Meet the Director Behind Steph Curry’s New Animated Movie "GOAT" | SWAY’S UNIVERSE
Mar 26, 2026
What does it take to go from drawing in the streets of Englewood to directing a massive animated feature produced by Stephen Curry? Tyrie Dillihay joins Sway in the Morning to discuss his incredible journey from directing Bob's Burgers to his new global hit movie, Goat. This conversation dives deep into the intersection of hip hop culture, comic books, and the high stakes world of professional animation.
In this interview, Tyrie shares his origin story as a self-described Blerd or black nerd and credits his mother for fostering his creativity by bringing home reams of paper from her office. He reflects on how his upbringing in South LA influenced his perspective on storytelling and the importance of seeing black creators in spaces where they are often underrepresented. From the gritty reality of his neighborhood to the bright lights of Hollywood, Tyrie explains how he stayed focused on his craft to eventually direct over 30 episodes of the Emmy winning series Bob's Burgers.
The discussion also highlights the making of Goat, an animated sports comedy that redefines the sports genre through an animalistic lens. Tyrie talks about the technical challenges of making basketball look real in animation and what it was like working with Stephen Curry in his very first voice-over role. You will hear about the themes of gender equality in the film, the difference between TV and feature film budgets, and why aspiring creators should stop waiting for permission and start building their own sweat equity today.
Chapters
0:00 Introduction to Tyrie Dillihay and the movie Goat
2:30 Growing up as a blerd in Englewood
5:15 How hip hop and comic books shaped his vision
8:45 Real life experiences vs animation storytelling
12:15 Success on Bob's Burgers and industry representation
15:30 Advice for aspiring filmmakers and creators
18:45 The difference between TV and feature film leagues
21:30 Exploring gender equality and themes in Goat
24:50 Surprise caller and casting secrets
27:15 Developing the concept of Roar Ball
30:05 Working with Stephen Curry in the recording booth
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0:00
No excuses.
0:02
That voice belongs to an exceptional
0:04
individual working on different
0:06
animations as a director straight out of
0:09
Englewood, California. But I I want our
0:11
citizens if you want to if you want to
0:14
if you're an animation fan, if you grew
0:16
up watching animation and some of the
0:19
latest developments over the years have
0:21
been incredible. When you talk about
0:23
K-pop demon hunters that just won an
0:25
Oscar award, give that a round of
0:26
applause.
0:27
>> Oh yeah. Um, Into the Spider-Verse with
0:30
our good friend Shamik Moore. Right.
0:33
>> Yeah. Come on. Shamik been rocking with
0:34
us forever.
0:35
>> Shamik.
0:36
>> Um, well, today we got the director of
0:39
and he's talking about the movie Goat.
0:42
It's a new animated sports comedy that
0:43
he directed along with his team and it
0:46
was produced by Stephen Curry, Unanimous
0:49
Media. And Stephen Curry and I go way
0:51
back. That's my guy Heather. You know,
0:53
being from Oakland,
0:54
>> y'all play ball together. You grew up
0:56
playing ball. same AAU team and all of
0:58
that
0:59
>> kind of we're both ballers but and for
1:01
different reasons. Okay. And uh but
1:04
anyway, this animation is incredible.
1:06
It's doing extremely well globally. Um I
1:09
got a chance to meet the director with a
1:12
good friend of mine um uh who works over
1:14
at Otega. Stephen, he introduced us.
1:17
He's the co-director of the animated
1:19
film Goat. He produced by Steph and
1:22
Curry. He directed numerous episode of
1:24
Bob's Burgers and DB. I know you're a
1:27
fan of that. He contributed to two
1:28
consecutive prime time Emmy nominations
1:31
through his work on Bob's Burger. Um
1:33
he's had multiple animated series that
1:35
he's directed, including Alan Gregory,
1:37
Good Vibes, and Netflix's The Jammies. I
1:40
mean, this list goes on and on.
1:41
Graduated u from Northridge, Cal State
1:44
Northridge that my brother actually went
1:46
to. I wonder if they went at the same
1:48
time. He's from the city of Englewood
1:50
where my brother Mugs is from. He grew
1:53
up in the same neighborhood that John
1:56
Singleton, right? Or or
1:57
>> Yeah. South LA.
