January 3, 2023 • 32 mins
Discovered at a mall, director and producer Steve Loter joins Will and Christy to break down the legacy of Kim Possible, including what he’d do with the characters if the show came back (will it?!)
Plus, hear the story of what animated show changed his life and all about his new animated series Marvel’s Moon Girl And Devil Dinosaur!
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Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hey Christie, Hey will I don't often tell people this,
but I'm gonna say it to you. You're a vision
in pink. I don't know what else to tell you.
Oh my gosh, you're a vision in pink. Some people
can't pull off pink and think, well, black works for everybody.
Pink doesn't work for everybody, but black works for you. Well,
because you're Batman. So oh, I thought you're going to say,
(00:20):
because you're fat, and we want to make sure that
you don't look too big, so we we cover you
in black. You are not. It's very sweet though for
you to not think that. But you are your vision
in pink. That's all I have to say. That's hashtag.
You know you pop? You pop, Christie. That's what it is.
One needs to pop. I'm very excited for today's guests
(00:41):
because we have a serious history with today's guests, don't we. Yeah.
Steve Loader, he is a huge animation director. In his
titles include Kim Possible. As of season two, he really
saw so much of Kim Possible, like growth that we're
going to chat with him all about just It's a
reunion of sorts, isn't it? Yeah? It is? And the
(01:02):
thing that's cool is and you really brought this up.
I'm so glad you did. During the interview about everyone's
gonna be like but we had the director, you know,
Lisa Shaeffer came on. It's like, no, no, no no, there's
multiple directors that are involved in an animation project, and
so I was really glad that you you brought that
up because there's a big difference we did. Steve was
a director and Lisa was a director. Two completely different
jobs but really interesting in both amazingly necessary. So I
(01:25):
was very excited to talk to Steve. It's a cool episode,
it really is. So everybody, Steve Loder, stay, how are
you well? How are you guys doing? I was fine
until my computer decided to not be good anymore. Um Man,
computers are the worst. Terminator is a thing that could happen.
(01:47):
I don't like any of it. You don't trust it.
He doesn't trust that. I don't. I don't. I've been
watching alone, and I think that's the way to go.
The more I'm thinking about it, Loan, is that is
that is that contest where you go out in the
middle of the woods and try to live right? Yeah,
watched that. We watched that. Yeah, my my my wife.
(02:08):
My wife jokes that I would tap out on the
boat ride there one thousand percent thousand. I think that
if you haven't seen it, Steve, it is a really
great show. But it's also you get to root for
people to like, Who's who are you rooting for? On alone?
I'm rooting for the mostly for the animals, but that's
(02:29):
just me. How are you, Steve? Thank you, Welcome to
the show. This is awesome. Yeah, I'm honored to be
his is incredible. We're so excited to have you here
because we have quite a hist Can you remember the
first time that we all work together? Was it two
thousand two? Yeah, somewhere in that zone. Yeah, so twenty
(02:54):
so we're twenty years Oh yeah, definitely. Yeah. We should
probably introduce Steve, shouldn't we? I'm sorry, should be and Steve.
We are so happy to have Steve Loder here with us,
who's a director and a producer of animation, of all
types of animation. But really it should be most known
for Kim Possible, because that's where we know him from.
(03:16):
So that's really the only world we need to talk about.
But that's actually not true because we're talking American Dragging,
Jake Long, Brandy and Mr Whiskers, the Tinkerbell film series,
The Ghost and Molly McGee Moon Girl and Devil Dinosaur,
which is both upcoming that's February three. We'll get into
all of that kind of stuff. But let's be honest, Steve.
It's Kim Possible, That's what we're talking about. Kim Possible
(03:39):
has been in my life, not only during production but
even past it. Um, because I'm I'm a comic book geek,
I'm a film nerd, so I go to the conventions
a lot. There's always a Kim cost player, always, always right,
always yeah. And it's amazing because yeah, it's it's the
legacy just continues. I mean it really people really love
(04:01):
the show and it's just really wonderful feeling. How did
you get involved with it? Yeah? You know. The funny
thing is I joined second season, um, and since then,
I've I've done fifty plus episodes of Kim I think
I've expised Mark and Bob. I think I've probably been
on at the longest and you guys, so yeah, it's
it's it's been an amazing ride. But yeah, it was
(04:23):
slightly intimidating kind of coming on board because the reputation
was already there, the fandom was already starting to build.
So it was a little intimidating, but it was what
a what a marvelous feeling to, you know, to to
work on this amazing show. Well, now see, but let's
talk about like your exact job too, because we had
Lisa Shaper talk to us a lot in studio and
(04:45):
then what exactly is it that you then did for
people to understand how you direct an animated show? Yeah, so,
so pretty much director of animated show is it's kind
of involved in the beginning. So we, uh, we look
at this scripts. You read the scripts that that Mark
and Bob and his writing team we're putting out Mark
McCorkle and Bob school E, the creators of the show,
(05:06):
and um, we get an early idea of kind of
the visuals and the timing and the pace and some
of the designs and some of the backgrounds. We start
to figure out the visuals of it. Um. And then
as we're starting to figure that out, we usually attend
the records that leads a Shafer is directing, which is
where you guys are doing an amazing job and the
thing that's that's great about going to the records is
(05:29):
we're listening for um peaks and values, because when you
animate a character, you really want to have a character
that has these kind of like just kind of peaks
in their voice and then it drops down. And because
that's really kind of where we anchor our drawings too,
that's where the expressions change or they the head gets bigger,
(05:49):
the body arcs back, or the body reduces down. So
we really look for kind of those highs and lows
in the voice because we really like latch onto them. Okay,
And so peaks and valleys. Will has talked about the
fact that by season four, I guess um Ron was
so peaky. Did that change not a lot of valleys.
(06:14):
It's honestly, it was great because when you have when
you have a voice that's kind of that that peaked
or that that kinectic um, you animate to that. And
Ron kind of got if you look at the scenes
went on, he got a little more animated physical, which
was great because it provided great contrast for Kim, who
was very collected and calm. So it just it was
(06:36):
a really great visual you know, to to animate to. Actually, yeah,
I think that Ron did get more and more like
a storylines as we as we progress, and he became
much more active during missions. Do you remember that? Oh yeah, definitely, Yeah, certainly.
I mean in season three, I think it's really where
(06:57):
it started to kind of pop, because, yeah, in season
two there was a couple of moments where trying to
bring him into the missions, but it was always a failure.
But it felt like in season three with Exchange and
the monkey Fist powers and it really started. And also
by the end of season three, we did so the drama,
so we had to be rawn leveled up to a
(07:17):
place that it really felt like, Okay, he could kind
of hold his own in a situation. Well, your first
episode ever was a run episode. The first episode you
did was the Wrong Factor, Right, Wrong Factor? That's right? Yeah,
and that was that was that was an interesting episode
because that was that was them trying to find a
new purpose for Ron. Uh So, which episode was? What?
(07:38):
What was the log line on this one? Ron Stop?
It was awesome film at eleven that yeah, And and
that was the the Agents of Shield group from Impossible
his name I cannot remember. At this particular moment, they
had they had interest in Ron and so they were
going to kind of enlist him for that. And you
know what's what's what makes the Ron factor so special?
(07:59):
So that was yeah, kind of what the episode was about.
