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Big fan of the idea to ground the show in realism. After watching your previous work I've always left your show's feeling that I've gotten much more than your typical cartoon experience. I was pleased to have similar feelings after watching young justice.
In spirit of the covert and behind the scene missions that batman will assign the young league, and given the show has the appropriate rating, will we be seeing REAL guns and bullets, and not your typical random super villain technology laser gun every other episode?
I love the covert angle and being that the young league is going to be in the shade for now, we'd love to see some realistic shady characters and some shady gat's...
We do have realistic guns and bullets where appropriate.
As the conspiracy buff that I am, I found a few references to the Erisian's Law of Fives on Gargoyles (most of which from "Revelations") that I would like you to bear in mind:
a) Mace Malone's key number was 23 (2+3=5).
b) Matt's key number was 13 (23-5-5=13; or 5+5+13=23)
c) Elisa and Matt work on the 23rd precinct;
d) and the most creepy of them all: this episode is the 36th to be produced, which means that by subtracting the 13 episodes of season one, it becomes the 23rd produced episode of season two!
I was wondering if these references were intentional or are just coincidental.
Feels a little like answering could unleash a curse or something.
1.Is Superboy going to learn to fly?
2.Does Superboy have super speed?
3.What can you tell me about the love triangle between Superboy, Miss Martian and Kid Flash?
1. Wait and see.
2. He's faster than the normal human.
3. Lots.
Being an Nigerian, it was exciting in Gargoyles to see the Black Panther story line done in Nigeria! I am curious to know why you chose Nigeria to create the story?
English is one of the national languages there.
So what's the specific appeal of animation to you? Or rather, the appeal of writing it (and by extension, comic books) primarily over other mediums?
I could make guesses, but I'd be curious to know what exactly thrills you.
Well, the MAIN appeal is that they'll hire me.
(Only semi-kidding there.)
Anyway, I love the semi-contradictory notions of the control I have over the final product and the collaboration I get while making my way there.
Apart from the work that he's done with you, what's your favorite thing that Kevin Hopps has ever written?
I don't know off the top of my head.
Do you have any concerns about Gargoyles being anime? I ask this because of the video game franchise: Kingdom Hearts
What does that mean, "being anime"?
First of all, the Young Justice premier was exquisite, I can't wait for more. However, I do have one question. When the Young Justice team is led by the Justice League members into the decoy base, lounge is show to be in full view of reporters (who are behind a glass window. A few minutes later, the warning happens. Are the reporters still viewing that room when this warning comes? Or was there some sort of off-screen blocking of the windows? Thanks
They could SEE the warning, but not hear it. If private business takes place, however the windows can be made to go opaque.
Hi! First off, great work on the YJ pilot. A few things bugged me (like the faintly ridiculous lack of female characters and the way they were handled) but overall it was excellent and I can't wait for the series to start!
I have absolutely no idea if you can answer this, but was Guardian being called 'brother' at the end of the Young Justice pilot supposed to imply anything?
I can answer it.
Hi Greg - loved Young Justice! I was curious about Cadmus, though. Are there only saw three humans actually working in the sub-levels? (Guardian, Mark Desmond and the female scientist) Or were there more that we just didn't see?
It seems like there should have been more, since there was a large men's washroom, with a number of stalls in it... I'm assuming they wouldn;t have built that just for Desomnd and the Guardian. If there are more people working there, why didn't they respond to all the craziness going on?
1. There were more.
2. Lockdown.
1) Did you expect the fans to react so strongly in response to you not revealing the identity of Artemis in Young Justice?
2) In past interviews you've said who Artemis isn't and that has led to people grasping at straws for who's left. The two most popular theories at the moment are Olivia Queen, and Artemis Crock. Would you be surprised to know that I've even heard Stephanie Brown's name be mentioned?
1. No, mostly because I thought her identity was so obvious.
2. I feel like this question is really a not very well hidden attempt to extract info.
I saw a Jan 7th return date online ...
was not expecting it that early. early young justice makes me one happy fanboy.
good looks.
Thanks. Heck, I didn't even shave today.
Just thought I'd ask. When were Gruoch and Macduff born>
Gruoch - 1005
Macduff - 1005
Do you feel like DC's Fifth Dimension characters (such as Mr. Mxyzptlk, Bat-Mite, Qwsp, Jakeem Thunder's Thunderbolt, etc.) would be tonally appropriate for Young Justice? I'm not asking if you have any plans to use them, just whether you think those characters would be able to fit in with your show's relatively serious take on the DCU.
