The Duo Behind Lego Movie Goes Dark (But Funny) With The Last Man on Earth


It’s really dark, though, too. Is that something you worried about putting on network?


Lord: If you’re going to do something, you need to take it all the way. The television audience has gotten sophisticated. They’re watching comedy in a different way. They’re used to seeing cable comedy that pushes boundaries and they’re aching for it in network, and Fox agreed. We developed the show at 20th [Century Fox] for a place like Netflix, and they said “no, we want it on Fox—we want to shake up our comedy lineup. We want to something that scares us a little bit.” So we all stacked hands with Forte and said either we’re going to die on our own hill, or people will go crazy for it.


Miller: Shows like Walking Dead are the biggest hits on television; audiences are ready to see stuff like this. Even though it has a lot of pathos and loneliness, though, it also has a lot of hard laughs and big jokes. As we’ve shown it to audiences, we find that people can really relate to it. It’s got this universal core.


Lord: We come from testing movies with friends and family screenings, which isn’t that typical in television, so we had a few screenings on the Fox lot with our nerdy comedy friends and they responded really well. But we realized we were probably doing ourselves a disservice by not showing it to a general audience, so asked Fox to recruit whomever they would for any other sitcom—bring them into a theater, tell them they’re going to see a new comedy, and then we’ll show them this. Trial by fire. So in come all of these folks from all different walks of life who are not comedy nerds—many of whom were in their fifties. We were like, “Oh, boy. This is going to crash and burn.” And they went crazy. No matter how crazy the comedy is the underpinnings are so genuine that I think it lands.


You guys directed the Brooklyn Nine-Nine pilot as well, and that was another one that felt very assured from its first episode.


Lord: Oh good, I’m really glad to hear that.


Miller: Well it was a really great team. Dan Goor and Mike Schur are super smart and great writers—we’re big fans of Parks And Rec. And we’ve been longtime friends with Sandberg and have worked with him many times in the past, and we were comfortable doing a cop-themed comedy from making the Jump Street movies, so there was a confidence going in. I’ve rarely had an experience where everyone is like, “This is good, people are going to like this, so we should just enjoy ourselves.”


You guys are kind of ballooning right now. I feel like everything you keep taking on…


Lord: Yeah, we’re getting too big to fail.


Miller: Like Icarus, he never failed right?


Lord: He was also another flight metaphor.


Miller: Exactly, I understand like that Icarus fellow with his balloon wings.


Lord: Like if you blow up a balloon, like a lot, it just gets bigger and bigger forever and never gets so thin that it pops. That’s my understanding.


Miller: That’s science. That’s just science right there.


Lord: Balloons these days! You know, material science has really progressed. They’ve got balloons that literally you can blow them up to the size of a football field and they’ll stay intact.


Miller: So, anyway, yes?


How do you keep it all straight? What’s your week like? Do you do one week on one franchise, or like one day with one franchise?


Lord: You’re making it sound so organized.


Miller: It’s very catch as catch can. Our brains are not so great switching gears within the day, so we try to keep it day by day. Today we’re at the soundstages for Last Man On Earth, then tomorrow we’ll be over at the Lego offices. That’s the only way we’ve been able to stay relatively sane. But you know, ask us in a few months if we’re still alive.


I feel like every new idea is another heat check, like you guys are just seeing if you can do another.


Lord: We’re just throwing up stuff to see if they miss. [Laughs.]


Does it feel like that when you’re coming up with the ideas?


Lord: We love a challenge. We try not to pick things because they look cool or they seem like they’re going to be good—we try to pick things that feel like no one else could pull this off. There’s only one crazy way that it might work, or this feels like a really funny prank to pull off. A long time ago, someone said to us, “I wish you guys would do something that seemed like a good idea.”


Miller: The stranger something is, the more skeptical people are going to be, but there’s a little bit of a buy-in because it’s something new. Hopefully one day we’ll have enough benefit of the doubt that people will go, “You know what, I’m going to trust them on this one.”


I think that’s happening already.


Lord: That would be lovely. It definitely keeps you honest. I wish more people went into projects certain that they were headed for a brick wall because it makes you not rely on some kind of notion that you’re going to have big box office numbers no matter what you do. Once you do that you’re in a trap, so maybe there’s something about it that gets us going. We know from the outset that this is really dangerous and we better bring it.


Do you ever think the success you’re having is a timing thing, like audiences have caught up to you at just the right time?


Lord: I think you want to stay like a half step ahead. If you get a full step ahead of your audience you’re in big trouble.


