Kimberly Morris Interview, May 2006

It's finally here - the Kimberly Morris interview to which fans contributed questions! Kimberly is an accomplished writer, and some of her work included the Thundercats series. Her episode credits include The Trouble with Thunderkittens, The Mad Bubbler, Day of the Eclipse, Telepathy Beam, The Formula, and Frogman. She also wrote an unproduced script called Goodbye, Jaga which she discusses in the interview. This is a great interview - she really went all out to answer our questions. I'll be the first to thank her for taking the time to indulge our curiosities. And thanks as well to all who contributed questions. Now, enjoy.

How did you come to get involved with the Thundercats project?

My first job was in New York. I worked for a company that produced prime time animated television specials for network and syndicated broadcast. When Rankin/Bass, Lorimar -Telepictures was looking for animation writers in New York, they called my boss and asked for recommendations. I was getting ready to leave my job, and I was writing a theater project. But I was a long way from making any money in theater. So my boss asked me if I would like to try my hand at animation writing. I said sure. He sent me over to talk to Rankin Bass and it turned out to be the start of a wonderful career.

What appealed to you about the show?

Anything that presents a new and different set of creative problems appeals to me. So the main attraction was simply the novelty of writing for this medium. (I also needed the money! Remember, I was newly jobless.)

What did you like best about working on the show?

The biggest benefit to me was the opportunity to work with Peter Lawrence. I don't know if he realizes what a good writing teacher he was, but he taught me a lot about storytelling through image. Animation requires a writer to think cinematically. To think carefully about the sequence of events. To develop a facility for describing complex visuals. It's not easy. Peter was very kind, very encouraging, and he knew what he was talking about. I got a great education in script writing.

Got any amusing or interesting stories for us that happened "behind the scenes"?

The voice of Panthro was provided Earle Hyman, the actor who played Bill Cosby's father on the Cosby show. One day I saw him on a city bus. So I sat down behind him and said, "How ya' doing, Panthro?" He thought that was pretty funny since 99.9999% of the public knew him as Grandpa Huxtable.

Anything you can tell us about the show that isn't well known about it already?

I think the fans probably know much more about it than I do. When I look at the ThunderCats fan sites, I'm awed and amazed by the creativity, the professionalism, and the insights I find there. This site in particular is awesome! Thank you, Purrsia, for all the hard work you have put into the site, and into preparing for this interview. You've compiled a lot of good questions.

What about your favorite character that you created? why?

I can't really remember which characters I created and which ones were suggested. Remember, it's been twenty years. All I remember is that I had fun with every script. And I would sit in my apartment doing the voices while I wrote - which totally freaked out the neighbors.

If you could have changed something about the series, what would it have been?

I would improve my own writing. As a writer, if you don't understand the importance of writing in reaction shots, you will after you see one of your scripts produced without enough of them. Ugh! It's so embarrassing.

What other shows might you have worked on?

I worked on SilverHawks, TigerSharks, and Mini-Monsters.

What are your current projects? Tell us a little about them.

After working on those animated television series, I moved to print. I wrote a lot of short stories for the Jim Henson Company using the Muppets, Muppet Babies, and Fraggle Rock characters. After that, I started writing books for children and young adults.

I've written for a lot of popular book series including Sweet Valley, Animorphs, Mary-Kate & Ashley, Freshman Dorm, and lots of others. I recently finished two books for the new Disney Fairies series that will be out in 2007.

I'm also a custom publishing consultant for corporations and nonprofits. I'm working with Child Advocates, Inc. of Houston to produce 35,000 hardcover informational picture books that will explain legal terms and court procedures to children in CPS custody and/or foster care.

One of the most interesting projects was developed during a residency with a community of schools. I worked with students and teachers to develop an interactive book called Mystery of the Chupacabra, Book #1 of the Inventors Club.

Last but not least, I speak and conduct workshops for students, writers, and general audiences. So life is busy!

If there was a revival of Thundercats, would you be interested in working on that as well?

ABSOLUTELY! YES!

What do you think would be a better way to go for a new series - a pre-quel type story, a retelling of the old show, or a post-original series tale? And why?

I don't have a preference. I think there are exciting story possibilities in either approach.