Along the same lines, how do you feel about red kryptonite (the variety that causes random changes in Kryptonians for a roughly 24 hour period)? Would it be too silly for a show like this?
I hesitate to answer this at all, because I don't want to tie my own hands, and an idea could occur later that would put the lie to this... but now, neither of those concepts feels like a natural fit at this time.
I have some questions concerning episodic details
1. I noticed the original documents thread only has your memos on the pilot outline up to when Michael Reeves became the new writer, are we ever going to see rest of those memos(assuming there were more).
2. Concerning your tiers and tentpoles plan that started in season 2 you said awakening retroactively became tentpole 1, rewakening tent pole two, city of stone tent pole three and avolon tent pole four. Im curiouse what episodes made up the next sets of tentpoles after those ones. I figured Future tense or the Gathering was probably one of them with hunters moon obviously being the final ones, but what was the tentpole in the middle of the world tour episodes? I assume there had to be one more otherwise that would have been more episodes than usual in that tier.
3. You mentioned after Hunters Moon changed from direct to video to a three episode finally you had to cut 3 planned episodes. You said one was simply the vinnie episode being merged into vendettas, but what were the other two? Was the Coldston world tour story that made it into clan building one? Was Bronx's side story youve said happened during vendattas/turf one? If not do you remember what they were?
4. Youve said somewhere that the wierd MacBeth story was nixed because your superiours wanted it to be one episode instead of a two parter and you didn't think you could do it justice in two if Im not mistaken. Where would that two parter have taken place if you had been allowed to do it? Ive tried to figure out a spot in season 2 where it could have gone but none really seem to make sense and Id be curiouse to know. Also if you ever get the chnace to write more issues of the comics would you try to do this story now?
Thanks for your answers.
1. "Ever" is a long time. But the issue is that I don't have those memos electronically archived. So I have to transcribe them. And I've just been (a) too busy and (b) at my Warner Bros office (and before that at my Sony office) most days, and not in my Beverly Hills office, where I have that stuff.
2. "The Gathering" two-parter was the next tentpole. Then "Hunter's Moon". There was no tentpole in the middle of the world tour. There were more episodes than usual, but Season Two was WAY longer than Season One, so we needed that flexibility.
3. I honestly forget now. (Isn't that sad?) I do have that info written down, but again -- it's in Beverly Hills, and I'm in Burbank.
4. It would have gone in the final tier of Season Two around the time of Vendettas.
4a. Yes.
I saw premiere of Young Justice, and once agains, brilliant job well done!
I was just wondering, who,s voice director on that series?
My two guesses would be either Andrea Romano( since She has directed almost all existing animation adaptations of DC)or Jamie Thomason( since you have together history).
Once again, nice work, and keep it up!
Jamie Thomason is the voice and casting director on Young Justice. What's a matter? Couldn't you read his two millimeter credit during it's micro-second long appearance on screen?
Greg, I HAVE to ask this question since it's been bugging me off and on for some time now: With the Fortress', what Justification could those monsters have other than Rule of Cool? I remember Vogal mentioning "Scientific Research," but what kind of research could there be that needs to be done in the air?
I'm a full believer in the MST3K Mantra, but this really stuck out to me.
Why does Goodyear have a blimp?
Few thing have bugged me since cancelation of Spectacular Spider-Man.
1)Does Marvel hate Spectacular Spider-Man cartoon or not.I ask this because they are making new Ultimate Spider-Man Cartoon and Spectacular Spider-Man was canceled and there was lack of promotion in Marvel.Com(While Avengers or Super Hero Squad have many promotions).Also in one of your answers you said that Marvel are not planning to make comic book based on your show or something like that.So does Marvel hate your show or not?
2)This might be stupid question but worth a shot.Will you ever work for Marvel or Disney again due to cancelation of your show and Disney retooling Gargoyles into Gargoyles Goliath Chronicles.
3)What do you think about Avengers:Earth's Mightiest Heroes Cartoon.Do you think it is as great as Spectacular Spider-Man or bad.Also in your opinion which show is better:Young Justice or Avengers Earth's Mightiest Heroes.
