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alisa perren

An Oral History of 'Batman: The Animated Series' - 0 views

www.vulture.com/...atman-the-animated-series.html

Batman: The Animated Series oral history animation cartoons television

shared by alisa perren on 09 Jun 19 - No Cached
  • We all gravitated toward old New York and some of the traditional architecture, and that’s all very much Art Deco. Tim Burton’s movie was more Gothic, but we wanted it to be a little more stylish and a little classier, so we leaned away from just horror and Gothic and we leaned more into the Deco elegance in the ’40s in New York. That birthed this timeless feel, where it felt very authentic in a ’40s setting, but it was contemporary story lines that we were telling. We could see mobsters and ’40s vehicles and dirigibles — and yet Batman had technology that was way beyond that time period. So it evolved into what we were calling “Dark Deco.”
alisa perren

'Batman': Michael Keaton Vetoed Michelle Pfeiffer Role in 1989 Film | Hollywood Reporter - 0 views

www.hollywoodreporter.com/...feiffer-role-1989-film-1220139

Batman Tim Burton

shared by alisa perren on 24 Jun 19 - No Cached
  • . “The Warner Publishing brass, generally speaking, were not a bunch of happy campers that they owned a comic book company,” Uslan says. “They only saw value in Superman.”
alisa perren

Deep Inside The Comics Business Of 1980s & 1990s With PAUL LEVITZ - 0 views

www.newsarama.com/0s-1990s-with-paul-levitz.html

Paul Levitz comics

shared by alisa perren on 31 Jul 19 - No Cached
  • When Jenette Kahn came in as DC's Publisher in 1976, remember the company was very small. There were probably only 30 of us when she got there. I ended up being one of the core group of people with her and Joe Orlando who were trying to figure out how to move the company forward.
  • So I got to be the primary draftsman on the first standard written contract that DC ever used for freelancers when the copyright laws changed in the mid-'70s.
  • One of the more important things that I did, around the tail end of 1980 to the beginning of 1981, I moved from the editorial department, as Jenette becomes the president of the company and I moved to being what in modern terms you would define as a chief operating officer of the company, the head business guy.
  • ...17 more annotations...
  • nd how to build a real marketing team at DC, how to create an internal licensing division…
  • the heart of the job was being the inside guy who made the place run for the next several decades.
  • If there had not been a direct market, my guess is that the industry as we then knew it would have disappeared by 1984 or 1985.
  • They will probably buy based on that, in part. So credits on the covers, marketing things based on the name of the talent, will matter. Printing it better so people can actually see the artwork - you have to remember how dreadful the printing on most comics was in the early 1980s.
  • DC and Warner Bros. were sister companies when I came on board, but the turning point administratively was in 1989, when Time and Warner merged. Prior to that, DC was part of Warner Publishing, which was a unit of Warner Communications that had a book company, MAD Magazine, DC, a newsstand distribution company, and some other minor interests.
  • As they were juggling out and putting together Time Warner, we were moved over to being part of Warner Bros., the movie company. We were a functional unit of that and our bosses were suddenly in Burbank, and we had to adapt to their systems in some ways.
  • There was very little impact in the early years of Warner Bros. Warner Publishing had been a very benevolent corporate overlord toward us; Warner Bros. equally so when we moved over there.
  • There were more resources available in theory and sometimes in practice. We were able to invest more in building some parts of our business, able to pay some people better, which was nice.
  • But generally speaking, the movie companies didn't view comics as a particularly relevant part of their world. They wanted us as part of them because we have Superman and Batman - particularly in 1989, Batman was going to be a key asset of Warner Bros. for quite a number of years (in their perception - rightfully so).
  • We had good bosses over there, had good relationships with them, and it meant I was on planes to Burbank more often in my life. But there weren't dramatic day-to-day changes because of it.
  • ou mentioned that because of you were marketing to an older customer, you had to build up the names of the talent to sell to them. That had ramifications in the early '90s with the formation of Image and other studios.
  • We had been expecting something on the model of Image for seven or eight years, maybe more, before it happened. It was United Artists. The model had existed historically in the movie business. It was very clear that that could happen in the comic book business.
  • ome of it clearly was not going to be sustainable because so many of the copies weren't being sold for anybody to read, but they were being sold in carton loads for "investment." That was clearly not going to be sustainable.
  • Well, we were in a v
  • ery lucky position because we had the most stable parents in town. We could always go live with mommy and daddy. There was no situation where we were in danger unless the whole business evaporated
  • Most of it was what was going on because of Marvel's owners.
  • t was the same thing that pushed Marvel into bankruptcy. The operating business of Marvel was a very healthy business. But financier Ronald O. Perelman's manipulation of the financing at Marvel pushed them into bankruptcy. And that made it an enormously challenging time for the people who were running the company, and an enormously challenging time for the industry as a whole.
alisa perren

Bye-bye Zoom, Ink and Vertigo: DC to consolidate its publishing under one brand - The Beat - 0 views

www.comicsbeat.com/dc-consolidates-publishing

DC comics all ages publishing

shared by alisa perren on 24 Jun 19 - No Cached
  • The “ages and stages” concept is something I’ve talked about for a long time here at the Beat. It’s essentially the idea that a reader moves through different versions of a character as that readers grows and matures. This stands in contrast to editorial philosophy where Batman and Spider-Man develop right along with the same readers, ad infinitum. The latter way leads to angry fanpersons endlessly complaining in message boards that it is not “their” Duo Damsel. While audience retention is important, capturing new readers is just as important, and perhaps this new idea will help with that.
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