My name is Cody Cameron. I'm one of the directors.
I'm Kris Pearn. I'm the other director of Cloudy With a Chance of Meatballs 2.
- Two. - Two.
We work for Sony Pictures Animation. Really funny logo.
- That was dancing letters. - And they work for Columbia Pictures.
These titles were done by Chad Stewart and Todd Pilger, right?
Going back to, like, the first test we did at the very beginning of the process, right?
We had those letters kind of in our style, right?
Yeah. Justin Thompson designed them.
Now here's a little flashback to remind the audience who Flint was as a little kid.
And we're gonna meet the new character that's gonna turn the whole story.
With your host, Chester V
That's Chester V.
Welcome back, science friends.
You know, I have devoted my life to inventing the future.
But every dream has a beginning.
I still remember my first invention:
And this little photo here reminds me of Matt Taylor, one of our voice talent.
Yeah, he's actually, I think, getting younger as he gets older.
But not to reference a movie about someone who gets younger.
Now here's Chester's Food Bar...
...which was kind of like our food version of the iPod in this movie.
Yes, yeah.
This whole opening was sort of inspired...
...by some of the stuff we watched when we were kids.
Those science shows and what have you in the '80s.
Yeah, and a certain program that was on Sunday nights.
And here's where we meet Barb, voiced by Kristen Schaal.
...change the world?
And sort of the mythology, the idea was that, you know, he saw Barb on TV...
...and that's what drew him to making Steve.
- Kind of our revisionist history. - Here's some footage from the first film.
This was some free footage for our animators.
Yeah. And the images in these flashbacks...
...are at 1.5K and our film was at 4K.
So if you look really close...
...it's just a little less good-looking than our film.
- It looks old. - Yeah.
It's old technology.
Like an old shoe, it's comfortable to wear, though.
Yes. And it keeps your feet warm.
Me and Cody worked on the first movie for a while.
Yeah, you were the head of story. Yeah, four and a half years.
That was my scene right there, the burger rain.
How does it feel going back in time?
- It's exciting. - Yeah.
You remember the Gummi Bear obsession with Steve.
We don't really do much of that this movie.
We have some dancing Gummi Bears in the finale.
He's cool with the Gummi Bears now. He's come to terms.
This is the reverse of the shot we had in the first film...
...where we saw the clouds clear. We wanted to shoot it from underneath.
There's a lot more food on this food pile than we originally had.
That's a little revisionist history.
So if you put two DVDs back to back, you can get us on that.
- Here's all the gang. Noodle Man. - Yeah.
Also, the glass dome to Flint's car was here in this shot.
- I think it actually blew off in the first film. - Yeah, it did. And they were dirtier.
If you remember the first film, half of Flint's head was torched off.
- Scorched, yeah. - Scorched.
And Sam doesn't have any dirt on her face.
She's got dirt on her shirt, but not on her face.
- Dirt on her shirt. - Dirt shirt.
Dirty shirt.
So here's Flint kind of proposing to her, but he's doing it in kind of a nerd way...
...where he's actually asking her to work with him.
- I think that was my stomach. - Was that your stomach?
It's hard when you're working on a movie about food.
Food! In my stomach, food.
So here's where they come up with sort of the MacGuffin of the movie...
...the Sparkswood.
- Not ever. - Never, ever, ever!
I gave away the name before they gave away the name.
- Hopefully, you've seen the movie. - That's okay.
Because if you're starting here, your entertainment value is less.
We're doing this commentary before the film has been released.
So, hey, hope it's a hit.
And there's Chicken Brent in his chicken suit.
Manny One-Stroke. Amazing drawing.
All of these drawings on this piece of paper were drawn by kids...
...from our vis-dev crew.
- So... Except for the little poop smear. - Yeah.
That was created by Justin, our production designer.
Or was that Dave Bleich that did that little smear?
- Maybe it was both of them. - Okay. It took two fingers.
Two people. There's a rat-bird off the head.
Now, Remote Control TV, one of our favorite characters from the first film.
And here Chester V shows back up again.
- He's got a white beard this time, though. - He's a lot older.
- That's proof that time has passed. - Yes.
So we have him throwing out some humanitarian aid.
- Bandages, pants, water, things like that. - Things like that.
And we wanted to kind of call attention to the vest...
...because it's become something that Flint wants the whole movie.
It's like a literal carrot that he's kind of chasing.
- Yeah. Look. Look. It looks like a carrot. - It's a carrot.
You'll notice that Chester kind of is shaped like a lightbulb.
It's sort of like his design language runs through everything he touches, right?
- Good ideas. Lightbulbs. - Yeah.
And we've just revealed the hologram thing.
We've got the... You know, kind of once we get that into the movie...
...Chester can create these holograms...
...and these storytelling whiteboard devices can pop up out of them.
Which is kind of helpful.
What? You need us to leave?
- I see bandages. Manny's got bandages. - And pants. See Joe Town's pants?
Joe Town's got pants. Why he's got pants?
- He's got some pants. - Why's he got pants?
Noodle Man's facing the wrong way. That's a joke from the animators.
In the right-hand corner, there's four guys wearing the same blue plaid shirt.
One of the things we updated was our crowd rigs on this movie, so...
We were using the old ones for this bit...
...so you can see a lot more repetitive characters.
- That's a lovely piece of corn, isn't it? - It looks real.
...return home before you know it.
Except for you, Flint Lockwood.
Me? Why?
That's the other thing we could do, is we could just recite the dialogue.
- Hey, this guy is a good... - Yeah. Who did that voice?
I think this is a good guy. Really talented. Hard to get.
Hologram technology. Awesome.
We have a lot of fun with, like, holograms touching things.
- Or not touching... - Not touching things.
He can be slightly creepy.
I mean, he does a little bit of a chin grab here in two minutes.
I understand, Lockwood.
But if you become a...
Right here. You've been touched by a hologram.
Of course, Sam is, like, super supportive, and we wanted to make sure that...
...Flint was honorable to what they were just dreaming about.
- Blue crayon. - But orange vest.
- How'd that happen? - Yeah, magic. Magic crayon.
A little continuity here. There's Joe Town. Hey, Joe Town.
And then they're going away.
This is the best day ever!
It was the best day ever. But wait.
We had a lot of debate as to when to pop the Chester balloon...
...and tell the audience that this guy is a bad guy.
Turned out that clarity was the best thing for us.
Now we just do it right here.
I like the way the hologram is really subservient to the real Chester.
...no idea of our real plan.
What's your real plan?
- Capture the Invention? - I'm the only one that laughs at that.
It makes me laugh that Chester's got obvious names for his plans.
And that kind of came from...
It's like everything he touches is really easy to use.
You'll see later on in the movie...
...that the food can break out of cages pretty easy.
Now here's our opening titles from Todd Pilger.
- And actually... - 3D.
Originally, Glenn Harmon did the 2-D version of this.
Then Todd kind of picked it up and made a 3D version.
Good folks.
So now we're gonna jump to San Franjose, California.
- And it looks like he's back in his lab. - Yeah, look, it's full of 3D.
- Why's he back in his lab? - Look at the depth.
It's just a joke. It was a magic curtain.
The idea here is that Flint and Tim are living together...
...in this one-bedroom apartment in San Franjose...
...and, you know, Flint is more going on the adolescent journey.
- And his girlfriend lives across the hall. - Of course.
So they can hold hands and stuff. But it's all very friendly.
There she is. The brightest weather girl.
And all of our gang is there with them...
...and they're gonna go off to their new futures.
- Three guys in blue. - There's a Live Corp bus.
- Sasquash. - Sasquash.
There's a... So the Live Corp...
- Noodle Guy. - Noodle Guy.
- That was exciting. - Yeah.
- Joe Town. - Joe Town.
The bus is going to beautiful... Nice. ...San Franjose, California.
And here we have Live Corp.
Like, they paved over Alcatraz and built this giant lightbulb.
Notice the colors orange and green on a white background.
- You'll see a lot of that. - Yeah, it's kind of Chester's signature.
So if you notice the crowds in this section...
...there's a lot more diversity than we had in the first film.
This was a combination of Craig Kellman working with our Imageworks team...
...the amazing guys there and their problem-solving ability...
...in terms of coming up with five characters...
...that you can make a thousand characters.
Morph in between.
We have Barb showing up again. This is adult Barb.
Notice that the coffee cup is also a hexagon?
This is probably the first time Flint's ever had coffee.
So the idea here is that he's gonna get a little more hyper through the scene.
Barb's really sensitive about being called a monkey...
- ...because she's obviously an ape. - Yeah.
By the way, in that last shot where Barb scoots off frame...
...she sticks for a moment, for one frame.
Don't know if they'll fix that by the time the DVD...
- I bet you they will. - Yeah. Yeah.
And so, you know, here, now, Flint's in the big world.
- Hot. - Not too bad yourself, monkey.
That was designed after one of our story artists, Jenny.
I'm sorry, Jenny.
...are offered in beginner or grande.
Over here, indoor sports. Those are encouraged.
We were just having fun with the idea of like, you know, a haven for nerds.
- And I mean that with the lovingest... - Yes. Pointing the fingers back at us.
As we are in an animation studio, it's very similar.
The idea here is that, you know, this is a place...
...where everybody can get everything they need, so they never have to leave.
Yeah, like the coolest company on the coolest campus ever.
There's a few companies like that in California.
Here's Craig Kellman, our character designer...
...showing us his idea pants.
That was one of the earliest gags we had in the movie.
Sort of stuck in through all of the screenings and stuff.
Magic hexagons.
- That was Theo Vandernoot. - More hexagons.
That's where we belong, Steve.
Great thing about Steve is you can just drop in lines here and there.
The idea is he's overly caffeinated.
We don't point too big a finger at it, but Steve's freaking out.
His heart rate's going through the roof.
If you go back and watch, you can watch his eyes start to dilate...
