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Heya Greg! I have a quick question RE a fairly obscure adaption of the Arthurian mythos and your knowledge there-of.
Have you ever seen the episode of the '80s Twilight Zone series called "The Last Defender of Camelot"? If you haven't, to give an explanation without spoiling too much, it involves Lancelot, Morgan La Fay, Merlin and a modern boy named Tom *cough cough*. I was a little surprised to see many of the key themes that show up in Gargoyles, such as immortality, and how power and good intentions can lead one astray.
If you haven't seen it, and it wasn't an influence, I'd recommend checking it out if you should get the chance. Despite a certain cheestasticness and pretty bad special effects, there's some really solid and interesting writing.
It just struck me as an odd coincidence how the tone reminded me so much of Gargoyles at times (in the best possible way. It brought a smile to my face.) Though working from the same source material, not to mention pretty universal themes, some similarities would be inevitable. I guess I'm just curious as to whether it was kismet, or a case of one work having an influence, however small, on the other.
I wish you all the best and am waiting with bated breath for Young Justice's premiere!
I have seen the episode... or at least a chunk of it... but only recently. It didn't influence Gargoyles, though I'm sure both had common influences.
hey greg let me say im very excited for young justice i currently have one question you said the show takes place in earth 16 in the dc multiverse
i did a searched on the internet and it said that earth 16 is home to the "super sons"which is not connected to young justice. so im wondering they you know this before or did you ignored it.
We asked DC for one of their unused 52 Earths, and they assigned us Earth-16. I wasn't aware at the time that pieces of it had been explored already. So we're ignoring that stuff...
Did you have Darth Vader in mind when you made Manta, the father of Aqualad?
You'd have to ask Geoff Johns. That was his idea. (Though I LOVE it!)
Hello again, Mr. Weisman.
I've had a question in the back of my mind for some time, and now seems like a good time to ask it.
Recently, you released the writer's rotation for the first 24 episodes of YJ.
I've always been fascinated with television writing,as there seems to be no one way to do it, so I wanted to ask a few questions on how you approach it.
1. Back when i first wanted to ask this, I checked the SpecSpiderman archives to see what you mentioned about writing for that show. When going over writing duties, you mentioned that some of the episodes that you "reserved" some of the episodes you wrote. Since Young Justice finds you in a similar position of being both a producer and staff writer, I'm curious to know, what factors do you use when picking episodes to reserve for yourself (and confirming that reserve wasn't just a metaphor you were using)?
2. While I'm here, I was hoping you could also shed some light on how much freedom your freelance writers are given. Do they ever get the chance to write an episode completely from scratch, or because the shows you work on are so arc based, are they always given a firm foundation to start with, and if so, how rigid is this foundation (generally)?
1. Sometimes I end up writing an episode for pragmatic reasons... or a combination of the creative and the pragmatic. For example, I wrote the two-part pilot of Young Justice (i.e. episodes 1 and 2). Of course, I had a creative desire to write these episodes, but it also would not have been pragmatic for anyone else to write them. I needed to set the tone of the series for the other writers to be able to get it.
Another example: staff writer Kevin Hopps and I were set to write the last two episodes (25 and 26) of the first season. Though we know the basics of what takes place in them, based on meetings that Kevin, producer Brandon Vietti and I had over a year ago, we hadn't broken those episodes yet, and creatively I hadn't decided which of the two I wanted to write. But scheduling realities last week made it apparent that Kevin would HAVE to write 25, meaning I was writing 26. All of which is just as well. I started the season; I might as well finish it. But the decision wasn't creative; it was purely pragmatic. The creative decision might have been no different. But the creative decision became moot for pragmatic reasons.
On the other hand, I've also written three other episodes. In those cases, the pragmatic need was for me to write one episode each between 6-11, between 12-17 and between 18-24. Within those parameters, I chose 11, 15 and 19 for purely creative reasons. Those were the ones I felt a special affinity for (based on reasons I can't reveal now without spoilers). So going into the three writers' meetings for each of those three "sets" of episodes, there was SOME flexibility as to which writer took which episode (keeping scheduling pragmatism in mind), but I had "reserved" for myself the one I wanted to write in each case.
