Where were you when you found out your episode was nominated and what was your initial reaction?
In our pajamas at home like everyone during COVID. Our first reaction was “Keyframe magazine better interview us about this.” And we should say at the outset that the nominated episode was written by the brilliant Nora Smith, who loves giving interviews even more than we do, but apparently isn’t a member of the Animation Guild.
How long have you worked on the show and what is your background?
We’ve been on the show since 2010, when the show was staffed after the pilot got picked up. We were lucky enough to be there from almost the beginning alongside the Bob’s creator and best boss Loren Bouchard.
What was your favorite part of working on this episode?
This was an unusually gory episode about pig dissection, so I think we all wondered what it was going to look like. When we screened the color cut and we got to see all the amazing work the artists and animators had put into it—and the blood and guts in all their glory—it was graphic and fantastic.
Did you face any creative challenges on this episode? If so, how did you address them?
To make the episode as realistic as possible we all ordered pigs to dissect and worked on them on our conference table over one lunch period.*
Why do you think this particular episode resonated with viewers?
Because everyone at times does something to fit in that they regret doing, which was the theme of this episode. And because many people have been haunted in their nightmares by a fetal pig voiced by Paul Rust.
What are your top highlights from working on the show (not specific to this episode)?
This show is obviously blessed by its incredible voice cast. There’s also nothing more satisfying for us writers than working closely with the artists who draw our show face-to-face (and occasionally making eye contact).
*That was a lie above—we didn’t really dissect pigs.
