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AL: What’s your relationship to Scooby-Doo, did you grow up watching?
JA: Yeah, absolutely. So Scooby was one of those shows that always just seemed to be on. And for me growing up, it was the classic Scooby-Doo, and it was always — the interesting thing about Scooby-Doo is always like the backgrounds or the monsters were actually quite terrifying. What I loved, because this is in the pre-meta universe that I grew up in, they would always have those guest stars. And if I could get Batman and Robin as a guest star, I was in heaven. That, or the Harlem Globetrotters. And so you’d have these weird guest stars that would show up, but I grew up with Scooby-Doo, like everyone I think, and you know, sometimes it’s like, as a kid, you know about it and maybe you ingest it in some way, and then you know, you kind of get older or whatever and you forget about it. And then it starts seeping back in to your consciousness, and for me, I started working at Warner Bros., and one of my first projects there was working on these Scooby-Doo LEGO shorts, that were really short, done by Stoopid Buddy, which was amazing.
In fact, I don’t know if you’ve seen them, but they’re stop motion animation and I begged them, because Stoopid Buddy was so good and they plussed everything so much and they were able to turn it around so quickly, I was like “Oh my gosh, I would love to have a LEGO Scooby stop animation show.” Because they were really, really fun to work on. And of course I have a working relationship with Jim (Krieg) and Jim is like the Scooby-Doo-ologist, he loves Scooby-Doo, knows everything about Scooby-Doo, so I was kind of inundated with kind of his philosophy behind Scooby. Which in one hand I still believe, and in the other hand, I’m like “Ah, you can do it differently if you needed to.” But he is a fundamentalist, he’s like “No, there can never be anything supernatural, ever.” So it’s really funny that he and I wrote the Scoobynatural script, in which there actually is something supernatural.
AL: And to delve into those LEGO shorts a little bit more, how did you come to work on them?
JA: I was working, I think we had done Justice League Action at Warner Bros., and Jim had said “Hey Jeremy would you want to do some of these Scooby shorts?” I was like “Yeah, absolutely.” And I came up with a ton of ideas, and then we just kind of picked the best 10. They were first little snippets, like little just thumbnails. And we got them approved and I just wrote out quick little, it might have been one or two pages of scripts and sent them off. And I swear it was only like two months later they came back. My favourite one is the Scooby and Shaggy on trick-or-treating, because they realize they get free candy at Dracula’s doorstep, and they keep ringing the doorbell dressed as something different. Those were really a lot of fun, but it gets you in the vibe of Scooby-Doo and then obviously that led to some other stuff.
AL: Did those just air on YouTube or did they ever air on TV?
JA: No I think they were just on YouTube, I believe so. Unless they were on Cartoon Network, but I’m not entirely sure. I think it was just YouTube.
AL: And what was it like to work on a project that was strictly online?
JA: I mean, it’s great. I have two daughters and I feel like, to give you an example, I don’t know when it was, maybe last summer, I feel like there was some sort of Olympics or something. And we turned on live TV for the first time ever. My kids were like “Dad, there’s this place called Chuck-E-Cheese and we need to go there.”
Like they had never seen a commercial to save their life. And you know, you realize in those moments like “Oh, most people consume their media online.” And so the fact that it’s on YouTube, I would dare say, I don’t know the stats but I’m guessing probably people watch more things on YouTube than they do on any particular channel. So the fact that it was on YouTube just makes it that much easier to share. To send to friends and send to people, and so yeah. To me, it’s like immediate, instant gratification that people get to see it, versus having to wait and watch it you know, on a channel somewhere.
AL: Moving more towards Scoobynatural here, watching the “making of” special feature, the whole idea was originally yours, is that right?
JA: Yeah. So what happened was, a few years before Scoobynatural, they were looking for Scooby ideas at Warner Animation, and I was — am a huge fan of Supernatural, I was a fan of Scooby-Doo, and I was like “Guys, this would be a perfect match, we should do this.” And I was told that’s a dumb idea. And so I was like “Oh, okay.”
