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STEPHEN HILLENGURG (Creator):
“When we started the TV series, I was only interested in doing Spongebob shorts. Even in the show, most of the half-hours were more like two 15 minute [(segments]. The plotlines were really simple, silly stories. With the movie, I didn’t want to make it an inflated episode. This is more like SpongeBob’s great adventure. I thought about him going on an extended road trip where he would encounter the surface world, and there would be live action involved. He has this innocent, kid-like perspective, and he’s naïve. He launches into this journey and at the end he manages, in his way, to save the day.”
TOM KENNY on creating SpongeBob’s voice:
“Stephen had me in mind sensibility-wise for SpongeBob, and we worked on where the voice placement was, and I twisted it around to make a voice that was young but not really a child, but not really a man either - but just like an elf on helium.”
BILL FAGERBAKKE:
“Lest anyone think, ‘Oh, I can do silly voices,’ Tom’s instrument is incredible. It’s like this paramilitary device. He can do this high volume for four hours and still be funny, it’s a remarkable blend of comedic timing and this incredible sound he can make; it always leaves us in awe to be with Tom when he’s working. For Patrick, I just pretend that my mouth is in my chest and I just slow down.”
HILLENBURG:
“Ever since I was a kid I’ve loved the ocean. I studied marine science and actually taught marine biology to kids. So when I became an animator, I started drawing undersea marine animals. And I drew these natural sponges for awhile, gave them googly eyes, and it didn’t really come together until I drew a sink sponge one day after talking to some colleagues about it. And the moment I drew the square, I said, ‘This is the guy.’ He’s the square peg, literally in this world of animals.”
FAGERBAKKE:
“Gratefully, Tom and I work together [when we do the voices], it’s one of the pleasures of this job, and I think it has a lot to do with the success of it. We’re always in the booth together, in terms of cast performance, and we really get a performance experience when we’re doing an episode, or when we were working on a scene for the movie.”
KENNY:
“It’s a really fun kind of retro job. It’s as close as I’ll ever get to being an old-time radio actor. It’s cool. It’s a great job.”
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THE CONCEPT:
