The relationship when you do animation, it’s not as intense as when you do for like Space Force or House of Lies. The writer of that episode is on set with you every day. What usually happens when you record for DuckTales is the writer will be there, like Colleen will be there or someone will be in that room while we’re doing the records. (During them) you can talk to Frank and Matt and give notes and stuff like that so we get to meet them a little bit more there.

But also the directors are badass. Like if you look at Tanner Johnson and look at some of these guys who are directing our episodes, they’re incredible. The idea that they do action because our show is not just an animated show, there’s action sequences that are really well done and that’s a testament to (Matt) Youngberg as well.

But it’s like all of these directors that we have are pretty fantastic. But in terms of the writers, we get to see them a little bit more (while) recording. Then there’ll be little tweaks, and we’ll always be encouraged to improvise a little bit. But when it’s DuckTales and it’s a 22-minute show or whatever, you can’t really go on huge tangents because then you’re taking away from the 22 minutes that you have. So you kind of learn how to play with it within the moment, your reaction or adding to the beginning of the middle or end or kind of making it your own a little bit. Much like Sonic, you do the script as is first because the script is great. Everybody over there knows how to write, so it’s great.

I’m very excited if people are watching DuckTales because I truly think the writing is phenomenal. For kids and for adults I think it’s so well done.