But I tend to get kind of relentless on ideas that I really like, and so I would keep sending Jim and different people like memes I’d find, and I’d be like “Look, this is in the zeitgeist, this is perfect. I think this would really work.” And then one of my old friends that’s a writer on Supernatural ended up becoming the showrunner, Andrew Dabb. And I said “Oh my gosh, we should do this.” I was texting with Jim and I said “We should really do this.” He said “Well, ask Andrew if we could do it as one of his shows.” I was like “I’m pretty sure I did that, but yeah, I’ll ask again.” And so I texted Andrew, and Andrew was like “Yes, absolutely.” So I said “Jim, you know, by texting Andrew, you now have to get this to happen on the Warner Bros. side.”
And so Jim walked out of his office and there sitting on the little coffee table was an Entertainment Weekly with Jensen (Ackles) and Jared (Padalecki) on the cover. He grabbed it and he went into Sam Register’s office, and he’s like “Listen, we want to do this as a Supernatural episode,” and they were like “Great, perfect.” And so within a half an hour it all kind of came together, and everybody was on board. Jim and I are so cynical though, we kept thinking “Well this is going to get nixed at any moment.” And we had like a budget meeting, we’re like “Okay, this is where they’re going to cancel this thing.” And then the Supernatural people were like “Oh, that’s it? That’s all it costs? Yeah, we can do that.” And we’re like “Oh really?”
But the whole trick of it was we had to write it like a year in advance almost, just to get the animation done. It was obviously collaborative from stem to stern, and not just Jim and I writing it, but you had Andrew who was like throwing in jokes and suggestions, and then you have Spike (Brandt) who directed the animation portion. And he just knocked it out of the park. It was awesome, especially seeing it at the PaleyFest that they had, and they premiered it there was, I don’t know if it’s ever going to get better than that, in terms of the thousands of people screaming and laughing. It was pretty overwhelming, it’s been one of the greatest things I’ve ever been a part of, honestly.
AL: What was it like to see it all come together?
JA: Oh, it was amazing. I mean it was amazing. It was not just amazing because we did you know, like I said we wrote it about a year in advance, and then you kind of, a lot of times in animation you kind of forget about it. You send off things, you know, Spike took it and he was showing us animatics, and we’re like “This is crazy, this is really good,” but then you kind of just stop thinking about it.
And then suddenly, it was like a couple months before it aired, they shoot the live action stuff a couple months before it airs, and so they were going to shoot the little live action bookends, and Jim was like “Oh, we gotta get up there, they gotta let us go up there,” and so we were able to go up there and that was even better, because I remember sitting there when Jensen comes down in his ascot, and I was like “Are you kidding me right now, this is the craziest thing ever.” And so then we got to be in the background of the last scene when he goes Scooby-Dooby-Doo you know. It’s fantastic. I mean, to see anything made is wonderful that you do, but to see it be this kind of strange meta combination of one of my favourite shows and Scooby-Doo and everybody kind of responded to it, almost everybody responded to it favourably. It was great, it was really great.
AL: And why did you decide to use A Night of Fright is No Delight for the base of the episode?
JA: That was Jim. He loved that, and his thought process was that listen, this is a contained area, this is a good classic setup of a haunted house, and so that was, and great name, so we just jumped on that and that was the kind of spine that we decided to write this story. I guess the story could be anywhere else, because Scooby-Doo can be somewhat formulaic in certain ways, but that was the one that Jim wanted to do, and I was all for it, it gave us some parameters too.
AL: And obviously it was a Supernatural episode, but did it feel like you were bringing Scooby-Doo into the Supernatural universe or vice versa?
JA: Yeah. It felt like that. Mainly just because we were playing on all those Scooby tropes but the boys are so self-aware of what’s going on. So it was just like, it was bringing the Scooby-verse into the Supernatural universe. I don’t know, that’s a good question because we still tried to retain so much of what makes Scooby-Doo Scooby-Doo, but then obviously we have things like Daphne’s existential crisis and you know, extreme violence. No, I would just say we were bringing it into the Supernatural universe, because if it was the other way around, I think that the boys would just act more like guest stars, and they wouldn’t be self aware and they would be just part of the adventure.
AL: And was it at all difficult to write Sam, Dean, and Cas into animated form?
JA: No. Like I said, I’m a big fan of the show, so I feel like I kind of know their voices, and it lends itself. Those actors are incredible too, so they were so good at just stepping in, because I don’t think Jared had ever done voice recording. There was a Supernatural anime and it had already been recorded, so he came in and tried to match his voice to the animation. He had never done something where he gets to record it first and then they match the animation to his voice.
