How to train your dragon the hidden world credits
How to train your dragon the hidden world credits
How to Train Your Dragon: The Hidden World Credits
Contents
Logos
Opening
Universal Pictures and Dreamworks Animation SKG presents
How to Train Your Dragon: The Hidden World
Closing
Written and Directed by
Dean DeBlois
Produced by
Bradford Lewis, p.g.a.
Produced by
Bonnie Arnold, p.g.a.
Executive Producers
Chris Sanders
Dean DeBlois
Based Upon the
«How to Train Your Dragon»
Book Series
by Cressida Cowell
Music by
John Powell
| Hiccup | Jay Baruchel |
| Astrid | America Ferrera |
| Grimmel | F. Murray Abraham |
| Valka | Cate Blanchett |
| Stoick | Gerard Butler |
| Snotlout | Jonah Hill |
| Fishlegs | Christopher Mintz-Plasse |
| Ruffnut | Kristine Wiig |
| Eret | Kit Harington |
| Tuffnut | Justin Rupple |
Edited by
John K. Carr, ACE
Production Designer
Pierre-Olivier Vincent «POV»
Visual Effects Supervisor
Dave Walvoord
Head of Character Animation
Simon Otto
Head of Layout
Gil Zimmerman
Head of Story
Tron Mai
Visual Consultant
Roger Deakins, ASC, BSC
Supervising Sound Designer
Randy Thom
Supervising Sound Editors
Brian Chumney
Leff Lefferts
Randy Thom
Re-Recording Mixers
Gary A. Rizzo, CAS
Scott R. Lewis
Shawn Murphy
Noyan Cosarer
Co-Producer
Jed Schlanger
Production Manager
Rachel Zusser
Animation Supervisors
Thomas Grummt
Steven «Shaggy» Hornby
Jakob Hjort Jensen
Fabio Lignini
Rani Naamani
Sean Sexton
Dane Stogner
Head of Lighting
Pablo Valle
Lighting Supervisors
Shaun Collaco
Marc J. Scott
Liang-Yuan Wang
JoAnna Wu
Digital Supervisor
Munira Moiz Tayabji
Technical Direction Supervisor
T.J. Jackson
Modeling Supervisor
Matthew Paulson
Surfacing Supervisor
Paolo José Deguzman
Character Rigging Supervisor
Kevin M. Ochs
Character Effects Supervisor
Damon Crowe
Head of Effects
Li-Ming Lawrence Lee
Crowds Supervisor
James Thornton
Digimatte Supervisor
Chris Grun
Final Layout Supervisor
James Ryan Peterson
Stereography
Willem V. Drees
Image Finaling Supervisor
Cassandra Fanning
Casting by
Christi Soper Hilt, CSA
Co-Producers
Doug Davidson
Roy Lee
Michael Connolly
Crawl Art
Co-Producer
Kate Spencer Lachance
Associate Production Manager
Christopher K. Jefferies «CJ»
| Hiccup | Jay Baruchel |
| Astrid | America Ferrera |
| Grimmel | F. Murray Abraham |
| Valka | Cate Blanchett |
| Stoick |
Story
Production Supervisors
Katherine Ramos Lino
Lillian Ritchie
Bolhem Bouchiba
Rune Bennicke
Alessandro Carloni
Todd DeMong
Matt Flynn
Evon Freeman
Simon Otto
Chris Palmer
Toniko Pantoja
John Puglisi
Catherine Rader
Stephanie Stine
Michael Surrey
David Wolter
Nelson Yokota
Additional Story Artists
Andrew Erekson
Craig Grasso
Tim Heitz
Jennifer Yuh Nelson
Tom Owens
Simon Wells
Production Coordinator
Stephanie Heider
Editorial
| Production Supervisor | Katherine Ramos Lino |
| Associate Editor | Mark Hester |
| Additional Associate Editor | Mary Blee |
| 1st Assistant Editor | Shane Glick |
| Assistant Editor | Natalia Cronembold |
| Additional Assistant Editor | Brittany DeLillo |
| Production Coordinators | Jillian Gomez Stephanie Keider |
Art Development
| Production Supervisor | Elizabeth C. Camp |
| Visual Development Artists | Philippe Brochu Kirsten Henshen-Kawamura Woonyoung Jung Iuti Lioi Simon Rodgers Nicolas Weis |
| Additional Visual Development Artist | Ruben Perez |
| Character Designers | Leo Sanchez Barbosa Carter Goodrich Nico Marlet Joe Moshier Jean Francois Rey |
| End Titles / 2D Compositing Artists | Richard Ramazinski Erik Tillmans |
| Production Coordinator | Matthew Davidson |
| Production Assistant | Kayla Rimes |
Character Rigging
| Production Supervisor | Aydrea Walden |
| Character Rigging Leads | Christina de Juan Hongeso Park Dick Walsh |
| Character Riggers | Evan Boucher Won Young Byun Megha Davalath Tom Molet Jeff Woo |
| Production Coordinator | Jillian Brooke Roberts |
Modeling
Production Supervisor
Lisa Briggs Sachs
Minyu Chang
Yung-Lo Chang
Seungyoung «Sean» Choi
Catherin Cubillan
Joachim De Brunier
Charles C. Ellison
Hyun Huh
Brian Jefcoat
Jaewon Lee
Abraham Meneu Oset
Paul Schoeni
Seung Youb Shin «Kull»
Joshua «Koji» Tsukamoto
Jason Turner
Tony K. Williams
Ming Hao Yu
Stephen Anderson
Andrew Dehner
Marty Havran
Haengsook Oh
Graham Oyoung
Modeling & Surfacing Production Coordinator
Sydney L. West
Surfacing
Production Supervisor
Lisa Briggs Sachs
Fernanda Abarca
Ronnie Cleland
Owen Demers
Jeremy Engleman
Greg Hettinger
Drangi Johnson
Ben Lippert
Carson McKay
Jennifer Stephenson Newlin
Jeff Nichols
Priyes Nalinchandra Shah
Megan Walker
| Additional Surfacers | Woojin Choi Lisa Slates Connors John Wake |
Layout
David Rodriguez
Theophile Bondoux
Joshua Gunther
Jon Gutman
Corey Hels
Jotman Herzon
Jason McDade
Damon O’Briene
Richard Shiba
Pamela B. Stefan
Chris Stover
Andrew Titcomb
Brian Ward
Jason Wesche
| Additional Rough Layout | Gregory Breitzman Michael Comfort Mark Mulgrew |
JC Alvarez
Stuart Campbell
Juan Gonzalez
Rachel Lagdao
Valerie Lettera-Spletzer
Brian Riley
Richard Shiba
Production Coordinator
Brian Kim
Animation
| Animation Production Consultant | Rebecca Huntley |
| Production Supervisors | Christopher K. Jefferies «CJ» Aydrea Walden |
| Character Lead Animator | Liron Topaz |
Nedy Acet
Drew Adams
Michael Amos
Line Andersen
Evan Boucher
Laurent Caneiro
Guillermo Careaga
Joseph Chong
Albert Colomer
David Couchariere
Michelle Cowart
Hans Dastrup
Bill Diaz
Raffaella Filipponi
Antony Gray
Benjamin Girmann
Patrick Giusiano
Ravi Kamble Govind
Willy Harber
Andrew Harkins
Martin P. Hopkins
Marek Kochout
Philippe Le Brun