2. My freelancers have, for better or worse, very little freedom when it comes to WHAT stories we are telling. The premises were all approved long before the freelancers came aboard. If a specific writer feels no affinity for a specific story, then he or she doesn't have to take that episode. I always try to give each writer an episode that jazzes him or her. But the basics of the stories are set. Now, the writers are very involved in the execution of those stories. That's where their freedom comes in. But they still have quite a gauntlet to wade through... beat outlines, outlines, scripts (and notes from many sources). Ultimately, I take responsibility for every episode, and I'm the guy doing the final pass on every beat outline, outline and script. But I couldn't do this job without stellar writers providing me with great stuff. And on this series, I couldn't do it without Brandon and Kevin actively participating in the inception and breaking of every single story.
Not a question but...THAT GREEN ARROW SHORT WAS F***ING AMAZING!!! Hard to believe a ten minute dvd short is better than half the crap superhero movies hollywood is putting out. Thank you and everybody else who worked on it for this.
Glad you liked it!!
Following (far) behind my long-overdue reaction to Bad Guys, here's my first question about it:
Why does Yama ask which specific gargoyle and human Sevarius used for the mutate DNA he was planning to use on Robyn and Yama? Why does Yama care? Is some human DNA more undesirable than others, or is he just curious?
I'll leave that for your interpretation for now.
Did Matt ever tell Elisa that he was a member of the Illuminate? I ask because in the episode Revelations Matt says that it didnât pay to keep Elisa in the dark about things (speaking about the incident with the Dracons in The Silver Falcon). After going on and on about how they should trust each other in the episode Revelations, it would seem contradictory of what Matt had just been through to not tell Elisa. But then, maybe he has his reasons to keep it a secret. Care to shed some light on the subject?
Thank you for your time and all that you do,
I do not care to shed light on the subject.
In High Noon, why could Elisa see Coldstone, Demona, Macbeth, and the gargoyles at the park when no one else could due to the spell that Demona had cast on them?
Thank you for your time and all that you do,
It was a condition of the spell that bystanders wouldn't notice, but "players" would.
Does Talon have a second in command down in the Labyrinth?
If so, who? Neither Maggie nor Claw seem like leader material to me, but then I could be wrong. I figure one of the clones might work, maybe. If not one of the clones, does Talon have someone else in mind to lead in his place, maybe someone we havenât seen who lives down in the Labyrinth (a human)?
If not, why doesnât Talon have an official second in command? Wouldnât he know that (if something happened to him) without a leader the Labyrinth could turn to chaos trying to get a new one (worst case scenario)?
Thank you for your time and all that you do,
Talon isn't a gargoyle, and hasn't particularly structured the Labyrinth after a clan. He's more or less been elected leader. I guess he figures - if he thinks about it at all -- if he goes down, someone else will get elected.
There are people down there he trusts, like Thug and Maggie and Claw... and I'd guess Delilah.
But nothing official.
I'm going to hope that this isn't one of those pesky "question masquerading as an idea" things, but here goes. Any chance you've seen this? It's a fairly recently made mock trailer for a "Saturday Morning" style cartoon based on Watchmen by a prominent member of the flash community who goes by "HappyHarry".
You worked on Watchmen as an assistant editor and on several animated shows as a development executive during the late 80's/early 90's, I'm assuming at least some of them were of the "Saturday Morning" variety, so I just thought you might have an interesting perspective on the general idea behind that video.
The video is obviously a joke and exaggerated on several levels, but practically speaking could that kind of thing have been made in that style back then? Which is to say, would it be the kind of thing that would have a reasonable chance of getting picked up as a series, in your opinion?
And while I'm on the subject.
What did your job on Watchmen consist of while you were at DC?
Did you ever work directly with Alan Moore or Dave Gibbons during that time?
What led to you being the fingerprint model for Rorschach?
I NEVER worked on Watchmen. I shared an office with Julia Sabbah, who worked on designing the book. And she used my thumbprints for Rorschach's criminal file because, frankly, I was there. That's the sum total of my involvement in the project.
And, no, I can't see Watchmen as a Saturday Morning cartoon. But there are a lot of cartoons that are on that I still am mind-boggled by, so what do I know?
I've never worked with either Alan Moore or Dave Gibbons. I met Alan once when I was 21 at San Diego Comic-Con (1985). Never even met Dave.