Interview with Barry J. Kelly (Supervising Director, Star Trek: Lower Decks)

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We're super pleased to be doing this
interview on behalf of Animation Fascination, and

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we're talking to Barry Kelly's supervising director, a star Trek Lower decks what even

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I think, even the crankiest of
old school Treki's because I pay attention to

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the forums way too much, seem
to absolutely adore. But you know,

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my relationship with fandom might be a
little bit more different than yours, mister.

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I am very bad on social media. I've forms. I don't know

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why. I never figured out how
to use forms or how to figure out

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who's responding to who. But it's
good to hear that the feedback is mostly

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positive. I love that. It's
always nice to hear like it's hard with

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streaming, right, it's not like
the same as like old TV ratings,

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So I'm always like, who watched
the show that doesn't know me? Or

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is buying a subscription that's like my
you know, like it's like my aunt

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or something just doing me a favor. So it's always like a good relief

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to hear people love the show because
we love it. I love it too,

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like it I read the scripts,
you know, you know, I'm

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like the first viewer and it's like
I fall in love with this episode,

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or like I see it perfect in
my head, and then I'm like given

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this test where like I have to
make it after I read it. I

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just I just watched it in my
head, and now I have to make

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the show. So it's I hope
people are loving it as much as I

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love it, because I'm trying to
recreate that like first time I'm reading the

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script. I'm trying to make that
enjoyment again for everybody else. Yeah.

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I was a CBS All Access first
a subscriber, and whenever I heard that

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Lower Decks was going to be much
like the rest of Trek fandom, I

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was just like, sure are going
to work, am I. I was

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so surprised at how well it worked. And then Aspen, your relationship with

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Star Trek is way different than mine, and you freaking up Lower Decks too.

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I'm more of a Star Trek fan
now than I was. But when

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I I at that point, I
hadn't watched a ton of it, but

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I did watch Lower Decks and at
the time did not get all the great

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little Easter eggs, but was still
delighted beyond reason. Constantly I adore that

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out people. I know that.
Yeah, I don't even watch Star Trek

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love lower. Yes, that's so. Let's good hear though, because I

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yeah, yeah, I want it. I mean I know Mike wants it

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to work. My command, the
creator, showrunner wants it to work too,

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for everybody, Like even on our
crew. I'm like, I don't

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it's anytime I asked, like a
new crew member, I'm like, you

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know, Star Trek, it's not
a it's never a like you need to

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start. It's like it's more like
how do I talk to you? Do

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I say ryme Milin Werberd or do
I say bad guy shit? And it's

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so and but they're the side influence
of people like I, you know,

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I'll be two in my head of
like what's you know what something is in

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Star Trek or what's what was it? What was happening in a specific episode.

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I'm like, well it has to
be that way. And then like

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it's always those people outside that are
like that does it doesn't need it?

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I'm like, you know, I
never even thought about that. That's why

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I need these open perspectives because I'm
in a bottle or I'm gonna I'm in

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a cave all day, you know, like a little star trek, you

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know, reuse set of a cave
and in my little animation land here and

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I'm like, I love that that
the East Riggs don't need to hit every

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time. As long as the characters
are coming through and the humor's coming through

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and it's playing, that's perfect.
I love here. I think that is

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the key point of it is that
it's deeply I feel deeply character and relationship

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based. So good. I agree
so much as beIN thank you so much

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getting You're so welcome, right,
it is, it truly is. Which.

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Yeah, so if you're not gonna
get the you're not gonna get the

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joke of the thing, the deep
cut. That's going to be wonderful for

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people like Kenny or huge truck fans, but it's going to still resonate with

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just people who love good stories.
Yeah. There's always like a note whenever

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we're watching an episode or like an
animatic, you know, we're I'm watching

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every hour, I'm like really watching
a different phase of something, and I'm

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always like, this is a second
viewing kind of joke, Like like you

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know, like you watch something the
first time and then like the second,

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Like, I'm like, you'll get
this the second time you watch it,

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because it'll it'll I'm hoping that like
you like the show enough that, like

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you know, you either watch it
again soon or maybe later on the I'm

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just gonna watch, you know,
another another round of the season. It's

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on in the background, like you
catch something you never caught before, or

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now you know the easter eggs that
that come through that second But the second

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viewing is always in my head of
like that's for second view, you know,

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not first. I'm excited for my
second pass, my second view pass,

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I will I'm excited for your second
past to you ask then, yeah,

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so I got some questions which you're
probably not surprised by. Let's do

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it what you got, Okay,
we'll get you started. So lower decks

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strikes. It's brilliant balance of simple
character animation and we talked about this a

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bit, but simple character animation and
extremely complex worlds starting from the pilot.