4)Will you watch Ultimate Spider-Man Cartoon?And also is there a chance that you will work on Avengers Earth's Mightiest Heroes or some Marvel Comic Book?
Good Luck
1. I hope not. Ask Marvel.
2. I'm perfectly willing.
3. I haven't seen Avengers, but Frank Paur is producing it, so I take it for granted that it's great. But in any case, I don't see YJ as being in competition with Avengers. There's room for both.
4a. No. There's no upside in me watching Ultimate. If it's great, I'll be jealous. If it sucks, I'll be frustrated.
4b. No. I'm plenty busy on YJ.
4c. I hope so. Ask Marvel.
I read on a Cartoon Network page that Artemis from Young Justice is Green Arrow's niece. Is that info. correct or a misprint?
It's not a misprint.
Do you have a scheduled day for YOung Justice to come back on in January? If you do, when?
Uh... January 7th, 2011.
Carly Simon auctioned off the secret subject of "You're So Vain" for $50,000 at a charity auction. Would you ever consider selling the secret (for charity or self-gain)of what Titania whispered to Fox in "The Gathering: Part 2"?
For $50K? Sure.
(Who didn't see THAT smart-ass response coming?)
Hi Greg!
In "Eye of the Beholder" Xanatos lists genetic compatibility as one reason he and Fox should wed. Did either one of them ever have strong desires to be a parent before Fox got pregnant?
Thanks!
David, certainly. Fox too, probably. Certainly, she knows how to use birth control, and the pregnancy was no accident.
My question is about what Titania whispered to Fox at the end of "The Gathering." You've said that you never expected it to become such a big mystery among fans. Was anyone in the Gargoyles Universe ever curious? Did Fox ever tell anyone?
No.
Back in 2005, during the run of Justice League Unlimited, DC Comics imposed an embargo on the creative team of the show â" the most infamous of which being the Bat-Embargo â" that disallowed the use of most prominent Batman-related characters. And later Aquaman's. Is there any possibility of that happening to Young Justice? If so, do you have any contingency plan for that? Or does Young Justice have precedence over other DC shows in regards of the use of its characters?
I don't know what "precedence" means in this context. At the moment, we don't seem to have any problems in this area. But, no, we have no "contingency plan".
What happened to Disney gargoyle Avalon archives? Did the owner shut the site down, and where can I download more pictures?
I don't know. Is it gone?
Dear Greg,
What is it that convinces Broadway not to destroy the Sun Amulet in the episode "Turf." After learning that it could "leave a lot of gargoyles stone dead," he says, "It should be destroyed!" What changes his mind?
Being unsure of what other ramifications there might be. Instead, he chose to keep it safe.
Can you tell us who was the first (a) person, (b) being and (c) entity to figure out how to work the Phoenix Gate?
Yes, I can.
The Eye of Odin. How did he lost his eye to begin with?
He traded it.
Loved the pilot, I had EXTREMELY high hopes for Independence day and my expectations were defiantly exceed. Seeing Connor animated for the first time was beyond incredible.
Please do me the favor of confirming weather or not we will see any of the following justice league members out of costume assuming their civilian identies. clark? bruce? barry?
Patience...
Hello Greg,
When Xanatos travelled to tenth century Scotland in "Vows," how did he communicate with the Norman ambassador and Prince Malcolm? There was no language barrier in the episode, but English wasn't spoken in Scotland back then. I'm sure that the production reason for this was the same as in Awakening and the Avalon World Tour, but have you decided upon a within-the-Gargverse reason? I have a guess or two, but it would probably be an idea.
Thanks.
The Gate adjusts for everyone.
I think it's a wonderful thing you're doing here for the fans on this website to respond to their questions about this remarkable show you made in the past. It shows true passion and dedication to the fans of how loyal you are about this show. I'm a huge fan of the show myself. You created a great show and took risks and made such powerful story lines that very few people in the business today would be able to succeed at. I'm here to tell you that hope is still here for the Gargoyles. Some changes and considerations are being made soon for the Gargoyles Series within the Walt Disney Company. Opening kids of this generation to the show would be a great decision in order to resurrect the Gargoyles Series to the public today. Just as youâve said to your fans many times before, get the word out about the show as much as you can. If they do their part (as they have been doing), we will try to do the best we can. We'll keep in touch.
Wow. Cool. Thanks.