Miller: With the Internet, you’re not competing against other movies or TV shows that are coming out right now, you’re competing against the catalog of everything that’s ever been made. So if you want to stand out, you’ve got to do something that feels like you’re doing a new take on it. You can’t play it safe. I think that’s why we’re attracted to projects that seem like a challenge: if we can execute, then the audience appreciates the degree of difficulty and goes “wow, you made a movie out of Lego bricks.”


Lord: It’s such a rare thing to go to the movies and be shocked. I had that experience with Edge Of Tomorrow—you go into this movie thinking it’s just a generic action movie, and then you’re like “oh my god, this is the best Tom Cruise performance of the millennium.” There have just been so many movies made that it’s really hard to surprise people.


Are you guys going to keep doing this—developing new ideas—or are you going to rein it in at some point?


Lord: [Laughs.] Just coast.


Miller: Well, we’re writing a Lego sequel, so however new that idea is…and we’re developing a bunch of movies and TV shows with a bunch of places and talented people. Hopefully our careers will be long enough that we can do a lot of different types of things and have very lengthy, diverse careers. But who knows? The balloon will just continue to inflate until it doesn’t.


Lord: In terms of the amount of work we’re taking on I think we’ve hit…


Miller: Our peak.


Lord: I don’t know how we could do anything else. We’re growing as a company, we’ve got great people that work with us that make our lives possible. We’re aching to develop some more original material and once we get through this, we’ve created some problems for ourselves by being lucky. And when you’re lucky, then you have to replicate that luck on behalf of all your partners. And suddenly the thing you thought you were done with becomes a franchise and now you have to sort of stay a little bit. Which we’re happy to do, it’s really fun to do, but we can’t wait to get a little bit of time to just come up with something out of whole cloth again.


Interview by Brendan Klinkenberg



The Duo Behind Lego Movie Goes Dark (But Funny) With The Last Man on Earth


It’s really dark, though, too. Is that something you worried about putting on network?


Lord: If you’re going to do something, you need to take it all the way. The television audience has gotten sophisticated. They’re watching comedy in a different way. They’re used to seeing cable comedy that pushes boundaries and they’re aching for it in network, and Fox agreed. We developed the show at 20th [Century Fox] for a place like Netflix, and they said “no, we want it on Fox—we want to shake up our comedy lineup. We want to something that scares us a little bit.” So we all stacked hands with Forte and said either we’re going to die on our own hill, or people will go crazy for it.


Miller: Shows like Walking Dead are the biggest hits on television; audiences are ready to see stuff like this. Even though it has a lot of pathos and loneliness, though, it also has a lot of hard laughs and big jokes. As we’ve shown it to audiences, we find that people can really relate to it. It’s got this universal core.


Lord: We come from testing movies with friends and family screenings, which isn’t that typical in television, so we had a few screenings on the Fox lot with our nerdy comedy friends and they responded really well. But we realized we were probably doing ourselves a disservice by not showing it to a general audience, so asked Fox to recruit whomever they would for any other sitcom—bring them into a theater, tell them they’re going to see a new comedy, and then we’ll show them this. Trial by fire. So in come all of these folks from all different walks of life who are not comedy nerds—many of whom were in their fifties. We were like, “Oh, boy. This is going to crash and burn.” And they went crazy. No matter how crazy the comedy is the underpinnings are so genuine that I think it lands.


You guys directed the Brooklyn Nine-Nine pilot as well, and that was another one that felt very assured from its first episode.


Lord: Oh good, I’m really glad to hear that.


Miller: Well it was a really great team. Dan Goor and Mike Schur are super smart and great writers—we’re big fans of Parks And Rec. And we’ve been longtime friends with Sandberg and have worked with him many times in the past, and we were comfortable doing a cop-themed comedy from making the Jump Street movies, so there was a confidence going in. I’ve rarely had an experience where everyone is like, “This is good, people are going to like this, so we should just enjoy ourselves.”


You guys are kind of ballooning right now. I feel like everything you keep taking on…


Lord: Yeah, we’re getting too big to fail.


Miller: Like Icarus, he never failed right?


Lord: He was also another flight metaphor.


Miller: Exactly, I understand like that Icarus fellow with his balloon wings.


Lord: Like if you blow up a balloon, like a lot, it just gets bigger and bigger forever and never gets so thin that it pops. That’s my understanding.


Miller: That’s science. That’s just science right there.


Lord: Balloons these days! You know, material science has really progressed. They’ve got balloons that literally you can blow them up to the size of a football field and they’ll stay intact.


Miller: So, anyway, yes?


How do you keep it all straight? What’s your week like? Do you do one week on one franchise, or like one day with one franchise?


