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Ethan Spaulding

Ethan Spaulding is an , , and renowned for his contributions to acclaimed animated series and films, particularly his directing and storyboarding work on and directorial roles in DC animated films. Spaulding began his career in as a character layout artist on , where he contributed to multiple episodes over approximately a decade, honing his skills in character design and visual storytelling. His early exposure to as a lifelong fan influenced his approach to dynamic action sequences and character-driven narratives. In 2005, Spaulding joined the production of as a for Season 1, transitioning to director for 12 episodes across Seasons 2 and 3, including notable installments like "Return to Omashu" and "The Boiling Rock, Part 2." His direction emphasized the series' blend of philosophical depth and high-stakes action, drawing from anime inspirations such as to enhance emotional realism in character arcs. He later served as a on the 2011 reboot of . Spaulding's subsequent career expanded into feature-length animated films, directing DC projects such as (2014), (2014), and (2015), as well as the trilogy including (2020), (2021), and (2023). He has also produced recent works like (2022) and the two-part event (2023). As of 2025, Spaulding serves as an executive producer on the upcoming , a 26-episode continuing the universe, set for premiere in 2027.

Early life and career beginnings

Birth and early influences

Ethan Spaulding was born on January 1, 1972, in , , U.S. He grew up in during the 1970s and 1980s, a period when the city served as a central hub for the industry, with major studios like Walt Disney Productions and based in the area and producing influential television series and films. Spaulding's early exposure to animation included watching shows like the original ThunderCats series, which he later described as one he grew up with and which resonated with him personally. This childhood familiarity with animated storytelling sparked his interest in the field, paving the way for his entry into professional animation work.

Initial roles in television animation

Ethan Spaulding's entry into professional animation occurred at , where he served as a character layout artist for approximately 10 years, from the mid-1990s to the early 2000s. In this capacity, he contributed to 27 episodes across seasons 7 through 14, including notable ones such as "" (season 7, episode 11) and "" (season 9, episode 17). His work involved translating storyboards into detailed scene compositions, posing characters to match the episode's action and expressions, and maintaining visual consistency with the series' established style. As a character layout artist, Spaulding collaborated closely with timers and animators to refine character movements and environmental interactions, ensuring efficient handoff to overseas studios. This role demanded precision in capturing the nuances of family's dynamics and exaggerated comedic scenarios, building his foundational expertise in character design and the intricacies of television pipelines. Through iterative revisions and retakes, he gained proficiency in workflows, learning to balance creative intent with tight deadlines typical of episodic TV. Spaulding later advanced to assistant director on 12 episodes from 1999 to 2004, including "Catch 'Em if You Can" (season 13, episode 18) and "The Sweetest Apu" (season 13, episode 19). In this position, he oversaw scene timing to synchronize dialogue and action, coordinated character posing for approval, and facilitated communication between domestic and international teams to address retakes efficiently. These duties sharpened his understanding of comedic timing, allowing him to anticipate punchlines and physical gags that defined ' humor, while immersing him in the full spectrum of episode production from layout to final polish.

Contributions to Avatar: The Last Airbender

Storyboarding and assistant directing

Ethan Spaulding began his contributions to Avatar: The Last Airbender as a storyboard artist on several early episodes in Book One, where he focused on crafting detailed visual sequences that established the series' expansive world and dynamic action. For instance, in episodes like "The Southern Air Temple" and "The Storm," his panels emphasized world-building elements, such as the architectural ruins of air temples and the elemental forces of bending, helping to translate the script's narrative into fluid, engaging visuals. These storyboards were instrumental in planning chase scenes, like Aang's glider pursuits, and emotional character moments, including Aang's grief upon discovering his homeland's destruction. As across multiple episodes, including those early Book One installments, Spaulding oversaw consistency, ensuring that character movements and environmental details aligned with the show's stylistic vision. His duties extended to timing sequences, collaborating closely with martial arts consultant Sifu Kisu and co-creator to reference live-action footage that informed the choreography of waterbending raids and airbending evasions. This preparatory work facilitated smooth transitions from script to , particularly in high-stakes action where precise panel sketches prevented inconsistencies in and spatial orientation. Spaulding's storyboarding played a key role in fusing Eastern influences with Western techniques, using meticulous sketches to capture the grounded physics of while incorporating expressive character poses drawn from taijiquan and hung gar forms. In "The Blind Bandit," for example, he boarded an episode with over 600 shots—double the standard—revising Act Three fights over weekends with the creative team to refine earthbending impacts and Toph's seismic sense visuals, enhancing both spectacle and emotional depth. His approach prioritized collaboration with writers on visual , ensuring that preparatory visuals amplified themes of and without overshadowing the . Drawing from his prior experience as a character layout artist on , Spaulding applied skills in fast-paced episode production to handle Avatar's ambitious sequences efficiently.

