Dennis Woodyard Interview, Dec. 2005

In the first break from the chatroom format of grilling those who worked on Thundercats, fans got to ask Dennis Woodyard - a second season writer and character designer - their questions via email. These are his answers. Many thanks to Mr. Woodyard for indulging us and also to the many fans who contributed questions. Enjoy.

How did you get started in the industry?

After attending the School of Visual Arts in New York City, where I majored in illustration, I set out to pursue a career as a comic book artist, but those plans didn’t pan out. Instead, I did various art jobs, including freelance illustration for children’s educational filmstrips (pre-video age). A friend and former classmate, asked me to work with him in a small animation company that did cheap record spots for TV. We both had taken animation classes in SVA. The record spots were mostly camera moves over still pictures, but for some I designed and did some very limited animation (in all fairness I’ve never called myself an animator, if you ever see those spots you’ll know why). In any case, those record spots help me get a staff job with a company called Image Factory that did graphic animation (station IDs, show opening, logo treatments) for TV networks and advertising agencies. The company was small enough that I got to do a little of everything, concept, design, art prep, animation camera shooting, and editor. After leaving the Image Factory, I continued working in graphic animation for several years with a small studio, Doros Animation. Through a contact in the same office I met the director of the animated series Adventures of the Galaxy Rangers, which was just in the early stages of development. I signed on to the project as a storyboard artist and character design (but only did some very minor characters, the main character were designed by the talented Ed Lee) for the promo reel. The series got sold and I remained with the project for the 52 episode production. It was my first animation series and screen credit. More importantly I met a great group of guys who became my life long friends.

What other shows might you have worked on?

After Galaxy Rangers, I worked on Thundercat’s and other Rankin / Bass shows, (Silver Hawks, Comic Strip - Tigersharks- Mini-Monsters - Karate Kat - Street Frogs), a direct to video titled “Merlin and the Dragons”, Exosquad, Gargoyles, Men in Black, Bad Dog, Nascar Racers, Ozzy and Drix, Santa Baby (a Rankin / Bass xmas TV special and DVD), Teenage Mutant Ninja Turtles and Stripperella. There are a couple of more newer shows I’m helping on, if you like check out my web site for updates.

How did you come to be involved with Thundercats? What were your reasons for your decision to be involved with the show?

As I remember they called me on a recommendation from Ed Lee, the Galaxy Ranger character designer. Peter Bakalian, R /B producer, who made the call, set up a meeting for me with Lee Dannacher. We met and hit it off immediately. I think a day or two later I was hired, and as they say, the rest is history. Before coming on board , I had seen several episodes of the Thundercats and was very impressed with the production values. I have to say that working there remains one of my favorite working experiences. The office and staff was small and everyone was lot of fun to work with.

What were the inspirations for the conceptions of Shadowmaster, Pyron, and Zaxx?

Shadowmaster is the character I’m most proud of designing. Actually his cloak was thought of first. I had submitted a story idea where one of the ThunderKittens find that magic cloak and couldn’t control it. But, the idea was rejected, but I liked the cloak so much I had to use it. I can’t speak on the inspiration for the conception of Pyron and Zaxx, although I designed them, I just tried to follow their description from the script. But design-wise, I think Pyron was inspired by Ray Harryhausen movies with a touch of comic book legend Jack Kirby. Zaxx was kind of hard to design, the first attempts looked a lot like Foghorn Leghorn, the Looney Tunes character. But I’m pleased with the final design.

Who decided upon the accent (Bronx/Brooklyn?) for Zaxx, and why was that accent chosen?

I couldn’t tell you how that came about. I wasn’t involved in the voice recording at all. Lee Dannacher might have the answer to that.

Was there any reason for the medallion that Zaxx wore being called the "Rosenkrantz medallion"? Does its name have any relation to the character Rosenkrantz, one of the two ill-fated messengers from "Hamlet"? (This is assuming I have the name correct.)

I really have no idea on that one.

The only provided history of Zaxx was that he was a former ruler of the southern hemisphere of Third Earth and a rival to Mumm-Ra.

When you conceived of Zaxx, did you have any other thoughts of his history? If so, do you rememer any of those thoughts?

Again, I only designed the character from his description in the script. And to be honest I haven’t seen that episode since I worked on it. The odd thing was that the last season was not aired in New York were I lived at the time.

What exactly is Zaxx, anyway?

Besides being a four-arm birdman, I have to see the episode again to give you a better answer.

Which is your favorite continuing character? Your favorite one-shot character?

Oddly, my favorite continuing character is Mandora. I actually hoped they'd do a spinoff show with her. My favorite one-shot character is Shadowmaster, not just because I created him, but I also think he had potential to develop into a good recurring villain.

Did you have a long time to plan a finale, or did cancellation come rather sudden? Was the episode "The Last Day" ever meant to be a finale originally?

This seems more like a question for Lee Dannacher .

What was your favorite episode that you wrote?

Of the two episode I wrote, “Shadowmaster” and “Well of Doubt”, “Shadowmaster” is my favorite. The original premise actually had a ton of other stuff in it, including a subplot with new Thundercat-like characters in the Shadow Realm. It being my first script, I really over wrote it. There was way too much stuff to fit in a half show. Thankfully, Peter Lawrence guided me through the process of editing it down to the best parts. (Thanks, Peter). One of my favorite part was the ending where Lion-O’s father appears next to Jaga. That was my “nod” to Star Wars, you guys know the scene I mean.