Lord: You’re making it sound so organized.


Miller: It’s very catch as catch can. Our brains are not so great switching gears within the day, so we try to keep it day by day. Today we’re at the soundstages for Last Man On Earth, then tomorrow we’ll be over at the Lego offices. That’s the only way we’ve been able to stay relatively sane. But you know, ask us in a few months if we’re still alive.


I feel like every new idea is another heat check, like you guys are just seeing if you can do another.


Lord: We’re just throwing up stuff to see if they miss. [Laughs.]


Does it feel like that when you’re coming up with the ideas?


Lord: We love a challenge. We try not to pick things because they look cool or they seem like they’re going to be good—we try to pick things that feel like no one else could pull this off. There’s only one crazy way that it might work, or this feels like a really funny prank to pull off. A long time ago, someone said to us, “I wish you guys would do something that seemed like a good idea.”


Miller: The stranger something is, the more skeptical people are going to be, but there’s a little bit of a buy-in because it’s something new. Hopefully one day we’ll have enough benefit of the doubt that people will go, “You know what, I’m going to trust them on this one.”


I think that’s happening already.


Lord: That would be lovely. It definitely keeps you honest. I wish more people went into projects certain that they were headed for a brick wall because it makes you not rely on some kind of notion that you’re going to have big box office numbers no matter what you do. Once you do that you’re in a trap, so maybe there’s something about it that gets us going. We know from the outset that this is really dangerous and we better bring it.


Do you ever think the success you’re having is a timing thing, like audiences have caught up to you at just the right time?


Lord: I think you want to stay like a half step ahead. If you get a full step ahead of your audience you’re in big trouble.


Miller: With the Internet, you’re not competing against other movies or TV shows that are coming out right now, you’re competing against the catalog of everything that’s ever been made. So if you want to stand out, you’ve got to do something that feels like you’re doing a new take on it. You can’t play it safe. I think that’s why we’re attracted to projects that seem like a challenge: if we can execute, then the audience appreciates the degree of difficulty and goes “wow, you made a movie out of Lego bricks.”


Lord: It’s such a rare thing to go to the movies and be shocked. I had that experience with Edge Of Tomorrow—you go into this movie thinking it’s just a generic action movie, and then you’re like “oh my god, this is the best Tom Cruise performance of the millennium.” There have just been so many movies made that it’s really hard to surprise people.


Are you guys going to keep doing this—developing new ideas—or are you going to rein it in at some point?


Lord: [Laughs.] Just coast.


Miller: Well, we’re writing a Lego sequel, so however new that idea is…and we’re developing a bunch of movies and TV shows with a bunch of places and talented people. Hopefully our careers will be long enough that we can do a lot of different types of things and have very lengthy, diverse careers. But who knows? The balloon will just continue to inflate until it doesn’t.


Lord: In terms of the amount of work we’re taking on I think we’ve hit…


Miller: Our peak.


Lord: I don’t know how we could do anything else. We’re growing as a company, we’ve got great people that work with us that make our lives possible. We’re aching to develop some more original material and once we get through this, we’ve created some problems for ourselves by being lucky. And when you’re lucky, then you have to replicate that luck on behalf of all your partners. And suddenly the thing you thought you were done with becomes a franchise and now you have to sort of stay a little bit. Which we’re happy to do, it’s really fun to do, but we can’t wait to get a little bit of time to just come up with something out of whole cloth again.


Interview by Brendan Klinkenberg



Here Are the 10 Best Bits From Robot Chicken’s First 10 Years




It’s hard to believe that it’s already been 10 years since Optimus Prime faced the most dangerous Decepticon of them all: prostate cancer.


OK, not really. But on Feb. 20, 2005, Robot Chicken premiered—and with short stop-motion bits like Optimus’ medical scare, introduced the world to its very off-kilter take on pop-culture-steeped comedy. TV hasn’t been the same since. (The episode also featured Rachael Leigh Cook doing a “this is what happens to your brain on heroin” bit.)


“I don’t think we expected to make it past a few episodes, let alone the number of years that we had,” says co-creator Matthew Senreich.


A lot of that success might have something to do with the fact that the show’s launch happened to come at almost the exact same time as the arrival of YouTube, where many of its sketches have found life well beyond their air dates. We’re not sure if you know this, but sketches, animation, and absurd comedy are kinda popular on the Internet, and while Robot Chicken did well enough on Adult Swim, YouTube helped make it a web favorite. (There have been times when the videos were taken down, but many of their best offerings still have more than a million views.)


