Directors Chris Sanders and Kirk DeMicco Talk About THE CROODS

DreamWorks Animation film The Croods is now out on Blu-Ray and DVD, and here’s an interview with directors Chris Sanders and Kirk De Micco talking about the movie:

ComingSoon: You mention that it has been a very long road bringing this to the big screen. What’s the biggest change that “The Croods” went through between its inception and the final product?

Sanders: From my perspective, when I came onto this, it was a village and there were things about the movie that just wouldn’t get off the ground. We felt like we had worked for about a year and had done everything we could to the outline to make it work. It didn’t lift off. It just didn’t get off the ground. It was just too heavy. When I was gone on “How to Train Your Dragon,” Kirk was the one who said, “You know, we’ll unplug just one family from this community and make the movie just about them.” That was the biggest change and that was the key to make this movie work. Making it about one single family. The last family, as far as we know, on Earth.

CS: Can you tell me a little about the world-buildling process? It’s cavemen, but it’s more a fantasy take on cavemen.
 That was something, when we started doing visual development and stuff and were writing these scenes, we were very into the idea of making our own world. That was something that stemmed from the original talks with Jeffrey. Make it an original world. This is the Croodaceus era. It’s a period of time that we invented. For me, the point of that that worked so well is that we’re following a family through a road trip and they’re constantly amazed by what they see. They’re going through uncharted territory and we thought it was important for the audience to also be discovering things with them. When you’re going through that world watching it, you don’t know what those creatures are, either. There’s certain things that pop up that you really know are dangerous, but there’s also things like the birds. You think, “Oh, it’s just birds,” but then you see how they eat. We kept on surprising them and I think that helped to make it pretty clear that Grug was, obviously, very protective and afraid of the outside world. He’s not crazy. The outside world in the film is very dangerous. I think that was a big part of it and it freed us up to have more fun. We would kind of keep things grounded, though. All the textures in our movie are very realistic. Textures on the leaves. Textures on the trees. We would play these kind of games where we would just ask, “What if the shape of the tree was off just a tiny bit more?” Then we would make the surfacing more real. There’s a very fine line between having yourself grounded in the strange and, say, going to Dr. Suess-land. We ran the risk of getting too Suess-ical and we would kind of lose that sense that this family could be in danger. It was just too whimsical in a way. I think that became one of the hardest challenges of the film.

croods-blu-ray-dvdCS: To that same point, where do you begin when designing this realistic-but-fantastic creatures?
 We have a very, very talented designer here. His name is Takao Noguchi and we partnered with him to take the lead in giving the animals a consistent vibe. Whether or not they’re deadly or friendly, we want them to be appealing. Takao has such an incredible ability to do that. That said, we wanted this world to be one where the audience is in the same place as the Croods are. Whenever you see an animal, usually, at first glance, you can’t really peg it as a dangerous animal or a non-dangerous animal. That’s on purpose. We wanted everything to seem fascinating initially, like the little red birds that pop up out of the ground. They look kind of pretty until they massively become this 20,000 bird flock and start behaving like piranhas. That was the design principle. To keep them all appealing looking. A lot of the animals are combinations of two different animals that we might recognize. We thought that our method of going backwards in time meant that we could take animals we know today and combine them. As time moved forward, they either separated and became the animals we know today or they disappeared altogether.

CS: In the creature design process, was there anything that didn’t make it because it was just too weird?
 Not to weird. We had animals that were very, very big. It’s just that, when you’re making these kinds of films, you run out of time. That’s the hardest thing. Time is money and you run out of time. We had animals that were on the edge of being in the film, but they would come and go depending on which way the story turned.

DeMicco: We had a giant cat-fish that was actually like a cat and a fish. The fish-cat. He was great. He kept on coming in and then he’d be gone. We’d talk to the team and they’d go, “Is my character still in?” and we’d be like, “Yeah. This week it is.” Next week it would be, “Oh, sorry. It’s not.” We didn’t want to just cram them in there.

CS: It sounds like we’ll be seeing more of the Croods before too long. What’s the state of the sequel?
 There’s not much to talk about yet because we’ve got a big lump of clay and we’re forming it as we speak.

DeMicco: We just started talking with Jeffrey about it really like this week. Lots of good creatures. We’ve got creatures that never got into the first movie. We’re going to take a very, very close look at those.

Sanders: I know Emma [Stone], Nic [Cage] and Ryan [Reynolds] are all coming back, so we’re psyched about that. We’re looking forward to that.

