10/5/2015
JON COLTON BARRY
JON COLTON BARRY
Be Cool, Scooby-Doo! Head Writer
Jon Colton Barry is the writer for many different animated shows, such as Be Cool Scooby-Doo and Phineas & Ferb.
I want to thank Jon for taking time out of his extremely busy schedule to answer all my questions. It was a lot of fun reading his responses! I also want to thank him for answering so many questions for the Scooby fans over at the other forum that I am an admin for, the ScoobyAddicts forum. It is much appreciated!
You can also follow him on Twitter.
ScoobySnax.com: How did you get into animation writing?
Jon Colton Barry: My old friend Dan Povenmire had seen a recent stage comedy I had written, which he liked. He had just sold “Phineas & Ferb” to Disney around that time. I was looking for work, so he offered me a writing job on the show. I had no plans to get into animation, but since I had a background in art, writing and music, “Phineas” ended up being a good fit.
ScoobySnax.com: You've worked on multiple different shows, such as Phineas and Ferb and of course Be Cool Scooby-Doo. Do you have a favorite show to write?
Jon Colton Barry: Every show, in fact, virtually every individual episode of every series, presents its own, unique creative challenges and that’s what I enjoy. I don’t have a favorite (yet).
ScoobySnax.com: Before you began work on Be Cool Scooby-Doo, were you a fan of Scooby? If so, do you have a favorite episode, movie or villain?
Jon Colton Barry: I am a fan of Scooby. It’s been on the air, in some form or another, for 45 years. I grew up watching reruns of the classic, original series the most. I've always kinda liked the first season episode "What the Hex Going On?" with the Ghost of Elias Kingston. It's a strange episode. Watching the original series as we were developing the new series made me see the odd choices the gang would make sometimes in the past. Sharon's Uncle Stuart has been suddenly turned into a decrepit, elderly man by a ghost and they decide to "watch" him overnight instead of rushing the poor guy to a hospital? Who knows how much damage is done to someone when they're magically aged 40 years? And exactly where did this guy learn such remarkable make-up skills that he could fool them even up close. I've never even seen a big Hollywood movie where "old age" make-up looks very convincing. Haha.
ScoobySnax.com: What is your process for writing an episode of Be Cool Scooby-Doo?
Jon Colton Barry: Well, in general, the process is fairly typical for a scripted animated show: come up with an idea for an episode, write an outline, then a script, etc. It takes a few weeks. This is probably the most sit-com, character-driven Scooby Doo series yet and the main five Scooby gang characters are more fleshed-out, fully formed “people” than ever. For me, personally, the “process” is getting Fred, Daphne, Velma, Shaggy and Scooby up on the page and letting them start talking to each other. That’s the fun part – just trying to get out of the way and see what they say.
ScoobySnax.com: Do you have a favorite episode that you've written of Be Cool Scooby-Doo?
Jon Colton Barry: I have a few personal favorites, but I can’t really talk about them - yet ;)
ScoobySnax.com: You've redesigned the whole gang for Be Cool Scooby-Doo. Do you have a favorite character in the show?
Jon Colton Barry: I like them all for different reasons, but I think I like writing Daphne the most. She’s probably the most transformed of the main characters and getting into her eccentricities is fun.
ScoobySnax.com: What made you want to replace Mindy Cohn with Kate Micucci for the voice of Velma?
Jon Colton Barry: I didn’t have anything to do with that, so I can’t really comment on it. I’ve only worked with Kate, who's brilliant and hilarious. People are going to be floored by Velma.
ScoobySnax.com: If you could work on any show in the world, what would it be?
Jon Colton Barry: I always thought “Mystery Science Theater 3000” would have been fun to write.
ScoobySnax.com: After Be Cool Scooby-Doo is finished, do you plan to keep working on future Scooby-Doo series/movies?
Jon Colton Barry: I have no idea. Our show is really different and unique in tone and style than other Scooby projects currently going on. I really love the characters and what we’ve done with them, so I’d be pleased if our approach was embraced in the future, wider world of Scoobydom. If it was, I’d always be happy writing them.
ScoobySnax.com: Thank you again for taking the time to answer these questions. I am very much looking forward to the new series!!!
Jon Colton Barry: Thank you! I hope you enjoy it.
3/24/2018
Follow-Up Interview / Interview #2 with Jon Colton Barry
I want to thank Jon for taking time out of his extremely busy schedule to answer all my questions. It was a lot of fun reading his responses! I also want to thank him for answering so many questions for the Scooby fans over at the other forum that I am an admin for, the ScoobyAddicts forum. It is much appreciated!
You can also follow him on Twitter.
ScoobySnax.com: How did you get into animation writing?
Jon Colton Barry: My old friend Dan Povenmire had seen a recent stage comedy I had written, which he liked. He had just sold “Phineas & Ferb” to Disney around that time. I was looking for work, so he offered me a writing job on the show. I had no plans to get into animation, but since I had a background in art, writing and music, “Phineas” ended up being a good fit.
ScoobySnax.com: You've worked on multiple different shows, such as Phineas and Ferb and of course Be Cool Scooby-Doo. Do you have a favorite show to write?
Jon Colton Barry: Every show, in fact, virtually every individual episode of every series, presents its own, unique creative challenges and that’s what I enjoy. I don’t have a favorite (yet).
ScoobySnax.com: Before you began work on Be Cool Scooby-Doo, were you a fan of Scooby? If so, do you have a favorite episode, movie or villain?
Jon Colton Barry: I am a fan of Scooby. It’s been on the air, in some form or another, for 45 years. I grew up watching reruns of the classic, original series the most. I've always kinda liked the first season episode "What the Hex Going On?" with the Ghost of Elias Kingston. It's a strange episode. Watching the original series as we were developing the new series made me see the odd choices the gang would make sometimes in the past. Sharon's Uncle Stuart has been suddenly turned into a decrepit, elderly man by a ghost and they decide to "watch" him overnight instead of rushing the poor guy to a hospital? Who knows how much damage is done to someone when they're magically aged 40 years? And exactly where did this guy learn such remarkable make-up skills that he could fool them even up close. I've never even seen a big Hollywood movie where "old age" make-up looks very convincing. Haha.
ScoobySnax.com: What is your process for writing an episode of Be Cool Scooby-Doo?
Jon Colton Barry: Well, in general, the process is fairly typical for a scripted animated show: come up with an idea for an episode, write an outline, then a script, etc. It takes a few weeks. This is probably the most sit-com, character-driven Scooby Doo series yet and the main five Scooby gang characters are more fleshed-out, fully formed “people” than ever. For me, personally, the “process” is getting Fred, Daphne, Velma, Shaggy and Scooby up on the page and letting them start talking to each other. That’s the fun part – just trying to get out of the way and see what they say.
ScoobySnax.com: Do you have a favorite episode that you've written of Be Cool Scooby-Doo?
Jon Colton Barry: I have a few personal favorites, but I can’t really talk about them - yet ;)
ScoobySnax.com: You've redesigned the whole gang for Be Cool Scooby-Doo. Do you have a favorite character in the show?
Jon Colton Barry: I like them all for different reasons, but I think I like writing Daphne the most. She’s probably the most transformed of the main characters and getting into her eccentricities is fun.
ScoobySnax.com: What made you want to replace Mindy Cohn with Kate Micucci for the voice of Velma?
Jon Colton Barry: I didn’t have anything to do with that, so I can’t really comment on it. I’ve only worked with Kate, who's brilliant and hilarious. People are going to be floored by Velma.
ScoobySnax.com: If you could work on any show in the world, what would it be?
Jon Colton Barry: I always thought “Mystery Science Theater 3000” would have been fun to write.
ScoobySnax.com: After Be Cool Scooby-Doo is finished, do you plan to keep working on future Scooby-Doo series/movies?
Jon Colton Barry: I have no idea. Our show is really different and unique in tone and style than other Scooby projects currently going on. I really love the characters and what we’ve done with them, so I’d be pleased if our approach was embraced in the future, wider world of Scoobydom. If it was, I’d always be happy writing them.
ScoobySnax.com: Thank you again for taking the time to answer these questions. I am very much looking forward to the new series!!!
Jon Colton Barry: Thank you! I hope you enjoy it.
3/24/2018
Follow-Up Interview / Interview #2 with Jon Colton Barry
ScoobySnax.com: Do you have a favorite episode, from a writing perspective?
Jon Colton Barry: Having completed the series now, I have a few favorites for different reasons. I really like “Party Like It’s 1899” as it was the second episode I wrote and having already done the work of establishing the new take on the characters and tone, I was able to stretch out and explore the characters even more. I loved the idea of the gang having to solve a pretend mystery and deal with the costumed roles they were forced to play. It was just a lot of fun and by the end of writing it; I really felt I knew who these people were.
I also love “The People vs. Fred Jones.” I had wanted to do an episode like that for a while, but we kept getting push back from WB because they were concerned it would just be people talking in a courtroom. I knew that I would just be using the courtroom as a framing device and that the basic structure of the episode would be like any other in actual practice, which it was. That said, the courtroom stuff turned out to be my favorite because I feel like we found some fresh, funny courtroom jokes I’d never seen before (that were still rooted in character), which was rewarding.
“Some Fred Time” is another favorite. Again, any episode that allowed me to explore the characters in new, unusual ways were always fun. The BCSD gang was built to be more dimensional and interact in interesting ways – so episodes that took advantage of that were always fun to write.
Some other favorites are “El Bandito,” “How To Train Your Coward,” and “Ghost In The Mystery Machine.”
ScoobySnax.com: Do you have a favorite character in Be Cool, Scooby-Doo?
Jon Colton Barry: I remember my answer was Daphne to this originally, and I always loved writing her, but as the series progressed, I really started to enjoy writing Fred more. I mean, it’s amazing that the two characters that had the least personality for most of Scooby history turned out to be the most interesting and funny in BCSD (to me, at least). Fred just evolved in a really organic, fun way and I found myself centering him in stories more and more as we went along. He was full of contradictions and had a lot going on inside his head. He also had the most extremes to his personality, where he could be really full of silly, child-like wonder in “Fright of Hand” to emotionally torn to pieces in “Ghost In the Mystery Machine.” There was always so much to do with Fred and so many sides to explore.
ScoobySnax.com: If you could work on any show in the world, what would it be? (You answered "Mystery Science Theater" originally, though I'm curious if that's changed since your experience with BCSD!)
Jon Colton Barry: MST3K would still be great fun to write, but since then I’ve been developing some live action, more dramatic television shows with elements of science fiction and fantasy – which is just another huge love of mine having been part of the generation that grew up with “Star Wars” and Indiana Jones (as well as being a huge John Carpenter and Joss Whedon fan). It’s a great age for TV right now and I would love to write for a show like “Sherlock” or “Dr. Who.” The possibility to really get into character and story and strange ideas is very appealing. Then, afterwards, I’d immediately make fun of my own shows by writing MST3K episodes mocking them.
ScoobySnax.com: What has been your favorite part of working on BCSD?
Jon Colton Barry: It really remains creating and then working with this version of the gang. They became like family to me. Also, of course, working with Zac Moncrief is always pure pleasure, as well as others on the crew, like the original line producer, Wade Wisinski, who I became dear friends with. I learned so much making that show and it’s really helped me on all the new projects on which I’m currently working.
On that note, I’d like to make special mention of our supervising producer, Michael Jelenic. I understand that the show, “Teen Titans Go,” he created with Aaron Horvath, is as divisive as it is successful (and, honestly, they relish the show’s polarizing effect and often impishly antagonize the naysayers by leaning into the very things for which the show is most criticized). Many of those who don’t care for TTG didn’t give BCSD a chance because, based on the new designs and Michael’s name being attached, assumed BCSD shared a similar tone and attitude with TTG – which it doesn’t. The truth is, while I’ve expressed frustration with the way WB handled BCSD, Michael Jelenic is an amazingly smart, versatile and talented writer, story editor and producer with a seemingly endless understanding of the entire creative process involved in making a show. While he and I did not always see eye to eye on everything, he truly understood and appreciated what Zac and I were attempting to do with the series and used his position to fight for our vision with what power and influence he had. Michael had my back more times than I can count and I learned so much about the nuts and bolts of being in charge of a show from him. I will always be a very different writer and story editor than Michael Jelenic, but I will never be a better one. Thanks, Michael.
ScoobySnax.com: Do you have a favorite villain of the series?
Jon Colton Barry: Professor Huh? was conceived VERY early in the development of the show. I knew he was Fred’s father before I even wrote the first episode. I loved the idea of a bad guy who committed inexplicable crimes. Also, although it’s just a gag, I loved the idea of “The Headless Minotaur.” It just makes me laugh.
ScoobySnax.com: Did you have any ideas for an episode that you would have liked to have done, if the series had continued?
Jon Colton Barry: WB actually let me get away with murder. They got and supported the character changes and comic tone of the show and I really appreciated that. We did some STRANGE things and rarely got pushback for being more sophisticated or writing gags that were clearly not aimed at 6 year olds. We started to stretch out and experiment more in second season and I would have liked to have done more episodes like “Scroogey Doo” where we insert the BCSD gang into classic horror/mystery literature and then destroy it. “Dracula,” “Frankenstein,” Dr. Jekyll and Mr. Hyde,” etc. – making those monsters turn out to be guys in masks and ruining these classic books seemed like a lot of fun.
I also felt Velma became under-serviced as a character and I would have loved to had a chance to find more stories that would have allowed us to explore her. Working with Kate Micucci was ALWAYS a pleasure and she did an amazing job stepping into the role and making it her own.
ScoobySnax.com: If you could pick one joke from the entire series as the best one, what would you pick?
Jon Colton Barry: Hmmm. I mentioned “The Headless Minotaur,” which just amuses me. That’s a tough one. BCSD was a very gag-heavy show and there were so many moments and lines I was pleased with. For a character stuck with only four words per line, I think Scooby had a lot of great dialogue moments. I also liked Daphne recounting how she wasn’t allowed to be a girl scout because, due to her mother’s influence, she grew up believing, “Nature is just a giant bathroom that wants to eat you.”
ScoobySnax.com: You've mentioned before that a lot of the characters are somewhat like your own personality. Can you elaborate on this a bit? Did you write the characters with that in mind?
Jon Colton Barry: Well, yeah, I guess I just mentioned Daphne’s line about “nature,” That’s pretty much how I view it, myself, so I relate. Daphne, more than any other character, really voiced my own point of view about the world, including the horrible, cruel manipulation of bribing your friends to endanger themselves with Scooby Snacks. Throughout the series, all the characters voice certain opinions and make commentary about what’s going on that are very much my own opinions on things. I hope the characters were created and evolved in such a way that everyone can relate to certain aspects of all of them and how they view the world or specific situations – though it was all filtered through my sensibility.
On a more fundamental level, though, when it comes to my work, I’m a control freak, like Fred. When it comes to my personal life, basic nature and inner life, I’m more silly, eccentric and creative like Daphne. When it comes to social situations, I’m more misanthropic and socially awkward, like Velma (I can also be a bit cerebral). When it comes to goals or desire, I’m often very Id-driven and focused, like Shaggy. When it comes to interactions with friends, I probably poke fun, make one-liners and sardonic comments like Scooby. I also walk around naked on all fours wearing a collar.