Episode direction

Ethan Spaulding directed twelve episodes of across Books Two and Three, contributing to the series' distinctive blend of action, humor, and character development. Notable examples include "Bitter Work" from Book Two, which focuses on Aang's initial struggles with earthbending; "" from Book Two, an anthology exploring ensemble character backstories; and "Nightmares and Daydreams" from Book Three, depicting Aang's anxieties ahead of a major invasion. He also helmed Part One of the series finale "," integrating high-stakes battles with narrative closure. Spaulding's directorial techniques emphasized precise camera work to amplify the show's martial arts-inspired action and emotional depth. He prioritized optimal shots and angles to keep characters "in character" while realizing the script's intent, particularly in bending sequences where fluid elemental effects required coordination with animators to depict realistic motion. In fight scenes, such as the climactic Agni Kai between and , his approach incorporated dynamic camera movements to convey intensity and tragedy, drawing on pre-visualized forms developed by consultant Sifu Kisu for authentic . This method balanced high-stakes action with moments of humor, as seen in Aang's comedic training mishaps juxtaposed against serious growth arcs. His direction significantly shaped episode narratives by enhancing thematic elements like and ensemble dynamics. In "Bitter Work," Spaulding's pacing underscored Aang's progression from frustration to breakthrough in mastering a new bending style, paralleling Zuko's internal conflicts to highlight resilience. For the multi-segment "The Tales of Ba Sing Se," he managed emotional rhythm across vignettes, allowing each story—such as Iroh's poignant tribute—to build quietly toward cathartic impact without overwhelming the anthology format. In "Nightmares and Daydreams," his handling of dream sequences integrated humor with tension, reinforcing Aang's maturation amid impending war. Behind the scenes, Spaulding collaborated closely with the animation team to ensure seamless elemental visuals, often refining sequences based on real-world inspirations to achieve fluid, expressive effects. Directing the finale differed from standard episodes, as he approached it as a unified four-part event, coordinating with other directors to maintain consistent tone and visual flow. His earlier storyboarding role informed this vision, bridging pre-production sketches to final on-screen execution.

Expansion into other television projects

Work on The Legend of Korra

Ethan Spaulding served as a on two episodes of , the sequel series to , contributing to its visual development during the early seasons. One notable example is his work on Book Two finale "," where he collaborated with Hyunjoo Song on storyboarding key sequences, including the spirit world battles and energybending restoration of Raava. These visuals helped depict the series' evolving supernatural elements, blending ethereal spirit realms with high-stakes action amid Republic City's industrial backdrop. Spaulding's prior experience directing episodes in the original Avatar: The Last Airbender informed his approach to Korra's action , emphasizing fluid character dynamics and mature thematic depth in the franchise's . His contributions supported the shift toward more grounded, steampunk-inspired designs, such as mechanized vehicles and urban environments, while maintaining continuity in combat styles.

Producing ThunderCats

Following the conclusion of his work on , Ethan Spaulding transitioned to , where he took on a role for the 2011 reboot of , marking a shift from directing to production leadership. Co-producing the series alongside , Spaulding oversaw the development and execution of all 26 episodes for , drawing on his prior animation experience to guide the project's creative and logistical aspects. As producer, Spaulding managed key responsibilities such as budget allocation and episode scheduling, ensuring the series adhered to production timelines while collaborating with international teams, including in for duties. He emphasized maintaining fidelity to the original series by retaining core elements like character colors and iconic traits, while updating the narrative for modern audiences through richer mythology, complex backstories, and a blend of influences with contemporary visuals. He also guided the development of deeper character arcs, particularly for , portraying him as a young leader grappling with moral ambiguities and personal growth to appeal to a broader age range. This expertise in action-oriented animation from informed the handling of the series' high-stakes battles and epic scope.

Directing career in animated films

DC Universe animated movies

Ethan Spaulding co-directed the 2014 animated film Batman: Assault on Arkham alongside , a story set within the universe that centers on the Suicide Squad's high-stakes infiltration of to retrieve a stolen drive from , while contending with Batman and the Joker's chaos. The film emphasizes the psychological tension among the Squad members—, , , , , and —as they navigate betrayal, moral conflicts, and the explosive instability of their mission under Amanda Waller's oversight. Spaulding's contributions to the direction highlighted the gritty ensemble dynamics and intense action sequences, blending character-driven drama with the Suicide Squad's anti-hero ethos in a 71-minute runtime. In the same year, Spaulding served as the solo director for , adapting Grant Morrison's "" comic arc to introduce as Bruce Wayne's son and heir to the League of Assassins. The narrative explores the father-son relationship through Damian's arrival in , his assassin training clashing with Batman's no-kill rule, and their joint battles against and , culminating in themes of redemption and legacy. Spaulding focused on intense combat choreography, including dynamic sword fights and aerial pursuits, to underscore the emotional growth between Batman and the precocious, violent 10-year-old Damian, delivering a 72-minute feature that balances origin storytelling with visceral superhero action. Spaulding directed Justice League: Throne of Atlantis in 2015, adapting and Paul Pelletier's comic storyline as an origin tale for within the . The film depicts Arthur Curry's integration into the amid an Atlantean invasion of the surface world, led by his half-brother (), with key sequences featuring underwater battles that showcase fluid animation of trident duels, tidal wave assaults, and subaquatic chases. Spaulding's direction emphasized ensemble coordination among Superman, Wonder Woman, , and the , while highlighting 's reluctant heroism and the geopolitical tensions between and the surface, in a 72-minute production that advances the shared universe's continuity. Through these films, Spaulding contributed to the DC Universe Animated Original Movies line by infusing superhero narratives with layered character interactions and high-octane action, drawing on his animation background to enhance visual storytelling. Son of Batman and Justice League: Throne of Atlantis advanced the shared DC Animated Movie Universe continuity established post-Justice League: The Flashpoint Paradox, while Batman: Assault on Arkham expanded portrayals in the separate Batman: Arkham video game continuity. His work on these projects helped expand the portrayals of lesser-focused characters like the Suicide Squad and Aquaman, prioritizing thematic depth in ensemble-driven tales.

