A Station Eight Fan Web Site
I've been a fan of yours since Spectacular Spider-Man, then to YJ, and then to watch Rebels. (And the fact that hearing you were working on Rebels got me to watch the Star Wars movies again and TCW series which led to me becoming a major Star Wars fan means I have something else to thank you for!) After watching the Rebels finale, I have a few questions.
1) Now, Rebels was destined to be different from TCW; different eras in the Star Wars universe, the Ghost crew debuting in Rebels versus TCW having a few main characters like Padme Amidala from the movies. However, is there anything in particular that you directly influenced?
2) What research did you do for your job on Rebels? Like DC and Marvel comics, there's obviously a lot of material on Star Wars out there that can be drawn from, but there's also a much more official level of 'this is canon' versus 'this isn't' due to the movies and the Disney reboot, so I'm curious if you chose to draw from the Legends continuity at all.
3) Maketh Tua- she seems really into the Empire, willing to do under the table things for it, and makes a casual reference to the Lasat genocide. Yet she seems extremely horrified when the Inquisitor executes Aresko and Grint, and appears to be the most shocked of them all. Is that the first time she witnessed the violence of the Empire versus just hearing about it?
4) And the most controversial question of all: what was your opinion on the Star Wars prequels?
Thank you for answering! I can't wait to read the first issue of the Kanan comic; he's become one of my favorite characters fairly quickly, and I doubt that feeling will lessen any time soon!
1. There's a lot I influenced in Season One. Not in a vacuum or by myself. But as part of the team of producers and writers.
2. I rewatched all six movies and started to work my way through Clone Wars - though the difficult schedule on Rebels interrupted that process.
4. I'm a big, BIG fan of episodes IV and V. The rest don't thrill me quite as much, which is not to say I didn't like them.
Hey. I've searched through your archives about W.I.T.C.H related questions, initially I wanted to ask you about a timeline related question that seems to be a continuity error but I've seen you don't have a timeline for W.I.T.C.H and don't remember a whole lot of it. But in searching the archives I have thought up another question. You claim credit for the "X is for Xword" format of the Episode Titles. This was sometimes worked very well, sometimes forced but always fun and a great way of remembering what happened in each episode. My question is, had a third season been made and you were involved, would you have continued this trend or replaced it with something similar, and if so, what would it be?
It's embarrassing to admit, but I don't remember. I know I had a plan for Season Three titles, but I've got no memory of what that plan was. It wouldn't have been exactly the same, i.e. I wouldn't have just started over with the letter A. But beyond that....
If you haven't seen it there was a spoof trailer made as to what could go wrong if the wrong people made a Gargoyles movie;
Thought you might like too see it, assuming no one else has linked you already.
Anyway, keep up the good work, and look forward to all future projects!
Yeah, I'd seen it. Probably not quite as funny for me as for some folks. But thanks.
Hey Mr. Weisman
I recall that you, once upon a time, collected Legion of Superheroes (LOSH) comic books and that you used to be a fan of the property. So, considering that you did work (Young Justice) in the same universe as the LOSH property, my question is this: do you, in your professional opinion, think that someone could effectively do a LOSH show that carried on indefinitely? (I know that there used to be such a show, but it was cancelled fairly early on and, ever since then, there has been much vitriol spewed out against the property. Even now, the critics are whining about how a LOSH movie, in the current DC comics cinematic universe could never work.) If you were ever given the chance, do you think that you would be willing to write for and/or spearhead such a show?
I'd be happy to do a Legion show. Wrote one episode of the previous Legion show. But this notion of ANY show "that carried on indefinitely" is just wishful thinking. The Simpsons. 60 Minutes. Maybe they can go on forever. Maybe. But even Law & Order ended its run.
Hey Mr. Weisman
Given your experiences in animated media, do you think that animated shows have it harder (in terms of having to prove themselves as viable for gaining additional seasons) than live-action shows? I ask because it seems to me that you have, alongside collaborators, spearheaded numerous projects (such as WITCH, Spec Spidey, Young Justice) that have, critically and in terms of viewership, been very successful (I can't speak for Spec Spidey or WITCH, but I know that Young Justice consistently maintained numbers that even some live-action shows do not get or maintain), yet they have all been cancelled for various reasons. Meanwhile, there is no shortage of live-action shows that have been looked upon with far less critical or viewer approval and have been renewed for more than three seasons (of 16 to 21 episodes). If your answer is 'yes,' do you think that one reason for this increased difficulty on the part of animated shows is that most of them are forced into, in addition to maintaining constant viewer numbers, maintaining a toy line?
