As a fan of both live-action and animated productions, I must say it’s always a delight to see familiar faces like Formberg grace our screens. The creative process behind Creature Commandos was truly unique compared to my work on the Harleyverse. Working with James Gunn, who had already penned all the scripts, allowed us to jump right into production without much delay. It was like having a fully baked cake waiting for us!
Over the past few years, DC’s Harley Quinn animated series has been offering viewers an extraordinary interpretation of the franchise’s lore. Developed by Patrick Schumacker, Justin Halpern, and Dean Lorey, it has moved across various streaming platforms to establish itself as a beloved title among fans. The franchise’s inaugural spinoff series, Kite Man: Hell Yeah!, recently debuted its first season this summer.
Recently, Lorey had a chat with ComicBook to delve into the most absurd aspects of producing the first season of Kite Man, future plans for the “Harleyverse”, his role in James Gunn’s upcoming Creature Commandos animated project, and other topics.
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FanOfComics: As a fan of DC Comics, it’s been fantastic to witness the ongoing success of the Harley Quinn universe. From a creative standpoint, how does it feel to have reached a stage where the series has tie-in comics, a spinoff, and such an overwhelming response from fans?
As a devotee speaking, We’re thrilled with the stage we’ve reached in what we’ve dubbed the “Harleyverse.” It’s invigorating to see numerous projects materializing from our labor. To be frank, introducing Kite Man was a significant stride for us. I know there were some question marks as to why we chose him first among many characters. We discussed various options, but found him an amusing and accessible starting point. Plus, he offers a massive scope for self-redemption. And so, we decided to embark on that journey. We have several other characters in the pipeline, which are quite far along in development. Our ambition is to expand this universe, and we’ve received encouragement from James Gunn, Peter Safran, and Warner Brothers Animation. So, we’re eagerly looking forward to growing this world.
Can you tease anything at all about the things that are in development?
I deeply yearn for the ability, but alas, I am unable. In truth, I am eagerly longing for it. However, I can’t yet. I’m keeping my fingers crossed for some updates on this matter quite soon, hopefully on at least one of them. Trust me, there isn’t anyone who wishes to discuss it more than I do.
I’ve chatted with Justin and Patrick about Harley versus Kite Man, and the fact that they gave you a lot of freedom creatively this time. How did it feel to make that leap in your collaborative creative process, which has been ongoing throughout all the shows you’ve worked on together?
For quite some time now, Harley was a joint venture among the three of us, and we managed it during seasons one and two. Later, I embarked on another project titled Big Shot, leaving them to carry on independently in seasons three and four. However, I returned to oversee season five, finding it intriguing because I had a hand in creating it initially but subsequently stepped into a world others had developed. It was truly enjoyable for me. In an attempt to return Harley to its roots, we introduced a fresh setting and a new antagonist hinted at the end of Kite Man, which made my return all the more exciting.
As a passionate fan, I’ve been fortunate enough to collaborate with an array of talented individuals, some of whom I believe are poised to take the helm as showrunners in the near future. On ‘Harley’, I’ve worked closely with Katie Rich, who I strongly feel will make a fantastic showrunner when her opportunity arises. Similarly, for ‘Kite Man’, Chris Mars was my right-hand man and, should there be more seasons, he’ll likely step into the role of showrunner. It’s been an incredible journey to work on these projects simultaneously – ‘Kite Man’, ‘Harley’ season 5, and ‘Creature Commandos’. Juggling all three was quite a challenge, but I couldn’t have done it without the support and hard work of my outstanding team members.
For Kite Man, “Cheers” has been a significant source of inspiration since it became Noonan’s. I wonder if there’s something unique about basing the narrative around a bar that makes it such a rich ground for storytelling?
Initially, I’d like to express my deep affection for the comic series “Hitman,” penned by Garth Ennis. A while ago, I drafted a pilot script for the Sci-Fi Network, aiming to create a “Hitman” television show. My fondness for Noonan’s concept was always palpable. To differentiate “Kite Man” from characters like Harley, we considered a unique take on multi-camera setup, despite venturing far beyond its typical boundaries. Instead of focusing on well-known villains, we chose to develop a group of less prominent characters and misfits that might not be taken seriously by others. In contrast, many of the members in Harley’s gang were more established villains. The smaller-scale antagonists in “Kite Man” made it easier for us to distinguish between the two groups. Our aim was to create an environment where these outcasts could find solace, much like “Cheers,” where there was a welcoming place for those who had nowhere else to go. This fundamental idea guided our work on “Kite Man.
In our previous conversation prior to the series debut, you were unable to discuss details about the Beast Mode arc due to spoilers. Now that we can, could you share your thoughts on why it was significant to address toxic masculinity in such an over-the-top manner during this storyline?
The creation of Beast Mode held significant importance to us. During its conception, we aimed to grant Kite Man a temporary power since he lacked one, which made him feel inferior compared to others. We brainstormed various ideas and ultimately decided that the antithesis of his kind-hearted nature would be an overly toxic masculine character. However, initially, this transformation was too extreme in the early drafts, making Kite Man come across as a jerk. Later, we realized he shouldn’t embrace this change; instead, he should yearn for help to escape it.
We adore the concept where Beast Mode reveals Kite Man’s humanity and yearns to return to his old self. In essence, Beast Mode symbolized the antithesis of Kite Man. It was entertaining for us to witness this aspect of Kite Man, and it served as a humorous way to poke fun at our high school bullies. We invested significant time in developing ‘What are his abilities?’ His powers essentially allowed him to act like a jerk. Overall, we enjoyed exploring this angle.
Of course, one question that intrigues me as well is the enigma surrounding the time-traveling restroom. I’m curious about its origin – how did that idea originate? Was there any debate or negotiations involved while developing it for the show?