The one makes special is this partnership with Kim. Honestly. So,
so wait, let me ask this because we always, Christie,
we always do this. We always jump in the middle
and then we jumped to the end and then we jump.
How when's the first time you remember hearing the words
Kim Possible? Um? Okay, this is an interesting story. Um. So,
(08:21):
most the genesis of Kim Possible actually started on an
animating series called Clerks, the animated series Kevin Smith's series.
Here's here's why. It had the entire team on that
show except for Mark and Bob. So pretty much every
single person that worked on Kim Possible worked on that
show in Steve Silver, Chris Bailey, myself, Nick Philippi, and
(08:44):
the Ice everybody, and so we kind of formed the
look of Kim at least partially on that show. So
that when Kim Possible kind of was starting to kind
of bubble to the surface and we kind of started
to hear about it, it was kind of like almost
trans finding that entire team onto Kim. So it was
it was an unusual experience because it was it was
(09:06):
a type of thing where at that time at t
v A, there was a lot of kind of um
kids in school kind of shows going on, and this
one was kind of a spin on that. And also,
um what was great about hearing about this initially is
it was a female empowerment story, which is usual because
at that time I think you had Buffy the Vampire
(09:28):
Slayer and maybe Xena, but there wasn't a lot of
strong female protagonists. Ye power Puff Girls Puff animated, right, Yeah,
so it was an exciting project to even hear about
to say, oh, this is really going to kind of
move the needle. So you're essentially saying that Kim and
Ron were originally Jay and Silent Bomb. Yeah, was transition
(09:51):
in a way. You're definitely J then in that relationship.
I would imagine that would be that was probably accurate.
Oh that's so funny. That is so funny. When did
Bob and Mark come in there? Yeah? When did When
did so? When did they kind of the whole team
get put together for the first time? Because they pitched it.
I remember they said they pitched it in in in
(10:12):
the in the elevator going up to Gary Marsha's office,
they were like, they came up with it, and yeah,
she can do anything. He's run stoppable, he can't. Yeah,
like a lightning. I mean that that's what. What a moment,
just a creative moment to just get that level of inspiration. Yeah, yeah,
it was. It's it kind of I think, you know,
as as animation um goes through development process, it usually
(10:32):
kind of sticks with the show creators and the writers
just for a little bit of time, so as they
start to write out kind of longer log lines of
the characters and who the characters are and things like that.
So there was probably a period of time spent of
Mark and Bob just kind of isolated working on that.
But then probably right as Clerks was ending and there
was an opportunity to start to go into another production,
(10:53):
it just looked like, well, here's a seasoned crew that's
ready to just kind of jump into a show. And
and and also it was great because a lot of
the people had um experience on different types of show
other than Clark's. We had, you know, the kids stuff
we were doing for Disney, but a lot of them
had adult animated experience here and there said it really
just kind of made it made Kimpossibles kind of elevated
(11:16):
the quality of show. Oh my gosh, I mean, it's
so interesting to me in retrospect how many other shows
almost pirated the look of that animation. So like after
Kim Possible came out, there was these commercials for Assurance
and oh yeah, I was like, you've got to be
kidding me. Pink hair, she's got a communicator, Like she's
(11:38):
still flipping in, like flipping in and out. The direction
of it was very clearly ripping off of Steve and
Well it involved they even those commercials even involved because
we we kind of for a moment in season three,
we gave Kim the super suit that right with the glow. Yeah,
and then they I think they did that in the
(11:59):
commercial too. She did have a suit. I know, I
was watching it fuming, and I was like, nowadays, I
think Disney would probably actually go after something like that
for for new But I will say, I will say,
what was it like using new technology directing with this
with the robots that we had in the movie? Um,
(12:20):
which movie was that that we had the robots? Yeah,
that was that was the It was the first time
the studio had been introduced to CG and it was
kind of done out of necessity because we knew that
there was going to be armies of these characters and
it's really just at that certainly at that time it
was really hard to draw just the pencil mileage alone.
(12:40):
So we came up with the system of Okay, how
are we are we going to do this? And it
was it was a learning curve. Nowadays CG super easy
could do it at home, but then it was it
was pretty tough. Wow. Interesting you you laid the two
D animation that you guys were doing, and then you
did it almost like there was a temp non existent background,
so that inlaid the CG robots and at the time
(13:03):
of doing that, it was very I mean because we're
talking to Ago total and then right and then we
had to um, we were called rotoscope. We had to
kind of take the CG model because we had to
put it then in our lines, so it had to
look like it was drawn so that it mixed with
(13:24):
the characters. And I remember the crazy thing about that
was you had the giant robots and that's okay because
they're big, and they take up a lot of space
on a frame. But there was moments where it was
the tiny robot and Ron was holding the time like
interaction of that you know scope. So that was Yeah,
that was tricky, but it's a lot of fun. I
mean it was. It really felt like we were leveling
(13:44):
up the show. I mean, so the drama is easily
my favorite. Kimpossible uh project. It was great. It was
really good. Yeah, Steve, As much as we go down
(14:06):
memory lane, we also like to talk about just how
talented you are and that you you've continued to work
with you know, with Disney and well, wait before we
go forward, I want to go back. I want to
go back here. Yeah, exactly, you said. You you know,
you're a comic book nerd and everything, A big nerd myself.
So it is animation something you always wanted to do?
(14:27):
Or did you? Or you did you originally want to
be a filmmaker? What like, what were your plans when
you got into this industry? It was definitely cartooning? Um,
I mean, because the thing is, I how I got
into the business is, um, there was a Disney artist
drawing for kids at a shopping mall, like in New
Jersey and so me and my brother, who's also an artist,
(14:49):
we went out, you know, to see this guy and
we showed him our drawings and he's like, yeah, these
are great, why don't you work for us? And it
was so straight up. So I worked for Disney straight
out high school. It was for consumer products, was doing
drawings for You were found at a mall. You were
found at a mall by somebody who works for Disney,
and you started working right out of high school for Disney. Kidding, yeah,
(15:12):
day after high school. So they after graduated, boom right
right right into the Disney UM and go back east
or did you move out here? It was back east
at that time. Yeah, so I was doing that UM
and then being back east, I had the opportunity I
did some work for Jim Henson, which was a lot
of fun, non Disney, non Disney Jim now Disneys and
(15:34):
everything Disney. UM. But yeah, we did some work for
Jim Henson at the time. But the thing that kind
of pulled me into animation is I saw the pilot
for a show called Renn and Stimpy. Yeah, yeah, the
Lightning Bolt, and yeah I had to work on that,
and so yeah, I moved out to l A. I
(15:55):
didn't know anybody out here. Uh, found the studio, found
a department close by, and and got the gig. And
not with your brother. You and your brother kind of split.
He came. He came later. He's he actually does um
book illustrations for Disney, so illustrated animator guy. Yeah, yeah,
that's so. Was it was this Nickelodeon was in Burbank
(16:16):
at the time. Did you move to Burbank? Is that
what you just did? Yeah? Yeah. Actually it's funny because
they put Renist to be in a separate building, so Nickelodeon.
You had all the fun stuff going on Nickelodeon, and
I guess they kind of knew and they said, we're
gonna put Rendist to be in a different building five
miles away, which won't be fun at all. You're in
the warehouse. Yeah, basically, but you know what it was.