I definitely look forward to seeing a sequel of The Croods!

You can read the full article at


THE CROODS Comes Out on Blu Ray and DVD

Check out this video of a bunch of actors trying their voice out for Belt’s “Dun Dun Dahhh!”

Celebrities including H. Jon Benjamin, Glenn Howerton, Sean Astin, Aisha Tyler, Mindy Sterling, Luis Guzman, Helio Castroneves, and Jason Gann attempt their best impression of Belt’s “DUN DUN DAHHH”.

The Croods comes in Blu Ray and DVD Tuesday, October 1st!  Get your copy!


A Peek at an Older Hiccup and Astrid from HOW TO TRAIN YOUR DRAGON 2

How to Train Your Dragon 2 isn’t scheduled to be released until June 20, 2014, but as animation goes, that’s not too far along for animators, and so we can now see what an older looking Hiccup and Astrid look like from the image above!

Here’s the synopsis, taken from License!Global:

The thrilling second chapter of the epic “How to Train Your Dragon” trilogy brings back the fantastical world of Hiccup and Toothless five years later. While Astrid, Snoutlout and the rest of the gang are challenging each other to dragon races (the island’s new favorite contact sport), the now inseparable pair journey through the skies, charting unmapped territories and exploring new worlds. When one of their adventures leads to the discovery of a secret ice cave that is home to hundreds of new wild dragons and the mysterious Dragon Rider, the two friends find themselves at the center of a battle to protect the peace.

Yes, there’s Eep from The Croods and Po from Kung Fu Panda, but it’s safe to say you won’t be seeing them in the sequel training dragons (interesting thought, though).  I’m digging how Hiccup looks, as he looks like a much more confident viking and not as lanky, although there’s not much change at all to Astrid, which is fine.

Pretty much the whole original cast will be back to voice their characters, including Jay Baruchel and America Ferrera as the voices of Hiccup and Astrid.  The other actors involved are Gerard Butler, Craig Ferguson, Kristen Wiig, Jonah Hill, T.J. Miller, and Christopher Mintz-Plasse.

The only big change is in the directing as only Dean DeBlois is helming this film, without Chris Sanders who co-directed the first film (he was pretty much taking care of The Croods during half of the production of HTTYD2.)

What do you think?  You ready to see what the vikings and dragons have in store in the sequel?


THE CROODS Sequel Greenlit and My Review of the Movie


With the success of The Croods, DreamWorks Animation has confirmed that there will be a sequel for it.  This should come as no surprise to anyone, really, and yet, there are viewers that didn’t think the movie warranted it.

Chris Sanders and Kirk DeMicco, who wrote and directed the film, are on board to perform the same duties on the sequel.

The voice cast, including Nicolas Cage, Ryan Reynolds, Emma Stone, Catherine Keener, Clark Duke and Cloris Leachman, are expected to be back as well.

I went into the 3D theater expecting something fun and colorful and exciting, and I was not disappointed.  The story of a girl who wishes to do more than just live in a cave with her family is quite simplistic, but that’s not to say that it’s boring.  That’s the difference.  It is a family movie, after all, and all too often, there are many animated movies that tend to give something to the adults to laugh about while essentially ignoring the thought that many children will not understand what was said.

In this movie, I believe that everything said and done could be understood by every viewer watching and not only that, the digital animation really took careful consideration in creating such a wonderfully lively world.  The animators spent more than a regular amount of time in giving the movie life and it shows.

And throughout all that color and water and fire and smoke, the story still stayed true and held up pretty well.  I would definitely like to see more of the world of The Croods, so I am looking forward to doing so as soon as they’re able.


THE CROODS Took 80 Million Computer Hours in Its Creation

It’s amusing to think that a movie set in the Stone Age has just set a new record for computer hours. When DreamWorks created The Rise of Guardians, the movie required 65 million compute hours to render. But The Croods has smashed that, with a record-breaking total of 80 million compute hours. That’s close to double the hours it took to render Monsters vs. Aliens back in 2009.

That’s not the end of the impressive stats, though. The Croods contains the work of 400 animators, which translated into 250TB of data that then needed to be edited down into the final release. Each character took 6 months to perfect and has 2,500 control points for feature manipulation. The final film has a pixel count north of 250 billion.

As for hardware, DreamWorks relies on 3,000 HP BladeSystem c-Class server blades combined with a server render farm consisting of 20,000 processors. It also has some very high bandwidth networking installed so as to allow artists and animators from around the world to contribute to projects. This includes a 10Gbps connection between the company’s Glenwood and Redwood City studios in California, as well as a 500MBps connection with India.