6/8/2018
TOM KONKLE
TOM KONKLE
Be Cool, Scooby-Doo! Writer
Tom Konkle wrote several Be Cool, Scooby-Doo! episodes along with Jon Colton Barry, which include "Area 51 Adjacent" from the first season, as well as "Mysteries on the Disorient Express," "Scroogey Doo" and "Doo Not Disturb" from season 2. I personally thought all of these episodes, particularly "Doo Not Disturb" (which is my favorite of the show), were brilliantly written and Tom did a terrific job with all the episodes he wrote.
In addition to being a writer, Tom also was a voice actor for one episode of the series, in "Giant Problems." He voiced both the Leprechaun and the Irish Guy in that episode.
Throughout the interview, I ask Tom about his experience writing for Be Cool, Scooby-Doo! and how he became the talented writer and director he is today.
ScoobySnax.com: How did you get into writing?
Tom Konkle: I always enjoyed writing even as a kid. Sometimes I had such an elaborate imagination, the teacher would admonish me saying “Hey, remember your audience...” and lower the grade. This meaning remember you’re trying to write for fifth graders and it’s going over their head but I think she meant it was going over HER head. LOL
I did a lot of scriptwriting starting in college because I wanted to learn to create the blueprint for some of the short films and sketch comedy I wanted to do then. I enjoyed getting someone else’s script and learning what made their writing work. Seeing successful and unsuccessful writing is the best teacher in that you learn first hand what is done to make the characters work, dialogue, formatting the script and story structure.
I started getting paid to write in the early 90s and I think sometimes I wrote a lot to protect things I knew I’d be performing too. I would write material that I would perform particularly when I was doing sketch comedy much like John Cleese is said to do I found out later I was doing that like the Pythons. I would write my own material and perform it to protect how that it got executed. In that way I had a vision writing it I could execute. Also, like many film directors who also write like Christopher Nolan, I think in a very cinematic style as I am creating a script. I respect the written word and the structure as this is the blueprint for the work. I really applied this provider in my film noir feature Trouble Is My Business.
ScoobySnax.com: Before you began writing Be Cool Scooby-Doo, were you a fan of Scooby-Doo?
Tom Konkle: I remember watching some of the episodes as a kid it must’ve been towards the tail end of the original series into whatever ‘70s interaction was running and I enjoyed a lot of them.
ScoobySnax.com: How did you get involved with writing Be Cool, Scooby-Doo!?
Tom Konkle: My dear friend Jon Colton Barry was a fan of both my writing and performing particularly my sketch work, but he knew I also valued story structure and I knew what it was like to do voice acting for cartoons. Animation is dialogue driven with “anything you can draw” visuals so he invited me to start collaborating on season one and season two of Be Cool Scooby Doo. We really wanted to create a writers room together where we could cross pollinate ideas and make each other laugh and be inspired.
ScoobySnax.com: What is your process for writing an episode of Be Cool Scooby-Doo!?
Tom Konkle: First, I start with a bunch of big ideas for the overall arc of the episode story. We would talk about how the characters needed to act to be consistent, and what character development was needing to happen. There was always “breaking the story," which is basically being able to pitch it clearly enough that you get the go ahead to write a draft of it.
So coming up with the story beats and then secondary “B” stories underneath it and character development was first. I really work with dialogue and basically play all the characters in my head, or out loud if I get giggling and smiling, or liking where it’s going, and getting excited to perform the script out loud to see how it flows so I can see it in my head. I was always about writing from one big, hopefully intriguing or fun, idea and working backwards from that.
ScoobySnax.com: You've written several episodes of Be Cool, Scooby-Doo!, including "Area 51 Adjacent," "Mysteries on the Disorient Express," "Scroogey Doo" and "Doo Not Disturb." Which one of those was your favorite episode to write, and why?
Tom Konkle: I think it’s a tie between Area 51, Adjacent and Mysteries On The Disorient Express. For very different reasons I think they’re both interesting high concepts but had the most fun coming up with character stuff in Area 51, Adjacent and I think I had the most fun coming up with topping ideas conceptually in Murder on the Disorient Express I also like the execution of them both.
ScoobySnax.com: From a writing perspective, do you have a favorite character to write for?
Tom Konkle: Definitely, Fred was a favorite because he was often the fool for the absurd. But Daphne had the widest arc of character possibility and had agency in the plots of the episodes. I also loved writing the villains.
ScoobySnax.com: Was it challenging to write for such an iconic show like Scooby-Doo, that's been loved by many generations of fans?
Tom Konkle: It was a challenge to honor it as it need be, while pushing it to be different but...just different enough that we don’t aggravate original fans of the series by doing something so out of canon that it takes them out of the episode. We wanted to reinvent and respect. That was the real challenge in that we made the show we wanted to see, with a lot of people looking over our shoulders.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Tom Konkle: Current shows? Archer.
Movies? I have a lot of ideas for science fiction, adventure and film noir movies. I just wrote and directed a movie out now that is a 1940s film noir called Trouble Is My Business.
ScoobySnax.com: You were both a writer and a voice actor in Be Cool, Scooby-Doo!. Did you enjoy writing or voice acting more, and why?
Tom Konkle: It’s different parts of the brain. I love writing. I do act out my scripts as I’m writing to get dialogue right but writing is solitary and not about performance. I love voice acting. I’ve been a voice actor for 25 years. I love executing characters, creating voices and the idea of entertaining an audience with my voice work too.
ScoobySnax.com: What was the most rewarding part of writing for Be Cool, Scooby-Doo!?
Tom Konkle: Laughing in the room with Jon, then seeing the episode come together and enjoying all the parts from animation, music, performance and the director working to get us back to what we loved in the script, and improve upon it as well.
ScoobySnax.com: Now that Be Cool, Scooby-Doo! has ended, what project(s) are you working on now?
Tom Konkle: I just released a feature film I star in and directed called Trouble Is My Business, which is available on Blu-ray, DVD and streaming worldwide. http://www.troubleismy.biz
ScoobySnax.com: Thanks so much again for taking the time to do this!
Tom Konkle: Thank you!
You can follow along with Tom's writing adventures on Twitter. You can also check out Tom's movie production company, Lumen Actus, at http://www.lumenactus.com!
In addition to being a writer, Tom also was a voice actor for one episode of the series, in "Giant Problems." He voiced both the Leprechaun and the Irish Guy in that episode.
Throughout the interview, I ask Tom about his experience writing for Be Cool, Scooby-Doo! and how he became the talented writer and director he is today.
ScoobySnax.com: How did you get into writing?
Tom Konkle: I always enjoyed writing even as a kid. Sometimes I had such an elaborate imagination, the teacher would admonish me saying “Hey, remember your audience...” and lower the grade. This meaning remember you’re trying to write for fifth graders and it’s going over their head but I think she meant it was going over HER head. LOL
I did a lot of scriptwriting starting in college because I wanted to learn to create the blueprint for some of the short films and sketch comedy I wanted to do then. I enjoyed getting someone else’s script and learning what made their writing work. Seeing successful and unsuccessful writing is the best teacher in that you learn first hand what is done to make the characters work, dialogue, formatting the script and story structure.
I started getting paid to write in the early 90s and I think sometimes I wrote a lot to protect things I knew I’d be performing too. I would write material that I would perform particularly when I was doing sketch comedy much like John Cleese is said to do I found out later I was doing that like the Pythons. I would write my own material and perform it to protect how that it got executed. In that way I had a vision writing it I could execute. Also, like many film directors who also write like Christopher Nolan, I think in a very cinematic style as I am creating a script. I respect the written word and the structure as this is the blueprint for the work. I really applied this provider in my film noir feature Trouble Is My Business.
ScoobySnax.com: Before you began writing Be Cool Scooby-Doo, were you a fan of Scooby-Doo?
Tom Konkle: I remember watching some of the episodes as a kid it must’ve been towards the tail end of the original series into whatever ‘70s interaction was running and I enjoyed a lot of them.
ScoobySnax.com: How did you get involved with writing Be Cool, Scooby-Doo!?
Tom Konkle: My dear friend Jon Colton Barry was a fan of both my writing and performing particularly my sketch work, but he knew I also valued story structure and I knew what it was like to do voice acting for cartoons. Animation is dialogue driven with “anything you can draw” visuals so he invited me to start collaborating on season one and season two of Be Cool Scooby Doo. We really wanted to create a writers room together where we could cross pollinate ideas and make each other laugh and be inspired.
ScoobySnax.com: What is your process for writing an episode of Be Cool Scooby-Doo!?
Tom Konkle: First, I start with a bunch of big ideas for the overall arc of the episode story. We would talk about how the characters needed to act to be consistent, and what character development was needing to happen. There was always “breaking the story," which is basically being able to pitch it clearly enough that you get the go ahead to write a draft of it.
So coming up with the story beats and then secondary “B” stories underneath it and character development was first. I really work with dialogue and basically play all the characters in my head, or out loud if I get giggling and smiling, or liking where it’s going, and getting excited to perform the script out loud to see how it flows so I can see it in my head. I was always about writing from one big, hopefully intriguing or fun, idea and working backwards from that.
ScoobySnax.com: You've written several episodes of Be Cool, Scooby-Doo!, including "Area 51 Adjacent," "Mysteries on the Disorient Express," "Scroogey Doo" and "Doo Not Disturb." Which one of those was your favorite episode to write, and why?
Tom Konkle: I think it’s a tie between Area 51, Adjacent and Mysteries On The Disorient Express. For very different reasons I think they’re both interesting high concepts but had the most fun coming up with character stuff in Area 51, Adjacent and I think I had the most fun coming up with topping ideas conceptually in Murder on the Disorient Express I also like the execution of them both.
ScoobySnax.com: From a writing perspective, do you have a favorite character to write for?
Tom Konkle: Definitely, Fred was a favorite because he was often the fool for the absurd. But Daphne had the widest arc of character possibility and had agency in the plots of the episodes. I also loved writing the villains.
ScoobySnax.com: Was it challenging to write for such an iconic show like Scooby-Doo, that's been loved by many generations of fans?
Tom Konkle: It was a challenge to honor it as it need be, while pushing it to be different but...just different enough that we don’t aggravate original fans of the series by doing something so out of canon that it takes them out of the episode. We wanted to reinvent and respect. That was the real challenge in that we made the show we wanted to see, with a lot of people looking over our shoulders.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Tom Konkle: Current shows? Archer.
Movies? I have a lot of ideas for science fiction, adventure and film noir movies. I just wrote and directed a movie out now that is a 1940s film noir called Trouble Is My Business.
ScoobySnax.com: You were both a writer and a voice actor in Be Cool, Scooby-Doo!. Did you enjoy writing or voice acting more, and why?
Tom Konkle: It’s different parts of the brain. I love writing. I do act out my scripts as I’m writing to get dialogue right but writing is solitary and not about performance. I love voice acting. I’ve been a voice actor for 25 years. I love executing characters, creating voices and the idea of entertaining an audience with my voice work too.
ScoobySnax.com: What was the most rewarding part of writing for Be Cool, Scooby-Doo!?
Tom Konkle: Laughing in the room with Jon, then seeing the episode come together and enjoying all the parts from animation, music, performance and the director working to get us back to what we loved in the script, and improve upon it as well.
ScoobySnax.com: Now that Be Cool, Scooby-Doo! has ended, what project(s) are you working on now?
Tom Konkle: I just released a feature film I star in and directed called Trouble Is My Business, which is available on Blu-ray, DVD and streaming worldwide. http://www.troubleismy.biz
ScoobySnax.com: Thanks so much again for taking the time to do this!
Tom Konkle: Thank you!
You can follow along with Tom's writing adventures on Twitter. You can also check out Tom's movie production company, Lumen Actus, at http://www.lumenactus.com!
9/6/2019
VICTOR COOK
VICTOR COOK
Scooby-Doo! Mystery Incorporated Director and Producer
ScoobySnax.com: How did you get into directing?
Victor Cook: I started my animation career as an In-betweener & Assistant Animator on Filmation's BraveStarr. My first Storyboard jobs at Disney TV Animation was for Tail Spin, Darkwing Duck and Gargoyles. Those storyboard gigs got me promoted to Producer/Director on Disney TV's 101 Dalmatians the series, which led to a run directing many Disney TV shows such as BuzzLightyear of Star Command, Lilo and Stitch the series and Micky Mouse ClubHouse. After that, I was hired by Sony as Supervising Producer/Director of The Spectacular Spider-Man and then Warmer Brothers on Scooby-Doo! Mystery Incorporated as Supervising Director and Producer.
ScoobySnax.com: Before you began directing Scooby-Doo! Mystery Incorporated, were you a fan of Scooby-Doo? If so, do you have a favorite episode, movie or villain?
Victor Cook: I was a fan and watched the original series when I was a kid.
ScoobySnax.com: Can you describe the process for directing an episode of Scooby-Doo! Mystery Incorporated from start to finish?
Victor Cook: I read the script, and discuss with the Supervising Producer and the head writer to discuss the approach per the episode. Then I start visualizing the shots in thumbnails, and meet with the storyboard artist and designers and launch them on how I want them to creatively proceed with the episode. I sketch notes on the storyboards to steer them cinematically. I review designs and color with the Art Director. I go the voice recordings and note any lines I feel need to be plussed. Send the storyboards and designs to the animators. Travel to Korea to work with animators. Edit and call retakes when animation is done. Work with sound effects designer and music composer and oversee the audio mix to get the right sound. Deliver the episode to Network to be broadcast.
ScoobySnax.com: What was the most difficult part of working on Scooby-Doo! Mystery Incorporated?
Victor Cook: Nothing about it was difficult. It was one of the smoothest sailing jobs I've had in animation. Everyone on the crew and at WB was a joy to work with.
ScoobySnax.com: You’ve worked on a few other Scooby projects as well. Do you plan to continue working on Scooby-Doo related things in the future?
Victor Cook: I wouldn't rule it out, maybe someday.
ScoobySnax.com: What memorable responses or feedback have you received about your work on SD:MI?
Victor Cook: A lot of fans say it was the best Scooby TV series.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Victor Cook: I would like to make a show I created.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Victor Cook: They've all been fun.
ScoobySnax.com: What was the most rewarding thing of working on Scooby-Doo! Mystery Incorporated?
Victor Cook: Working with and becoming friends with such a fantastic cast and crew.
ScoobySnax.com: What project(s) are you working on now?
Victor Cook: I am Executive Producer of Disney Junior's TOTS, which just premiered on Disney Channel. On NETFLIX, I have another show called Stretch Armstrong and the Flex Fighters, which I worked on as Exec Producer and Supervising Director.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of directing?
Victor Cook: Study film making! Watch a lot of movies, new and old.
Victor Cook: I started my animation career as an In-betweener & Assistant Animator on Filmation's BraveStarr. My first Storyboard jobs at Disney TV Animation was for Tail Spin, Darkwing Duck and Gargoyles. Those storyboard gigs got me promoted to Producer/Director on Disney TV's 101 Dalmatians the series, which led to a run directing many Disney TV shows such as BuzzLightyear of Star Command, Lilo and Stitch the series and Micky Mouse ClubHouse. After that, I was hired by Sony as Supervising Producer/Director of The Spectacular Spider-Man and then Warmer Brothers on Scooby-Doo! Mystery Incorporated as Supervising Director and Producer.
ScoobySnax.com: Before you began directing Scooby-Doo! Mystery Incorporated, were you a fan of Scooby-Doo? If so, do you have a favorite episode, movie or villain?
Victor Cook: I was a fan and watched the original series when I was a kid.
ScoobySnax.com: Can you describe the process for directing an episode of Scooby-Doo! Mystery Incorporated from start to finish?
