The Voice of Steve Loter

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 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 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 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. 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. 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 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 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. 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 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 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 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 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, 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 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, 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.

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

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 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 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? 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? 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, 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 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 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 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 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 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 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, 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 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 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

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,

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. 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 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 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 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 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? 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, 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, 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 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

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 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. 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 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 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 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 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 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 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. 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, 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. 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, 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

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 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 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 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. 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

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 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 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, 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, 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 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 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 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 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.

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, 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 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 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 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, 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 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 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 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 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, 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. 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 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, 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

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 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, 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. 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 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.

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