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So this can make for an extreme
hodge podge of an episode, but it

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still feels cohesive. So are you
all just geniuses or is there method to

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the madness? Oh my gosh,
I I would say I am trying very

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hard to problem solve and navigate every
problem we encounter on the show, which

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is like I keem saying I'm not
a genius, but I'm hoping that we

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all come off like them at the
end, which was perfect. Well,

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that sounds good to me. Anybody
making me. I have very talented people

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who make me look better, and
then hopefully I'm making some other people look

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better and we all come off great, you know, like like geniuses.

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But yeah, that first episode that
was I was I took over season too,

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uh and that first episode for Piles
get like especially this one, like

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we didn't have the ship designed,
you know, by the time we were

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storyboarding. Like storyboarding is kind of
like shooting in a way, Like if

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I compare it to live action,
it's like, how are we shooting without

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the ship? So it's kind of
like, you know, in storyboards,

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it's like, okay, if you
if you need like a light switch,

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Okay, I just gotta make sure
the character hits a light switch somewhere.

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But if you look at the boards, they might be like empty boxes or

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something. You know, they just
I just need to know that I got

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to put something there, and then
I know the background ers are going to

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paint it beautifully and they're going to
make you know, a world around all

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these characters, and sometimes you just
got to kind of like give the landmarks

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of where things are. But we
didn't always The ship is that's in itself

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is like, you know, a
character to the show, but it's a

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character that's in every episode and they're
inside of it, so it takes it

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took a while to figure out the
ship. I'd say, we didn't figure

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out the ship until, like,
you know, we were halfway through boards

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in the season, because it's it's
it's it's a it's a very you know

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what color is the carpet? You
know what color is that space carpet?

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But yeah, that first episode,
you know, we were trying to get

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a lot across a lot of pilots, you know, are sometimes like the

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harder episode to watch of a show, yea, And I'm hoping that like

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the first you know, I remember
reading the first few pages the cold open

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with Boimler and Marhyer and she's,
you know, just like this ball of

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energy that's running around him and circling
him around, and you know, he's

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she's swinging a batlet and stuff like
that, and it's and it's a little

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like it can be overwhelming, but
it also what I was always impressed by

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Mike's writing with is like I understood
those characters like ree lines in like it

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was like the first page thirties I
want it, and it told me that

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like thirty seconds into the show,
anybody watching will know who these characters are.

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And that was always like, you
know that that's very hard to execute

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on a show, and Mike McMann
is a freaking brilliant genius at doing that,

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like just nailing getting right to the
point of who the personality is of

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someone and how you can easily like
put them in any situation and you'll see

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the like you know, the the
reaction and counter you know, like the

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all all just all the hygiens that
they get to like right off the bat.

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But yeah, as as far as
like complex worlds and simple animation,

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yeah, it's weird, like you
we want it to feel you know,

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like the stakes and like the characters
are just as real as you know,

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any live action show or any other
you know, character or anything like that.

