SCI FI PI

Greg Johnson, writer of the brand spanking new straight-to-DVD Marvel superhero movies, The Ultimate Avengers, The Ultimate Avengers II, The Invincible Iron Man and Dr Strange (out now) has been busy lately. Very busy. In a Marvel-rich environment he's managed to redefine what an animated comic-book movie is, something un-sneerable in this day and age. What used to be merely kid's fodder or the domain of Japanese freakshas now gone mainstream and upmarket, and the results are crowd-pleasing, a perfect pitch of fan-boy thumbs up and newbie excitement.

Greg took time off from his work writing on the new Wolverine & the X-Men Tv series to answer a few searching questions from SCI FI PI.








How on earth did you end up writing comic book movie adaptations?
My first step in that direction began when I was the Director of Development for a small film company called Apollo Pictures, and during that time I had developed strong relationships with various writers. One of those was a guy named Bob Forward, a very successful animation story editor. My experience as an executive taught me one thing – I wanted to be on the other side of the desk. I wanted to be writing. So when I left Apollo, I shook Bob down for an assignment on ‘Biker Mice From Mars,’ which at the time was associated with Marvel.

One Marvel project led to another, and then after completing four seasons of “X-Men: Evolution” for Kids WB, I was invited in to write the screenplay for Ultimate Avengers. At the time, I was right in the middle of doing some development work on a series for Cartoon Network called Ben 10, but I just couldn’t pass up the opportunity. So I jumped ship.


How does the prospective writer get into the business?
Unlike filling out an application for a normal job, I have found that there is no direct route to becoming a gainfully employed writer. Having a writer’s mindset is the first step. Writers write, whether they’re getting paid for it or not. You do it because you love it.

If a person wants to pursue writing for television. particularly animation, they need to prove they can do it. That means writing a sample, which could be a ‘spec’ script based on existing shows. Or maybe create original material that is similar in tone to a show you’re trying to get on. By seeing that you have talent, a potential employer is more likely to take a small chance on an unproven writer. Write as many as you can. One sample wears out its welcome pretty fast.

But mostly, keep writing until you can get someone to read your material who has some kind of influence, whether an agent or a story editor or a producer.

Once you have your foot in the door, here is the most important advice I can give. Do not have a death grip on everything you write. Meaning, when those who hire you have notes, find a way to implement them so that they work for both of you. I’ve seen promising writers (and some veterans) really damage their careers by arguing every single point to exhaustion, because they think everyone else is an idiot.






Who is your favourite Marvel Character?
I loved writing Steve Rogers (Captain America). He’s a man out of his own time, having been the only superhero of his day back in 1945. And now, pulled from the ice after 60 plus years, he not only has to adjust to unfamiliar surroundings, but must come to terms with a world where he’s not the only superhero, but one of many.

I also like Iron Man. I love writing the smart and cheeky Tony Stark. And he’s more complex than the basic James Bond persona. He’s empowered by both his wealth and the protection of his suit, which makes him a man without limits, filling up his life with excesses. But as a result he’s got no real gauge of his own true abilities. And underneath the shell, there are some real issues waiting to be dealt with. Exploring this kind of flawed man is a real thrill. (Also, my first story-editing job was on the second season of the 90’s Iron Man series.)


What does it take to get these stories from book to screen?
I’ve come to learn that adapting a comic story is really no different then adapting any other form of literature for the screen. Though it may seem like it’s basically a matter of just using the comic book as a storyboard, it’s not that simple. Take Ultimate Avengers, for example. If we put that mini-series on the screen panel for panel, it would be a six hour movie with an enormous budget. So the first thing you have to do is take the story apart and determine what will translate and what won’t, featuring only the most important characters and story elements, and nailing down a single, escalating threat.

