what had become our trademark Xanatos Tag sequences. The one in "Leader" is one of the best, which brings up another thing that came to fruition in this episode. When we first created the Pack, I had NO IDEA that Fox and Xanatos were an item. That was a complete discovery, a revelation that came to us during the making of "Her Brother's Keeper": akin to, "Ohmigod, Fox is in love with David!!!" I don't know if it shocked you guys, but it sure came as a surprise to me, their so-called creator. Another instance when I think of myself less as a writer, and more as simply the guy who was tapping into what was really going on in the GARGOYLES UNIVERSE. When did you guys figure it out? During "Brother's Keeper"? During "Leader"? Or not until the end of "Leader" when it was objectively revealed? (Obviously, any of you who saw later episodes first are disqualified from voting on this one.)
Anyway, since we knew they were destined for each other, and we had this semi-top secret plan for them to marry and extremely top-secret plan for them to procreate, we knew we had to get Fox out of jail. And not break her out. But have her out more-or-less scott free. So that would be Xanatos' plan. All the subterfuge would lead to that. Having the robot pose as Xanatos in armor, allowed us for the kind of multiple surprise onion-peeling kind of story that I just live for. Plus it would leave us with a more wieldy five-man Pack again. Fox would graduate. Coyote would take her place.
One tricky thing was electronically futzing Jonathan Frakes' voice when Coyote was wearing his helmet. We wanted to alter it enough so that no one would know it was "Xanatos" until after he took off the helmet. But we didn't want to alter it SO much that you couldn't register Jonathan's standardly and casually wonderful acting AS Xanatos inside the armor. I think we succeeded. (Credit for that goes to the guys at Advantage Audio, who mixed the show. Real unsung heroes.)
We also gave Jamie Thomason, our voice director, and Jonathan the key note that would differentiate the true Xanatos from Coyote. And that was Coyote's fairly primitive desire for vengeance. If I do say so myself, I thought this was a terrific clue, a great moment of fair play, planted in the story. I wanted people to be a little surprised that Xanatos would care about vengeance. But I also figured most would buy into it, because we're all so trained to think of villains in a certain way. But then when Xanatos calls revenge a "sucker's game" at the end, the audience would feel "Oh, of course. That's OUR Xanatos. The other guy was just a cheap imitation." Who was fooled? Who wasn't? I'm curious to know.
When Coyote first took off his helmet at the end of Act One, my three year old son Ben yelled out "Xanatos!" He was truly and wonderfully surprised at that moment. It was fun.
Random observation: Wolf's not doing real push-ups. Not fully extending, either up or down.
Another thing we did do for the NEW SEASON start up was feature the gargs EXPLODING out of stone. Another of our series' trademarks that we wanted to be sure to get into the first episode of the new season.
Coyote clearly has a "quip chip" installed. He's got some great very Xanatosian lines. "Exact change". "Wanna see what I can do with both hands." Etc.
In fact lots of characters have great cutting lines in this one. Owen is wonderfully officious, even a tad smarmy in this one. You can almost see Puck smiling through, and this is before I knew Owen was Puck. But his, "Shouldn't you... be there." is just great.
Or Brooklyn's line: "Yeah, why should we stay up here... where it's safe." Great.
And Hyena: "I love a man who brings me weapons..." and "A robot?! Even better." Classic. And that was another discovery. Hyena would have the hots for Coyote. It wouldn't necessarily be reciprocated, but the mere fact that he was a robot wouldn't bug her. (I'm guessing she's used to using technology to satisfy her desires.) On some level, I think this was us (and Hyena) just being perverse for the sake of perverseness. But I also think it created an interesting parallel to Goliath and Elisa's relationship, if that doesn't sound to preposterous.
Another random observation: Hyena mentions Santa Claus. :) Ho ho ho.
I think there was a semi-conscious desire to give every character something that new and returning viewers could use to hang their hats on, so-to-speak.
Lex is still so angry at the Pack for events in "Thrill of the Hunt" that he's literally HOPPING mad. Actually, that bit of hopping bugged me. Made Lex look silly and young at a point when I was hoping to present him as truly dangerous. Oh, well...
Brooklyn still feels the same way about Demona. And he's self-aware enough to know it. Though not mature enough to get passed it. (That'll come -- sometime in 2158.)
Broadway still hates guns and smashes them at every opportunity. (Lex obviously doesn't share his rookery-brother's opinion. Lex looks real tough holding that launcher. And I think it's a fairly shocking moment when that hole gets blown in Coyote's torso, and Lex is revealed -- through the hole, no less -- as the shooter. Even though we know by this time that Coyote is a robot, I still think it's one of the most violent images that ever appeared in our show. And it's all about context and attitude. You get the sense that Lex might just do the exact same thing to any of the human members of the Pack too.)
Hudson is still the observant guy who deduces events from what remains behind. "There's been a struggle here..." is right in keeping with his tracking skills and the way he examined that tampered-with bow back in "Awakening, Part Two".
Bronx is still a good judge of character. And he hates robots with fearful abandon. We decided he could literally smell when something isn't human. If it talks like a duck and walks like a duck, we naturally assume that it's a duck. But for Bronx it better smell like a duck or he's going to rip its face off, eh? That was another great shocking moment, I think. There's a little bit of WESTWORLD homage going on. Or FEMBOT homage, depending on how old you are. (I'm old enough to remember both.) It's pretty cool. And I love Coyote's head rocketing off at the end. It's so cool and sick. I fell in love with that head, and decided to use it in all future Coyote's -- one way or another.