...and twitch, and it's a gradual process.
It's one of our ways to hide the exposition...
...with a caffeinated monkey.
This nose gag keeps coming up.
We have a lot of repeat gags in this movie.
- The running gag. - The running gag.
I think Brandon Jeffords added the coffee coming out of the thing there.
- I believe so. - That was our head of story.
Delightful man. Good father. Snappy dresser.
- One of my favorite shots in the movie. - Yeah. A little Flintly McCallahan.
Flintly McCallahan you're gonna meet in a bit.
He's hammering a cat into a car subliminally.
- No real cats were harmed in this film. - No, no, no.
- Nor no CG. - Yeah. No CG cats.
So there's like nine arms going on here.
- -to ice cubes with the Re-Freeze-a-Fan!
The idea here is that Flint is kind of making all of these inventions...
...and he experiments on his dad as sort of who he uses.
So just sort of stretching out that idea that Tim and Flint...
...are living together in this apartment, on top of each other.
And he'll never get to finish that copy of Moby Dick.
He's been working on that book for a long time.
This is a joke from the first film that never made it in.
We brought the invisible coffee table back. It always made us laugh.
- Delicious leftovers. - The tiny, tiny Tim.
- Hairless Tim. - Yeah.
Notice the painting in the background of Flint and Tim fishing.
He's got no hat in this shot.
Later you'll see this portrait in the boat, and he's got a hat.
- He's got a hat. - It's a magic hat.
This shot always makes me laugh.
The previous one where Flint's doing the bad acting, that was Claudio.
Claudio animated that, which makes me laugh.
Flint's looking at the camera and acting badly.
This celebration here keeps coming back. It's a party in a box.
We were gonna make one, but we didn't know how.
There used to be a theme song for it that Flint and Sam had.
"A party in a box for any occasion."
- Like they used it all the time. - Yeah.
So here we are at the Live Corp vesting ceremony...
...which is like one of those keynote things they do up in Silicon Valley.
Of course, Steve has been trained to hit that button any time he hears the word.
You called it a Pavlovian...?
- A Pavlovian response, yeah. - Yeah.
...vesting ceremony!
That makes us sound smart.
As directors, we have to always sound smart.
- I have no idea what that means. - But that's part of the job.
Pretending we know what we're talking about.
- Yeah. - It's like herding cats, you know.
They just pat us on the back and say, "Good job. Good job."
I mean, most of what we do is try to be open to ideas.
We have a team of, what, like 300 people...
...and they're all really funny, awesome people.
It's like trying to get everybody motivated...
- ...to do the best work they can do. - And be collaborators, you know?
Just like Chester V here at Live Corp. You see how they love him?
So right here, we're gonna see the carrot.
Here's the carrot Flint is after. That everybody in this company is after.
- That orange vest, you know. - Yeah.
So I always love watching the background characters here...
...and how happy they are.
Look at that lady to the right. Wow, she's excited.
- They're so happy. - Yeah.
So here's a little bit of a drum-roll moment.
He's got a memorable mop of unruly hair.
- You watching the movie? - Yeah, that's what happens.
Just is a little exciting.
Our newest Live Corp Thinkquanaut is:
Notice how Chester actually never looks at the card that has the name printed.
This the old "You got it! No" bait and switch.
So this is Craig Kellman, our lead character designer...
...doing the voice of Flintly McCallahan. And the car that runs on cute.
So the idea with Flintly McCallahan...
...is he would be a mimic of Flint's design but sort of the opposite.
So he's got like a crazy hairstyle, but instead of being black...
...it's kind of orange, or, as they say, ginger.
And I think they actually used the Flint rig and just swapped out...
- ...or changed the head and stuff. - His nose.
And, of course, the Celebrationator. We loaded the gun and it's gonna go off.
Go:
- There's a Wilhelm scream in there. - Yeah, classic Wilhelm scream.
So the idea here is that we were mimicking the moment...
...that we reminded the audience about where everybody's laughing at Flint.
So we wanted to kind of have that same sense of humiliation and shame.
That Spray-On Shoes moment.
You know, poor Flint is gonna walk home.
Yeah.
- So we got "The Inventor Song" here. - Yeah.
Sad, rainy walk.
And, you know, we got this... The trail of failure.
The shame sparkle trail.
Yeah. In our town of San Franjose, we have a Chinatown...
...much like San Francisco has, but ours, I think, is only a block long.
- Right. - Yeah.
Well, early on, one of the things we did, we took our production designer...
...went up to San Francisco and spent a weekend photographing there...
...and walking around and getting a feel for the place.
We were trying to pack all that knowledge into one street.
That's one of my favorite transitions, the old sparkle-to-sparkle transition.
We had to fight our editor on that.
It was... Claudio won. We never did cross-dissolves.
It was kind of a conscious choice.
But, you know, now we're in a different world.
I like the janitor lighting here and this kind of internal moment...
...between Barb and Chester.
This is one of the later-boarded sequences that we had, right?
- One of the last, right? - Yeah, I think we had a test screening.
It seemed like the audience wanted to understand Chester's plan clearer.
And the idea of, like, clarifying it, we gave this to our head of story...
- ...and he came up with this idea. - Yeah.
This was actually... Alan Hawkins animated the hand gag here...
...which is something that always makes me laugh.
One of the opportunities that Chester provides for our guys...
...is a new way to move these characters.
Because we have a Muppety style, he's a little bit more fluid and fun.
- He's so fun to watch, I find. - Yeah.
Even with the sound off, I could just watch Chester all day.
Poor Flint, having that adolescent moment where you flop down on the bed.
Steve is gonna have a relationship with this candle coming up.
That's a vest cake, which, you know, is sort of like to celebrate him...
...getting that vest that he didn't get.
And, of course, Sam comes in with the same one.
The R and D on this cake, Pete Travers... What's Pete's title, official title again?
- VFX supervisor? - The VFX supe.
That was his favorite shot right there. The close-up on the cake.
And actually, it almost... Wasn't that a live-action shot?
I think it could have been a live-action cake.
We had a live-action cake inserted here. Steve was green screened. He had a...
- The cake had a Ping-Pong suit on. - Yeah.
Neil Patrick Harris in the mo-cap suit.
- Jumping on a cake. - Yeah.
That's how we do all of our animation. It's all mo-cap.
- No. - He's kidding.
- We have how many animators? - Like 80-plus.
- Yeah. And they were fantastic. - Yeah. Really, really good work.
Great team. And they brought a lot to the table.
I mean, that gag we have with Steve's tail lighting up, that was Toby, right?
Yeah.
And, of course, we have some...
You know, Tim's decorating there behind, we have in that sardine.
If you watch, continuity-wise, it's not always in that part of the wall, is it?
It moves around, yeah,
Now, a lot of people told us you gotta have Tim fielded properly.
And we like the fact that Tim was sort of awkward in this case.
We always said he was like a Saint Bernard, you know.
In a one-bedroom apartment.
We deliberately cut off the top of his head.
That was a director's choice.
So if you hate it, you can hate the director.
James Williams, our head of Layout, he went with it...
- ...because he's a good man. - Yeah. Yeah.
I don't know how many beds Tim breaks a year.
But I think this sort of loving-father kind of thing is a new thing for Tim.
You know, to sit there and kind of be a good listener.
- Of course... - Fancy nails.
When everything seems like it's going wrong...
...something shows up to steer the story.
Here comes Barb.
Originally, this is where we were gonna meet Barb, right?
- Yeah. - She hadn't shown up yet and...
There used to be a character named Cathy...
- ...who brought Flint through Live Corp. - Right.
And I can't remember when we decided to make Barb that character.
But I think it really blesses the beginning of the film.
It was pretty far along. That was one our animation team went with.
We try to avoid story changes when we're deep in production.
That seemed like it made sense. That's why Barb ended up on the scooter.
So we could keep Flint's eyelines the same.
It would keep all our layout shots the same, yeah.
Barb walks on these little feet. That's gonna come into play later on.
Like, one of the fun things that the animators had to play with, with her...
- ...is that she'd try to move like a human. - She'd never walk on her arms.
Yeah, she doesn't move like a monkey or an ape.
So here we have Chester's inner sanctum.
The idea, like, it's like a log cabin in the middle of the woods.
Yeah, if you freeze-frame...
...you can see all the great portraits of Chester on the back wall.
The idea here is that Chester is sort of...
You know, his best advice comes from himself...
...so he's surrounded himself with himself.
That's the meta thing with these holograms.
He can be everywhere.
Now watch the eyes on the cat on the mantel.
Yeah.
- Why don't we bring the coffee back? - Sip.
This is a photograph...
This is a big expositional scene.
We wanted some business with the coffee...
...to give us some sense of the tension, the ticking clock ratcheting through.
Here's our Thinkquanauts that were at the beginning.
That's the two directors.
One of the things that these directors do sometimes is stupid voices on the...
That was Cody screaming.
It appears to be a living cheeseburger...
I always loved this shot.
And I love the way that the CG team lit this.
- Yeah. - Over at Imageworks.
Like, it's really dramatic.
Feels like a warm cabin on the inside and cold on the outside.
So when you're shooting back on Chester...
...he's got that kind of dramatic kind of, you know, uplit thing.
- Dramatic light. - Dramatic lighting.
- Dramatic, dramatic lighting. - That dramatical lighting.
This is extreme. This is great in 3D. That nose comes right out at you.
The whole coffee thing was set up for the dumb spit-take.
Yeah, we used to have the Forkenknifenspooninator...
...that you saw in the earlier montage strapped to his neck in this scene...
...and it was some funny business.
We took it out for some reason...
- I think it was to simplify, right? - Then we needed some funny business.
We thought, why not have him sip coffee?
This is where we meet the weapon of choice for Chester, the BSUSB.
A Bifurcating Systematic Universal Stop Button!
The idea here is Flint and Chester kind of communicate...