But they just knocked it out of the park. Like I was live-streaming when they were doing it and watching it, and I was just like “Man, this is great.” They just walked in very natural, they got it done, I mean it was done so quickly. But in terms of their voices as their characters, you know, it helped that I had watched, obviously, every episode of Supernatural. Then obviously have Andrew, who runs the show, so if there was anything that was a little off center he was going to correct us. So I didn’t feel like that was a problem at all.
AL: What were some of the things that you absolutely wanted to include?
JA: We wanted to include you know, there are some animation tropes like the book that sticks out inside the library bookcase, we wanted to include a chef scene that was cut, but they ended up releasing later, because that’s always a fun Scooby moment, where they bring the monster down to sit down and “Oh, Monsieur, would you like some food?” type thing. A good romp, which Spike had put in Scrappy-Doo in the romp in the hallway of doors, we knew we wanted to put that in. The race between Baby and the Mystery Machine. We had a list, we like went down.
There was a couple we didn’t get to put in that I think we wanted to, but there was even a version where we were going to do the Scooby-Dooby-Doo song at the beginning, but I think if I recall correctly, because it’s been a long time, we were going to try to do animated versions of some of the Supernatural — I think we were going to do like, you know how in Supernatural they’ll say like “previously” or like they would do a song to like the past and they would cut together a bunch of clips from different parts of the show. I think we were going to try to do an animated version of that, like we were going to do an animated version of Castiel and his wings and some stuff like that, but it just got cut for time. It ended up being longer, we wrote it a little longer than probably it needed to be.
AL: How far did you feel like you could push things with adding in a bit of violence to bring it in to the Supernatural world?
JA: They kept, we were fairly tame. Like we would say things and do things, like we had you know, Dean saying son of a bitch and stuff like that, and we thought we were getting away with murder, but I’ll give you an example, when we wrote the scene with the first character that got dismembered, we didn’t think they were going to show it. And then Spike sent us the original, the first cut and it was like, it was Hellraiser. It was like the most violent, we were like “Oh my gosh.”
And it was again, one of those things where we kept thinking “They are not going to let us do this. They are going to shut us down, they are not going to let us do this.” And every time everybody was just like “Wow, this is amazing.” “Yeah, you should push it there,” or whatever. And we were just like “Okay.” And there’s even a scene at the beginning where they’re sitting in the booth and you know Sam says “Oh, how did he die?” or whatever, and Fred goes “Cancer.” And that was, Andrew added that in, and it was so funny and it’s so dark, and we thought “Oh man, they’re not going to let us do this.” But they did. For whatever reason, everybody just decided to let us get away with everything. I mean the notes, usually you have a bunch of notes and people have a lot of suggestions, but the notes for this one especially was like “Wow, this is amazing,” “Wow, we really love this,” “Wow, this is great.” And we just kept looking at each other like, “I’ve never had this happen, this is the best thing ever.” It was great.
AL: Did you have a favourite part or a favourite line from the episode?
JA: You know, the existential crisis is probably one of my favourites. I also like you know, this is going to get me in trouble, but I also like Dean saying “Well Castiel’s sort of like a dog,” I thought that was really funny. I like that Velma kept talking about Sam’s shoulders, I think that’s hilarious. But probably the existential crisis to me was really funny, when Daphne’s like “So wait, is there a hell?” And Fred’s just like “Are you telling me this entire time we could be out hunting you know, vampires rather than real estate, evil real estate people.” I thought that was great too.
AL: Working with a franchise like Scooby-Doo, did you have parents that were like “What is this, my three year-old child is now scarred for life”?
JA: Luckily because it was done in Supernatural, I did have a couple people you know, listen, not everybody’s going to be happy. And that is definitely the case when it comes to any franchise that you work with. I have now successfully ruined a bunch of people’s childhoods, what they’ve told me at least on Twitter. It’s like “Oh, you’ve ruined Supernatural, oh you’ve ruined Scooby-Doo.” And you know, you want to respond and just say “I didn’t ruin anything, this is just a different side tangent.” But I’ve had people say “Oh this is, I let my kid watch it, and it ended up being violent,” and I thought “How did you not know? It’s Supernatural.” They were really good about promoting that, so. I had a couple people tweet at me but what do you do. You can’t do anything. You just have to move along.
AL: Seems like ruining someone’s childhood is a rite of passage in the industry?