Have you ever seen Orson Welles' adaptation of of Henry IV, Chimes at Midnight (titled Falstaff in some countries)? I really enjoyed it. After all, Welles as Falstaff. It doesn't get any better than that.
On the same note, who is your favorite Shakespeare screen actor? Olivier? Welles? Branagh?
I have not seen Chimes at Midnight, and I definitely consider it a gap in my education.
I guess I'd have to say Branagh... just because -- from a cinema standpoint -- Henry V was a revelation to me.
Do either Coldfire, Coldstone, or Coldfire require sleep to avoid mental exhaustion?
Haven't thought about it.
Neither borrower nor a lender be: For loan loses both itself and friend, and borrowing dulls the edge og husbandry
-William Shakespere.
Being original is never too easy: as amateur writer myself, and as misunderstood loner, i spend often much of my time crafting my own stories and developing characters of my own, and as certain perfektionist, it is long process.
Of course, i dont think it is a bad thing to be influenced by others and perhaps occasionally paying certain hidden tributes to them, but as any at least somewhat intelligent knows, too much borrowing is bad thing too: it only makes final product to look and feel predictable, facile and empty.
Many writers these days seems to be struggling between two choices:
When maing something original, how to make it to feel on its own and as much unpredictable and enjoyable as possible...
Or, whenever taking upon him/herself to craft from something that,s already been done in some form at least, to make sure not to repeat too much on the past, but still maintaining certain loyalty to its history.
Although i can certainly see many influences which must,ve been crafting on makers minds when gargoyles was crafted, it still manages to maintain it,s own fresh sense and certainly stand on its own. You and your fellows managed to make intresting world which was filled with intresting characters, deep themes and surprising plot-twists, something what is only very rarely seen in tv these days.
Then, you were showrunner on Spectacular Spiderman and have done work in The Batman for example. In The Gargoyles, you were given freedom to make your own characters, places and objects to use, and to use them in almost anyway possible, as long as it would seem to fit in. But whenever working on Spiderman, some things that fans of the franchise had grown to love in the past had to be maintained: Peter Parker/Spider-Man has to be portrayed as outcast whom fights against both city,s evildoers as well his own problems in his personal adolescence, or in Batman,s case, Btsie has to be this dark and tormented warrior of justice, Alfred loyal(and cynically sharp) butler, and Joker to be sick psychopath. And yet, repeating too much on the past, and you get scratched.
Having worked on something original and taking upon something you had been fond of in the past, which one do you consider to be easier/pleasent to do and how often, as a writer, you struggle between all these choices?
Um... I honestly enjoy all of these things.
Gargoyles, of course, was my baby. Still is. Nothing in the world I'd rather work on.
But working on Spider-Man was a joy. It seemed to come easy. And I still miss it.
I'll admit Young Justice is harder, but I honestly believe that's because Brandon Vietti (my producing partner) is constantly challenging me to make both my work and his own (and every one else on the production) better and better - which, in case it isn't obvious, is a good thing... a REALLY good thing. I have a pretty high standard myself, of course, but I really should say that if you like the stories we're telling on YJ, then a ton of credit should go to Brandon. He has really raised the bar.
You have answered previous questions about Luach's father with saying that, while born during Gruoch's marriage to Gillecomgain, Macbeth may have been his real father. Did you ever intend for this twist to surface in the comics when you rekindled the series?
Also, the year after Macbeth's "death", when Luach was killed, why, rather than going to join Macbeth (who surly knew of his son's death and his wife's desolation), did Gruoch commit suicide? Or is that simply history, and thus undependable?
By what means could Gruoch have found Macbeth?
are you friends with Diane Duane?
Nope. Never met her.
Thanks for answering my question about Fleur and the Grim's voices.
Who do you imagine for the following characters?
Amanda Chung
Brother Valmont
True
Nashville
You know, I'm not going to keep playing this game. It's occurred to me that it's better to let you guys hear what you hear in your heads. That's all I'm doing.
If Superboy is 16 weeks old but is equivalant to a sixteen year old does this mean he will age quicker then the others?
In Teen Titans there was a major issue that you never got to see Robins eyes. Will we in Young Justice?
Is there any discussion about Robin being the most expierenced yet youngest in the show?
