Mark Hamill And Kevin Conroy Tease HUSH And A DEATH IN THE FAMILY DC Animated Films

 

They already partially covered Death in the Family when they did Red Hood.

 

Here's to hoping if they do them they don't make them like the killing joke.

 

They suggested the movies. Nothing is actually confirmed yet.

 

I thought Hammil didn't want to do Joker anymore, anyway.

 

Found this on youtube wasn't sure where to put it.
But I'm guessing like me most of us haven't seen it before

Cut scenes from a obscure sega cd game animated and acted by the original animators and cast of BTAS

 

Not sure why they don't make "The Long Halloween" as a movie.

 

That was really good -- thanks for sharing. Besides the videogame music, and the thin plot that was nothing but segues to the next boss battle, that really did look like a BTAS episode.

The "batteries to power, turbines to speed" bit in the Batmobile was a nice touch -- I don't recall that gag ever being done in a regular BTAS episode.

 

It would take multiple movies and it's writer Jeph Loeb is a big wig with Marvel/Disney now. They would have to pay him and probably work out any issues on licensing for using his story. These companies hate to work with the enemy. Back when Wildstorm was bought by DC there was a Gen 13 direct to tape animation coming out by Disney owned Buenvista. A month before it was due out it was shelved because the WB owned the property and they didn't want to promote the rival company's new product, even though their deal predated the purchase, so they wouldn't owe the WB any money.

 

Im not sure how writing licensing works in comics but with writers when you write for a company they don't have to pay you for your story to use elsewhere, you wrote the story for DC and DC hired you to write for them.
It would be like a TV episode writer getting paid extra money if their episode was used on something, the network and producers would get paid but since the writers are usually staff writers for the network, the production company, or the co if company they aren't the ones with the licensing payments.
Again I'm not totally sure but I am kinda sure that's how it works.
Isn't Jeoh !oeb head of all Marvel TV now?

 

Hush would be great to see animated. Especially if they did it with the same quality as TDKR. Though I don't have much interest in an animated adaptation of ADITF. The important bits of that were covered in UTRH.

As for the ones they are fore-sure doing, I'm actually kinda hoping they cancel the Judas Contract movie they have in the works. That title and story should, imho, be handled like TDKR... not made as a cheap new 52 rip-off featuring Damian.

 

It varies depending on what they use, but direct adaptation of stories typically gets the writer and artists some money.
example
Currently, DC pays bonuses only on material that’s a straight and highly faithful adaptation of existing work; for instance, Frank Miller (rightfully) got a check for the recent DARK KNIGHT RETURNS animated movies, but if the next animated film takes its plot from (say) BATGIRL: YEAR ONE but calls it “BATMAN: BATGIRL BEGINS” and adds anything to the story, Chuck Dixon and Marcos Martin will receive nothing. DC has removed itself from the complicated business of having to evaluate how much certain adapted elements are “worth” and instead simplified the system to “pay” or “don’t pay,” with “don’t pay” the default.
Here is how it works
How DC Contracts Work - Thrillbent

In the ‘80s, the powers that be at DC and Marvel (at the time, really the only games in town) overhauled their systems and added royalties to the mix. Unless you were working on top-tier characters like Spider-Man or Teen Titans, the thresholds weren’t easy to meet–initially, at DC, books available on the newsstand had to sell 100,000 copies before royalties were paid, 40,000 copies for books sold strictly to comics shops, and not many did, (but you could dream!); at Marvel, sales were higher but royalties were divided differently between writers and artists. Pluses and minuses to both sides, but an upgrade nonetheless. Both companies also revamped their work-for-hire contracts to guarantee payment for reprints, collections and reissues. Moreover, DC (under the guidance of publisher Jenette Kahn and exec Paul Levitz) drew up a creator-equity agreement for the talent, granting a small but significant percentage of all revenue on new characters created by writers and artists. Marvel later followed suit with something similar, and while sales (and royalty thresholds) have moved up and down over the years, that’s pretty much the way the system’s worked ever since.

By way of example, let’s take Impulse, a character I co-created with artist Mike Wieringo. Mike and I signed a contract that grants us a small percentage of all revenue DC might earn off Impulse action figures, merchandise, guest-starring roles on Young Justice or Smallville, what have you. It’s hardly buy-a-boat money; I get maybe a couple hundred bucks off of every action figure (because of the equity deal) and a few cents off every trade paperback collection or digital sale (because of the royalty agreement), but it adds up and I do see something, enough for a nice meal every few months. And that’s the deal I agreed to at the time, and that’s fine. But that’s the limit of DC’s legal, contractual obligation to us.


The new system is even more confusing
DC Entertainment Revamps Comic Book Royalty System for Creators

It's caused some issues
http://ca.ign.com/articles/2015/05/05/comic-creator-calls-out-dcs-obnoxious-royalty-system
Gerry Conway Says DC Entertainment is Ripping Off Creators

It can also depend on individual contracts. For years DC wouldn't sell the Mike Grell Green Arrow trades other than Longbow hunters due to how much he'd get because of royalties. He'd gotten a very good contract from what I remember from a con panel because DC had sold his creator owned character to TV (Jon Sable I think, or one of his other creations) without his approval or not following the rules in his contract. So when he got to write the Green Arrow regular series (as opposed to a graphic novel)his contract stipulated larger percentages due to the Tv issue. Now that the Arrow show is popular and they can sell more copies, they just now started reprinting his run in trades.
But the first volume didn't come out till a year after the first season of Arrow.