...in the same kind of, you know, science speak.
So Flint's able to pick up his acronyms and...
- Watch the buffalo. - Watch the buffaloaf.
- Oh, buffalo, not buffaloaf. - Yeah.
No food yet.
Brilliant!
So the idea here is that, you know, Chester needs to manage the situation.
So Chester's alternative plan, or ulterior plan, here is to, you know...
...get this done quietly so he can get what he wants.
So he's manipulating Flint into thinking he has to do this for his respect.
- Right? - Yeah.
- I like those little pauses that he has. - Yeah.
Outside that window there, that's a 2D live-action set, right?
- Yeah, the snowfall? - That's somebody's backyard.
- Wasn't that Mike Ford's backyard? - I think so. Yeah.
We all know Flint can't keep a secret.
So that was a little nod to the homage of the first film.
Right. Yeah, when they're in the Jell-O mold.
Sam was like, "Can you keep a secret?" And he went, "No."
- But this time... - And, of course...
...because we're two dudes, we think that this is what ladies do at night.
- They all put blue cream on their face. - That mud mask stuff.
- But she does work in the movie. Yeah. - Sure. Yeah.
Little note on Tim's forehead there.
There was a montage of him packing, so that was a little vestigial thing there.
We left it in because I thought it was kind of funny. Left his dad a note.
Steve's always fun to watch in these scenes.
Yeah. It seems like he's, you know...
...always distracted by something else around him.
So here's Terry Crews coming in as Earl.
You know, the fun thing here is we get to sort of see him in his "day in the life"...
...for what he's been doing in San Franjose.
The idea is I think everybody's been diminished from their home.
- Their roles. - They have a lesser job.
- But you can't keep a good man down. - No.
- You can't keep a good beard down. - He's got beard just waiting to blow out.
Son, you are my beautiful...
So we had to recast Cal this time because...
- The original actor is probably 25 now. - Yeah. I think, you know...
...with the time of animation, you have to kind of hit the same cusp.
Adolescence.
That's not a chest hair.
That's cupcake frosting.
- So yeah. - Yeah. But Khamani did a great job.
Khamani was great.
Little bit of chest-hair fudge there, you know.
Cal's got the confidence.
That's the first step towards getting chest hair, the self-confidence.
- Don't you think? - Definitely.
Definitely. And this is... H. Lee Pearson came up with this gag.
The Cal hanging out of the big side of a cow.
- And everybody loves Brent. - Yeah.
So early days... Was it Kellman came up with the idea of the chicken suit?
- I think so. - So that was our character designer.
I mean, going back to what we do early on in the movie...
...we spend a lot of time kind of working story and vis dev at the same time.
The two things feed each other. "Vis dev" is visual development.
That's where we design everything and come up with the ideas visually.
So here's one of the inventions from earlier in the movie coming back...
...the Grocery Deliverator.
That is gonna be scary, and he's gonna expect his friends to jump through it.
Is that you doing that kind of backwards Latin?
That faux backwards Latin?
Yes, Steve, hungry for adventure.
I always wanted... I think Geoff Rubay, our sound guy, tweaked it.
Tweaked it quite a bit. Yeah.
I always wanted to do a short of Steve's adventure through time and space...
...for what happens when he gets tossed into that thing.
You'll notice the banana sandwich is gone.
The banana sandwich shows up back on the islands.
- Couple spots. Yeah. - It's a pretty subtle bit.
I think once is when Flint gets knocked over...
...by Chester, and all his inventions fall out of his jacket.
- And at the very end after the credits. - Yeah.
So there's the, you know, the old stealing the power from his dad again.
The island's gonna be very dangerous...
I was born on the island, and I wanna die on that island...
This line always makes me laugh.
- Oh, Mom. "Just like your mom." - Yeah.
So when we designed Tim's boat, we wanted it to feel like Tim.
Tim's a big guy, and he's got, like... He's sort of too big for this world.
We wanted the boat to feel top heavy like Tim...
...and have, like, a lot of the same color language, right?
Yeah, a lot of the tackle-shop colors come into play.
So the idea here is that, you know...
In the first film we never saw Tim's boat, but we knew he loved fishing.
It was really fun to sort of imagine that he packed that up and brought it with him.
There's a bit of sleight of hand here.
They're in California, and we've set up that the island is under the Atlantic.
So somehow they got from the West Coast to the East Coast.
- Panama Canal. - Yeah. Around the top.
Actually, global warming. It's great. They just... scoot around.
Here's our whiteboarding.
In the first film...
...we had a rhythm where Flint would whiteboard what was gonna happen.
And it was a really quick way to unpack sort of the strange events of the story...
...so you could be comfortable with the action that was gonna come.
So we were just using some of the same technology...
...I guess, in terms of storytelling.
What if you don't find it?
I have to. It's my machine.
Of course, Flint would draw out the things that were worrying him.
I mean, we kind of use Flint like he's one of us, right? We kind of...
- Everyman? - Everyman.
And here's where we start to do some punning.
Now, the puns were controversial, weren't they?
They were in and they were out, and they were in and they were out.
I don't know what they're gonna do in foreign markets.
They'll have two other directors in those languages telling you what...
Vegetable in the car.
This shot's an amazing shot. You know, the CG team...
Was this a Mike Ford, or was this...?
Oh, I can't remember. Yeah. Shouldn't even...
- Don't hate us, guys. - Yeah. We love you all.
Anyways, the way that they pulled the color into that...
...just made that look awesome. I love the moodiness of this whole part.
- That was a late shot too that we added. - The underwater shot?
Yeah. This shot looks great in 3D as it pulls out.
So the idea here is that, you know, their expectations of the island...
...are completely wrong in terms of what they're confronting.
This wall of jungle is gonna be...
- Sasquash. - ...something that they're up against.
The jungle's no place for a monkey.
"The jungle's no place for a monkey." That's a Chris Miller line.
Manny, are you getting this?
I certainly am.
- From our comedy pass. - From our comedy pass, folks.
- Comedy. - We're doing a comedy pass.
- Everybody's invited to the comedy pass. - Pitch.
What's that? Oh, no. Is it a cheespider?
- Kind of it looks like it. - Nope. It's a 3D joke for some rat-birds.
Wanted to remind the audience what the rat-birds were.
We love the rat-birds. Did you do that "beware"?
Either myself or Craig Kellman. I can't remember. I thought Craig did it.
Might have been Craig Kellman. "Beware! Beware!"
Tim's duffle bag, which we only see in this scene.
There was a lot of conversation about that duffle bag.
Yeah.
Yeah. So the idea here is that, you know, towards the adolescent story...
...Flint doesn't want his dad with him.
In the first movie, his dad didn't really help him.
Emotionally, he kind of gave him the courage to finish the job.
He sent him the cat video instead of the right thing, so...
So Tim gets left behind.
We're bringing back the idea that Earl believes...
...that finger guns will actually help. Which was from the first film, right?
- Did we do...? - Yeah. Finger guns. Yeah.
Finger guns. There's a little near-far gag there.
Look what's happened to our town.
Earl's so fun, the way he moves.
In animation terms, he doesn't have a lot of in-betweens.
- He kind of bounces from pose to pose. - Hops from pose to pose.
Here we remind the audience that Manny had a van on the island...
...and he has no hair on the top of his head.
Look! An old thing that I've never seen before!
So this bunker is a callback to what we established in Chester's office...
...the idea that we wanted to have sort of a geographical pinning...
...to connect the two stories.
The idea that these people were eaten by the cheeseburger, and so...
To put, like, some danger into this part of the film.
Stand back, everybody.
I'm gonna cut the cheese.
- Our most controversial joke. - Yeah. It was out for a while and back in.
We found that we kept goosing that fart, right?
If you're gonna do it, you might as well do it.
- Go for it. - Go all the way in.
Always fun to play with the chicken jokes with Brent.
What was that sound? Do you remember?
- It was a zipper, wasn't it? - I think so. Like a:
Yeah. Where did you find that rubber chicken that made that horrible sound?
I found the rubber chicken in downtown Santa Monica...
...and I brought it into the studio, and our editor at the time, he hated it.
And so we... The fact that we knew he hated it...
...meant we would bring it to meetings and just squeak that thing.
- We should have brought it with us. - We should have, because it's unreal.
Like, it didn't really sound like a chicken.
- It sounded extraterrestrial. - So this is where we meet Barry.
This was an early sequence boarded by one of our board artists, Liz Ito.
Every now and then...
We tend to work off scripts, but sometimes you feel...
...the script isn't giving you what you need.
So Liz kind of broke into this one, and she wrote a lot of this.
In terms of the dynamics of how we meet Barry.
"You got a little someone stuck on your pants."
And so, you know, the first time she pitched it...
...I remember just laughing almost till, you know, we had tears in our eyes.
- Did you cry? - I think I cried. Yeah.
This was one of the first sequences that latched on...
...in terms of kind of giving us the tone.
Couldn't make that scream long enough.
I'm hoping on the DVD menu they just loop that scream.
Yeah, that scream. This was Alan Hawkins, right?
The animator who animated this?
He's one of our leads. He came back from the first film.
I believe this might be the longest shot in the film.
- I think it is. - Yeah.
- Hawkins. - Hawkins.
This moment's always been really fun.
Interestingly, we pulled the music out of this...
...when we were doing our final mix and it sort of brought it...
Made it funnier in a weird way. It's always weird.
I never understand the chemistry of that stuff.
It's so amazing working with great guys like Michael and Tom...
...Michael Semanick and Tom Johnson, watching their thought process...
...and how they can build sound and make moments really happen.
- Sparkle. - More sparkles.
One of the things that was important to us was color in this film.
We've gone from a blue space into a more kind of yellow-green space here.
This is the idea... Actually, they burst through the roofless restaurant.
That was a transition in terms of the color transition.
And we also used to have a short scene where they run though the restaurant...