Nietzche, Sartre, Kafka. That exchange was pure Perry-Reaves. And people tell me _I_ write to old for the demographic. Geez.
I love that moment when the phone rings at PackMedia Studios. (Also have I mentioned I love the name PackMedia. It's so perfect.) Anyway, Broadway's tentative response, before picking it up. And Owen knowing someone WOULD just pick up. It kills me.
As most of you know I favor one word titles. But "Leader of the Pack" WAS in fact one of mine. It was just irresistible.
The fight between the Gargs and the Pack aboard the oil tanker was very well-choreographed in script. But this was an instance where, in my opinion, our board artists lost the forest for the trees. The fight in storyboard went off on some wonderful tangents -- that wound up creating problems for those interested in keeping track of our combatants. Who was where and when just became a mess. We basically were able to fix those problems in film editing. But that's accomplished by keeping the fight well-paced. In the script, I actually think it's well-choreographed. In particular, Broadway freeing Lex, Brook and Bronx made a bit more sense in the script.
Coyote's perception-warping weapon is very cool. We probably didn't use it enough. Mainly because it was too effective. Too hard to stop.
I wanted the gargs to have to swim back to shore from the sinking tanker. But no one else agreed with me.
The head of Fox's parole board is voiced by Jim Cummings (aka Dingo, Darkwing Duck, Bonkers, etc.), doing his best Orson Wells imitation. Which is damned good by the way. Jim Cummings and Jeff Bennett in the same show. Man, were we blessed or what?
And coming full circle, we have our great Xanatos Tag. The villains kiss passionately. You don't see that too often in cartoons, I think. I love Xanatos' great line "That was merely the icing, you're the cake." And also his "true love is so much harder to come by." But here's my question for you guys. At the time, did you really think Xanatos was truly in love with Fox, or did you think he was merely being glib? I knew by that time, but even David didn't. Wasn't until "Eye of the Beholder" that HE realized how deep his feelings were for Fox.
As promised, I'll now attempt to recreate the lost ramble on this episode, which I recently watched again with my family.
For those of you who haven't seen it, I refer you to my recently posted "Memo" on this episode dated back in April of 1994. One thing you might have noticed was that the title of the episode was "The Awakening". In the memo, I suggested what I thought was the more appropriate title "Reawakening". Michael liked that idea but had a suggestion that did it one better. He suggested renaming our pilot five-parter "Awakening". I jumped at the idea. At the time, the five-parter was simply titled "Gargoyles, Part One", "Gargoyles, Part Two", etc. I've never liked that sort of cop out where the pilot's title is simply the series' title. Among other things, it lacks imagination. And it's dishonest. By that standard, "The Journey"'s real title should have been "Gargoyles, Part Sixty-Six". So giving our pilot its own title seemed like a very good idea to me.
But there was another reason why I liked Michael's plan. We were working on our last episode of the first season. It was April of 1994, nearly a year before that episode would air. And a good six months before our premiere. There was no way of knowing whether or not there would ever be a SECOND season. And so to protect myself (emotionally) I had to operate on the assumption that their might not be. Obviously, I wasn't going to do anything apocalyptic. I wanted there to be a second season, so I wanted to leave the doorway open for it. So Michael, Frank, Brynne and I discussed the idea of open-ended closure. If there never was a second season, we'd go out with a bang. We'd give some small amount of closure to our characters. Let them reach a turning point. If this was to be it, we'd have created a little 13 episode novel that brought the Gargoyles from the past to the present and renewed (reawakened) their sense of purpose.
Nice. We'd done the open-ended closure thing (to a lesser degree) at the end of what would eventually be called "Awakening, Part Five" and we'd eventually do it again at the end of "Hunter's Moon, Part Three". And I'd do it for myself in my script for "The Journey".
But there are tricks to achieving a sense of closure. And one of the tricks is to create parallels with the episodes that launched your story.
So by retro-titling our pilot "Awakening" and naming our last ep "RE-Awakening" you can see how we gave ourselves a headstart.
But there were other parallels. The flashback to the past, (which we intentionally built so that it could theoretically be edited into the pilot if necessary) included the Magus at his most pre-Avalon obnoxious. Obviously, that flashback also intro'd pre-Coldstone, but it served the purpose of calling those first couple of flashback episodes clearly into the viewers' minds. (The only problem with that scene, is that Hudson has his sword in a couple of the shots. This is a mistake, as any good Garg fan knows that Hudson first acquired his sword in the battle with the Vikings that took place the following night.)
We also did the big event VILLAIN TEAM-UP thing, bringing Xanatos and Demona back together for the first time since "Awakening, Part Five". (I love the exquisite tension that plays between them. They are both SO using each other. When Demona tells Coldstone that X is her servant, you know that she's partly doing that to circumvent Coldstone's questions, but that she also partly believes that it's true.)
We also used Morgan in Times Square in a very similar way to how he was used in "Awakening, Part One" (reiterated in "Awakening, Part Two").
And then there's that moment near the end where Elisa asks Goliath if there's anything he needs. He answers "A Detective" verbally echoing a key moment from their first meeting in "Awakening, Part Three". That still tickles me.
