Susan Eisenberg, the voice of Wonder Woman in the popular “Justice League” and “Justice League Unlimited” television series, reprises her role for the next DC Universe Animated Original Movie, “Justice League: Doom.”

Eisenberg will join several of her voicecast colleagues for the West Coast Premiere of Justice League: Doom at the Paley Center for Media in Beverly Hills on February 16.

The all-new, PG-13 rated Justice League: Doom will be available February 28 from Warner Home Video as a Blu-ray Combo Pack, DVD and for Download. Both the Blu-Ray Combo Pack and DVD will include an UltraViiolet Digital Copy.

Eisenberg has focused her career in voiceovers for animation, video games and commercial use. In addition to her work for the past 12-plus as Wonder Woman for Justice League and Justice League Unlimited television series and the DCU films Superman/Batman: Apocalypse and Justice League: Doom, Eisenberg can also be heard in a variety of animates series, including Jackie Chan Adventures, Scooby-Doo! Mystery Incorporated and The Super Hero Squad Show, as well as video games like Star Wars: The Ford Unleashed – Ultimate Sith Edition and Command & Conquer 4: Tiberian Twilight. She is one of nine actors returning to the booth to record their original Justice League roles for the film, Justice League: Doom.

In anticipation of the West Coast Premiere, Eisenberg gladly offered some recollections and thoughts regarding her years of voicing Wonder Woman, including flirtations with Batman, her personal memorabilia collection, and the real reason Wonder Woman flies an invisible plane. Take a read …

QUESTION: What do you recall of earning the role of Wonder Woman some 13 years ago?

SUSAN EISENBERG: I can remember it vividly – because it was a big deal. It felt like a real life-changer, so it’s a huge memory for me. It was 1999, and I remember going to the call back and being with Andrea (Romano) and Bruce (Timm). Even the dialogue is still clear in my memory. And when I got the call that I got the role, it really had an impact on me.

Most jobs in voiceover don’t make you feel like they’re going to change your life, but this one did. And in many ways, it really did. I got to work for six years on a series, and I’d never done something that long term. And I was chosen to voice this wonderful, iconic character … and through these movies, I get to continue that role. It’s been fun and kind of surprising – people obviously know Wonder Woman, but it’s wonderful when they care that much that they actually recognize and acknowledge your work as the character. I walk into other jobs and people still say, “You’re Wonder Woman, right?” That’s really a kick.

QUESTION: What’s special to you about playing Wonder Woman?

SE: Wonder Woman is truly iconic. Everyone knows her. There’s something wonderful about playing a character who is recognized throughout the world. And I love her strength. I love that she stands for something and that she believes in what she believes. She’s very, very loyal and faithful and, in the beginning, I got to play her more vulnerable, and now I get to play her more adult and stronger. She’s a wonderful character.

QUESTION: You don’t have the benefit of weekly recording sessions to keep the voice fresh in your mind. How do you jump back into this role without a hitch?

SE: Working with Andrea and Bruce is a great because they were there at the start – Andrea has always directed me in this role, so she knows what she’s looking for. Listening to her direction is the first trick. Reading the script a few times also helps, especially to find the attitude and the voice. And as a refresher, I like to go online, check out YouTube, and play some old clips, or watch some of my DVDs. That helps to get me back in that space – and then Wonder Woman is right there in my head. But honestly, it’s not a huge leap for me – she’s pretty much in there all the time, anyway.

QUESTION: How much of what you do with Wonder Woman is through a change in your voice, and how much is really acting and attitude?

SE: A lot of it’s attitude. That’s why, if I’m speaking just normally, it’s not as if somebody next to me would ask, “Do you play Wonder Woman?” But then when I do the attitude and lower the register slightly, you will see this smile of recognition on the face of a little kid … or a true fan. And that’s always fun.

QUESTION: Who recognizes you more – kids who watch cartoon, or the adult devotees of the genre?

SE: Kind of both, and the reactions are different, but similar. It’s really nice to have people who are so passionate about these characters. So you get the 6-year-old child who has watched the cartoon and their eyes get big when they recognize that you’re this person behind the voice. But then you get the 40-something-year-old who has been watching, and loves this world, and loves this universe, and reads the comic books, and cares deeply about the genre. That’s fabulous, too. Just to have fans is a very cool thing. No one can complain about that. It’s good.

