Issue link: http://digital.copcomm.com/i/1124104
who can do everything. The challenge was that the room needed to be both accessible for fans and also "the coolest ever." My initial pitch was that the room should be the teenage girl version of Batman's closet meets Cher's closet from Clueless. My vision hit home for Disney and the creative team, and some changes were even added into the script to reflect the goal for Kim's dream room to be both teen girl sanctuary and world-saving command center. Kim is studious and girly, smart and agile, so the right balance had to be found— walls that opened to reveal mission gear, a smart window she could use to vault from off of the roof and a programmed robotic closet. Determining how to balance the logistical technology that Kim would need for her missions with the feel of teen femininity became a central part of the conversation. After all, she is a supergirl, righting the world's wrongs (after finishing her homework). In early versions of the design, Kim's entire room transformed from teen bedroom to command center. However, through collaboration with our team, Adam, Zach, executive producer Zanne Devine, and Vice President of Original Movies at Disney Channel Lauren Kisilevsky, we landed on a design where both parts of Kim's life and personality co-existed. Concept Illustrator Glenn Schroeder created countless renderings for what would eventually become the set. The angled upstairs window from the cartoon room was used, and colors and tones based on the animation were extrapolated. Color combinations from the original cartoon provided a continued source of inspiration, with palettes that were originally adapted by the animators from early 1960s Disneyland park posters. There were initial discussions about building the iconic Bueno Nacho restaurant from the cartoon on stage, but while scouting, the production team stumbled on an abandoned Pizza Hut in a desolate parking lot. The space was gutted and the triangle-shaped windows were used to build Bueno Nacho from the inside out. Arin Ringwald, C. ATHENA'S ROOM. CONCEPT RENDERING BY GLEN SCHROEDER. RHINO MODEL RENDERED IN KEYSHOT AND PHOTOSHOP. D. ATHENA'S ROOM. SET PHOTO. E. DIRECTORS ADAM STEIN AND ZACH LIPOVSKY USED THESE VINTAGE DISNEY PARK POSTERS IN THE FIRST PRESENTATION TO DISNEY. THEY BECAME A COLOR GUIDE FOR THE ART DEPARTMENT BECAUSE THEY WERE USED BY THE ORIGINAL KIM POSSIBLE CARTOON ANIMATORS FOR DEVELOPING THE COLOR PALETTES. C D E