It was a blast. Steve had a sign over his door that said have fun or you're fired, and I love that. Welcome to SpongeBob binge Pants, Nickelodeon's official podcast about all things SpongeBob. I'm Hector Navarro and I'm Frankie Grandang. We're so excited. We have an amazing guest today, somebody who's been a part of the SpongeBob world since literally the beginning and who worked with the greats Stephen Hillenberg, Tom Kenny there from the beginning. We're talking today to Mr Kenny Pittinger. He is an incredibly talented layout artist, background designer, storyboard artist, wears too many hats. Since recording this interview, Kenny Pittinger has become one of the show runners for The Patrick Star Show, which makes sense considering his years of experience and contributions to SpongeBob and of course storyboarding the Patrick Star Show pilot and designing its layouts. Way to go, Kenny, It's an amazing interview. We hope that you guys enjoyed. Kenny is the absolute best. And there we go. What would you say has been sort of your main job, your main contribution when people find out that you work on SpongeBob, Like, how do you explain it to them in terms of what you have mostly done across the show's films everything. Yeah, well mostly it's it's the background design. I was there. I started on the pilot, which was incredible piece of luck to end up there, because I was just this green dummy. He didn't know what he was doing. And I guess when I explained to people, it's like I helped design Bikini Bottom, like SpongeBob's house, the Krusty Krab and Chum Buckett, all those places I've put my stamp on. That's amazing. For years, I've been dreaming of this moment. I'm going to go in there, march strength to the manager, looking straight in the eye the line and I can't do this. Take us back to when you walked into that room with the SpongeBob team. Yeah, well, I remember getting the copy of the rough board, and I remember looking through it. I was on the couch and my little apartment in Burbank. Some storyboards are rougher than others. This was great, but looking back on it, like, I'm thinking, at these these drawings are right, very polish, obviously I liked it and and I had a good time on it. But my first impression was this is is okay, yeah, okay, Well listen, you came in, you cleaned it up. That's for sure. That's totally fair. I mean, I think that that's in line with the stories that we've heard from folks like yourself that have kind of been there from the beginning and even all the way up to like the executives at Nickelodeon at the time level, nobody knew what y'all had on your hands. That's that's the part of the story that I do love. Can you describe what everybody else was kind of feeling working on that pilot and then when the show got picked up two series? Yeah? Well yeah, and in that that little room a Laurel Canyon when we did the pilot, it was uh, me, Steve Hillenbergh, and Eric Weese and uh we're all in there. And you know, I, as I was there for those those eight days, I kind of got to know them, and I the excitement was infectious. You know, It's like, we're look what I'm doing. Eric would like show me what he was doing. I'm I think it would be cool to add a flash of white here when Goodward hits the mast or whatever. So I was like, oh, this is cool, but Mr Great tears first, SpongeBob, all right, Mr all right, all right, Mr Krab, I will be in my quarters, counted out. The art director, Nick Jennings would come down from time to time and we talked about what I was doing, because when I started drawing the SpongeBob designs, I was I didn't really know what I was doing. So like, I started drawing the Krusty Krab interia and I'm I'm drawing like I'm rendering the background, which means I'm adding like shadows and lights and stuff. And they're like, we don't quite need that more to like this wobbly line, and and so we kind of refined it quickly and I got I got up to speed. But it was fun, but over too soon. Yeah, but I didn't get to meet some nice people. Um. But when it went into production a year later, I left cat Doog. It was kind of kind of starting to wind down anyway, and SpongeBob was crewing up and so UM went upstairs and it was a blast. Steve had a a sign over his door that said have fun or you're fired. And I love that that was actually my idea any other things or your idea and that you're particularly proud of in the world of Spongebobs. SpongeBob's unicycle. Yeah, wow, we love that. I'm ready, Eddie, Eddie, Eddie, Eddie, Eddie, Eddie Adie. Ready. Well, pal, I won't be needing you anymore. I'm ready, I'm ready. I'm ready. Oh yeah, I'm ready. Yes, yeah, which was cool because I was, you know, just designing backgrounds, but to have a hand in like what the characters are doing and right on that was that was cool. I'm proud of that. That's awesome. When did you realize, oh, my goodness, this is a massive success that I am now working on. You know, it