QUESTION: Wonder Woman has some very long battles in Justice League: Doom with a lot of physicality required in the vocal performance. How’d you handle that?

SE: The initial recording session is pretty straight-forward – we save most of the impacts and grunts and physical action for the ADR session. But as I was reading the script, I just kept thinking of Dwayne (McDuffie) and thinking, “You really layered it on me, didn’t you!” I’m going to have to be electrocuted and hit over the head and punched over and over and punch back over and over. You often have to be physical to sound physical. So – that’s a truly exhausting day.

QUESTION: What’s it like to have the gang back together again?

SE: You know, it’s thrilling because it’s a grand reunion. I get to be reunited with Michael Rosenbaum and Kevin Conroy and Carl Lumbly and that’s like having the League back together, if you will. I didn’t that expect that to happen, and I could not be more thrilled. Driving to the recording session, I was just so excited that we’d be in a room together. It is just so comfortable coming back into this. It’s the best gig in town. And anyone who does voiceovers would say that.

QUESTION: What are the scenes that appeal most to you in this film?

SE: I always like the quieter moments. So I like my scenes with J’onn, because those two characters really can relate to each other in so many ways, and I also liked my scenes with Batman. In both cases, those were some of the quieter moments with some emotional content. I enjoy the scenes where I have to kick some butt, too. But I truly enjoy the interplay with the other characters and the actors that play them.

I’ve never been shy about my feelings with Batman and Wonder Woman because, first of all, I love Kevin and I love working with Kevin. I think he’s amazing as Batman. And I love Batman and Wonder Woman together, and I think the fans do, too. You can go on YouTube and find all these wonderful videos of the two of them – showing their romance, put to music – so you know the fans love them together.

Playing Diana gives you a lot of different angles and emotions to play. Diana is very serious – she’s not like Flash where she’s funny and throwing out the one-liners. When she’s funny, it’s not necessarily intentional that she’s funny. And so I love the other aspects of her, when she gets to be flirty with Batman or when she gets to be funny with Flash or more earnest with J’onn. I especially like to play the flirty and hint at that romance between the characters. That’s a lot of fun.

QUESTION: How much equity to you take in this character?

SE: I’m enormously proud that I get to play her – it truly is a privilege and an honor. People have definite, strong opinions of Wonder Woman, and she’s known everywhere. She is this embodiment of female empowerment, and that’s a thrill, too, because there are little girls and little boys and they’re watching this and seeing that she’s so strong and so tough and righteous. It’s great to be able to provide that example of heroics through this character. I’m a guardian of that, and I don’t take it lightly. And every time I get asked to voice the role, I feel grateful – each and every time. I hope I keep getting to do it.

QUESTION: Has playing Wonder Woman changed you?

SE: In several ways. I think I’ve grown up with this part. I got this role 10 years ago, and just working alongside my fellow Justice League actors and with Andrea and Bruce has changed the way I work. And learning about this universe has changed me. You can’t have a part like this and not feel changed by it, because it’s enviable to have this job and play this character. There’s humility attached to that. You know you’re lucky. And that changes you, also.

QUESTION: What’s your attraction to voiceover work?

SE: I grew up doing radio commercials for my father’s business in Woonsocket, R.I., and I loved it. My father and my sister worked together – they would write the copy for me, and I would do the commercials for them. There’s something just so freeing about being behind a microphone as opposed to in front of a camera. There’s no worry about your hair or lipstick – on camera you get so self-conscious. Sure, there’s a self-consciousness in a room recording with other actors, because you want to be good. That’s just performance anxiety. I’ll take that any day over that camera and all those people staring at me. Some people are so natural with the camera – the can just pretend it’s not there. I am so aware it’s there.

QUESTION: What Wonder Woman memorabilia do you have at home?

SE: I have a lot of pictures and some beautiful cels – all gifts from the Justice League and Justice League, Unlimited. And some small things that people have sent me – mugs and little toys and notebooks with her on the cover. When we first started, we all ran out and bought our own action figures, so that’s right at the forefront of my bookshelf.