Victor Cook: I read the script, and discuss with the Supervising Producer and the head writer to discuss the approach per the episode. Then I start visualizing the shots in thumbnails, and meet with the storyboard artist and designers and launch them on how I want them to creatively proceed with the episode. I sketch notes on the storyboards to steer them cinematically. I review designs and color with the Art Director. I go the voice recordings and note any lines I feel need to be plussed. Send the storyboards and designs to the animators. Travel to Korea to work with animators. Edit and call retakes when animation is done. Work with sound effects designer and music composer and oversee the audio mix to get the right sound. Deliver the episode to Network to be broadcast.
ScoobySnax.com: What was the most difficult part of working on Scooby-Doo! Mystery Incorporated?
Victor Cook: Nothing about it was difficult. It was one of the smoothest sailing jobs I've had in animation. Everyone on the crew and at WB was a joy to work with.
ScoobySnax.com: You’ve worked on a few other Scooby projects as well. Do you plan to continue working on Scooby-Doo related things in the future?
Victor Cook: I wouldn't rule it out, maybe someday.
ScoobySnax.com: What memorable responses or feedback have you received about your work on SD:MI?
Victor Cook: A lot of fans say it was the best Scooby TV series.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Victor Cook: I would like to make a show I created.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Victor Cook: They've all been fun.
ScoobySnax.com: What was the most rewarding thing of working on Scooby-Doo! Mystery Incorporated?
Victor Cook: Working with and becoming friends with such a fantastic cast and crew.
ScoobySnax.com: What project(s) are you working on now?
Victor Cook: I am Executive Producer of Disney Junior's TOTS, which just premiered on Disney Channel. On NETFLIX, I have another show called Stretch Armstrong and the Flex Fighters, which I worked on as Exec Producer and Supervising Director.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of directing?
Victor Cook: Study film making! Watch a lot of movies, new and old.
10/20/2019
JORDAN FARRELL
JORDAN FARRELL
Writer, Director and Animator of Scooby-Doo! The Backstage Rage Fan Film
ScoobySnax.com: How did you originally get into Scooby-Doo?
Jordan Farrell: When I spent a good majority of my childhood in the UK, which I find funny because that's one of two countries to my knowledge, where Scooby-Doo happens to be VERY popular, my family didn't go to the movies a lot, so we had a lot of VHS tapes of old movies, mostly from the 80s and 90s, and I remember one tape being something Scooby-Doo, “Where are You?” to be exact, so much like mostly everyone, my first exposure to the franchise was the show that started it all, after that i got hooked and still am to this day.
ScoobySnax.com: How did you get into animation and script writing?
Jordan Farrell: Well, for my whole life, I've been obsessed with movies and shows, and I remember watching films like “Gremlins”, “The Dark Crystal”, and “Forrest Gump”, and I realized that I wanted to make movies or write stories. When it comes to animation, I'm very fond of 2D animation, anime, and stop-motion animation. The one animated film that got me wanting to make animation my career was “Castle in the Sky” by Studio Ghibli and the master himself, Hayao Miyazaki. That also helped me form my own personal values of storytelling and animation.
ScoobySnax.com: Do you have a favorite episode and film of Scooby? Why are those your favorites?
Jordan Farrell: It solely depends on the era, obviously my #1 favorite Scooby film is “Scooby-Doo on Zombie Island”, it’s dark, memorable, the characters are expanded upon very well, great villains, amazing and memorable soundtrack, the animation by Mook is breathtaking and I am surprised that film never got a theatrical release at its time. I also have other favorites such as “Witch’s Ghost”, “Alien Invaders”, “Moon Monster Madness”, “Samurai Sword”, “Abracadabra-Doo”, and “Camp Scare”, and I have the same reasons for those like I have with “Zombie Island”, another thing is that those films done something bold, new, unique, refreshing and game-changing for the franchise in my opinion, those are the type of Scooby films that always attract me the most.
As for a favorite episode, for “Where are You?” it’s “Scooby-Doo and A Mummy Too”, that episode scared me the most, especially the white dots on the mummy’s eyes and the way the mummy ran, I was also in a phase where I was into “The Mummy” trilogy starring Brenden Frasher, I would also love the do a modern adaptation of that episode one day. Other favorites from other shows, “What’s New”, “Toy Scary Boo”, I enjoy the whole size doesn't matter element and evil dolls/toys have always been a particular aspect of horror that I enjoy and I will say that episode kinda influenced my film in some shape or form.
ScoobySnax.com: What was the process behind writing this film?
Jordan Farrell: It was around the time when I finished my 2nd live action short, that I wanted to make another film and after many failed attempts, I had gotten my Adobe programs at the time, and a tablet and one day, I put on Scooby-Doo for some kids I was babysitting and then the idea hit. I immediately started writing the film back in early March 2018 and finished the script in May 2018. During that period, I had already cast my Scooby gang and announced the film on Facebook in April 2018 and launched a page that same day. I sketched, inked, colored, and animated and did the mouth movement all by myself all on Adobe Photoshop. My friends, Johnathon Romero, Sandra Sands, and Thomas Byrd who voiced Fred, Velma, and Mr. Pietro were also producers on the film as well. When it came to casting my very special cameos, I just simply messaged ToonGrin, Dr. Wolfula, and That Long-Haired Creepy Guy if they wanted to provide a cameo for the film and they said yes. When it came to voice acting, it started around July 2018, two months after animation production had begun. We started with the voice of Scooby, Jacob Gomez and he was a lot of fun to work with, Harrison Garcia was my first choice as Shaggy and immediately got the part and he was excellent to work with. The rest took around a few months to a year to get voice work done. I worked on this whole movie on a laptop on a kitchen table. Otherwise, it was a fun and unique learning experience.
ScoobySnax.com: Do you have a favorite character to write for? Why?
Jordan Farrell: Well, for main characters/established characters, Shaggy has always been my favorite character in the entire franchise, so when it came to approaching this film as a Shaggy-centered film, I did not hesitate to flesh him out as much as I could, I wanted to make this somewhat of a character study for shaggy and also exploring a lot of his past and exploring what caused his major anxiety, and that’s where I made the choice to give the villain a more deeper connection to Shaggy’s past. As for minor characters to write for, I quite enjoyed writing Fred and The Ghost Girl, one was giving something new for Fred and found it refreshing to make him the comedic relief this time around, The Ghost Girl was a new original character I created for this film and I loved the way I approached it which I think helps give this film a more deeper and artistic experience.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Jordan Farrell: That could apply to any show/movie I'm into at the moment, but I would love to show run my own official line-up of Scooby films and a show also. Anything from Cartoon Network also. I would love to make a movie on Gremlins, The Mummy, or Karate Kid.
ScoobySnax.com: Do you have a favorite villain and why?
Jordan Farrell: The Black Samurai from “Scooby-Doo and the Samurai Sword”, he’s got an excellent detailed backstory for a Scooby villain, the fact that this guy used to be a noble and heroic person is what stood out to me the most, and that his very own apprentice betrayed him and caused something into the sword he created and transformed him into a dark and sinister force of evil, and his design is so cool and unique and the way the film ends his character was both satisfying and bold at the same time for me, I also love the film’s unique mythology at the same time.
ScoobySnax.com: In your opinion, what is the best series (or era) of Scooby-Doo?
Jordan Farrell: Well, I could easily say the original “Where are You?” series, but personally I would say “Scooby-Doo! Mystery Incorporated”, it has a cool ongoing storyline, excellent character development, a much darker tone, and the animation is amazing and great music as well, it feels as if everything the franchise has built up to, and the series helped reinvigorate the franchise more and more of my casual friends who weren't into Scooby-Doo tell me that they love the show, and my film does borrow heavily from that aspect.
ScoobySnax.com: What was your favorite part of the movie to write?
Jordan Farrell: Besides Shaggy’s character arc, I think I liked that I was retelling an old Scooby story and doing my own reboot continuity at the same time, the fact that I call my Scooby gang, “The Mystery Five”, which is a reference to what the show was originally going to be called, and the fact that I have it take place at a time where they have only been solving mysteries for half a year at this point. I liked putting my own vibe and tone for it and giving the characters new aspects of their personality. My favorite aspect of writing the film was combining all the 50 years of the franchise and meshing it into a new timeline that I created. I like the call it either the “Grim” timeline or the “Mystery Five” timeline, or the “New Coolsville” timeline.
ScoobySnax.com: What was the most difficult part of making the movie?
Jordan Farrell: Mainly the time/scheduling issues when trying to get actors to come over/send their lines in, it took us around 8 months to get all of Daphne’s lines, also, I went through 2 laptops, one I had to get rid of, and the 2nd I currently have. Also, there was a lot of figuring out certain aspects of the film that worked and wind up not working. But other than that, it was a long but rewarding process.
ScoobySnax.com: At the beginning of the film, it says that the film is inspired by the works of John Carpenter. For those not familiar with him, how was this film inspired by his work?
Jordan Farrell: Well, John Carpenter is a well known filmmaker in the horror community and film buffs alike, he’s known as the creator of the Halloween franchise, The Thing, Escape from New York, The Fog, etc. We mainly used elements from the first Halloween film and The Fog, mostly in tone and atmosphere, in the nightmare sequence with Shaggy, he looks out his window to see The Puppet Phantom hiding in between sheets hung outside, staring and Shaggy, he then turns back to the window only to see him gone. The shot is a direct nod to the scene where Jamie Lee-Curtis does the same thing and looks out the window to see Michael Myers. Another shot is where a fog grows near the end of the film and every time something sinister happens in the film, the colors everywhere would change to a very trippy aspect, that is a nod to the sinister scenes in The Fog. Another reference to Halloween is that the villain’s presence is there but you don't fully see what he looks like until the 2nd half of the film.
ScoobySnax.com: Though it was a very horror-focused film, your movie had a lot of comedy as well. What was your favorite joke in the film?
Jordan Farrell: I liked writing jokes for Shaggy’s dad, I think it helps flesh out Shaggy’s life outside of mystery solving, and I also liked writing for Fred, it was nice to portray him as the bumbling egotistical leader, especially my first trash can joke as well, I also took inspiration from Stifler and his mom from the film American Pie too basically portray Shaggy’s mom as the major laidback and bubbly woman who Fred had the hots for and loves to rub it into Shaggy's face. I especially enjoyed writing Shaggy’s dynamic with Fred as well, as I've always assumed that they have a longer history before they met Daphne and Velma.
ScoobySnax.com: Besides John Carpenter, were there other specific inspirations that made this film have such a horror movie-like tone?
Jordan Farrell: I looked at a lot of horror movies, mainly ones that took place in the 80s, “Dead Silence” for how the puppets were designed, “Dolls”, and “Puppet Master” for how the puppets behaved, “A Nightmare on Elm St” and “It” for our version of The Puppet Phantom, we looked at more Stephen King works, can't remember which, anything with a kids on bikes approach to it and a small town. The goal was to make this feel like a horror film from the 80s. We also looked at a lot of anime for the more comedic and dramatic moments for characters such as “Clannad” and “Another”.
ScoobySnax.com: What was your inspiration behind making the Hex Girls such prominent characters in the film?
Jordan Farrell: Well, they are one of my favorite characters from the franchise, and I always remember getting excited whenever they were announced to appear in new Scooby material and the fact that they haven't appeared in anything Scooby-Doo related since “Mystery Incorporated”, and last time I recalled, they were supposed to appear in an episode of “Be Cool, Scooby-Doo”, but don't know what happened. Also the fact that I was turning a 22 minute classic episode into a full length feature film, so that gave me the opportunity to add more characters, and when it came to The Hex Girls, I always liked that they were chill with Shaggy and Scooby a lot, and so when I decided to make them childhood friends, I knew I had something. I looked at a lot of anime and the one cliche that anime has is the childhood friends trope. Thorn I wanted to explore the most especially since she’s the leader and I do have plans in case we get to make a special that focuses on Dusk and Luna. And since I added them in my film, I wanted them to have as much screen time as possible to make it count.
ScoobySnax.com: What made you redesign Thorn's outfit?
Jordan Farrell: Well, since “Mystery Incorporated” took some creative liberties with The Hex Girls' outfits, I figured why not do that with my versions, I always like redesigning characters in my style while also never abandoning their core aspect. This version of Thorn also has a much different personality than the original does, a goth girl with a cutesy voice, and I wanted the design to reflect that, so I looked at a lot of punk rock and pop music singers from the 80s and borrowed a bit of Madonna’s hairstyle and boosted it up in an over the top anime look, the two hair strings that come out of her head is influenced by the character Nagisa from the series “Clannad”.
ScoobySnax.com: Why did you decide to make Shaggy and Thorn a couple in the film? Did you previously ship the pairing, or was there some creative thinking behind the inclusion of this pairing?
Jordan Farrell: Well, in my idea for the show, I made the whole Thorn crushing on Shaggy a running gag and I like to imagine this film taking place after the supposed first season, as for them as a couple, they never are officially a couple in my film even by the end, there’s hints of that, but I chose to leave it open for interpretation until we make more Shaggy-centered stories, we do have plans to add Googie, Crystal, and Madelyn in the future in OVA specials to play off an Archie-esque vibe with Shaggy’s arc in my timeline. So, at the moment, they are back as close friends and we’ll see where it goes from there, I never shipped them before, but when it came to creating this new version of Thorn, i thought it was interesting to explore for my universe, I mean the OG Thorn from “Witch’s Ghost”, “Legend of the Vampire”, “Mystery Incorporated”, would never date Shaggy, they are so completely opposite, but this film’s version of Thorn, probably depending on where we go with this saga. There was a lot of creative thinking of making these new versions of the characters as far back as 2015 when I first came up with the idea of doing my own reboot of Scooby-Doo.
ScoobySnax.com: In one particular scene of the film, a police officer stares at Flim Flam for selling his Lotsa Luck Joy Juice. Is this an implication that Flim Flam's product is some sort of illegal substance?
Jordan Farrell: Nah, we all know that Flim Flam is a con artist and I would say that this version of the character likes to buy/steal a 7-up soda, take the labels off and re-sells them as his own, he’s the troublemaking kid who doesn't get arrested but the cops calls his parents on him, so I like to think that he has a recurring history with them like “here’s that brat that’s selling stuff he doesn't own the rights to”.
ScoobySnax.com: What made you choose "The Backstage Rage" as your inspiration for making this film?
Jordan Farrell: When it came to picking something to do a remake of, because I've never seen Scooby-Doo retell a story from the past into modern day, so I decided to make my film an adaptation of it, so I had a hard time deciding on what to adapt and then the episode popped on the tv when I had Scooby-Doo on and then the idea hit, the villain and tone was still creepy to this day, there was also this untouched potential it had for a film and I had so many ideas popping in my head, and I knew I had my source of inspiration.
ScoobySnax.com: What was your creative process behind diving deeper into the Puppet Phantom's backstory? In other words, what made you decide to expand upon the original character?
Jordan Farrell: Well, since this was a feature film that expands on the story of a 20 minute episode, I noticed that The Puppet Phantom didn't have a backstory, like, at all, so I took the opportunity to give him a deep and detailed backstory and especially when I made the choice to [SPOILER ALERT] make the monsters real, and I mean REAL where people do die, I took inspiration from the anime Berserk and Devilman on the friendship that Mr. Pietro had with The Phantom before he transformed. I also looked into a lot of other horror icons like Freddy Krueger and Pennywise for the personality of him and I wanted to make his design to resemble a rusty creepy rotten looking puppet and heavily emphasized his yellow eyes and dark hat and cloak, since those are the stand out aspects of his original design. I wanted this villain to be an extreme disgusting nightmare for the gang, a villain that showed no limits and goes as far as to killing people. I wanted to make this villain even more freaking scary, I wanted him to be HORRIFYING.
