NEW YORK (AP) — Filmmaker Pierre Coffin is the creator and chief practitioner of Minionese, but it’s a dialect — like most things Minions — that’s taken time to hone.
“I have this file on my phone of Indian dishes or weird words.” Coffin says. “People come up to me and say, ‘You should say that!’ and I write it down.”
“The hardest thing,” adds Coffin, “is just to find the melody.”
It’s been 16 years since Coffin co-directed Illumination’s “Despicable Me.” He has made three more movies in the franchise, directing “Despicable Me 2,” “Despicable Me 3” and “Minions.” But the Minions, like Coffin’s personal version of Frankenstein’s monster, have often remained a deviling, even mystifying force to him.
Coffin, a French Indonesian animator who lives in Paris, where Illumination productions are based, has struggled with both the dictates of Hollywood franchise-building and the strange narrative conundrums of movies based around a supervillain and gibberish-speaking henchmen.
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“That’s why I kind of disappeared from the series,” Coffin said in a recent interview from Paris. “I mean, the first one was really good. A bad guy becoming a good guy after contact with three little girls, I could see it. The second one was a little bit more shady because it was like: That guy who’s no longer a bad guy falls in love and there’s a marriage at the end. That’s literally how Chris (Meledandri) pitched it to me. My French sensibility threw up a little bit.”
If you can’t tell, Coffin — the still-mischievous 59-year-old son of a French diplomat and an Indonesian novelist — is unusually candid about the franchise he helped create. Even movies that he directed, he’s highly critical of.
The previous “Minions” spinoff, 2022’s “Minions: The Rise of Gru,” Coffin won’t even talk about because, he says, “I don’t necessarily like it and it’s strange to me.” “Despicable Me 3,” the 2017 sequel was the last movie Coffin directed, but he says he didn’t even want to make it. Afterward, Coffin told Meledandri, the Illumination chief executive, that he was done.
“I told him: I got to move on. I did my trilogy, my prequel — I’m good. I can help with the voices, no problem. But I want to move on,” Coffin says. “I worked on separate things, but I always get pulled back by the Minions.”
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The Minions have a way of manipulating their bosses, Coffin included. After walking away from them, he’s back for “Minions & Monsters,” the third standalone feature for the “Banana!”-shouting little guys.
“All the other ones I had doubts about. I was guided into a direction that I did not necessarily like or understand,” says Coffin of the previous sequels. “But the things were a huge success. I was humbled. OK, there has to be something I don’t understand.
“This one is horrible because I’m thinking I really like it,” Coffin says, laughing. “And I’m thinking, man, maybe I just killed the franchise.”
On the contrary, “Minions & Monsters,” which opens in theaters Wednesday, may be the best “Minions” movie yet. In it, the Minions turn filmmakers. Alongside Charlie Chaplin and Harold Lloyd, they try to make a monster movie in 1920s Hollywood.
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The premise, suggested by Meledandri, was too enticing for Coffin to turn down. He even wanted to write the script, which he did with cowriter Brian Lynch. “Minions & Monsters” makes the yellow troublemakers something more than chaos-inducing sidekicks. They’re silent film stars who for the first time feel like actual protagonists.
“This movie has so much for people who were kids when they first encountered the Minions,” says Meledandri. “More than any previous Minion movie, it incorporates all of that wonderful silliness of the Minions but it’s also a terrific story.”
Even after seven films and more than $5 billion in box office, the Minions are still revealing themselves to Coffin. They were, in the first place, a product of evolution. For “Despicable Me,” they were first designed like hulking thugs, then more like robots, then more like mole men. Coffin, Chris Renaud and art director Eric Guillon kept refining. Add in some goggles, overalls and names like Stuart and Kevin and, bingo: movie history.
Yet given that the Minions are impossible to understood, except for a word or two, they make for tricky protagonists. Hand them over to a new boss, and you risk making the Minions second bananas again. At the same time, long sections of uninterrupted Minionese can grow tiresome without some human interpreter.
“If it’s too long and annoying to the ear, we just kill it,” Coffin says. “All of these movies, we do until we find the little formula.”
Even just writing for the Minions isn’t a clear process. Coffin, who voices all the Minions, is accustomed to improvising their dialogue back and forth. (For the first “Minions” movie, he’d begin his mornings with two hours alone with a microphone before commuting to the studio.) Putting pen to paper came less naturally.
“Brian didn’t know how to write them,” Coffin says. “He tried writing gibberish. I told him, ‘Don’t write gibberish. I don’t understand what they’re saying. Let’s write them in English.’ It took us a while to establish that dumb thing.”
Coffin can sound almost parental about the Minions. The characters he gave voice to aren’t just in the movies. They’re like mascots for Illumination, generated billions in merchandising. Not every treatment nails their singular nature.
“I don’t want to criticize what the others have done with the Minions, but when someone else does something with the Minions, I feel that they’re considering them creatures,” Coffin says. “But they’re not creatures. They’re creatures with a spirit, with a personality.”
Even he’s still figuring them out. In writing “Minions & Monsters,” Coffin wanted to think about the origins of friendships. He began surveying people about how they met their best friends. Many of the replies inevitably went back to when someone was 8 or 10 years old.
“That made it very clear to us: The Minions are kids,” Coffins says. “I discovered that on this movie. It dawned on me. They’re irresponsible, they don’t listen, they make a mess, they don’t listen to authority. From that moment onward, it was very easy.”