Best of all, I have all the scripts from the series. I keep them in a big bookshelf in my closet. I’m nostalgic about that stuff. It’s very sentimental to me to. It was a big deal this job – it really does mean the world to me. So I kept all the scripts.

QUESTION: Wonder Woman can fly. Why does she need an invisible plane?

SE: Because she likes to go in style. And why should she always be flying when there is a plane that can do it for her? I mean, why not have the private jet if you can have the private jet? Right? You’re going to begrudge her a private jet? I don’t think so.

Adrianne Palicki was seen filming scenes for the “Wonder Woman” pilot in downtown Los Angeles this week, and some bystanders were gracious enough to snap a few pics.

Surprisingly, the image shows off a different Wonder Woman costume than the pic we were treated to a few week ago.

Perhaps in response to many fan protests, they have removed the glossy look from Palicki’s blue pants and gone with a darker tone. Additionally, they have gone back to the comic book’s traditional red boots look, as opposed to the blue in the original costume.

What do you think folks? Does this minor costume change merit reconsideration in spite of all the negative press this one has received?

Entertainment Weekly has released the first photo of Adrianne Palicki from the NBC Wonder Woman pilot. Needless to say, we’re pretty underwhelmed here at Blast. Having read through snippets of the script and David Kelley’s (from “The Practice” and “Ally McBeal”) treatment of the heroin and the hero world, this is one that we are likely going to avoid.

NBC is prepping this new take on “Wonder Woman,” (though possibly under a different title), helmed by Kelley. Palicki will play the heroin, who is a “successful modern woman” by day, while a heroic crime fighter by night. Palicki will have three identities, Diana Prince to the world and her friends, while also Diana Themyscira, CEO of Themyscira Industries, and finally as Wonder Woman.

Right now, there is only a pilot in place, though if NBC likes what they see, they may commission it to series this fall.

Fanboys, have at it.

Blast got the chance to ask a few questions of animation legend Bruce Timm, the originator of the classic “Batman: The Animated Series.” Timm also produced DC’s latest animated feature “Wonder Woman” which was released on DVD and Blu-Ray yesterday.

Kellen Rice: How was the experience working on Wonder Woman different from on Gotham Knight?

Bruce Timm: Wonder Woman has been completely different in that for “Batman: Gotham Knight,” most of the pre-production work was done by the Japanese creators and animators – and they were all half a world away. The actual process was completely different, right down to having to do a scratch track of all the dialogue for the initial animation and then recording the actors in ADR. “Wonder Woman” allowed us to be much more hands-on, working closely with the writer and director and crew throughout the entire process.

KR: The first short in “Gotham Knight” was about the different concepts of Batman thanks to the huge variety of Batmans (Batmen?) in the comics, cartoons, and films. Did the comparative lack of modern material on the solo Wonder Woman make the film more or less challenging for you as a filmmaker? In short, how is it working with a lesser known character versus, say, Batman?

BT: There’s plenty of material on Wonder Woman, and we pulled from a lot of the best of it. What was liberating in some ways was that we didn’t have a set story to follow. This film wasn’t based on one single graphic novel or comic series. In “Superman Doomsday” and “Justice League: The New Frontier,” one of the things that gave us grief – and I know it bothered the fans – was that we had to trim pieces of the original material to create one cohesive, tight, 75-minute story. We got to work the opposite way in “Wonder Woman,” building a story that not only fit the time constraints but also told an entire story without having to omit key plot points or things the fans were hoping to see translate from the comics to the film.

KR: The voice talent in this film was outstanding. Aside from making the film as good as it can be, what effect do the big-name stars have on the film and its reception?

BT: The conversation surrounding casting for the DCU films always starts with a focus on who will be the best voice for each part, which actor will best fit each role, and who will bring something special to the table. We do seek “name” talent to help our marketing and publicity teams, but never to the detriment of the film. I think we’ve been quite successful thus far in finding great, new voices for some classic roles, and bringing back some old favorites. And in terms of talent, I think the casts speak for themselves.