was a little gradual. I mean, it was quick gradual, but it was It wasn't like how you know Superstars was. It was like we were like nearing into production on season one and waiting to see if we got to pick up and heard we're going to be put up against Pokemon, which was super popular. We're like, yeah, yeah, so I thought, oh, they're just trying to bury it. But then but yeah, I mean, obviously it got traction. So it was sometime it must have been in Ish that that. Uh, it was just like, wow, this is this is a phenomenon, and it just kept going, kept climbing. It's just it's I still don't understand it. It's just getting your head around like what it is in the world. It's it's it's great, it's everywhere. How am I to deserve such a great honor? Like I would be nothing without Mrs puffs, give me a break, Kenny. When you were working on the show and you guys were figuring out the style of the backgrounds, was there a particular moment for you that was like, oh ah, okay, I got it. This helps kind of unlock what bikini bottom is. Was there a specific thing or was it kind of a gradual design process. Well, as I mentioned earlier, Steve had a vision already in place, and thank goodness because you know, obviously I was green, but you know he was able to communicate exactly what it was. It's nautical nonsense. So we've got a lot of ship parts, a lot of pipes and helm, steering wheel things, and and uh, the other side of it is the tiki influence, So which is apparent, like if you look at the way the skies the clouds are treated, those that flower design, it's and there's a lot of bamboo and a lot of uh, you know, thatching and stuff like that. So it was just kind of that nautical nonsense theme here. So it was really it was really pretty immediate, like, oh, I get, I get what this says. I can't play anymore jelly Fish. I gotta get home. You can't come home with me. I do remember being kind of it was sort of an aha moment, a minor one, but it was like when Steve told me what those houses in the distance were, or you know what the main houses are. They're just smokestacks from ships, and I'm like, oh wow, that blows my mind. I don't know why that's the thing, but it works and it's genius. My role as a background designer was I would take the storyboard, which is kind of like the bedrock of each episode. It's it's this like towage comic basically that shows what the characters are doing, has all the dialogue, and I basically create a stage for the characters and I design it so I only do the pencil work. So I just do actual design, it's just the black and white and from me, then it it moves on to the painters who make it beautiful. So like, do you ever look at the paintings and you're like, wow, I ain't even always gonna look like that? Totally totally. They always make it better, Penny. When you see your early designs in your layout work, in your backgrounds in like museums or archives, what do you think when you see that's kind of stuff? It's really it's it's humbling and it's gratifying beyond measure and just to just to to know I've had some impact and my work is out there. What's the weirdest maybe like SpongeBob product that you've looked at and then been like, I drew that. I drew the early version of that. That's so weird. What's the what's the craziest thing You've seen? This painting that squid Word did of himself? And I think it's the Box episode where their love that episode so much. It's the bold and brash. How about this one high college bald and bran oh like belongs in the Tries that has a life of its own. I've seen it on like shirts and you can buy it on this and that, and it's all bootleg, I think, but it's it's kind of fun to see that, like I do that. It's amazing. You know, has your role actually changed revolved? Has technology has kind of taken this in a completely different direction animation wise? Yeah, great question, because it really has changed since when I started. Because when I started, we're drawing on paper. I think, actually have a paper. You're gonna hold up an actual piece of paper. Okay, listeners, No, it's mostly instinct, but Kenny here has an actual piece of paper, so rarely used now it's like a yeah, this is uh, this is from actually it is a medieval episode. It's a SpongeBob BG so this is a hands so obviously it was And normally I don't draw. You don't draw the characters all that often as a background designer, but sometimes if they're not moving, they'll they'll be painted into b B g BG stands for background. Yeah. So we would draw this on paper. There's no command z. You could not write there was a racer like, there's no like resizing thing. Oh I didn't get that quite right, so uh we switched to uh digital designs in like two thousand five six, it was like fourth season. We kind of made the transition and it was pretty easy. A lot of people that weren't into it, like I want paper forever, and there are a lot of people that are still that