In our group, there was no resistance to the idea. We found it amusing to envision Bane in the 80s. Honestly, I can’t explain why we chose this decade for him. It just seemed fitting somehow. I spent my childhood in the 80s, and it felt like the era that would best suit Bane’s mischievous nature, with things like candy cigarettes being readily available then. That was also the time when asbestos was used in homes, and other intriguing aspects.
After devoting considerable effort, we developed the guidelines for operating the time-traveling toilet. However, it seems we never clarified the steps for going back in time. As I recall, it was something like defecation and flushing. But I’m not certain if we ever explicitly stated this. When returning to the present, I believe the process involved urination followed by flushing. There are many other aspects of its operation that we haven’t delved into yet, but we have established a good deal of the rules for the portal toilet.
After the full release of the Kite Man series, which aspect are you most proud of?
Initially, when crafting the romantic dynamic between Golden Glider and Kite Man in our show, we aimed to make it unique from Kite Man’s previous relationship with Poison Ivy, which we felt was largely based on the notion that Ivy was far beyond his league. We introduced Kite Man in the second episode of season one, the Bar Mitzvah episode of Harley, to illustrate the kind of unwanted attention she often received from men like him. However, as we developed the character, we grew fond of him and decided to explore a relationship where viewers would genuinely root for their happiness. In our portrayal, we aimed to create a bond between them that was distinct from Kite Man and Ivy, offering an emotional journey that felt fresh and engaging.
The other thing that I was really happy with it was the resolve of Kite Man’s dilemma. We had started with a problem we didn’t have an answer to. We always knew we wanted to have Kite Man, for some reason, face off with Darkseid over the Anti-Life Equation. But then the question was, how could Kite Man defeat Darkseid? We’ve already established he can’t really do anything. What would that look like, and what would be satisfying? And then, somewhere in there, we started thinking about, ‘Maybe it’s just his basic decency.’ What allows him to win is that he’s the only one who can control the Anti-Life Equation, at least for a small amount of time, before letting it consume him, because he doesn’t have much ego to have his will bent. The way that that resolved, I was very happy with. I like that it came from a good place for him, and I was particularly happy with Exorcist rules. So I love it.
Recently, there’s been a lot of buzz about the show Powerless on social media. Many people believe that the show was ahead of its time and are still discussing its merits. Even though it didn’t receive much recognition when it was originally aired, I’m curious to know your thoughts about its lasting impact now?
Reflecting on the experience, I must admit that collaborating with those talented individuals was truly delightful. Initially, it posed a challenge since we were tasked with creating a superhero series. However, our mission was to keep the superhero elements minimal, which left us questioning the purpose of our assignment. Eventually, as episodes progressed, it became apparent that the network was losing interest in the project, giving us more creative freedom to explore our original vision. This shift resulted in more enjoyable episodes and we were fortunate enough to work with many of these talented individuals again on shows like “Harley Quinn”. Notable names include Ron Funches, Alan Tudyk, Natalie Morales, Matt Oberg, who all made significant contributions to the series. I fondly remember our time working together in live action productions, and although the show is no longer airing, I cherish the experiences and friendships that were forged during its run.
I’d like to discuss the Creative Commandos project. Could you tell me about the creative journey behind it compared to your work in the Harleyverse?
Working on this project has been an absolute delight due to a unique setup: James Gunn had already written all the scripts prior to filming, which is unusual as I typically write for shows I run. The scripts were exceptional, and everyone was incredibly enthusiastic about them. As a result, production could start sooner than usual since we had scripts ready to go. Additionally, we’ve been fortunate to secure an incredible voice cast, with Harley’s voice, Kite Man’s, and the Creature Commandos’ all standing out. Working with James has been a joy, as he has a very clear vision for the show and is intimately familiar with the world. Overall, it’s been a pleasure making this show, and I believe it will be a major release. While some might not yet realize the fantastic experience it promises, we’re incredibly proud of it.
Of all the characters from Creature Commandos, which one are you particularly eager for others to become acquainted with, on a personal level?
I adore them all, truly I do. Yet, there’s something special about G.I. Robot that captures my heart. You see, he’s the one I hold dear. He’s portrayed by Sean Gunn, and I was intrigued when Sean arrived to record, as I hadn’t quite envisioned how it would sound or what sort of robotic qualities it would possess. However, Sean infused such a heartfelt humanity into it. Interestingly enough, he also played Weasel, another fascinating character. Each of these characters is prominently showcased in various episodes, allowing us to delve deeply into their personalities.
Without a doubt, this series is intended for mature audiences. Yet, there’s an undeniable charm to several characters as you delve deeper into their narratives.
Is there a specific question about the Harleyverse or your work at DC that you wish someone had asked but hasn’t so far, even after all these years of interviews?
Man, I gotta say, one of the coolest things about creating this show was that folks weren’t keeping a super close eye on it while we were working. It was just this animated project that maybe people didn’t have high hopes for. DC Universe wasn’t really a thing yet when we started, and it took off slowly after launching. There were some dedicated fans at Warner Brothers Animation who supported us, but most folks weren’t tuned in. This allowed us to create the show exactly as we envisioned it, without too much interference or pressure.
Initially, our production didn’t garner much interest, but when it scored exceptionally well, it began to capture attention. People were intrigued and asked questions like, ‘What is this? What’s going on?’ There was a moment of surprise because they hadn’t realized we were creating an R-rated show. However, they allowed us to continue unhindered. If we had followed the traditional development process, I doubt we would have achieved a show as true to our vision as we did. This unique path has shaped the world of the series. Characters like Kite Man clearly fit within this universe. We hope to announce more projects in this vein that will excite fans.
Harley Quinn and Kite Man: Hell Yeah! are both streaming exclusively on Max.
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2024-09-21 01:10