1:58
>> South LA. Um so he's seen a lot. What
2:02
you saw in Boys in the Hood, he saw
2:04
growing up in his real life for sure. So
2:06
that's this is this is what makes his
2:09
story so amazing because he's in a field
2:12
that we don't see a lot of
2:14
representation
2:15
>> of us in and we don't even believe
2:17
there's a door a pathway to it and this
2:20
man is killing it. Tyrie Deah is here.
2:24
Uh give him a big round of applause man.
2:28
Congratulations.
2:29
>> Congratulations big time.
2:32
>> Congratulations.
2:34
Um,
2:36
this is an incredible feat. I I want to
2:38
get into your origin story because what
2:40
I'm saying uh to people um you you just
2:44
didn't fall into animation. You had
2:46
somebody that was really influential in
2:49
your life. Um and and you call her mom,
2:53
right? [laughter]
2:56
>> I wouldn't call her anything else.
2:57
>> You wouldn't call her anything else. But
2:59
uh was your mom like what kind of stuff
3:02
did she get into get you into as a kid?
3:04
Were you Was she Was she a black nerd?
3:06
How they call it?
3:07
>> Yeah, she was a blur. She still is. She
3:09
still is.
3:10
>> What's a blurd?
3:11
>> So, a blur, as you say, is a is a black
3:15
nerd. Okay.
3:15
>> Is somebody that's not into things that
3:18
black people normally would be into.
3:20
>> Okay.
3:21
>> So, back then you weren't really into
3:23
comic books or science fiction or even
3:26
art to that degree.
3:28
>> But my mother took me to like my first
3:30
comic book conventions on her own. It's
3:32
not nothing that I needed to nag her
3:34
for. She dragged me to.
3:36
>> So, going to LA comic conventions early
3:38
on before it was a thing. Showing me um
3:42
uh different museums, taking me to
3:44
museums. That that really wasn't a thing
3:46
in the early 80s
3:48
>> and and actually getting an appreciation
3:50
for looking at these things. You know,
3:51
I'm looking at big nude paintings where
3:52
other little boys might trip out about
3:54
what they're seeing and kind of freak
3:56
out. I'm like, "No, this is cool." And
3:57
she understood that I had an
3:58
appreciation for it very early on. Mhm.
4:01
The So the blurred is someone that in
4:05
the past would be made fun of.
4:07
>> Yeah. That would be the weirdo.
4:08
>> The weirdo, you know, the freak.
4:10
>> They poked fun of people who were smart
4:13
or were into different things, right? Uh
4:16
you growing up in Englewood and there's
4:18
a lot of kids who are now blurs and it's
4:20
a little more popular and people a
4:21
little more bodacious with it now. In
4:23
fact, that's the differentiation that
4:25
makes them special. But when you were
4:27
growing up, were you get were you
4:28
harassed or teased about being in into
4:31
those sort of things?
4:32
>> Yes and no. Like early on it was
4:36
>> very very quickly understood that I was
4:38
different.
4:38
>> Okay.
4:39
>> But the difference was that my talent
4:41
was for drawing.
4:42
>> And you know when in the hood everybody
4:44
has like kind of like their role, right?
4:46
You know, you got super thug over here,
4:48
you got the athlete, you got the pretty
4:50
boys, you got the hustlers, you know,
4:53
you got the pimps, you got whatever,
4:54
right? And then you have like the
4:56
artists, the creatives, you know, the
4:58
people that probably got into hip-hop or
5:00
that were into music or the visual
5:02
artists, the graffiti artists, etc. So,
5:04
I was that kid that was I'm I'm the
5:06
artist. And in the hood, you're kind of
5:09
like protected. It's like, no, this this
5:11
one's a little different than the rest
5:12
of us, okay? You know, he not in the
5:14
streets. He not up here acting up. He
5:16
not a knucklehead. He just in his own
5:19
world. Like, let's like chill out. So, I
5:21
had OG's protect me very early on. Wow.
5:25
So, who was at the time when you were
5:27
like coming up in grade school,
5:30
who was popular in rap like in in in
5:32
Eaglewood, who did who were people
5:34
looking at, you know, the most? Who was
5:36
that?
5:36
>> I mean, when I was coming up, it was
5:38
NWA.
5:39
>> Okay.
5:39
>> And then Too Short.
5:41
>> Okay.