way, and drawing on papers always better. It's just if you feel it. Storyboard artists in many ways are many directors themselves, because you guys are taking the characters now and you're performing with them. What is it like to perform with the iconic characters that you have storyboarded? Oh, it's a blast. You're absolutely right about. The storyboard artist is the first director because they're setting the scene. You know, this is the camera angle, whatever. But and the acting, especially on the on the projects I've been fortunate enough to work on SpongeBob Joe don't have any price Squidly. We don't need television, not as long as we have our imaginatetion Uncle Grandpa, Billy Dilly. If you've seen that Looney Tunes, it's just it's so broad, it's so squashed and stretch. So yeah, I I'll be drawing a storyboard and like your production manager walking into my office and I'm making like you know a kind of face because you do act it out. I don't don't always look in the mirror. I don't look in the mirror often have the mirror in here. In your entire history with SpongeBob, do you have a single favorite gag or joke? I have a favorite episode. I could say that we'll take it SP one to nine, the time travel one. I may finally have found a place where I can be all, hello, hello, top to bottom. I love that. I mean, there's so much love in it. I mean, yeah, now I'm thinking there's the one where they're in the band and Patrick comes in like stuck into the trombone. He's like, whoever's the owner of Are there kids in your life that like you get to like tell them what you do and watch their eyes just slowly get so large that that that looks like they're gonna pop out of their faces. I mean, I have two boys U ones fifteen once twelve, and they've grown up with it kind of so it's like they don't they know what I do and obviously and what an impact the projects I've worked on have had, but but there you know, they're actually they're great to bounce stuff off of like I'll show them aboard I'm doing and they're like laughing, or or like, what what do you try that? Sometimes I'll say, oh, yeah, I'll try now. So are they gonna do? They make you do? They make you draw? Spongebobb u parties, it's happened, that it's happened. Are fun? Yeah, I'd always make appearances in their classrooms through the years. That's always that I would. I would hate to be apparent. That has to follow your presentation. That's a tough career day right there. What a wonderful day. The sun is out, the water shimmering, scallops are chippy, so peaceful. Let's talk about the current in the future of the SpongeBob world. The Patrick Star show is insane. I love sane. Who is it, Patron, It's Captain Dog quays are I'm locked out? I need you to open the ship Star. I'm sorry, I'm afraid I can't do that. And you storyboarding the pilot and the opening theme animation. What's it been like helping to kind of usher in this next generation of SpongeBob. It feels like going back to the beginning, you kind of you know, back in like just spitballing ideas and brainstorming and just filling a page with like this is what a chair could look like. This is what a chair could look like. It's super fun. Patrick is like who doesn't love Patrick? And there's so many possibilities, and uh, I have to give credit to the writers because we worked from scripts, you know for that, and so it's like I can add my my weirdo spice to it, but like it's really worked out. It's super important to me and I know that everyone involved to put out a quality product because you know, for Steve is when it comes down to, like we gotta make this great and and everyone just gives feel it. You can see it. It's it's great. What's you You worked on SpongeBob, you work on Camp Coral, you worked on Patrick. How do you swap between your brains working on those three shows? Yeah? Design wise, SpongeBob so established nautical nonsense, Um, sponge right, I'll be friends somewhere. For the Patrick show, it was like, Okay, Patrick, we're kind of seeing the world through Patrick's eyes and he's a little a little weird and so across side. So it was it was more like dial up the weird a little bit for the Patrick Show for Camp Coral CG. So that's a shifting of gears for sure. I mean in a lot of ways, it's similar to SpongeBob as far as design, Like we still got the same kind of elements, but you have to think them as an object in space more when you're when you're doing the designs, because you really have to consider three D space when you're designing stuff. And do you still do the same thing with like you draw like as if you were a pencil on paper and then it gets rendered into CG? Like how is that? Is that process different or is it the same? It's pretty much the same. It's the same for me. Yeah, Luckily there are people who know how to do that stuff because I don't. Is it in a different sense of excitement to see your stuff come to life in c G as it is in two