Obviously, Frank and I both worked overtime to pay homage to the classic Universal "FRANKENSTEIN" movie. I can say "pay homage" with a straight face (as opposed to rip off) because we so clearly acknowledged the source. Frank's art direction of the lab. X's line: "It's alive! Alive!" (Wonderfully undercut by Jonathan Frakes' reading of the follow-up "I've always wanted to say that.") And the whole idea behind Coldstone. (More on this when I eventually ramble on "Legion".)
Coldstone would be our Frankenstein's monster. Pieced together. Gargoyle & Machine. Reanimated (reawakened). I even love the Coldstone name. And wasn't Michael Dorn's sepulchral tones just perfect for the role?
And Goliath's reaction is so multi-faceted, so Dr. Frankenstein... [You know Goliath's response to his brother here, would be echoed later in his response to his "son" Thailog in "Double Jeopardy". Initially, Goliath's simply repulsed by what he sees, calling Coldstone "an abomination". But given a bit of time, Goliath quickly sees past appearances and attempts whole-heartedly to save his brother. He'll go through the same changes with Thailog. Well... at least we (and Goliath) were consistent.]
Snow. It started snowing in "Her Brother's Keeper" and now the city is blanketed in the stuff. (And doesn't Elisa look cute in her scarf and gloves.)
Brooklyn's still pissed off at Demona, specifically and sarcastically asking if she has anymore "spells to save you now". In fact, we wanted to make clear that the spell used to resurrect (reawaken) Coldstone was one of the spells she tore out of the Grimorum in "Temptation". Instead, we cheated a bit. By having her tell Xanatos that the "Cantrips have already been spoken" it saved us the trouble of getting another spell translated into Latin. We were either lazy or short on time or -- most likely -- both.
Following out of "The Edge", and until the helmet comes off at the bridge, the gargs assume that Xanatos in his armor is simply another Steel Clan Robot. The next upgrade. The red model. They have no idea it's actually Xanatos himself in armor.
Small observation: Mirrors don't fare too well in the Gargoyles Universe.
Emotionally, I think the story is very successful at taking the audience through Goliath's spiritual reawakening. I love how he starts out pensive and brooding, listening to that great exchange between the trio and Hudson, realizing that all of them have lost track of their true purpose. Hudson recites the Gargoyle credo merely as an excuse not to go out in the cold. (And I love Thom's reading on Lex's "We don't even live in a castle anymore" response.) The trio are clearly missing the point, but methodical thinker Goliath isn't sure he remembers what the point is either.
And that dovetails SO nicely with Elisa revealing the Police motto "Protect and Serve". The police motto/gargoyle credo connection is so perfect, it struck me even at the time as further proof that we were tapping into something very true in our little fictions. (And don't cops -- for better and sometimes for worse -- act just like a clan?)
From there, Goliath moves past the notion of simply being a reactive character, struggling only to SURVIVE one crisis after another. Now he will strive to be proactive. To rededicate (reawaken) the clan toward their original life purpose. Extending the term "castle" to Manhattan island was always our plan. Even that was intentionally primitive in our view. Goliath doesn't protect New York City. Not all five burroughs anyway. That's beyond his medieval scope at this still-early stage. He can get his head around protecting an island surrounded by water. Not the whole world. But eventually, the plan would include expanding the clan's definition until Castle Earth was the only thing that made sense. Of course, that might not have been fully realized until 2158. But we'd have gotten there. And the World Tour was part of that process too.
(Besides Hudson's sword...)
--One line in the ep. that for some reason still makes me cringe is Elisa's "My car's big." It just seems awkward to me. Not sure why.
X & D watch Coldstone's progress from the castle. Almost instantaneously they're at Times Square. We always knew we were just skating by on that.
Goliath & Coldstone go into the water at the bridge TWICE within the span of a couple of minutes or so. The first time, Goliath nearly drowns. The second time he's completely uneffected (physically) by the experience. We get away with it because the second time he's diving in on purpose. But just the fact that we had to dunk them both twice is an awkward construction (and my fault). At least, Goliath looks good with wet hair.
Some really graceful animation here. Goliath has some great moves, and I love that moment when Matt and especially Elisa are diving into the snow, out of the way of the car that Coldstone has just thrown... And speaking of that scene...
TIMES SQUARE SEQUENCE
There's some very interesting, fun stuff here besides what I've already mentioned about it above. A sampling:
Explosions in Bambi. :)
Demona's Clan: Herself, Coldstone, a Steel Clan Robot and Xanatos in Gargoyle Battle Armor. It's so twisted. I love it.
Goliath's very smart here. He doesn't want the fight to take place in public and basically convinces Xanatos to take his side on the issue by flattering him. Goliath refers to Manhattan as "your city" (i.e. Xanatos' city), this despite the obvious fact that Goliath does NOT regard Manhattan as Xanatos' personal property. And Xanatos, usually immune to such stuff, falls for it -- maybe BECAUSE it comes from the ultra-sincere Goliath.
I also am very fond of the Mr. Jaffe book-ends. I think they're a lot of fun. And I love how Matt talks about Mr. Jaffe. It gives us insight into Matt's character, his background, his youth. His empathy for Jaffe really helps humanize him. Matt was always eminently human.
Signing off now...