That popularity led to Robot Chicken running for seven seasons and nearly 150 episodes, but it was a couple seasons into their run before the creators realized they might have staying power. “We had a realization in our third season that we were actually getting an audience,” says co-creator Seth Green. “So we were like, ‘Hey, people are listening, what do we actually want to say?’ So we try really hard to make it out of love and appreciation for all these crazy things that pop culture yields us.”


In honor of Robot Chicken‘s 10th anniversary, we asked the show’s creators for their 10 best—and often most viral—sketches.


The Emperor’s Phone Call




This sketch, about Darth Vader checking in with his boss Emperor Palpatine, came from the brain of writer/producer Doug Goldstein, who wanted to address the absurdity that Vader essentially destroyed the Death Star but didn’t face any repercussions. “In Star Wars, Darth Vader is kind of a big thug of a bad guy, then in Empire Strikes Back he’s kind of running the whole show,” Goldstein says. “He’s telling folks what to do; he’s hugely important. And I’m thinking, ‘In Star Wars, he’s the only survivor from the Death Star, how did he possibly spin that into getting a promotion? How did he come out of that looking good?'” The sketch, in turn, got the Robot Chicken team a promotion from a different kind of Emperor: George Lucas, who enjoyed the sketch and invited them to Skywalker Ranch. “I still have the bathrobe,” says Green, “which I found out was one of the five last bathrobes given out on the Ranch.”


Delicious Gummy Bears




This sketch about a self-cannibalizing gummy bear is the Robot Chicken sense of humor in a nutshell (or bear trap, as it were). “It really distilled our comedic sensibilities down to 30 seconds,” says writer/producer Tom Root. “Everything cute and cuddly from our childhood has horrible violence committed against it.” But it gets its signature sound from actress Michelle Trachtenberg. “I knew for a fact that she had a horror-movie scream, so we cast her knowing she would give us this scream,” says Green. “She was behind glass in the recording booth and she warned the board op, ‘This is going to be really, really loud.’ I think she blew out the mike. It was traumatic to even watch it performed.”


Starbucks Origin




Ever wonder why the original Starbucks logo looked so, um, perverse? So does Seth Green. “When you really think about it, what were they trying to pull with that logo?” he says. “It’s bananas.”


100th Episode Finale




This entire episode led up to a crescendo the team invented to “use that scene from The Protector,” says Senreich. Also, “we wanted to so something epic with the characters we created over the previous 100 episodes.”


Our Newest Member, Calvin




This might be the Robot Chicken episode that’s inspired the most Comic-Con costumes. Pretty much everyone wants to be “Fumbles,” the world-class sniper who gets an unfortunate G.I. Joe codename and goes ballistic on the Joes. “For whatever reason it got a big fan following,” says Senreich. “Lots of people dressed as Fumbles at Comic-Con.”


The Simpsons Opener




The opportunity to do a Simpsons opening came after a few of the Robot Chicken team met Al Jean and Matt Groenig at an Emmys after-party. “They just basically let us do whatever we wanted to do,” says Senreich. “It’s been very nice getting to know the Simpsons guys.”


Quicksand




There’s just something funny about watching a giraffe die in quicksand (their necks are so long!). It’s a LOL-yielding bit that came from occasional Chicken brain Dan Milano. “One of the jewels that just came right out of his head was the five stages of grief as acted out by a giraffe,” says Root. And his colleagues weren’t the only ones who found it funny. “There was this weird thing where for a long time we were on YouTube and then Adult Swim yanked all the YouTube clips to put them on their own web site,” Root adds. “Before the big cull, the giraffe had millions and millions of pageviews.”


Apocalypse Pony




If the Four Horsemen of the Apocalypse rode My Little Ponies, this would likely be the result. (Just as Saint John the Evangelist intended.) “That was one of the episodes I got to direct,” says Green. “It was really early on in our entire program and it is one of the things I am most talked to about.” In case you’re wondering, they did pursue the idea of actually making Apocalypse Pony toys with Hasbro, but it never came to pass, unlike the End of Days. But, like the New Testament itself, Green says “I’ve seen many art pieces inspired by it.”


The Opening to the Robot Chicken: Star Wars Episode III Special




Senreich says this one is unique because “it was the first time we licensed music—a rare treat for the show. “We’re on an Adult Swim budget,” he says, “so licensing music is not something that we’re able to do that often.”


Voltron Got Served!




This sketch was made thanks to a homebrewed edit of street dancer videos found online that the animators replicated using their foam Voltron. The team says it set standards for what they could do in terms of writing their own music and making impossible-seeming ideas happen. “You can sort of see the ripple effect,” Green says.