How long did it usually take to come up with an episode, and was there concern about keeping a continuity with the story from what prior episodes established, or did each writer get to kind of do his own thing/take the story in new directions? In other words, was there any kind of pre-determined story arc overall or no?

From my experience, there was a definite overall "story arc" to the show. But within that there was room for different stories. The story editor was generally in charge of making sure the stories fit the established nature and direction of the show. As for time to come up with a show, I remember having four weeks to write an episode after having submitted a short premise, than a short beat outline. After submitting the first completed draft, the story editor would ask for edits and changes. You would then make the changes and submit the final draft. But usually, the script would still be edited down again after the final voice recording was done.

Was it your plan to have Pumyra and the others in episodes that featured more of them in the action and to show more of each of there back story? like Pumyra the nurse, Bengali the black smith and how they acquired those skills etc. But you weren't able to show that side of them cause of time and so forth?

I can’t answer this one.

Was there any character or storyline you came up with that wasn't used? If so, do you remember what they were, why they weren't used and do you have any sketches or drafts that you kept?

Actually , I did do a couple of story ideas that were rejected for various reasons. Both “Shadowmaster” and “Well of Doubt” grew from rejected ideas. In the case of “Shadowmaster”, my first idea was his cloak of nightmares was found by WilyKat who accidently unleashed its powers and shadow creatures. But. that tale didn’t fly. In the case of “Well of Doubt”, my first idea was that the terra cotta guardsmen was activated by a magic headdress found in a cave by WilyKit. They, the guardsmen, believe she is the ancient princess they were made to protect. Although interesting, it would taken too much back story to pull that tale off. I still have some of these early outlines, somewhere. I’ll try to find them and share with you, in the future.

I know that Leonard Starr and Peter Lawrence oversaw most of how the show was run. But did you get to meet Ted Wolf? and did he have anymore input into the show besides coming up with the concept and character designs of the original characters. Is there anything more you can tell us about Ted Wolf and how was he like?

I don’t recall meeting Ted Wolf, myself.

We can see from your site that you hung onto a lot of memorabilia from the show - cels, storyboards, character design sheets and the like - and have indeed posted those items for sale. Is there anything you saved that you won't part with, perhaps for sentimental reasons, and if so, what is it?

There are several items I won’t part with, mostly some the animation cels featuring the Shadowmaster and other characters or props I designed. I only kept the two storyboards from the shows I wrote, so they are very dear to me. I hope to post more pages from them soon or I may wait until the DVD with those episodes is released. But, since they both are at the end of the series run, the DVD may not come out for years. One of my favorite items is a copy of the Thundercat’s computer game for the Amiga computer. I actually picked it up in Paris, France, so it's kind of rare. But, as I get older, I start to feel like too much of a pack rat with all the stuff you hold on to from the past. As with, the animation cels I sold, I had them in a box for over 15 years and lugged them across country from New York to LA, only looking at them once in a blue moon. Then, with the internet, I realized there were fans, like you, who would appreciate a chance to own some of the Thundercat stuff. So, I keep offering some of it for sale and post it on my website.

Share with us your fondest memory of working on the show.

I really can’t single out one fondest memory. As I said before , the whole experience was just so positive and rewarding on so many levels, it’s impossible to pick one moment. I was humbled by the fact that I was able to work with a great group of talented people on a show that’s become a classic that’s still enjoyed and loved by so many fans. I think of it as the closest thing I’ll get to immortality.

What have you been involved with since Thundercats? And how does that compare with your experience working on Thundercats?

I’ve listed the other shows I’ve worked on in a earlier question. Generally, the other productions were with much larger production teams at major studios in LA. Just by their nature, the experiences were not as intimate as the Rankin / Bass office. But, professionally , they’ve been very rewarding. Next to Thundercats, the most popular show I‘ve worked on was Disney’s Gargoyles. It has proven to have a solid, loyal fan base. If you haven’t seen the series check out the DVD. The Gargoyles’ episodes (20 of them) I directed are on the second season DVD (which I think is being released in Dec.) The series is very well written and animated. Definitely worth a look. Another personal career high point for me was being nominated for a Daytime Emmy for Animation Directing for work on the Warner Bros. animated series Ozzy and Drix. This was a very good series that somehow was overlooked by many. But one of my most favorite post-Thundercats job was the Nascar Racers series on which I served as producer and director. It didn’t fare as well in the ratings, or fans heart, as the Thundercats or Gargoyles, but I enjoyed doing the show. It was a 2D /3D animation style with 2D animated characters and 3D (CGI) racing action scenes. I’ll have to put some clips of it on my website sometime.

In addition to studio work, I’ve be developing my own projects under my Dragonfly Entertainment banner. (Please check out my website for loads of art and info.) The main thing I’m doing now is producing a line of animated flip books called Dragonfly Flipz. It’s a new “take” on a basic animation item, the flip book. I won’t bore you with all the details here, but it’s a fun project that I hope people start to pick up on. I was hoping to approach the rights owners to shows like Thundercats and Gargoyles to let me produce flip books from clips of the shows.

Well, thanks for inviting me to share my comments in this interview. I really appreciate your interest in the Thundercats and my small part in the making of it. I wish all the fans my very best and look forward to a continuing dialogue.


Dennis J. Woodyard
Dragonfly Entertainment

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