"Because six monsters just told me to..."
What is Hudson's favorite television show?
"Long Way To Morning" This was my title, based on an idea I'd had from way early in the development of the series. It was always obvious to me that the fact that the gargs turned to vulnerable stone at sunrise, gave the series a built-in ticking clock that added tension. But given the gargoyles' healing factor (to borrow a Wolverine term) it occured to me early on that there might come a time when sunrise couldn't come fast enough. That was the origin of this episode and the title. (I think I may have even mentioned the scenario in the Series' Writers' Bible.)
The other obvious purpose of the episode was to give Hudson a showcase episode to equal the Trio tryptich. As I've mentioned before, Gargoyles was originally developed as a comic series, and one of the funny little gargoyles in that show was "Ralph", a very domestic couch potato Gargoyle who loved to stay at home and watch T.V. Hudson developed out of Ralph, but he spent much of the first few episodes "Guarding the castle" (or the clock tower). We'd given him some great action in AWAKENING. But we still felt a major need to UN-RALPH him.
I wanted to deal with his age as realistically as possible. To have him doubt himself, maybe even be aware of his limitations, but then have him prove to himself that he still had something to contribute. I think we basically succeed in that here.
But this ep afforded us other opportunities as well. Opportunities to explore Wyvern backstory in our parallel flashback story:
--We find out definitively that Hudson WAS the leader of the clan and that Goliath was his second. We also get to see the baton get passed.
--We learn how Hudson was blinded in one eye.
--We meet Prince Malcolm and get a sense of how Princess Katharine became the bitch she was at the start of "Awakening". I think this was very important in paving the way for her role in the "Avalon" tryptich. By the end of "Awakening", she's remorseful and has seen the error of her ways, but it doesn't change how badly she acted. But this episode reveals how and why her antipathy toward Gargoyles was created. It doesn't excuse her behaviour, but it helps to explain it enough so that we can buy her as a heroine when we next see her. Malcolm doesn't come off as well. I wanted to present how easily casual thoughtless words could be hurtful, and even lead to tragic consequences. My daughter Erin (age 5 1/2) had seen this episode at least once before. But this time, that aspect of Malcolm's inadvertent damage and Katharine's mistaken blame really grabbed her attention. The injustice of it really troubled her. Which is exactly the response I was looking for. (My kids are so cool. She also noticed Hudson's eye getting injured, and commented on how smart Hudson was to jump off into the waterfall.)
--I love the subtle changes that Jeff, Keith and Marina made in their voices when playing the young Magus, Goliath and Demona. It's interesting to see Demona's progression in hindsight from "Vows" to "Long Way" to "Awakening, Part One" to "City of Stone" to the present day. She really is a fascinating character, if I do say so myself. Here, you see her ambition. But no villainy. Of course, it made for a nice counterpoint with her vicious murderous tendencies in the present day story.
--Throughout production of this episode, I had to keep pointing out to the artists, etc., that the flashbacks all had a point of view, i.e. Hudson's. That Demona and Goliath's "private conversations" could NOT be as private as they thought. Hudson had to know what they were saying about him. Both because it further eroded his confidence in both the past and present (the true demon he had to overcome) and because if he didn't hear those conversations it would be cheating to include them in HIS dreams and flashbacks.
--We also intro'd the ARCHMAGE. A one-shot villain if I ever saw one, except that David Warner was so amazing, I knew I had to bring the character back. When he falls into the chasm, you can just here the Phoenix Gate exploding open down there. (Of course, to some people that sounded like him hitting bottom. Their mistake.)
Brooklyn still has it in for D. Broadway is now Ultra-Protective of Elisa. Hudson has superior tracking skills in the past and the present.
And Demona has clearly focused her hatred on Elisa. (Who, by the way, loses her second gun of the series.) It was important for these early episodes that we fool Demona into thinking that Elisa was dead. Otherwise, how else do we explain why she doesn't just kill her.
Demona at the end, uses her cannon as a club. This was designed to be ambiguous. Did Hudson's sword damage the weapon? Or was Demona just so furious that she wanted the satisfaction of cudgeling the old guy to death? Yeah, it was designed to be ambiguous, but no one ever EVER thought that the gun was damaged. They all assumed Demona just lost it. Which is probably true.
Speaking of that Waterfall thing, that image was important retro-pipe for Hunter's Moon, Part Three. (More on that in 54 chapters.)
Animation-wise, I just wish Demona hadn't come off as such a lousy shot.
I love Hudson and Goliath's last exchange. Goliath assures Hudson that he still has "Years of fighting left". Hudson, glad to be of use, is still less than thrilled at the prospect. It's a great wry beat, but it was also important to me to point out that no rational person would wish to fight like that forever. The gargs, including Hudson, fight the good fight because they have to, because it is their duty, part of their natural protective instincts. But none of them WANT to fight.
As usual, I'd like to encourage responses to this episode here at ASK GREG, particularly how you responded to viewing this for the first time.
If Goliath and Elisa were to become mates, what do you think the other gargoyles'(especially Demona's)reaction would be?
I think everyone in the immediate clan would react very positively at this point.
As for Demona... well how do ya think she'd react? (Trust me, she's not sending china.)
More tidbits and observations...