Garrett Lewis
Sean Mack
Bryce McGovern
Steven J. Meyer
Frederik Nilsson
Ryan Page
Tyler Phillips
Robyne Powell
Luke Randell
Marco Regina
Mark Roennigke
Henry G. Sanchez
JP Sans
Kristof Serrand
Kevan Shorey
Richard Van As
Ryan Vicik
Alexis Wanneroy
David Weatherly
Sébastien Wojda
Greg Whittaker
Onur Yeldan
| Animation Technical Assistant | Emily Springer |
| Production Coordinators | Jillian Brooke Roberts Sydney L. West |
| Production Assistant | Laura Robinson |
Character Effects
| Production Supervisor | Art Bidwell |
| Character Effects Leads | Chris De St. Jeor Christopher Michael |
Character Effects Artists
Daniel Ararta
Corey Bolwyn
Ted Boyke
Matt Brown
Katy Callaway
Brian Crawford
John Dowell
Reginald Amukoshi Emulva
Marcua Erbar
Michael Juarez
Jinnah Eleanore Yu Kulla
Joshua LaBrot
John T. Lee
Matthew Leishman
Jose Lopez
Alexander Paz
Mathias Rodriguez
Andrew Silvestri
William Sokoloski
Joseph Spadaro
Jennifer T. VanMeter
Angela Wang
Jason P. Weber
Ron Williams
Jacob Zimmer
| Character Effects Technical Supervisor | Arun Somasundaram |
| Production Coordinator | Adam John Nelson |
| Production Assistant | Emily Cirillo |
Crowds
Production Supervisor
Curtis W. Thompson
David Bazelon
Kent Chan
Spencer Knapp
Jeff Sullivan
Kelly Wetzel Talesnick
D’Lun Wong
Todd Zullo
Alberto Corral
Megan Kreiner
Brendan Kirschbaum
David Polk
Scott Slater
Production Assistant
Emily Cirillo
Digimatte
| Production Supervisor | Mary Melendez |
| Digimatte Lead | Sun Yoon |
Daniel J. Brick
Milica Fedele
Mikael Genachte-Le Bail
Pamela Hobbs
James A.J. Miller
Onesimus Nuernberger
He Jung Park
Ryan Prestridge
Paul Anthony Rivera
Marla Tanigawa
Additional Digital Artist
Danny Janevski
Effects
| Production Supervisor | Peter Litvack |
| Effects Supervisors | Amaury Aubel Louis Flores Jason Mayer |
| Effects Leads | Domin Lee Baptiste Van Opstal Youxi Woo |
Aaron C. Adams
Mir Ali
Steve Avoujageli
John Cassella
Derek Cheung
Wes Chilton
Kent Estep
Stuart D. Gordon
Zach Glynn
Landon Gray
Emily Harris
Matthew Head
Carl Hooper
Shyh-Chyuan Huang
James Jackson
Jim Koonce
Yorie Kumalasari
Aiden Kyungik Lee
Michael Losure
Anthony Meyers
Mark Newport
Christian Olan-Geddes
Kiem Ching Ong
Doug Rizeakos
Estefania Thomas
Alex Timchenko
Chuqiao Wang
Masahito Yoshioka
Stephen Wood
Production Coordinator
Matthew Davidson
Lighting
Production Supervisor
Tyler Shelton
Arzan Bagli
Ariel Chisholm
Jonathan Ciscon
Avedis Ekmekjian
Shane Glading
Udai Haraguchi
C. Jin Im
John J. Lee
David Lewis
Lyndon Li
Matt Linder
Jake Nichols
Priyes Nalinchandra Shah
Osamu Takehiro
Ozgur Ustundag
Benjamin Venancie
Iveth Bueno
Amanda Fujita
Francesco Giroldini
George Ho
Justin Holt
Jevin Iching Hong
Lok Ming Hwa
Jeffrey Kasunic
Kelly Koay
Ryan Lang
Bryan J. Locantore
Brett McConnell
Jose Guinea Montalvo
Hajime Nakamura
Chadwick Orr
Rupali Parekh-Sharma
R.J. Pena
Fatema Tarzi
| Additional Lighting Supervisors | Betsy Nofsinger Max Bruce |
| Production Coordinators | Krystal Montoya Ryan Frank Todd Jin Aiah Villanueva |
| Production Assistant | Abigail Kelsen |
Technical Direction and Development
Lead Technical Directors
Megha Juneya
Michael Kevin Murray
Colleen O’Hagan
William Otsuka
Mark Sandell
Michael Amorozo
Stuart Michael Dobbs
Tim Hoff
Kurt Phillips
Tim Schneider
Matt Titus
Brian Walters
Sakshi Verma
Nomish Bhardwaj
David Bui
Adam Chrystie
Matias Codesal
Jason Dengler
Julie Garcia
Bert Laonipon
Henry Long
Elizabeth Muhm
Geoffrey Parkhill
Kaitlin Pollock
Doug Rizeakos
Kimiko Schmidt
Dmitry Shklyar
Venn Vignale
Brent R. Williams
Additional Supervising Technical Director
Jennifer J. Pan
Additional Technical Directors
Kourtney Aikens
Jean-Paul Cardier
Gyedo Jeon
Aiden Kyungik Lee
Allen Rose
Lisa Curtis Saunders
Chuqiao Wang
Image Finaling
| Production Supervisor | Cassandra Fanning |
| Image Finaling Leads | Marc Machuca Nikhil Sinha |
Image Finaling Artists
Michael James Baula
Heidi Friese
Jorge Heredia
Stephen Mallia
Marco Marquez
Damon Martinez
Tyler Old
Dawn Gates Wells
Production Coordinator
Lea Antonette Lorenzo Irlanda
Production
| Central Production Supervisor | Art Bidwell |
| Central Production Office Coordinator | Ryan Behnke |
| Franchise Consultant | Richard Ashley Hamilton |
| Stereo Coordinator | Tim Kwan |
| Digital Color Production Coordinator | Jin Aiah Villanueva |
| Assistants to Producers | Melinda Farrar Joanna Cherensky Jennifer Hoskin Frey |
| Production Accountant | Liza Gomez Breuninger |
| Assistant Production Accountant | Linda Joan Grant |
| Additional Production Coordinators | Tucker Alleborn Shayna Cohen Jessica Hong |
| Casting Associate | Nadia Sheen |
Post Production
| Vice President, Post Production | Andrew Birch |
| Post Production Manager | David Yonover |
| Post Production Supervisor | Josh Wood |
| Post Production Executive Assistant | Rose Silurik |
| Sound Designer | Al Nelson |
| Additional Sound Design | Jeremy Bowker |
| Sound Effects Editors | Jon Borland Malcolm Fife |
| Foley Editor | Dee Selby |
| Assistant Supervising Sound Editor | Jonathan Greber |
| Foley Artists | Jana Vance Geoff Vaughan |
| Foley Mixer | Blake Collins |
| Assistant Re-Recording Mixers | Stephen Urata Danielle Dupre Marilyn Morris |
DreamWorks Animation Sound
| Original Dialogue Mixers | Tighe Sheldon Oleg Belogorsky Roy Latham |
| Sound Designer | Rick Hromadka |
| Mix Engineer | Kaspar Hugentobler |
| Dialogue Recording Engineer | Luke Nagy |
| ADR Recordists | Dave Fritz Seva Solntsev |
| ADR Voice Casting | L.A. Maddogs |
Steve Alterman
Rajia Baroudi
Mitch Carter
Brook Chalmers
Vic Chao