(16:36):
It was kind of good because it was a pretty
rebellious crew. It was a pretty eccentric crew, So that
was it was a fun experience. It was a challenging experience. Um,
my first gig, and it was a challenging show. Um,
but you know, since then, my my resume is all
over the map. I've done some more adult stuff. I
did a show called Duckman, I did preschool stuff. Thinking
(16:59):
Clubhouse a little bit um, yes, but but honestly, it's
impossible that it is always the one that people want
to reminiscent talk about, which I'm more than happy to
talk about. It's such an important part of my life.
I'm looking at a picture of all of us right now.
We all look so young. We're posting that on our
on our Instagram. I have a shirt that's literally still
(17:20):
out of print. He says. Everyone loves an Italian girl.
You look like you just went to a Rusted Root concert.
I remember that picture. I remember that picture. That was
last record, I think, and it was like we never
got to really see each other in person, So I
(17:42):
do think if it was our last record, I think
I remember being like, this is sad that this is
our last recording, and that this is the only time
I got to hang with Will. Yeah, we didn't see
We didn't get to really hang out much. No. No,
I was in New York. You were learning, you were
at college learning. Yes, yeah, it should be twelve years
of finished. I should have just deleted. I guess see
Steve and I are both smart. We went right from
(18:04):
high school to work. We decided to go to school
bills exactly. So Steve, if Kim comes ever comes back,
like if we were ever, if that ever happened, what
would you want for Kim? Like, who do you get Kim?
Does Kim need to grow? Does she need to like
be a different person, and does she need to be
more modern an adult? Is she a kid? Like? That's
(18:24):
what I would if if like, if we're going to
bring her back, would you pick would you bring her
back right where we started, where they're in high school still,
would they be in college? Would they be adults now? Like?
What would I'm curious where you'd go with it? Well,
it always when we finished Kim in season four, Um,
I think we're all a little burnt out at that time.
And we've worked on the show for it for a
long long time, but we always felt that there was
(18:46):
more stories to tell than we always kind of hoped
that we were going to pick it up after a
short break or a short vacation, So it was always
in the back of our minds. And I remember, you know,
over years, you know, I'd run into Mark and Bob
and we just kind of joke about, oh, maybe it
would be this, or maybe it would be this, and
it just depended on the on the particular moment of
this is this is the future for for Kim and Ron.
(19:08):
There was one thing that was interesting on was it
the sitch in time or maybe the sort the drama
DVD release. I had to do some art where it
was like you show Kim and Ron as they get
older and younger and that kind of thing, and I
did drawings for that, and the drawings that I did
for adults Kim and Ron I thought were the best drawings,
(19:30):
and they decided not to use them, but they decided
to use the old versions of Kim and Ron. And
what was kind of sad about that is it was
kind of a joke because we made Kim and she
was like an agent of of Shield or whatever that
you and but but here's the thing, we we we
we we did it so that again this was a joke.
(19:52):
We did it so that she looked like doctor Director,
so she had the I patching and kind of overweight
and stuff like that. And what was what was terrible
about it was it only worked and you saw the
adult versions of them, which were sleek and they were fit,
(20:12):
and they were fighters and and so the audience missed
the good middle part and that and man, they did
not like it. Wow, jumped right to it. Yeah, this
is well. I mean this is also at the time
what the the Internet was kind of in its infancy
at the time, so we were learning was not really
but starting to get you know, feedback and stuff like
(20:33):
that that was instantaneous. Was it was an entirely new thing. Um. Okay,
so now we're now we can jump ahead to what
you're working on now because you're working on a bunch
of different stuff, right, yeah, yeah, the So yeah, so
we have The Ghost and Molly McGhee, which is a
really great show. Um, it's currently on air. I got
Ashley Birch and Dana Snyder are doing the voices on that.
They're incredible. Their chemistry is incredible. Um. And then coming
(20:58):
soon coming on February ten on the Channel and coming
up thereafter is Marvel's Moon Girl and Devil Dinosaur. Um.
And this is this is an interesting project. This is
the first collaboration between Marvel and Disney TV Animation. That's awesome.
That's kind of like what KP KP was the first
(21:20):
collaboration with Walt Disney Studios and Disney so I like,
I like being at the first of the Yeah, of course,
of course. And it's a great show. It follows the
adventures of Lunella Lafayette, who is one of the smartest
characters in the Marvel universe. She's a thirteen year old
super genius. She creates a portal which accidentally brings a
(21:40):
giant red dinosaur into New York's lowery Side. And of course,
when you have a giant red dinosaur, you know with
you you partner with him to fight crime on the
New York City. And that's my daughters are going to
love this show. Like I cannot tell you how much
my daughter is gonna be upset. And I'm so happy
to know that you're behind that. That makes me so happy.
(22:02):
It's a great show. And our cast is amazing. We
have Diamond Whitely, bee Be Rare uh Fred Taishore is
friend of the show. Yeah, um, And Lawrence Fishburne is
a executive producer on the show. Is Holly Robinson Pete
and Andy Cohen. And I mean there's a whole bunch
of method man. I mean there's a whole bunch of
(22:22):
people involved. Right, So you're so lucky, Like, I love
seeing that you you're still doing that thing with where
we had with Kim possibly so many amazing cameos. I think.
I think it's a lot of fun when you can
drop people in, don't you, Steve. It's totally because you
get you get a different flavor. And and what's great
is sometimes when you bring in kind of new voices
(22:44):
and stuff like that, it just kind of shakes everything
up just a little bit. Every everyone has to, you know,
adjust to that new energy. And it really because all
we're looking for on the voice tracks is, of course
you're brilliant performances that elevate the animation and make our
lives like, oh we really punch out drawings this and
really make this exciting and move the camera around because
(23:05):
everything is just so kinetic and popping with the motivated. Yeah, absolutely,
I see. So the motivation for you to create the
actual animation sort of comes from the the the spirit,
the energy of our performances. I never really realized that
that's where the vitality of animation comes from. I mean,
(23:27):
that's the right, I'm human in that place, but it's
the performance, that that we get from the voice actors,
that that that turns it to life and how we
start imagining what the animation looks like based off of that.
Is that why you guys put the video camera to
watch us before you started animating the pilot? Totally? Oh? Absolutely,
(23:48):
And we would try to film as much as possible.
That's actually why. I mean, I couldn't come to every session,
but I try to try to come to as many
things as I can because we watch you. We'd see
some of the expressions that you guys would make, and
we kind of doodle it, you know, on our scripts
to go, okay, this for this, I remember this for
that because yeah, we're looking at you know, at your
whole performance. It's not just your voice. It's like we're
(24:11):
keying in on on on facial movements and body language
and everything. Oh yeah, Christy and I are very ying
yang in that we She always seems to like to
talk about the future and I always seemed to like
(24:33):
to talk about the past. Who knows why. But wait,
so you when you when you were getting into this,
not even as a kid, what were your favorite animated
series growing up? Like? What were you? What were you
couldn't miss what was your couldn't miss animated Joe wow Um,
I gotta admit I I was. I was living in
New York, so I think we had we had more
(24:54):
exposure to interesting and unique and rare animation than we
would have in a lot of other places. So there
was kind of an early introduction to the works of Miyazaki.
Soto was, Yeah, that was a big film for me. Um.
