Tag

Pierre Coffin

All articles tagged with #pierre coffin

Coffin Unpacks Minions’ Language, Memes, and Banana Fame
movies1 month ago

Coffin Unpacks Minions’ Language, Memes, and Banana Fame

Pierre Coffin discusses how Minionese is a melody-based gibberish rather than a real language, and how he localizes lines for different markets. He addresses female Minions, noting they aren’t reproducing and that the design would stay the same, and explains that Minions & Monsters is set a few decades before Despicable Me with cinema-era nods. He reflects on meme culture, merchandise like the fart gun, and his time at Amblimation, framing the Minions as individual characters with souls rather than mere creatures. In short, the piece paints the Minions as evolving, meme-driven icons now in UK cinemas.

Minions & Monsters: Filmmakers Emphasize Craft Over Box Office
film1 month ago

Minions & Monsters: Filmmakers Emphasize Craft Over Box Office

At Annecy, Pierre Coffin and Chris Meledandri say box office isn’t the sole measure of Minions & Monsters’ worth, stressing the theatrical experience and originality. The film opened to about $10 million globally in 10 territories; they also discuss upcoming Illumination projects (Sing 3, The Secret Lives of the Pets 3, Not Alone) and say there are no concrete plans yet for another Despicable Me/Minions movie.

How Pierre Coffin Built the Minions’ Voice and Minionese
entertainment1 month ago

How Pierre Coffin Built the Minions’ Voice and Minionese

Pierre Coffin reveals the Minions’ squeaky voice is his own voice pitched up six semitones and recorded in slow motion, a method that began during Despicable Me as ad-libbed gibberish and evolved into Minionese, a playful, evolving language mixing Italian, French, Spanish and other words chosen for melody rather than meaning; he uses special software to preserve pitch and tempo, has kept the voice in-house to maintain the language’s feel, and even after stepping back from directing he returns for projects like Minions & Monsters while expanding the linguistic repertoire across films.

Minions Bring Anarchic Nostalgia to Hollywood Hills
film1 month ago

Minions Bring Anarchic Nostalgia to Hollywood Hills

Deadline’s review finds Minions & Monsters a fast, anarchic slapstick that rattles through Hollywood history, following the Minions from ancient mischief to 1920s cinema via a tour-guide narrator, a playful demon, and a new robot boss. Packed with meta‑film gags, references to The Matrix and News on the March, and the infectious Minionese, it delivers kinetic laughs and chaotic energy in a 1h29m PG romp, even as the plot leaps between eras and self‑advertises as a film within a film.

Minions Seek Hollywood Prestige Beyond Box Office
entertainment1 month ago

Minions Seek Hollywood Prestige Beyond Box Office

Illumination’s Minions have grossed over $5.5 billion across six films but have only two Oscar nominations and no wins; the new feature Minions & Monsters, directed solo by Pierre Coffin, strives to elevate the yellow troublemakers into Hollywood canon by weaving silent-era cinema homages and film-history nods into the caper, aided by strong early buzz from Annecy and a George Lucas cameo—yet whether commercial success translates into industry prestige remains an open question as the franchise marches on one gag at a time.

Coffin Returns to Minions With a Personal, 1920s Hollywood Adventure
film2 months ago

Coffin Returns to Minions With a Personal, 1920s Hollywood Adventure

Pierre Coffin returns to the Despicable Me universe with Minions & Monsters, his solo-directing debut co-written with Brian Lynch, a 1920s Hollywood-set tale about a Minion who dreams of making movies. After Despicable Me 3, Coffin felt exhausted from directing and voicing the Minions, but Illumination founder Chris Meledandri rekindled his interest with an idea about a Minion making a monster movie. The film blends Coffin’s love of silent-era cinema with his personal storytelling, paying homage to early Hollywood while balancing humor for kids and adults. He explains writing in English first, layering Minion language later, and discusses the potential—and current limits—of AI in animation, as well as the film’s more personal tone and what the future might hold for the franchise.