None of the data created for the project goes to waste. Around 70TB of it is already being accessed for other projects across all of DreamWorks’ productions (typically they are working on 10 at any one time). That data includes things that are easy to reuse, such as vegetation and backgrounds, but you can guarantee a lot of the animation loops will come in handy, too.

I have to say, you can definitely tell that care and time were well spent on this movie.  It’s a beautiful piece of art all around.


A Fairly Technical Interview with THE CROODS Directors Kirk De Micco and Chris Sanders


The people at Ain’t It Cool News got to talk with the directors of The Croods, Kirk De Micco and Chris Sanders about the some of the technical aspects of the animated movie including having Roger Deakins, a live-action cinematographer, on hand to help out with some of the visual effects of the film, the evolution of the characters along with the actors behind the characters, and just bringing the movie to life.

Capone: So before we start talking about the movie, I noticed a couple of names in the credits that I think are worth asking about. Is Roger Deakins just on retention at DreamWorks Animation for doing visual consulting?

Chris Sanders: That’s a good question. You know, he sort of is. Hopefully they will do that.


Kirk De Micco: Now he’s doing DRAGON 2. He was much more involved in DRAGON than he was, for example, on WALL-E. He was on WALL-E I think for a few days, and for DRAGON he was there pretty much the entire time.

Capone: What about this film?

CS: Well the great thing about Roger was him helping us and the studio be happy with taking away lights in the cave and going with some really dark interiors, which was necessary for the storytelling and also I think that opening stuff, that whole first act, which is that hard light and that blown out look. We wanted to give it that arid, rough, harsh, but yet still appealing quality. That was a big part of where I think he helped us get everybody comfortable with, and then with the fire light sequence, you know when she sees fire for the first time? Because it’s not “comedy lighting,” you know?

Capone: Is that standard-issue stuff for animation, to have a live-action cinematographer come in and advise like that?

CS: No, I think it’s pretty unusual. I think our situation is very unusual. One of the things that Roger has done for us, what Kirk is talking about and I guess I’ll just second it, he’s all about removing light. It’s very easy to overlight an animated film. Lights are easy to place, relatively speaking, in a scene.

KDM: Because you don’t have to rent them.

CS: One of the things Roger was amused by was that he could put a light in the shot and you don’t see the light, you only see the light hitting. The light strikes the objects, but you don’t see the actual fixture sitting there, because the fixture is invisible. I think he was pretty amused by that and was pretty cool for him. But yeah he’s all about removing light.

If you’ve seen his films–which is everybody I think–everyone is so enamored with the way his films look. It’s an incredible sense of reality, while retaining a great mastery of the art of lighting. It’s artistic, but it also feels real. Roger is all about removing lights, and in HOW TO TRAIN YOUR DRAGON that was one of the things, he was taking lights out of a shot. For instance, we have this moment [in THE CROODS] where Eep finds this torch; she’s seeing fire for the very first time, and really the main light source is just that torch. It would be very simple and very easy and very tempting to come in and go “Let’s put a little light on this rock over here. Let’s get a little more light on her nose. Let’s get a little more light on her hair.” Pretty soon, you’ve over lit the shot, and Roger helps us not do that.

Capone: I can’t remember if I read this somewhere or if it was actually in the credits that John Cleese was involved in the story. What’s the history there? There is actually a credit in the film, right?

KDM: There is credit. He shares story credit with us. Yeah, John and I first started writing together at Disney on THE TWITS by Roald Dahl; we adapted that book, which sadly has not been made. We both love Roald Dahl and we came together on that project and started working on that; and Dreamworks had read the script, thought it was funny, and I went over and looked at all of their projects that they had at the time. This was in 2004 or very late 2003.

One of the projects was a kernel of an idea about these two cavemen. At that time, it was like a luddite and a mad inventor on the run, and the big thing that was there was this theme, this fear of change. Really it was the fear of technology at that point, because John has a deathly fear of technology, and he believes it’s going to ruin the world, and it has already ruined personal relationships and most conversation.

Capone: If it wasn’t technology, it would have been something else.

KDM: [laughs] It would have been something else. So that was part of what it was, and over the time that we were doing it for Aardman and we were working with Peter [Lord, co-founder of Aardman], and it was going to be a stop-motion film. It was a much more sort of domestic kind of story with a journey aspect. But it was really two villages, one was called “Crood.” It was much more satirical, and over time Aardman went to Sony, and at DreamWorks Jeffrey [Katzenberg] always believed in this concept.

