Last week, the 13 episodes of the Superman cartoon produced by Ruby-Spears in 1988 came to DVD on a two-disc set. Comic fans may be interested due to the involvement of Marv Wolfman as story editor and Gil Kane as production designer, but the short series didn’t really live up to its pedigree.
The following interview was provided by Warner Home Video. If you’re interested in reading a review of the set, try this one by Bob Greenberger.
QUESTION: How was the title character developed for your Superman series?
JOE RUBY: We went through a lot of different directions in development as to what kind of Superman we wanted. We had several different models — the crying/feeling Superman, the lecturing/do-gooder/save-the-day Superman, then there was the hip Superman, and even the long-haired Superman. And, of course, there was the old straight-as-an-arrow Superman. Ultimately, we settled on the Christopher Reeve model — he had personality and a sense of humor, and yet he was still Superman. We figured that it worked for the films, so it would work well for us.
QUESTION: Why were there only 13 episodes to the entire series?
JOE RUBY: I think the problem for us was our timeslot. It turned out 8:30 in the morning was a killer for Superman. Only the little kids were up, and they don’t understand Superman as well as the older kids. It wasn’t for 4- to 5-year-olds.
QUESTION: Was there a guiding theme to the series?
KEN SPEARS: I think we were true to Superman to begin with — we produced a show that the audience expected Superman to be. He was the tried and true Superman. That’s who they wanted to see — that’s the feedback that we continue to get today.
JOE RUBY: We basically had Superman tackling anything and everything, with the marching orders to have bigger-than-life fights.
QUESTION: What did you see as the strength of your Superman series?
KEN SPEARS: We had the best talent in the business at the time — that was our strength. They were excellent. When you first create a show, you hope your talent will be able to plus it — and they really plussed it. There are so many shots in the show that weren’t written into the script — those kind of great additions come straight from the artists and the storyboarders.
JOE RUBY: We had a pretty amazing crew — and an especially great crew of artists — including some of the best comic book guys in the business, and that made for good filmmaking. Guys like John Dorman and Gil Kane — we had an army of great talent on that show. Give credit to John Dorman — he’s a filmmaker and that’s the difference. He made sure the show had all the creative shots, the movement, some of that great left-to-right or down-angle camera moves. The show was well-paced, well-boarded, and I think John really put these things together well.
QUESTION: Did splitting the production between two overseas studios in Japan and Korea cause any problems?
JOE RUBY: It was an experience for us, from a production standpoint, traveling overseas and working with two different interpreters having to translate in three different languages. They’d be answering before I’d get done with my question. It was the worst torture I ever had in my life.
QUESTION: Looking back now, can you see how Ruby-Spears Superman fits in the canon of productions surrounding the Man of Steel?
JOE RUBY: As a kid, we all grew up with Superman. He’s the favorite, always. Your heroes stick with you. So we wanted to make the best Superman show we could, to really set it apart. I think everyone that worked on it felt that way. He’s Superman.
KEN SPEARS: It was like an honor to do something that classy and classic as Superman. He’s the No. 1 guy. We wanted to do it justice.
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