There was a film called Castle Cagliostro which is looping
(25:15):
the third so so it was kind of things like that.
But of course Uh tex savery uh cartoons and the
Bugs Bunny stuff that was done by Bob Clampett and
Chuck Jones. So it was a lot of that earlier
because what was you had that stuff when you would
come home from school, it would be on TV. They
would they would rerun all of the Warner Brothers cartoons.
(25:37):
The Disney stuff you had to kind of get on tape.
They didn't really there wasn't really an outlet to see
the Disney stuff. But so there was a constant exposure
to kind of the animation that was done in the
in the fifties and fors and fifties, and I think
that also kind of found its way into impossible. I
think that the the art sensibility of styling, certainly the
backgrounds and the very much the backgrounds. The background, I mean,
(25:59):
there's almost something and this is it's a it's a
weird kind of correlation. But I always thought there was
something almost flint Stones esque about the background of MS.
It was very very cool. And so were you. Also
you talk about Mirazaka, you also like an Akira fan.
Did you go through your Cura phase and all all
the classic enemy Akira ghost in Michelle Ya, all that
stuff that just kind of showed up, you know in
(26:21):
New York was and it was we were all exchanging
tapes because at that time it was it was like
either poorly dubbed or poorly Yeah, so that was the
only wow. That's so that's so fascinating because when you
think about it, with Disney, their i P is is
making their i p accessible to everyone was probably a
lot harder to justify back then with the way that
(26:43):
people were making their money. Um, and now it's accessible
to everyone because everything is streaming. So I can only
think about how fast the learning curve will be for
like a young version of you now, Steve, like, who
is this? Do you mentor? Do you mentor like younger animators?
How does that work? Do? Yeah? Do that? At the studio? Um,
we we we bring up a lot a lot of
(27:03):
people that are either just kind of coming into the
industry maybe their interns and they're trying to figure stuff out,
and so yeah, like I've done a number of mentoring
projects over the past year in particular because yeah, look, ultimately,
you know, I'm going to retire at some point soon
and you're not not yet. Okay, I want you know,
(27:26):
I want to be able to enjoy you know, I'm
gonna sit back TV, so you get to enjoy nothing.
You have stuff to do still, Steve, you get to
enjoy nothing. Yeah, but I want the next generation there,
I want. I want to enjoy their work. So yeah,
of course I want. I hope as much as I
(27:46):
can absolutely that. Yeah, we got to we got to
see you briefly at D twenty three, but we we
got to meet your son. Does your son? Um? Does he?
My son Nico wants to be a voice actor, Okay
in our contest contest, he's pretty great. Um, I got him.
I got him a spot on Moon Girl. So he
(28:07):
had his kind of his first taste of voice acting
in the studio, which was great. But yeah, that's something
he loves to do. He does a lot of the
dubbing on anime right now, okay for friends and stuff
like that. But yeah, but yeah, but he loves animation.
I think it was just it was part of the household.
I mean, it was avoidable in a way. I guess
it's a great it's a great household to grow up
(28:28):
in when you're growing up around animation pen or a microphone.
I guess it's like one of the other both. Yeah, yeah,
I think that's so well. Unfortunately, Steve, we've got you know,
we have a heart out today, which stinks. But but no,
we were we were so excited to get a chance
to talk to you. And again everybody, uh don't forget
(28:50):
we got Ghost and Molly McGee and moon Girl and
Devil Dinosaur, which both sounds so great. The Moon Girl
and Devil Dinosaur does sound like, uh, just the cool
the coolest idea in the world. Fans of Kimpossible who
will enjoy the show. It feels like a nice companion
piece in a way. So yeah, this is the coolest
thing in the world, and we hope we're not done yet,
(29:10):
Steve with with whatever happens in the future, anything is
possible for a possible. Yes, that would be so cool.
Now can people if they which I'm sure they're gonna
want it. They're gonna want to follow your career and
everything you're doing. Do you have any socials people can
follow you on? Yeah, I'm on Instagram and Twitter. Um
it's at Steve Loder on so yeah, check it out.
(29:33):
You guys, you for joining us. Kim Possible would not
have been Kim Possible without without you involved and kind
of helping to guide the ship. So now I appreciate that.
But honestly, you know, you guys did a lot of
have you lifting to make that show great? So all
your work, that's very sweet. You just made Christie blush.
Look at that, you just made Christie blush. Thank you
(29:54):
so much Steve for joining us, and everybody please go
watch all the new stuff and the older stuff because
it's all it's just all good, it really is. It's
all good and Steve is attached to it's good. So
please come back too, because we have this conversation is
not done yet. We have a lot left to talk about.
I want to talk about the past, Chris. He wants
to talk about the future. But we've got a lot
left to talk about. So if you can come back again,
(30:16):
we'd really appreciate it absolutely anytime. Thank you so much, Steve.
We'll talk to you again soon. Thank you. Bye. Oh
that was so cool. Yeah, I hate that we have
to cut it short, but we have to cut it short.
What is he He's going to a booking or something, right,
He's a busy man. He's a busy guy. And um, yeah,
my something happens. I think this the room I'm in
(30:37):
is destroyed in like fourteen minutes. The room is going
to countdown? Does a countdown? Um? If we got it?
But no, So yeah, everybody, go check out Ghost and
Molly McGee and moon Girl and Devil Dinosaur of course
is coming out February tent And that does sound like
something that's going to be like your kids are gonna
love that. That sounds that sounds awesome. So thank you
(30:59):
everybody for joining us, and go check out Steve all
the stuff he's done. You will not be disappointed. He's
a phenomenal artist and a wonderful director and producer. Um,
so go check out everything, and until then, don't forget.
We're gonna be doing our super awesome contest to become
the next big voice actor. It is real, people, it
is true. It is happening and January nine through February nine,
(31:20):
and you can submit all of you. It's gonna be
a video. Can't be over two minutes. I hear voices
at I heart radio dot com. Well, we really want
to make sure that you, guys know where to submit
your two minute long sort of audition tapes for us.
Don't just just do it, guys. You know you're listening
out there, if you're listening to the podcast, don't be scared.
(31:44):
We're here to help you and get you a really
great opportunity. Um we know you're out there listening. We
have great fans and uh yeah, let's do this. Let's
find somebody, right will Yeah. I agree. I can't wait.
It's this is getting very exciting, so I can't wait.
There's gonna be some cool stuff in the future. So
thank you everybody for joining us. Don't forget to enter
the contest. Don't submit early. By the way, we're getting
(32:06):
told from our producers, do not submit early. We have
to wait until January nine. Yeah, if you think you
have what it takes to step up to the microphone,
then put your voices where your mouth is. Thanks everybody.
I Hear Voices as hosted by Wilfredell and Christy Carlson Romano.
Executive produced by Wilfredel, Brendan Rooney, Amy Sugarman and Vicky
Ernst Chang. Our executive in charge of production is Danielle Romo,
Our producer is Lorraine Vera Wez and our editor slash
(32:28):
engineer is Brian Burton. And that was my announcer voice.
Some side effects of listening to I Hear Voices are
sore abs from hilarity falling down the coco melon rabbit hole,
sneezing due to mass nostalgia, and hugs. Follow I Hear
Voices wherever you listen to podcasts so you don't miss
any of the amazing voices. Be sure to follow us
on Instagram and TikTok at I Hear Voices podcast. You
can also check us out on my space omeigal Vine,
(32:49):
Lime Wire. Hey I'm a napster. Okay, well let's teach
you about the Internet. The who
Hey Christie, Hey will I don't often tell people this,
but I'm gonna say it to you. You're a vision
in pink. I don't know what else to tell you.
