Dean DeBlois, the director behind “How to Train Your Dragon” films, has harbored a dream to direct a live-action story for over 30 years. However, he never thought that this aspiration would come true by transforming his own animated productions. Furthermore, he wouldn’t have guessed that his debut in live-action cinema would coincide with a market flooded with live-action adaptations of his initial animated work, “Lilo & Stitch.
In 2002, the Canadian filmmaker teamed up with Chris Sanders to write and direct a movie together, which was later released as it is. This collaboration led them to the creation of “How to Train Your Dragon” in 2010, a project they managed to complete in a mere 15 months. This animated adventure film was both critically acclaimed and commercially successful, earning two Academy Award nominations. DeBlois then continued the story of “How to Train Your Dragon,” transforming it into a trilogy that he finished in 2019, maintaining its initial success.
Later on, Universal began discussions about a live-action remake, given how dragons were now realistically portrayed thanks to shows like “Game of Thrones”. In the end, DeBlois found it hard to resist this opportunity for various reasons and is thankful to Universal for giving him the chance as the original filmmaker. Contrastingly, he didn’t get the same consideration during the development of the live-action “Lilo & Stitch”.
DeBlois explains to The Hollywood Reporter why he’s excited about the June 13 release of How to Train Your Dragon, stating that despite being deeply involved in the original and a complete outsider to any potential remakes, the way Universal approached him as the creator made it special. He mentions that none of the Disney remakes have done this before, making it an honor for him. Additionally, he admits that he didn’t want someone else to create a version of How to Train Your Dragon because it’s his creation.
Aware of the precedent set by other animation filmmakers transitioning to live-action, DeBlois didn’t treat this chance as a casual matter.
DeBlois acknowledges that he was mindful of the many animation directors who’ve struggled with live-action productions in the past, and he didn’t want to join their ranks. To ensure success, he was meticulous and well-prepared. He watched every available behind-the-scenes footage, all seasons of Project Greenlight, and so on. Essentially, he was making certain that we were as ready as possible.
The live-action version of “How to Train Your Dragon” maintains its source’s legacy by accurately replicating numerous iconic scenes from the animated series. Yet, it introduces a fresh perspective with approximately 27 minutes of additional content. Director Dean DeBlois took advantage of this opportunity to delve deeper into character development and expand on certain sequences, while discarding elements that were no longer relevant in the updated storyline.
DeBlois explains that by allowing character relationships to develop more deeply, many individual scenes expanded. As a result, both the action and the interactions between characters became more intense.
During a recent chat with THR, DeBlois also delves into the instance when Gerard Butler was unable to continue voicing Stoick the Vast in live-action, and furthermore shares the emotional homage they paid him in the movie’s end credits.
***
Would it have seemed implausible to you if I had traveled back to the 2010 premiere of How to Train Your Dragon and told you that we’d be creating a live-action adaptation by the year 2025?
(Chuckles.) It’s a bit unnerving, isn’t it? It makes me skip ahead. If I live until 85, will I still be producing “How to Train Your Dragon” films? (Chuckles.) However, truth be told, I genuinely believed that I had ended the story of the “How to Train Your Dragon” universe and its characters when we bid farewell in 2019.
Imagine if I casually mentioned that this exciting piece could be delivered a full three weeks after the live-action release of Lilo & Stitch. Would you have found my suggestion so absurd that I’d have been met with laughter?
It strikes me as quite peculiar, and I still find it difficult to comprehend fully. Given my close connection with one and my unfamiliarity with the other, this aspect is particularly puzzling.
What became the ultimate clincher for you in terms of adapting your own work in live-action?
To begin with, they reached out to me directly, which isn’t something I believe any of the Disney remakes have experienced. As the original creator, being approached by Universal was both flattering and an honor, but it also suggested that a live-action adaptation was on the horizon. Frankly, I didn’t want someone else shaping my vision, so I stepped forward and said, “Look, I’ve got the pulse of this story, I know these characters inside and out. If you’re planning to reimagine it, I’d be thrilled to steer the ship.
Has the progress made in Dragon VFX over the past 10 years or so, largely attributed to Game of Thrones, also played a role in any decisions made regarding technology?
I strongly agree that the TV series “Game of Thrones” significantly revived the interest in dragons in popular culture, following the trend set by the 2010’s animated film “How to Train Your Dragon”. This resurgence made it intriguing to explore these creatures realistically, which was a goal shared by both the studio and myself. The animated movie had always aimed for a live-action aesthetic, so we sought advice from renowned cinematographer Roger Deakins. We decided to create a world where dragons had real-world consequences and dangers, unlike traditional cartoons where physics were exaggerated. If you stood in the way of dragon fire or fell from great heights, you would suffer the same fate as in reality – getting burned or breaking a limb. This balance between live-action and animation was challenging, but with this project, we could fully immerse ourselves in live-action.
