For the first time in almost a decade, comedy icon Jack Black returns to his role as Po, the world’s most unlikely kung fu master, with a hilarious, butt-kicking new chapter in DreamWorks Animation’s beloved action-comedy franchise: Kung Fu Panda 4.
As Kung Fu Panda 4 kicks it’s way into Australian cinemas on March 28, Nick L’Barrow had the chance to chat with the films co-directors, Mike Mitchell (Mitchells vs The Machines) and Stephanie Ma Stein (Raya and the Last Dragon) about the energy of Jack Black, creating long take action scenes, and the films that they grew up on!
Nick: Stephanie, it’s an absolute pleasure to meet you! And Mike, it’s great to see you again! How are you both today?
Mike Mitchell: Great! Excited to be here!
Stephanie Ma Stine: Great!
Mike Mitchell: And excited we’re finished [the movie]!
Nick: I’m excited too because I had a lot of fun with this movie, and I can’t wait to chat with you both today about it! Mike, I know you worked on the first Kung Fu Panda, and Stephanie, this is your introduction into this world. But Jack Black has been with this character and world for over 16 years now! I’m intrigued to know what the collaboration is like with Jack!
Mike Mitchell: Well, Jack is the reason this franchise withstands the test of time. He is the panda. They both can do tremendous kung fu kicks that reach up to your face by the way! In real life!
As for Jack evolving, he’s been exactly the same. He’s been invested, he’s been hilarious. And the big surprise for me, because I hadn’t worked with him so closely until this film, I don’t think people realise that he is really a tremendous actor. He’s making line choices and he’s digging into the heart of every scene and the emotional core of everything!
Stephanie Ma Stine: He’s so incredible! For me, it was just a fantastic experience getting to work with Jack Black! It was my first time, of course, but part of Po’s journey on this movie is to take on a mentee. That’s not the entire movie, but it sort of tees up for that story – [Po], being able to take on someone, and show them the ways of good, and the path of righteousness and justice.
I thought he [Jack] was a fantastic mentor figure, and for me that meant a lot because I don’t just work in animation, but I also teach storyboarding and story development. So, I was able to take a lot of inspiration from Jack Black as a person and as his character of Po, because he’s just so wholesome and funny and inspirational. He just brings this energy to the room that gets everyone pumped. And I’m like, “I can bring that energy! I can learn from him and use it when I teach!” So, I was very grateful for working with him.
Nick: That actually leads into my next question perfectly, because as you said Stephanie, a part of this story is Po having to be a mentor for the next Dragon Warrior. So, I’m curious to find out who were your filmmaking “Dragon Warrior’s”? Who mentored each of you as you began your journey that has now led to you both being feature film directors?
Mike Mitchell: Wow! That’s a good question!
Stephanie Ma Stine: I will go first. I definitely have to say that Mike Mitchell has been my number one mentor. I’ve learned so many incredible insights on directing and filmmaking, storytelling from him. Every single day I was learning something new. And like, whenever I was tired, or my brain was overloaded, he’s been amazing.
I also want to give a shout out to Jeff Chan, who is the director of Code 8, which is on Netflix, and the sequel just came out! He was also super supportive. But these two guys, they’re awesome.
Mike Mitchell: That’s very nice of you to say! For mine, it was almost like a group of mentors that are all equal. There’s a bunch of directors. Pixar directors and DreamWorks directors, and a lot of people I went to school with, and we’d all communicate and judge each other!
And in fact, for this particular film, Tom McGrath would come in. He was on the fifth floor, and we were on the fourth floor, and when we put together the great fight scene in the tavern, we’d pull him down. Tom McGrath directed Boss Baby and all the Madagascar movies! He actually voices on of the Madagascar penguins!
So, we’d pull Tom in, and we’d show him this incredible fight sequence, and Tom would go, “No. Yeah. That’s pretty good. It’d be funnier if the tavern titled.” And then he leaves the editing room, and we go, “Oh, that’s a good idea!”
But that’s like, one of the many mentors besides Jill Culton. There are tonnes of them! Like Conrad Vernon. There’s a whole bunch of directors around DreamWorks. It’s kind of this thing that I’d like to think constantly happens and evolves. That everyone’s kind of mentoring each other as we all learn.
Stephanie Ma Stine: It was so wonderful we have those sort of surprise bombs, because it makes the movie better! What kind of better drop in could you have!
Mike Mitchell: I mean, it’s not great for the producers [laughs]! The producers would tell us tilting the tavern is too expensive to do!
But I also learned a lot from Stephanie as a director. She was teaching me a lot about anime, and a lot of anime tricks. That was kind of interesting for me. I know anime, but I’m not as versed in it as Steph!
Stephanie Ma Stine: I’m a huge fan of Demon Slayer: Kimetsu no Yaiba!
Nick: I’m so glad you mentioned the tavern scene, because I’m a sucker for one-shot takes, and there is a couple of those in the tavern fight! I’m curious to find out, when you’re choreographing the action, how do you decide what will end up becoming a one-shot take?
Mike Mitchell: That’s a great question! Remember we did that when everyone is gossiping at the noodle shop, too? That was a long take.
Stephanie Ma Stine: Oh, that is a great question. You know, we really wanted to make sure that we were pushing the boundaries with the cinematography. It’s typically very difficult to do, you know, really long takes like that in animation because there’s so many personnel and crew members, and the timing!
Mike Mitchell: And then there’s background characters. Like, if it’s one character, everyone works on it at different times. And if it’s a long time, they all have to be in lockstep.
Stephanie Ma Stine: They’re communicating 24/7! They’re like, “Why did you do this to us?” [laughs]
Honestly, there was a balance making sure that we didn’t go full Alfonso Cuaron, which is like 10 minute long takes!
Mike Mitchell: Maybe on the next Kung Fu Panda though… [laughs]
Stephanie Ma Stine: The goal is to always keep the audience engaged and make sure they’re fully into the story. But I’m glad you noticed the longer takes!
Nick: They were great! Before we wrap up, I wanted to say that I was about 12 or 13 when Kung Fu Panda first came out, and it was absolutely a formative movie for me growing up. So, I would love to know what were the formative movies, animated or live action, for you both?
Stephanie Ma Stine: Interesting! I’ve always been a fan of Hayao Miyazaki. One of the first films I ever watched of his was when I was visiting some family members in Taiwan, and I saw Kiki’s Delivery Service on the TV. And it was in Japanese, but subtitled in Chinese, and I couldn’t understand it because I can’t read Chinese.
Mike Mitchell: It’s kind of fun to try to figure out that story! I think that’s the way I first saw it!
Stephanie Ma Stine: I absolutely love that! You know, that movie and all the music. I also love Terminator 2.
Mike Mitchell: Terminator 2 is a great film. Terminator 1 is a great film!
Stephanie Ma Stine: Yes it is!
Mike Mitchell: I saw it by accident when I was a kid in Oklahoma. But I went to the theatre and saw Rear Window and it blew my mind! I didn’t know what it was going to be. I was very young, but man, that one blew my mind.
Thank you so much to Mike Mitchell and Stephanie Ma Stine for their time, and to Universal Pictures for organsing the interview! You can see Kung Fu Panda 4 at select advanced screenings between March 22-24, and then it will officially release in Australian cinemas on March 28.
