After four successful DC Universe releases, the fifth is coming down the pipeline, and coming fast. “Green Lantern: First Flight” has now had its street date listed as July 28th 2009, almost exactly 50 years since DC Comics Showcase #22, which is the first appearance of both Hal Jordon and the Green Lantern Corps. After the success of “Wonder Woman”, the last DC Universe animated release, expect some more fanfare for this one.

It tells the story of test flight pilot Hal Jordon, through fate becoming a Green Lantern, one of many owners of magical rings who function as police for the universe. Voicing Hal is a familiar voice in Christopher Meloni of “Law & Order: Special Victims Unit” fame. Joining him are Michael Madsen, Victor Garber, Kurtwood Smith and John Larroquette making this one of the biggest ventures put out by DC Universe so far.

Returning from “Wonder Woman”, are director Laura Montgomery, and producer Bruce Timm. Both are DC mainstays and certainly bring credibility to anything they do. So look for “Green Lantern: First Flight” this summer. It will be available as a special edition 2-disc version on DVD and Blu-Ray for $24.98 and $29.99 and a single disc DVD for $19.98.

Blast got the chance to ask a few questions of animation legend Bruce Timm, the originator of the classic “Batman: The Animated Series.” Timm also produced DC’s latest animated feature “Wonder Woman” which was released on DVD and Blu-Ray yesterday.

Kellen Rice: How was the experience working on Wonder Woman different from on Gotham Knight?

Bruce Timm: Wonder Woman has been completely different in that for “Batman: Gotham Knight,” most of the pre-production work was done by the Japanese creators and animators – and they were all half a world away. The actual process was completely different, right down to having to do a scratch track of all the dialogue for the initial animation and then recording the actors in ADR. “Wonder Woman” allowed us to be much more hands-on, working closely with the writer and director and crew throughout the entire process.

KR: The first short in “Gotham Knight” was about the different concepts of Batman thanks to the huge variety of Batmans (Batmen?) in the comics, cartoons, and films. Did the comparative lack of modern material on the solo Wonder Woman make the film more or less challenging for you as a filmmaker? In short, how is it working with a lesser known character versus, say, Batman?

BT: There’s plenty of material on Wonder Woman, and we pulled from a lot of the best of it. What was liberating in some ways was that we didn’t have a set story to follow. This film wasn’t based on one single graphic novel or comic series. In “Superman Doomsday” and “Justice League: The New Frontier,” one of the things that gave us grief – and I know it bothered the fans – was that we had to trim pieces of the original material to create one cohesive, tight, 75-minute story. We got to work the opposite way in “Wonder Woman,” building a story that not only fit the time constraints but also told an entire story without having to omit key plot points or things the fans were hoping to see translate from the comics to the film.

KR: The voice talent in this film was outstanding. Aside from making the film as good as it can be, what effect do the big-name stars have on the film and its reception?

BT: The conversation surrounding casting for the DCU films always starts with a focus on who will be the best voice for each part, which actor will best fit each role, and who will bring something special to the table. We do seek “name” talent to help our marketing and publicity teams, but never to the detriment of the film. I think we’ve been quite successful thus far in finding great, new voices for some classic roles, and bringing back some old favorites. And in terms of talent, I think the casts speak for themselves.

KR: You’ve worked with Nathan Fillion on “Wonder Woman” as well as a great deal of the so-called Joss Whedon crew – David Boreanaz, James Marsters, Alexis Denisof, Juliet Landau, etc. Do you plan on watching “Dollhouse” and if so, do you plan on using any of the actors for future DC projects?

BT: I am watching “Dollhouse,” and I am enjoying it. I’m intrigued by it, and I don’t know where it’s going yet. Joss has got a real eye for acting talent, so I kind of use as many of those people as I can. I do that because one, I’m a fan, and two, they’re all terrific talented actors.