ScoobySnax.com: What do you think has made the franchise so popular that it’s still going strong after 50 years?
Jordan Farrell: The fact that the characters have fun distinct personalities, it appeals to everybody of any age, it always experiments with itself to something bold and new, and it's a group of kids solving mysteries and spooky monsters. I also say the camaraderie with the gang is also what stands out.
ScoobySnax.com: What direction would you like to see the franchise go in the future?
Jordan Farrell: I would like them to go back to the real monsters approach again, experiment more new aspects of the franchise, take new risks, maybe see an adaptation of the “Scooby Apocalypse” comics, but most certainly I would love to see maybe a remake of an episode or two of some classic Scooby stories into movies like what I did.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of writing or animating?
Jordan Farrell: Well, all I have to say is the creative process is a very long road and task, but what will help you is that you need to have a passion for it, you don't just create a 2 and a half hour animation all for nothing, you do it because you LOVE the craft of storytelling and animation, you HAVE TO love these aspects, it’s helped me get through and it will most certainly help you as well, also, read and watch a lot of stuff, even stuff that you may not like, analyze what you watch and read, what makes it good, what makes it bad, what makes it special and form it together and write something, also draw a lot, as much as you can. And most of all, have fun doing it.
ScoobySnax.com: Is there anything else you'd like to share?
Jordan Farrell: Absolutely, we already announced a 2nd film titled “Scooby-Doo! Waters of Atlantis” and that will have a more fantasy adventure vibe with Daphne as the main character, and you can watch the teaser trailer here. You can also follow our Facebook page for future updates and such, and because of my work on my film and gotten me special offers and gigs for other video content. I had the opportunity to voice some characters in an episode of my friend’s webseries “LEGO Scooby-Doo! Mystery Incorporated”, which you can watch the whole series on YouTube to catch up to the season 1 finale special “The Vasquez Mystery” which I not only guest-star as myself, but I also designed the logo for the episode and drew a poster for the special. I’m also a producer on the fan film “Saga of the Swamp Thing”, which is made by my friend who helped out on my film. I also got some original films of my own coming that aren't fan films coming soon as well, and I got an original romance slice of life webcomic series coming soon also. Thank you for your time and for having me here today and be sure to rewatch my film again in the meantime while all of this is coming soon.
Jordan Farrell: When I spent a good majority of my childhood in the UK, which I find funny because that's one of two countries to my knowledge, where Scooby-Doo happens to be VERY popular, my family didn't go to the movies a lot, so we had a lot of VHS tapes of old movies, mostly from the 80s and 90s, and I remember one tape being something Scooby-Doo, “Where are You?” to be exact, so much like mostly everyone, my first exposure to the franchise was the show that started it all, after that i got hooked and still am to this day.
ScoobySnax.com: How did you get into animation and script writing?
Jordan Farrell: Well, for my whole life, I've been obsessed with movies and shows, and I remember watching films like “Gremlins”, “The Dark Crystal”, and “Forrest Gump”, and I realized that I wanted to make movies or write stories. When it comes to animation, I'm very fond of 2D animation, anime, and stop-motion animation. The one animated film that got me wanting to make animation my career was “Castle in the Sky” by Studio Ghibli and the master himself, Hayao Miyazaki. That also helped me form my own personal values of storytelling and animation.
ScoobySnax.com: Do you have a favorite episode and film of Scooby? Why are those your favorites?
Jordan Farrell: It solely depends on the era, obviously my #1 favorite Scooby film is “Scooby-Doo on Zombie Island”, it’s dark, memorable, the characters are expanded upon very well, great villains, amazing and memorable soundtrack, the animation by Mook is breathtaking and I am surprised that film never got a theatrical release at its time. I also have other favorites such as “Witch’s Ghost”, “Alien Invaders”, “Moon Monster Madness”, “Samurai Sword”, “Abracadabra-Doo”, and “Camp Scare”, and I have the same reasons for those like I have with “Zombie Island”, another thing is that those films done something bold, new, unique, refreshing and game-changing for the franchise in my opinion, those are the type of Scooby films that always attract me the most.
As for a favorite episode, for “Where are You?” it’s “Scooby-Doo and A Mummy Too”, that episode scared me the most, especially the white dots on the mummy’s eyes and the way the mummy ran, I was also in a phase where I was into “The Mummy” trilogy starring Brenden Frasher, I would also love the do a modern adaptation of that episode one day. Other favorites from other shows, “What’s New”, “Toy Scary Boo”, I enjoy the whole size doesn't matter element and evil dolls/toys have always been a particular aspect of horror that I enjoy and I will say that episode kinda influenced my film in some shape or form.
ScoobySnax.com: What was the process behind writing this film?
Jordan Farrell: It was around the time when I finished my 2nd live action short, that I wanted to make another film and after many failed attempts, I had gotten my Adobe programs at the time, and a tablet and one day, I put on Scooby-Doo for some kids I was babysitting and then the idea hit. I immediately started writing the film back in early March 2018 and finished the script in May 2018. During that period, I had already cast my Scooby gang and announced the film on Facebook in April 2018 and launched a page that same day. I sketched, inked, colored, and animated and did the mouth movement all by myself all on Adobe Photoshop. My friends, Johnathon Romero, Sandra Sands, and Thomas Byrd who voiced Fred, Velma, and Mr. Pietro were also producers on the film as well. When it came to casting my very special cameos, I just simply messaged ToonGrin, Dr. Wolfula, and That Long-Haired Creepy Guy if they wanted to provide a cameo for the film and they said yes. When it came to voice acting, it started around July 2018, two months after animation production had begun. We started with the voice of Scooby, Jacob Gomez and he was a lot of fun to work with, Harrison Garcia was my first choice as Shaggy and immediately got the part and he was excellent to work with. The rest took around a few months to a year to get voice work done. I worked on this whole movie on a laptop on a kitchen table. Otherwise, it was a fun and unique learning experience.
ScoobySnax.com: Do you have a favorite character to write for? Why?
Jordan Farrell: Well, for main characters/established characters, Shaggy has always been my favorite character in the entire franchise, so when it came to approaching this film as a Shaggy-centered film, I did not hesitate to flesh him out as much as I could, I wanted to make this somewhat of a character study for shaggy and also exploring a lot of his past and exploring what caused his major anxiety, and that’s where I made the choice to give the villain a more deeper connection to Shaggy’s past. As for minor characters to write for, I quite enjoyed writing Fred and The Ghost Girl, one was giving something new for Fred and found it refreshing to make him the comedic relief this time around, The Ghost Girl was a new original character I created for this film and I loved the way I approached it which I think helps give this film a more deeper and artistic experience.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Jordan Farrell: That could apply to any show/movie I'm into at the moment, but I would love to show run my own official line-up of Scooby films and a show also. Anything from Cartoon Network also. I would love to make a movie on Gremlins, The Mummy, or Karate Kid.
ScoobySnax.com: Do you have a favorite villain and why?
Jordan Farrell: The Black Samurai from “Scooby-Doo and the Samurai Sword”, he’s got an excellent detailed backstory for a Scooby villain, the fact that this guy used to be a noble and heroic person is what stood out to me the most, and that his very own apprentice betrayed him and caused something into the sword he created and transformed him into a dark and sinister force of evil, and his design is so cool and unique and the way the film ends his character was both satisfying and bold at the same time for me, I also love the film’s unique mythology at the same time.
ScoobySnax.com: In your opinion, what is the best series (or era) of Scooby-Doo?
Jordan Farrell: Well, I could easily say the original “Where are You?” series, but personally I would say “Scooby-Doo! Mystery Incorporated”, it has a cool ongoing storyline, excellent character development, a much darker tone, and the animation is amazing and great music as well, it feels as if everything the franchise has built up to, and the series helped reinvigorate the franchise more and more of my casual friends who weren't into Scooby-Doo tell me that they love the show, and my film does borrow heavily from that aspect.
ScoobySnax.com: What was your favorite part of the movie to write?
Jordan Farrell: Besides Shaggy’s character arc, I think I liked that I was retelling an old Scooby story and doing my own reboot continuity at the same time, the fact that I call my Scooby gang, “The Mystery Five”, which is a reference to what the show was originally going to be called, and the fact that I have it take place at a time where they have only been solving mysteries for half a year at this point. I liked putting my own vibe and tone for it and giving the characters new aspects of their personality. My favorite aspect of writing the film was combining all the 50 years of the franchise and meshing it into a new timeline that I created. I like the call it either the “Grim” timeline or the “Mystery Five” timeline, or the “New Coolsville” timeline.
ScoobySnax.com: What was the most difficult part of making the movie?
Jordan Farrell: Mainly the time/scheduling issues when trying to get actors to come over/send their lines in, it took us around 8 months to get all of Daphne’s lines, also, I went through 2 laptops, one I had to get rid of, and the 2nd I currently have. Also, there was a lot of figuring out certain aspects of the film that worked and wind up not working. But other than that, it was a long but rewarding process.
ScoobySnax.com: At the beginning of the film, it says that the film is inspired by the works of John Carpenter. For those not familiar with him, how was this film inspired by his work?
Jordan Farrell: Well, John Carpenter is a well known filmmaker in the horror community and film buffs alike, he’s known as the creator of the Halloween franchise, The Thing, Escape from New York, The Fog, etc. We mainly used elements from the first Halloween film and The Fog, mostly in tone and atmosphere, in the nightmare sequence with Shaggy, he looks out his window to see The Puppet Phantom hiding in between sheets hung outside, staring and Shaggy, he then turns back to the window only to see him gone. The shot is a direct nod to the scene where Jamie Lee-Curtis does the same thing and looks out the window to see Michael Myers. Another shot is where a fog grows near the end of the film and every time something sinister happens in the film, the colors everywhere would change to a very trippy aspect, that is a nod to the sinister scenes in The Fog. Another reference to Halloween is that the villain’s presence is there but you don't fully see what he looks like until the 2nd half of the film.
ScoobySnax.com: Though it was a very horror-focused film, your movie had a lot of comedy as well. What was your favorite joke in the film?
Jordan Farrell: I liked writing jokes for Shaggy’s dad, I think it helps flesh out Shaggy’s life outside of mystery solving, and I also liked writing for Fred, it was nice to portray him as the bumbling egotistical leader, especially my first trash can joke as well, I also took inspiration from Stifler and his mom from the film American Pie too basically portray Shaggy’s mom as the major laidback and bubbly woman who Fred had the hots for and loves to rub it into Shaggy's face. I especially enjoyed writing Shaggy’s dynamic with Fred as well, as I've always assumed that they have a longer history before they met Daphne and Velma.
ScoobySnax.com: Besides John Carpenter, were there other specific inspirations that made this film have such a horror movie-like tone?
Jordan Farrell: I looked at a lot of horror movies, mainly ones that took place in the 80s, “Dead Silence” for how the puppets were designed, “Dolls”, and “Puppet Master” for how the puppets behaved, “A Nightmare on Elm St” and “It” for our version of The Puppet Phantom, we looked at more Stephen King works, can't remember which, anything with a kids on bikes approach to it and a small town. The goal was to make this feel like a horror film from the 80s. We also looked at a lot of anime for the more comedic and dramatic moments for characters such as “Clannad” and “Another”.
ScoobySnax.com: What was your inspiration behind making the Hex Girls such prominent characters in the film?
Jordan Farrell: Well, they are one of my favorite characters from the franchise, and I always remember getting excited whenever they were announced to appear in new Scooby material and the fact that they haven't appeared in anything Scooby-Doo related since “Mystery Incorporated”, and last time I recalled, they were supposed to appear in an episode of “Be Cool, Scooby-Doo”, but don't know what happened. Also the fact that I was turning a 22 minute classic episode into a full length feature film, so that gave me the opportunity to add more characters, and when it came to The Hex Girls, I always liked that they were chill with Shaggy and Scooby a lot, and so when I decided to make them childhood friends, I knew I had something. I looked at a lot of anime and the one cliche that anime has is the childhood friends trope. Thorn I wanted to explore the most especially since she’s the leader and I do have plans in case we get to make a special that focuses on Dusk and Luna. And since I added them in my film, I wanted them to have as much screen time as possible to make it count.
ScoobySnax.com: What made you redesign Thorn's outfit?
Jordan Farrell: Well, since “Mystery Incorporated” took some creative liberties with The Hex Girls' outfits, I figured why not do that with my versions, I always like redesigning characters in my style while also never abandoning their core aspect. This version of Thorn also has a much different personality than the original does, a goth girl with a cutesy voice, and I wanted the design to reflect that, so I looked at a lot of punk rock and pop music singers from the 80s and borrowed a bit of Madonna’s hairstyle and boosted it up in an over the top anime look, the two hair strings that come out of her head is influenced by the character Nagisa from the series “Clannad”.
ScoobySnax.com: Why did you decide to make Shaggy and Thorn a couple in the film? Did you previously ship the pairing, or was there some creative thinking behind the inclusion of this pairing?
Jordan Farrell: Well, in my idea for the show, I made the whole Thorn crushing on Shaggy a running gag and I like to imagine this film taking place after the supposed first season, as for them as a couple, they never are officially a couple in my film even by the end, there’s hints of that, but I chose to leave it open for interpretation until we make more Shaggy-centered stories, we do have plans to add Googie, Crystal, and Madelyn in the future in OVA specials to play off an Archie-esque vibe with Shaggy’s arc in my timeline. So, at the moment, they are back as close friends and we’ll see where it goes from there, I never shipped them before, but when it came to creating this new version of Thorn, i thought it was interesting to explore for my universe, I mean the OG Thorn from “Witch’s Ghost”, “Legend of the Vampire”, “Mystery Incorporated”, would never date Shaggy, they are so completely opposite, but this film’s version of Thorn, probably depending on where we go with this saga. There was a lot of creative thinking of making these new versions of the characters as far back as 2015 when I first came up with the idea of doing my own reboot of Scooby-Doo.
ScoobySnax.com: In one particular scene of the film, a police officer stares at Flim Flam for selling his Lotsa Luck Joy Juice. Is this an implication that Flim Flam's product is some sort of illegal substance?
Jordan Farrell: Nah, we all know that Flim Flam is a con artist and I would say that this version of the character likes to buy/steal a 7-up soda, take the labels off and re-sells them as his own, he’s the troublemaking kid who doesn't get arrested but the cops calls his parents on him, so I like to think that he has a recurring history with them like “here’s that brat that’s selling stuff he doesn't own the rights to”.
ScoobySnax.com: What made you choose "The Backstage Rage" as your inspiration for making this film?
Jordan Farrell: When it came to picking something to do a remake of, because I've never seen Scooby-Doo retell a story from the past into modern day, so I decided to make my film an adaptation of it, so I had a hard time deciding on what to adapt and then the episode popped on the tv when I had Scooby-Doo on and then the idea hit, the villain and tone was still creepy to this day, there was also this untouched potential it had for a film and I had so many ideas popping in my head, and I knew I had my source of inspiration.
ScoobySnax.com: What was your creative process behind diving deeper into the Puppet Phantom's backstory? In other words, what made you decide to expand upon the original character?
