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WEISMANSWERS 2009-07 (Jul)

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AJC writes...

Does Walter Hardy know Spider-man's identity?

Greg responds...

I think he might be able to guess. Maybe.

Response recorded on July 08, 2009

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Joe writes...

this is kinda weird question but when you answer "No comment" is it like "Oh my god, the question is so stupid" (because I've seen some pretty dumb being asked) or "No comment because if I answer I might spoil something"?

Greg responds...

I'm not particularly consistent in my evasions.

Response recorded on July 08, 2009

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Clark Cradic writes...

If you had been able to use Kingpin in the series, would have used something similar to his designs from the 90's animated series or the Daredevil movie? Would you still have cast Kevin Michael Richardson in the role?

Greg responds...

Too many what ifs, my friend. We never got that far.

Response recorded on July 08, 2009

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Martin writes...

In "The Invisible Hand" Foswell tells Peter "rumor is that Big Man aka L. Thompson Lincoln is some kind of a crime lord" after which Spidey goes to confront Tombstone. How does Spidey know that Big Man is in this tall building (the one he goes to)?

Greg responds...

L. Thompson Lincoln is a semi-famous local philanthropist with a number of legitimate businesses.

Response recorded on July 08, 2009

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Vaevictis Asmadi writes...

Hello Greg,

In the past, some posters here have implied that only iron can kill a member of the Third Race. This has never really been confirmed. Yet, when once asked if there were casualties in the war between Mab and Oberon, you said "yes, any war has casualties." If some of the Children of Mab did kill each other in that war, I find it hard to believe they used iron weapons!

So, is iron the only thing that can kill a member of the Third Race?

Greg responds...

No.

Response recorded on July 07, 2009

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Wendy Self writes...

To whom it may concern,

My name is Wendy Self and i am a Second Year Student of Animation and Design at the University of Sunderland, UK. I am currently preparing the research for my dissertation, which i want to base on violence and censorship in children's animation. I was keen on looking at how both aspects are applied to 'message' episodes and mature themed story lines.
I was hoping that i would be able to ask Mr Weisman some questions on the writing and content of the Gargoyles series as it is one of the main examples that i am using for mature writing and intelligent subject matter in a children’s TV show.

I understand that this is probably an unusual request but I would greatly appreciate any help you could offer. However I do realise that Mr Weisman is busy with his own work so if it is inconvenient for me to speak to him directly then I fully understand.
My university contact is wendy.self@sunderland.ac.uk

Thank you very much for looking at my question and I hope to hear back from you soon.
Sincerely,
Wendy Self

Greg responds...

You couldn't post your questions here?

Response recorded on July 07, 2009

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Nelio Belmont writes...

Hi Greg, this time I have a production question about Gargoyles. Given that Youtube has started putting commercial products such as old TV shows and what not, do you think there is a chance that Gargoyles will be put up on it as well? More specifically, do you think the second half of Season 2 may be put up there? And finally, if those episodes gets lots and lots of views, do you think Disney would consider a DVD release of Vol 2?

Greg responds...

I think it's (illegally) on YouTube already. I have no idea if Disney intends to put it up legit. Or how that would effect their DVD plans.

Response recorded on July 07, 2009

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David Blyth writes...

Hi Mr. Wiesman

A question related to "The Batman", it was a very different kind of Batman series, fresh off the gridiron and airing alongside the final seasons of JLU, I'm not sure if it had a chance to really "define itself" in light of such a strong legacy, but part of what gave it it's own identity was the hard work of Duane Capizzi, Alan Burnett, a great voice cast (Mitch Pillegi!), and your own scripts.

"The Everywhere Man" featured the voice acting of "Superman Returns" leading man Brandon Rough, who played the main antagonist, his co-star was Allison Mack, aka Chole Sullivan from long-lasting Superman series "Smallville", so all in all, it felt like a big Hollywood atmosphere

1. Do you have any memories of this beyond just the scripting process?

2. Were you told to write characters that "complimented" Brandon and Allison or did you know they were coming in?

Greg responds...

1. Well, I was at the voice recording, and it was a lot of fun. Both Allison and Brandon were VERY nice. SUPERMAN RETURNS had not hit theaters yet, but was due out soon, and Brandon really struck me as Clark Kent.