D? It is? It's different. It's I think it's more in a way. It takes me out of it a little bit because it's like you're really sitting back and just looking at how they did it, and they're like, Wow, how did they do that? And that's so cool for someone like you to get to say, I have had a similar experience Frankie, where I am I'm watching Camp Coral, and because it is CG, it tricks my brain into thinking like, oh, this is the you're seeing SpongeBob for the first time, or thinking about how kids are watching SpongeBob today, because because this character in this world is such a part of our lives that anytime we see SpongeBob over the years in like a new medium, whether it's like a real life kitchen sponge or claymation or any kind of fun thing that you guys were doing Kenny to to to bring some some interesting new animation style to the show, it always felt like, oh, I haven't seen SpongeBob like that, And now I've seen him as a lego, I've seen him in c G, I've seen him, you know, in every possible way. Yeah, that that CG has that element of like, oh, this is the first time I'm seeing these characters in this way, which is really really interesting. Did see that. It's been quite an honor getting to talk to you today. I must say, well, likewise, this has been a blast, and my whole career has been a blast, and I know you're gonna be seeing some cool new things coming along down the pike for real though. From frank and I, from the bottom of our hearts, thank you so much for talking to us today. Thanks for all your work man. We grew up watching the shows. Uh, it's so great to this day. Just thanks man, this has been awesome. Well Hector Frankie, it's been a blast. Thank you, Hector, Frankie. That was so great. I love talking to Kenny Binninger. That was fantastic. My biggest takeaway was he is the exact perfect person to work in cartoons and especially SpongeBob. How lucky were we that see why he's had the career that he's had because he he was a delight absolutely so huge thanks again to Kenny for sharing his time. We hope that you all enjoyed that amazing conversation and let us know what your favorite part was. Let us know what other questions about Kenny's career or the production of SpongeBob you have, so that we can ask it to our future and upcoming guests. We want to know. Uh, and be sure to follow wherever you're getting your podcast from so you don't miss an episode. Thank you so much for listening everybody. Thank you guys so much.

It was a blast. Steve had a sign over his door that said have fun or you're fired, and I love that. Welcome to SpongeBob binge Pants, Nickelodeon's official podcast about all things SpongeBob. I'm Hector Navarro and I'm Frankie Grandang. We're so excited. We have an amazing guest today, somebody who's been a part of the SpongeBob world since literally the beginning and who worked with the greats Stephen Hillenberg, Tom Kenny there from the beginning. We're talking today to Mr Kenny Pittinger. He is an incredibly talented layout artist, background designer, storyboard artist, wears too many hats. Since recording this interview, Kenny Pittinger has become one of the show runners for The Patrick Star Show, which makes sense considering his years of experience and contributions to SpongeBob and of course storyboarding the Patrick Star Show pilot and designing its layouts. Way to go, Kenny, It's an amazing interview. We hope that you guys enjoyed. Kenny is the absolute best. And there we go. What would you say has been sort of your main job, your main contribution when people find out that you work on SpongeBob, Like, how do you explain it to them in terms of what you have mostly done across the show's films everything. Yeah, well mostly it's it's the background design. I was there. I started on the pilot, which was incredible piece of luck to end up there, because I was just this green dummy. He didn't know what he was doing. And I guess when I explained to people, it's like I helped design Bikini Bottom, like SpongeBob's house, the Krusty Krab and Chum Buckett, all those places I've put my stamp on. That's amazing. For years, I've been dreaming of this moment. I'm going to go in there, march strength to the manager, looking straight in the eye the line and I can't do this. Take us back to when you walked into that room with the SpongeBob team. Yeah, well, I remember getting the copy of the rough board, and I remember looking through it. I was on the couch and my little apartment in Burbank. Some storyboards are rougher than others. This was great, but looking back on it, like, I'm thinking, at these these drawings are right, very polish, obviously I liked it and and I had a good time on it. But my first impression was this is is okay, yeah, okay, Well listen, you came in, you cleaned it up. That's for sure. That's totally fair. I mean, I think that that's in line with the stories that we've heard from folks like yourself that have kind of