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Blaise writes...

Greetings, Greg! It's great to have this thing up again!! I HAD a lot of questions, but most got lost in the limbo that is my mind. So I'll stick with the ones I did remember, all of which deal with behind the scenes work.

1) What exactly do "Story Editors" do?
1b) What do "Producers/Supervising Producers" do?
(I know you filled both these positions at one time or another, which is why I think you'd have the best idea about it).

2) Tim Curry--I'm something of a fan of his. What was it like working with him?
2b) Any interesting stories about him or suchlike you'd be willing to share?

As I said, I HAD more, but...well, they'll come back to me sooner or later. At least now this thing's back up again (let's PRAY it stays that way!).


Greg responds...

Once again, I'll attempt to recreate an answer I already typed up once.

First caveat: Keep in mind that every series, every studio, has
slightly different definitions for most of these terms. I'm describing
how we defined things, how we worked on Gargoyles.

1. Story Editors edit stories.

All right, I guess I can do better than that. Once a month, I met with
our story editors (Michael Reaves, Brynne Chandler Reaves, Gary Sperling
and Cary Bates) and we talked about stories. I'd usually start by
tossing out "springboards", i.e. notions for episodes that I had. The
Story Editors would each pick the ones that interested them and that fit
in with their delivery deadlines. We'd talk about the stories in the
conference room, and then the story editors would go off to work with
their stable of writers. (Some stables were bigger than others. Cary,
for example, personally wrote all the episodes that he story edited.
That decision is partially based on speed and financial issues. Cary
was a free-lance story editor who was very fast. He could make more
money by writing and editing his episodes. Gary Sperling, on the other
hand, was on staff. He made the same amount of money whether he wrote
the episodes or not. So he wrote the ones he had a personal affinity
for, and passed the others off to his free-lance writers.)

The editors would coach their writers through premise, outline and
script -- sometimes multiple drafts of each. (I would in turn coach the
editors.) Then the editors would take their pass on the work --
literally editing the stuff for content, quality, page count, spelling,
everything. Finally, they'd turn the documents over to me, and I'd do
my "Producer/Creator" pass. My job was to make sure that the show was
consistent. That four story editors and multiple writers all wrote with
one voice.

1b. Frank Paur and I were the original Producers on Gargoyles. I was
in charge of writing; Frank, of art. Both of us kibbitzed on the
other's guys territory. We were a real team. We both worked together
on voice and post-production. Basically, it was our job to follow
through on every single aspect of the show.

Later, Dennis Woodyard and Bob Kline were brought in to direct episodes,
and at some point they were "promoted" to Producer level. They were in
effect, "Line Producers", in charge of all the nuts and bolts of
production, making sure the individual episodes they directed were
completed. That freed Frank up to focus more on the big picture. When
Dennis and Bob got their "promotion", Frank and I were bumped up to
"Supervising Producers" to indicate that we still outranked the other
two, basically.

*Note: The reason "promotion" is in quotes is because the only thing
that changed for any of us was the credit we got at the end of the
show. It's not like we got a raise or anything. Nothing really

2. Tim was great fun. Professional, but he had a good time, and really
did a great job cutting loose on the bizarre (and hammy) Dr. S.
2b. Can't think of any off the top of my head. Sorry.

Now, let's pray this posts this time.


Response recorded on August 17, 1999