We never were dry for ideas.Īlso, I had the very best qualified and nicest bunch of people to work with on it and most seemed to enjoy the experience. It was hard work but never felt like it because everything we did was based on stuff I knew and loved since childhood, so I was able to pour all of my various fan interests (comics, camp humor, musicals, horror, etc.) into the series. James: Producing the show was a true labor of love. He really made the character pop off the page.ĭan: What was your favorite part about working on the show? We were so lucky to have John DiMaggio voice Aquaman. His “Outrageous!” was used once in the original script but as we started recording it, I kept asking for it to be repeated at the end of his lines for punctuation and it became the catch phrase of the character.
#BRAVE ANIMATED SERIES COMIC MOVIE#
In this case, Jelenic heard the voice of a former co-worker in his head when it came to Aquaman’s dialogue, while I was basing Aquaman’s design on Steve Reeves, a movie Hercules of the ’50s and ’60’s. So often, these things happen organically as someone chimes in with an idea, another one piggybacks an idea onto that and then we run with it.
James: As I recall, Sam Register pushed Michael Jelenic - my co-producer and story editor who I couldn’t have done the show without - and me to find a different angle on Aquaman. It took a while to win over a certain segment of fandom - most didn’t get on board it seems until after we’d already ended - though I was happy that with our second San Diego Comic-Con panel, we already had some diehard believers who “got us”!ĭan: Whose idea was it to make Aquaman such a charming blowhard? You could argue that this version had a lot to do with making the character popular again. It was an uphill battle at the time because most fans had been conditioned to not trust any treatment of Batman that wasn’t super straight and basically humorless.Īs I guessed, unfortunately, the knee-jerk reaction from a very vocal fan base was to reject it sight unseen (luckily the internet wasn’t as all-consuming as it is now!). James: I went into the show feeling it was a chance to remind people that Batman didn’t have to always be dark and gritty, and show an earlier, lighter version of the character that existed prior to the ’80s. Plus, the chest emblem is markedly different.ĭan: Were you concerned how fans would react to a lighter Batman - something memorably addressed in Legends of the Dark Mite! I was told the show couldn’t mimic the tone of the feature film, which would be way too dark for kids’ TV, and also had to lend itself to a variety of toy treatments.Įarly development design. I later found out that Bruce Timm himself recommended me for the gig after passing on it himself. Years later, Sam Register, president of Warner Animation, though not at the time, approached me to do a new take on a Batman cartoon to tie into the second Nolan Batman film, The Dark Knight. I got to design the characters and pretty much produce that segment, design-wise. James Tucker: Back on Batman: The Animated Series Season 4, we did an episode called Legends of the Dark Knight and I got to storyboard the section that showed the Dick Sprang ’50s Batman.
Part 2 ( click here) is a list of James’ TOP 13 episodes.ĭan Greenfield: So, what’s the secret origin of Batman: The Brave and the Bold? How did you get involved? We’re celebrating with a two-part series – and in this first installment, James Tucker, one of the series’ producers (and a producer on the two Batman ’66 animated features), shows off some of his early character designs and answers a series of questions about the show’s secrets. 14, 2008 - with the episode The Rise of the Blue Beetle! (I love how every episode ended in an exclamation point. Batman: The Brave and the Bold, the delightfully raucous cartoon tribute to the Silver and Bronze Ages, debuted 10 years ago – Nov. PLUS: Producer James Tucker lifts the veil on how the show was put together…
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