been there from the beginning and even all the way up to like the executives at Nickelodeon at the time level, nobody knew what y'all had on your hands. That's that's the part of the story that I do love. Can you describe what everybody else was kind of feeling working on that pilot and then when the show got picked up two series? Yeah? Well yeah, and in that that little room a Laurel Canyon when we did the pilot, it was uh, me, Steve Hillenbergh, and Eric Weese and uh we're all in there. And you know, I, as I was there for those those eight days, I kind of got to know them, and I the excitement was infectious. You know, It's like, we're look what I'm doing. Eric would like show me what he was doing. I'm I think it would be cool to add a flash of white here when Goodward hits the mast or whatever. So I was like, oh, this is cool, but Mr Great tears first, SpongeBob, all right, Mr all right, all right, Mr Krab, I will be in my quarters, counted out. The art director, Nick Jennings would come down from time to time and we talked about what I was doing, because when I started drawing the SpongeBob designs, I was I didn't really know what I was doing. So like, I started drawing the Krusty Krab interia and I'm I'm drawing like I'm rendering the background, which means I'm adding like shadows and lights and stuff. And they're like, we don't quite need that more to like this wobbly line, and and so we kind of refined it quickly and I got I got up to speed. But it was fun, but over too soon. Yeah, but I didn't get to meet some nice people. Um. But when it went into production a year later, I left cat Doog. It was kind of kind of starting to wind down anyway, and SpongeBob was crewing up and so UM went upstairs and it was a blast. Steve had a a sign over his door that said have fun or you're fired. And I love that that was actually my idea any other things or your idea and that you're particularly proud of in the world of Spongebobs. SpongeBob's unicycle. Yeah, wow, we love that. I'm ready, Eddie, Eddie, Eddie, Eddie, Eddie, Eddie Adie. Ready. Well, pal, I won't be needing you anymore. I'm ready, I'm ready. I'm ready. Oh yeah, I'm ready. Yes, yeah, which was cool because I was, you know, just designing backgrounds, but to have a hand in like what the characters are doing and right on that was that was cool. I'm proud of that. That's awesome. When did you realize, oh, my goodness, this is a massive success that I am now working on. You know, it was a little gradual. I mean, it was quick gradual, but it was It wasn't like how you know Superstars was. It was like we were like nearing into production on season one and waiting to see if we got to pick up and heard we're going to be put up against Pokemon, which was super popular. We're like, yeah, yeah, so I thought, oh, they're just trying to bury it. But then but yeah, I mean, obviously it got traction. So it was sometime it must have been in Ish that that. Uh, it was just like, wow, this is this is a phenomenon, and it just kept going, kept climbing. It's just it's I still don't understand it. It's just getting your head around like what it is in the world. It's it's it's great, it's everywhere. How am I to deserve such a great honor? Like I would be nothing without Mrs puffs, give me a break, Kenny. When you were working on the show and you guys were figuring out the style of the backgrounds, was there a particular moment for you that was like, oh ah, okay, I got it. This helps kind of unlock what bikini bottom is. Was there a specific thing or was it kind of a gradual design process. Well, as I mentioned earlier, Steve had a vision already in place, and thank goodness because you know, obviously I was green, but you know he was able to communicate exactly what it was. It's nautical nonsense. So we've got a lot of ship parts, a lot of pipes and helm, steering wheel things, and and uh, the other side of it is the tiki influence, So which is apparent, like if you look at the way the skies the clouds are treated, those that flower design, it's and there's a lot of bamboo and a lot of uh, you know, thatching and stuff like that. So it was just kind of that nautical nonsense theme here. So it was really it was really pretty immediate, like, oh, I get, I get what this says. I can't play anymore jelly Fish. I gotta get home. You can't come home with me. I do remember being kind of it was sort of an aha moment, a minor one, but it was like when Steve told me what those houses in the distance were, or you know what the main houses are. They're just smokestacks from ships, and I'm like, oh wow, that blows my mind. I don't know why that's the thing, but it works and it's genius. My role as a background designer was I would take the storyboard, which is kind of like the bedrock of each episode. It's it's this like towage comic basically that shows what the characters are doing, has all the dialogue, and I basically create a stage for the