KR: After years of being a part of what today’s grown-up fans consider definitive works, how do you view your past work? What’s your reaction to viewing, say, “Heart of Ice” from “Batman The Animated Series” today? How do you think you’ve changed as an artist since then?

BT: I actually find it difficult to go back and watch my old stuff. I appreciate its relative value, especially considering the time during which it was made, and the restrictions we had in terms of technology and such. These days there’s so much competition and there’s such a variety of terrific stuff in animation that it really keeps me on my toes, and have to keep pushing the outside of my own envelope.

KR: How have you changed or evolved as an artist?

BT: Don’t have time. Don’t have time for that answer! I’m too close to myself to know how much I’ve changed. I know that the Batman shows had an enormous impact on, not just animation but spilling over into the comics. It’s cool, and it’s also very weird that I see people out there, where even if they’re not directly influenced by me, they be influenced by somebody by somebody two generations earlier — influenced by somebody who was influenced by somebody who was influenced by by me. So it’s weird to have all these great-grandchildren. It’s flattering, but it’s also kind of weird. It makes me feel old.

NEW YORK — First, let me disclaim: I saw the upcoming DC animated feature “Wonder Woman” in the best possible setting, in a packed house with probably five or six-hundred excited geeks.

Actually, you know what? The movie would have been awesome if I’d watched it on a crappy laptop in some dark room somewhere.

Let me backtrack.

The Michael Jelenic-penned, Bruce Timm-produced “Wonder Woman” tells a new-and-improved origin story for the Lasso of Truth-wielding Amazon that begins before Themyscira even really exists. The opening scene is a massive battle between the Amazons, led by Virginia Madsen’s Queen Hippolyta, and God of War Ares’ horde, with no Diana in sight.

After Zeus and Hera intervene in the war, the Amazons are given the island paradise, Ares as their powerless prisoner, and the promise of a daughter in the future. Years pass and Diana arrives on scene.

But before giving away too much, let’s talk tech specs.

The animation and style were both top-notch, of the same quality as “Batman: Gotham Knight” but with a feminine flavor appropriate to a story about Wonder Woman. Director Lauren Montgomery has mentioned before how she counts the Disney princesses among her influences and while the style was distinctly separate from that, with straighter lines and cleaner angles, the influence was clear to see especially in the characters’ faces.

Wonder Woman herself was a far cry from the Marilyn-esque, stiletto-wearing Wonder Woman of yore; this Diana was a modernized and altogether tough-looking character; she was tall and statuesque without being manly, strong without bulging muscles, and, of course, voiced wonderfully by Keri Russell.

The supporting cast of Amazons were beautifully designed and Rosario Dawson’s hilarious Artemis was a scene-stealer.

And speaking of scene-stealers, Nathan Fillion’s Steve Trevor stole the entire show. Not only did the character have most of the best lines of the film (some surprisingly scandalous, though none up to “the hammer is my penis” levels of bawdiness). “Wonder Woman” does a fine job of walking the line with Steve as a guy physically weaker than Wonder Woman while making him a hero in his own right.

The film also manages to deal with some real issues in a way that is neither soap-boxy nor half-assed. The modern-day Wonder Woman is a fantastic feminist character without bowing to any clichƒ©s, and the film asks a lot of serious questions about the nature of men and women’s relationships and the ways that men and women deal with conflicts.

One of the best scenes in the film occurs when Diana first arrives in New York City and is walking in a park with Steve Trevor. She encounters a small girl who’s crying because the boys won’t let her pretend sword-fight with them. Wonder Woman finds that unacceptable, of course, and that mini-arc finds a hilarious and poignant conclusion.

The film was also paced beautifully. Each character had a meaningful and unique story arc that created a lot of depth to the overall story and theme, and the remarkable voice talent (including Alfred Molina as villain Ares) really sold it.

In all, I though the movie was great: beautiful, funny, well-written, and an altogether pleasure to watch… and watch again.

Grab your copy in stores on March 3rd.