KR: You’ve worked with Nathan Fillion on “Wonder Woman” as well as a great deal of the so-called Joss Whedon crew – David Boreanaz, James Marsters, Alexis Denisof, Juliet Landau, etc. Do you plan on watching “Dollhouse” and if so, do you plan on using any of the actors for future DC projects?

BT: I am watching “Dollhouse,” and I am enjoying it. I’m intrigued by it, and I don’t know where it’s going yet. Joss has got a real eye for acting talent, so I kind of use as many of those people as I can. I do that because one, I’m a fan, and two, they’re all terrific talented actors.

KR: After years of being a part of what today’s grown-up fans consider definitive works, how do you view your past work? What’s your reaction to viewing, say, “Heart of Ice” from “Batman The Animated Series” today? How do you think you’ve changed as an artist since then?

BT: I actually find it difficult to go back and watch my old stuff. I appreciate its relative value, especially considering the time during which it was made, and the restrictions we had in terms of technology and such. These days there’s so much competition and there’s such a variety of terrific stuff in animation that it really keeps me on my toes, and have to keep pushing the outside of my own envelope.

KR: How have you changed or evolved as an artist?

BT: Don’t have time. Don’t have time for that answer! I’m too close to myself to know how much I’ve changed. I know that the Batman shows had an enormous impact on, not just animation but spilling over into the comics. It’s cool, and it’s also very weird that I see people out there, where even if they’re not directly influenced by me, they be influenced by somebody by somebody two generations earlier — influenced by somebody who was influenced by somebody who was influenced by by me. So it’s weird to have all these great-grandchildren. It’s flattering, but it’s also kind of weird. It makes me feel old.

NEW YORK — The highly-anticipated Wonder Woman animated feature will be released March 3 on DVD. The movie tells an updated version of Wonder Woman’s origins and her first big showdown.

The feature stars Keri Russell as Wonder Woman, Nathan Fillion (Steve Trevor), Rosario Dawson (Artemis), Alfred Molina (Ares), and Virginia Madsen (Hippolyta), and was helmed by Lauren Montgomery, one of the directors on the acclaimed Superman: Doomsday feature.

Blast got the chance to sit down with Montgomery to talk about the upcoming film.

Kellen Rice: First of all, congratulations on the film.

Lauren Montgomery: Thank you!

KR: Last night’s reception had to be exciting.

LM: Definitely.

KR: What’s your experience as a woman working on this film in an industry that’s pretty dominated by men?

LM: I personally haven’t run across any sexism in my career, which is nice. As far as being a woman that gets to work on Wonder Woman, it’s awesome. It’s the greatest thing, because I’ve worked on a lot of action cartoons which are typically geared towards boys and men. And so I draw a whole lot of guys a whole lot of the time. So getting to draw a girl and having her be a main character in the film, as well as a very heavily female supporting case, it was a dream come true. I always want to do whatever I can to get more women involved. When I was a kid watching action cartoons, it was all these guys and there would be be the one token female in the case and she was always my favorite. I always wanted a show that had more girls in it, but a good action show with girls in it, not just the usual stuff like My Little Pony or Strawberry Shortcake.

KR: You definitely did that with the opening scene of Wonder Woman.

LM: Yeah.

KR: And the supporting cast was so varied. Tell me how you developed those characters.

LM: Being that we have a large cast of Amazons, and they’re all women, we really had to make sure that finer details like facial features and color schemes were individual to each character, so you didn’t get confused watching the movie and think everyone was the same character.‚ 

KR: The color palette was very striking, very bold colors.

LM: Yeah, well especially in the opening scene we went into it wanting everything to have a red feel to it, just because it was such a bloody and violent scene. So we put a lot of red in the costumes, red on the field — and then when we get to Themyscira all the colors were softer, while still saturated and very bright, but just more calming. So we tried to play with the color palette so that the color would fit each scene.

KR: How did you feel when you saw the film for the first time? What was your reaction?

LM: As we’ve been watching it, we started out with pure silence and the animation, and the first time I got to see it with sound effects and music, I found myself getting a little choked up at parts because the music is so amazing. Music does so much to kind of cue your emotions. And the sound effects do a whole lot to add reality and weight to something. When you see two swords hitting in silent animation, it’s not that impressive. But as soon as you add that clink, it’s like “oh, those swords are heavy!” So adding sound to animation is really what saves it. So when we see the finished product it’s so much more impressive seeing it with all the bells and whistles, and I think it really came together.