Oh my gosh, you're a vision in pink. Some people
can't pull off pink and think, well, black works for everybody.
Pink doesn't work for everybody, but black works for you. Well,
because you're Batman. So oh, I thought you're going to say,
(00:20):
because you're fat, and we want to make sure that
you don't look too big, so we we cover you
in black. You are not. It's very sweet though for
you to not think that. But you are your vision
in pink. That's all I have to say. That's hashtag.
You know you pop? You pop, Christie. That's what it is.
One needs to pop. I'm very excited for today's guests
(00:41):
because we have a serious history with today's guests, don't we. Yeah.
Steve Loader, he is a huge animation director. In his
titles include Kim Possible. As of season two, he really
saw so much of Kim Possible, like growth that we're
going to chat with him all about just It's a
reunion of sorts, isn't it? Yeah? It is? And the
(01:02):
thing that's cool is and you really brought this up.
I'm so glad you did. During the interview about everyone's
gonna be like but we had the director, you know,
Lisa Shaeffer came on. It's like, no, no, no no, there's
multiple directors that are involved in an animation project, and
so I was really glad that you you brought that
up because there's a big difference we did. Steve was
a director and Lisa was a director. Two completely different
jobs but really interesting in both amazingly necessary. So I
(01:25):
was very excited to talk to Steve. It's a cool episode,
it really is. So everybody, Steve Loder, stay, how are
you well? How are you guys doing? I was fine
until my computer decided to not be good anymore. Um Man,
computers are the worst. Terminator is a thing that could happen.
(01:47):
I don't like any of it. You don't trust it.
He doesn't trust that. I don't. I don't. I've been
watching alone, and I think that's the way to go.
The more I'm thinking about it, Loan, is that is
that is that contest where you go out in the
middle of the woods and try to live right? Yeah,
watched that. We watched that. Yeah, my my my wife.
(02:08):
My wife jokes that I would tap out on the
boat ride there one thousand percent thousand. I think that
if you haven't seen it, Steve, it is a really
great show. But it's also you get to root for
people to like, Who's who are you rooting for? On alone?
I'm rooting for the mostly for the animals, but that's
(02:29):
just me. How are you, Steve? Thank you, Welcome to
the show. This is awesome. Yeah, I'm honored to be
his is incredible. We're so excited to have you here
because we have quite a hist Can you remember the
first time that we all work together? Was it two
thousand two? Yeah, somewhere in that zone. Yeah, so twenty
(02:54):
so we're twenty years Oh yeah, definitely. Yeah. We should
probably introduce Steve, shouldn't we? I'm sorry, should be and Steve.
We are so happy to have Steve Loder here with us,
who's a director and a producer of animation, of all
types of animation. But really it should be most known
for Kim Possible, because that's where we know him from.
(03:16):
So that's really the only world we need to talk about.
But that's actually not true because we're talking American Dragging,
Jake Long, Brandy and Mr Whiskers, the Tinkerbell film series,
The Ghost and Molly McGee Moon Girl and Devil Dinosaur,
which is both upcoming that's February three. We'll get into
all of that kind of stuff. But let's be honest, Steve.
It's Kim Possible, That's what we're talking about. Kim Possible
(03:39):
has been in my life, not only during production but
even past it. Um, because I'm I'm a comic book geek,
I'm a film nerd, so I go to the conventions
a lot. There's always a Kim cost player, always, always right,
always yeah. And it's amazing because yeah, it's it's the
legacy just continues. I mean it really people really love
(04:01):
the show and it's just really wonderful feeling. How did
you get involved with it? Yeah? You know. The funny
thing is I joined second season, um, and since then,
I've I've done fifty plus episodes of Kim I think
I've expised Mark and Bob. I think I've probably been
on at the longest and you guys, so yeah, it's
it's it's been an amazing ride. But yeah, it was
(04:23):
slightly intimidating kind of coming on board because the reputation
was already there, the fandom was already starting to build.
So it was a little intimidating, but it was what
a what a marvelous feeling to, you know, to to
work on this amazing show. Well, now see, but let's
talk about like your exact job too, because we had
Lisa Shaper talk to us a lot in studio and
(04:45):
then what exactly is it that you then did for
people to understand how you direct an animated show? Yeah, so,
so pretty much director of animated show is it's kind
of involved in the beginning. So we, uh, we look
at this scripts. You read the scripts that that Mark
and Bob and his writing team we're putting out Mark
McCorkle and Bob school E, the creators of the show,
(05:06):
and um, we get an early idea of kind of
the visuals and the timing and the pace and some
of the designs and some of the backgrounds. We start
to figure out the visuals of it. Um. And then
as we're starting to figure that out, we usually attend
the records that leads a Shafer is directing, which is
where you guys are doing an amazing job and the
thing that's that's great about going to the records is
(05:29):
we're listening for um peaks and values, because when you
animate a character, you really want to have a character
that has these kind of like just kind of peaks
in their voice and then it drops down. And because
that's really kind of where we anchor our drawings too,
that's where the expressions change or they the head gets bigger,
(05:49):
the body arcs back, or the body reduces down. So
we really look for kind of those highs and lows
in the voice because we really like latch onto them. Okay,
And so peaks and valleys. Will has talked about the
fact that by season four, I guess um Ron was
so peaky. Did that change not a lot of valleys.
(06:14):
It's honestly, it was great because when you have when
you have a voice that's kind of that that peaked
or that that kinectic um, you animate to that. And
Ron kind of got if you look at the scenes
went on, he got a little more animated physical, which
was great because it provided great contrast for Kim, who
was very collected and calm. So it just it was
(06:36):
a really great visual you know, to to animate to. Actually, yeah,
I think that Ron did get more and more like
a storylines as we as we progress, and he became
much more active during missions. Do you remember that? Oh yeah, definitely, Yeah, certainly.
I mean in season three, I think it's really where
(06:57):
it started to kind of pop, because, yeah, in season
two there was a couple of moments where trying to
bring him into the missions, but it was always a failure.
But it felt like in season three with Exchange and
the monkey Fist powers and it really started. And also
by the end of season three, we did so the drama,
so we had to be rawn leveled up to a
(07:17):
place that it really felt like, Okay, he could kind
of hold his own in a situation. Well, your first
episode ever was a run episode. The first episode you
did was the Wrong Factor, Right, Wrong Factor? That's right? Yeah,
and that was that was that was an interesting episode
because that was that was them trying to find a
new purpose for Ron. Uh So, which episode was? What?
(07:38):
What was the log line on this one? Ron Stop?
It was awesome film at eleven that yeah, And and
that was the the Agents of Shield group from Impossible
his name I cannot remember. At this particular moment, they
had they had interest in Ron and so they were
going to kind of enlist him for that. And you
know what's what's what makes the Ron factor so special?
(07:59):
So that was yeah, kind of what the episode was about.
The one makes special is this partnership with Kim. Honestly. So,
so wait, let me ask this because we always, Christie,
we always do this. We always jump in the middle
and then we jumped to the end and then we jump.