Then in 2007, Chris came over from Disney we started refining it. The one thing I kept in was this fear of change, and that transitioned over time. The fear of technology, fire, shoes, that’s the fun part of cavemen; they have beginners’ minds and they see things for the first time, and it’s fun working with those characters, but the real relatable, emotionally resonant fear of change is that which happens within your family, especially for a father with his daughter. So that’s where that grew from.

Capone: So you’re talking about maybe 2004 start with just the ideas. That’s a long time ago, almost like ten years. Talk about that DreamWorks creative pipeline and about how the film evolved, so to speak.

CS: I was witness to probably the biggest jump in the story. When I came on the the movie in 2007, it was about a village and it was a caveman village, and Grug was the chief of that village. It still had a lot of the same elements. It had a relationship, a bit of a triangle between Grug, his daughter, and this new guy, Guy. It really centered around those three relationships, and the stresses and changes that occur when Guy comes into that mix. There were also elements of a journey, but you were inevitably anchored to this town, and that was the thing that Kirk and I struggled with for a year. We did as much as we could with that story, but it never really lifted off of the ground.

I was asked to go over to DRAGONS. They wanted to change directions with that story, so I began writing and directing on DRAGONS, and I left Kirk with this problem. [laughs] Kirk called me one day and he said, “I want to pitch something to you,” and I came down and Kirk said, “No more village. One family loses their cave, and they go on the world’s first family road trip to find another one.” It was like somebody finally turned on the lights, and I said “You’ve done it. That’s it. That’s the story.” That’s the movie we made. So Kirk jettisoning that town was pretty much the same effect as pulling up anchor and allowing this story to finally sail.

Capone: One of the things I love talking about with people who have directed animated films is talking about the evolution of the look of the characters and how that changes. What were some of the bigger leaps in terms of how you wanted them to look?

KDM: Yeah, the characters never really went through a change. It was just a very lengthy build. We were very, very careful during the creation and the design of the characters to get characters that weren’t overly glamorous to live in this world. We wanted them to be visually appealing, but we also wanted the characters that could live in that environment to be believable. So I think Eep is the character that you most want to talk about. Grug was relatively straight forward; we just wanted a big powerful guy that could believably protect his family in this world.

Eep was a different case, because we wanted her to be visually appealing. We wanted her to be pretty, but we wanted her to be caveman pretty. So we gave her this body…if you watch the summer Olympics, she’s got the broad shoulders and this amazingly V-shaped back like the swimmers and the gymnasts have. She’s a powerful character, but if you look at her shape, she still has these lyrical shapes and these very graceful shapes. Those big shoulders terminate in very small hands, and her legs terminate in very small feet. So she’s got a lightness and a grace that keep her fast and agile looking. At the same time, she can also have a moment in the film where she grabs Guy and lifts him off the ground with one arm, because the Croods are really a different species than Guy. He is human being 2.0. He’s more like us; he’s all about his brain. He’s really in shape, but compared to a Crood, he’s under powered. So if the Croods want to keep him around, he’s sticking around; he cannot get away.

CS: We wanted this movie to start in a very…“the universal cavemen expectations.” We wanted to satisfy them with mammoth hunting and volcanoes and lava and earthquakes and tar pits, and we wanted them to be super strong and keep it broadly comedic at the beginning and take it to another place. The tone shifts over a period, which is inverse for many of our animated films with start with “dead mom, happy ending.” So we went the opposite direction, I guess, and the fun part was that opening hunt. It had this Looney Tunes energy and believability, I thin, that if cavemen had bones that were this thick, they could survive those kinds of falls; they are not like you and me. It was that believability that we pushed with the tone, but at the same time, you felt they could die, so at the end when the peril became real, you would feel it.

Capone: Did you ever consider like a limited language with the family versus Guy?

KDM: Absolutely. We had had some pretty big discussions at the very beginning. Because in the caveman movie spectrum, you’ve got QUEST FOR FIRE at one end and you’ve got THE FLINSTONES at the other. I think we’re closer to FLINSTONES. We questioned whether they should even speak or if they should have a more limited language, and we pretty quickly dispensed with that, because this story was much more complex and much more subtle. In QUEST FOR FIRE, what they’re doing is looking to find fire and they do go through cultural change, but it takes a great length of time to do that, and The Croods have a lot farther to go storywise and have bigger story arcs. For that, we needed a language.