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So like it's always weird to like
think that we're simplifying things to big

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eyes and small mouths and stuff like
that. But there is like there's a

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weird you know, they call it
the Uncanny Valley. I think it still

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applies here where you know, you
have like style and realism and like you're

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just kind of trying to find that
like space between where it feels that you

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can believe that this thing is real
and it maybe feels more real than something

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that's like over here on the realistic
side but just not real enough or like

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you the drawing. You know,
once the drawings get too realistic, you

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kind of it can kill the comedy
or it can kill you know, a

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little bit of the believability of what
is actually happening around them and finding that

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right balance. You know, we
want to look like a sitcom. We

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want we want anybody to like look
at it and who's into sitcoms and want

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to watch it and just look at
like an appealing cartoon. But then you

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know, you watch, as you
watched that season, we're slowly bringing you

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into like epic sci fi adventure you
know, before you know it, and

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hopefully we're seeking you know, your
you know, sitcom animation tunes into like

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a world where there's a camera and
there's a cinematic, you know, scope

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to everything. That's how I'm trying
to present it like that. It's more

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of like a sitcom shot with the
camera. That's that's kind of in leaqual

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with my second question because you're talking
about the uncanny value, you're talking about

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trying to make it a sitcom,
and yet at the same time each image

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is extremely dense. Uh as an
insane Star Trek fan, right, that's

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me. Uh I, I pumped
my fist every single time that there's some

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obscure easter egg in the background.
Uh just comes to my mind is to

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and his eyes open, which is
like such a deep cut Star Trek thing.

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How do you manage to corral everyone
to jam the frame with so many

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things that are deep cut Star Trek
while also keeping it completely accessible to uh

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just normies as we'd like to call
them. And then also how often do

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you consult memory alpha? Well,
there's always there was a there was a

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ground rule from beginning that's like you
have to consult alpha. Beta is I

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don't know if it's really or not
right, Yeah, the beta memory bit.

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You gotta memory memory alpha is a
regular go to, like we have

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to we have like there's sometimes there's
no other It's also like if you google

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anything, it's like the first thing
that pops up, and then you just

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got to make sure that like,
oh yeah, we click Helfa, not

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Beta at that time. Yeah,
although I guess y'all pulled Titan from Beta

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canon and made it into Alpha Cannon, which is wild. That makes sense.

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Yeah, that's they're very good.
Are they arbiters? What do you

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call them, like the contributors or
administrator? I think all three of those

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words apply perfectly to it. They're
very very thorough. Yeah, they're very

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thorough. I learned brothers much more
interactive with like just the fans on Twitter.

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I don't have an x account or
anything, or I think I do.

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I forget, Yeah, yeah,
I forget, So I don't really

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interact. I got on Instagram.
I'm like, I'm slowly going to Kara,

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which is that new artist driven one. But I'm kind of in both

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so it's very hard for me to
keep up. But it's back to your

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question, apologies, how do we
keep those Easter eggs? I mean there's

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sometimes they're written in the script,
like you're talking about that menagerie or not

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the menagerie, the the art gallery
that the collector had, and there's tons

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of little spots to do. Like
it kind of happens in every phase.

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So like the script lists a few, then once we go into storyboards,

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the sorbers start peppering, and then
once we get to backgrounds, like that's

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really that's the artist that's actually gonna
make them make the paint for Like there's

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like they'll go to painters, bred
artists that are involved at that stage that

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kind of all make the final color
of that background come together. But at

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that stage, it's like when we're
like, oh, crap, this is

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what's going to be real now,
Like this is what's going to be actually

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on the shot, you know,
like boards, you know, we could

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copy paste stuff script they can throw
out anything, but pretty much once we

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get to that background phase, it's
kind of like me and Brad and our

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art director Nolan Obena trying to nail
down because it was we have like you

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know, menageries of animals we have
we always have these like you know,

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or you have the the first contact
what's the name of the the mountain that

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they have first contact that that we
made a theme park. Oh my gosh,

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what is it? It goes it's
Bozeman. That's something. Thank you,

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thank you so much. Yeah,
like like what can we make a

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ride out of the you know,
like like things like that, Like we're

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always uh, it's usually like every
phase is like grip storyboards whatever, like

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someone is usually peppering something and then
like oh we can keep that, that's

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good to stay. We got to
change that one out. We let's pick

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something that isn't and then we you
know, we have to do deep deep

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dives on like Alpha or brad Winterers
or producer has John Van sitters on the

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horn and he's always like where would
so and so be around this time?