1. No comment.
2. Yes, eventually.
3. I feel like I've been discussing that for over a year.
Other than Lex, have we "met" any bi- or homosexual characters? I just want a yes/no answer, no need to name names if you don't want to.
Probably.
Hey, Greg.
Are you writing any of the episodes to Young Justice?
Yep...
101, 102, 111, 115, 119, 126.
I'm curious about the philosophy behind recieving episode premise approval for a show from DC (and I'm assuming Marvel too for SSM?). I wonder which would describe it better:
1. You submit the episode premise as a checks and balances procedure working in good faith that the episode will be approved provided there aren't any legal or logistical oversights that would make the episode impossible to produce. What I think I'm asking is if they recognize your desire as producer to make the episode, and they would only veto a premise if there was some sort of hassle.
2. You submit the episode premise in the hope that DC likes it and sees value in the episode's production. This would imply that the episode could be approved or vetoed based on the creative "whims" of DC.
It's both or neither. The main concern for both companies (not including the legal ramifications, which separate LAWYER-TYPES deal with) is to make sure we are being true to the characters. Some DC and Marvel people focus on specifics. Some focus on the bigger picture. Some both.
But basically, they don't reject premises out of hand. Just the way we are dealing with their characters. And even that is fairly rare. Both Marvel on SpecSpidey and DC on YJ have been great partners in the process.
Hello, Mr. Weisman.
My next questions are for Brooklyn, who was one of my favorite characters in the franchise. Not only did he come off as cool, but he was a relatable character who came off as a sort of rebellious youth. So, here are the questions.
1. I read in a 2008 interview that Brooklyn was quite popular with the fans of the show. How and when were you able to determine that? Nowadays, I figure it would be pretty easy given the pervasive nature of the internet and how fast information can be circulated. But back in the 1990's, during the show's original run when internet use was not as prevalent, how were you able to obtain feedback about certain aspects of the show, such as character popularity?
2. Brooklynâs encounters and love interests in the twentieth century always seemed to have an unhappy ending to them (his initial encounter with Demona and his initial interests in Maggie the Cat and Angela come to mind). Because of this, he seemed to come off as the most unfortunate character in the original Manhattan clan, at least to me.
a. Do you think that all of these unfortunate letdowns were necessary in developing his character, and preparing him for what was to come in Timedancer?
b. Do you think that Brooklyn having fewer ties to (new) people in the twentieth century made it easier for him, mentally and emotionally, to jump around different points in time?
3. Were you concerned about the audience perception of Brooklyn when you had him return from the Timedancing adventures not only with a family, but an eye patch? I think one of the qualities that made Brooklyn such a likable character, in addition to his personality and his cool voice, was that he was a physically attractive and handsome gargoyle. One external change might not be all that drastic though.
Thank you for your time.
1. From the internet. It may not have been AS prevalent back then, but it was prevalent enough. There was like an e-mailing list. Uh... for the Disney Afternoon in general, I think. Then my sister helped me find Station 8.
2a. It just felt organic to us.
2b. No.
3. I don't think he's any more or less handsome now. If you liked him before, I can't imagine the eyepatch would cause you to think he's unattractive now.
Did you ever consider giving the Magus a name beyond his title as, well, Magus?
Yes.
Everyone knows by now that there weren't enough DVD sales of the Gargoyles series to support the release of the remaining episodes by Disney (i.e. not profitable). This is the same situation that Warner Brothers found with the DVD release of some Hanna Barbera cartoons. In the last year, Warner Brothers (through Warner Archives) have developed the MOD (manufacture on demand) Program. They will burn the complete series of a Hanna Barbera cartoon onto a DVD-R on an order by order basis. These DVD-R's only contain the episodes (not any special bonus features) and can only be ordered from Amazon or Warner Archive online store. According to Warner Brothers this has kept the production and distribution costs low so that they can make money at this and satisfy their fans. Is there any way to get Disney to do the same thing with regards to the remaining episodes of the Gargoyles?
I don't know. Is there?
Hey again Greg,
When Superboy speaks for the first time in "Independence Day", a surprised Kid Flash responds by blurting out "He can talk?", was this a deliberate nod to Elisa's similar line in "Awakening Part Three" or just a coincidence?
Probably deliberate.
I mean wouldn't we all prefer to believe I'm deliberately shouting out to my old work, than to think that I'm just repeating myself, right?
ageless meaning immortal. can you answer now?