KR: There were definitely adult themes in the movie. Do you think that animation is heading towards an adult audience as well a children’s audience?

LM: When we make these things we are trying to make movies that we ourselves want to watch. And in Japan, it’s been this way for pretty much forever, they don’t regard animation as a medium only geared towards children. It’s just another medium. It’s another way of storytelling. And in Japan, adults watch cartoons all the time. In America, sadly a lot of times anything animated is assumed to be for kids. If it’s a cartoon, it’s for kids and adults can’t watch it. And we’re just trying to change that, we’re trying to bring animation to a standard where everyone can watch it, and everyone can enjoy it.‚  <

KR: There’s also been a big stigma against superheroes, too.

LM: Right, and I think that video games and comics are becoming more mainstream. It’s not just geared towards the comic book geek, who lives in, you know, his mother’s basement. It’s for everyone – geeks are everyone. Like everyone has an inner geek and you’ll find the most normal of people playing video games these days. And so the audience is just becoming infinitely wider and I think all of these mediums – video games, comics, animation — will become much more accepted to everyone.

KR: Do you think that’s partly do the so-called Geek chic and the popularity of movies like The Dark Knight? Do you think that’s part of the reason why a movie like Wonder Woman can get made today?

LM: The kids who used to watch the‚ Saturday‚ morning cartoons are now adults and they’re now getting into the positions where they can green-light the movies they always wanted to see. And so the more kids that are watching these shows when they grow up they’re going to do the same thing. I think it’s only just begun, and I think it’s got everywhere to go from this point.

KR: What movie hasn’t been made that you want to work on?

LM: I’m more than happy to work on any comic-book female-driven movie. Those are the ones that I enjoy working on most, just because I love working with female characters. I find that they’re more expressive, they have more options, they’re just more fun to direct. That being said, I’m also a fan of Aquaman. He’s always gotten a bad rap, and I think there’s untapped potential there and I’d like to see him actually be cool for once.

KR: Someone at the panel brought up Selina Kyle. Could you see her carrying her own film?

LM: I definitely could, and she’s an intriguing character. I think she’d be awesome to work on, especially because she has that side of her that not only can she be good but she can be a villain as well. And that makes her just that more interesting.

KR: Wonder Woman in three words?

LM: Three words? Ah, I don’t know…

KR: Well, that’s kind of unfair of me.

LM: Powerful, yet a real woman, not real in the sense that she’s a superhero, but real in the sense that she has the same emotions that any woman would, but yet she has this amazing strength that every woman can look up to. I think she’s an awesome figure that way.

KR: What do you think has made Wonder Woman endure for so long?

LM: She has an interesting story, which is nice. She’s got this really interesting back story which is rooted in this mythology, and mythology itself is just a series of epic stories. And we also have the feminist aspect of her, which is that she is the one hero woman that’s kind of standing on her own in the DC universe. Most other women have spawned as sidekicks or villains to some other male hero, but you know she’s on her own.‚ 

KR: What’s your process of‚ creating a character? How did you create this version of Wonder Woman?

LM: First I’ll just brainstorm and put down a whole bunch of different sketches. From there, you just throw out the ones you hate. And you start to hone in on qualities you like. For instance Wonder Woman has a lot for different costume versions. And one of the things I thought of, in Justice League she has more low-cut panties and in New Frontier, she has the skirt. So I wanted to a different version, just to make her a different Wonder Woman. So I gave her the more high-cut bikini bottoms, and that’s just a technical thing. The hair shape was just something I found early on and I thought was a distinct shape.‚ 

KR: It also modernized the character.

LM: Right, and also just the fact that we were trying to make her younger and so that was a conscious choice on my part.

KR: What about Steve Trevor?

