CLOUDY WITH A CHANCE OF MEATBALLS 2
TECHNICAL INNOVATIONS & STYLE
- Will Forte, who voices Chester V in Cloudy with a Chance of Meatballs 2, was
already part of the Cloudy family: he voiced a cameo in the small role of Joe
Towne in the first film.
- Terry Crews and his children are big fans of the first film. When he told his kids
that he was going to voice Earl, they exclaimed "Don't mess it up!"
- Kristen Schaal was the directors' first choice for Barb the orangutan; they had
written and modeled the character expressly for her.
- Director Cody Cameron does voice work on the side for fun. He's been the voice
of the Three Little Pigs and Pinocchio in the Shrek series as well as Mr. Weenie
in the Open Season films. In Cloudy with a Chance of Meatballs 2, he voices the
role of Barry the strawberry; he uses real dialogue that he translated into "Barry
talk" in order to make sure that Barry's tone and emotions are right. His vocal
performance is then reworked in the computer to make it high-pitched.
- Sony Pictures Imageworks' CRowd Asset Management (CRAM) was developed
for Hotel Transylvania, but enhanced for Cloudy with a Chance of Meatballs 2.
Sequences in LiveCorp and San Franjose required a more robust system -- one
that could fill a LiveCorp auditorium with 8,000 people. The system was even
used on the island of Swallow Falls, where it helped the animators create a
crowd of flamangoes.
- Barb is such a complex character that artists had to create four different
simulations to help her belly, vest, hair, and hands follow the physics of the real
world -- for example, her belly would have to jiggle right independently of the vest
- The backgrounds in the movie are made to look like they were hand painted.
The effects team used "Depth Styling" by replicating 2D paintings in the CG
world so that it looked like viewers are moving through a painting.
- Production Designer Justin K. Thompson spent a day painting with the entire art
& production design team as well as the directors to create swatches, brushes
and textures that would be used for the movie's final backgrounds
- 39 different types of foodimals have been created to date
- The animators looked at real shrimp as reference, to figure out how the
shrimpanzees might use their tails as hands
- The Cheesespider's 203 eyes are individually controlled. To get just the right
look, the animators took apart and studied the elements of a real cheeseburger:
the translucency of real lettuce, the brightness of mustard, and the surface of
- The Pancake Breakfast Bog sequence features hundreds of mosquitoasts
- For Barry, every seed and every divide that the seeds sit in had to be individually
modeled; he also has fuzzy hair on his little stems to help him look real in his
close-ups. Barry has 5,243 hairs and 406 seeds.
- Animation reviews were forbidden around lunch time -- real food was distracting.
Animators even started studying the way the light moved through the rice of their
sushi, wondering if they could improve the look of the susheep.
- Filmmakers and production designer Justin K. Thompson took a three-day field
trip to San Francisco as inspiration for his design of San Franjose
- LiveCorp is 2,248.36 feet tall, which is twice the size of the Eiffel Tower and 1.5
time the size of the Empire State Building
- The LiveCorp headquarters are larger than the entire city of San FranJose; in
fact, 62% of San Franjose would fit inside the LiveCorp bulb alone!
- The layout team built 3.58 miles of San Franjose, including 458 buildings, 137
trees, 64 cars, 20 dumpsters, 113 street lights, 70 newspaper stands, and 1,122
feet of railing
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