The first appearance of the Steel Clan. It's a silly little thing, but at the time I was ridiculously pleased by the name "The Steel Clan". It just seemed so right. Cool sounding, tough. And yet original and appropriate to the series. It was one of those early moments that made me feel like I was really tapping into the Gargoyles Universe.
Also the first appearance of the Eyrie Building Lobby Security Guard. The one that Oberon will later do his Obi-wan number on. I never forget a minor character.
One reason some of the editing is different between the video version and the tv episodic version has to do with when the two separate products were due. (I'm not referring to the TV movie version that's been appearing recently. I have no idea who edited that one. Or when. Or why.) As I've mentioned before, the video version was not originally created for video. It was created for our world premiere on two big screens at the movie theater multiplex on Pleasure Island at Walt Disneyworld. That premiere was in September of 1994. But the series premiere was almost a full month later. While I was supervising the editing of the movie version, Frank was (relatively speaking) taking his time on the five episodes. In my editing bay, we didn't have the luxury of waiting for all the retakes to come back before we had to complete OUR edit and lock picture for sound design. In fact, sometimes we were editing to pencil test animation. That's animated pencils without background paintings or ink or paint. It can sometimes be very hard to read at all. But we had to make decisions based not soley on "ART" but also on what we likely thought we'd get back in time to get the two prints made for the Florida premiere. Sometimes we cut little pieces that wound up turning out fine and making it into the episode.
Generally, I think the animation in this episode is just stunning. A few examples.
--Hudson lifting Bronx off that train.
--The whole scene with Xanatos, Demona and Owen standing beside the Steel Clan robots while they are covered with sheets. Some incredible shadow work. And the character stuff is so sweet.
--Some gorgeous battle stuff with those robots.
--The castle tower blowing up, crashing and falling apart.
This and more can still take my breath away.
I love all the Demona-Goliath-Elisa triangle stuff. It's all spelled out in the confrontation when Goliath wants to go keep his appointment with Elisa, and Demona's trying to stop him. If Demona hadn't been so bloodthirsty aboard FORTRESS-1, would Goliath have even remembered his appointment with Elisa? Or would he be off cuddling with his long-lost love?
Anyway, that whole conversation is just full of delicious irony -- all working against Demona. Goliath says, "I cannot make war on an entire world," completely unaware that that's exactly what Demona wants to do. He says, "Doesn't Xanatos prove that some humans can be trusted?" But of course, Demona knows that Xanatos absolutely cannot be trusted. Every statement Goliath makes pushes Demona toward further extremism. And he isn't even trying. Finally, after Demona reminds him of the Wyvern betrayal and Massacre, he says that the ones responsible for that "have been dead for 1000 years." Now putting aside that the Captain and Hakon aren't quite as dead-dead as Goliath thinks, this has got to push Demona over the edge. Deep down she knows her own responsibility. Again Goliath is wrong, because the traitor is standing right in front of him. My hats off to Michael Reaves. What a great scene! "So be it." she says. Goliath won't know it until VOWS. But they are DONE. Right there.
Cultural Differences 101: Elisa is trying to convince Goliath not to trust Xanatos. I don't remember the exact line, but she says something with the word "three" in it. (Maybe refering to the three disks or the three Cyberbiotics installations...?) Anyway, to indicate three she holds up her index finger, her middle finger and ... her thumb. It still looks totally goofy to me. I don't know anyone who wouldn't use their ring finger with the other two, using the thumb to hold the pinky down. Does anyone know if in Japan the thumb is preferred?
When Demona's destroying FORTRESS-1, Goliath is standing around stunned. She tries to get him to leave, but he refuses. Finally, she pulls him out. What was supposed to happen was that the tilting ship was supposed to dump him out the hatch at the same time Demona was pulling. So that he was more unwilling to abandon the crew of the ship. But it never animated with the tilt going the right way.
In our original development we planned on making a lot bigger deal of all the various Xanatos Enterprises sub-divisions. You got a taste of that with PackMedia Studios and Gen-U-Tech (a.k.a. Gen-U-Tech Systems or G.U.T.S.). But we were also going to make a bigger deal of his robotics division, which was going to be called the Scarab Corporation. (Thus the scarab design that appears on the transmitter.) But Xanatos wound up being even more hands-on then I anticipated. Less Lex Luthor. More his own glorious self. So Scarab never got much of a spotlight because Xanatos handled those kinds of adventures himself and/or the robots handled things themselves (cf. Coyote in Leader of the Pack). For those of you who have been to one of the Gatherings and seen the original Gargoyles Pitch, you might recall a giant chrome cockroach climbing up the side of a building to attack Goliath. That was going to be a Scarab Corp. creation.
Isn't Xanatos just too cool:
"Let's let them play out there little drama, shall we?" He's so amused. He can't resist watching the confrontation. And for once I don't feel like it's cause he's a villain stupidly giving the hero time to turn the tables. He's sincerely entertained by the show.
"Without me you'd still be gathering moss." Nuff said.
There's another great little dialogue editing moment. Real subtle. When Demona says: "The plan was perfect." Goliath whispers "Plan?" She says something else and then he completes his thought "What Plan?" That little overlap wasn't scripted. It was another product of me having the luxury to really nurse those dialogue edits on those early scripts.
There is good and evil in all of us. Human and Gargoyle alike. Hey, Lexy, there's another major theme of the series. No one group has a monopoly on either attribute.