...where we set up the giant spoon that Earl would be using as a paddle.
Only you people listening to the commentary...
...are gonna understand where that spoon paddle came from.
Or people who really remember the first film...
...remember that as a decoration in the roofless restaurant.
This here, this was...
When we showed this shot in storyboards...
...to our digital team, their faces went white.
But then they really got excited about this dynamic camera...
...and revealing the food through, like, a live kind of camera space...
...where we're pulling through it all.
- That's a lot of characters. - And it was like...
That was a big shot. A ton of animators.
This joke I've seen a billion times.
Get back in there, tear.
The little pop.
Wow, I can't believe...
Also, I think in these shots, Barry...
This was maybe the first shot that Barry was in that got rendered.
And he's actually a bit bigger than he is in the rest of the film.
- His size kind of pops up and down. - Sasquash.
Just a little bit closer. I can get him.
Come on, Earl, faster.
So this is where we kind of name all of our food creatures.
We do it at the beginning here and kind of drop it for a while...
...hoping that kids will pick it up and sort of find the names...
...as we have other creatures popping in.
- Also for fear of pun fatigue. - Pun fatigue. It's a problem.
- However... - I got pun elbow.
- Oh, man. - I don't know if we ever really got that.
I think we were delighted every time we heard a pun.
Oh, I love puns.
Shove.
Steve.
This was Melissa Sturm, our marketing lady, doing the leek.
- Yeah. What's your title, Melissa? - Yeah.
Marketing lady.
This milk was a big problem for our effects team.
This was one of the most difficult sets, I think, for Theo and his team, right?
Yeah. And getting the milk to mix with the water down below here.
- You'll see it kind of... - And have it feel like milk.
- But it looks awesome. - Yeah.
They succeeded.
There's a little leek in the boat as the car was coming towards the camera.
The idea here is Flint's freaked out by the food...
...and doesn't wanna touch it or anything, right?
- Susheep and cantalope. - More puns. More puns.
This was one of... This was a late addition in our story.
We did it in the first movie...
...where a character's looked at the camera and told you that this isn't possible.
And this... Also Pete Travers' other favorite shot.
Yeah, Pete... Yeah. We like making Pete Travers happy.
So the spoon... You all know that spoon came from the roofless restaurant.
If not, go back and watch Cloudy 1.
You can see it in the shot where the spaghetti lands on everyone.
Interesting. Chester's in a pose, but it's not the pose being painted.
- What was the painting? It was the... - Birth of Venus.
It was The Birth of Venus. And it was a little bit risqué for the movie.
- So we switched it to Whistler's mother. - Whistler's Chester.
- Chester's mother.
We didn't change the pose, because the pose made us laugh.
It seems like that's a pose that's pretty good for almost any painting, right?
I think we were too far along in anim to switch it out.
Consider it done, sir.
What's your favorite Chester? I like the lunging Chester.
Bearskin-rug Chester is my favorite.
Oh, Earl.
So here's another pun.
- But this is going to introduce our... - Delicious.
Our delicious batty in the woods.
This sound effect that Geoff found... for the cheeseburger makes me laugh.
That cheespider vision sort of is pinpointing the color orange...
...you'll notice.
Which becomes significant later on in the story.
Scooby-Doo shot.
Cheesy. Cheesy. Cheesy.
Manny!
Wait for me!
We had a bit of a challenge to get Brent out of the chicken suit...
...so you didn't get chicken-suit fatigue.
This became a story opportunity to sort of get the cheeseburger really close, so...
And, of course, this funny cork-in-the-bottle pop sound.
That's gonna be in 3D when you see it in 3D.
It doesn't make sense, because it's in Manny's camera.
In the camera it's not 3D, but having a half-naked man...
...come towards you is...
- You wanna have that in 3D. - You wanna have that in 3D.
Another good 3D gag. The Swallow Falls Alley.
My favorite sound effect in the movie, the...
Yeah. Part cow, part roar.
But, of course, they're going to be saved by what they think is a good thing.
But we all know this is the real predator in the woods.
But Chester always has a presentation.
So the idea is that, you know, whenever Chester shows up...
...he kind of has an affectation that gives him a moment, right?
Green smoke.
...young Lockwood. And by the looks of things...
...just in time.
One minute later, and we would have been food for that food.
There's Jenny back there in the suit.
You'll notice they're actually parked on oatmeal.
There was a gag we didn't have room for...
...where the helicopter sunk into a quicksand oatmeal pit.
And the guy that sinks is in this next shot, and it's the only shot he's in.
Right back there behind Chester's left hand.
That is our Carey Yost, the character designer from the first film.
A little nod to him.
If you'll notice, actually, the heads kind of pop around a bit in those suits.
Yeah.
I've been carrying him and he hasn't hurt anyone.
So here's the idea that, you know, Barb is going to be sparring with Sam...
...you know, and she's challenging Sam on the science front.
You know, Flint, as a good significant other...
...steps in and tries to help her.
But Chester is gonna steer it and make it into an awkward situation for Flint.
I'm sure we can all agree that...
Because we know that Chester's trying to steer Flint away from his friend.
Young Lockwood...
...why was your lady friend carrying this rabid little strawberry in her backpack?
This is Raoul's shot.
- It's also a very long shot in the film. - It always made me laugh.
I really love these proscenium shots...
...where the animators just get to, you know, milk a scene...
...like, get to play every character.
She's got a knife!
If you touch a leaf on his head...
It's almost like from the first film...
...how we had that kind of old vaudeville setup, right?
- Just let the comedy role. - Yeah.
And there's another poop joke.
You'll also notice that Steve does a lot of licking in the film.
You know? I think, yeah, after Earl kisses him, he licks Flint.
- Right. - On the boat...
...he was licking Brent's chicken eyeball.
- He does. He does. - Yeah.
Licking monkey, always funny.
Yeah. Made me laugh every single time.
This little run of the little goatee.
JQ did a few of these shots near the... at the end?
Yeah, and then also, I think, Pete Nash.
At least Pete... I know he took the first pass at those shots.
- Was it JQ that took them over? - I think so.
- Okay, yeah. - I could be wrong.
So here we have Earl being replaced by the Sentinels of Safety...
...otherwise known as the SOS. Right?
I never thought of that acronym before. That's pretty awesome.
- When you're in trouble... - Call the SOS.
- Yup. - SOS. SOS.
And we have little Barry gonna follow them.
Now, meanwhile, you leave the old man back on the boat.
- Sasquash. - He's not gonna stay on that boat, is he?
- No, sir. Goes off a-wandering. - No, sirree. He's home.
But he did bring a harpoon gun. That's important.
Our famous bait-and-tackle shop.
If you remember the first movie, he taped the windows of the shop...
...and that worked.
It stopped the tackle shop from getting smashed by the food hurricane.
So it's pretty much intact, except it's been looted, it seems.
What are those footprints in the dust?
If you remember in the first movie, Tim couldn't give away these sardines.
He has a vintage Baby Brent sardines.
We asked the team to make them look really old and gross.
Here we have the introduction of one of our key foodimals in this movie.
In the background through the window, it's nighttime out there...
...because this scene used to take place later in the film.
- It slid forward. - Oh, look. Nighttime outside.
It's hard to tell. In the store, you don't always look out the window.
- It's sort of tinted or something. - Sure.
So my co-director here invented the language of the pickles.
Do you wanna talk about that, how you go about that process?
Yeah. I'll demonstrate with my cup of coffee.
- Hopefully not get it on myself. - I'll do play...
He's drinking the coffee right now.
- I did not die. - Yeah.
And that was hot coffee. So he gargled.
Yeah. Actually, it's kind of lukewarm verging on cold coffee now.
It saved your gullet. I'm not sure where the gullet is.
- I think it's back there. - Gullet's somewhere inside.
So another little-known design fact, anybody who knows Cody...
...I would say the dill has a bit of a resemblance.
Yeah. And I think sour might look like you a little bit.
Yeah, a little bit.
It's hard to make a pickle walleyed, because we only have the little dots.
Coleman did that on purpose, which was nice.
I guess I was always in a bad mood.
- Purple feet. - It's awesome.
It makes me laugh.
Was that an improv, or was that written? I can't remember.
- That was one of our list of lines. - Got it.
We kind of had about four or five different punch lines for that.
- Andy Samberg always makes me laugh. - Yeah.
Banana! Banana! Banana!
Funny banana jokes.
The banana is kind of a confused creature...
...because he's called a bananostrich, but he sounds like a dolphin.
Right. And we were told...
...that there's a certain TV show that had a dolphin...
...that didn't actually use a dolphin sound.
It's a bird sound, so we'd always refer to it as the name of that TV show...
- ...which we can't name, but... - Right.
Oh, my gosh.
But if you're old like us, you might remember that certain TV show.
So the idea here is that they've come back to the lab...
...and Flint can use the technology in the lab to find the FLDSMDFR...
...because he could do that in the first film.
Unfortunately, the lab is upside down, so it's gonna complicate things.
Chester just popped out of Sam there.
So we see, you know, obviously, there's no power in the place...
...so Flint's gonna have to manually climb up that tube.
A little dig on Barb to Sam there.
I love Sam's acting here...
...when the big chubby man is kind of coming towards him.
We've all had that moment where we've had to get out of the way of something.
So here's Flint coming back into his home.
It's really dark and spooky...
...because he hasn't been there since the first movie ended six months ago.
Who knows what might be inside that thing?
So one of the things we wanted to do here...
...with the Chester-Flint relationship is to show, you know, their bonding...
...and get a sense of them coming together.
So this whole part of the film was really to help us solve this problem...
...of seeing why Flint was still in love with Chester.
So we wanted to kind of really give a sense...
...that they actually probably did have a very similar childhood, right?
Here's some coat continuity. Flint takes off his coat.
And the reason he takes off his coat...
...is we wanted to introduce his underwear.