characters and I design it so I only do the pencil work. So I just do actual design, it's just the black and white and from me, then it it moves on to the painters who make it beautiful. So like, do you ever look at the paintings and you're like, wow, I ain't even always gonna look like that? Totally totally. They always make it better, Penny. When you see your early designs in your layout work, in your backgrounds in like museums or archives, what do you think when you see that's kind of stuff? It's really it's it's humbling and it's gratifying beyond measure and just to just to to know I've had some impact and my work is out there. What's the weirdest maybe like SpongeBob product that you've looked at and then been like, I drew that. I drew the early version of that. That's so weird. What's the what's the craziest thing You've seen? This painting that squid Word did of himself? And I think it's the Box episode where their love that episode so much. It's the bold and brash. How about this one high college bald and bran oh like belongs in the Tries that has a life of its own. I've seen it on like shirts and you can buy it on this and that, and it's all bootleg, I think, but it's it's kind of fun to see that, like I do that. It's amazing. You know, has your role actually changed revolved? Has technology has kind of taken this in a completely different direction animation wise? Yeah, great question, because it really has changed since when I started. Because when I started, we're drawing on paper. I think, actually have a paper. You're gonna hold up an actual piece of paper. Okay, listeners, No, it's mostly instinct, but Kenny here has an actual piece of paper, so rarely used now it's like a yeah, this is uh, this is from actually it is a medieval episode. It's a SpongeBob BG so this is a hands so obviously it was And normally I don't draw. You don't draw the characters all that often as a background designer, but sometimes if they're not moving, they'll they'll be painted into b B g BG stands for background. Yeah. So we would draw this on paper. There's no command z. You could not write there was a racer like, there's no like resizing thing. Oh I didn't get that quite right, so uh we switched to uh digital designs in like two thousand five six, it was like fourth season. We kind of made the transition and it was pretty easy. A lot of people that weren't into it, like I want paper forever, and there are a lot of people that are still that way, and drawing on papers always better. It's just if you feel it. Storyboard artists in many ways are many directors themselves, because you guys are taking the characters now and you're performing with them. What is it like to perform with the iconic characters that you have storyboarded? Oh, it's a blast. You're absolutely right about. The storyboard artist is the first director because they're setting the scene. You know, this is the camera angle, whatever. But and the acting, especially on the on the projects I've been fortunate enough to work on SpongeBob Joe don't have any price Squidly. We don't need television, not as long as we have our imaginatetion Uncle Grandpa, Billy Dilly. If you've seen that Looney Tunes, it's just it's so broad, it's so squashed and stretch. So yeah, I I'll be drawing a storyboard and like your production manager walking into my office and I'm making like you know a kind of face because you do act it out. I don't don't always look in the mirror. I don't look in the mirror often have the mirror in here. In your entire history with SpongeBob, do you have a single favorite gag or joke? I have a favorite episode. I could say that we'll take it SP one to nine, the time travel one. I may finally have found a place where I can be all, hello, hello, top to bottom. I love that. I mean, there's so much love in it. I mean, yeah, now I'm thinking there's the one where they're in the band and Patrick comes in like stuck into the trombone. He's like, whoever's the owner of Are there kids in your life that like you get to like tell them what you do and watch their eyes just slowly get so large that that that looks like they're gonna pop out of their faces. I mean, I have two boys U ones fifteen once twelve, and they've grown up with it kind of so it's like they don't they know what I do and obviously and what an impact the projects I've worked on have had, but but there you know, they're actually they're great to bounce stuff off of like I'll show them aboard I'm doing and they're like laughing, or or like, what what do you try that? Sometimes I'll say, oh, yeah, I'll try now. So are they gonna do? They make you do? They make you draw? Spongebobb u parties, it's happened, that it's happened. Are fun? Yeah, I'd always make appearances in their classrooms through the years. That's always that I would. I would hate to be apparent. That has to follow your presentation. That's a tough career day right there. What a wonderful