One thing that never quite worked for me, was the reveal of Demona's name. She makes such a big deal of it. But the name (at this point in the series) just doesn't have enough resonance for me yet. Later, sure. "Demona". We all sit up and take notice. But there. "Demona". Yeah, so? Did that moment play for you guys?
Goliath is about to toss Xanatos off the building. Elisa begs him not to. That'll make you just like Demona she says. Then Hudson pipes in and says, "She's right, lad. Is that what you want?" I intentionally instructed our voice director Jamie Thomason to direct Ed Asner to read that line with ambiguity. Hudson DOESN'T care whether Goliath tosses David or not. He simply wants Goliath to make an informed choice.
And yeah, yeah, David & Goliath. Perfect opposites.
Elisa: "Maybe, we'll catch a Giants' game."
Were any of you surprised when a Giant Oberon attacked the castle?
As usual, I encourage responses posted here, on either your original feelings when seeing the episode for the first time and/or newer more recent observations from repeat or recent viewings.
Watched this with the family half an hour ago...
More random observations...
RE: Our supporting cast...
Who knew that Brendan & Margot would wind up being so important? Credit Marina Sirtis, for making Margot so gloriously bitchy.
And then there's Vinnie's first appearance on that motorcycle. Of course, no one knew Vinnie existed back then, which is thoroughly appropriate to his character.
And credit Keith David with breathing real life into Morgan the cop. Morgan didn't even have a name then. He was just a place holder, someone for Elisa to respond to. But Keith made me interested in him.
Little things still bug me. Xanatos' floating ponytail in the scene where he and Elisa first meet.
In the Kitchen, the Freezer door was supposed to have one of those easy to open latches on the inside. The irony being that Broadway could easily extricate himself, if he just knew how to operate the latch (or even what it was). Something a kid could do, assuming the kid was born in the 20th century. But BW has to bust down the door.
In the original script and the recording of that script, it's Brooklyn who says "So many wonders..." and it's Broadway who says "Goliath said not to let anybody see us." But in those early days, lots of people in L.A. and in Tokyo kept confusing their names (and Bronx's) so the animation came back as you see it. And it was easier to re-record the voices then to reanimate. (Or am I getting all this totally backwards? I just saw the show again half an hour ago, and already, I'm confused.)
(CAVEAT: In all these little things, I'll probably be pointing out animation errors here and there. But please understand, I think most of the animation we got, particularly from Walt Disney TV Animation - Japan, was brilliant. I think those guys did a great job and don't get enough credit. But anecdotes generally come out of when things go wrong, not when they go right, so it may seem like I'm talking about mistakes more often than not. Sorry, in advance to Roy Sato or anyone else who might take offense.)
When Elisa is first being checked out by the Trio, there was a scene in the original animation where Brooklyn seems inordinantly interested in her behind. We had to call a retake, cuz the guy was practically drooling. I wonder if that's where I got the idea that Brooklyn would fall for anyone in a skirt (or with a tail).
Also, after Goliath saves Elisa from falling off the building we have a point of view shot from her. It begins at Goliath's feet and pans up to his face, as she takes him in. In the original animation, the pan started at his head and panned down. That seemed less effective, so we had our editors reverse the pan, without calling for a retake.
At the end of Act Two, the door slides open revealing Demona in silhouette, clearly plotting something with Xanatos. That always really bugged me. I didn't want to give away that she was alive in this episode. I didn't want to know who Xanatos was talking to. How did you guys react to this? Did that spill everything? Did any of you not know that Demona was alive? Did any of you, by this point, not know that she and Xanatos were the bad guys?
Elisa says something like "This is where Dracula shows up." when she's walking through the corridors of the castle. If you take that literally (and you might as well), then you gotta figure that someday, Dracula will be roaming that very hallway.
Elisa loses the first in her series of guns, when Goliath crushes it near the end of Act One.
Goliath tells a joke: "And please, don't fall off the building this time." Goliath tells a joke. Can you believe it? It wasn't bad either. We should have let him tell jokes more often.
Elisa's surprise that Goliath can talk is indicative of what I thought a 20th (or 21st) century initial response to the gargs would be. That's why Goliath Chronicles' trial episode bugged me so much. I don't think humans would take for granted sentience. And I think most humans, those less open than Elisa, wouldn't even buy talking as enough evidence that the gargs weren't just beasts. (Cf. Margot Yale.)
Goliath is a pretty begruding hero. That's somewhat unique for cartoons. Elisa asks if there are more gargs, and Goliath responds: "Barely." He cuts her very little slack. But already you can see their relationship developing. I still think Hudson's expression after Goliath sweeps Elisa up into his arms is just priceless.
In that same scene, Hudson gets named for the river. I love that scene, as I loved the scene where Tom, Brook and Lex are talking about names. Of course, the desire not to name most of the gargoyles until we got to NYC '94, was mostly pragmatic. It allowed us to use those fun, cool NY names for most of the characters. But once we came up with the rationale for it, and once I managed to explain it to everyone, I really fell in love with the concept. Hudson's lament, here, that humans don't think something is real until they've put there stamp on it, is, to me at least, so damn true. And Elisa's response is so feeble and circular. "Things need names." Pathetic. But I'm no different. <SIGH> I'm such a human. But I aspire to gargoylosity. Anyway, after Hudson points to the river, and Elisa basically tricks him into taking that name, she used to have a line, as I may have mentioned before, where she said (under her breath) "Good thing we weren't facing Queens" -- implication being that Hudson nearly ended up being called Queen, I guess. It was always funny, but S&P didn't care for it, and I couldn't really defend it. So out it went. We tried another version, where she just says, "Good thing we weren't facing East." But it didn't play. So out it went too.