Wendy E. Cutler
Neil Dickson
Alastair Duncan
Peter Falls
Jean Gilpin
Nicholas Guest
Rif Hutton
Bjørn Johnson
Chase Kim
Peter Lavin
Edie Mirman
Paula Jane Newman
Erik Passoja
Jim Pirri
Darren Richardson
Alan Shearman
Johann Stefansson
Daisy Tormé
Matthew Wolf
| D.I. Conform Editor | Joe Thygesen |
| Lead Finishing Colorist | Gregory K. Creaser |
| Finishing Colorist | Paul McGhee |
| Color Production Supervisor | Allison Bernardi Stauth |
| Supervising Post Technical Director | Ariandy Chandra |
| Digital Imaging Manager | Kyle D. Pascucci |
| Digital Imaging Technician | Jack Young |
| Post Production Engineering Manager | Steven Moder |
| Digital Editorial Support | David Peifer |
| Editorial Systems Engineers | Michael Cady Kevin Mullich Paul Farmer |
| Media Coordinators | John Geller Alex Cardullo Chris Hewitt Zoey Alison Gordon |
| Production Assistant | Brianna Rivera |
| Chief Projectionist | Gene Goins |
| Projectionist | Israel Gonzalez-Sandoval |
| Video Transfer | Kevin Cloepfil Amy K. Clark |
Post Production Sound Services by
Skywalker Sound
A Lucasfilm, Ltd. Company
Marin County, California
Music
| Music Editors | Jack Dolman Vicki Hiatt |
| Additional Music & Arrangements by | Ratu Sener Anthony Willus Paul Mounsey |
| Supervising Orchestrator | John Ashton Thomas |
| Orchestrators | Tommy Lawrence Geoff Lawson Andrew Kinney Randy Kerber Jon Kull Rick Giovinazzo |
| Orchestra Conducted by | Gavin Greenaway |
| Eric Whitacre Singers Conducted by | Eric Whitacre |
| Orchestra Leader | Emlyn Singleton |
| Score Recorded by | Nick Wollage |
| Additional Recordings by | Peter Cobbin Lewis Jones |
| Score Mixer | Shawn Murphy |
| Additional Mixing | John Traunweiser |
| Scoring Editor | David Channing |
| Digital Score Recordist | Erik Swanson |
| Music Preparation | JoAnn Kane Music Service |
| Orchestra Contracted by | Isobel Griffiths Susie Gillis |
| Choir Contracted by | Music Productions |
| Gaelic Vocal Coach | Julie Fowlis |
| Solo Vocals | Jónsi Dee Lewis Clay |
| Celtic Harp | Maeve Gilchrist |
| Ethnic Woodwinds | Jan Hendrickse |
| Bodhran | Kieran Leonard |
| Bagpipes | Lorne MacDougall Craig Munro Craig Muirhead Kyle Howie |
| Uilleann Pipes | Calum Stewart |
| Score Recorded at | Abbey Road Studios, London |
| Stage Recordists | Matt Jones Daniel Hayden |
| Score Mixed at | 5 Cat Studios, Los Angeles |
| Score Production Assistant | John Michael Caldwell |
DreamWorks Animation Studio Management
Co-President, Feature Animation Group
Bonnie Arnold
| Head of Global Production Jill Hopper Desmarchelier India Unit General Manager Head of Feature Film Development Development Executive Head of Artist Management Head of Production Technology | Production Executives Jeffrey Paul Hermann Pipeline Director Production Technology Director Workflow Directors |
| Studio Department Managers | |
| Morenike Dosu-Rotherham Rene Harnois Jr. | Clint W. Heidorn Angela Lepito |
| Studio Associate Department Manager Marie Lanza | Studio Department Coordinators Iene Geller Lyvia A. Martinez |
Pipeline Development
| Principal Engineer Ben George | User Experience Seeyun Kim Ethan Kefauver | Production Supervisor Rich Ethan Austin Lee |
| Pipeline Leads | ||
| Charles Adams | Sreenivasa Kumar Pydi | |
| Pipeline Engineers | ||
| Alan Blevins Brett Bronson Kewsi Davis | Sean Fennell David Illes Chethna Kabeerdoss | Joseph M. Lohmar Ilia Lyons Eric Scheidemantle |
Production Technology
Digital Supervisor for Production Technology
Anthony Tyler
| Supervising Technical Director Noé Martínez Ibarra | Technical Project Manager Heather Moore |
Lead and Specialist Developers
| Ian Henkel Christian Barrett | Stuart Cobbs Chris Edwards Bernard Lebel | Eric Morse Sean Wallitsch |
Production Technology Development
| Motohisa Adachi Marshall Candland Jean-Paul Cardier Thomas S. Ellsworth Kolja Erman | Stephen Garver Topher Hughes Gyedo Jeon Chris Kotschwar Jacob W. Melvin | Ryan Moran Benjamin Pease Allen Rose John Russell Soumitra Saxena |
Character Technology
| Character Technology Supervisor Rob O’Neill | Character Technology Development Supervisor Arthue Gregory |
| Character Technology Leads | ||
| Terran Boylan | Megha Davalath | Ted Forgtave |
| Character Development | ||
| David Drell | Adán Peña | Jeff Woo |
| Project Coordinator John Parsons | Production Testing Landon Graham Roberto Smith |
THANKS TO EVERYONE AT DREAMWORKS ANIMATION WHO SUPPORTED THIS PRODUCTION
Animation Technology
| Chief Technology Officer | Jeffrey Wike |
| Technology Fellow | Skottie Miller |
| Senior Finance Manager | Fori A. Arntzen |
| Senior Vice President, Strategic Alliance | Kate Swanborg |
| Vice President, Global Technology | Andrew Pearce |
Research & Development
Vice President, Research & Development
William J. Ballew
| Paul Carmen DiLorenzo | Gregory S. Heflin Robert Knaack | Mark Jackels |
| Suelika J. Chial Sarah Counnas Gregory Elshoff | Randy Packer Abby Thompson Mackenzie Thompson | Andrew van Pernis Brent Villalobos Luis E. Villanueva |
Senior Principal & Principal Engineers
| Jonathan Egstad Barry Fowler | Brian J. Green Toshi Kato | Doug Sherman Rob Wilson |
| Michael Babcock David Gardner Matthew C. Gong | Jonathan Lanz Jim Leuper Sean Looper | Matthew Low Brett Schlank David Tonnesen |
| Thomas Robert | Quoc Tran |
Animation & Rigging Engineers
| Chad Ata Andrew D. Brown Stuart Bryson Zachary Carter Nhi Hua Casey Riva Yu-Hsin Chang Anson Chu | Shenyao Ke Ben H. Kwa Kirk Lansman Jose Juan Medina Pia Miniati Barathy Rangarajan | Davia Saelman Bryan Smith Marc A. Soriano Henry Steinbeck Chi Wei Tseng Vitaliy Zavesov |