5:41
>> Cuz these things, you know, listening to
5:43
Freaky Tales, Straight Out of Compton,
5:45
early easy stuff, you know, it's like
5:48
>> these these people look like us, they
5:49
sound like us, and they're from where
5:51
we're from.
5:52
>> And that's I think you were connected.
5:53
And also just because they were cursing,
5:55
it's like, "Oh, that's cool. That's not
5:56
what our parents [laughter]
5:58
think we should be listening to." It's
5:59
just because our parents said we
6:00
couldn't listen to it. Now we want to
6:02
listen to it even more.
6:03
>> Stuff like that.
6:04
>> So run DMC cuz when you bring up um
6:06
comic books, my brother's a collector.
6:08
We we
6:09
>> we used to um debate about DC or Marvel,
6:13
you know, and back then the books we
6:15
were collecting in the 70s people would
6:17
pay to have now, right?
6:18
>> Oh, come on. Um, and and then hip-hop
6:21
hit and
6:22
>> I never saw a difference. I I thought
6:25
being into comic book culture and and
6:28
what artists wrote in hip-hop what were
6:30
the same because
6:32
>> when um Super Rhymes came out I want to
6:35
say was that um
6:36
>> oh not Spoony G was it
6:39
>> Spicer I believe Jimmy Spicer
6:41
>> uh wrote Super Rhymes. He told a whole
6:44
story
6:45
>> that just was like a movie, you know,
6:47
about a genie and a lamp and all of
6:49
these different things. When Rappers
6:51
Delight came out, you ever go over a
6:53
Friends House to eat and it's just kind
6:55
of tapped into your imagination?
6:57
>> Yeah.
6:57
>> When Run DMC came out,
7:00
>> we didn't know when
7:02
>> when DMC was writing his rhymes, he
7:05
revealed to us that he was writing
7:08
>> Yeah.
7:08
>> himself as a character from a comic
7:11
book,
7:12
>> right? Yeah.
7:12
>> And it just dawned on me. Oh my gosh. I
7:15
walk through walls, bust down doors,
7:18
bust through ceilings, and knock, you
7:19
know, all of those different things. He
7:21
was
7:21
>> being a he was being a a a a character
7:24
like out of a comic book.
7:26
>> Was comic books your pathway to doing
7:29
animation?
7:30
>> For sure. For sure. Cuz though when
7:32
you're a kid, comic books is like the
7:34
gateway drug to looking at visual arts
7:38
in a way that expressed animation and
7:42
imagination in a way that you didn't
7:44
think was possible.
7:46
>> Cuz cartoons at the time, you know, was
7:47
Looney Tunes, you know, Bugs Bunny,
7:49
Daffy Duck, Elmer Fud, etc. And they're
7:52
doing goofy stuff and that's fun, too.
7:53
But the comic book took you to other
7:55
worlds and they they seem more serious
7:58
and you got these characters doing these
8:00
things in these amazing ways and you
8:03
know to the DC Marvel conversation of it
8:05
all. It it really was no different for
8:07
me back then. It really was no
8:08
difference. I just wanted to see heroes
8:10
in action
8:11
>> and that was all the stuff I was
8:13
drawing. That was a good way to learn
8:14
anatomy, too.
8:16
>> I love this man. And when I when I think
8:18
about,
8:20
you know, um some of the early we didn't
8:22
realize what we were looking at when the
8:24
Cosby Show had Fat Albert. I mean, when
8:26
Bill Cosby was doing
8:27
>> Fat Yeah.
8:28
>> Fat Albert. Sure.
8:29
>> Right. And and all of these different
8:31
series um that were coming out. The
8:33
reason why we liked them is for me at
8:36
least is because I could identify with
8:38
those characters and those characters
8:40
look like me. Well, a lot of anime um
8:44
didn't have characters that I was
8:47
looking at, the anime I was looking at
8:50
that celebrated me, right? And when I
8:53
think about your upbringing, you grew up
8:55
in Englewood, which means basically what
8:57
we saw in Boys in the Hood by John
8:59
Singleton. [laughter] You were actually
9:01
seeing the dead bodies in the alley.
9:03
>> For sure.
9:03
>> You literally saw that.
9:04
>> For sure.
9:05
>> Wow.
9:06
>> For sure.
9:06
>> No, like you really
9:07
>> For sure. For sure. I've been shot at.