- And the coat was gonna get in the way. - No coat.
Thank you, sir. They're my wedgie-proof underwear.
I invented them when I was 6.
Another continuity thing.
Chester says he invented his first underwear when he was 3.
But earlier in the movie, he said his first invention was the Food Bar.
- And he was obviously a teenager. - A teenager.
- So there you go. - Yeah. We failed.
- One for the Internets. - Yeah.
- Go get them, trolls. - Go get them.
Nothing more fun than seeing a sardine can...
...toasted to set up the ticking clock of this sequence towards the problem.
"Give the monkey your underpants."
- So we want... Yeah. - No coat.
Wanted to have Sam be in the room...
...when she witnesses Chester calling Barb a monkey, so...
- That'll come into play later. No coat. - That'll come into play later.
This is one of my favorite shots. I believe it was Billy Tai in Layout...
...that kind of came up with the camera language in this whole sequence...
...which really kind of made it come to life, right?
The kind of moving camera against, you know, still camera is, you know...
...a real tool for comedy in terms of pacing, right?
- "Bullied." - "Bullied." I like those wide shots.
"Bullies."
Really?
So right here you get a little glimpse that Chester has got a lot of resentment...
...for the people of his childhood that picked on him.
...but he's my friend now.
Friend?
I always... When we were directing Will Forte here...
...we always told him to kind of play it straight, like he's telling the truth.
Even though Chester is manipulating Flint...
...and Chester probably has an agenda that is not in Flint's interest...
...he's telling the truth. He was really bullied as a kid.
He was really beat up a lot...
...and he believes that you can never trust anybody.
- That's why he has these holograms. - There's the coat.
- Sorry.
It's almost as if, like, if Chester hadn't become evil, you know...
...he and Flint might have been the same person...
...and like Flint went to the dark and, yeah...
Sorry. Chester went to the dark and Flint went to the light.
Part of that's owning what happened in the first film.
Flint was socialized and he had success...
...and he was able to gain acceptance by the people of his community.
But let's just say that didn't happen, down the road with his ability to think...
...and create things, he might have turned into Chester.
One of our rules of Flint is Flint always invents out of love.
And I think the idea is that Chester kind of is motivated by greed and spite.
And, you know, you'll kind of see that through the movie.
- One of my favorite shots. - Scallions.
Wild scallions.
- That song. - That's pretty.
- Wild scallion. - That's bright, bright moonlight.
- Day for night. - Yeah.
We always wanted to make sure that the world was really colorful...
...and we wanted to play this night scene in a way...
...that even though Flint and Chester are saying:
"We might not survive the night, " this is a place I think any kid would wanna go.
I'd wanna go there, with the lights and the tree house.
Looks like the holidays at night.
Killer stew.
Oh, here we go. The stew thing pays off.
- That's a big bowl of stew. - Look at the size of that bowl.
Everyone's got smaller bowls.
That stew's the size of Manny's head.
The jerky makes me laugh here.
Just watch the continuity of the jerky thing.
It goes in and it comes back out again.
He swallows it and he brings it back out again.
There we go. Magic trick.
- Monkey's got a magic trick. - Pretty shot.
Is something wrong?
This is another little nod to the first film.
You remember that there was a lot of fuse-box action?
And also Flint making sound effects when he did things.
So there was a scene that was after this where Flint was going to...
We were gonna show Flint invent the invention, and we lost it for time...
...and continuity-wise, we didn't need it, because in the morning you introduce it.
The idea here is that he's trying to get power to his bedroom...
...so that he can invent the tracking device...
...that he needs to use to find the FLDSMDFR.
And Sam shows up to say:
"Hey, why are you being such a bad guy...
...to the people who love you?"
Of course, Flint's not a bad guy. He's a good guy. So this lands on him.
So he actually responds to Sam here, right?
I do love this scene. I love the Sam acting in this scene.
And of course, he's reflecting on Sparkswood.
They're not very good at hiding.
- In plain sight there, I guess. - Yeah.
I love how the vest kind of gives off a glow in any of these night scenes.
It kind of creates this... One of the ideas that...
On the design side, we wanted Chester and Barb to stand out from the world...
...so they didn't feel they could fit in with the jungle.
Any time they're in that jungle...
Orange is not really natural to our jungle...
...so it sort of becomes like that Live Corp standout thing.
- Portrait. It's got a hat on it. - Got a hat on it.
Little rat-bird cock-a-doodle-doo in the morning.
Yeah.
That's not for you!
So the touchstone for the pickles here was kind of like the Three Stooges, right?
This was our first sequence that went into production, wasn't it?
- I think so. - The animation?
It was the first one that finished.
And Tim Pixton was the anim lead on this sequence...
...and, you know, they really embraced the idea...
...that these guys are kind of like brothers in the backseat of a car...
...and so all the slapping and stuff was kind of like...
...you know, they're like three little kids.
They're just sort of not paying attention to anything Tim's saying...
...until he successfully pulls up a sardine.
Then you kind of see their focus shift.
You see they're not really paying any attention until right here.
Pulls up the sardine and:
What's great for Tim is in the first film, he was the only guy that liked sardines...
...and now he's finally met someone else who loves sardines as much as he does.
Right. Right.
So it's kind of like a grandfather-grandson relationship, right?
Not sure where the harmonica came from.
- Came from the Bugs Bunny plot. - Sure, yeah, exactly.
Yeah, when James Caan first sang this sea shanty...
...he did it with an Irish accent and...
Because you sing what you know, where you're from, right?
And it sounded great, but it no longer sounded like Tim, and so...
He's a really good singer, by the way, which I didn't know.
He always says, "Lee Strasberg's gonna strike me down."
Yes, yeah, yeah.
It took a couple sessions to get him out of the Irish.
Right, yeah.
Stay put. We'll find...
There's Melissa Sturm again. That's the voice of Louise, yeah?
Barry!
You can't be here.
So this scene was always sort of a problematic story juncture.
It was in and it was out, and it was in and it was out.
We wanted to have, you know, a moment where Sam and Barry...
...had kind of a private moment, right?
- And so this was a setup towards that. - Yeah.
Also, you know, Sam is Flint's conscience throughout this...
...and, you know, her kind of bonding with Barry...
...helps kind of sway her opinion about the food creatures.
Yeah.
And we wanted to pay off what Chester said to Barb...
...so we have Chester colliding with Sam, in a distinct way, and he's taking over...
- Physically butts her out of the way. - Yeah... Barb's job.
So this invention right here is sort of like a tracking device...
...and it's gonna pull him towards the FLDSMDFR.
You see it's got like kind of a tension when the laser makes a tether.
And as any good girlfriend will do here...
...she's gonna make sure he doesn't look dumb walking out of the house.
- Of course. - "Fly's down."
Great idea, Sam.
Chester does not like that revision.
Your friends are distracting you from our mission.
Distracting?
I love the awkwardness of this. It's the idea that, you know...
...it's like you're being talked about in the room.
Yeah.
- That's never happened to us before. - No.
- I love the... What's that called, a zolly? - Yes.
- A zoom dolly. - Yeah.
Be a hero.
Okay. You're right, sir.
Excellent! Let's go!
So here we have... You know, Sam has a sidebar moment with Barry.
...time to go home now.
The story point here is we needed Barry to begin to communicate to our gang.
We have this running translation joke we do with the Chinese...
...and we wanted to also do it with the food creatures...
We also needed to give...
Let Barry know what her name was because that'll come into play later on.
So in terms... It became a major plot point to have this sort of moment.
You'll notice he doesn't get very close to saying the word "Sam Sparks."
She's very forgiving as a linguist.
"Sam Sparks."
Oh, I should mention that Barry is voiced by my co-director too, right?
Well, hi there, Kris.
- Noodle men. - Yeah.
Craig Kellman doing the voice of pizza.
Which is not Italian. I think it's Italian-ish.
Yes. It's just kind of gibberish.
And "hot dog, hot dog."
We know who that is.
That hot-dog gag was controversial too, hopping off the thing?
Yeah.
"This is the land of meat, where I wanna live."
Apple piethon.
- Awesome. - We're not naming these food creatures.
We're back to buffaloaf, apple piethon.
- Well, hot dog is just a hot dog, right? - Yeah.
As they've been going, they've been picking up more berries.
That's gonna come into play.
- Justin Thompson. - Yeah, little baldy.
- Little pink tinkle. - Yeah.
He's our production designer. You'll notice the bald, you know...
Little bald safety nut.
Here's a little bit of a reference to, you know, some sort of...
- ...you know, the monster movies. - The monster movies of the early '90s.
The tacodile was actually in the movie and out of the movie...
...and then was in the trailer, and then that sort of earned it a spot...
...you know, to find a home in the movie and...
That's why we used to have the salsa river going around Flint's.
- The tacodile used to emerge there. - During the lab sequence.
- This is better. - This is a fun scene.
One of my favorite shots, Barb running with her lady legs.
If she'd used her ape arms, she could get out of that taco's way.
- Totally. - I really like the idea that Flint saves her.
- There's a story arc to Barb... - My favorite shot in the film.
...which I love, is like having Barb kind of become more empathetic.
- Yeah. - So this is an important scene for that...
...to kind of see that she begins to feel what it's like to have real friends.
You know, real friends save you.
They don't run away when danger comes.
And, of course, Sam sticks around. She sees that there's more to the story.
This isn't a mindless creature. It's not a mindless tacodile.
- It's a mother. - That sounds like a Wookiee.
- Yeah. A what-iee? - I don't know.
- Bet that'll get cut out. - Yeah.
We wanted to change audibly the feeling of the taco...
...like she's a little bit more mellow there.
Yeah, the little baby tacos are ducklings following her.
- What did we use, goats? - I think there was some goat in there.
- Some little goats. - Yeah, goat tacos are delicious.
Barry's gathering a following.
