BEST PERFORMER IN AN ANIMATED PROGRAM
Danny Jacobs, “All Hail King Julien”
Carlos Alazraqui, “The Fairly OddParents”
Eric Bauza, “The Adventures of Puss in Boots”
X — Jeff Bennett, “Transformers: Rescue Bots”
Reid Scott, “Turbo FAST”
We are happy to welcome back the voice of the Generation 1 Autobot Bumblebee Dan Gilvezan to TFcon Toronto. Also known as the voice of Peter Parker/Spider-Man in the 1981 animated series, Spider-Man and His Amazing Friends, he voiced Goldbug, Hot Spot, Outback, Rollbar, Scamper, Skids and Snapdragon in Transformers Generation 1 and returned to the character of Bumblebee for the video game Transformers: Devastation.. Dan will be appearing all weekend meeting with attendees.
Hasbro’s cinematic universe has assembled its writers room, with a Pulitzer Prize winner, an Eisner-winning comic book author and Marvel Studios scribes among those who will be clacking the keyboard.
Michael Chabon, who wrote the novel The Amazing Adventures of Kavalier & Clay and worked on Spider-Man 2; Brian K. Vaughan, the creator of seminal comic works Y: The Last Man and Saga and showrunner of Under the Dome; and Guardians of the Galaxy and Captain Marvel co-writer Nicole Perlman, will help develop a plan for the creation of an interconnected onscreen universe featuring Hasbro’s G.I. Joe, Micronauts, Visionaries, M.A.S.K. (Mobile Armored Strike Kommand) and ROM brands.
Also in the group are:
► Lindsey Beer, who was just hired to adapt Kingkiller Chronicle for Lionsgate
► Cheo Coker, showrunner of Marvel’s Netflix show Luke Cage
► John Francis Daley and Jonathan Goldstein, the comedy writing team who penned Spider-Man: Homecoming
► Joe Robert Cole (a writer on People vs. OJ Simpson who is also writing Black Panther for Marvel)
► Jeff Pinkner, who wrote the adaptation of Stephen King’s The Dark Tower)
► Nicole Riegel (writer behind the Blacklist script Dogfight)
► Geneva Robertson (one of the writers of new Tomb Raider movie project).
Akiva Goldsman, who won an Oscar for A Beautiful Mind, will oversee the writers room on behalf of Hasbro and Paramount as well as serving as executive producer for all of the films. He is already serving in a similar capacity for Hasbro’s Transformers writers room and the new session is meant to build on its successful fruits and established road map.
What came first, the lyrics or the music?
Lisa: The music actually came first for this one. I was borrowing a baritone guitar from a friend, and I was so inspired by it! I wrote this guitar riff and verse melody but never finished the song. The musical idea was always there in the back of my mind, and I knew it was special for the right situation. When the opportunity came up, to be a part of this special album inspired by one of my favorite childhood toys, I was so excited to put the two together! I brought the idea to my writing partner Joshua Bartholomew, and he was really inspired by it, too. He picked up a bass, and I picked up a guitar, and it all came together pretty quickly.
Lisa Harriton and Joshua Bartholomew with custom white and red JD-Xi synths on a recent visit to the Roland U.S. office.
“Every child in America has grown up listening to Frank Welker bring the adventures of Freddy Jones and Scooby-Doo to life,” said Bob Mauro, President, NATAS. “Frank is an audible magician. He has made an indelible mark on the hearts and minds of us all with his ability to bring these and so many other characters into our lives and make them real. It is with great pleasure that the National Academy bestows the prestigious Emmy Award for Lifetime Achievement to him for his great body of work.”
“I have been a fan of Frank Welker’s work my entire life,” said David Michaels, SVP, Daytime (NATAS). “He is a unique person creating very unique characters such as Curious George, Wonder Dog, Shmoo, Megatron and his body of work over the last 40 years is remarkable. It is our great pleasure to acknowledge his long career in front of his many peers at the Daytime Creative Arts Emmy gala.”
Responsible for creating the voices and sound effects of hundreds of animated characters over a span of nearly fifty years, Welker has garnered the respect of audiences and peers alike for his unparalleled skills as a voice actor. While he has also appeared on television series, variety and talk shows, in pilots and commercials, it is because of his invaluable work behind the camera that Frank Welker has been chosen to receive a Lifetime Achievement Award at this year’s 43rd Annual Daytime Emmys.
Born in Denver, Colorado, Welker developed a stand-up comedy act in college, which got him started on the concert circuit touring with The Righteous Brothers and Sergio Mendes. He continued with stand up, appearing in places including Las Vegas and Lake Tahoe as the opening act for such headliners as Sonny and Cher, Diana Ross, Loretta Lynn, Ann-Margret and Neil Sedaka.