JA: Yes, yes it is. It is. It’s an unfortunate rite of passage. I wish I could make something that everybody universally loved, but I realize that doesn’t exist, and it never will. So you just try to do what you can, the best you can. And you know, if you make a mistake you kind of realize it and go “Ah geez, maybe I shouldn’t have done that,” and move on.
Return to Zombie Island
AL: Let’s move to Return to Zombie Island here. Did the studio come to you with the idea or was that something that you had pitched?
JA: Yeah, no, they had come to me and my friend Tim Sheridan, and Jim. They had said “Hey, we want to do kind of continuations on certain old Scooby-Doos. So Tim ended up doing the 13 Ghosts of Scooby-Doo, and then I was the Return to Zombie Island. Now, remember what I always said, Jim is a Scooby fundamentalist, so part of Jim’s philosophy is that nothing ever supernatural really happens. So you’ll see there’s this kind of like, we do a little bit of retconning, but we’re not, we try to be very careful about saying A, this is kind of a tangential universe, because the first Zombie Island they were out of school, there was a lot of different things going on, Daphne worked at a news (station.) And so we tried to kind of cushion that in the current DTV continuity as a continuation, but we also left a little bit of room to say “Oh those events did take place, this is just something, like a traditional mystery based off of those old events.”
That was one of the hardest projects I worked on, because there was a lot of different input. But yeah. They had come to me about that one, and so we were trying to put our spin on it, and make it more like a traditional Scooby.
AL: When you came in on the process was there an outline written already or did you get to kind of play around with it?
JA: No, I got to play around with it. Like I said, it was really hard because we thought you know, we thought we had different guest stars, and there was different input and notes. I’m not exaggerating when I say it was one of the hardest projects I’ve worked on. And it was a very exhaustive writing job. So you know, I’m grateful that it was done, my kids can watch it, it’s not near as scary as the first Zombie Island. And it has Elvira in it, you know. So it’s great.
AL: Were you familiar with the original Zombie Island before you started working on the project?
JA: I was familiar with it, because it was kind of a big deal, even though I was a little older. So I went back and watched it again, and the voice cast is just unbelievable. And the actual designs of the cat people are still terrifying. And it’s actually pretty dark. But you know, there were certain things in it that we wanted to address and not address, and so yeah. I was familiar with it and you know, you have to be in order to try and write a sequel to it.
AL: Can you maybe describe a little bit about what that process was like for writing a sequel?
JA: So, for this one, I watched Zombie Island and then got together with Jim, and then we talked about what we wanted to, how did we want to tell a sequel to a story that’s not set in current Scooby continuity. That’s the trick, right. So we started playing with the stuff that happened in Zombie Island happening during a summer for our Scooby gang. And we also wanted to play with that Velma, who is the Scully of the Scooby gang, who just will not believe that anything supernatural has ever taken place, has this list of adventures that they’ve gone on that were never really satisfied, never really explained to her satisfaction. So you know, that kind of was the germinal part of the idea.
Then it was like “Well how do we get them to an island that they already know,” and why would they go to and island they already know, and then it’s like “Well we have to re-dress the island,” and then we kind of backdoored into the idea of making this movie and just like a lot of Hollywood movies that are based off of true events, everything gets stylized, everything gets changed. And you’ll hear these stories of producers going like you know, “Oh,” this isn’t it but it would be like “Lawrence of Arabia took place in the desert. Ugh, the desert is so unsexy. Let’s let it take place in a tropical paradise.” And they will change things willy-nilly. So that was kind of like the germinal part of that. Then it’s just kind of a weird snowball effect where you start just spitting ideas, trying to come up with like “Oh, that would be fun,” or “That would be fun,” so yeah. That’s kind of how it started.
AL: And what was it like to tackle a sequel to arguably one of the most popular Scooby-Doo movies?
JA: It wasn’t easy. It wasn’t easy and you know, sometimes you just have to do, you just have to try to do the best you can and try to satisfy your bosses and at the same time hopefully make something that’s fun and people will like. Something like Zombie Island, we were never going to get as dark as that got. I think that was the main appeal of the original Zombie Island, was that it scared the crud out of kids at that time. Not only that, it was a departure for the Scooby gang. It was telling a story that was kind of like post Scooby gang, like getting the band back together and doing this thing.