As you can see, like, there's more berries every time he...
It's almost like the myth of N-woo is kind of growing.
Or the myth of Saspa.
Say that a bunch of times fast.
- Myth of Saspa. - This makes me laugh.
Brent's been walking in the syrup for 20 minutes.
He just realizes, "This is syrup?"
The way Andy said that line always cracks me up.
"Don't worry, man-baby."
So this sequence is really... This began in the first film, right?
Yeah. Didn't you board the sequence where Sam was walking away in syrup?
We had a breakup scene with Sam and Flint at the old school...
...where it was this kind of syrup land...
...and Cal was gonna get stoked out on the syrup...
...and kind of lead a kid riot. So the whole "land of sugar" thing...
...and all the gags about being stuck in the syrup.
So that was something that we didn't have time for in the first film.
This was one of our earliest sequences in terms of like the set and the idea.
Went through a lot of rewrites...
...as it was sort of the emotional crux of the film...
...but the idea was fairly early in our development.
- At one point it was a peanut-butter bog. - Yes.
Then we were gonna play the peanut-butter allergy gag...
...and we pulled off of that because there wasn't much payoff...
...and we figured that we did it the first film.
It might be that we'll get called out for not honoring her peanut allergy...
...but I kind of feel like we did it and used it in the first film.
We didn't have a good payoff for it here.
- The syrup felt funnier. - Yeah.
Food that cannot love!
I love, like, that leveling that Will Forte put out there, you know.
They cannot love. That's gonna come back...
...in the next scene with Flint and Chester.
Live up to your full potential...
The little mosquitoasts are funny too.
- The whole slapfest. - Yeah.
...destroy Lady Liberty.
Physical comedy.
That syrup is slowly oozing back there.
This always makes me hungry. I love breakfast. It's my favorite meal.
- I haven't eaten yet. - I could go for some bacon right now.
You said it.
Yeah.
This is like Flint walking into a punch, that, you know...
The married guy in the room there, Earl, knows he's made a mistake.
But the whole time, Flint doesn't know why she's leaving.
He doesn't quite get it. He's always been naive when it comes to dealing...
- A little clueless, socially awkward. - ...with people, let alone lady people.
This gag was lifted directly from the first film...
...so it was one of those jokes that we hated to lose.
- We found a way to bring it back. - Leftovers, ladies and gentlemens.
It's one of the ones we don't usually laugh at.
We've seen it like about a billion times over the course of the last seven years.
It's good when other people see it and laugh. It's like, "Oh, yeah."
Here's licking again. Steve licking.
And you notice that Manny walks on the syrup?
That was an animation solve, I guess, in terms of, like, dealing with the...
So he wouldn't have to wade in the syrup.
- He walks on it like a little water bug. - Like a little water bug.
That poor Sparkswood drawing gets beat up a bit.
Now it's got some syrup stuck on it.
We wanted to redeem the buttoad. He gets his shot at the mosquitoasts.
Butter.
So this little scenelet here, there's the jelly bees.
They live in a donut hive, as you would expect.
That looks delicious. Donuts.
And we find the big rock candy mountain which happens to look a lot like...
His machine. Oh, look at that.
Where'd the third arm come from?
- What? - What?
- Can't believe that gag stayed in. - Yeah.
When we screen it, it doesn't get a big response.
- I don't know if they see it. - I don't know if they notice it.
It's like the second or third time through, you kind of notice that third arm point.
So, what's funny for me in this sequence...
...is that Sam is, like, really mad at Flint, and the way Anna did it...
...like the way she jumps down Manny's grill, just makes me laugh.
What's that back there?
Anna is such a funny comedic actor. Actress, sorry.
- I like Brent's hiding behind that. - Yeah.
You know, the last time we saw the cheespider, it tried to eat them.
So, of course, you know, there's some drama happening here.
What's gonna happen?
Of course, Earl wouldn't let that happen. He's gonna step.
You'll notice the food is always delicious, so even though the cheeseburger is...
He's like a big monster in the woods...
...he's lit perfectly, right?
Yeah, like he just jumped off of a billboard or out of a menu.
You wanna eat him even though he wants to eat you.
That's our inside-the-mouth camera that we've used a couple times in the film.
Our cinematic contribution to children's films.
Notice she's covered in yellow mustard. How'd she get clean so quick?
- The logic is that Steve licked it off. - He's still licking the boot.
In the first movie, he likes yellow, right?
He ate the mustard in that lab scene, right?
The animation on the old cheeseburger here makes me laugh every time.
We told the animators to take her from being like a spider...
...to being like a giant kind of mastiff.
We referenced, you know, a couple of giant-dog movies...
- The '80s. - ...from the '80s.
All our movie references are from the '80s.
- Yes. - I love living in the '80s.
So here's our big reveal and the reason why Manny's camera's here.
The prop pays off right here.
- Evil. - Look at that.
Gasp!
Who's Evel?
"Who's Evel?" You know, Brent can read.
Just not well.
That was a Chris Miller joke and one of the first things we talked about...
...way back at the very, very, very beginning of our filmmaking process.
- Poor Manny and his camera. - And Brent was up there.
We were hoping to put Brent back in the chicken suit...
...but we were told no one would take him seriously in the suit.
Then I think skinny jeans and a tight T-shirt...
...I'm like, "I'm not sure I take him seriously in that."
- It always makes me laugh, though. - Yeah.
If you watch the "you're not warning anybody about anything"...
...Louise's yellow teeth always makes me laugh.
- A little design choice. - Yeah.
- This is a... - My eyes!
...beautiful set.
So the idea is that we wanted to make the interior of this cave...
- ...feel like a rock candy display. - Yeah.
With all the stalagmites looking like rock candy...
...with light kind of representing the string through the middle of them.
This was one of the most difficult scenes, I think...
...for our Imageworks team, in terms of, like...
...the amount of rendering and stuff and how light works in here.
They did an incredible job.
So the logic why the FLDSMDFR would be in a cavern of candy is...
...I believe one of us read early on that the basic building blocks of life...
...are sugar and salt, right?
The earliest memory is that Justin had said that, our production designer.
I think he saw it in National Geographic or something.
So we believe everything that we're told, so that became the backbone of this...
- Tell me I'm a millionaire. - You're a millionaire.
- Tell me there's bacon in my mouth now. - There's bacon in your mouth now.
- Wait a minute. - False.
So here's the confrontation.
Last time he saw the machine, it tried to kill him...
- ...in the meat cave in the first film. - Yeah.
But of course, the machine has gone through a transformation.
The machine representing Flint's id is always a bit ahead of him emotionally.
When Flint was heading to hubris in the first film...
...the machine was already there. We're gonna learn here...
...that the machine has actually become accepting of its creativity...
...and has owned it now.
Like, it creates life without feeling bad about it.
- Like, it sort of is at peace, I guess, right? - Yeah.
Then we meet these little marshmallows, which...
During the loop group, we came up with the idea of trying to purr like...
What was it, like kittens?
Originally, you had done the voice of the marshmallows...
...and it was that high-pitched kind of... Yeah, exactly.
And I think Melissa, our marketing lady, she did a little bit of the...
Marketing lady. Marketing lady.
I love the little marshmallow that wants to be petted.
When Flint stops petting him...
...he gets a little upset and sort of bangs into his hand.
How cute is that? That's Ryan Page, I think, did...
This shot always makes me laugh. Barb's hand on Chester's bottom.
Got caught with something. Oh, it's a marshmallow.
Hide your marshmallows.
Now, here is, you know, where we're gonna pop Chester's balloon.
The audience already knows Chester's a bad guy, so Flint's gonna learn.
That's one of my favorite jokes, you know, stepping into the hands.
I believe Avner did this shot right here, which is another one that surprised us.
- The nose battle? - Yeah.
No! No! No!
He's a good shot with that there thing. Right in the slot.
Now, here's where we reveal to the audience what the BSUSB really did.
It reprogrammed it.
I'm just doing dialogue from the movie now.
- "A BS-USB? Hello." - "Hello."
Your machine is what I wanted...
So emotionally, what we wanted to have here...
...and Kevin Webb did a couple of these close-up shots...
...with the idea that, you know, his world is collapsing, you know...
...like, the belief of Chester is all false, and so I really...
I mean, in a very broad movie like Cloudy...
...I like the little subtle acting that we have in Flint...
...in terms of how he's responding to Chester.
Yeah, he looks like his feelings are hurt.
One of the things we wanted to play with with Chester...
...is even though he is an evil villain, he doesn't change how he talks to Flint.
He's still sweet about everything...
...and he's, like, jovial and genial and a pleasant old man...
...even though he's saying horrible things and he's now going to...
...basically murder our hero, you know.
"Enjoy the sharp rocks, Lockwood. Bye-bye."
- That's a long fall. - Yeah.
- Keep falling. - Keep falling.
- That's a beautiful shot. - Yeah.
We saw the lighting on that, and it just sort of made us go:
The song here always makes me laugh, the pickle tune.
That little harmonica.
And this line always kills me. He says, "This isn't natural."
- I mean the pods guy. - He's surrounded by all these pickles.
He's sitting on a couch in a land of cheese, toasting sardines.
But shriveling plants, yeah, that's not natural.
Tom Bruno, our layout artist...
...came up with the cinematography for this shot, one of my favorite shots...
...where the lights shut off on the island.
And here is our "why we fight" scene, you know...
...where we see the victimization of all the food creatures.
Hopefully, by now we've switched Flint's allegiance...
...to the food creatures and the audience is with us...
...in terms of being empathetic for these little guys.
That leek take always makes me laugh.
Look at the carrots trying to hide their heads in the sand.
There's lots of gags. That shot could be watched in slow motion.
There's a meatballrus getting sucked into...
Getting stuck in the tube right there. Yeah. There it went.
We used to have a longer version of this...
...where we saw Barb pull over the truck and take it over.