How when's the first time you remember hearing the words
Kim Possible? Um? Okay, this is an interesting story. Um. So,
(08:21):
most the genesis of Kim Possible actually started on an
animating series called Clerks, the animated series Kevin Smith's series.
Here's here's why. It had the entire team on that
show except for Mark and Bob. So pretty much every
single person that worked on Kim Possible worked on that
show in Steve Silver, Chris Bailey, myself, Nick Philippi, and
(08:44):
the Ice everybody, and so we kind of formed the
look of Kim at least partially on that show. So
that when Kim Possible kind of was starting to kind
of bubble to the surface and we kind of started
to hear about it, it was kind of like almost
trans finding that entire team onto Kim. So it was
it was an unusual experience because it was it was
(09:06):
a type of thing where at that time at t
v A, there was a lot of kind of um
kids in school kind of shows going on, and this
one was kind of a spin on that. And also,
um what was great about hearing about this initially is
it was a female empowerment story, which is usual because
at that time I think you had Buffy the Vampire
(09:28):
Slayer and maybe Xena, but there wasn't a lot of
strong female protagonists. Ye power Puff Girls Puff animated, right, Yeah,
so it was an exciting project to even hear about
to say, oh, this is really going to kind of
move the needle. So you're essentially saying that Kim and
Ron were originally Jay and Silent Bomb. Yeah, was transition
(09:51):
in a way. You're definitely J then in that relationship.
I would imagine that would be that was probably accurate.
Oh that's so funny. That is so funny. When did
Bob and Mark come in there? Yeah? When did When
did so? When did they kind of the whole team
get put together for the first time? Because they pitched it.
I remember they said they pitched it in in in
(10:12):
the in the elevator going up to Gary Marsha's office,
they were like, they came up with it, and yeah,
she can do anything. He's run stoppable, he can't. Yeah,
like a lightning. I mean that that's what. What a moment,
just a creative moment to just get that level of inspiration. Yeah, yeah,
it was. It's it kind of I think, you know,
as as animation um goes through development process, it usually
(10:32):
kind of sticks with the show creators and the writers
just for a little bit of time, so as they
start to write out kind of longer log lines of
the characters and who the characters are and things like that.
So there was probably a period of time spent of
Mark and Bob just kind of isolated working on that.
But then probably right as Clerks was ending and there
was an opportunity to start to go into another production,
(10:53):
it just looked like, well, here's a seasoned crew that's
ready to just kind of jump into a show. And
and and also it was great because a lot of
the people had um experience on different types of show
other than Clark's. We had, you know, the kids stuff
we were doing for Disney, but a lot of them
had adult animated experience here and there said it really
just kind of made it made Kimpossibles kind of elevated
(11:16):
the quality of show. Oh my gosh, I mean, it's
so interesting to me in retrospect how many other shows
almost pirated the look of that animation. So like after
Kim Possible came out, there was these commercials for Assurance
and oh yeah, I was like, you've got to be
kidding me. Pink hair, she's got a communicator, Like she's
(11:38):
still flipping in, like flipping in and out. The direction
of it was very clearly ripping off of Steve and
Well it involved they even those commercials even involved because
we we kind of for a moment in season three,
we gave Kim the super suit that right with the glow. Yeah,
and then they I think they did that in the
(11:59):
commercial too. She did have a suit. I know, I
was watching it fuming, and I was like, nowadays, I
think Disney would probably actually go after something like that
for for new But I will say, I will say,
what was it like using new technology directing with this
with the robots that we had in the movie? Um,
(12:20):
which movie was that that we had the robots? Yeah,
that was that was the It was the first time
the studio had been introduced to CG and it was
kind of done out of necessity because we knew that
there was going to be armies of these characters and
it's really just at that certainly at that time it
was really hard to draw just the pencil mileage alone.
(12:40):
So we came up with the system of Okay, how
are we are we going to do this? And it
was it was a learning curve. Nowadays CG super easy
could do it at home, but then it was it
was pretty tough. Wow. Interesting you you laid the two
D animation that you guys were doing, and then you
did it almost like there was a temp non existent background,
so that inlaid the CG robots and at the time
(13:03):
of doing that, it was very I mean because we're
talking to Ago total and then right and then we
had to um, we were called rotoscope. We had to
kind of take the CG model because we had to
put it then in our lines, so it had to
look like it was drawn so that it mixed with
(13:24):
the characters. And I remember the crazy thing about that
was you had the giant robots and that's okay because
they're big, and they take up a lot of space
on a frame. But there was moments where it was
the tiny robot and Ron was holding the time like
interaction of that you know scope. So that was Yeah,
that was tricky, but it's a lot of fun. I
mean it was. It really felt like we were leveling
(13:44):
up the show. I mean, so the drama is easily
my favorite. Kimpossible uh project. It was great. It was
really good. Yeah, Steve, As much as we go down
(14:06):
memory lane, we also like to talk about just how
talented you are and that you you've continued to work
with you know, with Disney and well, wait before we
go forward, I want to go back. I want to
go back here. Yeah, exactly, you said. You you know,
you're a comic book nerd and everything, A big nerd myself.
So it is animation something you always wanted to do?
(14:27):
Or did you? Or you did you originally want to
be a filmmaker? What like, what were your plans when
you got into this industry? It was definitely cartooning? Um,
I mean, because the thing is, I how I got
into the business is, um, there was a Disney artist
drawing for kids at a shopping mall, like in New
Jersey and so me and my brother, who's also an artist,
(14:49):
we went out, you know, to see this guy and
we showed him our drawings and he's like, yeah, these
are great, why don't you work for us? And it
was so straight up. So I worked for Disney straight
out high school. It was for consumer products, was doing
drawings for You were found at a mall. You were
found at a mall by somebody who works for Disney,
and you started working right out of high school for Disney. Kidding, yeah,
(15:12):
day after high school. So they after graduated, boom right
right right into the Disney UM and go back east
or did you move out here? It was back east
at that time. Yeah, so I was doing that UM
and then being back east, I had the opportunity I
did some work for Jim Henson, which was a lot
of fun, non Disney, non Disney Jim now Disneys and
(15:34):
everything Disney. UM. But yeah, we did some work for
Jim Henson at the time. But the thing that kind
of pulled me into animation is I saw the pilot
for a show called Renn and Stimpy. Yeah, yeah, the
Lightning Bolt, and yeah I had to work on that,
and so yeah, I moved out to l A. I
(15:55):
didn't know anybody out here. Uh, found the studio, found
a department close by, and and got the gig. And
not with your brother. You and your brother kind of split.
He came. He came later. He's he actually does um
book illustrations for Disney, so illustrated animator guy. Yeah, yeah,
that's so. Was it was this Nickelodeon was in Burbank
(16:16):
at the time. Did you move to Burbank? Is that
what you just did? Yeah? Yeah. Actually it's funny because
they put Renist to be in a separate building, so Nickelodeon.
You had all the fun stuff going on Nickelodeon, and
I guess they kind of knew and they said, we're
gonna put Rendist to be in a different building five
miles away, which won't be fun at all. You're in
the warehouse. Yeah, basically, but you know what it was.