9:11
I've been shot at.
9:12
>> Why?
9:13
>> Just because walking down look remember
9:16
like it was I say on Manchester and
9:18
Fifth Avenue.
9:19
>> Uhhuh.
9:19
>> Uh right down Manchester car Suzuki
9:23
Samurai.
9:24
>> Uhhuh.
9:25
>> Passing by
9:27
>> just took it action
9:28
>> just just just taking just firing
9:30
firing. And those bodies that you're
9:32
talking about? Yeah. friends, you know,
9:34
when they say the dead homies, you
9:35
actually got dead homies is I laugh
9:38
about it now, but you know, we laugh to
9:39
to kind of cope with trauma.
9:41
>> But yeah, no, I've seen all of that.
9:43
>> So, I I would imagine in this world you
9:45
are. Congratulations, first of all, with
9:48
Bob Burgers. That that went about eight.
9:51
>> That was on Fox, right?
9:52
>> Still on.
9:53
>> Still on Fox.
9:54
>> Yeah, I think there like 300 episodes.
9:56
>> 300 episodes.
9:56
>> God, like that's not even a joke. Like
9:58
300 episodes. It's crazy. You directed
10:00
at least 30 of those episodes, right?
10:02
>> Jersey hanging in the rafters. Big
10:04
number 32.
10:05
>> Let's go.
10:05
>> Come on, man. Get that man, man. Tyreek
10:07
Dillah is here, man. Um,
10:12
>> what are what are your goals to make
10:14
sure that there's proper inclusion in
10:17
anime? Um, you know, I I I I remember
10:21
there was always a when when let's say
10:23
when um in animation when Hi Bailey
10:26
became Little Mermaid,
10:28
>> right? And it was all this racial
10:30
backlash because she was of color. You
10:33
know, she had melanin. She was black.
10:35
You know, even Into the Spiderverse
10:38
caught some for some reason. I
10:40
don't know why because uh the Miles
10:43
Morales is Afro Latino, but people
10:45
didn't for some reason couldn't grab
10:48
hold of, you know, this guy, you know,
10:50
that this character would be Afro
10:51
Latino. man, what what do you see in
10:54
this sphere of animation um in terms of
10:58
inequities and then what are you doing
11:00
to try to balance that out?
11:02
>> That's a that's a really good question,
11:04
dude. Um I I think it starts with
11:08
telling more stories that connect with
11:11
us.
11:12
>> Okay. Uh, so obviously me being a black
11:14
filmmaker, you know, I try to infuse
11:17
some of our culture into my projects
11:21
>> and then also connecting with future
11:24
filmmakers.
11:25
>> I got a lot of upandcomers around me of
11:27
color and I'm always trying to inspire
11:30
and motivate them to to tell our
11:33
stories. Um, I think the problem is is
11:37
that we're just not making enough
11:39
content. You know, again, I thank you
11:41
for playing that clip of me earlier uh
11:44
from an interview with Eric Payeyton
11:46
over at Unanimous.
11:47
>> What up, E?
11:48
>> What up, E? Good dude. Um, but we talk
11:51
about that. It's like everybody's trying
11:52
to like, oh, you know, I'm trying to
11:53
sell my script. I'm trying to, you know,
11:55
sell this movie some, sell, sell, sell,
11:57
sell. And it's like rather than trying
11:59
to sell everything all the time, you
12:01
need to invest
12:02
>> more. You know, get that sweat equity
12:04
in. You got to make more things. And
12:07
then the doors start getting knocked on.
12:10
>> So my thing is like
12:12
>> again, stop waiting for permission and
12:14
start making stuff. You're not going to
12:16
make any, you know, let's let's let's be
12:17
real. You're not going to make any money
12:19
at first. Yeah.
12:20
>> You got to go at this like you actually
12:22
care about it. And eventually you will.
12:25
And no, it could take. It could take one
12:27
day or it could take 10 years.
12:29
>> But the the the person that wins is the
12:32
person that doesn't quit.
12:33
>> So please people don't quit. My gosh,
12:36
man. It sound like No wonder you and
12:38
Stephen Curry work good together. He
12:40
became the EP on this project. He's a
12:43
winner. He doesn't quit. I'm a Warriors
12:45
fan. Heather, you want to jump in on
12:46
that note?