Welker’s first on camera film role was as a bar fight participant in Stan Dragoti’s Dirty Little Billy. He played a college kid from Rutgers University in the Elvis Presley picture, and later co-starred with Don Knotts in Universal’s How to Frame a Figg. Welker also appeared in two Disney films, The Computer Wore Tennis Shoes and Now You See Him, Now You Don’t.
His on camera television appearances included Love American Style, The Partridge Family and The Don Knotts Show. He played a prosecutor in the highly acclaimed ABC special, The Trial of General Yamashita, and as ‘Captain Pace’ beside Richard Dreyfuss’ Yossarian in Paramount television’s pilot Catch-22. He also made appearances on Laugh In, The Dean Martin Roast, The Mike Douglas Show, The Tonight Show, Merv Griffin, The Smothers Brothers, The Burns and Schreiber Comedy Hour and returned to an on-camera role in the film The Informant, playing Matt Damon’s father.
His first cartoon job was for Hanna Barbara voicing Freddy Jones in the legendary Scooby Doo series. It is believed that Frank holds the record for voicing the longest running character in the history of animation Freddy Jones. Frank is still doing the teenaged Freddy 45 years after he began and is currently recording the latest iteration Be Cool Scooby Doo. In addition to Freddy Jones, he has been the voice of Scooby Doo for over a decade. Frank was also voices of Dinky on CBS’s Dinky Dog, Fangface on Ruby Spears’ Fangface and he also played Dynomutt in The Scooby Doo/Dynomutt Hour. He was the voice of Jabberjaw and the voice of Bufford on The Bufford Files, Schlepcar on Sid and Marty Kroftts’ Wonderbug, Herbie on Fantastic Four and seven regular voices on Hanna-Barbera’s Yogi Space Race.
Other indelible characters created by Welker include Wonder Dog, Shmoo , Doctor Claw on Inspector Gadget, including various G.I. Joe heroes and villains, Baby Kermit and Skitter on the Muppet Babies. Also, he brought many characters alive in Steven Speilberg’s Tiny Toons! and in Animatics, including the studio boss Mr. Plotz, and the studio’s questionable “guard” Ralph the Guard. He also played Runt, the sweet but dumb dog, against Bernadette Peters’ Rita the cat; both strays.
His other characters include the wide-eyed monkey Abu in Aladdin to the Green Ghost Slimmer in The Real Ghostbusters. Welker voiced Gargamel‘s cat Azrael in live action/animated film versions of The Smurfs, a role that he will reprise in the upcoming Smurfs Feature Film. He can be heard as Nibbler in Futurama, as well as the very opinionated cat Garfield and the mischievous, curious monkey, Curious George.
Welker voiced many recurring characters in the multiple iterations of Transformers animated series, including eight of the original 14 Decepticons including Megatron, Galvatron, Soundwave, Skywrap, Laserbeak, Rumble, Frenzy, Ravage and Ratbat. Welker also reprised the roles of Megatron and Soundwave in the series Transformers: Prime (retitled Transformers: Prime – Beast Hunters for its third season) and the video game Transformers: Devastation. In the motion picture world he voiced Soundwave in the film Transformers: Dark of the Moon (2011), and reprised his role as Galvatron in Transformers: Age of Extinction (2014), adding to his already large list of roles within the Transformers franchise.
Responsible for a broad spectrum of character voices, and other vocal effects that have appeared over the last 45 years in American television and motion pictures, Welker was listed as the number one “All Time Top 100 Stars at the Box Office for five consecutive years,” not as a box office draw, but in terms of the total revenue generated by the films in which he has participated.
AdamPrime wrote:Hi guys and gals,
I'm the editor of Toy Meets World magazine. Recently we had the great honor of chatting with IDW writer supremo James Roberts. He's a proper gent, so I thought I'd treat you all to the full interview.
TMW issue #1 is undergoing a 'trial launch' right now, and is available at selected retailers in the south west. We're listening to feedback, and will tweak the mag slightly for the proper nationwide rollout in a few weeks' time. If anyone would like an issue, and there is plenty to read about (such as interviews with Simon Furman, Stan Bush and My Little Pony's Nicole Oliver; reviews of all the coolest toys and books; and tonnes of retro fun with TF, He-Man, Sega, Power Rangers and much more!) then please contact me and I can send one out in the post.
Anyway, on the the interview:
When did you decide that you wanted to be a writer? Was it always going to be in comics, or was that something you pursued later in your career?