day. The sun is out, the water shimmering, scallops are chippy, so peaceful. Let's talk about the current in the future of the SpongeBob world. The Patrick Star show is insane. I love sane. Who is it, Patron, It's Captain Dog quays are I'm locked out? I need you to open the ship Star. I'm sorry, I'm afraid I can't do that. And you storyboarding the pilot and the opening theme animation. What's it been like helping to kind of usher in this next generation of SpongeBob. It feels like going back to the beginning, you kind of you know, back in like just spitballing ideas and brainstorming and just filling a page with like this is what a chair could look like. This is what a chair could look like. It's super fun. Patrick is like who doesn't love Patrick? And there's so many possibilities, and uh, I have to give credit to the writers because we worked from scripts, you know for that, and so it's like I can add my my weirdo spice to it, but like it's really worked out. It's super important to me and I know that everyone involved to put out a quality product because you know, for Steve is when it comes down to, like we gotta make this great and and everyone just gives feel it. You can see it. It's it's great. What's you You worked on SpongeBob, you work on Camp Coral, you worked on Patrick. How do you swap between your brains working on those three shows? Yeah? Design wise, SpongeBob so established nautical nonsense, Um, sponge right, I'll be friends somewhere. For the Patrick show, it was like, Okay, Patrick, we're kind of seeing the world through Patrick's eyes and he's a little a little weird and so across side. So it was it was more like dial up the weird a little bit for the Patrick Show for Camp Coral CG. So that's a shifting of gears for sure. I mean in a lot of ways, it's similar to SpongeBob as far as design, Like we still got the same kind of elements, but you have to think them as an object in space more when you're when you're doing the designs, because you really have to consider three D space when you're designing stuff. And do you still do the same thing with like you draw like as if you were a pencil on paper and then it gets rendered into CG? Like how is that? Is that process different or is it the same? It's pretty much the same. It's the same for me. Yeah, Luckily there are people who know how to do that stuff because I don't. Is it in a different sense of excitement to see your stuff come to life in c G as it is in two D? It is? It's different. It's I think it's more in a way. It takes me out of it a little bit because it's like you're really sitting back and just looking at how they did it, and they're like, Wow, how did they do that? And that's so cool for someone like you to get to say, I have had a similar experience Frankie, where I am I'm watching Camp Coral, and because it is CG, it tricks my brain into thinking like, oh, this is the you're seeing SpongeBob for the first time, or thinking about how kids are watching SpongeBob today, because because this character in this world is such a part of our lives that anytime we see SpongeBob over the years in like a new medium, whether it's like a real life kitchen sponge or claymation or any kind of fun thing that you guys were doing Kenny to to to bring some some interesting new animation style to the show, it always felt like, oh, I haven't seen SpongeBob like that, And now I've seen him as a lego, I've seen him in c G, I've seen him, you know, in every possible way. Yeah, that that CG has that element of like, oh, this is the first time I'm seeing these characters in this way, which is really really interesting. Did see that. It's been quite an honor getting to talk to you today. I must say, well, likewise, this has been a blast, and my whole career has been a blast, and I know you're gonna be seeing some cool new things coming along down the pike for real though. From frank and I, from the bottom of our hearts, thank you so much for talking to us today. Thanks for all your work man. We grew up watching the shows. Uh, it's so great to this day. Just thanks man, this has been awesome. Well Hector Frankie, it's been a blast. Thank you, Hector, Frankie. That was so great. I love talking to Kenny Binninger. That was fantastic. My biggest takeaway was he is the exact perfect person to work in cartoons and especially SpongeBob. How lucky were we that see why he's had the career that he's had because he he was a delight absolutely so huge thanks again to Kenny for sharing his time. We hope that you all enjoyed that amazing conversation and let us know what your favorite part was. Let us know what other questions about Kenny's career or the production of SpongeBob you have, so that we can ask it to our future and upcoming guests. We want to know. Uh, and be sure to follow wherever you're getting your podcast from so you don't miss an episode. Thank you so much for listening everybody. Thank you guys so much.