Kim Possible Discussion Panel
Transcript 3

Mark: So that answers the question, will Kim and Ron be boyfriend and girlfriend…

Steve: We’ll just say that right up front so…

Mark: So we pick up after So the Drama but we skip the summer, so it’s next like we introduce the school year, senior year, all of season four is basically senior year. We’re holding off on graduation in case there’s a movie.

Mark: Yeah we’re holding off…

Q) So do you see this as presenting – you’ve got most the writing already done -- has presented a new challenge the idea of Kim and Ron being an item, also Kim’s new battle suit?

Mark: Uh…no I can’t. I think we had other things working when they said, ‘oh you get a fourth season.’ So the Drama was very much an ending to the series and so yeah we were a little bit, ya know, skeptical, what can we really do now? We didn’t want to break them up obviously. So then as soon as we got into it we realized there was a lot of comedy to get out of them dating. Yeah we didn’t want to turn it into like a dating show or soap opera, whatever, but we just got a lot of comedy out of their relationship, how villains react to it like in this case [referring to the clip just shown]. So it’s been fun actually, and really- and the battle suit was another challenge because it- she became so super with all the things you can do with that we felt like it was sorta like we were gonna lose…we made the battle suit in So the Drama because it was so special ya know and we felt like on a day to day basis it sorta changed the show and everything so we had to figure out a way…

Bob: It goes down for repairs quite frequently.

Mark: We try to get her back to being sort of a more, the Batman-esque power level as opposed to…

Bob: Relying on her own

Mark: Iron-man { }

Steve: There is a few villains that are bigger and badder than usual so she may have to use the super suit for those special moments

Mark: I don’t think I’m ruining any big surprises to say right away at the start of the season, we made sure it got damaged.

Steve: Hence the Ill-Suited title. The guys know – Mark & Bob, have been working { }

Mark: But anyway…

Q) I have a couple So the Drama questions. One is about Bonnie Rockwaller her last two appearances I believe were Bonding and So the Drama. And in Bonding we finally see Bonnie has a softer side how some things --life is hard for her too-- her being able to work through with Kim and all that. Then in So the Drama she went back with being a stereotypical evil bitch the only one in the entire building failed to notice two people just walked in and saved the world including them, again, and I’m just curious which of those two depictions apply and you think is closer to who the…

Mark: One of the things with Bob and I the way we think and create stuff, and particularly on this show we always just tried to get the script in front of us the best it can be and then get it out the door and we’ve never been continuity guys like that’s just not how we’re wired…so

Bob: Like Greg { } is wired…

Mark: So it’s so ironic that we’re here to { } he is the king of continuity, like his brain is wired that everything interrelates and he knows that you know by episode 62 this thing he set up in episode one is gonna pay off whereas we’re like, “What Ron has Mystical Monkey Power?”


Mark: So, one thing I think happened we went from season 1 and season 2 and we would read a lot of the well especially after the uh, season 2 we were definitely “Ah, whatever it took” to make an individual episode to be the best it could be. And then it was out the door [and] forget about continuity. But then more as we read fan reaction online the more we saw that there was definitely an appetite for continuity. But that is no excuse for why Season 3 {howling from other hall } Bonnie is one of those characters {… now you are a man-wolf ..} so...

Bob: You know the easy answer though is that So the Drama was actually written after Season 1 before Season 2 and 3. Originally [written] the script for a live-action movie that was never made, but…

Mark: Yeah, after Season 1 and Kim was this big thing, there wasn’t that type of road to a live-action scene movie Bob and I wrote that … We wrote So the Drama originally it’s almost like a something script for someone who’s never seen an episode of Kim Possible. It had a lot of sort of classic things in it. It had like scenes that you’d kinda seen in the series they’d be seen for the first time in live action. So when we ended up making animated we did some revisions on that.

Bob: { }

Mark: Although we do have an episode…

Bob: We do see more of, sort of her more vulnerable side over the course of the season. [But] any semi-villainous character like that you don’t want to completely …. We don’t want to turn her into Fonzi …

Mark: { } she becomes one of the gang. Ya know, to show my age, Taxi, you might have an episode where that character softens a little bit, but then right back to being a jerk. And there is one episode that we’re working on now script that we get to see a little vulnerability on her again….

Bob: See Bonnie cry…

Mark: Cry a lot.