12:47
>> I do. Thank you so much um Tyrie for
12:50
being here because it makes me think
12:52
about artist you know um and it doesn't
12:55
matter if you're hip-hop artist, singer,
12:58
songwriter, producer. Um, but just
13:00
drawing in particular, you know, and and
13:02
as you started to speak about, we all
13:05
knew somebody in the hood that could
13:06
draw. You know, they were doing our
13:08
shirts back in the day when we wanted to
13:10
tag shirts and the whole nine.
13:12
>> But I would have never thought that
13:14
someone like yourself who started out as
13:16
drawing would make it to director. I
13:18
didn't see.
13:18
>> Yeah. I didn't either.
13:20
>> Okay. [laughter]
13:21
>> Cuz that wasn't the goal.
13:22
>> That's not That wasn't the goal. What
13:23
was
13:24
>> the goal? Honestly. Okay. Let me back up
13:27
a little bit. So, have you ever, you
13:28
know, you've been to Manchester and
13:30
Crrenshaw? I'm sure.
13:30
>> Yeah.
13:31
>> But if you go like just a couple of
13:33
blocks more, you look at Manchester and
13:35
Fifth Avenue and then you look and
13:37
you'll see the Hollywood sign on a clear
13:38
day.
13:39
>> Wow.
13:39
>> You can see it that far. And then I, you
13:42
know, right now we're in Hollywood,
13:43
right? So, when I'm little, I'm always
13:44
asking that question like, "What is
13:46
Hollywood?" And my mother's like, "Well,
13:48
that's where movies are made." I'm like,
13:50
"Okay, that's cool. I want to make
13:52
movies." And my mother actually very
13:54
quickly put some reality in my in my
13:57
head. She was like back then, uh, yes,
14:00
that's where movies are made, but I just
14:01
want to let you know, baby, that's not
14:03
where you see a lot of us during that
14:06
time. So, and I'm like, okay, but this
14:09
is stuff I want to do. So, but long
14:12
story short, she saw that I was very
14:14
passionate about it. And she actually
14:15
later told me, she was like, I'll never
14:16
question anything that you want to do
14:18
again because I see how passionate and
14:21
how big interest that you have. I was so
14:24
interested and my mother saw that she
14:26
used to steal reams of reams of paper
14:30
from work to bring home to me rather
14:32
than buying sketchbooks.
14:33
>> Wow.
14:33
>> The statute of limitations has passed
14:35
by. So no, they can't get my mother. Did
14:37
>> he just snitch? [laughter] Did he just
14:39
snitch on his mom? The black nur
14:42
snitch [laughter] real quick.
14:44
>> But she got paper for you.
14:46
>> She she got paper for me. So it was you
14:48
talk about a moment when we're at the
14:50
premiere you know Steph like everybody
14:52
all the stars from the movie you're
14:53
there and then she at the end of the
14:55
film when she sees my name come up first
14:57
say directed by Tyreek Delay the tears
14:59
of joy running down her face
15:01
>> that's something I priceless priceless
15:06
>> that's that's what I would hope I was
15:08
hoping you would say to someone who's
15:10
listening now that drawer that artist in
15:12
the hood that writer that future
15:14
director because I think sometimes
15:17
Sometimes it's it feels so far away.
15:20
>> Yes.
15:21
>> That on any given Sunday, so to speak,
15:23
you quit.
15:24
>> Yeah.
15:24
>> You know, and if you don't have that
15:26
person, that mom who who's bringing you
15:29
that paper or that friend who say, "I'll
15:31
put you in the studio or like sway
15:32
who'll buy you a meal even to get
15:34
through the next day." You need to hear
15:36
those words of encouragement. You know,
15:38
that someone didn't doubt me. And that's
15:40
what I leaned on to get through.
15:42
>> There you go. It's like uh in the era
15:45
that I grew up in, all I had was was
15:47
family uh to put that battery in my back
15:50
and then later friends in the
15:51
neighborhood. I think that's the
15:52
beautiful thing about the internet these
15:54
days is that you can find your tribe.
15:57
You can find your people. So if they're
15:59
not in your immediate surroundings, at
16:01
least I can connect with others if I
16:03
actually just express and put myself out
16:06
there. That was the whole premise of the
16:07
internet to share what I'm into. And if
16:10
I share, I will find other like-minded
16:13
people that want to share, too. And now
16:15
we've built our own little community.