Jordan Farrell: Well, since this was a feature film that expands on the story of a 20 minute episode, I noticed that The Puppet Phantom didn't have a backstory, like, at all, so I took the opportunity to give him a deep and detailed backstory and especially when I made the choice to [SPOILER ALERT] make the monsters real, and I mean REAL where people do die, I took inspiration from the anime Berserk and Devilman on the friendship that Mr. Pietro had with The Phantom before he transformed. I also looked into a lot of other horror icons like Freddy Krueger and Pennywise for the personality of him and I wanted to make his design to resemble a rusty creepy rotten looking puppet and heavily emphasized his yellow eyes and dark hat and cloak, since those are the stand out aspects of his original design. I wanted this villain to be an extreme disgusting nightmare for the gang, a villain that showed no limits and goes as far as to killing people. I wanted to make this villain even more freaking scary, I wanted him to be HORRIFYING.
ScoobySnax.com: What do you think has made the franchise so popular that it’s still going strong after 50 years?
Jordan Farrell: The fact that the characters have fun distinct personalities, it appeals to everybody of any age, it always experiments with itself to something bold and new, and it's a group of kids solving mysteries and spooky monsters. I also say the camaraderie with the gang is also what stands out.
ScoobySnax.com: What direction would you like to see the franchise go in the future?
Jordan Farrell: I would like them to go back to the real monsters approach again, experiment more new aspects of the franchise, take new risks, maybe see an adaptation of the “Scooby Apocalypse” comics, but most certainly I would love to see maybe a remake of an episode or two of some classic Scooby stories into movies like what I did.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of writing or animating?
Jordan Farrell: Well, all I have to say is the creative process is a very long road and task, but what will help you is that you need to have a passion for it, you don't just create a 2 and a half hour animation all for nothing, you do it because you LOVE the craft of storytelling and animation, you HAVE TO love these aspects, it’s helped me get through and it will most certainly help you as well, also, read and watch a lot of stuff, even stuff that you may not like, analyze what you watch and read, what makes it good, what makes it bad, what makes it special and form it together and write something, also draw a lot, as much as you can. And most of all, have fun doing it.
ScoobySnax.com: Is there anything else you'd like to share?
Jordan Farrell: Absolutely, we already announced a 2nd film titled “Scooby-Doo! Waters of Atlantis” and that will have a more fantasy adventure vibe with Daphne as the main character, and you can watch the teaser trailer here. You can also follow our Facebook page for future updates and such, and because of my work on my film and gotten me special offers and gigs for other video content. I had the opportunity to voice some characters in an episode of my friend’s webseries “LEGO Scooby-Doo! Mystery Incorporated”, which you can watch the whole series on YouTube to catch up to the season 1 finale special “The Vasquez Mystery” which I not only guest-star as myself, but I also designed the logo for the episode and drew a poster for the special. I’m also a producer on the fan film “Saga of the Swamp Thing”, which is made by my friend who helped out on my film. I also got some original films of my own coming that aren't fan films coming soon as well, and I got an original romance slice of life webcomic series coming soon also. Thank you for your time and for having me here today and be sure to rewatch my film again in the meantime while all of this is coming soon.
- Also check out the interview I did with the voice of Scooby in Jordan's film, Jacob Gomez
5/31/2021
ROGER ESCHBACHER
ROGER ESCHBACHER
Scooby-Doo! Mystery Incorporated Writer
ScoobySnax.com: How did you get into writing?
Roger Eschbacher: I was in a Los Angeles comedy group called "The Groundlings" back in the 90s, and the animation studios often recruited us as writers and voice actors. The first animated show I wrote for was "Aaahh!!! Real Monsters" on Nickelodeon.
ScoobySnax.com: Before you began writing Scooby-Doo! Mystery Incorporated, were you a fan of Scooby-Doo? If so, do you have a favorite episode, movie or villain?
Roger Eschbacher: I was! I grew up watching the original Scooby-Doo every Saturday morning. It was kind of a ritual back then. Also, DVRs weren't invented yet so if you missed an episode, you missed an episode unless you happened to catch a rerun.
ScoobySnax.com: How did you get involved with writing Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: I mentioned to a friend that I was looking for a job and he said I should talk to Mitch Watson who was hiring writers for SDMI. I went in and talked to Mitch and we hit it off and he hired me to write a bunch of episodes.
ScoobySnax.com: Can you describe the process for writing an episode of Scooby-Doo! Mystery Incorporatedfrom start to finish?
Roger Eschbacher: I would get an episode assignment and go in and talk to Mitch and some of the other producers about it. I'd make copious notes and suggestions and as we worked out the episode. Then I'd go home and write the first draft. I would incorporate notes given by the producers and eventually turn in the final draft which was then distributed to the artists and the voice actors.
ScoobySnax.com: What was the most difficult part of working on Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: I had a lot of writing experience under my belt by the time I got hired, so SDMI was fun and easy to work on.
ScoobySnax.com: What memorable responses or feedback have you received about your work on SD:MI?
Roger Eschbacher: It's always fun to get feedback from fans. The two shows I get the most love for are "Littlest Pet Shop" and " Scooby-Doo! Mystery Incorporated." People seem to really like my episodes on both shows and my Scooby episodes in particular. I'm proud of that!
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Roger Eschbacher: In addition to all kinds of animated shows, I watch a lot of science fiction and fantasy-related movies and TV shows, so it would be awesome to work on cool shows in those categories.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Roger Eschbacher: Scooby-Doo! Mystery Incorporated, of course!
ScoobySnax.com: What was the most rewarding part of working on Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: The SDMI crew (writers, artists, producers, etc) are super talented, so it was rewarding to work with such a gifted group of people. Also, Scooby and friends are like animation royalty to me. How could I not love writing for those characters?!
ScoobySnax.com: What project(s) are you working on now?
Roger Eschbacher: I've been writing YA fantasy and sci-fi novels for years and have used the recent slowdown in animation to work on those. If you're interested, search for my name on Amazon and see if there's anything you might like to read.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of animation writing?
Roger Eschbacher: I do. I've got an Animation FAQ on my website that has lots of info on that topic and on writing books. If you have a question that's not answered on my page, feel free to ask me! Check it out here: https://www.rogereschbacher.com/p/blog-page_93.html
ScoobySnax.com: Do you plan to continue working on Scooby-Doo related things in the future?
Roger Eschbacher: The Scooby-Doo franchise is so much fun. I'd be more than happy to work on any new Scooby projects.
ScoobySnax.com: What is one “fun fact” (behind-the-scenes tidbit) that people might not know about your work on Scooby-Doo! Mystery Incorporated, or the show in general?
Roger Eschbacher: True story: I was asked for my T-shirt size because the show wanted to send me a Scooby-Doo crew shirt, but . . . (sniff) . . . they never sent it.
Roger Eschbacher: I was in a Los Angeles comedy group called "The Groundlings" back in the 90s, and the animation studios often recruited us as writers and voice actors. The first animated show I wrote for was "Aaahh!!! Real Monsters" on Nickelodeon.
ScoobySnax.com: Before you began writing Scooby-Doo! Mystery Incorporated, were you a fan of Scooby-Doo? If so, do you have a favorite episode, movie or villain?
Roger Eschbacher: I was! I grew up watching the original Scooby-Doo every Saturday morning. It was kind of a ritual back then. Also, DVRs weren't invented yet so if you missed an episode, you missed an episode unless you happened to catch a rerun.
ScoobySnax.com: How did you get involved with writing Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: I mentioned to a friend that I was looking for a job and he said I should talk to Mitch Watson who was hiring writers for SDMI. I went in and talked to Mitch and we hit it off and he hired me to write a bunch of episodes.
ScoobySnax.com: Can you describe the process for writing an episode of Scooby-Doo! Mystery Incorporatedfrom start to finish?
Roger Eschbacher: I would get an episode assignment and go in and talk to Mitch and some of the other producers about it. I'd make copious notes and suggestions and as we worked out the episode. Then I'd go home and write the first draft. I would incorporate notes given by the producers and eventually turn in the final draft which was then distributed to the artists and the voice actors.
ScoobySnax.com: What was the most difficult part of working on Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: I had a lot of writing experience under my belt by the time I got hired, so SDMI was fun and easy to work on.
ScoobySnax.com: What memorable responses or feedback have you received about your work on SD:MI?
Roger Eschbacher: It's always fun to get feedback from fans. The two shows I get the most love for are "Littlest Pet Shop" and " Scooby-Doo! Mystery Incorporated." People seem to really like my episodes on both shows and my Scooby episodes in particular. I'm proud of that!
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Roger Eschbacher: In addition to all kinds of animated shows, I watch a lot of science fiction and fantasy-related movies and TV shows, so it would be awesome to work on cool shows in those categories.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Roger Eschbacher: Scooby-Doo! Mystery Incorporated, of course!
ScoobySnax.com: What was the most rewarding part of working on Scooby-Doo! Mystery Incorporated?
Roger Eschbacher: The SDMI crew (writers, artists, producers, etc) are super talented, so it was rewarding to work with such a gifted group of people. Also, Scooby and friends are like animation royalty to me. How could I not love writing for those characters?!
ScoobySnax.com: What project(s) are you working on now?
Roger Eschbacher: I've been writing YA fantasy and sci-fi novels for years and have used the recent slowdown in animation to work on those. If you're interested, search for my name on Amazon and see if there's anything you might like to read.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of animation writing?
Roger Eschbacher: I do. I've got an Animation FAQ on my website that has lots of info on that topic and on writing books. If you have a question that's not answered on my page, feel free to ask me! Check it out here: https://www.rogereschbacher.com/p/blog-page_93.html
ScoobySnax.com: Do you plan to continue working on Scooby-Doo related things in the future?
Roger Eschbacher: The Scooby-Doo franchise is so much fun. I'd be more than happy to work on any new Scooby projects.
ScoobySnax.com: What is one “fun fact” (behind-the-scenes tidbit) that people might not know about your work on Scooby-Doo! Mystery Incorporated, or the show in general?
Roger Eschbacher: True story: I was asked for my T-shirt size because the show wanted to send me a Scooby-Doo crew shirt, but . . . (sniff) . . . they never sent it.
9/3/2021
DUANE POOLE
DUANE POOLE
ScoobySnax.com: What inspired you to get into scriptwriting?
Duane Poole: When I was a kid, my parents bought me a tape recorder and I taped a Dick Van Dyke Show -- a series I loved and to which I give credit for whatever sense of humor I may have. I listened to it over and over and then thought to type it out on a toy typewriter I had. My first script. Stolen, but we all start somewhere. So I was always interested in writing...and when I discovered live theatre I thought *that* was where my interests would take me. One of my stage musicals was seen by a couple producers at Hanna-Barbera who invited me down to write animation. And a television writer was born.
ScoobySnax.com: What was your process of writing an episode of Scooby-Doo from start to finish?
Duane Poole: It pretty much always started with the ghost/goblin/monster of the week. That inspired the setting, the setting inspired the gags, and the characters did the rest. There were, of course, stock bits that had to be in every episode. The eating gags, the chases, the "those pesky kids" reveals. So much of it was looking for variations and the setting (a lighthouse, a haunted graveyard, an old castle) dictated much of that.
ScoobySnax.com: What was the most rewarding part of writing for Scooby-Doo? What was the most challenging part?
Duane Poole: The best part, considering many of the primetime shows and movies I've done, was that in animation, Scooby never said "I won't say that line". So there was a freedom -- a freedom that extended to the story as well, since live action projects often come with budgets that limit number of settings, etc. With animation, the artists could give you anything you could dream up. You want ancient China? Done. A city on Mars? Have at it. So Scooby and the gang could go anywhere without limits. (Well, obviously not ancient China and Mars, but you get what I'm saying.) The most challenging part was coming up with those fresh takes on the stock gags. I hate duplicating something I've already done, but sometimes it had to happen, the same sort of gags in different settings. Still, we all tried to keep it fresh.
ScoobySnax.com: Though you mostly only worked on season 1 of The Scooby-Doo Show (according to IMDb), season 2 had a noticeably darker tone. Do you know if there was any creative reasoning from the writers' room behind making the second season darker than the first?
Duane Poole: No idea. And there really wasn't a "writers' room" back then. The producers usually worked as story editors as well and assigned the various stories -- sometimes created in house, sometimes pitched by the outside writers.
ScoobySnax.com: What memorable responses have you received for your work on Scooby-Doo?
Duane Poole: I think sitting in that first big, live-action Scooby movie and hearing the crowd boo Scrappy -- which I had a hand in creating -- was perhaps the most memorable response. But to be fair, I've always found him annoying as well.
ScoobySnax.com: Was writing an episode of The Scooby-Doo Show a lot different than writing an episode of The Scooby and Scrappy-Doo Show, and why?
Duane Poole: As I mentioned, we were always trying to keep the show fresh. The addition of Scrappy, for better or worse, gave us all another color to paint with, metaphorically speaking. So there was a little fresh energy added with that change.
ScoobySnax.com: How did the idea of Scooby's All-Star Laff-a-Lympics come about? What inspired Hanna-Barbera to create a "battle of the network stars" type TV series with all of their most famous cartoon characters?
Duane Poole: Money, I'd guess. It's the same reason shows do crossover episodes and shows like the one you named. "What's another way we can use our characters and encourage an audience to tune in?"
ScoobySnax.com: The final episode of the first year of Scooby and Scrappy-Doo, "The Ransom of Scooby Chief," features Shaggy, Scooby and Scrappy visiting New York, while Fred, Velma and Daphne appear very minimally. Given this was the last episode to feature Fred, Velma and Daphne for three years, do you know if this episode was intended as a "backdoor pilot" of sorts to test the waters for the 7-minute Scooby and Scrappy-Doo shorts that came the following year?
Duane Poole: It could have been. I have only a vague memory of this one -- though I think I still have the storyboard in a box in the garage.
ScoobySnax.com: When adding Scrappy-Doo to the series as a main character, did you or any of the other writers at that time feel there was any sort of risk that viewers wouldn't like him?
Duane Poole: I'm not sure any of us was prepared for the negative reaction he got. At the time, we thought he would just help expand the world and the comic possibilities.
ScoobySnax.com: Scooby Goes Hollywood was truly a one-of-a-kind film. What was your creative logic behind writing this film? What inspired you to make the gang stars of their own mystery-solving TV show? Were you trying to hint that all of the gang's past mysteries were just part of a TV show?
Duane Poole: You've overthinking, sorry to say. We just figured it was a good concept for a Scooby special, the fun of parodying movies giving us a fresh background to explore. I really wish I had a better answer for this for you.
ScoobySnax.com: I know from another interview you did that you love musicals. Was this part of what inspired Scooby Goes Hollywood to be a musical?
Duane Poole: I really pushed for it to be a musical. It didn't go as far as I'd have liked, but yes, the musical element was really important to me.
ScoobySnax.com: In your interview with A Podcast Named Scooby-Doo in 2018, you mentioned that there were talks of a live-action Scooby-Doo show in the 1970s (in which you played Shaggy for the screen test!). Could you share more about this show? Was any plot or aspect of the series developed before it was scrapped?
Duane Poole: The talks were just that and never went much beyond -- certainly never a script or a real concept. HB were merely exploring the idea using their big-headed park costumes and had me play Shaggy. This (I believe) was even before I was working on Scooby-Doo. Still that young kid writer from Seattle they were trying to find work for.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Duane Poole: Animation-wise, Dynomutt and Blue Falcon. We could really go wild with the comedy there. Live-action, I was pleased to have written/produced the final two screen appearances of screen legend Katharine Hepburn. It's been a good career and I've been incredibly lucky.