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Or where would this be around this
time? We have to just make sure

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that that stuff's okay to put it
in and it's not breaking anything major that's

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going to break anyone's brains or anything
like that. And if it's something that's

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like a dupe, I'm like,
well, it's just people make replicas,

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right, it's a dupe. They
don't know, you know, they this

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this ur this is this collector got
got duped. You didn't know you even

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know it wasn't the real sort of
KALs or something like that. But yeah,

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it's it's every phase, everyone,
every little bit, every little phase

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just peppers in a little bit and
we just have to like edit it down

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as we get to the final picture. Essentially, what's an Easter egg and

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what's not? I follow this real
quick. How do we feel about Moopsie?

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Just like emotionally deep in our souls, We've loved Moopsie since the start.

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I'm so glad that that voice carried
through because that voice is was our

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editor's son, one of our like
dialogue editors, and he did it as

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temp and then no one wanted to
change it by the time we got in

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and he got into SAG so that
we could you know, use his voice

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and everything. I hope that we
can use him again and some others.

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But he's the cutest thing. I
hope we make you know sound by you

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know, toys or something of Moopsie. There is a Mopsie coming out.

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I'm hoping that they'll maybe be a
very like a two point or wordever that

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has like the squeeze it and it
says the name or something like that,

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or maybe thangs pop out. But
I love it. I want to make

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like a photo real one have I
have one, like a fan made one,

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but I wish. Part of me
is like, oh, I want

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to make one that's like, you
know, weird, like like real and

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like latex and like maybe it's I
mean, I keep in my head,

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you know, I was talking about
live action versus animation, and I'm like,

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I wonder what I do wonder what
moves you would look like live action

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creepy, like look cute from a
far and you get up close and it's

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like you can see the veins and
the texture and everything in it. It's

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one of those like yeah, like
don't go too close because then it'll it'll

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just like a white texture. It's
actually teeth. It's just the whole thing

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is just molars. That's what.
Yeah, it's a texture and it's just

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like weird. It's like calcle,
I don't like, mister Kelly. I

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understand that you're giving a whole bunch
of interviews because you are successful, handsome,

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and most importantly, very very important. All of those interviews could probably

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miss all a lot of nuance.
What or what what things are you hoping

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to get across that might not necessarily
have gotten across in other other interviews.

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Hmmm. I mean, I'm always
like I think I've always like thinking about

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the crew who who doesn't always get
you know, I feel I feel privileged

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that I get to be interviewed by
folks like you and by you know,

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uh brought in you know, and
some of the commentaries and stuff like that.

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And I'm always like, I'm always
thinking about like thars because what's what's

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weird is uh animation is a gig
based It's still like it's kind of like

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like action, it's a gig based
you know job. So like a lot

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of a lot of there's only very
few of us who are on the show

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from beginning to end. It's like
me the art director, our producer Megan,

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Megan Travino, and Brad Winners and
a few others like our editors and

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stuff like that. So like a
lot of times are our crew are some

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of them are are are in the
like kind of like Mike McMahon show Family,

250
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where like they go off and make
solo opposits for six months and then

251
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they come back star Trek lowerd ext
Like I use a lot of like storyboard

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artists and character designers from that show. So it's there's there's crew that they

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get they they they're on the show
and doing a ton of core work and

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then they never get to see the
final product until it actually airs. So

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I'm always like thinking about I wish
I could always shine a spotlight on them.

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And there's like some amazing leads and
like Marissa Livingstone's a character designer supervisor

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that that she's been on the show
since the beginning. She's amazing. We

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have these like amazing uh animation directors
up in Vancouver that I am I'm always

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hoping like I can get, you
know, more credit and more because they

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they're they're saving my butt a lot
of the times too, just like in

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some of the most amazing character amiss
that they can do quickly and very efficiently.

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And I always want people to know
like that there is a crew behind

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the show that really genuinely loves the
show and uh that loves it just as

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much as the audience does. Like
it's a rare thing. I think I've

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worked on a lot of shows.
I'm uster shows barely lasting a season,

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sometimes they get cut, you know, Having five seasons of this show is

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really incredible. It's it's it's it's
it's pretty rare these days. And what's

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also rare is you know in animation, at least the way we do meetings

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at Titmouse, that's the studio that
I work for that makes Lower Decks.