The thing that struck me most, however, was the almost thorough lack of action in this episode. After all that Viking stuff in Part One, and Vikings and a full act of commandos in Part Two, Part Three is a mood and character piece. Sure Elisa falls off a building, but that was a problem easily solved. Until the commandos' Central Park attack in the last seconds of Act Three, nothing else happens that could genuinely qualify as action. That was mostly a result of what was once a four-parter being turned into a five-parter. The reason we made that change is because Michael Reaves wrote a brillaint four-part script. It was amazing. But it was WAY too long. I was faced with either having to make drastic cuts (as I would later have to do in Avalon and Hunter's Moon) or expand it. Fortunately, Gary Krisel and Bruce Cranston saw the wisdom of expansion. For one thing, it would save us money. But also, it made sense because we could run the five parts across a whole week of the Disney Afternoon like a mini-series special event. It wouldn't require us to re-program one day of that first week. So we were all agreed, the four parter would become a five parter.
But that meant adding act breaks, and redividing everything. The episode that most benefited was Part One. In the orignal version, Part One covered all of what is currently part one, plus the first act of what's currently part two, i.e. ALL the Scotland stuff. The episode ended with Goliath's "suicide". A great ending, but we would have obviously had to cut a TON out of the flashback. This way we were able to expand into part two and preserve almost all of the story.
So Part Three winds up being nearly action-free. And by the way, I love that. I still think the episode works great, and it proved to me that the charcters themselves could really hold the audience's attention. (I'm such a proud papa. Unashamedly so. It must be pretty obnoxious.) I wish we had always had the luxury to be so... well, luxurious. To expand and play character. But generally a half-hour format makes it tough. I'm very sick of writing half hours, actually. But the powers that be in Animation believe that kids can't or won't sit through an hour long show.
As usual, I welcome posts here responding to this episode. Both your original reaction to seeing it for the first time, and your current reaction if you've seen it again recently.
Watched the episode again last night.
My two year old son is fascinated with Tom. And misses him in the second act after he's gone. Misses him in other episodes too. Kinda puts the lie to the strongly held belief I've always had that contrary to Network Executive Dogma, kids don't need animated shows to be about kids. Of course, my son is just two. My five year old has no problem with their being no "little girl" in the show.
Goliath says "What sorcery is this?" for the first time. We wound up using it over and over in the series, til it became something of an in-joke. But the truth is, we could never come up with a better line that said the same thing.
Goliath's "suicide" at the end of Act One, is still one of the most startling things I've ever seen in a cartoon. That was Gary Krisel's idea (my boss Bruce Cranston's boss). And I've always admired him for it. It's also the reminder I use to keep me humble when I'm listening to notes from the higher ups. Michael Reaves and I were just going to have the Magus offer to cast his spell on Goliath as something of a consolation prize. "Best I can do" kinda thing.
Love that Chernabog moment where Goliath says "I've been denied everything, even my revenge!" Man, Keith David is great.
The way it's edited you'd never know the problem the last fight in the Viking's camp caused me vis-a-vis Broadway. As you may recall from Part One, during the Viking's initial attack, Broadway stopped for a snack, and then opportunistically used the turkey leg to bonk a Viking. A nice little comedic beat. Well, in Part Two, we wanted to contrast that by having Broadway land in front of the roasting spit by the fire -- so that the audience again thinks he's just thinking about his stomach. But that after the massacre, the much more serious Broadway immediatlely starts using it as a weapon. That's pretty much what you see. But that's not what we received in Animation. What we got was a virtual replay of the scene from Part One. Broadway lands with a big grin and starts to eat. Then he gets attacked and uses the spit as a weapon. It took judicious editing to keep Broadway from feeling too one-dimensional. And even then as the series progressed, we started to downplay Broadway's appetite (another good Gary Krisel suggestion). We brought it up again in Hunter's Moon, Part Three to show how far the character had come. Yeah, great kitchen, but an even better library. That kind of thing.
We had a similar problem with Hudson's sword. We were supposed to make a big deal of him using it for the first time in the battle at the Viking camp. But some of the animation in both Parts One and Part Two showed him using the sword and/or having it by his side before that. That's what retakes are for, I guess.
Xanatos' first appearance... I'm really curious to know how many people, seeing this for the first time knew that Xanatos was the bad guy. I thought it was a little too obvious myself. There's a look he gives Goliath when he's taking the gargs' questions in the Great Hall that I thought absolutely tipped his hand to the audience. But we did try to create a guy who looked like he should be the hero of the show. Handsome athletic Bruce Wayne type up against scary monsters. And Jonathan Frakes is terrific.
(There was a while when Gary Krisel thought maybe we should have Xanatos -- or another rich guy, a pre-Renard if you will -- actually be the gargoyles modern benefactor. I'm glad that's one bit of advice I didn't take from Gary.)
We also get the first look at Owen. Jeff Bennett. Man. What a great cast we had. Wasn't Owen just fascinating from moment one? I didn't know he was Puck way back then, but I sure did know there was a story behind him.