Other directorial projects

Beyond his work in superhero animations, Ethan Spaulding directed two direct-to-video Scooby-Doo films that emphasized family-friendly mystery-solving infused with light horror-comedy elements. In Scooby-Doo! Camp Scare (2010), Spaulding helmed the story of Mystery Inc. returning to Fred's childhood summer camp, where they confront ghostly apparitions including a lumberjack spirit known as the Woodsman, a swamp creature called the Fishman, and a banshee haunting Black Canyon, all while uncovering a scheme to sabotage the camp. The film blends spooky atmospheres with humorous chases and reveals, showcasing Spaulding's ability to balance tension and levity in animated adventures. Spaulding followed this with (2011), which transports the gang to a spa resort disrupted by sightings of a massive prehistoric , the Phantosaur, terrorizing paleontologists and locals amid digs and wild chases through rocky terrain. The narrative incorporates dinosaur-themed action sequences and comedic hypnosis gags, highlighting Spaulding's skill in integrating dynamic creature designs and fast-paced pursuits within the formula. These projects demonstrate his versatility in crafting engaging, kid-oriented stories with subtle undertones, often using vibrant to enhance the elements. Venturing into video game adaptations, Spaulding directed Legends: Scorpion's Revenge (2020), a animated film that faithfully adapts the fighting game's lore through a revenge-driven plot centered on warrior Hanzo Hasashi, who transforms into the specter after his clan's massacre by the Lin Kuei, led by Sub-Zero. The story follows Scorpion's quest for vengeance during the interdimensional tournament, featuring intense, brutal fight choreography that mirrors the source material's signature fatalities and combos while advancing a narrative of betrayal and redemption. Spaulding's direction emphasizes visceral action sequences and character backstories, bridging the gap between and cinematic storytelling. Spaulding continued the series with Mortal Kombat Legends: Battle of the Realms (2021), which picks up after the events of the first film as Earthrealm's warriors, including , , and , defend against Outworld's invasion in the Mortal Kombat tournament. The plot focuses on , ancient prophecies, and escalating conflicts involving and other realms, with Spaulding directing hyper-violent combat scenes featuring kombatants' special moves and realm-specific environments in a 80-minute feature that deepens the franchise's lore. He concluded the trilogy with Mortal Kombat Legends: Cage Match (2023), shifting focus to in 1980s , where the actor-turned-fighter uncovers a tied to the tournament, enlisting allies like and amid neon-lit street fights and interdimensional threats from . Spaulding's direction highlights Cage's charisma and humor alongside graphic fatalities and showdowns, blending retro aesthetics with the series' brutal action in a 87-minute story exploring celebrity, , and destiny.

Recent production work

Role at Warner Bros. Animation

Following the conclusion of his work on Avatar: The Last Airbender, Ethan Spaulding joined Warner Bros. Animation in 2011 as a producer on the rebooted ThunderCats series, marking an early stepping stone in his tenure at the studio. In this executive capacity, Spaulding has provided oversight for numerous animation projects, with a focus on the development pipelines for DC Universe Animated Original Movies and related intellectual properties. His responsibilities encompass guiding creative visions, collaborating closely with directors and writers on adaptations, managing casting decisions, and ensuring cohesive production across international teams, as exemplified in his work on the anime-influenced Catwoman: Hunted (2022), where he emphasized expansive storytelling and character-driven narratives. Spaulding's sustained role at , spanning over a decade, underscores his career stability and internal progression within the Burbank-based studio, where he continues to contribute to its output of high-profile animated content.

Executive producing Avatar: Seven Havens

In February 2025, Nickelodeon announced Avatar: Seven Havens, a new 26-episode animated series in the universe, with Ethan Spaulding joining as executive producer alongside co-creators and fellow executive producers and . Sehaj Sethi serves as co-executive producer on the project. The series is set after the events of in a world fractured by a cataclysmic event into seven distinct havens, introducing new characters and expanding the established lore of the franchise. It centers on a young Earthbender who uncovers her identity as the new in this altered landscape, blending familiar elements of , , and adventure with fresh narrative challenges. The premiere is scheduled for 2027, marking a significant continuation of the under Nickelodeon's Avatar Studios banner. Spaulding's involvement as executive producer represents a full-circle return to the Avatar franchise, where he previously contributed as a director on multiple episodes of the original series, allowing him to draw on that foundational experience to guide this sequel's development. This role underscores his ongoing influence in animated storytelling within the universe he helped shape early in his career.

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