Just for time, we decided to kind of treat it more efficiently...
...and have Barb already there driving...
...and let her reveal kind of be in response to all this.
Yeah, there was that line that Chris said. What was it? "Out! Out! Get out!"
That little carrot head shake always makes me laugh there.
I love the gag here. Manny, you know.
- Now you see him, now you don't. - Yeah.
Chester thinks you're a monkey.
Well, I'm an ape. Chester knows that.
This is where we start to see Barb and Sam begin to kind of come together.
There he is. Pop up, pop down.
That little cockatiel is really excited.
- Yeah. - That's a fruit cockatiel.
- Yes. - And this is a blueberry.
- Which I believe, Cody, you did a little: - That was my voice there.
Later, the blueberry, when he gets his chest hair, that is you.
We don't wanna give that away yet, do we?
Yeah, by this time, hopefully, they've seen the movie.
Every blueberry gets their chest hair.
This DVD is gonna come out six months from...
What could be in that marshmallow pile?
This is our nod to another movie from the '80s.
- Not a comedy but still a funny movie... - It took place in the Amazon.
...if you watch it with the right attitude.
We love that the pickles are really serious here...
...like the little airplane controller.
The guy with the toothpick makes me laugh.
- "Yeah, put it there, put it there." - Yeah.
And, you know, Flint's got some marshmallow slobber...
...on his head there.
I love the way that Tim and Flint kind of respond to each other here...
...like they're not really surprised they've found each other.
- Yeah. - Which was always a story issue...
...until we made the marshmallows bring him there, so somebody has intent.
The other thing, the big meta idea, that the food's gonna pull together...
...and what we're gonna learn is that the food...
...is actually more than just kind of mindless creatures in the woods.
There is a society here, and they actually, you know...
...kind of work together, and the food is people too.
- Yeah. - Barry's a little smaller in this shot.
He is. Notice? A lot smaller.
He's excited about the word "Saspa," though.
So here's... Barry charades.
I like the actor berry who gets replaced by the fruit cockatiel.
He's really upset. He wants to be in the scene.
He keeps poking in.
Sam and the gang?
Sassy pants, I don't know where that comes from.
Was that John and Jonathan, our writers?
- Yeah. - One of their gags.
Sassy pants.
One of the ideas was that Tim was drinking pickle juice...
...and maybe he's a little bit happy here.
- Yes. - What's he saying here? He goes:
Yeah, it's basically "This lightbulb represents this lightbulb."
"See? We're communicating.
There's only two of us and 800 pickles and a pile of strawberries."
So when our design team created those little waves coming out...
...they were like, "Something like this?" We go, "Just like that. Stop.
That's as far as we wanna go." They could make it look awesome.
Yeah, do it literal.
I love this shot.
You sort of get the sense that all the food is coming together here.
Sasquash.
Water goes in the top...
And here's the payoff for the big old N-woo thing.
So the idea is that it's a corrupted, like, VHS tape, right?
Going back to the stuff we saw in the prologue of the film.
If you didn't get it from the TV, we're hammering it into your head here.
N-woo.
- It's saying that I'm N-woo. - N-woo.
N-woo. N-woo.
It's like that looks like the play set that you would buy at the toy store.
- The toy store. - "I'd like the pickle village tea set."
The lettuce, that was one of the last gags we came up with.
We stole the lettuce tongue from the cheespider to...
And the animators just, like, designed him, right?
Yeah. Yeah. I think they stuck the eyes on...
...and used an additional eye for the mouth but made it concave somehow.
Yeah.
So here's our payoff to the translation joke.
And now my friends are in a lot of trouble, thanks to me.
So, Cody, you boarded this sequence way back, fairly early on in our process.
A long time ago.
It was one of the things that always got, like, top-shelf laughs in the screenings.
Yeah.
The idea came from watching TV late at night...
...where you get the guy doing sign language in the corner.
- So the idea is that... - Sasquash. Sorry.
It's staged so it's like Barry is kind of up in the corner...
...doing the very obvious translating...
...and we start to learn that Barry language...
...is very similar to human English or whatever.
- Human English. - You just enunciate it less, you know.
- I like the Shatner acting there. - Yeah.
...I could cast you up...
...into that unfinished part of the factory.
In case you didn't get the plan, we're kind of point right at it.
This is funny because Flint doesn't know about sports.
- Yeah. - A little French...
Little basketball motion for fishing.
I always called that a French mustache where Tim's mustache comes up...
...but it's probably a European mustache.
- Yeah, or L.A. hipster. - Turn of the century.
Wildebeets!
So, yeah, it takes a long time to kind of get the song to sit in here...
...but I kind of like the tune. This little ditty.
Yeah.
Sasquash.
These blueberries are an oppressed people.
I think maybe if there is another movie...
...they could tell the story of the blueberry uprising.
Yeah. "We're not getting squished anymore."
I don't know where that cheese helmet came from.
- The sky. - The sky.
- Winding the reel. - Some eggplanatee spit.
- Yeah. - That pickle is really important.
And the "And Son's" sign from the first film.
I love this sound effect. That's a wolf pitched up.
That's what the lemming sound...
Was it a wolf or a coyote? A wolf pup?
I think it was a wolf, but maybe that's just because that's what I have on a rug.
My wolf rug. Be scared of the wolf.
I've got it painted on the back of my leather jacket.
I'm going to get a tattoo with the revenue from this movie.
A full-body tattoo.
For some reason our sandwiches all live in the water.
We have a peanut-butter-and-jellyfish...
...and then we have subwhales that live in water.
- And I'm really sensitive to soggy bread... - Sasquash.
...so it was a weird creative choice.
- Yeah. Sasquash. - But dramatic.
Here's a little nod to another movie from the '80s.
A story, you would say.
- Yeah, one that never ends. - Yeah.
- This guy kind of states it. - Yeah.
N-woo, in here.
See, I mean Flint and Barry are just completely communicating...
...seamlessly, you know. "N-woo, down here."
So here's the product of Chester's evil works.
- That was a messy sentence I just... - Yeah. I understood it totally.
Here we go. Chester's technology is really easy to use, like an iPod.
- Press one button. - Press one button, it opens, you know.
Good cheespider.
Saspa?
That's Cody talking to Cody.
Yeah, most of the cheespiter sounds were cows and things like that...
...but I think there was just that little bit of cheespiter that I did.
We wanted to make sure you really enunciated. It's like:
And then Barry went:
But of course, you know, there's a convenient crappy plug from...
How'd that get there?
From like the 1970s, a taupe. Those taupe plugs.
And, of course, our favorite nose gag...
...that if we don't get laughs from the first two...
- ...we probably won't on the third. - Yeah.
So, you know, we're gonna get the food escaping.
Yeah. Another "leek in the boat" gag. If it works once...
- Do it nine times. - Yeah.
That was a comedy lesson from Chris and Phil.
Yeah. Do it again.
Do it again and again and again and again.
This is... Coming up is one of my favorite shots.
Boarded by Brandon Jeffords...
- ...and animated by Kevin Jackson. - Yep.
Crab cakes!
We all know bananas are slippery.
The piethons here were never rigged to do that...
...so they used Steve's tail rig to calibrate that, right?
- To get the piethons to do their forming. - Ingenuity.
I also love the music in there, Mark Mothersbaugh's score.
It makes me laugh because it reminds me of Lonesome Dove.
- It's sort of that kind of lyrical... - Right.
And this is where heads explode because...
- We used every color inside of that suit. - Yes. Yeah.
One of the ideas is that Barry is really good at fighting...
...once he gets the suit.
A little reference to a TV show from the 2000s here.
And he just murdered a lady.
- Well, he froze her. - Froze her, right, right, right.
- But he doesn't know that. - There's no murder.
That's right. Hands up. Give me back my friends.
So Tom Bruno did all the cinematography...
...I think, in most of this sequence here, this back end...
...so the dynamic camera...
...in terms of things whipping around, which always makes it fun to watch.
Don't worry, Lockwood, I'll let them go.
So here's where the Food Bar plotline comes back into the film.
Food Bars?
Hopefully, we were obvious enough that it's not a shock.
We're overacting the characters here to kind of play it as a joke.
Some expositional whiteboarding here to tell the audience why he wanted...
- First Cloudy shot. - Yeah.
So using your foodimals as ingredients...
...would make my products super-delicious!
Is that the first time we said the word "foodimals" in this movie?
- No, I think Flint said it earlier. - Oh, did he?
- He's gonna round up all the foodimals. - Wipe out all the foodimals or something.
And then we see now the FLDSMDFR has been co-opted.
Now it's a Live Corp product...
...so it's very accommodating to whatever Chester wants.
That's a lot of watermelons. Their sound always makes me laugh.
Yeah, it sounds like also they get dropped in a toilet bowl.
- That's Geoff Rubay. - Yeah.
...they want to live.
- That line always makes me laugh. - "That want to live."
I also love the way Will kind of explodes here.
Live Corp will remain...
...the coolest, hippest company...
It's almost like, "Let's see if we can break the rig."
- Shaofu animated that shot, right? - Yeah.
So the idea is that, you know, Chester's eyes are green.
The meta idea is that Chester's eyes are green...
...and the whole movie he's been driven by greed, right?
As we get into this world...
...and as the story goes more towards Chester's endgame...
...you see more green used through here, coming through the floor of the...
- The green light. - The grinder there.
Oh, no, Flint. This is embarrassing.
I love Barb's performance in here too...
...that she's relieved that they know she's not gonna kill everybody.
And there's our little...
The scream.
Monkey!
You are dismissed.
- Sad. - Another Alan Hawkins shot.
...further ado...
Flint, hurry!
Why won't this go faster?
Give me that controller!
So here we pay off the hologram...
...the idea of, you know, "Where's the peanut?" gag.
The great game of keep-away.
So it's not that Chester's just gonna, you know, kill everybody.