I’ve always wanted to write fiction for a living, but not comics necessarily. And that’s strange, I guess, because as a child I read comics to the exclusion of pretty much all else: Whizzer & Chips and Buster, then Marvel UK titles (including Transformers, of course), then 2000AD and what little Marvel US and DC stuff found its way to the Channel Islands. I was a member of an unofficial Transformers fan club – a group of pen pals, really – and even then, for most of the time at least, I contributed prose fiction rather than comic scripts. In my late teens I discovered authors like John Updike, Martin Amis, Graham Greene, George Orwell and Julian Barnes.
It's fair to say that the best TF writing has come from the Brits; previously, Simon Furman was considered the godfather of Transformers - were those big shoes to step into? Did he officially pass the torch?
Oh, I dunno – Nick Roche, John Barber and Mairghread Scott all write a mean TF story, and none of them are British. But thank you anyway! I was and am a huge Simon Furman fan – I’d hold him up alongside my more traditional literary heroes as being a formative influence – and I have him to thank for being a Transformers fan. More than the toys, more than the cartoon, more than the Marvel US material… if it wasn’t for Simon’s work on the British TF comic, we wouldn’t be having this conversation. I got his autograph back in 1991, just after #75 of the American Transformers comic came out; he signed the comic for me. I got him to sign it again 10 years later, when I was promoting an unofficial TF novel I’d written; and 10 years after that, in 2011, I had him sign it a third time – and by then I was writing TF stories professionally, and he asked me (tongue in cheek, but still…) to sign something for him.
Simon’s my TF dad, really. There was no “official” passing of the torch – I’m not sure how that would even work…! – but he did give me a copy of the script to the last Marvel US issue with a lovely note that essentially invited me to carry on what he started.
When you're writing a script, how do you keep to the page count for each issue? Do you supply the script that you feel is complete, and the artist squeezes it in to 20 pages?
No, it’s more complicated – and time-consuming – than that. It’s my job to break each issue down not only into pages, but panels. I have to work out the pacing and structure of each issue, how the story unfolds, how many panels I’ll need to do a scene justice. It’s a case of ‘Page 1, Panel 1’, then a description, for the artist, of what needs to go in the panel, and then the dialog that will go inside that panel. MTMTE is a dense comic – both in terms of plot and dialog – and a huge amount of my time is spent working out how best to tell the story over 20 pages. It’s all planned down to the last detail.
Your stories are characterised by an incredible amount of world-building and backstory. You have also introduced concepts relating to Transformer anatomy and beliefs such as Rossum's trinity, the Guiding Hand and so on. Does Hasbro or IDW ever try and reign you in? Or are you allowed to add as much depth as you like to the characters and universe?
I’m encouraged to world-build – it’s almost part of the job description. IDW, Hasbro and readers (I hope) want to see the Transformers Universe expanded and enriched. I’d only be reined in – and it hasn’t really happened yet, touch wood – if I wanted to introduce a concept that was fundamentally at odds with what Hasbro felt Transformers was about, or if my editor thought, frankly, that it was a rubbish idea, or if anyone responsible for singing off my scripts feel that what I wanted to do was too… well, I was going to say “adult”, but that’s not what I mean. MTMTE has always operated on an adult level in terms of not talking down to its audience, and in terms of exploring mature themes.
MTMTE has an intriguing stance on politics, governments and social injustice. It makes for fascinating reading. Have you ever considered a place in Parliament?
I’m a political nerd and I do have strongly held beliefs about how society should be organized and how we could bring about a better quality of life for everybody. Maybe one day I’ll take the plunge and put my money where my mouth is.
MTMTE threw out the concepts of 'goodies' and 'baddies'. The Autobots and Decepticons are revealed to just be people - whether it's Rodimus' crew, the Scavengers or Deathsaurus - under the badge they're all basically the same. We're dreading the day when the war starts again - will the peace (and MTMTE as a comic) last?
You’re giving me too much credit. The decision to end the Autobot/Decepticon war was made by IDW’s editorial team back in 2010, and John Barber and I had a year in which to prepare two ongoings – John’s Robots in Disguise (now simply titled The Transformers) and MTMTE – which would explore postwar life in more detail. Neither John nor I knew how long the peace (and that’s a relative concept; there’s still lots of conflict in the Transformers Universe) would last. We didn’t know whether fans would demand a return to war, or whether we’d find it difficult to set stories in peacetime for too long. But here we are, in Year Five of each of the ongoings, and the war is still officially over.