Did you reach out to Roger Deakins, who served as a visual advisor on the initial animated version of the movie, merely out of curiosity, since Bill Pope is one of the most honored cinematographers of his time and any film would be fortunate to have him?
I spoke with John Powell first when making phone calls, and he was the one before Roger. I asked him if he could dissuade me if my idea was not good. However, John also recognized the potential of the project. If we executed it successfully, we could reminisce with the franchise’s fans and introduce it to a whole new audience. He responded, “If you decide to go ahead, I’m on board.
The second time I spoke with Roger Deakins was after he had completed work on Blade Runner 2049, at which point he was not interested in taking on any movies heavy on special effects. However, he mentioned a colleague of his named Bill Pope, whom he wanted me to meet. As Bill himself jokes, when Roger gives him an instruction, he follows it without question. (Laughs.) Yet, having Bill alongside me was truly a delight. He’s not only renowned for being a highly decorated cinematographer with exceptional vision, but he is deeply invested in the story, always seeking authenticity in the interactions between actors. Furthermore, he advised me to disregard the hundreds of people on either side of the camera and instead concentrate solely on the actors and the scene they were bringing to life through their unique rhythms and nuances.
In the 2010 film, there are approximately 27 minutes of newly added live-action sequences. At the start, Stoick (Gerard Butler) delivers a longer speech to rally the troops, and during another scene, Astrid (Nico Parker) scolds Hiccup (Mason Thames). Moreover, she has a significant action sequence involving teeth. What other substantial new additions should I mention?
The scenes became more elaborate due to the emphasis on deeper character relationships. For instance, a scene like when Hiccup was supposed to slay a Monstrous Nightmare in front of the entire village. This allowed for additional moments with Astrid and Hiccup in the tunnel, as well as expanded interactions between Hiccup and Stoic. The climactic moment in the arena unfolded dramatically as Toothless intervened to shield Hiccup. In essence, not only did the action escalate, but so did the character interactions.
A different moment occurs when we join Stoic and his fleet as they sail into the fog for the first time, unexpectedly encountering dragons. While this event is merely implied in the animated film, it provides an opportunity to reiterate that dragons can indeed be formidable and terrifying, even as Hiccup develops a friendship with one in the hidden cove.
In addition to the animated film, certain sequences were left out. For instance, after Hiccup’s “Test Drive” flight, there are no longer any scenes showing him being bothered by Terrible Terrors on the beach. Also, Astrid doesn’t encounter Hiccup secretly hiding Toothless in the blacksmith stall at night. We found that the live-action performances effectively conveyed the story, so we didn’t need to emphasize these specific scenes as much. This allowed us to maintain a swift pace with all the additional elements we had added to the plot.
When directors watch their own movies, they frequently spot minor issues that others might overlook. They are aware of the potential improvements and regrets. Have you considered addressing some of the tiny details that have bothered you for the past fifteen years?
Indeed, I maintain a list detailing all the movies, and among them, some were smaller while others were substantial. One of the significant ones caught my attention because it seemed we overlooked the opportunity to delve deeper into Astrid’s character development along with other teenagers. Therefore, I aimed to provide her with more narrative significance in the story, offer insights into her past, and clarify why her animosity towards Hiccup and his privileged status is so intense.
Additionally, it provided opportunities for casual conversations to resolve queries, such as the enigma of how the Vikings returned to Berk after the Red Death destroyed their ships at the end of the film, a matter that left us chuckling. This way, we could casually discuss various aspects and it was fulfilling to tick off items on our list, while still leaving room for missed chances. The initial movie, however, compelled us to move swiftly due to circumstances, as we had to rewrite the script and release it into theaters within a mere 15 months. Regrettably, we couldn’t delve deeply into some of the action sequences and character interactions as much as we desired at that time.
How long did it take for you to get comfortable directing live-action narratives, given that your professional journey has included documentaries and music videos, not just animation?
Reflecting on this year, as I’ve reached the age of 55, I’ve long harbored a dream to undertake this venture since the early days of my career. The mere prospect of doing so is not taken lightly. It’s an immense honor that I’ve been granted, and I feel incredibly grateful for the guidance from these seasoned professionals. I was acutely aware of the many animation directors who’ve ventured into live-action but fell short, and I didn’t want to join their ranks. Thus, I approached this project with utmost caution, studying every behind-the-scenes documentary, every episode of Project Greenlight, and so forth. (Chuckles.) I simply wanted to ensure we were as well-prepared as possible. Throughout the learning process, I continued to grow until we began filming. During principal photography, I discovered that the actors are the ones who truly hold the reins. You try to anticipate every question and then entrust the scene to actors who are fully immersed in their roles. So you allow their natural rhythm to guide the scene and adapt accordingly to ensure a seamless flow.