16:17
And then it starts with that little
16:18
ripple in the pond. It'll expand. It'll
16:20
eventually become a lake. And then
16:21
later, it'll become an ocean. And then
16:23
later, we've conquered the world. Like
16:25
that's how you make moves.
16:26
>> Amen.
16:26
>> Tyrie Dah. Hey, man. He's the director
16:28
of the new animation called Gold
16:30
produced by Stephen Curry. Tracy G, you
16:33
want to jump in?
16:34
>> Yes. Even line was so visual, Tyrie.
16:37
Beautiful. Beautiful. I love being able
16:39
to see your gifts not only through the
16:41
art but through the conversation. So I
16:43
appreciate your presence here. When Sway
16:45
was talking about um comic books kind of
16:48
being the gateway drug into animation
16:50
and made me further think about the
16:52
distinction between cartoons and
16:55
animation. You know obviously you made
16:56
the deliberate jump from TV to feature
16:59
animation with goat. Can you speak to us
17:02
about if or how the industry treats
17:07
those as very different leagues in terms
17:10
of prestige
17:12
working in cartoons versus working in
17:15
animation? Do people treat you
17:17
differently now that you're in another
17:19
role?
17:21
>> A little bit. I mean, you know, TV,
17:24
let's just say the the budgets are
17:26
bigger in TV, right? And they take more
17:28
time and there's more more at stake. So,
17:30
not only are the budgets bigger, there's
17:32
way more at stake. I think goat, I won't
17:34
give you exact numbers, but this is what
17:36
it's out in their world. You know, goat
17:37
costs anywhere between 80 and $90
17:39
million to make,
17:41
>> right?
17:42
>> So, we're out in the world right now.
17:43
You know, we've grossed [laughter]
17:46
>> we we've grossed, you know, x amount of
17:48
hundreds, millions of dollars plus,
17:50
whereas, you know, a TV show just comes
17:52
on, you know, during the week, it has ad
17:54
supported, uh, revenue, etc. But you
17:58
know I don't that that that's a little
18:00
different revenue model. Um but in terms
18:02
of like the status and appreciation I
18:04
mean a feature film and film making you
18:06
know we just witnessed the Oscars. You
18:07
know shout out Sony Maggie Chris
18:10
Michelle they just won the Oscar for
18:12
best original feature.
18:14
>> You know the it's over at Netflix. It's
18:16
doing its thing. It came out for a
18:17
little bit during theatrical run.
18:19
>> Um but the the Oscars, you know it's for
18:22
movies. It's not for television shows.
18:23
And you got Emmys for TV. So, I mean
18:26
there is a little difference, but I mean
18:28
at the end of the day, just happy to be
18:29
a filmmaker, you know, out here just
18:32
making dreams come true. Like that's
18:34
what it's about. That's a big theme in
18:36
our movie. You know, dream big. I think
18:38
you actually heard a few people say
18:39
that. It's in Marty Supreme. I heard
18:41
Michael B. Jordan say it in a couple of
18:43
acceptance speeches and thank yous. Like
18:45
dreaming big is what it's about. Like
18:47
that's the move for 2026. Dream big.
18:50
>> Dream big.
18:51
>> Dream big. Is that the message you're
18:52
hoping people walk away from when
18:54
>> Always? Always.
18:56
>> We're watching Goat.
18:57
>> Hell yeah. Always.
18:58
>> Goat is interesting because in in in
19:01
Goat Jet
19:02
>> in the movie, right, as a as a female,
19:05
right, as a woman,
19:07
>> but in in the movie, the the females and
19:10
males are equal.
19:12
>> Yes.
19:12
>> Right. Yes.
19:13
>> Which I think is Give that a round of
19:15
applause. The females and males are
19:18
equal. Equal. And in [applause] real
19:20
time, we're watching the WNBA
19:23
fight for
19:24
>> Yes.
19:25
>> equality, right? And we're seeing women
19:28
um in college sports are starting with
19:30
what is the NIL. They're starting to
19:33
have get the same kind of money. So you
19:35
guys are right on theme and I and that
19:37
was on purpose.
19:38
>> Yeah.
19:39
>> Speak to that.