Rendering & Shading Engineers
| Scott Cegielski Mike Day Priyamvad R. Deshmukh Conrad Egan | Wei-Feng Wayne Huang Keith R. Jeffery Jeffery Mahovsky | Marianna H. Neubauer Bruce N. Tartagila Ron Woods |
CFX & FX Engineers
| Peter Chuka | Ibrahim Sani Kache | Robert Tesdahl |
| Alexander Gerveshi Ali Kouhzadi | Neil Lopez Tony Lu | Joshua Miller Bill Spitzak |
Production Services Engineers
| Gina Y. Chen Matthew Davies | ManTat Lam Michael Svihura | Justin Wei-Kai Tang Dylan Durst |
Media & Editorial Engineers
| Mike Becker Josh Burnell | Joseph Dagg Morris «Mojo» Jones | Jason Kankiewicz |
Configuration Management Engineers
| Jeffrey Bradley Margaret A. Decker | Peter C. Miller Tom Staples | Kathleen Toth |
Distributed Computing and Analytics Engineers
| Ryan Amundson Danny Hendargo | Collin Mehring | Cheng-Jui Yu |
Platform Services & Infrastructure
Vice President, Platform Services & Infrastructure
Justin G. Decker
| Scott Chapin | Richard F. Rubio | Ali Zaidi |
| Managers | |
| Ahmad M. Alkilani Sharis Arakelian | Robert Bell M. Umair Mufti |
| Supervisors | |
| Balaji Alahari Heig Gregorian | Keith McKay Stephen E. Ross |
| Big Data & Analytics | |
| Dennis Duong Gopi Hari | Michael Jules David Khudaverdyan |
| Naveen Kumar Eppa Mark Lelles | Rajeshh Raghavan Devendra Shah | Ara Zarifian |
| Sean Chen Timothy Go Anes Khalifa Hadrez | Mark Magaling Cory A. Ramirez | Patrick D’Appollonio Vega Zicheng Wang |
| Michael K. Hassler Victor H. Guest Evan S. McAnulty | Raffi Parikian Sean D. Sellers Brian Urrutia |
| Rogelio Yañez | |
| Storage Engineering | David Liebling Rezk Hakim Mekhael Kannah Subburayan |
| Network Engineering | Glenn Lamb Raul Rodriguez |
| Data Center Engineering | Jimmy Castaneda John Savage |
| Project Management | Lauren L. Bond Joy H. Fang Gleen A. Kelly |
Service Operations
Vice President, Services Operations
Mark M. Tokunaga
| Director Donald R. Hibbard | Managers Danny Gallo Hahm Mike Pace Jasten Wine | Senior Principal Engineer Carol J. Shimabukuro Choy |
| Carrie La Rese Hughes Julia Lopez | Jamie J. Poulos | Ernestro Antonio Quiroz II |
| Andrew Armonaitis Brian T. Bullard David W. Dinsmore | Dailleon «Aisce» Ford Cheryl Laner Alex Magana | Jordan Myers Philip Stefun Cory S. Walker |
| Michael Perry | Vivian Rogers |
| Emily Abele Austin Casale Liudas Cerniauskas Jessie George | Gina Gilmartin Kayla Mouriz Joel Pollack | Jonathan Runkel Enrique Saldívar Roenyl Lesley Tisoy |
Audio Visual Engineering
| Alain Anton Banas Mauricio «Marty» Brenes | Michael S. Coronado | Wen-Po Bobby Lee |
Advanced Creative Technology
Vice President, Bus Ops, Strategy & Emerging Technology
Christina Lee Storm
Vice President, Advanced Creative Technology
Emmanuel C. Francisco
Producer & Technology Manager
Kelly Kietnan
Motion Capture Technology
| Jesse Bayliss Demian Gordon Andrew Hanson | Elvin Korkuti Kristine Middlemiss Ashwin Nagavelli | Sarah Scialli Roberto Smith |
Strategic Alliances
| Manager | Brent Christo |
| Supervisors | Nathalie Gallegos Jordan Wray |
Technology Operations
| Paul A. Calderon Christopher Cassano Alan Franzenburg Jorge Gonzalez Robert Guillen | Keith Hernandez Eric Kirby Jermson Montefalcon Elkeer Pratt Luis Salas | Alex Shandi Steven Siebe Jin Po Siu Andrew VanVoorhis |
Technology Management
| Nubia Blanco Meg Brown | Gary Cozine Chris de Zorzi |
| Darlene A. Medina Linda Catherine Powers | Martha P. Sanchez-Quinonez Hope Marie Scanlan | Natalie Stone |
DreamWorks Animation’s Preferred Print Services and Workstations Providers
DreamWorks Animation’s Preferred Cloud Data Services Providers
DreamWorks Animation Studio Operators
| Stephenie Anderson Kevin Engle | Gina M. Garcia Sam Hinton | Julie Sherwood Christina Tellez |
Business and Legal Affairs
| Adrian Anderson Vinnie Bowling Timothy R. Collins, Jr. Marie Cozannet Richard Hamner, Jr. | Cythia Hernandez Karina Kaidbey Robbin Kelley Duke Marine Kirsten Milliken | Adria Mummerlyn Gia Russo Brad Stocking Yusef Sutton Joni Torres |
| Lauren Castro Julia Hart | Jason McConnell Miriam Ritchie | Sam Swenson |
Facilities and Shared Services
| Lisa Bradley Andy Canales Jose Carrasco Stacy Hibbard | Jorge Hernandez Ken Romero Brenda Taylor | Elijah Thomas Eduardo Velarde Bubba Wilson |
Finance and Accounting
| Kelly Betz Jonathan Bopp Kristine Borchard Monique Buttle | Juan Carlos Coronado Candice Fung Jennifer Gaims | Maritza Huezo Greig Hutchinson Nancy Tom |
Human Resources, Recruiting and Training
| Crystal Ang Jennifer Caruso Garzia Como J.C. Cornwell Courtney Currin Yadira Hernandez Nikita Huynh Hae Hwang | Ryan Kuo Atkinson Bernadette Lautrette Camille Leganza Vanessa Ljungqvist Kathleen Mackenzie-Graham Bryan McAdams Kevin Oram Cynthia Ostergar | Annelise Salgado Sarah Satterberg Jarrett Smith Scott Tu Doeri Welch Brandon C. Williams Gigi Yates Colette Zakarian |
Marketing and Custom Animation
| Asia Evans Jim Gallagher Michael Garcia | Darin Grimes Angie Howard Amy Krider Richard LaForge | Casandra Tuttle James Wood Shao Zhang |
Special Thanks
The Amputte Coalition
Angel Giuffria
Dan Ignaszewski
Andy May
Jack Richmond
Laura Richmond
Michelle Wolfe
Art Brown
Darrel Casalino
Terry Curtin
James Deakins
Jerry Schmitz
Douglas Sloane
Drew Struzan
«Together from Afar (How to Train Your Dragon: The Hidden World)»
Written & Performed by Jon Thor Birgisson
Produced by Emile Haynie & Jon Thor Birgisson)
Soundtrack Available from
Presented in association with Dentsu Inc./Fuji Television Network, Inc.