He's gonna do it in a very torturously slow, entertaining way.
Oh, there's nothing to Earl's acting there.
- It's like the yellow tape is like kryptonite. - Yeah.
- It's sort of draining his strength. - Takes his power.
Invisible coffee table!
There's a... I don't know how we got that in there.
It fit in his coat.
...but now may not be the time!
So there's... Like, Flint's trying to find who has the real thing.
At the same time, he's apologizing to Sam, so...
That shot always makes me laugh.
Yeah. I think there are multiple arms there as well, maybe.
- Yeah. - Six or seven arms flying at once.
Note to self: put that on their tombstones.
Bring the underwear back.
Dan Z. animated this, didn't he?
These friends are the reason you keep losing.
Well, it's better than ending up alone like you.
Really?
Here we see the banana sandwich come back and the Deliverator.
Flint! Why don't you throw him a party?
So the idea here plot-wise is that we wanted Sam to be part of the solution...
...and that she sort of helps him out.
Flint doesn't defeat Chester on his own.
Chester believes he can defeat Flint with only himself.
But Flint has to use his friends to win the day.
He's got the power of friendship.
Having apologized, Sam is now helping him find the idea...
...and at the end, Steve is going to be...
- That's awesome. - Yeah, because it's just yellow tape.
Some major 3D action here.
Freeze that frame.
Mark Mothersbaugh wrote this song. Who did the...?
Thelma. I don't remember her last name, but, yeah, Thelma was the singer.
That karate chop to the neck was a Josh Beveridge idea...
...because Flint's bad at sports and fighting.
Guys, I'm...
So, yeah, so Flint's once again covered...
Somehow Steve doesn't get hit with that thing.
Animals know how to get out of the way of hurricanes and paint explosions.
Flint might have sprayed him with, like, an anti-paint...
Keep your monkey clean. First rule of inventing.
Enjoy your friends, Lockwood.
But of course, Chester's gonna get away with this.
No.
This is where our food comes back into the movie.
Food!
- Look at those creepy chickens. - Whirly beet.
How many food creatures did we have, Cody?
Something like over 80.
You will see there's a wild knish there in the background.
That was hard to kind of identify, but he shows up.
...supreme.
I like that music through there.
There's the knish over there in the distance.
That's a buffaloaf. They don't have legs, so how they get around is...
- Like a slug almost. - Like...
...there's nowhere to go.
That's what you think.
You've gotta treat your friends well.
The lesson here is if you don't treat people well...
...they're gonna one day wake up and take your FLDSMDFR.
Of course, Chester thinks he's gonna be saved by his holograms.
- "I can always rely on myself." - Yeah.
But we've seen the movie, so we know what's gonna happen.
And actually, he should have been smarter than that.
- Come on, dude. Chester. - But those vests are pretty amazing.
He kind of turtled into the vest and then he cleans himself up.
"I saved myself."
That was a callback to a gag in the first film...
...where Sam had a choice to exit the Jell-O mold.
- We like exit jokes. - Yeah.
And this is the best transition ever.
Sasquash.
I got that one. I busted on that one.
Oh, I love... Go back to that one too, the little strawberry-carrot high five.
- Yeah. - Always makes me laugh.
Oh, she blushes. Awesome.
- I love Barb. - I do too.
She's a great character. I love Kristen Schaal.
She's awesome. Your name is Kristen as well.
- It is. My name is Kristen Pearn. - You bonded over the Kristen.
And I got to work with Kristen Schaal.
But we're both married...
...so it can only go as far as this professional relationship.
Oh, no, the FLDSMDFR's not gonna come back.
- This is how the movie ends. Yeah. - The end.
But wait.
I love the way we pop the drama here.
The first word out of its mouth is...
..."pickle!"
"Leek."
And then we told the team at Imageworks to use every color you have.
Little baby pickle.
- Cheesy afterbirth. - This is gross but cute.
I love the little uncoordinated cheeseburger there.
And too late in the game...
It would have been nice if maybe he was holding onions, but oh, well.
Oh, well. Yeah, the cry. Little pearl onions.
Because onions make you cry, and this, of course, makes sense...
- ...because a little drop of man tear... - Gives you Tom Selleck chest hair.
...will bring the hair in the oppressed blueberry.
Guys...
...do you think we...?
There's the dirty Sparkswood drawing.
Sam is super cute here.
Yeah. We used to have a close-up of that drawing.
It actually has, like, a squashed mosquitoast stuck in it.
- Still alive, of course. - Yeah.
They're gonna let Barb back into the friendship. Of course. Even Barry.
Come on.
And then we got the colorful reveal of Barb's inner beauty.
Yes.
That groom, that hair groom, took a long time...
...you know, to get that sheen.
Here's where we pay off the monkey/ape thing.
Beautiful.
There's a bond there.
Yeah. I think, you know, they could go on to be domesticated lab partners.
Little bit of romance coming down the line.
Sasquash on Tim's head.
It's fun playing Flint where he's not good at sports.
- Yeah. - It's something I can relate to.
If that Flint-Sam-Barry shot wasn't the longest shot...
...this would be the longest shot, I think.
This might be the longest shot, yeah.
- Was this Claudio? - Claudio did this one? Yeah.
One of the last things finished in our Animation Department.
The old, you know, "reel in the big fish that turns out to be a small fish" gag.
Look, there it is.
I love the inner story of the sardine here.
- "I give my life for you." - "Can I go fishing all the time?"
"You betcha, skipper." And somebody goes, "Crap."
Because they were having a great time without any people on the island.
And this is another shot where we asked the team to use every color.
Yes.
Rainbows.
And pearl onion turns on the TV, and we go into our coda.
- Yeah, which was brilliantly directed by... - Craig Kellman.
...our lead character designer, Craig Kellman, and Pete Oswald...
...one of the most amazing designers I've worked with.
He was a key designer on the first film.
- Did he not design Sam Sparks? - I believe he finished off her design.
Yeah, the final design of Sam is, yeah, Pete Oswald.
So much like the spirit of the first film...
...where we kind of switched into a different style for the coda...
...we did the same thing here.
It allowed us to kind of get a bit more story into the film.
What is it like when people and food live together...
...on the island of Swallow Falls?
On the rebuilt island of Swallow Falls.
Phil Lord and Chris Miller...
...the guys who started the whole thing way back when.
You'll notice in this coda, though...
...like, Pete and Craig are switched in between different styles...
...so it's not just like a 2D animation, but you're going through stop-motion...
...there's a bit of live-action coming up.
- Puppetry. - Some puppetry.
Which is kind of cool.
Love this style.
The Wilde-Beets.
- That would be stop-motion there, right? - I believe so.
Anna Faris. Love our cast, you know.
Bill and Anna and James Caan and everybody.
- Terry. - Terry, Benjamin Bratt.
- Andy. - So much fun to work with those guys.
Neil Patrick Harris, who was always game to come read the dictionary for us.
Here's a list of one-word sentences. That's not a sentence. That's one word.
That creature there was the tyrannosmores mess...
...which, we had a whole scene with that guy in the movie that got cut.
Yeah, it used to be the crème brûglacier.
- Crème brûglacier. The crème... - Come on, kids, watch crème brûglacier.
The crème brûlée glacier.
The kids are still confused because no one knows what a crème brûlée is.
- It's tasty. - Yeah.
You get it at the fancier restaurants.
Yeah, but it was that moment where...
...yeah, Chester, Barb and Flint were on their way to the mountain...
...and it used to... The crème brûlée broke up...
Corn dog. Sasquash.
...and, yeah, Flint got sucked in.
- A raisin in the sun. - Yeah.
Benjamin Bratt. He's a cool man.
That there is the eggplanatee. I guess that's a sea horse.
- Horse radish? A sea horse radish? - A sea horse radish. Good.
Thanks.
See, it's a game you can... Hammerhead shark.
- Yeah. - Hammerbread shark.
- Yes.
Puppets. We got some puppets here.
- And they're having a birthday party. - Yeah. Brent's back in his chicken suit.
This is the matzo bull right there.
- He's got carrot horns. - Carrot horns.
Chris Juen did an amazing job keeping us sane...
...and, you know, getting the job done.
There are some characters of Justin and Kevin and Dave...
- And the rest of the vis-dev team? - Yep.
It goes by so fast.
- Pete Oswald with his family there. - Manny, also a painter.
When the food doesn't run away. Justin Thompson.
That's our production designer, who we love. Little pink guy.
The blueberries, they don't get any respect, do they?
No, just get tossed around like...
I believe that's Craig Kellman in the big strawberry suit.
- Yes. - So he's got lovely legs in those tights.
There he is. And Brandon Jeffords.
Cannot say enough nice things about that tall man.
- He is tall, isn't he? - He is a very tall man.
And a really good head of story. Now, that's Cornan.
James Williams, another delightful human being...
...from the country of Wales.
He speaks eloquently.
Pete Nash from the country of Canada.
A mosquitoast. And then our amazing animation leads.
- We love you all. - Good job, guys.
What's happening?
We've swapped styles, but it's because it's a horror movie.
- Mandy and Christina go screaming out. - No, run!
Our CG supes.
And a beautiful happy ending. There's a kiss.
- We start with a kiss and end with a kiss. - It's awesome.
- Love. - Love and dancing.
- Manny's dancing.
- That's a memoir, Love and Dancing. - The Story of Cloudy.
Oh, wait, wait, there's more.
And what's that there?
I believe that's the banana sandwich that went through the Grocery Deliverator.
Steve is gonna finally get to eat his banana sandwich.
...do you wanna go get coffee...?
The moment everyone's been waiting for and...
- No! - No!
She thought he meant dinner now. And he was gonna eat dinner.
Maybe he isn't... I think Steve's just a monkey.
I think he is too.
- All right, so... - Thanks for watching our film.
And thanks for listening to us babble, and thank you.
- Good day. - Good day.