2. Didn't know who was going to play the characters when I wrote the script.

Response recorded on July 07, 2009

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David Blyth writes...

Hi Mr. Wiesman

As a folllow-on from something asked of you by "Anonymous" on the issue of growth and evolution in Spider-Man , I would like to, first, argue that the Spider-Man series you have been working on isnt "pinned down" by the problems the comic version of Spidey faces. You have placed Peter, MJ, Gwen, Harry and others into the most innocent kind of "hell" on Earth, High School.

Long before girls fell off bridges, long before clones and long before Peter realized MJ was the love of his life and married her, you don't have to worry about "resetting" there because that only affects the characters outside of High School...where readers expect them to act grown up and responsible for one another, and when they act like rank adolescents as they do in BND (my opinion), or heck, ever since the last ten years worth (Spidey's never recovered since 1999, again, my opinion)

Spider-Girl has now been running for eleven years, with another good few years left in the tank (I don't know how long Tom intends to tell it, right now the word is "indefinatly"), yet Tom recently admited if he so much as fought for an animated series, he'd be shot down. I find this incredibly tragic and disheartening.

And yet...look at what D.C accomplished ten years ago with Batman Beyond.

Terry McGuiness may only have had the golden rule of syndication ("Get 65 and DIE") one movie, and one episode of JLU, but it says a great deal about the higher-ups at WB to risk three years worth on character growth on someone new, whilst balancing that with remarkable doses of growth for Bruce Wayne and Barbera Gordon to that extent than, say, three more years of "The New Batman Adventures"

Hell, let's argue LOONATICS. Done CORRECTLY, this would have made Loony Toon characters DRAMATIC...key word there is "done correctly" of course, but premises like that are ones any writer can eat up with a spoon...again, WB risked it, suceed or fail.

Likewise you have put a lot of risk into Spectacular Spider-Man that has paid off, so maybe it's not a case of marketers being afraid of "growth and change", maybe it's more a case of certain groups being behind the times and just not living in the here and now.

Time will tell. Right now, I like to think those people KNOW that we need something new. Nothing lasts forever.

Not even the relevancy of the "Modern Myth".

My question: Why is it easier for something like Batman Beyond to be favoured over something like Spider-Girl?

Greg responds...

No idea. Not even sure that's true, frankly.

The thing to keep in mind is that the business is fluid and NOT monolithic. Things change. There's much human turnover, and with that turnover comes changes in direction at every studio and every network. What the RULES are this week may not be the rules in six months time.

I've often said we'd NEVER have gotten Gargoyles on the air today, and that's true TODAY. But tomorrow is a whole other story.

Maybe Batman Beyond hit at the right studio and the right network at the right time.

Spider-Girl's situation is complicated by the fact that Marvel and Sony co-control the Spider-Man license. I'd guess (and it's ONLY a guess) that Marvel views Spider-Girl as a separate property. And I'd guess Sony views it as part of the Spider-Man license... and that disagreement (assuming it exists and/or has EVER even come up) would obviously be a roadblock to making a Spider-Girl series.

In any case, you give me credit for taking risks that I don't really think I deserve. Sony and Marvel came to me and ASKED me to do a Spider-Man series set in his High School years that was not in continuity with the movies or the current comics or Ultimate or anything. That's all they gave me, but that fit perfectly with what I wanted to do with the character. And given the fact that Spidey is one of the top marquis characters in the known universe, it wasn't exactly a risky proposition.

I like to think we executed well, but let's face it -- ANY Spidey show would do pretty well just by virtue of it being Spidey. I can't exactly take credit for the character's popularity. All I can do is strive to do him justice. It's for others to judge if we succeeded, though we succeeded well enough to satisfy me. I'm biased, of course, but my standards are pretty high.

Response recorded on July 07, 2009

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Martin writes...

you said that you already have overall plan for season 3. does this mean everything from the begginig to the finale is in your head, including what characters and villains will appear?

Greg responds...

Not to the last detail. Not even broken down episodically. But I know what the four arcs are and who the Big Bads are for each arc, and SOME idea of who the villains are/might be. Nothing etched in stone. But the basics are fairly clear in my head.

Response recorded on July 07, 2009


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