COPYRIGHT © 2019 DREAMWORKS ANIMATION AND UNIVERSAL PICTURES INTERNATIONAL ALL RIGHTS RESERVED
DREAMWORKS ANIMATION LLC IS AUTHOR AND CREATOR OF THIS MOTION PICTURE FOR
THE PURPOSES OF THE BERNE CONVENTION AND ALL NATIONAL LAWS GIVING EFFECT THERETO,
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10 How To Train Your Dragon Theories So Crazy They Might Be True
Here’s 10 fan theories about the How to Train Your Dragon trilogy crazy enough to be true, from Hiccup’s dream to Toothless knowing more than thought.
Behind the magic of How to Train Your Dragon: The Hidden World
How DreamWorks used HP technology to help bring its blockbuster animated franchise to life on the big screen.
By Joe McGovern — February 21, 2019
Arts & Design
Behind the magic of How to Train Your Dragon: The Hidden World
How DreamWorks used HP technology to help bring its blockbuster animated franchise to life on the big screen.
By Joe McGovern — February 21, 2019
A hard beginning, so the saying goes, maketh a good ending. When How to Train Your Dragon was released by DreamWorks Animation nine years ago, audiences were charmed and moved by the movie’s message of how patience, dedication and painstaking work pays off. That was illustrated by the unlikely bond between gangly 15-year-old Viking boy, Hiccup (voiced by Jay Baruchel), and a sleek, black, last-of-his-kind dragon, Toothless the Night Fury, as they became best friends and quelled the misconceptions of Hiccup’s elders, who were long determined to slay the dragon.
The adventures of Hiccup and Toothless continued in 2014’s hit sequel, which introduced Hiccup’s mother (Cate Blanchett). Now the franchise comes to a close with the visually sumptuous, emotionally powerful third film, How to Train Your Dragon: The Hidden World (in theaters Feb. 22), which finds a matured, twentysomething Hiccup confronted by two unexpected arrivals in his life that will alter everything: Grimmel (F. Murray Abraham), who plans to destroy the Vikings’ island home of Berk, and a white dragon named Light Fury, the last female of her kind, a potential mate for Toothless.
So far, the first and second Dragon films stand as one of the most successful animated franchises of all time, with more than a billion dollars in worldwide grosses and twin Oscar nominations for Best Animated Film. As the story reaches its rousing conclusion, it’s not a spoiler to say that the “Hidden World” of the title is fully, gloriously revealed. (More on that later.) After the trilogy’s 12-year production life, this final film marks a journey’s end for the team of artists and engineers who brought the movies to life — as well as a testament to the collaboration between DreamWorks Animation and HP, a partnership which began in 2001. Through that long relationship, an extraordinary span in innovation can be charted.
“The amount of technology required to make these films is simply staggering,” says Kate Swanborg, DreamWorks Animation’s SVP of technology communications and strategic alliances. “We understood early in DreamWorks Animation’s history that if we found an equally world-class partner in the ecosystem, we would be able to accelerate our own ambitions.”
The Hidden World (c) 2018 DreamWorks Animation LLC. All Rights Reserved
The difference a decade makes
The HP technology the studio uses has changed over the years, getting faster and better, with new advances in computing power. Dean DeBlois, writer/director of How to Train Your Dragon: The Hidden World, had directed traditional hand-drawn animated films like Disney’s Lilo & Stitch before coming on board the first Dragon film (which he co-directed with Chris Sanders) in 2008. “When I was introduced to computer animation, it blew my mind,” DeBlois says. “I was amazed by the amount of detail we could have on a character. Hair and fur and skin and leather — and everything felt so palpable and credible.”
Courtesy DreamWorks Animation TM (c) 2019. All Rights Reserved
Dean DeBlois, writer/director, How to Train Your Dragon: The Hidden World is immersed in work from the studio’s most recent film.
This time around, with HP computing power, DeBlois and his team were able to bring their creative visions and visual aesthetic to life. “It’s the level of rich detail on screen, and that visceral sense of dynamic cinematography,” he explains, “where you feel like you’re sitting on the back of the dragon along with Hiccup as he’s diving and soaring on Toothless.”
A key to that sense of genuineness, of course, lay within the dragon character. While designing and animating Toothless, artists referenced wild animals like black panthers but also pets. Animators watched countless videos of cats and dogs for the subtlest nuances of pet behavior.
“We wanted the audience to fall in love with Toothless the way Hiccup falls in love with Toothless,” says Simon Otto, head of character animation on all three films. “The way to do that is to give the audience a feeling of the bond they share with their own animals. I’m a cat person and others in the crew are dog people. So we had these cat and dog disputes all the time — until we realized that we could draw from all our pets.”
The power of technology
A dozen years ago, animating was time-consuming and less iterative. But today, increased computing power has been among the most notable technological advancements in the industry. HP’s Z8 desktop is enabled with multi-core processors, which performs an average 40 percent faster than previous generations. This allowed the artists to work interactively on large, complex scenes with multiple perspectives and multiple characters.