Q: My other question is that I’ve been a fan of the show since Thanksgiving Day Marathon 2003. And Shego’s my favorite character since the very first day. And in So the Drama, thanks to that super suit... she’s kicked 20 feet through the air … lands in an electrical tower, [which is] pretty tall, gets electrocuted, the entire thing collapses and falls on top of her. How does she survive that to where she’s actually in the paddy wagon with the frizzy hair and Kim Possible doesn’t even seem the least bit concerned that perhaps { }

Steve: The reason why it was staged like that is I needed that maybe kind of Die Hard moment that Yippee-ky-yay you know kind of moment. Where it was the final strike it was a strike bigger than anything you’ve seen before….

Mark: We went into the paddy wagon scene just to show that {she’s not dead}.


Q: Was it an ambulance?

Steve: No it was a paddy wagon….

Mark: She was just sitting there, her hair was smoking…

Steve: … hair was smoking…

Q: She survived?

Steve: Yeah, she’s tough. She could survive that… she survived that huge fall in Sitch in Time.

Nicole: She had Go Team power goin’ on…

Q: The thing that really attracted me to the show was the dialog—the verbal puns and { }. Is there more of a unique challenge in writing dialog for this show than a normal action series?

Mark: Well there’s more of it. Our scripts..

Bob: I think a Batman script is 30 pages or something like ours are 45, 46.

Mark: I think the problem is then we have to cut a lot of the action, so you know it’s hard to strike a balance for this show. Early on, like Season 1, there was actually a really strict rule about a 50-50 split. That half the episode had to be sort of ‘ordinary world’ relatable and then the other half could be adventure and action, but … Nicole could probably speak to... {} and we haven't... But the difference between writing for this show.

Nicole: Umm... I think that there's such a great precedent from season 1 that when I came on in season 2, I'd be watching season 1 and looking at my scripts from season 2and say, "Must be funnier!" "Okay redo, redo". Because these guys are just hilarious. And I think that yeah I think you want to be funny and smart because of what they already have on the show. So yeah, I think I probably pushed myself harder to try and be funnier on the show.

{Mark or Bob}: Good for you.

Nicole: Good chance to {} I mean to have people not actually groan at you cause they're on TV later on. Like good in my book.

Bob: Kim is just really just I think our dialog {sensibility}. That, you know, we tried to do on other shows [but] because we created this one it was easier to. You know, previously we had done Buzz Lightyear, Hercules, and Aladdin. Hercules was. We twisted that to our {sensibility}.

Mark: Our work on Hercules is actually very similar to all our work on Kim.

Bob: It’s hard in cartoons typically to do that sort of fast-paced back and forth dialog. { } the way the system worked.

Steve: It was also a really good pairing visually. When you get that sort of... When you get that much dialog you have to really surf into a series of drawings that kinda reflect the ups and downs of the dialog. the highs and lows, you know the tone of the voice. And before that I was on Kevin Smith's Clerks animated series which is also a barrage of Ba-ba-ba-ba-ba-ba… And so I got really used to having that much dialog to getting into one scene, so {...}.

Bob: And the other huge factor is Christy and Will and John DiMaggio as Drakken. It's just this really great level of voice acting. They're not the typical voice actors. I mean Will had done Batman Beyond previously … but on that he had to be all grim and mysterious all the time, so we pointed out what's wrong and we { } very unique things out of that { }.

Steve: What are the auditioning for? [referring to noise from other room]

(Audience member): A radio skit.. A wolf Chihuahua.

Mark: What’s funniest part for Bob and I is when we started out, you know staff writer, got story editor, we would constantly be frustrated early on in this industry because dialog didn't sound natural because there'd be a line and then there'd be this pause and then the next line. And it wasn't until we became producers.. Hercules was [probably] the first show where we had the control to say "Yeah people don't talk that way. People talk over each other." And you know, the more we got into having the power to control that aspect then suddenly I think our dialog was playing better because it was the finished product coming out more the way we intended it. I think early on that we were definitely frustrated. Dialog just never sounded natural because there was a very rote way people would execute TV animation which was the dialog would sit there as discrete blocks as opposed to overlapping. Sometimes time compressing { }. You know, we do everything we can as you understand.

Steve: Why don’t we show another clip.

Mark: Yeah.

Transcript notes:
[brackets] denote grammatical inclusions to make the transcript more readable
(parenthesis) denote direction/gestures of panel members or comments from an unknown person.
{script brackets} denote unintelligible comments/ may contain suspected words