In this exclusive interview, co-director WILL SPECK dives into the making of LYLE, LYLE, CROCODILE, the importance of staying true to the beloved book, the mantra that size really does matter, especially when blocking and choreographing production numbers, and so much more.
Co-directed by WILL SPECK and JOSH GORDON known best for films like “Blades of Glory”, “The Switch” and “Office Christmas Party”, the pair now tackle new territory with a musical and a crocodile. With a script by Will Davies based on the book (10 in the complete series) by Bernard Waber, LYLE, LYLE, CROCODILE is the story of a crocodile named Lyle and the Primm family. LYLE, LYLE, CROCODILE boasts a cast that includes Shawn Mendes as the voice of Lyle, Javier Bardem who dazzles as Hector with song and dance production numbers (who knew!), Winslow Fegley as Josh, Scoot McNairy as Mr. Primm, Constance Wu as Mrs. Primm, and Brett Gelman as Mr. Grumps.
SYNOPSIS: “When the Primm family moves to New York City, their young son, Josh, struggles to adapt to his new school and friends. All of that changes when he discovers Lyle, a singing crocodile that loves baths, caviar and great music. The two become fast friends, but when evil neighbor Mr. Grumps threatens Lyle’s existence, the Primms must band together to show the world that family can come from the most unexpected places.”
LYLE, LYLE, CROCODILE is one of my fave films of the year, with the book series being one of my most beloved since childhood, making me initially suspect of any kind of adaptation. But on screening the film, I was more than pleasantly surprised. I was blown away. This is how you make a movie. This is how you tell a story. This is how you do an adaptation. This is how songs are written, created, and made beloved thanks to catchy tunes and lyrics and some killer production numbers. Who knew Javier Bardem was a song-and-dance man? The film boasts terrific production numbers which are the keys to lifting Lyle from the pages of the beloved books to the big screen – and I do mean BIG screen, while giving us a multitude of touchstones to the book, and delivering a film filled with joy, happiness, and love. A crocodile-sized entertainment delight!
And BIG is a key element for WILL SPECK and his co-director and collaborator Josh Gordon in honoring the book while working with a 6’1″ crocodile on screen.
I had the privilege of speaking with WILL SPECK in this exclusive interview talking all things LYLE starting with honoring the book, designing Lyle, and including visual Easter Eggs directly from the book that will have you oohing and aahing at every turn. A big part of honoring the book also meant not having Lyle talk!
Getting into the nitty gritty logistics of production, Will speaks at length about the size of Lyle and his tail when it came to blocking and staging within the Primm brownstone, a set that was designed to fit “the dimensions of the sort of uncomfortable Upper West Side brownstone” complete with narrow staircase and risers that are not in conformance with modern building specs. As you’ll hear Will discuss, the set was not built with flyaway walls which thus gave the realness of the home but impacted the choreography for a crocodile dancing in a kitchen along with the camera positioning and lighting leading to cutaways and engaging montages that delight. But one of the most unique aspects of shooting, as the Lyle we see on screen is CGI, was bringing in actor Ben Palacios who wore a full Lyle costume as a shooting stand-in.
Going ever deeper into the “making of” LYLE, we go into the work of composers and songwriters Benj Pasek and Justin Paul who deliver some of the catchiest award-worthy songs we’ve heard since, well, “La La Land” and “The Greatest Showman.” At the top of my list for awards consideration this year for Best Original Song is “At the Top of the World Tonight” from LYLE, LYLE, CROCODILE.
With collaboration so important to Will and Josh, we hone in on Will’s department heads, talking at length about production designer Mark Worthington and his award-worthy work here (color being one of the most important aspects of the design work), cinematographer Javier Aguirresarche whose lighting and lensing is visually amazing and emotional, and, of course, editor Richard Pearson.
And so much more!
This conversation with WILL SPECK is one that you do not want to miss.
TAKE A LISTEN. . .
by debbie elias, exclusive interview 10/25/2022