CS: We actually played with this idea that we would–and it would have just confused the hell out of the children–do like JUDGEMENT AT NUREMBERG or HUNT FOR RED OCTOBER, where he would start out speaking Russian and then we would zoom in, and they would go from “Ugh ugh ugh” to “This is awesome!” We were just like, “People will never get it.”

KDM: Not really necessary. That said, there were words that once in a while came by that just “stuck up” in a sense, and we took those out.

CS: Yeah, the only one that made it through was “sucky.” When Nick Cage said “Sucky,” it was like “You know what? Let it ride.”
Capone: When I watched the film, the thing that really stuck out was just how creative you got with the other creatures, the animals of this place, because they don’t look like things we’ve seen before. They are not just mammoths and sabertooth tigers; they’re blown out. That’s really what I’m curious about, where those ideas come from when you can start form scratch if you wanted to.

KDM: The challenge was always presented to us to invent a time period, which would give us a certain amount of creative freedom with the story and the characters. So part of the anchor for this new time period would be a zoo full of animals that you’ve never really seen before, and there are a couple staples in there. You’ve got your mammoth .

Capone: These days, it’s fairly standard practice to film your actors while they’re recording their voice parts. Do you use that, or do you just have that for the documentary?

KDM: Yes, we will constantly pull reference. While we record, we’ll be making little notes on our script if the actor does something that we think is just fantastic. Nobody got pulled more than Emma Stone. She has the most amazingly animated expressions I’ve ever seen. She’s incredibly appealing, fresh, unusual. At one point, she actually smiles, but her mouth is turning down. It’s a very hard thing to explain.

Capone: Is there a particular technical achievement that you’re especially proud of, like you think maybe “We got this better than anyone before?” I noticed it in the scenes in water that the water looks perfect, and I’m a stickler for bad-looking water animation.

KDM: [laughs] Particularly with this one for us, there was tar. It’s not like “call up the tar department.” No one had ever done tar, and what’s interesting is they didn’t use a liquid sim; it’s actually a cloth sim. So the simulation moves more like they would a big cloak, and they used the simulation to get that, but all of those little bubbles, there were many conversations of “when that bubble would pop” like at the right moment to not distract you. So it’s that kind of control, but I think that was pretty much the coolest, because it gives the total effect of them sinking. We were constantly playing that they weren’t going to get out there, and Grug is really pulling against that tar, and it’s stretching out. We went down to the tar pit in La Brea, and Chris put his finger in tar many times.

CS: Yeah, we do have the benefit of living near the actual tar pits, so we could go down and reference them any time we want.

Capone: Is the hope to do another one, or do you think this will go to TV like DRAGON did?

CS: We would love to do another one. We love the characters, and if you watch the film, it practically ends with a sequel beginning.

KDM: These characters, since they have their hearts in the right place, especially Grug, through every frame of the film. He’s such a lovable guy. That part is what kept us going. A lot of the times with these characters, they have ulterior motives where they want to do this or they want to do that; he just wants to keep everybody alive. There’s a genuine sweetness, and I think that’s what kept us involved and wanting to see more.

To read the full interview, go here.

DreamWorks Animation Releases TURBO Trailer #2


The Croods has just hit theaters this past weekend, but that doesn’t mean DreamWorks is going to pause for that movie to sink in before introducing you to another hopeful success, called Turbo.  Here’s the newest official trailer for the flick, which comes out July 19, 2013.  If the voice of Turbo sounds familiar to you, well, it might be because he’s voiced by Ryan Reynolds, who also voiced Guy in The Croods. 

Other voices include those of Paul Giamatti, Ken Jeong, Maya Rudolph, Ben Schwartz, Snoop Dogg, and Samuel L. Jackson

THE CROODS Directors Kirk DeMicco and Chris Sanders


Here’s an interview with the co-directors of The Croods, Kirk De Micco and Chris Sanders as they talk about the inception of the story, with the uncertainty and trepidation of change, as well as the environment of the film, and working together. 

We spoke with these two filmmakers and discussed choosing the voice cast and collaborating for the first time. We also discussed a possible sequel and the concept for THE CROODS being conceived by…John Cleese?

via HeyUGuys.

In another interview, they talk about the technical aspects of creating the film, having input from people like Guillermo del Toro and Jeffrey Katzenberg, using 3D, and future animated films, including How to Train Your Dragon 2.   I’m unable to embed it, so you’ll have to check it out here.