“On the first Dragon film, our workflow was not interactive and we had to guess what the result would look like when making changes,” says Otto. “We couldn’t directly interact with the character. It would be a lot of stop and go before seeing the results. Today, there’s no stop and go. The computing power we have at our workstations allows us to be iterative in ways we could have never been in the past. We have the capability to push the boundaries and try things out.”
HP technological solutions in support of the studio’s production have continuously improved and advanced throughout the past 10 years. “After the first Dragon film in 2010, we were working to re-architect all of our proprietary tools,» Swanborg remarks. «So come to the second film in 2014 and many of those same artists had worked on a completely different pipeline, designed specifically with the Z by HP devices in mind. For the third film, we knew that HP was going to be putting us in a circumstance to access a system with 36 cores and 128 gigs of RAM, so we architected the applications to take advantage of that.”
The Hidden World is comprised of 730 terabytes of data, compared to 90 on the first film. “Previously, our software really couldn’t take advantage of the large number of cores,” says Dave Walvoord, visual effects supervisor on the second and third Dragon films, referring to the individual units that execute data instructions. “But now our animators essentially have power at their fingertips.”
Courtesy DreamWorks Animation TM (c) 2019
Simon Otto, head of character animation of How to Train Your Dragon: The Hidden World manipulates the hero character using the studio’s animation software powered by HP workstations.
Translating it to the big screen
More cores, frankly, result in more awe. And the technology help the artists ascend to new creative heights they may not have thought possible a few years ago. The second film’s most spectacular sequence occurs when Hiccup reunites with his mother in a lush, breathtaking dragon sanctuary. “But if you look at the mom’s sanctuary carefully,” Walvoord reveals, “it is only seen from about three vantage points, and the rest of it was a painting. In this third movie, we didn’t want to do that. We wanted to geometrically build everything in the environment. We wanted to have the capability to position the camera at any angle and show everything in its full capacity, something that was not possible on previous films.”
Something else that wasn’t possible in previous films was the specific degree of performance of the animated characters. “In intimate moments where characters are communicating very subtle emotion, they now come across in a much more sophisticated and believable way,”DeBlois says. “Our animators have an endless amount of creative expression capabilities.”
“We actually crafted the entire three mile section,” Walvoord says. “There are really long shots where a lot of distance is traveled.” He points out that three miles as an actual distance is important, because, “When the first Dragon film was made, what you were able to build on the computer was probably less than a live-action movie could have built on a set. Now 12 years later, we can do far more on a computer than could ever be physically built.”
And build it they did. In addition to the multiple miles of the Hidden World, there’s a total of approximately 60,000 dragons in the film, including 1,500 in one shot alone. Indeed, in one stunning crowd shot, the studio leveraged instancing to show 42,000 Fireworm Dragons, making history as the fullest shot of its kind ever created at DreamWorks.
“We use HP everywhere throughout the process — obviously their insanely powerful workstations, but also their incredible printing capabilities, so the filmmakers can see tactile images on paper.”
Kate Swanborg, DreamWorks Animation’s SVP of technology communications and strategic alliances
A long-standing partnership
The Dragon films are the product of a special relationship between imagination and technology. The research and development departments at HP mind-meld with filmmakers at DreamWorks to make, well, dreams work, from the powerful computing to best-in-class printing to remote graphic software that allowed for cross-site collaboration. “The partnership truly is connected at every level,” says Swanborg. “We use HP everywhere throughout the process — obviously their insanely powerful workstations, but also their incredible printing capabilities, so the filmmakers can see tactile images on paper.”
The alliance between the two companies has been so successful, Swanborg explains, because each are meeting at the intersection of creativity and innovation. All great friendships, just as the movie illustrates, are built on trust, support and mutual benefit.
“For close to two decades, HP has been there for us. And in turn, HP can take all that knowledge about how their products are performing and improve them for the rest of their customer base.”
Key to the success of DreamWorks’ films is artistry and storytelling. Behind the scenes though, are millions of files and billions of ones and zeroes.
“We have reached an amazing place where we can actually put on screen anything that we can imagine,” says DeBlois. Until very recently, there were limitations to what we could do. Those limitations have been lifted.”
Otto speaks for many of his colleagues when he says, “You have the left side of the brain talking to the right side. DreamWorks artists and technologists are collaborating to bring our stories and characters to life. And with the right partner, we have the technology to make our dreams a reality.
He adds, “It’s crazy to think of what could be possible next.”
How to Train Your Dragon: The Hidden World
How to Train Your Dragon: The Hidden World is a 2019 American computer-animated action fantasy film loosely based on the book series of the same name by Cressida Cowell, produced by DreamWorks Animation and distributed by Universal Pictures. It is the sequel to How to Train Your Dragon 2 (2014) and the final installment in the How to Train Your Dragon film trilogy. Written and directed by Dean DeBlois. The film’s plot follows Hiccup seeking a dragon utopia called «The Hidden World» while coming to terms with Toothless’ new bond with a female Fury.
How to Train Your Dragon: The Hidden World was released on January 3, 2019 in Australia, and February 22, 2019 in the United States and Canada. It is the first DreamWorks Animation film to be distributed by Universal Pictures, whose parent company NBCUniversal acquired DWA in 2016, rather than 20th Century Fox, with which the studio previously had a distribution deal.
Contents
Hiccup [ edit ]
Grimmel the Grisly [ edit ]
Dialogue [ edit ]
(flashback with young Hiccup held by Stoick, on top of a cliff of Berk)
Stoick: Hiccup. This is Berk, son. It’s our home. It was the home of your grandparents, and their grandparents before them. And it’s my job as chief to protect us, Hiccup. And one day, when you’re all grown up, that job will be passed on to you. Young Hiccup: Okay. Stoick: And it’s very important, son, because out there, beyond the sunset, lies the home of the dragons. Young Hiccup: Wow! Stoick: Aye! Legends tell of ships that sailed too close to it, only to drop off the edge of the world. Never to be seen again. (Young Hiccup gasps) But, those sailors who turned back, told tales of a great waterfall and dragons guarding the entrance to a hidden world. Young Hiccup: Whoa. Stoick: Not just a nest, Hiccup, but a land from which all dragons come. Young Hiccup: Even. Night Furies?! Stoick: Especially Night Furies. Young Hiccup: Those are scary. Stoick: Don’t you worry. One day, I’ll find the Hidden World and seal it up. so that people and dragons will fight no more.
