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- Seen Feb 19, 2012
I didn't know where to put this but I got this from Dogasu's site but Anime Boredom did an interview with Michael Haigney (the voice of Psyduck). It's mostly on the Sonic X side of things but it does provide some insight into the production side of 4Kids.
I'll give the highlights.
Rasmussen [David Rasmussen, interviewer]: Good day, could you please introduce yourself to our readers and tell us what you do?
Mr. Michael Haigney: I'm Michael Haigney and I write and produce the English-language versions of foreign animated series for 4Kids.
Rasmussen: Tell us a bit about your work on Sonic X. What's a day in your life like working on a series like that?
Mr. Haigney: Well, we've actually finished production on the show. For the last several months, Michelle Dunn was producing it. I'm currently working on a new series called "Chaotic," which will be on 4KidsTV next Fall.
But we generally would edit and punch up the adaptation scripts written by our writers early each week. At the same time, our director, Julie Rath would be working with the actors, recording the scripts completed the week before. (We try to complete two shows per week.) About midweek, we'd review the music our very talented music editors cut for each show, and give notes. A day or so later, we'd listen to the new pieces and approve the underscore for two shows. Wednesday and Thursday, I'd listen to the new dialogue and give notes, and possibly discuss casting of new roles for upcoming shows. I'd also review our editor Jordan Podos's reformat of the next week's shows, making sure that material forbidden by Fox Standards and Practices Department is eliminated or changed. I'd review Ron London's sound mixes for one or two shows either Friday or Monday, and the whole process would begin again.
Then it goes to the big music issue.
Rasmussen: Now bouncing over to the topic of music. When you talk about talking to the music editors (about the BGM for each episode) and giving notes, what does that imply? Also, how does your input affect the musical score, and in turn the musical score affect and compliment the writing approved for each week's episodes?
Mr. Haigney: When we re-score a series, we usually have one or more composers take a shot at creating major themes. Many times, we're looking for a certain kind of signature sound or type of music we want for the series (orchestral, "futuristic," etc.). It usually takes a few composers a few tries to produce either what we've been wanting or to surprise us with new ideas we like.
Rasmussen: Another music question. Why replace all the original Japanese BGM for each episode? What is it about the music that makes it unusable for American audiences? Also does it seem culturally insensitive to do such a thing (if, for instance, the original soundtrack featured Japanese vocal singing for example)?
Mr. Haigney: We replace it for both artistic and commercial reasons. I don't think it's any more or less insensitive than dubbing.
This is when things get funky.
Rasmussen: Really… maybe the Japanese episode writer had a… (eh)… "bad experience" with a dentist… (blinks)… [They were refering to an edited Kirby episode involving a dentist] kind of like how the creators of Animal Crossing seemingly had a bad experience with a talkative companion on the commute to work, which probably goes a long way to explaining the existence of "Rover". Change of topic, how did you first become involved in the series?
Mr. Haigney: I wrote and directed the first couple of seasons of the U.S. version of Pokemon. Eventually I joined 4Kids...and the rest is mystery.
Rasmussen: …uh… ok… anyway are you familiar with any of the previous incarnations of Sonic, including the video games, comics and previous animations? What is your impression of these works?
Mr. Haigney: I've never played the game, seen the series or read the comics.
Rasmussen : Several 4Kids series have recently come out on the GBA (featuring watchable 2 episodes per cart that can be played on the GBA), including the Sonic X series. How does that work? (How are episodes digitized down for playing on GBAs)? Also who decides which episodes are ported to this format, and what has been the reaction to this release in terms of fan response and sales?
Mr. Haigney : I have no idea. Sorry.
Rasmussen : Are you interested in Japanese Anime and/or Manga? If so what are you into right now?
Mr. Haigney: I am interested in Manga as a concept. But I was never into comic books or manga.
Rasmussen: When you say that you are interested in manga as a "concept" what does that mean, exactly?
Mr. Haigney: I find the history and origins interesting, along with the visual conventions.
And then they wrap up and digress into the new show Chaotic. But either way, it certainly shows how 4Kids sees the fanbase and the actual properties of their fandoms.
