An exclusive look at the incredibly cool multimedia animated end titles from Sony’s Cloudy With A Chance Of Meatballs 2, which will be released on DVD and blu-ray next Tuesday.
I spoke with End Credits Production Manager Kevin Noel and
Screen Novelties Animation Supervisor Seamus Walsh.
When, during the production of the feature, do you start
brainstorming the end credits sequence?
Kevin Noel: I can’t speak for other productions, but for us,
we knew we had a chance to enhance the storytelling – and we wanted it to be in
everybody’s minds right away. The movie had to be finished by August, so we
began thinking about it in January. We started the meetings and storyboarding
with directors Cody Cameron and Kris Pearn, character designer Craig Kellman
and the story team. When we started to compile enough funny ideas, Cody and
Kris gave it to Craig and visual development artist Pete Oswald, saying “Do
your magic with this stuff”.
They started boarding the end titles in March or April. We
refer to it as the “Coda” as it tells what happens after the main story told in
We were already working on the film before the end song
was decided (which turned out to be La Da Dee, performed
by Cody Simpson) – thankfully it fits in
perfectly. When we were able to do some mixed media pieces we reached out to
Seamus and his crew at Screen Novelties back in April.
Seamus Walsh: I remember they
were about 2/3rd of the way into the production of the feature when
we were called in. We couldn’t get Craig
and Pete to think about the end credits at that point because they were still
involved with main feature.
Kevin Noel: Craig and Pete had so
many art influences they wanted to throw in here – a “smorgasbord” (pun
intended) of styles keeping it together.
You’ll note that not all the Flint’s in the end credits are exactly the same – they go “off model” intentionally, each gag or segment has its own feel. And on
top of that, they there’s the different media that was used to reinforce
As different as the character designs are, I note the stop-motion models perfectly “on model”.
Seamus Walsh: We used a lot of the 2D
artwork for the backgrounds and wanted to seamlessly fit our puppets into this
world. We had to keep the color palettes the same and even the same dry-bush
techniques so it felt less “composited”. At the end of the day, its all composited
layers of green screen and you want it to blend in as much as possible.
We are interpreting Craig and
Pete’s designs into three dimensions – they provided us with reference art and
we matched it as perfectly as we could. That’s part of the fun in a project like this. Instead
of going to a hobby shop and buying some miniature tires – we carve these asymmetrical cool UPA-esque interpretations of a tire that is more
visually interesting. It’s not the easiest way to do it – but it’s the coolest way to do it.
Cool – it is indeed!