(16:36):
It was kind of good because it was a pretty
rebellious crew. It was a pretty eccentric crew, So that
was it was a fun experience. It was a challenging experience. Um,
my first gig, and it was a challenging show. Um,
but you know, since then, my my resume is all
over the map. I've done some more adult stuff. I
did a show called Duckman, I did preschool stuff. Thinking
(16:59):
Clubhouse a little bit um, yes, but but honestly, it's
impossible that it is always the one that people want
to reminiscent talk about, which I'm more than happy to
talk about. It's such an important part of my life.
I'm looking at a picture of all of us right now.
We all look so young. We're posting that on our
on our Instagram. I have a shirt that's literally still
(17:20):
out of print. He says. Everyone loves an Italian girl.
You look like you just went to a Rusted Root concert.
I remember that picture. I remember that picture. That was
last record, I think, and it was like we never
got to really see each other in person, So I
(17:42):
do think if it was our last record, I think
I remember being like, this is sad that this is
our last recording, and that this is the only time
I got to hang with Will. Yeah, we didn't see
We didn't get to really hang out much. No. No,
I was in New York. You were learning, you were
at college learning. Yes, yeah, it should be twelve years
of finished. I should have just deleted. I guess see
Steve and I are both smart. We went right from
(18:04):
high school to work. We decided to go to school
bills exactly. So Steve, if Kim comes ever comes back,
like if we were ever, if that ever happened, what
would you want for Kim? Like, who do you get Kim?
Does Kim need to grow? Does she need to like
be a different person, and does she need to be
more modern an adult? Is she a kid? Like? That's
(18:24):
what I would if if like, if we're going to
bring her back, would you pick would you bring her
back right where we started, where they're in high school still,
would they be in college? Would they be adults now? Like?
What would I'm curious where you'd go with it? Well,
it always when we finished Kim in season four, Um,
I think we're all a little burnt out at that time.
And we've worked on the show for it for a
long long time, but we always felt that there was
(18:46):
more stories to tell than we always kind of hoped
that we were going to pick it up after a
short break or a short vacation, So it was always
in the back of our minds. And I remember, you know,
over years, you know, I'd run into Mark and Bob
and we just kind of joke about, oh, maybe it
would be this, or maybe it would be this, and
it just depended on the on the particular moment of
this is this is the future for for Kim and Ron.
(19:08):
There was one thing that was interesting on was it
the sitch in time or maybe the sort the drama
DVD release. I had to do some art where it
was like you show Kim and Ron as they get
older and younger and that kind of thing, and I
did drawings for that, and the drawings that I did
for adults Kim and Ron I thought were the best drawings,
(19:30):
and they decided not to use them, but they decided
to use the old versions of Kim and Ron. And
what was kind of sad about that is it was
kind of a joke because we made Kim and she
was like an agent of of Shield or whatever that
you and but but here's the thing, we we we
we we did it so that again this was a joke.
(19:52):
We did it so that she looked like doctor Director,
so she had the I patching and kind of overweight
and stuff like that. And what was what was terrible
about it was it only worked and you saw the
adult versions of them, which were sleek and they were fit,
(20:12):
and they were fighters and and so the audience missed
the good middle part and that and man, they did
not like it. Wow, jumped right to it. Yeah, this
is well. I mean this is also at the time
what the the Internet was kind of in its infancy
at the time, so we were learning was not really
but starting to get you know, feedback and stuff like
(20:33):
that that was instantaneous. Was it was an entirely new thing. Um. Okay,
so now we're now we can jump ahead to what
you're working on now because you're working on a bunch
of different stuff, right, yeah, yeah, the So yeah, so
we have The Ghost and Molly McGhee, which is a
really great show. Um, it's currently on air. I got
Ashley Birch and Dana Snyder are doing the voices on that.
They're incredible. Their chemistry is incredible. Um. And then coming
(20:58):
soon coming on February ten on the Channel and coming
up thereafter is Marvel's Moon Girl and Devil Dinosaur. Um.
And this is this is an interesting project. This is
the first collaboration between Marvel and Disney TV Animation. That's awesome.
That's kind of like what KP KP was the first
(21:20):
collaboration with Walt Disney Studios and Disney so I like,
I like being at the first of the Yeah, of course,
of course. And it's a great show. It follows the
adventures of Lunella Lafayette, who is one of the smartest
characters in the Marvel universe. She's a thirteen year old
super genius. She creates a portal which accidentally brings a
(21:40):
giant red dinosaur into New York's lowery Side. And of course,
when you have a giant red dinosaur, you know with
you you partner with him to fight crime on the
New York City. And that's my daughters are going to
love this show. Like I cannot tell you how much
my daughter is gonna be upset. And I'm so happy
to know that you're behind that. That makes me so happy.
(22:02):
It's a great show. And our cast is amazing. We
have Diamond Whitely, bee Be Rare uh Fred Taishore is
friend of the show. Yeah, um, And Lawrence Fishburne is
a executive producer on the show. Is Holly Robinson Pete
and Andy Cohen. And I mean there's a whole bunch
of method man. I mean there's a whole bunch of
(22:22):
people involved. Right, So you're so lucky, Like, I love
seeing that you you're still doing that thing with where
we had with Kim possibly so many amazing cameos. I think.
I think it's a lot of fun when you can
drop people in, don't you, Steve. It's totally because you
get you get a different flavor. And and what's great
is sometimes when you bring in kind of new voices
(22:44):
and stuff like that, it just kind of shakes everything
up just a little bit. Every everyone has to, you know,
adjust to that new energy. And it really because all
we're looking for on the voice tracks is, of course
you're brilliant performances that elevate the animation and make our
lives like, oh we really punch out drawings this and
really make this exciting and move the camera around because
(23:05):
everything is just so kinetic and popping with the motivated. Yeah, absolutely,
I see. So the motivation for you to create the
actual animation sort of comes from the the the spirit,
the energy of our performances. I never really realized that
that's where the vitality of animation comes from. I mean,
(23:27):
that's the right, I'm human in that place, but it's
the performance, that that we get from the voice actors,
that that that turns it to life and how we
start imagining what the animation looks like based off of that.
Is that why you guys put the video camera to
watch us before you started animating the pilot? Totally? Oh? Absolutely,
(23:48):
And we would try to film as much as possible.
That's actually why. I mean, I couldn't come to every session,
but I try to try to come to as many
things as I can because we watch you. We'd see
some of the expressions that you guys would make, and
we kind of doodle it, you know, on our scripts
to go, okay, this for this, I remember this for
that because yeah, we're looking at you know, at your
whole performance. It's not just your voice. It's like we're
(24:11):
keying in on on on facial movements and body language
and everything. Oh yeah, Christy and I are very ying
yang in that we She always seems to like to
talk about the future and I always seemed to like
(24:33):
to talk about the past. Who knows why. But wait,
so you when you when you were getting into this,
not even as a kid, what were your favorite animated
series growing up? Like? What were you? What were you
couldn't miss what was your couldn't miss animated Joe wow Um,
I gotta admit I I was. I was living in
New York, so I think we had we had more
(24:54):
exposure to interesting and unique and rare animation than we
would have in a lot of other places. So there
was kind of an early introduction to the works of Miyazaki.
Soto was, Yeah, that was a big film for me. Um.
There was a film called Castle Cagliostro which is looping
(25:15):
the third so so it was kind of things like that.