For the full interview, https://www.animeboredom.co.uk/anime-articles/80/
Funny and scary, isn't it?
I'll give the highlights.
Rasmussen [David Rasmussen, interviewer]: Good day, could you please introduce yourself to our readers and tell us what you do?
Mr. Michael Haigney: I'm Michael Haigney and I write and produce the English-language versions of foreign animated series for 4Kids.
Rasmussen: Tell us a bit about your work on Sonic X. What's a day in your life like working on a series like that?
Mr. Haigney: Well, we've actually finished production on the show. For the last several months, Michelle Dunn was producing it. I'm currently working on a new series called "Chaotic," which will be on 4KidsTV next Fall.
But we generally would edit and punch up the adaptation scripts written by our writers early each week. At the same time, our director, Julie Rath would be working with the actors, recording the scripts completed the week before. (We try to complete two shows per week.) About midweek, we'd review the music our very talented music editors cut for each show, and give notes. A day or so later, we'd listen to the new pieces and approve the underscore for two shows. Wednesday and Thursday, I'd listen to the new dialogue and give notes, and possibly discuss casting of new roles for upcoming shows. I'd also review our editor Jordan Podos's reformat of the next week's shows, making sure that material forbidden by Fox Standards and Practices Department is eliminated or changed. I'd review Ron London's sound mixes for one or two shows either Friday or Monday, and the whole process would begin again.
Then it goes to the big music issue.
Rasmussen: Now bouncing over to the topic of music. When you talk about talking to the music editors (about the BGM for each episode) and giving notes, what does that imply? Also, how does your input affect the musical score, and in turn the musical score affect and compliment the writing approved for each week's episodes?
Mr. Haigney: When we re-score a series, we usually have one or more composers take a shot at creating major themes. Many times, we're looking for a certain kind of signature sound or type of music we want for the series (orchestral, "futuristic," etc.). It usually takes a few composers a few tries to produce either what we've been wanting or to surprise us with new ideas we like.
Rasmussen: Another music question. Why replace all the original Japanese BGM for each episode? What is it about the music that makes it unusable for American audiences? Also does it seem culturally insensitive to do such a thing (if, for instance, the original soundtrack featured Japanese vocal singing for example)?
Mr. Haigney: We replace it for both artistic and commercial reasons. I don't think it's any more or less insensitive than dubbing.
This is when things get funky.
Rasmussen: Really… maybe the Japanese episode writer had a… (eh)… "bad experience" with a dentist… (blinks)… [They were refering to an edited Kirby episode involving a dentist] kind of like how the creators of Animal Crossing seemingly had a bad experience with a talkative companion on the commute to work, which probably goes a long way to explaining the existence of "Rover". Change of topic, how did you first become involved in the series?
Mr. Haigney: I wrote and directed the first couple of seasons of the U.S. version of Pokemon. Eventually I joined 4Kids...and the rest is mystery.
Rasmussen: …uh… ok… anyway are you familiar with any of the previous incarnations of Sonic, including the video games, comics and previous animations? What is your impression of these works?
Mr. Haigney: I've never played the game, seen the series or read the comics.
Rasmussen : Several 4Kids series have recently come out on the GBA (featuring watchable 2 episodes per cart that can be played on the GBA), including the Sonic X series. How does that work? (How are episodes digitized down for playing on GBAs)? Also who decides which episodes are ported to this format, and what has been the reaction to this release in terms of fan response and sales?
Mr. Haigney : I have no idea. Sorry.
Rasmussen : Are you interested in Japanese Anime and/or Manga? If so what are you into right now?
Mr. Haigney: I am interested in Manga as a concept. But I was never into comic books or manga.
Rasmussen: When you say that you are interested in manga as a "concept" what does that mean, exactly?
Mr. Haigney: I find the history and origins interesting, along with the visual conventions.
And then they wrap up and digress into the new show Chaotic. But either way, it certainly shows how 4Kids sees the fanbase and the actual properties of their fandoms.
For the full interview, https://www.animeboredom.co.uk/anime-articles/80/
Funny and scary, isn't it?