Love that moment when they all Shatter out of stone near the top of Act Two. The sky spinning behind Goliath. The rotating camera for the others. Bronx leaning into the foreground. Still gives me a little thrill. Don't disappoint me Xanatos said. Well, it worked for me.
The first time we got the animation back on that sequence, their stone skins didn't really EXPLODE off them. In fact the first version of the footage had no stone at all. Those of you who have been to the GATHERING have seen that footage. We really had to push to make that concept of them exploding to life every night play visually.
There's an intentional this-ain't-Batman moment during the fight with the Commandos. Goliath gets tossed off the building. He's falling and he grabs for a flagpole, just like Batman would. But Goliath is so heavy, he rips the flagpole right off the building, and he has to use his claws to save himself. Back in those days, everyone was terrified that GARGOYLES was going to be perceived as a BATMAN rip-off. I actually had to write up a memo for the Marketing Department, listing all the significant ways the shows were different. This flagpole bit was our (me, Frank, Michael's) conscious reaction to the constant comparisons.
There's a moment during the fight where Goliath is facing a Commando, and from off-stage Xanatos rescues Goliath by firing his laser at the wall and dumping the masonry on the commando. But that scene gave us nightmares, because it looked like the laser beam was coming from Goliath's eyes. Like he was Cyclops of the X-Men. This made us nervous, because the concept was so new, we were afraid that the audience would think that maybe Gargoyles have all sorts of "cool" super-powers like that.
One line got cut from Part One that would have helped a bit in understanding Lex's character. In Part One, during the initial battle with the Vikings, we had Lex investigating a catapult, fascinated with how it works. That little scenelet got cut from the script for time. But I still miss it.
Anyway, please feel free to post your own responses here on the episode. Both how you felt when you first saw it, and what strikes you now looking at it again.
Hey Greg, keep up the good work if ya can!
1) If the Gargoyle eggs were put under the spell, could/would they have stayed as eggs and hatch in the 1990's?
2) If a Gargoyle were to die in his sleep (You said this was rare,) would his rock body just crumble, or stay as a statue and not awaken?
3) if hudson holds his sword, while turning to stone, will it turn to ston or not? (I am wondering this about anything they might hold)
I can't wait to see the movie/ and re runs, plus the movie 2! (the live action one, I think!)
1. Which spell? The Magus? I'm not sure how you tell an egg to sleep. And that's all it was, a sleep spell.
2. Stay as a statue, but it would no longer renew and would tend to crumble over time and weather -- assuming it was left alone. Not a safe assumption, by the way.
3. I've answered this before. It has to do with whether or not Hudson's mindset at the moment of sleep is that his sword is part of his uniform or something separate.
In the gargoyles bible for the first season you had made mention of the existence of a 'very wise man' who first made an alliance with gargoyles building his castle of a gargoyle rookery and who ushered in the golden age of gargoyle-human relations...
Is this still how you picture it happening? The existence of a specific 'very wise man' was intriguing to me - is he just a generic figure, or someone whose name we would recognize? (I have my own idea on the subject ofcourse but I refrain from suggesting it in case it's considered a story-idea)
I was being generic in the bible on purpose to simplify things. Honestly, I don't think I ever really thought there was just one person who did that. The world was too big a place and there wasn't any internet back then to facilitate communication. So that "wise man" was a place holder in my mind for a number of intelligent humans and gargoyles who made multiple alliances over multiple centuries in multiple places.
One such alliance of "wise men" was the alliance formed between Hudson and Malcolm, which was brokered by Robbie.
Another alliance was that formed between Xanatos and Demona, brokered by Owen, with a little help from Brooklyn, Mary and Finella behind the scenes.
Is there anything you could tell us about Lexington´s Parents? (For example, how they looked like?)
I don't think that way. There's a whole generation of gargoyles who were Lexington's parents. With the exception of Hudson, they died in the Wyvern Massacre.
You mentioned that in DARK AGES Demona would be known as Angel and that the Coldtrio would be known as Othello, Desdemona, and Iago. But what would Hudson's mate be know as?
Demona would be known as Angel, but I had not (and have not) decided for sure what the Coldtrio would be known as. Using the Othello/Desdemona/Iago names has always made life easier as behind-the-scenes shorthand, but I still don't know whether I'd use them "in story".
Thus any decision on what to call Hudson's mate, would be predicated on what I was doing with the whole name question. Which is to say, I haven't decided if she has any name at all, let alone what it is.
Hi Mr. Weisman! Sorry about the other large posts.
I.After the destruction of the Clock Tower, did Hudson kept the replica of his head from "The Price"?
1. I like to think it was one of the recovered items.
Hudson didn't seem as upset as Goliath had been in the World Tour about Angela recognising Demona as her biological mother. Why was that? (I mean I see Hudson as the bastion of old style Gargoyle tradition. So shouldn't his reaction have been stronger than Goliath's had been?)
When? Are we talking about "The Reckoning"?
Hudson had the time and the distance to be steadier.
Goliath's head is still pretty messed up regarding Demona. It's much more personal. Much more psychologically dangerous.
Hudson can recognize that in Goliath and choose to act as a balancer. Hudson hopefully is more three dimensional than simply being the 'bastion of old Gargoyle tradition'.