Oh yeah Hush was also a Jeph Loeb Story.
It's kind of like how you don't see merchandise for or see the character of the original Azrael (Jean Paul Valley) anymore he was created by Joe Quesada...current head of Marvel comics. He said some things back in the early 2000's that made DC stop crossing over with Marvel. Paul Levitz didn't take too kindly to the potshots Quesada made towards DC and stated that there wouldn't be any more intercompany cross-overs until Quesada leaves. Of course Levitz is now gone, but due to the way things are, it isn't likely to change anytime soon with Disney in Charge.

So as I said depends on the person, the contract and the situation.

 

Superman/Batman: Public Enemies, was a story that was written by Loeb, and later made into an animated movie. I don't think Loeb working for Marvel would make a difference, if WB/DC Animation wanted to adapt another one of his works.

 

You have a point. I forgot about that, but that was back in 2011 and they started work on it before Loeb became Executive Vice President, Head of Marvel Television, and they haven't used any of his stories since. But who knows, I could be wrong, I just keep hearing all these inside tales form people I know and it leaves me jaded. It's apparently gotten worse at both companies as far as going out of their way to not pay royalties which is why the Judas contract will probably a Damien story so they don't have to pay Wolfman and Perez.

As I posted previously according to Mark Waid
Currently, DC pays bonuses only on material that’s a straight and highly faithful adaptation of existing work; for instance, Frank Miller (rightfully) got a check for the recent DARK KNIGHT RETURNS animated movies, but if the next animated film takes its plot from (say) BATGIRL: YEAR ONE but calls it “BATMAN: BATGIRL BEGINS” and adds anything to the story, Chuck Dixon and Marcos Martin will receive nothing. DC has removed itself from the complicated business of having to evaluate how much certain adapted elements are “worth” and instead simplified the system to “pay” or “don’t pay,” with “don’t pay” the default.

Which is why we haven't seen many faithful adaptations in awhile.

 

If there's a Chance still The Long Halloween gets Animated, have the character designs be based after Hellsing Ultimate. And one thing, Cast Jason Marnocha as the Joker & Bob Odenkirk as Capt. Gordon.

 

Awesome.

Bring it on.

I wonder if Kevin Conroy will also double as Hush like in Arkham City or somebody else, personally I'd like to see Lance Henriksen as Hush.

I'd be game for that.

Man that sucks.  

 

Man, I'd really like them to make the Wonder Woman: The Hiketeia into a movie. Come on, it has Batman so you could even misrepresent it as a Batman/Wonder Woman team up.

 

I would like to see them introduce Tim Drake in the animated movies and bring Jason Todd back too, maybe even do a Red Hood and the Outlaws movie, then they can do Death OF the family as a big possibly two part movie, or even do the death and resurrection of Damian as a big two part movie or the Forever Evil storyline would be a big good movie to do as well.

So yeah for me it's:
1)The Death and Ressurection of Damian Wayne

2)Death OF the Family (after introducing Tim Drake and bringing back Jason Todd)

3)Red Hood and the Outlaws (we've already introduced Starfire, this would be a great opportunity to bring back Jason and introduce Red Arrow/Arsenal)

4)Red Arrow/Arsenel story. Telling his story as going from Green Arrows partner to drug addict the whole story with the villain whose name I forget that blew up his city and killed his daughter and he loses his arm. It would be a great story for non-regular character.

5) the Nughtwing storyline with Blockbuster, when Blockbuster, torched Hayley's Circus, blew up Grayson's apartment building, etc. Grayson was stretched to his limit and was also dealing with Tarantula who shot Blockbuster and Nightwing didn't stop her and he felt responsible thus putting him in sort of a shock and PTSD tailspin of sorts. It would be a good solo Nightwing movie.

6) Forever Evil storyline. I liked the storyline and the whole thing with Nighhtwing being unmasked and then "killed" was great and could lead into an animated series or even another series of movies in the Grayson / Agent 23 story lines.

7) Battle of the Cowl? Why not but we'd have to reintroduce some characters.

8) an original storyline of something I've always wanted to see which was Nightwing and Red Hood team up.

What do ya think? I don't think it's a bad line up as some stories focus on the cash cow of the bat family while also bringing in other characters (Red Arrow) or expanding the Bat Family's storyline and character development (Grayson/Agent 23)

 

Stories I'd like to see
That work purely on story alone.

Joker Devil's Advocate: Joker is convicted of a crime he didn't commit and sent to death row. Batman knows he didn't do it and sets out to prove it. Some great Joker Moments as he's in a regular prison with regular inmates, and we see the Joker in a court room as the defendant. If you could get Hamil to do the voice, there is enough material for it to be really memorable.

Nightwing based off Chuck Dixon's initial run.

BatGirl Year one

A Lonely Place of Dying (Tim Drakes Intro Story)

Robin Movies based off The first 3 Tim Drake Mini series.

Flash Rebirth or any movie based off Geoff Johns run as writer with Wally.

Catwoman based on the Darwin Cooke stories.

Teen Titans with out damien based on the Geoff Johns run.

Formerly Known as the Justice League and I can't believe it's not the Justice League

One based off Mark Waids first story from Brave and the Bold.

One based off the Harley and Ivy mini series.

 

How about an extended version of Mad Love? Harley is very popular right now