It’s true that putting the war to bed has opened up a huge number of new storytelling avenues, most of them predicated on the idea that, once (overt) hostilities cease, and the red and purple badges are put to one side, you’re forced to see each Autobot and Decepticon as a Cybertronian – as a character defined by something other than who they used to take orders from. As I say, it’s opened up lots of new story possibilities. All that said, if the war started again – and it well might – that would mean MTMTE had to end. It would just create some interesting new tensions…
Have you petitioned Hasbro for a toy of Rung? We can imagine the packaging now - "Tranforms from ROBOT to ORNAMENT and back again!"
Ha! I’ve never petitioned Hasbro for anything. They do their thing and, from time to time, I learn that, for example, there’s to be a Minimus Ambus figure, or that another of the Lost Light crew – Brainstorm, Whirl, Chromedome, whoever – is being re-released as a toy. I would LOVE Rung to have a toy, but I damaged the chances of that ever happening when I decided, early on, that he should turn into something which happened to have a very limited play value. You see the sacrifices I make for the greater storytelling good?
With MTMTE, you've taken a few obscure characters, and a few prominent characters, and really made them your own. Characters such as Rewind, Whirl and Ultra Magnus will never be the same. Did you set out to do this from the beginning? Did you think to yourself "Now's the time for Brainstorm to shine!!"
Kind of, I guess. I deliberately selected lesser-known G1 characters, but characters I was fond of, to accompany the Big Four (Rodimus, Magnus, Ratchet and Drift) that were at the center of MTMTE Season 1. Autobots like Tailgate, Skids, Swerve, Brainstorm, Chromedome and Rewind were attractive to me principally because they hadn’t been explored in the past. They were recognizable (to more dedicated TF fans, admittedly), but they were almost blank canvasses. I knew that MTMTE – certainly in the early days – was all about secrets and hidden histories, and I couldn’t tell those type of stories with A List characters who had appeared in IDW comics for the last few years, or with characters who had very well-established personalities. I’m immensely proud of the fact that, through MTMTE, these D-listers have become well-loved and well-recognised characters in their own right.
This may sound silly, but do you take voices into consideration when writing a character? Most people would claim to "hear" the voices in their head when they read. Do you ever give it much thought?
It’s not a silly question and I do give it some thought, mainly because so many readers ask me “Who do you think X sounds like?” And I have to give a very dull – but truthful – response and say, “S/he has a British accent and sounds a bit like me.” I have an imagination deficit in this regard, because I really don’t ‘hear’ their literal voices. I do, of course, know their voices in terms of their character – what they would and wouldn’t do, what they’d say, how they’d say it, the rhythms of their speech and so on, but I don’t, say, write a line for Nautica and hear a certain actress’s voice. But I know that many fans DO, and that’s great!
Do you think that MTMTE, with its tales of space-faring derring do, has a wider appeal than regular Transformer comics? If something like Star Trek can have such universal appeal, there must be hope for Transformers. Could we see a TV version of MTMTE in the future, and would you want to be a part of it? Conversely, do you think its nature makes it LESS appealing to some Transformer fans?
MTMTE is an easy sell in terms of concept: a group of misfit Transformers head off into space in search of their mythical ancestors. It’s a traditional quest story and, as you say, very much in the Star Trek tradition. That might give it a better chance with the casual reader – the non-Transformers fan - than other Transformers comics, but I don’t know. Casual comic readers whose Transformers knowledge is informed by growing up in the 80s – people who think Transformers should be about Autobots versus Decepticons on Earth – may prefer something more in keeping with their childhood memories. I don’t know. I think many people have a preconceived idea of what Transformers is about and sometimes that dissuades them from giving IDW’s titles a chance; and unsurprisingly I wish more people would put such notions aside and pick up MTMTE or John’s Transformers, because they’d be pleasantly surprised.
Can I see MTMTE transferring to TV? I don’t know if I can see it happening, but I’d like it to. MTMTE almost reads as a TV show adapted for comics, with most of the stories being structured as if they were a 45-minute episode. And each story arc – the MTMTE fandom even calls them “seasons” – lasts about 22 issues.
If MTMTE ever transferred to the small screen I would love to be part of it. Even if I ended up hanging about making tea for the animators and actors.
TMW thanks Mr. Roberts very much for his time.
News Categories: View All Categories, Toy News, Movie News, Comic Book News, Cartoon News, Site News, Rumors, Media, Event News, Collectables, Game News, Sponsor News, Store News, Company News, Site Articles, People News, Press Releases, Sightings, Reviews, 3rd Party News, Auctions, Interviews, Transtopia, Knock Offs, Editorials, Collector's Club News, Heavy Metal War, Podcast, Contests, Book News, Top Lists