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Dear Greg: Were you a fan of the Green Arrow as a young boy? And were you excited for the Showcase short to be GreenLit?
1. Yes, very much so.
2. Well... it was greenlit before I came aboard, but I was definitely psyched to be invited to write it.
...and here's my second Bad Guys question:
On the cover of Issue One, above the Wanted poster for Matrix is another piece of paper which reads in part: "... modified and so[und?] ... N/A ... Descr[iption] ... Date of Birth: December 16, 1962 Place of Birth: Sacramento, Californi[a]"
1. Does this paper refer to any specific character? In other words, have you decided yet who it refers to?
2. Does it refer to any character already depicted in the comics or TV show, or mentioned in canon-in-training?
3. Does it refer to a member of the Redemption Squad? According to GargWiki, all of their birth dates have already been revealed, except for Matrix's "birth" date, but it was created in the 1990's in Australia as far as I know, not in 1960's California.
Hadn't even noticed that until now.
Not actually a question- Someone mentioned hearing an interview with you at comicon- I heard it too and thought it might be helpful to post the link-
It's Comics News Insider ep291 http://www.jimmyaquino.typepad.com/comicnewsinsider/ .
Tangentially the longer Andrea Romano interview mentioned in 291, does actually happen 293-294. I found it fascinating. Mmm... one small question - I think you said Jamie Thomason is voice director on YJ, and that he and Andrea Romano are tops in the field. IIRC Romano has done most DCU cartoons on the past, have there been any double takes when people see it isn't her? (I still do little double takes when Batman doesn't sound like Kevin Conroy no matter how excellent the actor is.)
If folks are double-taking over Jamie, no one's mentioned it to me.
Do you have a premeire party when the shows you work premeire on TV?
Depends on the studio.
So sorry if you've answered this, but I just had a question. Black Canary is going to be on the show, correct?
Wikipedia says something about her playing a sizable role on the show, but the article it references for the statement is a 15 minute long interview with you, so I haven't heard the whole thing.
So will Black Canary have a speaking role, or will she be just one of the wallpaper heroes you mentioned, like Captain Atom?
I don't believe I ever used the phrase "wallpaper heroes" even for Captain Atom.
And I have to say, the fact that you don't have the patience to listen to a fifteen minute interview, but have no problem taking time out of my day to answer a question you could easily find the answer to by EITHER finishing the interview or checking the ASK GREG archives makes me half inclined to blow off your question entirely.
But the answer is easy, so...
Yes - as has been stated many times and in many places -- Black Canary has a significant (speaking) role in the series, as she is responsible for the Team's training and also acts as a something of a councillor to them.
Now, if someone wonders why it takes me so long to get through the backlog of questions here at ASK GREG, I can point to this as one of the reasons...
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!!