Do you think a motion picture would be a better way to go, and if so which would you prefer - live action or animated?

A movie would be fun! My first choice would be animated. I would worry that live action would feel too campy. On the other hand, live action special effects get more sophisticated every year. Narnia certainly looks fabulous. So it's possible that with enough budget, you could do a live action ThunderCats that would do it justice.

Most fans want to know about your unproduced script for Thundercats you mention on your web site, called Goodbye Jaga. What was the story about? As in, basic plot and other such details.

The ThunderCats are settling New Thundera. Now that they have found their way home, Jaga tells Lion-O it is time for him to assume the mantle of leadership, and time for Jaga to retreat to the spirit world. Lion-O is angry and feels abandoned. He fears he is not up to the challenges ahead. When he and Snarfer are attacked, Lion-O has a complete crisis of confidence and is so afraid that he runs away from the attack. When he tries to summon help, the Sword will not help. It seems to be "dead." Ultimately, with Snarfer's help, Lion-O finds the courage to fight back with brains instead of the Sword. When he does, the Sword comes to his aid again. Lion-O has an epiphany. He always believed that he drew his strength from the Sword. But in actuality, it's the other way around. The Sword drew its strength from Lion-O. Thus, Lion-O realizes that he is the true and worthy leader of the ThunderCats and he is ready to fulfill the role destiny has chosen for him.

Why was it passed over?

I think they changed their mind about wanting to write Jaga out of the show. At the time, there was a possibility that they might produce another series of episodes, in which case they wanted to keep that character active.

How you feel about Book of Omens as the series ender instead?

To be perfectly honest, I don't remember the episode. I may never have seen it. But it must have been a great "ending" because clearly the show and the characters continue to live on.

And do you still have a copy of Goodbye Jaga?

I don't know. I've moved a lot. Periodically I have thrown away leaf bags full of scripts, drafts, writers' bibles, etc. Unfortunately, you never know which projects are still going to be of interest to people twenty years later.

Was there anything else you came up with - whether it be a script or character - that also was never used in the series (even if just in a conceptual sense)?

Oh sure. If you want to sell one idea, you need to pitch at least three. So there's always "leftover" story material that doesn't get developed.

If so, could you tell us about those? And perhaps why they never came to light.

It's too long ago to remember any specifics. But the short answer is that the story editor looks for ideas that are going to work visually, dramatically, and emotionally. He or she picks the ones that hit all three beats.

What was your inspiration for the various episodes and characters you created? Both produced and unproduced? In particular, what inspired the Mad Bubbler?

I think the Mad Bubbler was Peter Lawrence's suggestion, but I'm not certain. The process is very collaborative. There are a lot of meetings. A lot of ideas are discussed. Things evolve. Over time, it's tough to remember where or how an idea originated.

Do you still have any other memorabilia from back in the day? Original copies of other scripts you wrote, animation cels, and that sort of thing?

I have lots of scripts. Unfortunately, no cels.

Do you have any advice for any aspiring writers trying to break into the business?

My advice to aspiring animation writers is to learn to write in all styles and all genres. Write prose. Write songs. Write ad copy. Write graphic novels. Outline a novel. Learn to sketch so you can thumbnail a scene if you need to. Try to storyboard your favorite book as if it were an animated project. Conversely, take your favorite animated television show and "novelize" it. Writing a good animated script requires a broad range of skills, and a good understanding of what differentiates one medium from another.

Are you surprised there's still such a keen interest in the show today?

YES!

Anything you want us to know about?

I'll be part of a Houston / Austin / Dallas three-city READ IT & WRITE IT tour in the fall of 2006. I'll be one of ten authors who will be visiting schools, bookstores, libraries, etc. I'm in the process of booking speaking dates in those areas for next October. I still have open dates so if youre in charge of booking speakers for your school, corporate meeting, or association - contact me! I talk about writing, but I also talk about how understanding the power of story can positively impact your business and your personal relationships.

On behalf of all the fans, we thank you for being a part of Thundercats! And we also appreciate your taking the time to answer our many questions on the subject.

I want to thank all the fans that have been so supportive over the years. It's nice to know that something I wrote left a lasting impression. Thank you for watching. Thank you for remembering.