ScoobySnax.com: You also worked on Dynomutt, Dog Wonder, which aired around the same time and crossed over with Scooby three times. How did these crossovers come to be? Were the multiple crossovers with Scooby an attempt to make the audience more intrigued with Dynomutt and Blue Falcon by including a familiar character?
Duane Poole: Much like the crossover question above, yes, it was to get a bigger audience to discover Dynomutt. How I wish that series had a longer life than it had.
ScoobySnax.com: You worked on Goober and the Ghost Chasers as well as Scooby-Doo. This isn't a Scooby question, but I've always been intrigued by the fact that ten of the sixteen episodes included guest stars in a major role, eight of those times being The Partridge Kids. What was the inspiration behind making Goober such a guest-star driven show?
Duane Poole: Again, not so much inspiration as crass commercialism, figuring the guest stars would bring in bigger audiences. It was a kick to work with all those 'star' voices, though.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of scriptwriting?
Duane Poole: Write and write and write some more. Learn the craft and learn your television and cinema history. (Nothing is more frustrating to me than contemporary writers who don't know the classics.) And knock on a lot of doors. All it takes is for one right door to open and the rest will follow. A hard business to break into, but so gratifying.
ScoobySnax.com: What projects are you working on currently?
Duane Poole: I've been doing a lot of the Hallmark Christmas movies lately while focusing my spare time on live theatre. I've had four shows play in New York -- nothing on Broadway yet, nothing you'd have heard of, nothing with a long run -- but that's my next goal.
Duane Poole: When I was a kid, my parents bought me a tape recorder and I taped a Dick Van Dyke Show -- a series I loved and to which I give credit for whatever sense of humor I may have. I listened to it over and over and then thought to type it out on a toy typewriter I had. My first script. Stolen, but we all start somewhere. So I was always interested in writing...and when I discovered live theatre I thought *that* was where my interests would take me. One of my stage musicals was seen by a couple producers at Hanna-Barbera who invited me down to write animation. And a television writer was born.
ScoobySnax.com: What was your process of writing an episode of Scooby-Doo from start to finish?
Duane Poole: It pretty much always started with the ghost/goblin/monster of the week. That inspired the setting, the setting inspired the gags, and the characters did the rest. There were, of course, stock bits that had to be in every episode. The eating gags, the chases, the "those pesky kids" reveals. So much of it was looking for variations and the setting (a lighthouse, a haunted graveyard, an old castle) dictated much of that.
ScoobySnax.com: What was the most rewarding part of writing for Scooby-Doo? What was the most challenging part?
Duane Poole: The best part, considering many of the primetime shows and movies I've done, was that in animation, Scooby never said "I won't say that line". So there was a freedom -- a freedom that extended to the story as well, since live action projects often come with budgets that limit number of settings, etc. With animation, the artists could give you anything you could dream up. You want ancient China? Done. A city on Mars? Have at it. So Scooby and the gang could go anywhere without limits. (Well, obviously not ancient China and Mars, but you get what I'm saying.) The most challenging part was coming up with those fresh takes on the stock gags. I hate duplicating something I've already done, but sometimes it had to happen, the same sort of gags in different settings. Still, we all tried to keep it fresh.
ScoobySnax.com: Though you mostly only worked on season 1 of The Scooby-Doo Show (according to IMDb), season 2 had a noticeably darker tone. Do you know if there was any creative reasoning from the writers' room behind making the second season darker than the first?
Duane Poole: No idea. And there really wasn't a "writers' room" back then. The producers usually worked as story editors as well and assigned the various stories -- sometimes created in house, sometimes pitched by the outside writers.
ScoobySnax.com: What memorable responses have you received for your work on Scooby-Doo?
Duane Poole: I think sitting in that first big, live-action Scooby movie and hearing the crowd boo Scrappy -- which I had a hand in creating -- was perhaps the most memorable response. But to be fair, I've always found him annoying as well.
ScoobySnax.com: Was writing an episode of The Scooby-Doo Show a lot different than writing an episode of The Scooby and Scrappy-Doo Show, and why?
Duane Poole: As I mentioned, we were always trying to keep the show fresh. The addition of Scrappy, for better or worse, gave us all another color to paint with, metaphorically speaking. So there was a little fresh energy added with that change.
ScoobySnax.com: How did the idea of Scooby's All-Star Laff-a-Lympics come about? What inspired Hanna-Barbera to create a "battle of the network stars" type TV series with all of their most famous cartoon characters?
Duane Poole: Money, I'd guess. It's the same reason shows do crossover episodes and shows like the one you named. "What's another way we can use our characters and encourage an audience to tune in?"
ScoobySnax.com: The final episode of the first year of Scooby and Scrappy-Doo, "The Ransom of Scooby Chief," features Shaggy, Scooby and Scrappy visiting New York, while Fred, Velma and Daphne appear very minimally. Given this was the last episode to feature Fred, Velma and Daphne for three years, do you know if this episode was intended as a "backdoor pilot" of sorts to test the waters for the 7-minute Scooby and Scrappy-Doo shorts that came the following year?
Duane Poole: It could have been. I have only a vague memory of this one -- though I think I still have the storyboard in a box in the garage.
ScoobySnax.com: When adding Scrappy-Doo to the series as a main character, did you or any of the other writers at that time feel there was any sort of risk that viewers wouldn't like him?
Duane Poole: I'm not sure any of us was prepared for the negative reaction he got. At the time, we thought he would just help expand the world and the comic possibilities.
ScoobySnax.com: Scooby Goes Hollywood was truly a one-of-a-kind film. What was your creative logic behind writing this film? What inspired you to make the gang stars of their own mystery-solving TV show? Were you trying to hint that all of the gang's past mysteries were just part of a TV show?
Duane Poole: You've overthinking, sorry to say. We just figured it was a good concept for a Scooby special, the fun of parodying movies giving us a fresh background to explore. I really wish I had a better answer for this for you.
ScoobySnax.com: I know from another interview you did that you love musicals. Was this part of what inspired Scooby Goes Hollywood to be a musical?
Duane Poole: I really pushed for it to be a musical. It didn't go as far as I'd have liked, but yes, the musical element was really important to me.
ScoobySnax.com: In your interview with A Podcast Named Scooby-Doo in 2018, you mentioned that there were talks of a live-action Scooby-Doo show in the 1970s (in which you played Shaggy for the screen test!). Could you share more about this show? Was any plot or aspect of the series developed before it was scrapped?
Duane Poole: The talks were just that and never went much beyond -- certainly never a script or a real concept. HB were merely exploring the idea using their big-headed park costumes and had me play Shaggy. This (I believe) was even before I was working on Scooby-Doo. Still that young kid writer from Seattle they were trying to find work for.
ScoobySnax.com: Do you have a favorite show or project that you’ve worked on?
Duane Poole: Animation-wise, Dynomutt and Blue Falcon. We could really go wild with the comedy there. Live-action, I was pleased to have written/produced the final two screen appearances of screen legend Katharine Hepburn. It's been a good career and I've been incredibly lucky.
ScoobySnax.com: You also worked on Dynomutt, Dog Wonder, which aired around the same time and crossed over with Scooby three times. How did these crossovers come to be? Were the multiple crossovers with Scooby an attempt to make the audience more intrigued with Dynomutt and Blue Falcon by including a familiar character?
Duane Poole: Much like the crossover question above, yes, it was to get a bigger audience to discover Dynomutt. How I wish that series had a longer life than it had.
ScoobySnax.com: You worked on Goober and the Ghost Chasers as well as Scooby-Doo. This isn't a Scooby question, but I've always been intrigued by the fact that ten of the sixteen episodes included guest stars in a major role, eight of those times being The Partridge Kids. What was the inspiration behind making Goober such a guest-star driven show?
Duane Poole: Again, not so much inspiration as crass commercialism, figuring the guest stars would bring in bigger audiences. It was a kick to work with all those 'star' voices, though.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of scriptwriting?
Duane Poole: Write and write and write some more. Learn the craft and learn your television and cinema history. (Nothing is more frustrating to me than contemporary writers who don't know the classics.) And knock on a lot of doors. All it takes is for one right door to open and the rest will follow. A hard business to break into, but so gratifying.
ScoobySnax.com: What projects are you working on currently?
Duane Poole: I've been doing a lot of the Hallmark Christmas movies lately while focusing my spare time on live theatre. I've had four shows play in New York -- nothing on Broadway yet, nothing you'd have heard of, nothing with a long run -- but that's my next goal.
4/8/2022
SANDY FRIES
SANDY FRIES
Sandy Fries (left) with Joseph Barbera (right)
ScoobySnax.com: How did you get into screenwriting?
Sandy Fries: Screenwriting was something that I always thought would be fun, and the biggest motivator in my career is enjoying myself. I believe that if you have the talent, and the communication skills, looking for fun things is always the way to go with your career. What's the alternative? Being boring and miserable? That's not something I'm interested in, so instead, I look for opportunities where I can have fun.
ScoobySnax.com: One chapter of your book goes into detail about how you worked with Joseph Barbera at the start of your career. Do you have any favorite memories or stories about working with Joe Barbera?
Sandy Fries: Absolutely. Joseph Barbera was a wonderful person to work with, and he was brilliantly funny. I learned so much by working with him. One of the things I loved the most about working with Joseph Barbera was his office. He had the coolest office I have ever seen in my life. In one part of the office, he had several Emmy and Academy Awards that were all lined up. When you walked into that office, seeing those awards made you go, "Wow… this is amazing." The first time I ever went into his office for a story meeting, he said, "Sandy, have you ever held an Academy Award?" I meekly replied, "Uh, well…no, Mr. Barbera, I haven't". A big smile appeared on his face, "Well, would you like to…?" So, Mr. Barbera let me hold one of his Academy Awards, which was a memory that I'll never forget.
ScoobySnax.com: In addition to Hanna-Barbera, your book mentions how you have worked with creator of The Simpsons, Sam Simon. Do you have any favorite memories or stories of working with Sam?
Sandy Fries: Sam Simon was a very, very, talented guy. I mean, obviously you must be to co-create The Simpsons. He and I wrote four projects together, and he was a brilliant, humorous, and profound writer. I knew him personally, and he helped me get my first big break in Hollywood. There's a dramatic, and really heavy, story about Sam Simon in my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's a powerful, very moving, and a very sad story. This is a story I genuinely believe that everyone can learn a valuable life lesson from.
The story is so poignant that I'd rather let whoever is interested in the story read about it in my book. I can't do the story justice by retelling it. It took me a long time to write that chapter, I edited it several times, and then I even rewrote it several times. The best way for that story to be told is the way it is told in the book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. I can't do it justice, but I promise that if you read it, you will learn something from it, and you will be moved by it.
ScoobySnax.com: How did getting your start writing at Hanna-Barbera influence how you approached the rest of your career as a writer?
Sandy Fries: Hanna-Barbera was the studio that I had the most fun writing for. I wrote for Star Trek: The Next Generation, Quantum Leap, Spider-Man, and while they were enjoyable, they were not nearly as fun as writing for Hanna-Barbera. Star Trek: The Next Generation dealt with some heavy-duty subjects, which cannot be as enjoyable as writing for animation. Writing for Hanna-Barbera affected me because I learned I wanted to do animation more than most live-action shows.
Usually when I was writing for another studio, I would say something to the effect of, "This is fun, and this is really great, but working at Hanna-Barbera, with Joseph Barbera, is the best". One of the things about me that other writers don't do, is that I've written for a lot of different genres. Drama, science fiction, comedy, animation, soap operas … most writers don't do that. However, I did that deliberately so that I could learn to write in a lot of different styles. Despite learning to write for all those genres, I always loved animation the most. When I was a writer at Hanna-Barbera, I said to myself, "This is as good as it gets for me. I love comedy, I love animation, and I have a great executive to work with." Hanna-Barbera was the best, and it always left me wanting to go back into that world.
ScoobySnax.com: You worked on a number of shows during your time at Hanna-Barbera. What was your favorite of those shows to work on, and why was it your favorite?
Sandy Fries: My favorite show that I wrote for was called Droopy, Master Detective. I loved writing for that show because you could do anything with the animation. Whatever my mind could come up with, the animators were able to create, and I loved having that creative freedom with my writing. I also really loved the Droopy character, especially his dialogue. Droopy talked slowly with a deep toned, but quirky sounding, voice. For those of you who might not know, Droopy is the basset hound who worked as the elevator attendant in the Steven Spielberg movie, Who Framed Roger Rabbit. He started at MGM, but eventually was brought over to Hanna-Barbera.
ScoobySnax.com: What memorable responses or feedback have you received about your work at Hanna-Barbera (or in general for all the shows you've written for)?
Sandy Fries: I had asked Joseph Barbera to autograph a Hanna-Barbera book about Tom & Jerry one time. What he wrote in the book was thoughtful, kindhearted, and something that I'll always remember for the rest of my life. He wrote in the book, "To Sandy… my top writer. - Joseph Barbera". You know, when you get that type of a compliment from a person like Mr. Barbera… it's just phenomenal.
ScoobySnax.com: What inspired you to write your book?
Sandy Fries: It happened almost automatically. It sort of flowed out of me like a tidal wave. There are a couple big reasons why I wanted to write it.
The first reason is that I've worked with brilliant people. I've been very fortunate in my life and with my career. I've been able to meet three presidents of the United States -- and even got to spend a decent amount of time with them. I knew the head of CBS News personally, and I am proud to call him a friend. I've been fortunate enough to work with some of the most creative people in history, like Stan Lee, Joseph Barbera, and Sam Simon. I've even worked with the creator of Star Trek, Gene Roddenberry, and the creator of The Big Bang Theory, Chuck Lorre. Each of these people are considered to be the top of the line in terms of brilliance and creativity in show business. I learned a lot about how to live a great life from each one of those people, so I almost felt like I had a responsibility to put their lessons into a book. My goal for anyone who reads the book is that you can hopefully find wisdom, or motivation, to have a better life. If you read it, I think it will help you improve your life in a lot of different ways. It's more than a book about writing, it's a book about how to live a fantastic life. You don't need to like show business to like this book.
The second reason I wrote the book is that some of the stories are just too darn funny to not ever be told. Some of the things that happened to me in my life are really out there, and also really edgy. I remember when those things happened to me in real life, I said, "Whoa, this would be great for a book… or maybe even a movie!". Another story you can read about is the time I almost died at Warner Brothers. The place that I almost died in was a, well, very unusual place to die. I won't go into too many details, but I remember in the moment it was horrible. I was sure I was going to be dead. But in retrospect, it would've been a really, really, funny way to die. There are a lot of stories in the book that I felt compelled to put in there because they were funny, or they were a great learning experience.
Ultimately, the main reason I wrote the book was that it was fun to write. I've written hundreds of scripts, articles, and advertisements -- but I would say the book is absolutely, without a doubt, my favorite thing that I've written in my whole life. I highly encourage everyone to give it a read, it could change your life.
ScoobySnax.com: What inspired you to get into teaching? In addition, do you have a favorite course to teach, and why is this course your favorite?
Sandy Fries: One of the things that I always wanted to do was to be a professor at a college or a university. That just struck me as a very cool life. Reading and discussing things I was interested in was very appealing to me. I also am a firm believer that a person doesn't need to live just one life. A person should be able to live two or three lives in terms of what one does with a career. One of my lives is as a professor at a college in Illinois. I'm reading books about subjects that I love, I'm talking about them with intelligent people, and what I read is stuff I would read for fun anyways.
Academic life is idyllic. The campus is beautiful. The nature around me is peaceful. I have a great office with an amazing view. I read about topics that fascinate me… and even get paid money to do it. How cool is that?