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We have daily meetings when we you
know, we sit and go over everyone's

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footage, you know, if you
have something to if you have something,

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if you have a shot downe Like, everything's broken down in the shots,

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right, it's like four un shots
the show. And every day we're looking

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at show, you know, different
shots from different shows. And you know,

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there's plenty of shows that I've worked
on before. We're like, it's

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a job. It's just a job
to people. You know, we're looking

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it's sposed. You know, we're
watching funny cartoons. No one's laughing,

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and lower decks everyone's laughing at the
show. Part of my French everybody is

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laughing on the show. That's that's
actually a rare thing. I'm not used

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to that where you know, the
dialogue is killing everybody in the room.

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Everyone's animation is killing everybody in the
room. You know, it's like a

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it's like almost like an old The
few times I really see that as like

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footage of like the Disney animators laughing
at what they're doing because they didn't know

284
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each and make this kind of work
possible, you know, and they're laughing

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about what they've been able to do. And I just something I always want

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to know is one of people who
knows that the crew loves working on the

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show. They they put a lot
of heart, a lot of love,

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you know, in the end,
every back and so if it's appreciated,

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we can only be grateful for that. I'm glad that you brought up the

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crew aspect because something that I sell
Mark and Aspen are so keen on talking

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about on all of our various podcasts
is that this stuff is so hard to

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do. Uh. As someone that
worked on the ABC TV show Secret Millionaire,

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Uh, the show, this stuff
is super duper hard. How long

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does it take for you as as
a supervising director, from like beginning to

295
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end? How long does an episode
take? I think episode takes eighteen months,

296
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so from script from scrip to finish, the writing phase is about three

297
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months, but then one we I
feel like the past five years have been

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like starting boards in June ish May, June writing has already started like a

299
00:20:10.240 --> 00:20:15.039
few months before that, like March
February, and usually like June, I'll

300
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be finishing you know, I started
boards on season five around this time last

301
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year, and we'll be finishing up
season four or season five, I'm sorry,

302
00:20:23.599 --> 00:20:29.200
like around September October something like that. Like like that's that's like the

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length of when like like the last
episode, like we'll be done by then.

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Like we're working on you know,
all ten episodes kind of at the

305
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same time until like you know,
one finishes, Okay, then we got

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nine left, and then we got
eight left, and then we got seven

307
00:20:41.000 --> 00:20:45.160
left. But like right now we
are right in the thick of everything.

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00:20:45.400 --> 00:20:51.200
Like it's like I'm looking at stuff
from episodes one through six at the moment,

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like every and all of them are
in different phases. I'm looking at

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00:20:53.319 --> 00:20:59.680
you know, sound stuff from one, animation from three, and compositing,

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00:20:59.720 --> 00:21:03.640
which is you know that's where like
you know together like backgrounds or merged with

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00:21:03.720 --> 00:21:07.480
the animation. I'm looking at you
know, for that for like episode four.

313
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Like every hour it's like kind of
like a different every hour of my

314
00:21:11.279 --> 00:21:14.039
day is like a little bit of
a different meeting where I'm looking at different

315
00:21:14.079 --> 00:21:17.440
aspects of different episodes at the same
time. It's kind of yeah, there's

316
00:21:17.480 --> 00:21:18.559
a lot of overlap that's the thing. Like I say, it's eighteen months,

317
00:21:18.559 --> 00:21:22.720
but it's like once you are you
know, you start an episode every

318
00:21:22.720 --> 00:21:25.720
few weeks, so you're working.
You know, at a certain point,

319
00:21:25.759 --> 00:21:27.480
it's kind of like a you know, like a waterfall effect where it kind

320
00:21:27.480 --> 00:21:30.599
of like or I guess amountain like
you know, you're kind of stacking them

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00:21:30.640 --> 00:21:32.920
up and they kind of they're kind
of delayed, and then slowly by the

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00:21:32.960 --> 00:21:36.000
end you're kind of like tapering down, you know, And yeah, it

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just takes It just takes a long
time. It's time and people, and

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00:21:37.960 --> 00:21:41.720
it's like I want to make sure
that the crew is happy and that they

325
00:21:41.759 --> 00:21:45.920
want to work on the show,
and like it's a little hard to balance

326
00:21:45.920 --> 00:21:48.599
when you know, sometimes it's you
got to push them and it's not you

327
00:21:48.640 --> 00:21:51.759
know, if something's not right,
it doesn't mean it's not good enough.