(At the forest where the Light Fury was found)
Tuffnut: So. Wanna get married? Hiccup: Uhh. No, actually. Tuffnut: Good news. I’ve been to two weddings. I crashed both. But none as high profile as this one. Lots of pressure. Judgment. Not just by me. Hiccup: Look. We talked about it. We’re not getting married. Tuffnut: cold feet! I’ve seen it before. Don’t worry, little Hiccy. I’m here. Hiccup: Wait, Hiccy? Tuffnut: Now, I’ve seen the way Astrid looks at you. Everyone has that doubt. That not-so-subtle disappointment. That longing for something more than you. You need to focus on being worthy. I mean, she’s a warrior queen for Thor’s sake! And you are. neither. But with me as your best man, your spirit guide if you will, you’ll learn to embrace your inner Viking. Show these nay sayers, of which there are many, that you are more than just a malnourished runt with bad hair, strange teeth and a twig for a neck. Hiccup: You’re-you’re really bad at pep talks. Tuffnut: Stop letting these insecurities get the best of you. (Toothless walks around) Everyone’s watching. I mean everyone. You need to man up. Do as I do. It will be hard, but. you have my word. (Hiccup spotted a dart) And until I break that word, I won’t give up! Hey! Hey! What, am I wasting my time here? You see some shiny thing in the woods- Oh, what is that?
(Hiccup looks around as Toothless walks back towards Hiccup.)
Hiccup: (protecting Toothless) Toothless! (Toothless stops) Don’t move a muscle. (Hiccup takes Tuffnut’s stick) Tuffnut: Hey!
(Hiccup throws the stick, revealing a dangerous trap. At the Blacksmith Shop)
Hiccup: Someone’s here. He managed to slip past our scouts and lay a trap in the woods. Tuffnut: IT RUINED BOY TALK! (throws the dart, nearly hit Eret) Gobber: Let me at ’em! Hiccup: Slow down, Gobber. Let’s get a search team on the ground. Scouts in the air. Toothless and I will fly the coastline. Eret: Yeah. I wouldn’t advise taking Toothless anywhere, Chief. (recognizing a dart) I know this handy work: (remembering) «Grimmel the Grisly». Famous back where I’m from. The smartest dragon hunter I ever met. Well, next to me of course. Hiccup: Well, he can’t be that smart. He left his trap unmanned. Eret: Ha ha. Nothing’s accidental when it comes to old Grimmel. He lives for the hunt, to get inside the mind of his prey, to control its every choice. It’s all a game to him. Astrid: Well, he doesn’t know who he’s playing with. Hiccup: Yeah. We’ve dealt with his kind before. Eret: Don’t underestimate him, Hiccup. Mark my words, he’ll be back. Hiccup: Then we’ll be waiting for him.
(At Hiccup’s house, searching for clues about the Hidden World in Stoick’s books)
Hiccup: Alright. Alright, come on give me a clue here. Give me a clue, Dad. (hears noises around his house, but sees Grimmel in cloak) Grimmel: I hope you don’t mind if I help myself. This is, uh. quite good. (Hiccup lights up his Inferno) That is impressive. But, let me finish my drink. (shoots a dart at the sleeping Toothless) Hiccup: Toothless! What did you do to him? Grimmel: Nothing that he won’t sleep off. Ahh. Ha ha. May I? Chief Hiccup, hmm? Do I say Chief Hic-cup or do I just call you Hiccup? What do you prefer? You have no idea who I am, do you? Uh-ha ha. Well, your father knew of me. Now, there was a chief. One of the greatest dragon hunters to have ever lived! What would he think of you? (laughs) He did it right, you know. Making it his mission to destroy the beasts so that you could grow up in a better world. Hiccup: He changed his mind. Grimmel: And look where that got him. So, let’s get to the point. I am the Night Fury killer. (Hiccup learn about Toothless being a last one) I’ve hunted every last one, but yours. You are going to give me that dragon. Or I will- Hiccup: I will never give him up! Grimmel: (laughs) You wish dragons to live free among us like equals? A toxic notion, my boy. History has shown that we are the superior species. What if word of your misguided ideas were to spread? It would be the undoing of civilization as we. know it. Hmm. (notices that is not Toothless, revealing Fishlegs hiding under the covers) Fishlegs: Did we get him? (faints)
(Hiccup throws Grimmel’s bow)
(The Dragon Riders reveal themselves from their covers)
Gobber: Sorry to barge in! Hiccup: You think you can come into my home? Sit in my father’s chair? And «threaten» my dragon? This is Berk. And we have defended our way of life from far worse than you! Grimmel: Oh. Ha ha. A fighting spirit, I love it! Only, I’m afraid you’re mistaken: You’ve never seen ANYTHING like ME. (whistles, calling his Deathgrippers to attack the riders and aid him. The Riders takes cover from his dragons and their acids) Hiccup: ASTRID, LOOK OUT! Valka: Look out! Son, get clear! Gobber: RUN! (he, carrying Fishlegs, and Astrid flees) Grimmel: (leaving in smoke, before warning Hiccup) HAVE MY DRAGON READY WHEN I RETURN, OR I WILL D-STROY EVERYTHING YOU LOVE!
(Escaping Hiccup’s burning house, seeing Berk on fire, everyone screaming)
(After Grimmel traps the Dragon Riders in his net)
Grimmel: Where’s your dragon when you need him? Hmm, Chief? Must have forgotten all about you. (laughs) First rule of the hunt Separate the prey from its pack. You’ve just removed yourselves from the equation. Hiccup: Why are you doing this? Grimmel: Really? I didn’t think you cared. Well, unlike you, when I was a boy and I came up on a Night Fury, I killed it where it slept! That simple act of courage made me a hero in my village. So, I decided to kill every last one, bringing real peace to the people of this world. Until you came along preaching that dragons are something other than thieves and murderers. Psssh. That nonsense dies now. Starting with you. Hiccup: But you have dragons of your own. Grimmel: (laughs) These?! They’re dragon KILLERS. Drugged into obedience with their own venom! Not even your precious Alpha could control them. They serve me. and only me. Allow me to demonstrate. (whistling his dragons to kill the Dragon Riders) Hiccup: TAKE COVER.