Answer what?
dear Greg.
I grew up watching Gargoyles, and as a kid, my view on demona was "evil bad girl" now, that i am older, i realise what happened to her, and i sometimes wonder just how different she could have been if she had someone to help her...i think even now, all she relaly needs is a good hug, (Sorry Gol, she would rather slice your wings off first)
Do you agree with that idea?
Thank you for your time in reading this.
I think it's more complex than either your first or second interpretation of the character.
Dear Greg,
I have always wondered about what happened to the audio tape which Elisa recorded in Season 1 Episode 12, when Fox confessed to her all of Xanatos's schemes concerning Derek/Talon. Did Derek/Talon ever listen to it, either before or after his mutation? If not, what became of the tape?
I'll leave your first question to audience interpretation -- and refrain from answering the second question for now.
First off, I just want to say how much I loved the Young Justice pilot. (I haven't been this excited about an animated show since JLU went off the air back in 2006!)
My question, though, is whether you find it frustrating to work on a series based on DC comics, because of their very long and complicated histories. I ask this as a big fan of the comics, and an even bigger fan of Bruce Timm's superb DC Animated Universe. Do you ever feel bogged down by over 70 years of comic history, not to mention countless adaptations? How much difficulty did you and the production team have in pulling out what elements you thought would work for the new series?
On a similar note, have you found it difficult to try to distinguish your work from other adaptations of the comic (most notably Mr. Timm's DCAU)?
Once again, I can't wait for the new series to air in January! Between your work on Gargoyles and the fantastic YJ pilot, you've set some pretty high expectations. :-)
Well, I DON'T mind at all. Some of the hardcore fans may mind what Brandon and I choose to do with all that history. We always attempt to be very respectful of it, but as you can imagine, over 75 years, continuity can become a bit... messy. And we have to do our best to make our series cohesive, coherent and contemporary, while still feeling classic and iconic. That's what we strive for.
It's easy to find inspiration for all kinds of things (story, character, etc.) in DC's rich history. But we ARE doing an adaptation, not simply a straight transposition of comics into moving pictures form.
Early on, we tried to distinguish our stuff from both the Justice League and Teen Titans animated series. But once we found our tone, I worry less about that. There will be overlaps, I'm sure, but now our characters are telling us where to take the series. So I feel safe that we've got our stuff.
YOUNG JUSTICE Episode #2 ("Fireworks") Credits
Well, this was a new twist. So called "gang credits" appeared on the last episode, mashing together credits from multiple episodes. That annoys me just as much as the non-legible variety.
So once again, I'm posting the credits here...
YOUNG JUSTICE
"Fireworks"
(a.k.a. "Independence Day, Part Two")
Producers
Brandon Vietti
Greg Weisman
_________________________________________________________________________
Written By
Greg Weisman
_________________________________________________________________________
Directed By
Sam Liu
_________________________________________________________________________
Line Producer
David Wilcox
_________________________________________________________________________
Young Justice Theme
Written And Performed By
Kristopher Carter
Michael McCuistion
Lolita Ritmanis
_________________________________________________________________________
Music By
Kristopher Carter
Michael McCuistion
Lolita Ritmanis
_______________________________________________________________________
Casting & Voice Direction
Jamie Thomason
_________________________________________________________________________
Starring The Voices Of
Jesse McCartney as Robin
Danica McKellar as Miss Martian
Nolan North as Superboy, Superman
Khary Payton as Aqualad
Jason Spisak as Kid Flash
_________________________________________________________________________
Starring The Voices Of
Rene Auberjonois as Mark Desmond
George Eads as Flash
Miguel Ferrer as L-1
Crispin Freeman as Guardian
Bruce Greenwood as Batman
Phil Lamarr as Aquaman, Dubbilex
Mark Rolston as L-3
_________________________________________________________________________
Based On DC Comics Characters
Batman Created By
Bob Kane
Superman Created By
Jerry Siegel & Joe Shuster
Wonder Woman Created By
William Moulton Marston
Martian Manhunter Created By
Joseph Samachson
_________________________________________________________________________
Production Manager
John Diaz
Assistant Production Manager
Casey Sandin
Animation Coordinator
John Roback
________________________________________________________________________
Lead Character Design
Phil Bourassa
Character Design
Dusty Abell
Jerome Moore
Prop Design
Jay Hong
Alexander Kubalsky
BG Key Design
Enzo Baldi
Hakjoon Kang
Gong Peng
Jonard Soriano
________________________________________________________________________
Storyboard
Charles E. Drost, III
Jeff Johnson
Jae Kim
Storyboard Clean-up
Brendon Clogher
Chrissy Delk
Christina I. Manrique
Owen Sullivan
Olga Ulanova
Animation Timing Director
James Tim Walker
Animation Checking
Jan Browning
Annamarie Costa
Chuck Gefre
Chuck Martin
Justin Schultz
Timing
Jeff Hall
Gordon Kent
R. Michel Lyman
________________________________________________________________________
Color Stylist
James Peters
Ink & Paint
Kim Bowen
Background Paint
Mike Inman
David McBride
Craig Robertson
Effects Animation
Matthew Girardi
______________________________________________________________________
Main Title Animation
MOI Animation, Inc.