328
00:21:51.759 --> 00:21:53.079
It just means like it's not you
know, we got to find the right

329
00:21:53.200 --> 00:21:56.839
you know, the right design for
that one moop seed. You got to

330
00:21:56.880 --> 00:21:59.799
find you know, the right sound
effect for that one phaser. You know,

331
00:21:59.839 --> 00:22:03.640
like it's it's it's sometimes it's uh, it's I don't want to push

332
00:22:03.759 --> 00:22:04.920
them. I don't want to,
but I'm trying to like still get them

333
00:22:04.920 --> 00:22:08.440
to you know, you know,
make a better version of what they want

334
00:22:08.440 --> 00:22:12.599
to see in the show. Yeah, answer your question. I kind of

335
00:22:12.640 --> 00:22:18.640
want to. Uh yeah, most
definitely. The question was how long does

336
00:22:18.680 --> 00:22:22.440
it take? Oh you went,
well all those things, uh, and

337
00:22:22.480 --> 00:22:26.599
then it takes what I got for
eighteen months and it consumes it in like

338
00:22:26.799 --> 00:22:30.559
thirty minutes. That's what. Yeah, what I got from that is so

339
00:22:32.000 --> 00:22:34.759
like a great boss. Oh I
hope. So that's that's on them,

340
00:22:36.000 --> 00:22:40.000
that's on them to speak. That's
so we'll look after this. Yeah seriously,

341
00:22:40.079 --> 00:22:41.400
ye yeah, yeah, it's uh
but you know it's funny you say

342
00:22:41.400 --> 00:22:44.000
that, like and then we consume
it in thirty minutes. It's like,

343
00:22:44.079 --> 00:22:48.119
yeah, I remember like like we
make big mouth here. Also that the

344
00:22:48.160 --> 00:22:51.960
mouse, and like I remember just
like watching because it was kind of new,

345
00:22:52.039 --> 00:22:53.559
right, like there wasn't so many
cartoons on Netflix, so that was

346
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like one of the first ones.
And I was like I told because I

347
00:22:56.440 --> 00:23:00.200
wasn't used to the binging things were
like just all of them are up right,

348
00:23:00.200 --> 00:23:00.839
all of them are up And I'm
like, dude, I just watched

349
00:23:00.839 --> 00:23:04.960
two years of work in two hours. I'm sorry, Anthony that's Anthony Leoy's

350
00:23:06.079 --> 00:23:08.079
like the EP over there, and
I'm like, I'm sorry, man,

351
00:23:08.119 --> 00:23:11.839
I just burned through that. It
was great, but all that work was

352
00:23:11.880 --> 00:23:15.079
just boiled down to like, you
know, three hundred and sixty minutes or

353
00:23:15.119 --> 00:23:19.640
something. Yeah, one more.
Okay, this feels So it's a very

354
00:23:19.640 --> 00:23:26.519
important question. Question. We're going
to ask a selfish question. So not

355
00:23:26.559 --> 00:23:30.599
only have you obviously directed to Star
Trek, but you've also Galaxy of Adventures.

356
00:23:30.960 --> 00:23:33.720
So the real I would like to
say, the biggest question here is

357
00:23:33.759 --> 00:23:37.759
which is better Star Trek or Star
Wars. Oh my gosh, you guys

358
00:23:37.799 --> 00:23:40.160
are gonna be my Star Trek.
I have to say Star Trek right now?

359
00:23:40.599 --> 00:23:42.480
Crazy? What are you doing a
month paramount? I get it.