But of course Uh tex savery uh cartoons and the
Bugs Bunny stuff that was done by Bob Clampett and
Chuck Jones. So it was a lot of that earlier
because what was you had that stuff when you would
come home from school, it would be on TV. They
would they would rerun all of the Warner Brothers cartoons.
(25:37):
The Disney stuff you had to kind of get on tape.
They didn't really there wasn't really an outlet to see
the Disney stuff. But so there was a constant exposure
to kind of the animation that was done in the
in the fifties and fors and fifties, and I think
that also kind of found its way into impossible. I
think that the the art sensibility of styling, certainly the
backgrounds and the very much the backgrounds. The background, I mean,
(25:59):
there's almost something and this is it's a it's a
weird kind of correlation. But I always thought there was
something almost flint Stones esque about the background of MS.
It was very very cool. And so were you. Also
you talk about Mirazaka, you also like an Akira fan.
Did you go through your Cura phase and all all
the classic enemy Akira ghost in Michelle Ya, all that
stuff that just kind of showed up, you know in
(26:21):
New York was and it was we were all exchanging
tapes because at that time it was it was like
either poorly dubbed or poorly Yeah, so that was the
only wow. That's so that's so fascinating because when you
think about it, with Disney, their i P is is
making their i p accessible to everyone was probably a
lot harder to justify back then with the way that
(26:43):
people were making their money. Um, and now it's accessible
to everyone because everything is streaming. So I can only
think about how fast the learning curve will be for
like a young version of you now, Steve, like, who
is this? Do you mentor? Do you mentor like younger animators?
How does that work? Do? Yeah? Do that? At the studio? Um,
we we we bring up a lot a lot of
(27:03):
people that are either just kind of coming into the
industry maybe their interns and they're trying to figure stuff out,
and so yeah, like I've done a number of mentoring
projects over the past year in particular because yeah, look, ultimately,
you know, I'm going to retire at some point soon
and you're not not yet. Okay, I want you know,
(27:26):
I want to be able to enjoy you know, I'm
gonna sit back TV, so you get to enjoy nothing.
You have stuff to do still, Steve, you get to
enjoy nothing. Yeah, but I want the next generation there,
I want. I want to enjoy their work. So yeah,
of course I want. I hope as much as I
(27:46):
can absolutely that. Yeah, we got to we got to
see you briefly at D twenty three, but we we
got to meet your son. Does your son? Um? Does he?
My son Nico wants to be a voice actor, Okay
in our contest contest, he's pretty great. Um, I got him.
I got him a spot on Moon Girl. So he
(28:07):
had his kind of his first taste of voice acting
in the studio, which was great. But yeah, that's something
he loves to do. He does a lot of the
dubbing on anime right now, okay for friends and stuff
like that. But yeah, but yeah, but he loves animation.
I think it was just it was part of the household.
I mean, it was avoidable in a way. I guess
it's a great it's a great household to grow up
(28:28):
in when you're growing up around animation pen or a microphone.
I guess it's like one of the other both. Yeah, yeah,
I think that's so well. Unfortunately, Steve, we've got you know,
we have a heart out today, which stinks. But but no,
we were we were so excited to get a chance
to talk to you. And again everybody, uh don't forget
(28:50):
we got Ghost and Molly McGee and moon Girl and
Devil Dinosaur, which both sounds so great. The Moon Girl
and Devil Dinosaur does sound like, uh, just the cool
the coolest idea in the world. Fans of Kimpossible who
will enjoy the show. It feels like a nice companion
piece in a way. So yeah, this is the coolest
thing in the world, and we hope we're not done yet,
(29:10):
Steve with with whatever happens in the future, anything is
possible for a possible. Yes, that would be so cool.
Now can people if they which I'm sure they're gonna
want it. They're gonna want to follow your career and
everything you're doing. Do you have any socials people can
follow you on? Yeah, I'm on Instagram and Twitter. Um
it's at Steve Loder on so yeah, check it out.
(29:33):
You guys, you for joining us. Kim Possible would not
have been Kim Possible without without you involved and kind
of helping to guide the ship. So now I appreciate that.
But honestly, you know, you guys did a lot of
have you lifting to make that show great? So all
your work, that's very sweet. You just made Christie blush.
Look at that, you just made Christie blush. Thank you
(29:54):
so much Steve for joining us, and everybody please go
watch all the new stuff and the older stuff because
it's all it's just all good, it really is. It's
all good and Steve is attached to it's good. So
please come back too, because we have this conversation is
not done yet. We have a lot left to talk about.
I want to talk about the past, Chris. He wants
to talk about the future. But we've got a lot
left to talk about. So if you can come back again,
(30:16):
we'd really appreciate it absolutely anytime. Thank you so much, Steve.
We'll talk to you again soon. Thank you. Bye. Oh
that was so cool. Yeah, I hate that we have
to cut it short, but we have to cut it short.
What is he He's going to a booking or something, right,
He's a busy man. He's a busy guy. And um, yeah,
my something happens. I think this the room I'm in
(30:37):
is destroyed in like fourteen minutes. The room is going
to countdown? Does a countdown? Um? If we got it?
But no, So yeah, everybody, go check out Ghost and
Molly McGee and moon Girl and Devil Dinosaur of course
is coming out February tent And that does sound like
something that's going to be like your kids are gonna
love that. That sounds that sounds awesome. So thank you
(30:59):
everybody for joining us, and go check out Steve all
the stuff he's done. You will not be disappointed. He's
a phenomenal artist and a wonderful director and producer. Um,
so go check out everything, and until then, don't forget.
We're gonna be doing our super awesome contest to become
the next big voice actor. It is real, people, it
is true. It is happening and January nine through February nine,
(31:20):
and you can submit all of you. It's gonna be
a video. Can't be over two minutes. I hear voices
at I heart radio dot com. Well, we really want
to make sure that you, guys know where to submit
your two minute long sort of audition tapes for us.
Don't just just do it, guys. You know you're listening
out there, if you're listening to the podcast, don't be scared.
(31:44):
We're here to help you and get you a really
great opportunity. Um we know you're out there listening. We
have great fans and uh yeah, let's do this. Let's
find somebody, right will Yeah. I agree. I can't wait.
It's this is getting very exciting, so I can't wait.
There's gonna be some cool stuff in the future. So
thank you everybody for joining us. Don't forget to enter
the contest. Don't submit early. By the way, we're getting
(32:06):
told from our producers, do not submit early. We have
to wait until January nine. Yeah, if you think you
have what it takes to step up to the microphone,
then put your voices where your mouth is. Thanks everybody.
I Hear Voices as hosted by Wilfredell and Christy Carlson Romano.
Executive produced by Wilfredel, Brendan Rooney, Amy Sugarman and Vicky
Ernst Chang. Our executive in charge of production is Danielle Romo,
Our producer is Lorraine Vera Wez and our editor slash
(32:28):
engineer is Brian Burton. And that was my announcer voice.
Some side effects of listening to I Hear Voices are
sore abs from hilarity falling down the coco melon rabbit hole,
sneezing due to mass nostalgia, and hugs. Follow I Hear
Voices wherever you listen to podcasts so you don't miss
any of the amazing voices. Be sure to follow us
on Instagram and TikTok at I Hear Voices podcast. You
can also check us out on my space omeigal Vine,
(32:49):
Lime Wire. Hey I'm a napster. Okay, well let's teach
you about the Internet. The who
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