THE CROODS Drawing Tutorials


DreamWorks Animation has done a generous thing with presenting us with drawing tutorials on how to draw the characters from The Croods.  They did so with Rise of the Guardians, and I’m pretty happy that they’re continuing their efforts with this movie as well.  Check out the video playlist below, or you can check out our Croods video page for other videos as well!

THE CROODS Stars Talk About the Croodacious Movie


As we’re winding down to the release of The Croods in theaters, Nicolas Cage, Emma Stone, and Ryan Reynolds got to talk about working on the film and playing a unique set of characters, as well as seeing them on screen. 

Q: What did you guys think when you saw your characters for the first time?

Cage: I was blown away by all of it. I was blown away by the animals, the spectacular landscapes, the collaborative works of art that joined together to make the movie. I was very happy with all the performances.

Stone: I agree. I had such an incredible time watching the movie. I’ve gotten to see it twice now, once in the earlier stages and then once in 3D in Berlin, we watched it with a big audience. It’s such an incredible, stunning visual movie, but its also sweet and funny and full of heart.

Reynolds: I felt the same. I saw the journey that the film takes, you spend two-and-a-half years working with it, the actor not necessarily being as integrated into the process as you are making a live-action film. I would see it go from sketches to slightly more animated drawings to this thing that just jumped off the screen and into your face in such a way that was so unexpected and incredible. Particularly in 3D, which is something that’s easy to be cynical about these days, but this is something that’s so unbelievably effective and it works in such a way that brings you right into the movie.

Cage: I don’t see it as a children’s movie, but one of the things that makes it work is it doesn’t condescend to children. You know how intelligent children are, you know they appreciate good music and good drawings. Any family film that works with the community of children is one that doesn’t talk down to children.

Q: What helped you get into the mindset of playing a caveman dad?

Cage: Well, that is a good question. It’s been a long road with myself and Jeffrey Katzenberg. At one time we were talking about “Shrek,” and I just didn’t want to look like that guy. Maybe I should have done it, looking back… We kept trying to find the right match, then they all came out to New Orleans to meet with me and showed me a picture of Grug. “Look Nick, this is how we see you!” “Well I don’t really think I look like that, but I’ll do this.” What really got me about Grug is his arc, his emotional transformation. He goes from being this incredibly overprotective father, who’s more surviving and not living, and then he becomes able to let go and live. I like that and that’s what appealed to me most. I like a movie that can make you laugh and make you cry, and this movie does both.

Q: Where would you like to see your characters go if there’s a sequel?

Reynolds: Well, I’d like a shirt. (laughs) No big deal.

Cage: I want to see The Croods in outer space. (laughs)

Stone: I like that, I’m gonna stick with outer space and getting Guy a shirt.

Cage: It’s like “The Flintstones” and “The Jetsons” all in one movie!

Q: If you were sent back to pre-historic times what is one piece of technology that you would absolutely miss?

Reynolds: Antibiotics for me. Penicillin, right?

Stone: That’s fair. I would miss flushing toilets.

Cage: Symphonic music.

Reynolds: Untoppable.

Stone: You picked the best thing.

Q: What was it like being in the recording booth making all those grunting and groaning noises?

Cage: The most interesting day was when they brought in a tank of water and held my head under it so I would make sounds like I had bubbles coming out of my mouth and did dialogue with my head submerged in water.

Reynolds: They waterboarded you???

Stone: They did not do that to us!

Cage: Yeah, they waterboarded me. See, there’s a word for it! I was waterboarded!

Stone: That’s gonna be a headline.

Reynolds: I was most shocked by the fact that when I first signed on and decided to work with these guys and jump into this process. They said the sessions were going to be two or three hours. I thought, “Two or three hours? That’s crazy, what are you Canadian? C’mon! Let’s work a full day here.” Two hours into it your voice is gone. You’re playing the most outlandish version of yourself. They’ll say nothing’s too grand, you can take it over the top. Two hours into it you are tapping out. You’re ready to go home, you have no voice left, and zero energy.

Stone: Again, I agree. That was actually my favorite part, the sounds of physical exertion, because it was the part I didn’t think about when I signed onto the movie. I was just thinking of the fun of playing Eep and I didn’t really think about when she runs and swings and throws someone over her shoulder. That was the most fun and imaginative. It was really playful in the room, too. A lot of movement.

Read the full interview at or check out our Croods videos here.