One of the benefits of the graphic page is that you have the liberty to explore a kind of “day in the life” of the characters without necessarily needing the urgency of a larger plot escalating in the background. In comics you can put a group of people in a room, and let nothing but the dialogue sustain a lengthy scene. It’s like that in live action, as well. But that’s real tough to do in animation, where emotions oftentimes have to be supported with dialogue, because you just can’t count on the ‘acting’ of an animated face to carry it alone. Aside from the fact that watching a bunch of animated heads doing nothing but having a conversation can grind the movie’s momentum to a halt. What is a fun read on the page, therefore, can sometimes feel aimless in animation.





Generally, the psychology and motivation of comic characters tend to be 'broad' (hence the definition - 'comic book'). How do you add depth to the writing? Do you have a particular process?
What’s cool about Marvel characters is that real thought had been put into their creation. Yes, they can be broad at times. But when you look at various origins, there’s some real gravity there. Revealing their flaws is what makes many of them so endearing to us. So what I tend to do is determine what it is that has made that character unique in the story.

Why Steve Rogers felt he needed to go through the process that transformed him into Captain America. Why Tony Stark is a drinker and a womanizer. Why Doctor Strange can be so unlikable as a person, yet sympathetic once you learn what he’s been through. From a strictly mechanical standpoint, I then try maintain those personality aspects through to some kind of resolution or at least to some kind of change.

What's Stan Lee really like? Really really? Is he perhaps slightly more curmudgeonly than his 'skinny Santa' act?
Oh I see how it is. My answer to this is what will be splashed across your headline, right? Well then… Stan Lee is a gracious and creative individual, and it’s been a real thrill to sit with him in meetings.

What makes for a good super hero voice?
The depth and tone of the voice is only part of the appeal. Sometimes an actor can really have the right sound… but the performance isn’t there. So what makes a good voice? I’d have to say someone who can deliver a performance. If you ask a voice or casting director, they may add that it’s a real asset if an actor can voice other characters in the production.





Who is your favourite voice artist that you've worked with?
I’ve enjoyed working with Nolan North (Giant Man), because that guy is fall-down funny during recording sessions. You never know what is going to come out of his mouth. But when the mic is on, he delivers what you need. The same with Fred Tatasciore (Hulk). Both are very talented guys who can do multiple voices.

Also, Kari Wahlgren. She plays Emma Frost on Wolverine and the X-Men, and is so sensational. What a great actress. She performs other characters on the series, but I doubt you’d be able to pick them out – her voices are so varied.

Who is your favourite villain and why?
Generally I like villains whose motives involve more than just taking over the world. Or if that is what they want, then why? Like Doctor Doom, who wants to fix the problems. Or Magneto, who believes mutants should be inheriting the earth because humans have outlived their usefulness. In The Invincible Iron Man, you’ll see how villainy is not quite so clearly defined.





The world of comics (and movies) hasn't seen any new completely new heroes or villains of the Marvel ilk for a very long time. Why? Do you have some up your sleeve?
I wish I could confirm that, but there are way too many comic books for me to say that no new heroes or villains have sprung up. As far as adapting something new and original, it doesn’t seem the smartest choice when you thumb through a Marvel Encyclopaedia and see how many very cool and exciting characters are ready for their close up.

Are you known as a huge comic book geek? Do you collect comics? What's your most prized possession if you do?
What’s odd is that most of my focus as a writer seems to be in the superhero realm, though I was not an avid comic book reader growing up. I picked them up occasionally, but I certainly didn’t follow any of them. Actually, that has probably helped me in my career, because I’ve never been swayed by nostalgia, an inflexible point of view, or the decades of history that accompany most of the Marvel heroes.

Craig Kyle at Marvel usually recommends certain books just for reading pleasure, and as a result I’ve become a devoted fan of Fables.

Ultimate Avengers: Share House Reality Show - how do you see this working? Who would do the washing up?
Hank Pym would definitely take on the home-making chores – the dude’s got some serious bad karma to overcome, and more than a little grovelling to do at the feet of his wife. Besides, when he complains, Cap is there to kick his butt.