360
00:23:42.559 --> 00:23:45.240
I gotta I gotta say, we
gotta say the right thing. That's that's

361
00:23:45.319 --> 00:23:48.640
too tough. That's like it's so
hard. It's like it's funny that like

362
00:23:49.559 --> 00:23:53.640
I I, you know, I
went from working which that was an amazing

363
00:23:53.640 --> 00:23:56.359
project, to like to work on
the I feel very privileged. I've touched

364
00:23:56.359 --> 00:24:02.720
both because I grew up with both
and not likely do they have the same

365
00:24:02.799 --> 00:24:06.720
name or they start with star.
You know, that's a that's a constant

366
00:24:06.759 --> 00:24:11.960
thing. But I you know,
Star Wars is what forty years something now

367
00:24:12.000 --> 00:24:15.160
old, and I'm like, how
about I double down and go for something

368
00:24:15.160 --> 00:24:18.119
that's fifty years old with fifty years
of fans that are angry at me,

369
00:24:18.160 --> 00:24:21.640
you know, like for the end
the other Star franchise. But no,

370
00:24:21.880 --> 00:24:23.079
yeah, it was it just kind
of it kind of worked out that way.

371
00:24:25.559 --> 00:24:30.079
The you know, I always feel
like Star Trek Star Wars, Star

372
00:24:30.359 --> 00:24:32.720
I always feel like I compared the
two like this, Like Star Wars really

373
00:24:32.720 --> 00:24:34.440
captures the kid in me, Like
it captures like the wish fulfillment of wanting

374
00:24:34.440 --> 00:24:40.000
to be a hero and wanting to
you know, to save the day and

375
00:24:40.279 --> 00:24:44.319
then really have an adventure. And
then Star Trek you know, really appeals

376
00:24:44.319 --> 00:24:47.640
to the adult in me of having
to admit that the world is harder and

377
00:24:47.680 --> 00:24:52.119
more complex than simple heroic adventures.
You know that our escape is like Star

378
00:24:52.160 --> 00:24:55.839
Trek, you know, that has
to make me. It's it's weird,

379
00:24:55.839 --> 00:24:57.440
it's it's a Star Trek is utopian, but it has it almost teaches me

380
00:24:57.480 --> 00:25:00.920
to accept reality and like Star Wars
for me, like to escape reality in

381
00:25:00.920 --> 00:25:07.480
a weird way, like even though
they're both sci fi for future reaching myth

382
00:25:07.599 --> 00:25:11.039
you know, mythos or universes that
get to deal with. But it's my

383
00:25:11.160 --> 00:25:17.839
artistic journey has been so influenced by
both Big Time Girl Up Only. The

384
00:25:17.880 --> 00:25:22.079
biggest takeaway from that is that on
your next project you would be looking for

385
00:25:22.240 --> 00:25:27.839
a science fiction property with a longer
running I'm excited to see the Doctor Who

386
00:25:27.880 --> 00:25:33.200
Animated show that you will be directing. I'll have to catch up. I

387
00:25:33.200 --> 00:25:34.279
will that will? Yeah, that
will. That is a tough one.

388
00:25:34.279 --> 00:25:38.880
Why why haven't they done that yet? They should? Why not they have?

389
00:25:40.119 --> 00:25:44.359
It's complicated? Oh really, Okay, I'm I'm clueless now, I'm

390
00:25:44.680 --> 00:25:47.559
I'm in new territory. I didn't
know there was an animated one. You're

391
00:25:47.759 --> 00:25:51.960
you're busy, and quite rightly so
I'm not, and I have no idea

392
00:25:52.000 --> 00:25:57.079
what you're talking. Well as well, we'll talk about this. We'll talk

393
00:25:57.079 --> 00:26:00.720
about this later. Talk about another
cast that I will that I can tune

394
00:26:00.720 --> 00:26:04.519
in and I can watch and I
can get caught up on the history of

395
00:26:04.640 --> 00:26:08.960
animated Doctor. Absolutely, thank you
so much for being so generous with your

396
00:26:08.960 --> 00:26:11.960
time in indulging us. Hey,
thank you for having me good questions.

397
00:26:12.000 --> 00:26:17.440
Really appreciate the chat. Good personalities. Thank you so much. Did you

398
00:26:17.480 --> 00:26:25.599
hear that we've got good personalities?
Friendly, you're a great boss. Oh,

399
00:26:26.480 --> 01:29:01.039
we'll find out