_________________________________________________________________________
Editor
Jhoanne Reyes
Supervising Dialogue/ADR Editor
Mark A. Keatts
Sound Reading
Fred Salinas
Wilson Martinez
Dialogue/ADR Editors
Patrick Foley
Mike Garcia
Post Production Manager
Scott Shinick
Dialogue Recording Studio
Studiopolis, Inc.
Recording Machine Operator
Jeff O. Collins
Sarah Baluch
Post Production Sound Services
Audio Circus, Inc.
Online Editor
Christopher D. Lozinski
_________________________________________________________________________
Animation Services
MOI Animation, Inc.
Animation Director
Yang-Ho Ji
Background Director
Joo-Sun Cha
Production Manager
Young-Soo You (Chief)
OK-Ki Lee
Min-Sung Park
Pan-seob Kim
Production Coordinator
Gina Park
Hyun-Jung Kim
Hyosun Ryu
_________________________________________________________________________
Layout Artists
Ihu-Soo Kim
Color Stylists
Min-Lee Kim
Model Checkers
Ki-Deok Park
Composition
Byoung-Ryul Kim (Chief)
Hyo-Yoon Back
Kyoung-Hee Kang
Key Animation
Geon-Sik Lee
Seong-Deuk Son
Yoon-Jae Ko
Jae-Bum Lee
Kyung-Ho Choi
Jeong-Hee Yang
3D CGI
Gu-Han Yoo
Final Checker
Dong-Moon Chu
________________________________________________________________________
Production Administrator
Nicole Martin
Production Accounting
Athena Wingate
Luisa Guzman
Production Support
Audrey Kim
Kira Tirimacco
Renee Toporzysek
Casting Administrator
Liz Carroll
Executive In Charge Of Music
Niki Sherrod
Business And Legal Affairs
Lori Blackstone
Bonnie Negrete
Joulene St. Catherine
_________________________________________________________________________
Production Supervision
Bobbie Page
Production Management
Ed Adams
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Executive in Charge of Production
Jay Bastian
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Executives In Charge Of Production For Cartoon Network
Tramm Wigzell
Brian E. S. Jones
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Executive Producer
Sam Register
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This motion picture is protected under the laws of the United States of America and other countries. Any unauthorized duplication, copying, distribution, exhibition or use may result in civil and/or criminal prosecution.
© 2011 Warner Bros. Entertainment Inc.
ALL RIGHTS RESERVED
Country of first publication United States Of America
YOUNG JUSTICE and all related characters and elements are trademarks of and © DC Comics.
Warner Bros Animation Inc. is the author of this film/motion picture for the purposes of Article 15 (2) of the Berne Convention and all national laws giving effect thereto.
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There are, as always, a bunch of people who ALSO helped out but don't receive credits on screen for various (legal and precedent) reasons.
A handful (in no particular order) include...
Jennifer A. Anderson - Talent Coordinator
Eric Lewis, CAS - Dialogue Sound Mixer
James Lafferty - Assistant Engineer
Otis Van Osten - Sound Supervisor
Ron Salaises - Sound Effects editor
Carlos Sanches - Re-Recording Mixer
Stacy Michaels - Foley Mixer
Alex Ulrich - Foley Walker
Jackie Trinidad - Development Coordinator
Peter Girardi - Design Guru
I know I'm probably forgetting some folks, and I REALLY apologize! If you send me a reminder, I'll pimp you in another post!
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