And so we weren’t telling that story. So it definitely is an uphill battle. I think, knowing what I know now I might do things differently. But I think we all kind of knew it was going to be a hard road to hoe, honestly. But I think Rick (Morales) especially, who was executive producer on it, did an incredible job with what we had, and I think there’s some real fun great stuff. You know, (John Michael) Higgins is so good in it as the director. And I love him from things like Best in Show and he was so funny in the booth, that I wish I would have known right away, I would have written to him like constantly. But John Michael Higgins is like, he was just killer. That’s all to say that it was hard to write a sequel.
AL: Taking a movie that does have those supernatural elements, why is it so important these days for the continuity to have no supernatural elements at all?
JA: I honestly don’t think it’s an important thing, I think it’s just a taste thing. So I think that some of, like Jim (Krieg) and people that are, you know, probably Jay, I don’t know if Jay is like that, but some of the people that are dealing with it now, they grew up with Scooby being a particular thing. The thing that Carl Sagan said about Scooby is that the reason it’s so wonderful is that it shows you that at the end of the day, it’s there for kids to show them that “Hey, there’s nothing to be afraid of.” You know, that kind of science wins the day and that you don’t need to be scared of anything, it’s all explainable. And so that was the main thrust of Scooby originally.
Then I think with anything, whether it’s comic books or movies or whatever, the kids that watch it grow up and think “Oh, you know, I’d love it if Scooby actually saw something supernatural, that would be different. And then you go down that route for a while, and then the other people come back and I think it’s a weird pendulum. So I have no doubt what will happen in the next, you know, 10 years, is that the Scooby pendulum will go back and it will be all supernatural and real scary stuff. And then it’ll swing back the other way. I honestly think it’s just a taste thing, I don’t think it’s an important thing, I think it’s just how people perceive Scooby, the people in charge that kind of shepherd Scooby into the next generation. It’s how they perceive it.
AL: And how did Elvira become part of the movie?
JA: Well, I’m trying to think how much I can reveal. But I believe that you can see, you’ve seen the trailer for the new Halloween Scooby-Doo?
JA: Yes. And so, we have seen that, I’m trying to remember what I can say and what I can’t say. But basically, in a way we were trying to set up this “thrill-ology,” Tim and I and Jim were calling it, a little bit, which was that, you know, there’s a certain amount of, I don’t know how much they stuck to it because after this I didn’t really have any more involvement in those movies, but Elvira just seemed like a great setup, you know, I’m a big fan of Elvira’s, all of us are, especially if you grew up at a certain time, and so we thought “Oh, this would be really good to put her in a Scooby,” and yes, I can say it, so then you saw in the trailer for the Scooby Halloween, Elvira’s in that as well. So I think there’s a little it of lead-over into that movie, along with 13th Ghost. I think they’re all kind of part of the same “thrill-ology.”
AL: What was it like to kind of play up Fred and Velma with Fred’s loss of the Mystery Machine and Velma’s skepticism?
AL: My original pitch for Velma was that she was the one that like kind of went crazy and didn’t want them to leave the island because she was so obsessed with trying to make sure that they figured this out to her satisfaction. And so we had to move away from that, but her skepticism obviously, we played it to, you know, she went to the extreme, but usually she’s right. She’s kind of the smartest one I think, and she usually can figure it out. But I like playing that up, I like playing the fact that she thinks there’s a rational explanation, it helps ground the team. Because you have Fred and Daphne that are really like “Hey let’s solve it,” but Velma, I feel like, makes sure everybody’s pointed north, like this isn’t a monster, this just has to be explained. And then you have obviously Scooby and Shaggy that are just losing their minds the entire time.
Fred as his obsession with the Mystery Machine, we thought would be really funny, especially he feels like he’s daydreaming it and he sees it, and he, you know, Fred is this peculiar character that kind of has his false bravado right, like he thinks he’s maybe better at things than he is, like he thinks he’s better at making traps and in this movie he thinks “I could be a stuntman, sure.” And that ends horribly, but his desire for the Mystery Machine, we just thought would be kind of comical, I think it came across pretty well.
AL: What was it like to write that flashback scene where it kind of goes through the events of the original movie?
JA: You know, it’s fun. I mean, you write something and you kind of, you know, I was trying to kind of make a synopsis of what had happened before, because this, to a degree, this is also kind of a stand-alone too. If you’re coming to this movie, like my kids haven’t seen the original because I don’t want to scar them and so they can watch this one, and kind of get the gist of what happened before. And maybe when they’re older we’ll watch the original one together, but I still think it’s pretty scary. But yeah. It’s always fun, it’s fun to be able to recap something that happened before.