Did Universal Studios, having already produced a successful film with Mason Thames, suggest that he be considered for the role of Hiccup?
Actually, instead of that, let me rephrase it like this:
I wasn’t going to London for leisure, but rather to review a long lineup of prospective actors, curated by Lucy Bevan, our casting director. On my flight there, I watched “The Black Phone.” As I finished the movie, I found myself pondering, “What age is that young actor? He’s got some impressive acting skills. I’m unsure if he can pull off comedy, but I’d love to meet him and see if he’d be interested.” Unbeknownst to me, Mason had grown up adoring the How to Train Your Dragon films, with Hiccup being his idol. In fact, for Halloween, he dressed as Hiccup! So, finding him was serendipitous. He naturally grasped the character and, at the time, was 15 years old – a perfect fit.
Does it seem logical to you that Gerard Butler took on the role of Stoick the Vast again in the live-action version? I’m curious, were names like David Tennant or any other actors from the 2010 cast ever thought about for this part?
David Tennant is incredibly skilled as an actor, yet I found myself feeling apologetic for not having a more substantial part for him in our animated movies. The character he portrayed, Spitelout (Snotlout’s father), was depicted as a massive, muscular individual, and I initially doubted if Tennant would fit the physical profile. Perhaps in the future we’ll find a role that suits him perfectly, but his talent is indisputable. As for Gerard, he wasn’t available during our casting process because he had several projects lined up that conflicted with our shooting schedule. However, the actors’ strike of 2023 shuffled some of those projects, creating an opportunity where we could cast him.
David Tennant is a fantastic actor, but I felt bad about not giving him a bigger role in our animated films because his character was supposed to be very big and muscular. Maybe in the future we’ll find the right role for him, but he’s incredibly talented. Gerard wasn’t available when we were casting due to other projects, but thanks to an actors’ strike, some of those projects changed, giving us a chance to cast him.
Did you manage to catch Gerard off guard by dedicating the movie to his recently deceased mother, Margaret Coll?
Indeed, I suggested the idea to them first to gauge their reaction before discussing it further with him. Given his recent loss and the profound pain it caused, I felt it appropriate to pay tribute to his mother by dedicating the project to her in the credits, a decision that seemed fitting at the time.
Does the melody still give me goosebumps, just like when I first listened to it? Was this tune played during the aerial scenes and related actions?
Indeed, during the filming of “Test Drive” and “Romantic Flight,” we had music playing. When we were on the cove set, working alongside dragon puppeteer Tom Wilton, as Mason sketched in the sand and danced a sequence leading to their first interaction, we added John Powell’s “Forbidden Friendship” soundtrack. This really enhanced the whole scene, making you feel like you were right there in the moment. It was almost as if the lights, crew, and everything else around us faded away.
Back in the day when “Test Drive” was unveiled, did it make your heart race and have you leaping buildings in a single bound? Little did I know that I had just hit the jackpot, thanks to the musical genius of John Powell.
Each time we went to John’s studio during our first film project, he seemed to be constantly spinning hit songs one after another. The atmosphere was filled with triumph. However, there were instances where we needed to identify a particular melody within a larger piece of music and tell him, “Focus on that, as it’s the tune I’ll be whistling when leaving here.” John is a whirlwind of creative ideas, often concealing his best ones amidst others. In simpler terms, I could highlight aspects and say, “That feels like a grand, iconic piece of music for this part of the movie.
In the end, are you planning to continue as the director for the remaining parts of the trilogy in live-action, or would you prefer to take on a more producer-like role instead?
Currently, the mere prospect of creating another film is a success in itself. If this movie is well-received globally and we’re granted the chance to proceed, it will give me the chance to address some regrets from the past. I am extremely proud of the animated trilogy, but the first one I made with Chris Sanders holds a special place in my heart. I don’t want these live-action films to replace the animated ones, but if they allow us to delve deeper into characters and unexplored stories, then that seems intriguing. Therefore, I am content to carry on as long as this opportunity persists.
***
How to Train Your Dragon opens in movie theaters nationwide on June 13.
Read More
- Gold Rate Forecast
- Silver Rate Forecast
- Honor of Kings returns for the 2025 Esports World Cup with a whopping $3 million prize pool
- PUBG Mobile heads back to Riyadh for EWC 2025
- USD CNY PREDICTION
- Kanye “Ye” West Struggles Through Chaotic, Rain-Soaked Shanghai Concert
- Arknights celebrates fifth anniversary in style with new limited-time event
- Every Upcoming Zac Efron Movie And TV Show
- Hero Tale best builds – One for melee, one for ranged characters
- Mech Vs Aliens codes – Currently active promos (June 2025)
2025-06-12 22:25