“I was a large fan of a game,” pronounced Fergal Reilly, who destined with Clay Kaytis.

Angry Birds, that won a weekend during a North American box bureau with an estimated $39 million opening, came to theaters interjection to a prolongation partnership between Sony and Finnish video diversion developer Rovio, that combined a wildly-popular Angry Birds mobile diversion authorization on that a CG-animated film is based.

To helm a film that reveals since a birds are so angry, a dual companies brought on dual first-time directors, Fergal Reilly and Clay Kaytis. Reilly, who has worked as a storyboard artist on such films as Sony Pictures Animation’s Hotel Transylvania and Cloudy With a Chance of Meatballls, as good as in story development, talked with The Hollywood Reporter about a experience.

Were we a fan of a diversion when we started a film?

Yes, we was a large fan of a diversion when it came online in 2009; we consider we finished all a levels. we don’t know if it was serendipity, though I’m unequivocally into record and we play a lot of video games. I’m also looking brazen to Warcraft and Assassin’s Creed [two video diversion franchises that are also entrance to theaters]. I consider film record and diversion record and animation are mixing in new and engaging ways.

Why Angry Birds for a movie?

It’s always been a box that cinema take their ideas from other forms of entertainment. [I got involved] while we was a story artist during Sony Pictures Imageworks and assisting to rise projects, and [Angry Birds producer] John Cohen called and ask if I’d be meddlesome in Angry Birds. My oddity was immediately aroused; we met with him and Jon Vitti, who was essay a script, and we adore his work from The Simpsons. we knew it wasn’t going to be a required adaptation.

How concerned was Rovio?

Mikel Head, a writer and also a first partner in Rovio Entertainment, was heavily concerned in a artistic process, though he gave us a lot of freedom. He wanted to paint a diversion [accurately], though afterwards in terms of building a personalities, we had full freedom. [Character and story development] was a discourse with a storyboard dialect and Jon Vitti and a other writers.

Rovio didn’t have an CG animation studio, so we combined one in Sherman Oaks as a bottom of operations for editorial and storyboarding, and afterwards Imageworks Vancouver did the animation and visible effects.

How did [protagonist] Red’s impression develop?

We had a really good thought of who Red was; he [didn't fit in] on this otherwise-happy bliss island of birds. He was an alien since of a approach he voiced himself and was always during contingency with a other birds around him, who are comparatively calm and happy. Red can be disintegrating during times, though we didn’t wish him too unlikable.

Jason Sudeikis [the voice of Red] brought a balance. He has this regard and ability to broach a lines to make him really relatable. He would supplement things in a dialogue, so that we felt some consolation for Red. Jason felt we should always feel that there was something else going on, not only tender anger. He did that be adding jokes. He grown new facets [of Red’s personality] and someday new scenes came out of a improv.”