AL: Why make the director have a bit of a crisis in burning down the boat to finish the movie?
JA: Um, because have you ever met a director? *laughs* No, no. I think, the funny thing is, okay, there’s this great documentary about Apocalypse Now in which Francis Ford Coppola is basically on the verge of suicide like you know, there was a certain director like they needed to finish the movie at all costs, and nothing was going to get in the way. And so we just heightened that Hollywood-ness to make this guy be like “No, no, no, we’re going to finish this one way or another.” And that is more true to life than I care to explain on this podcast.
AL: Fair enough. And why does the gang just let him wander off with the treasure at the end?
JA: Because they’re not in it for the money Alexa. They’re in it for the mystery solving. You know, finders keepers I guess. There’s a certain amount of just like you know, wrapping things up and those kids weren’t supposed to be doing that stuff anyways, according to the sheriff, but yeah. I never thought of the Scooby gang into it for money, even though that would be funny if they did get millions of dollars.
AL: Fair enough. Yeah, my thinking was more like, it’s almost a historical artifact at that point?
JA: I mean, that’s the truth. That’s the epilogue that you don’t see, is him trying to claim the money for himself and them being like “Ooh, yeah no,” you know.
AL: Definitely. And what was it like to work on a show that you had grown up watching?
JA: I mean, it’s great. I’m having that experience over and over, it feels like. It’s this weird sense of déjà vu in a way. Scooby is one of those things that pre-dates me, and will live long after me. And I know people that will kind of pooh-pooh Scooby-Doo sometimes and think you know, it’s not worth their time. That’s not how I feel about it at all, I feel like Scooby is special because we live in a time in which there are so many characters and so many different things to draw your attention, and it speaks to something, that there’s this really peculiar dog that people from all over the world know instinctually who it is.
I think that’s really special to be a small part of that, and be able to add a little bit to the sandbox of Scooby-Doo. And hopefully somebody will take some of the things that I’ve done with Scooby later on and do their own version and their own spin and their own, you know, take on it. Because I feel like my job is to just provide the tools for imagination for the next generation, just as those creators gave me those tools. So, I think it’s really wild, not just for Scooby-Doo, but now working as a writer on Supernatural and doing things with Batman, it’s like I’m constantly getting to play with characters that I grew up playing as a child. So it’s pretty cool.
AL: And why do you think that Scooby has lasted for so long, and is still so popular?
JA: I think Scooby and Shaggy, there’s a certain kind of Abbott and Costello quality. There’s this kind of silliness in the face of fear. And I think Scooby-Doo, what Jim (Krieg) said, his kind of version is like “There is something really cathartic, as a kid, to watch what you think is a monster, and just reveal that it’s nothing more than some corrupt real estate man.
There’s a great quote by G. K. Chesterton that Neil Gaiman had done a variation on, which is basically like “We don’t tell kids fairytales to explain that dragons don’t exist, dragons do exist, we tell these stories so that kids know how to overcome them.” And I feel like that is kind of the truth of Scooby-Doo. It’s like we’re telling these quote-un-quote scary stories so that kids can see that really, it’s a mask and there’s something harmless underneath it, so they can face the fear you know, with a Scooby snack and a Zoinks and they’ll be okay.
AL: Is there anything else you wanted to add at all?
JA: No, I mean, listen, I think Scooby’s great, I love that people are still talking about Scooby. I wish I could talk about all the Scooby projects that I got paid for but have not been made. I think that Scooby will be a part of my life forever and I hopefully will continue to be able to do some Scoobys from now until I’m an old, old man.
AL: Just before we end, do you have any recent projects that you’d like to promote, or that you can talk about?
JA: Well, yeah! So, Supernatural comes back October 8, starting with my episode, my last episode. And I’m very excited about it, I think it’s super fun. You will see some Scoobynatural elements, you know, shown. You’ve seen some of them in some of the stills that have been released so far. And then in the new year they announced this really incredible Batman animated movie I did with Bruce Timm and Sam Liu, that I am beyond excited about. That’ll be in the new year sometime, I think at the beginning of next year, not sure yet.
This interview has been edited and condensed for clarity.