My favorite class that I teach is a film class. As someone once said to me, "Sandy, you watch movies all day, and get paid for it?". It's certainly more than that, there's lectures, analysis, but I love watching movies. I love pulling them apart and putting them back together. I love being able to discuss movies in a multi-level way with students. It's fun.
Before I was a professor I would go to the movies and the best part was, afterwards, when I would discuss the movie with friends. What did you think about this scene? What about that dialogue? How about that character? When I teach my film class, I'm doing all the stuff I would do for fun anyways, but it's even more fun to do that when you are getting paid for it.
The other thing was, when I was an undergraduate at Clark University, I had to take a lot of tests. My collegiate experience would've been perfect if I could be at school and not have to take any tests. Well, now I'm in college again, and I don't have to take a single test!
I've lived several lives. I've lived a New York City life, a Los Angeles life, and now I'm living my Midwestern life. Every one of my lives has had its challenges and luckily I've been able to get through them. Overall, each of the places I've lived have been fantastic. I prefer that I've had the New York life, the California life, and the Midwest life, because change is healthy and exciting.
ScoobySnax.com: Besides teaching, do you have any plans of writing for more shows or films in the future?
Sandy Fries: My attitude is that I've done it, and I've done it as well as I can do. I might want to write for Family Guy, and probably could if I really wanted to. I think the characters are really funny, the writing overall is really tight, and there's a lot of creative freedom on that show. However, for right now, my key focus is on enjoying myself and being a great professor. The rest of the time I enjoy watching TV, reading books, eating good food, and sleeping.
I remember one time Sam Simon said to me, "You know Sandy, I like working, but not as much as I like not-working." Similar to Sam, I like working, but I also enjoy not-working just as much. So, the very long-winded answer to that is that I might like to write an episode of Family Guy, but there's no internal pressure on myself to do that.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Sandy Fries: There was a phenomenal show that I loved, called St. Elsewhere. I almost became a writer on that show, but unfortunately, I did not get the job. It was a brilliant show in terms of writing, acting, directing, -- every element of St. Elsewhere was exceptional. I almost wrote for it because a producer on the show really liked the script that I had submitted, but it never happened. Mark Harmon, Denzel Washington, and Howie Mandell all debuted on that show. Despite the great acting, what I liked the most was how diverse the writing could be. There were episodes where a scene would include heavy drama, but then in the next it would be heavily filled with comedic relief. Sometimes they even worked in the fantasy genre, and it was still well-written.
If anyone wants to watch a really good television show, stream St. Elsewhere. It went from heavy scenes to hilarious scenes, and it all worked brilliantly. Somebody should revive St. Elsewhere.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of scriptwriting?
Sandy Fries: Well, this is going to sound like a shameless, self-promoting, plug -- but read my book Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's on Amazon for $5.95, and it has really great reviews. People love the book, and I really love the book. If you are looking to break into Hollywood, or writing in general, reading my book will be exorbitantly helpful in bringing your career to the next level.
Another helpful hint is that if you have talent, go after that goal. Don't worry about the competition, because I can tell you that there aren't many good writers in Hollywood. There are many people who think they are good writers, but they are not. And if you have talent, go for whatever you would enjoy. If you worry about the money, do not. If you are talented, in the right career, and you enjoy your work, the money will come automatically. If you're talented, and if you have a good work ethic, you will accomplish your goals. And if you don't go for it, when the time comes for you to drop dead, you'll probably be bitter and dislike yourself.
Oh, and I'm not sure if I mentioned this yet, but you should also read my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life.
ScoobySnax.com: Is there anything else you would like to share that I have not asked about?
Sandy Fries: Joseph Barbera had great taste in restaurants. JB would frequently take the writers and I out to lunch at a variety of different places. We went to a Chinese place called Fung Lum, and often visited Musso & Frank's - which appeared in Tarantino's most recent film, Once Upon a Time in Hollywood. Everywhere we'd go, people loved Mr. Barbera. Not because of who he was, or what he accomplished, but solely because of his demeanor and his personality. And he also always picked up the check.
Another thing about Joseph Barbera was that he was very quick, in a creative sense. One time when I was in a story meeting with him, inspiration struck. He immediately began explaining a gag for the Tom and Jerry Kids Show to me, but he was talking as fast as his thoughts entered his head. It sounded something like this:
He went, "So Tom [unintelligible] and then Jerry [unintelligible], so then Tom [unintelligible]."
I just stared blankly back at him, and JB responded, "You didn't understand any of that did you?"
He began to act out and sketch the gag so that I was able to understand it. It was a very good gag. But the very first time he explained it, his mind was running so quickly that he couldn't communicate it properly. When Joseph Barbera would explain his ideas, he would act out characters, and do their voices as well. This helped him communicate many of his thoughts to the writers and animators in an understandable way. It was great to see him do sketches and gags that we were discussing. I would come in with a script, he'd read it through, he'd edit it, and then add his ideas. Any idea he added made the scene, or a gag, or even the dialogue, better. There were times my script was passed through with very little changes made. Being able to write a script that Joseph Barbera put through with very little edits was very fulfilling.
One day we were in the studio watching one of my scripts being recorded by the voice artists. At the beginning of the interview, you asked me how I got into screenwriting, and I said that it was because I wanted to have fun. Well, I cannot emphasize how fun it was to see these incredible voice actors performing my dialogue during a recording session.
There's a picture of me and the voice actors -- along with Mr. Barbera -- and in the photo every single person is smiling and having a fun time. That's my kind of job. That's what I like to do.
I've learned a lot over the course of my life, from many different talented people. Stan Lee taught me the relevance of responding. Gene Roddenberry taught me how to overcome overbearing obstacles. Joseph Barbera taught me how to work hard with a smile on my face. Big Bang Theory creator, Chuck Lorre, taught me to never give up even when the work seemed worthless.
Those tips, and other stories on how to achieve a good life, are filling up my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's available on Amazon for only $5.95. It'll take you under three hours to read, and it could change the rest of your life. There's a link to it right below this sentence, and I truly believe you will enjoy reading it.
Sandy Fries: Screenwriting was something that I always thought would be fun, and the biggest motivator in my career is enjoying myself. I believe that if you have the talent, and the communication skills, looking for fun things is always the way to go with your career. What's the alternative? Being boring and miserable? That's not something I'm interested in, so instead, I look for opportunities where I can have fun.
ScoobySnax.com: One chapter of your book goes into detail about how you worked with Joseph Barbera at the start of your career. Do you have any favorite memories or stories about working with Joe Barbera?
Sandy Fries: Absolutely. Joseph Barbera was a wonderful person to work with, and he was brilliantly funny. I learned so much by working with him. One of the things I loved the most about working with Joseph Barbera was his office. He had the coolest office I have ever seen in my life. In one part of the office, he had several Emmy and Academy Awards that were all lined up. When you walked into that office, seeing those awards made you go, "Wow… this is amazing." The first time I ever went into his office for a story meeting, he said, "Sandy, have you ever held an Academy Award?" I meekly replied, "Uh, well…no, Mr. Barbera, I haven't". A big smile appeared on his face, "Well, would you like to…?" So, Mr. Barbera let me hold one of his Academy Awards, which was a memory that I'll never forget.
ScoobySnax.com: In addition to Hanna-Barbera, your book mentions how you have worked with creator of The Simpsons, Sam Simon. Do you have any favorite memories or stories of working with Sam?
Sandy Fries: Sam Simon was a very, very, talented guy. I mean, obviously you must be to co-create The Simpsons. He and I wrote four projects together, and he was a brilliant, humorous, and profound writer. I knew him personally, and he helped me get my first big break in Hollywood. There's a dramatic, and really heavy, story about Sam Simon in my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's a powerful, very moving, and a very sad story. This is a story I genuinely believe that everyone can learn a valuable life lesson from.
The story is so poignant that I'd rather let whoever is interested in the story read about it in my book. I can't do the story justice by retelling it. It took me a long time to write that chapter, I edited it several times, and then I even rewrote it several times. The best way for that story to be told is the way it is told in the book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. I can't do it justice, but I promise that if you read it, you will learn something from it, and you will be moved by it.
ScoobySnax.com: How did getting your start writing at Hanna-Barbera influence how you approached the rest of your career as a writer?
Sandy Fries: Hanna-Barbera was the studio that I had the most fun writing for. I wrote for Star Trek: The Next Generation, Quantum Leap, Spider-Man, and while they were enjoyable, they were not nearly as fun as writing for Hanna-Barbera. Star Trek: The Next Generation dealt with some heavy-duty subjects, which cannot be as enjoyable as writing for animation. Writing for Hanna-Barbera affected me because I learned I wanted to do animation more than most live-action shows.
Usually when I was writing for another studio, I would say something to the effect of, "This is fun, and this is really great, but working at Hanna-Barbera, with Joseph Barbera, is the best". One of the things about me that other writers don't do, is that I've written for a lot of different genres. Drama, science fiction, comedy, animation, soap operas … most writers don't do that. However, I did that deliberately so that I could learn to write in a lot of different styles. Despite learning to write for all those genres, I always loved animation the most. When I was a writer at Hanna-Barbera, I said to myself, "This is as good as it gets for me. I love comedy, I love animation, and I have a great executive to work with." Hanna-Barbera was the best, and it always left me wanting to go back into that world.
ScoobySnax.com: You worked on a number of shows during your time at Hanna-Barbera. What was your favorite of those shows to work on, and why was it your favorite?
Sandy Fries: My favorite show that I wrote for was called Droopy, Master Detective. I loved writing for that show because you could do anything with the animation. Whatever my mind could come up with, the animators were able to create, and I loved having that creative freedom with my writing. I also really loved the Droopy character, especially his dialogue. Droopy talked slowly with a deep toned, but quirky sounding, voice. For those of you who might not know, Droopy is the basset hound who worked as the elevator attendant in the Steven Spielberg movie, Who Framed Roger Rabbit. He started at MGM, but eventually was brought over to Hanna-Barbera.
ScoobySnax.com: What memorable responses or feedback have you received about your work at Hanna-Barbera (or in general for all the shows you've written for)?
Sandy Fries: I had asked Joseph Barbera to autograph a Hanna-Barbera book about Tom & Jerry one time. What he wrote in the book was thoughtful, kindhearted, and something that I'll always remember for the rest of my life. He wrote in the book, "To Sandy… my top writer. - Joseph Barbera". You know, when you get that type of a compliment from a person like Mr. Barbera… it's just phenomenal.
ScoobySnax.com: What inspired you to write your book?
Sandy Fries: It happened almost automatically. It sort of flowed out of me like a tidal wave. There are a couple big reasons why I wanted to write it.
The first reason is that I've worked with brilliant people. I've been very fortunate in my life and with my career. I've been able to meet three presidents of the United States -- and even got to spend a decent amount of time with them. I knew the head of CBS News personally, and I am proud to call him a friend. I've been fortunate enough to work with some of the most creative people in history, like Stan Lee, Joseph Barbera, and Sam Simon. I've even worked with the creator of Star Trek, Gene Roddenberry, and the creator of The Big Bang Theory, Chuck Lorre. Each of these people are considered to be the top of the line in terms of brilliance and creativity in show business. I learned a lot about how to live a great life from each one of those people, so I almost felt like I had a responsibility to put their lessons into a book. My goal for anyone who reads the book is that you can hopefully find wisdom, or motivation, to have a better life. If you read it, I think it will help you improve your life in a lot of different ways. It's more than a book about writing, it's a book about how to live a fantastic life. You don't need to like show business to like this book.
The second reason I wrote the book is that some of the stories are just too darn funny to not ever be told. Some of the things that happened to me in my life are really out there, and also really edgy. I remember when those things happened to me in real life, I said, "Whoa, this would be great for a book… or maybe even a movie!". Another story you can read about is the time I almost died at Warner Brothers. The place that I almost died in was a, well, very unusual place to die. I won't go into too many details, but I remember in the moment it was horrible. I was sure I was going to be dead. But in retrospect, it would've been a really, really, funny way to die. There are a lot of stories in the book that I felt compelled to put in there because they were funny, or they were a great learning experience.
Ultimately, the main reason I wrote the book was that it was fun to write. I've written hundreds of scripts, articles, and advertisements -- but I would say the book is absolutely, without a doubt, my favorite thing that I've written in my whole life. I highly encourage everyone to give it a read, it could change your life.
ScoobySnax.com: What inspired you to get into teaching? In addition, do you have a favorite course to teach, and why is this course your favorite?
Sandy Fries: One of the things that I always wanted to do was to be a professor at a college or a university. That just struck me as a very cool life. Reading and discussing things I was interested in was very appealing to me. I also am a firm believer that a person doesn't need to live just one life. A person should be able to live two or three lives in terms of what one does with a career. One of my lives is as a professor at a college in Illinois. I'm reading books about subjects that I love, I'm talking about them with intelligent people, and what I read is stuff I would read for fun anyways.
Academic life is idyllic. The campus is beautiful. The nature around me is peaceful. I have a great office with an amazing view. I read about topics that fascinate me… and even get paid money to do it. How cool is that?
My favorite class that I teach is a film class. As someone once said to me, "Sandy, you watch movies all day, and get paid for it?". It's certainly more than that, there's lectures, analysis, but I love watching movies. I love pulling them apart and putting them back together. I love being able to discuss movies in a multi-level way with students. It's fun.
Before I was a professor I would go to the movies and the best part was, afterwards, when I would discuss the movie with friends. What did you think about this scene? What about that dialogue? How about that character? When I teach my film class, I'm doing all the stuff I would do for fun anyways, but it's even more fun to do that when you are getting paid for it.
The other thing was, when I was an undergraduate at Clark University, I had to take a lot of tests. My collegiate experience would've been perfect if I could be at school and not have to take any tests. Well, now I'm in college again, and I don't have to take a single test!
I've lived several lives. I've lived a New York City life, a Los Angeles life, and now I'm living my Midwestern life. Every one of my lives has had its challenges and luckily I've been able to get through them. Overall, each of the places I've lived have been fantastic. I prefer that I've had the New York life, the California life, and the Midwest life, because change is healthy and exciting.
ScoobySnax.com: Besides teaching, do you have any plans of writing for more shows or films in the future?
Sandy Fries: My attitude is that I've done it, and I've done it as well as I can do. I might want to write for Family Guy, and probably could if I really wanted to. I think the characters are really funny, the writing overall is really tight, and there's a lot of creative freedom on that show. However, for right now, my key focus is on enjoying myself and being a great professor. The rest of the time I enjoy watching TV, reading books, eating good food, and sleeping.
I remember one time Sam Simon said to me, "You know Sandy, I like working, but not as much as I like not-working." Similar to Sam, I like working, but I also enjoy not-working just as much. So, the very long-winded answer to that is that I might like to write an episode of Family Guy, but there's no internal pressure on myself to do that.
ScoobySnax.com: If you could work on any show or movie in the world, what would it be?
Sandy Fries: There was a phenomenal show that I loved, called St. Elsewhere. I almost became a writer on that show, but unfortunately, I did not get the job. It was a brilliant show in terms of writing, acting, directing, -- every element of St. Elsewhere was exceptional. I almost wrote for it because a producer on the show really liked the script that I had submitted, but it never happened. Mark Harmon, Denzel Washington, and Howie Mandell all debuted on that show. Despite the great acting, what I liked the most was how diverse the writing could be. There were episodes where a scene would include heavy drama, but then in the next it would be heavily filled with comedic relief. Sometimes they even worked in the fantasy genre, and it was still well-written.