LM: I looked at the reference for Steve, and he looked kind of dated, kind of older. So we tried to bring him a little more into the now. I actually originally started with him have slightly longer hair, but then Bruce made the very good point that if he’s in the Air Force, he would need a shorter hair cut so we have to revise that and I’d made a page full of possible Steve hair-dos and I showed them to Bruce and he said, oh, I like the Caesar cut. And it’s easy to animate. So we went with that.

KR: It works with the Greek and Roman theme.

LM: And that’s one thing too. Ares had a similar bang style.

KR: You talked about the design of Hades at the panel. What kind of reaction did you want the audience have after seeing him?

LM: I’m hoping that they almost get a little uncomfortable, because I really wanted him to look massive. Not even in girth, but just 50% larger even in bone size from Ares. I had this theory that Zeus and Hades are like, the top tier of gods. Ares is one step down because he’s a son of Zeus. So I wanted just a size difference if they were standing, and then I expanded Hades outward. And he was actually super-fun to draw, with all those curves. And then someone pointed out that he looked like Ursula, and you know what, if he is an Ursula rip-off, it was 100% subconscious. It was not intentional at all, but it does happen that The Little Mermaid is my favorite movie of all time.‚ 

KR: I think that’s all our time. Thanks so much for sitting down with me — great job on the film. It was a pleasure.

LM: Thanks.

Is your curiosity piqued yet? Head to the stores to pick up your own copy of Wonder Woman on March 3.

NEW YORK — First, let me disclaim: I saw the upcoming DC animated feature “Wonder Woman” in the best possible setting, in a packed house with probably five or six-hundred excited geeks.

Actually, you know what? The movie would have been awesome if I’d watched it on a crappy laptop in some dark room somewhere.

Let me backtrack.

The Michael Jelenic-penned, Bruce Timm-produced “Wonder Woman” tells a new-and-improved origin story for the Lasso of Truth-wielding Amazon that begins before Themyscira even really exists. The opening scene is a massive battle between the Amazons, led by Virginia Madsen’s Queen Hippolyta, and God of War Ares’ horde, with no Diana in sight.

After Zeus and Hera intervene in the war, the Amazons are given the island paradise, Ares as their powerless prisoner, and the promise of a daughter in the future. Years pass and Diana arrives on scene.

But before giving away too much, let’s talk tech specs.

The animation and style were both top-notch, of the same quality as “Batman: Gotham Knight” but with a feminine flavor appropriate to a story about Wonder Woman. Director Lauren Montgomery has mentioned before how she counts the Disney princesses among her influences and while the style was distinctly separate from that, with straighter lines and cleaner angles, the influence was clear to see especially in the characters’ faces.

Wonder Woman herself was a far cry from the Marilyn-esque, stiletto-wearing Wonder Woman of yore; this Diana was a modernized and altogether tough-looking character; she was tall and statuesque without being manly, strong without bulging muscles, and, of course, voiced wonderfully by Keri Russell.

The supporting cast of Amazons were beautifully designed and Rosario Dawson’s hilarious Artemis was a scene-stealer.

And speaking of scene-stealers, Nathan Fillion’s Steve Trevor stole the entire show. Not only did the character have most of the best lines of the film (some surprisingly scandalous, though none up to “the hammer is my penis” levels of bawdiness). “Wonder Woman” does a fine job of walking the line with Steve as a guy physically weaker than Wonder Woman while making him a hero in his own right.

The film also manages to deal with some real issues in a way that is neither soap-boxy nor half-assed. The modern-day Wonder Woman is a fantastic feminist character without bowing to any clichƒ©s, and the film asks a lot of serious questions about the nature of men and women’s relationships and the ways that men and women deal with conflicts.

One of the best scenes in the film occurs when Diana first arrives in New York City and is walking in a park with Steve Trevor. She encounters a small girl who’s crying because the boys won’t let her pretend sword-fight with them. Wonder Woman finds that unacceptable, of course, and that mini-arc finds a hilarious and poignant conclusion.

The film was also paced beautifully. Each character had a meaningful and unique story arc that created a lot of depth to the overall story and theme, and the remarkable voice talent (including Alfred Molina as villain Ares) really sold it.

In all, I though the movie was great: beautiful, funny, well-written, and an altogether pleasure to watch… and watch again.

Grab your copy in stores on March 3rd.