(At the Warlords’ base, with Ruffnut captured in a prison cell, begins annoying)
Ruffnut: Why the long face? (laughs) I mean, mine’s long, but yours is really long. All face and no brain. Like you got stretched at birth. Do you have a twin, too? Tuffnut took up all the room in Mom’s belly. Otherwise, I’d have a rounder head and more brains, that’s science. My braids are like little Zipplebacks, see. Rawr-rawr. Yeaaah. Even the mold spots look like eyes. So cute. They even have little horns and everything just like Barf and Belch. Except me and Barf can’t stand Belch so they’re really just Barfs. It’s warm in here. I know what you’re thinking. You’ve never had a prisoner this hot. All the boys love me. Except Eret, who totally lost his chance. That ship has sailed, boys, sorry. And Hiccup is practically married to that round head, Astrid. But Snotlout and Fishlegs, they’re basically in my hand. Just can’t choose, you know. Snotlout’s a beef cake but almost too pretty, you know. Sometimes I think he’s more in love with himself than me. There’s only room for one beauty in this relationship. (laughs) Fishlegs would keep me alive longer if I had to eat one of them. Stranded on some glacier somewhere. But he never shuts up about dragons. Do you hate it when people never stop talking? Grimmel: Yyyeeessss, I dooo. Ruffnut: Bleh, bleh, bleh. It’s sooo boring. Griselda: Can’t we just feed her to your dragons? Ruffnut: What do you have to eat around here? I’m allergic to fish, you should know that. That’s all they have in that stupid new island. (Grimmel overhear Ruffnut, finally learning where the Berkians are at) Do you have any clams? They’re like little mouths with slimy food inside that’s already chewed like the way Mom used to do it. Grimmel: [Shouts] ENOUGH! Ruffnut: Until I turned twelve and she was like. «CHEW YOUR OWN FOOD!» And I was like, «NO I DON’T LIKE IT!» Grimmel: (opens Ruffnut’s cage door) Most annoying creature ever to cross my path! Ruffnut: Awww. (poking Grimmel’s face with her Zippleback braids) Oops. You let the dragons out. Gonna get ya. Gonna get ya. No, this one’s gonna get ya. Grimmel: (Chaghatai opens the Scuttleclaw’s cage, giving Ruffnut her helmet) Take him and go, please! I beg you! The Deathgrippers will have to forego dinner. Ruffnut: (confused) Ewww. You feed your dragons. dragons? Grimmel: GOOOOOOOOO! Ruffnut: Where’s your bathroom? Cuz, I gotta. (makes click sound, Grimmel angrily looks at her) Okay! Gods! No wonder you have grey hair. Stress is not good for you. (She and Scuttleclaw flies off) Ha ha ha! So long, losers!
(Grimmel realizes he can secretly follow her to New Berk.)
(another flashback with young Hiccup with Stoick, inside their house at Berk. Stoick cries in front of the fireplace for the loss of his wife, Valka. He spotted Young Hiccup on the stairs.)
Stoick: Son. (wipes his tears) You should be asleep. Young Hiccup: I was thirsty. Stoick: Yeah, come here. (Hiccup climbs down stairs and runs to his Dad) Young Hiccup: Dad? Are you gonna get us a new Mom? Stoick: I don’t want another. Your mom was the only woman for me. She was the love of my life. But, with love comes loss, son. It’s part of the deal. Sometimes it hurts, but in the end, it’s all worth it. There’s no greater gift than love.
(seeing Toothless and the Light Fury playing on New Berk, Hiccup and Astrid overjoyed until Ruffnut and Scuttleclaw appeared)
Ruffnut: Woohoo! Yeah! Astrid: Ruffnut? Ruffnut: Miss me? Astrid: How did you escape? Ruffnut: I annoyed them til they let me go. Hiccup: (confused) Wai-wait. Grimmel LET you go? Ruffnut: So dumb. They couldn’t handle me. See, everyone thinks Tuffnut’s more annoying but- Astrid: But hold on. Hiccup: Ruffnut, focus! Were you followed? Ruffnut: I never look back, Hiccup. Hiccup: (gasps; realizing Grimmel is here for Toothless and the Light Fury) Toothless! (rushes to save the Furies)
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What To Expect From A How To Train Your Dragon 4
How to Train Your Dragon: The Hidden World ends the trilogy, but what does it mean for How to Train Your Dragon 4? Here’s what we know.
Warning: SPOILERS for How to Train Your Dragon: The Hidden World.
With How to Train Your Dragon 3 already performing incredibly well at the international box office, it appears that the new installment will go down as another hit. In an age where IP and franchises reign supreme in Hollywood, usual studio practices would indicate that the franchise will continue to live on. But will that actually be the case for How To Train Your Dragon 4?
How To Train Your Dragon 3 Was The End Of The Trilogy
Just based on the traditional structure of a trilogy, How To Train Your Dragon 3 is the final chapter of the story they’ve been telling. The entire How to Train Your Dragon trilogy has been directed by Dean DeBlois and he has made it clear in the past that this third installment will end the story properly. DeBlois has been talking about this as the plan for nearly five years; he previously mentioned in 2014 that he was able to talk down DreamWorks from wanting to do a How To Train Your Dragon 4. As such, by the end of this third film, Hiccup and Toothless’ stories are largely finished, reaching a satisfying end.
There Is Story Room For How To Train Your Dragon 4
How To Train Your Dragon 4 Is Unlikely To Happen
As hopeful as the ending may be, How to Train Your Dragon 4 does not appear likely at this point. The last time it was discussed was in 2014, and a return to this world could be complicated. DeBlois appears to be satisfied with how his trilogy ends, and he has yet to express interest in being part of a continuation of the franchise. Even with the aforementioned time jump, the trilogy’s ending is still a proper conclusion to Hiccup and Toothless’ story. A fourth film could feel like an unneeded add on to their arcs and could involve an entirely different creative team. We can’t totally discount the possibility of it happening at this stage, but How to Train Your Dragon 4 has yet to be announced or given a release date, so the chances of it happening are doubtful at best.
When Would How To Train Your Dragon 4 Release (If It Did Happen)?
Even if DreamWorks and DeBlois go back on their word, that doesn’t mean How to Train Your Dragon 4 will happen any time soon. Animated films take a long time to develop, write and produce; there were four years between the first two Dragon movies and five between the second and third. A similar gap would be expected for How to Train Your Dragon 4, meaning a 2023 release date at the earliest (and that’s if they started work on it today).
There Could Still Be More How To Train Your Dragon
No How To Train Your Dragon 4 doesn’t have to mean the end of the franchise, however. From 2012 to 2018, DreamWorks’ Dragons aired on Cartoon Network and later Netflix, expanding the world of films and deepening the character relationships (most of the voice cast returned). While the series is over now, it’s not out of the question
MORE: Does How to Train Your Dragon 3 Have A Post-Credits Scene?
Key Release Dates
How to Train Your Dragon 3
Cooper Hood is a news and feature writer for Screen Rant. He joined Screen Rant in late 2016 following a year-long stint with MCU Exchange, which came after first developing an MCU blog of his own. He graduated college in 2016 with a Bachelor’s degree in Media & Public Communication, with a minor in Media Production. Cooper’s love for movies began by watching Toy Story and Lion King on repeat as a child, but it wasn’t until The Avengers that he took an invested interest in movies and the filmmaking process, leading him to discover the world of film journalism. Every year Cooper looks forward to seeing the latest blockbusters from the likes of Marvel, DC, and Star Wars, but also loves the rush to catch up on Oscar films near the end of the year. When he isn’t writing about or watching new releases, Cooper is a fantasy football obsessive and looking to expand his Blu-Ray collection – because physical media is still king! Follow Cooper on Twitter @MovieCooper.