If anyone wants to watch a really good television show, stream St. Elsewhere. It went from heavy scenes to hilarious scenes, and it all worked brilliantly. Somebody should revive St. Elsewhere.
ScoobySnax.com: Do you have any advice for anyone who is looking to go into the world of scriptwriting?
Sandy Fries: Well, this is going to sound like a shameless, self-promoting, plug -- but read my book Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's on Amazon for $5.95, and it has really great reviews. People love the book, and I really love the book. If you are looking to break into Hollywood, or writing in general, reading my book will be exorbitantly helpful in bringing your career to the next level.
Another helpful hint is that if you have talent, go after that goal. Don't worry about the competition, because I can tell you that there aren't many good writers in Hollywood. There are many people who think they are good writers, but they are not. And if you have talent, go for whatever you would enjoy. If you worry about the money, do not. If you are talented, in the right career, and you enjoy your work, the money will come automatically. If you're talented, and if you have a good work ethic, you will accomplish your goals. And if you don't go for it, when the time comes for you to drop dead, you'll probably be bitter and dislike yourself.
Oh, and I'm not sure if I mentioned this yet, but you should also read my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life.
ScoobySnax.com: Is there anything else you would like to share that I have not asked about?
Sandy Fries: Joseph Barbera had great taste in restaurants. JB would frequently take the writers and I out to lunch at a variety of different places. We went to a Chinese place called Fung Lum, and often visited Musso & Frank's - which appeared in Tarantino's most recent film, Once Upon a Time in Hollywood. Everywhere we'd go, people loved Mr. Barbera. Not because of who he was, or what he accomplished, but solely because of his demeanor and his personality. And he also always picked up the check.
Another thing about Joseph Barbera was that he was very quick, in a creative sense. One time when I was in a story meeting with him, inspiration struck. He immediately began explaining a gag for the Tom and Jerry Kids Show to me, but he was talking as fast as his thoughts entered his head. It sounded something like this:
He went, "So Tom [unintelligible] and then Jerry [unintelligible], so then Tom [unintelligible]."
I just stared blankly back at him, and JB responded, "You didn't understand any of that did you?"
He began to act out and sketch the gag so that I was able to understand it. It was a very good gag. But the very first time he explained it, his mind was running so quickly that he couldn't communicate it properly. When Joseph Barbera would explain his ideas, he would act out characters, and do their voices as well. This helped him communicate many of his thoughts to the writers and animators in an understandable way. It was great to see him do sketches and gags that we were discussing. I would come in with a script, he'd read it through, he'd edit it, and then add his ideas. Any idea he added made the scene, or a gag, or even the dialogue, better. There were times my script was passed through with very little changes made. Being able to write a script that Joseph Barbera put through with very little edits was very fulfilling.
One day we were in the studio watching one of my scripts being recorded by the voice artists. At the beginning of the interview, you asked me how I got into screenwriting, and I said that it was because I wanted to have fun. Well, I cannot emphasize how fun it was to see these incredible voice actors performing my dialogue during a recording session.
There's a picture of me and the voice actors -- along with Mr. Barbera -- and in the photo every single person is smiling and having a fun time. That's my kind of job. That's what I like to do.
I've learned a lot over the course of my life, from many different talented people. Stan Lee taught me the relevance of responding. Gene Roddenberry taught me how to overcome overbearing obstacles. Joseph Barbera taught me how to work hard with a smile on my face. Big Bang Theory creator, Chuck Lorre, taught me to never give up even when the work seemed worthless.
Those tips, and other stories on how to achieve a good life, are filling up my book, Secrets Your Textbook Will Not Tell You: About TV, Movies, and Life. It's available on Amazon for only $5.95. It'll take you under three hours to read, and it could change the rest of your life. There's a link to it right below this sentence, and I truly believe you will enjoy reading it.
5/22/2022
SUZI YOONESSI
SUZI YOONESSI
ScoobySnax.com: How did you first become interested in directing?
Suzi: My love of storytelling started at a young age, when I'd eagerly stay up at night, relishing my Grandma Nimtaj's Persian Fairy Tales. In high school, I found myself most comfortable behind a 35mm or hi8 camera or creating music with my punk band, so my interest in filmmaking was clear by the time I entered the San Francisco Art Institute to study photography and film. What I love about film is that it incorporates multiple artistic mediums to tell a story, so I am able to continue to dabble in music, story and cinematography as it helps tell the film story.
ScoobySnax.com: How was the concept for Daphne & Velma first developed?
Suzi: I was approached with Daphne and Velma as a fleshed out treatment, conceived by Blue Ribbon Entertainment who developed the story with writers Kyle Mack and Caitlin Meares.
ScoobySnax.com: If you had any role in the casting, what drew you to cast Sarah Jeffery and Sarah Gilman in the roles of Daphne and Velma?
Suzi: Sarah Jeffery and Sarah Gilman embody the yin and yang that makes Daphne and Velma an everlasting friendship, and the Sarahs platonic spark on set was dynamic and powerful to watch. Sarah Jeffery is such a nuanced and powerful actor. She captures the brightness and whimsy of Daphne, while filling out her depth of character and thought. I love how she navigated Daphne's investigative smarts and determination, while keeping her light bright. Sarah Gilman is masterful with her comedic timing and she channeled the effortless cool and outsider vibes of Velma. She is an actor who elevates the material with her improv skills, and both are able to explore the darker side of each character with light.
ScoobySnax.com: The tone of this film is very lighthearted and quirky. How did you and the rest of the crew decide on this type of tone for the film?
Suzi: I love the tone that we achieved, and was lucky to be working with a script by Kyle Mack and Caitlin Meares, who have such sharp dialogue, and a creative and production team that really understood embracing the lens of Daphne and Velma as teenage girls. My intention was to translate the stony humor of Scooby Doo into live action form and bring some of the iconic animation blocking to life in live action form. Sarah Jeffery and Sarah Gilman both have such a smart sense of humor and magnetic energy that helped land the tone of the film.
ScoobySnax.com: Sarah Gilman mentioned in an interview that the filming was done in just a little over two weeks. How did the short filming window impact the final product (either positively or negatively)?
Suzi: The short shooting window was challenging, but I love embracing the limitations of a budget because it really pushes you as a filmmaker and filmmaking team. I was fortunate to have creative collaborators I had worked with in the past, and we'd put our heads together to think creatively about actualizing a school with cutting edge technology on a dime. Some of my favorite set pieces and props were a result of banding together with my production designer Rodrigo Cabral and prop master Cassie Miggins who are two super talents with the Riot Grrrl DIY spirit.
ScoobySnax.com: The film is largely centered around this idea of sisterhood and empowering women. How did the sisterhood theme help shape how you approached directing this film?
Suzi: I tried to infuse the film set with love and kindness, even when we were faced with unprecedented challenges. It was a visual and emotional delight staying focused on the characters using their ingenuity and celebrating their differences, to capture them truly being the writers of their destinies. I also loved working with music supervisor Dan Wilcox to build a soundtrack with a female-driven psychedelic, pop-punk vibe that captures Daphne and Velma's rebellious and enduring spirit.
ScoobySnax.com: How did this project compare and contrast to previous projects you’ve done?
Suzi: One thing I will always treasure on Daphne and Velma is the ability to pull from the Scooby Doo series and visual tropes. I also loved digging into building out two iconic female characters who were part of my DNA growing up - Daphne and Velma truly taught me that you can step out of the shadows and be part of the action, regardless of gender.
ScoobySnax.com: What was your favorite memory, and what was the biggest challenge of creating this film?
Suzi: I loved filming the scene with the conflict couch, which is such a great turn in Daphne and Velma's relationship arc in the story. The set was low fi, with analog light up cubes, but rich in physical comedy and performance. The whole production and creative team banded together to bring the scene to life - someone was flipping the light from blue to red off-screen, while SFX held invisible wires to make it move the cubes, and Sarah G and Sarah J really leaned into the physical comedy. It really captured the feeling of the girls navigating a couch in beta testing mode, with the camera beautifully drifting between them.
ScoobySnax.com: Were there ever any plans for a sequel to Daphne & Velma?
Suzi: The door will always be open to sequels with the Scooby Doo franchise and Daphne and Velma's friendship.
ScoobySnax.com: In 2020, a trilogy of Daphne & Velma books was released. While they aren’t directly connected to the film, they still center around the idea of a sisterhood-like bond and use animated versions of Gilman and Jeffery’s portrayals on the covers. Do you know if the film inspired the book series, and if so, how?
Suzi: I have no idea, but I'd love to connect with the writer of the series!!!!
ScoobySnax.com: What memorable responses or feedback have you received about the film?
Suzi: Vanessa Marano perfectly delivers the line, "and I wouldn't have gotten away with it too if it weren't for you meddling kids." This line wasn't originally in the script, and it was something I picked up with Vanessa doing improv, since I am a fan of the series and felt it was a must to have in the edit room. One of the execs was on the fence about including the line. After it played at Comic Con, the audience went wild after Vanessa delivered the line, and the exec turned to me and said, "I really thought we shouldn't include it." While acknowledging it was the right choice, seeing how the fans reacted. It made me feel like I was the right director on the project and that my fandom paid off in the end.
ScoobySnax.com: What unique contribution do you feel this film brings to the Scooby franchise?
Suzi: I think Daphne and Velma is an unapologetically female perspective and shines a light on the women of the series who truly deserved their own film after several decades of solving mysteries while seeing the stories through the male gaze.
ScoobySnax.com: What do you most hope audiences will take away from this film after watching it?
Suzi: The film is truly inclusive storytelling, and I hope audiences are empowered by Daphne and Velma's kindness and heart, and how they complement and respect each other's strengths and differences to find solutions.
Suzi: My love of storytelling started at a young age, when I'd eagerly stay up at night, relishing my Grandma Nimtaj's Persian Fairy Tales. In high school, I found myself most comfortable behind a 35mm or hi8 camera or creating music with my punk band, so my interest in filmmaking was clear by the time I entered the San Francisco Art Institute to study photography and film. What I love about film is that it incorporates multiple artistic mediums to tell a story, so I am able to continue to dabble in music, story and cinematography as it helps tell the film story.
ScoobySnax.com: How was the concept for Daphne & Velma first developed?
Suzi: I was approached with Daphne and Velma as a fleshed out treatment, conceived by Blue Ribbon Entertainment who developed the story with writers Kyle Mack and Caitlin Meares.
ScoobySnax.com: If you had any role in the casting, what drew you to cast Sarah Jeffery and Sarah Gilman in the roles of Daphne and Velma?
Suzi: Sarah Jeffery and Sarah Gilman embody the yin and yang that makes Daphne and Velma an everlasting friendship, and the Sarahs platonic spark on set was dynamic and powerful to watch. Sarah Jeffery is such a nuanced and powerful actor. She captures the brightness and whimsy of Daphne, while filling out her depth of character and thought. I love how she navigated Daphne's investigative smarts and determination, while keeping her light bright. Sarah Gilman is masterful with her comedic timing and she channeled the effortless cool and outsider vibes of Velma. She is an actor who elevates the material with her improv skills, and both are able to explore the darker side of each character with light.
ScoobySnax.com: The tone of this film is very lighthearted and quirky. How did you and the rest of the crew decide on this type of tone for the film?
Suzi: I love the tone that we achieved, and was lucky to be working with a script by Kyle Mack and Caitlin Meares, who have such sharp dialogue, and a creative and production team that really understood embracing the lens of Daphne and Velma as teenage girls. My intention was to translate the stony humor of Scooby Doo into live action form and bring some of the iconic animation blocking to life in live action form. Sarah Jeffery and Sarah Gilman both have such a smart sense of humor and magnetic energy that helped land the tone of the film.
ScoobySnax.com: Sarah Gilman mentioned in an interview that the filming was done in just a little over two weeks. How did the short filming window impact the final product (either positively or negatively)?
Suzi: The short shooting window was challenging, but I love embracing the limitations of a budget because it really pushes you as a filmmaker and filmmaking team. I was fortunate to have creative collaborators I had worked with in the past, and we'd put our heads together to think creatively about actualizing a school with cutting edge technology on a dime. Some of my favorite set pieces and props were a result of banding together with my production designer Rodrigo Cabral and prop master Cassie Miggins who are two super talents with the Riot Grrrl DIY spirit.
ScoobySnax.com: The film is largely centered around this idea of sisterhood and empowering women. How did the sisterhood theme help shape how you approached directing this film?
Suzi: I tried to infuse the film set with love and kindness, even when we were faced with unprecedented challenges. It was a visual and emotional delight staying focused on the characters using their ingenuity and celebrating their differences, to capture them truly being the writers of their destinies. I also loved working with music supervisor Dan Wilcox to build a soundtrack with a female-driven psychedelic, pop-punk vibe that captures Daphne and Velma's rebellious and enduring spirit.
ScoobySnax.com: How did this project compare and contrast to previous projects you’ve done?
Suzi: One thing I will always treasure on Daphne and Velma is the ability to pull from the Scooby Doo series and visual tropes. I also loved digging into building out two iconic female characters who were part of my DNA growing up - Daphne and Velma truly taught me that you can step out of the shadows and be part of the action, regardless of gender.
ScoobySnax.com: What was your favorite memory, and what was the biggest challenge of creating this film?
Suzi: I loved filming the scene with the conflict couch, which is such a great turn in Daphne and Velma's relationship arc in the story. The set was low fi, with analog light up cubes, but rich in physical comedy and performance. The whole production and creative team banded together to bring the scene to life - someone was flipping the light from blue to red off-screen, while SFX held invisible wires to make it move the cubes, and Sarah G and Sarah J really leaned into the physical comedy. It really captured the feeling of the girls navigating a couch in beta testing mode, with the camera beautifully drifting between them.
ScoobySnax.com: Were there ever any plans for a sequel to Daphne & Velma?
Suzi: The door will always be open to sequels with the Scooby Doo franchise and Daphne and Velma's friendship.
ScoobySnax.com: In 2020, a trilogy of Daphne & Velma books was released. While they aren’t directly connected to the film, they still center around the idea of a sisterhood-like bond and use animated versions of Gilman and Jeffery’s portrayals on the covers. Do you know if the film inspired the book series, and if so, how?
Suzi: I have no idea, but I'd love to connect with the writer of the series!!!!
ScoobySnax.com: What memorable responses or feedback have you received about the film?
Suzi: Vanessa Marano perfectly delivers the line, "and I wouldn't have gotten away with it too if it weren't for you meddling kids." This line wasn't originally in the script, and it was something I picked up with Vanessa doing improv, since I am a fan of the series and felt it was a must to have in the edit room. One of the execs was on the fence about including the line. After it played at Comic Con, the audience went wild after Vanessa delivered the line, and the exec turned to me and said, "I really thought we shouldn't include it." While acknowledging it was the right choice, seeing how the fans reacted. It made me feel like I was the right director on the project and that my fandom paid off in the end.
ScoobySnax.com: What unique contribution do you feel this film brings to the Scooby franchise?
Suzi: I think Daphne and Velma is an unapologetically female perspective and shines a light on the women of the series who truly deserved their own film after several decades of solving mysteries while seeing the stories through the male gaze.
ScoobySnax.com: What do you most hope audiences will take away from this film after watching it?
Suzi: The film is truly inclusive storytelling, and I hope audiences are empowered by Daphne and Velma's kindness and heart, and how they complement and respect each other's strengths and differences to find solutions.