I dunno. It's easy to complain, but the truth is MANY shows don't make it to a full season, let alone two or more.
Budget plays a role in any series, but a kids series - particularly a kids' action series - seems particularly prone to the need for an alternative revenue stream beyond ratings.
Hey Mr. Weisman
If I heard correctly, I understand that when you and your collaborators first broke the story for Young Justice, you had a "two-year" plan for the series, though you also had plans for as many as five seasons, in total. Considering that, I have two questions. First, did you ever expect to get a pickup for season 3? It seems to me that, if not, you went through an awful amount of trouble (I.e. Purposefully and masterfully introducing elements evocative of an eventual Apokolips storyline, among other things) to tease storylines that you were fairly certain would never be explored on the show. Of course, given your propensity for thorough world building, I could definitely see how you would make such a creative choice. Second, if you had gotten a season three pickup, would you have liked to continue the concurrent comic line (there were definitely more stories that could've been told in comic format, including what went on during the five year gap, how Ocean Master became disgraced, the Marvel family story that you had planned, etc.)?
Your assumptions are off.
We didn't ever specifically have a "two-year plan" or a "five-year plan" in quotation marks. We had a long term plan for multiple seasons. However, it makes obvious sense that during Season One we had a better idea what we wanted to do for Season Two then, say, Season Nine. The closer you are to what you're actually doing, the more clarity you have.
We never knew if we'd get a pick-up for Season Two until we got it. We didn't know we weren't going to get a pick-up for Season Three until we were eventually told it wasn't coming. The plan was always to end each season with open-ended closure and hope for the best. That's what we did at the end of both seasons. It worked out for Season Two. Hasn't worked out yet for Season Three. But we haven't given up hope. (#KeepBingingYJ!)
And, yes, we would have liked to have been allowed to continue the companion comic with or without a Season Three. We haven't given up hope on that either. (#BuyYJcomicsonComixology or iTunes!)
Hey Mr. Weisman
I consider your and your collaborators' take on Young Justice to be a masterpiece, not just in terms of action but in terms of planning and structure. And that leads me to ask the question of how, exactly, did you go about mounting that type of beautifully complex operation? I mean how were you able to develop all of those intertwining stories for literally hundreds of characters and feed them all into the larger agenda? Did you start by breaking a general story for where you wanted the series to go and which characters you wanted to take it there? Or did you start with the main characters and work your way out from there?
I suppose we did start with general story. And characters, including general directions for each major character.
Then it's about index cards on a bulletin board. You move them around until you've got a cohesive set of stories, creating an arc or tapestry for the entire season.
To Mr. Greg Weisman,
Thank you for bringing Ahsoka Tano back in Star Wars Rebels! She has been deeply missed since her departure in Star Wars: Clone Wars Season Five. Here's to hoping to seeing more of her in action as well as anticipating what her reaction to Darth Vader might be. Also, let's hope that other past characters will pop up and surprise us!
You're welcome, but the lion share of credit for that should really go to Dave Filoni.
Would you be open to writing an episode of Ultimate Spider-Man?
I would have been.
Wondering how you broke into the comic book industry? I know you were an editor at DC at one time. What was that process like?
Thanks for your time!
I think my story is probably a bit atypical...
In 1983, Marvel announced a search for new talent. I calculated that they'd be inundated with submissions. But I also calculated that DC would soon initiate their own talent search. So instead of prepping a Marvel submission, I prepped one for DC.
Sure enough, a month later, DC announced its own search for new talent. I immediately sent in my submission. Years later, I found the log book for these submissions, and mine was literally the second one they received. They logged the submission into the book with my name and address - and then lost the actual submission, which I also found years later at the bottom of a file cabinet where it had clearly slipped down between two hanging folders.
Because 75% of the submissions they received were from artists, they gambled that mine was an artist submission as well. They sent me a packet for new artists. But of course, I was one of the 25% who had made a writing submission. And I was outraged, OUTRAGED! Outraged in a way that only a know-nothing 19-year-old can be.
So I wrote DC Executive Editor Dick Giordano an OUTRAGED Letter. And then I figured that would be the end of it.
But for whatever reason, Dick was impressed with (or more likely amused by) my letter. He called me. On the phone. He invited me to come to the DC offices at 666 5th Avenue.
After I graduated from college, Dick hired me as an Editorial Assistant (i.e. as a Xerox Boy), and later promoted me to Assistant Editor and then Associate Editor. He was a true mentor to me. A great guy.