19:40
>> And the crazy part is, you know, I've
19:42
been working on this movie for seven and
19:43
a half years. So for us to be on time
19:46
with the world is crazy. Yeah,
19:48
>> but I always say like artists are kind
19:49
of the head of the world.
19:51
>> You if you look at television shows and
19:52
you know all the technology and things
19:54
that they use. I mean, but back to the
19:56
conversation about the money in NIL and
19:57
the co-ed sport.
19:59
>> That was always the intention from the
20:01
beginning because you know in this all
20:03
animal world it's true to the animal
20:04
kingdom that males and females are both
20:07
equally physically yolked. Mh.
20:09
>> So when you think of like an alpha and a
20:11
beta like that exists in the animal
20:13
kingdom in some in some species the the
20:17
woman is the alpha and the male is the
20:19
beta. Right? So we brought that to this
20:21
>> uh the idea of Jet being like Will's um
20:25
mentor. You you rarely see it not forget
20:28
animal film but just in human live
20:30
action films period. you rarely see
20:32
where the the woman is the is the older
20:35
mentor and then to have a younger mentee
20:38
in a male.
20:39
>> So, we wanted to flip that dynamic like
20:41
it seems more contemporary, more modern
20:44
to kind of look at it that way.
20:46
>> And um I mean crazy with the explosion
20:49
of women's basketball over the last like
20:51
5 years or so, like it's big. It's
20:54
really big. Yeah.
20:56
>> And the fact that yes, we have it in our
20:58
film showcasing this in this way. I
21:00
mean, again, we're right on time with
21:01
the world.
21:01
>> You were ahead of time. It just landed
21:03
on time like you were already thinking
21:05
that way
21:06
>> for so many reasons. What what what
21:08
makes this um this this project so
21:11
incredible. Um and then y'all y'all
21:14
grossed about 146 million worldwide just
21:16
to add to that conversation that he was
21:18
>> actually You want to add like another
21:19
30?
21:20
>> Okay. 176 [laughter]
21:21
million worldwide. They'll reach 200
21:25
million by the end of this conversation.
21:27
[laughter]
21:27
>> Absolutely.
21:28
>> Salute to Sony though, man. Salute to
21:30
them for, you know, backing this kind of
21:32
project, right?
21:33
>> And salute to Macro, too. They're a
21:35
partner as well. Okay. Shout out to King
21:37
and April and everybody over there.
21:39
>> You know, yes,
21:40
>> it's
21:41
>> D. You know them? Oh,
21:42
>> what do you want me to do? [laughter]
21:44
>> Hey, we got Will from Pomona on the
21:46
line. Will, welcome to the show. Will,
21:48
what's up, man? Say hello to Tyrie.
21:51
What's going on my man?
21:54
>> Hey, what's going on Will? Hey, I like
21:56
your name. That's the name of our main
21:58
character.
22:00
>> This is This is Dollar, bro. Will Will
22:02
Chapman. William Chapman Dollar.
22:04
[laughter]
22:05
>> What's up, man? How you doing?
22:07
>> You know him?
22:08
>> Yes, I know. [laughter]
22:11
>> I'm doing well. What's up?
22:13
Congratulations. And, bro, I'm so proud
22:15
of you. I'm so so proud of you, bro.
22:17
>> Oh, that's dope.
22:18
>> Oh, thanks, Dylan. Appreciate you. Look,
22:20
that's my guy. He's the executive
22:22
producer on the jammies, a project that
22:23
I worked on. So, this is crazy that he
22:25
was able to call, get in, and now here
22:28
we [clears throat] are talking. So,
22:29
thank you. Thank you, brother.
22:30
Appreciate.
22:31
>> I just left the gym and I heard your
22:32
voice. I was like, that can't be Tyrie.
22:34
And I looked at the little the little
22:35
ticket. I said, "It's Tyrie. I have to
22:37
pull over and call."
22:39
>> I love it. Thank you, bro. Thank you so
22:42
much. And if if y'all don't know, Dollar
22:44
is the or Will is the is is the buffest
22:47
executive producer you'll ever know.
22:48
That's [laughter] crazy, Will. That's
22:50
crazy, Will. What a what a title to own,
22:52
man. [laughter]
22:54
>> Oh, thank you. Thank you. Thank you.
22:56
Yeah, Tyrie directed a a cartoon that I
22:58
created and debuted on Netflix in 2016
23:01
called The Jammies. So, we we dubbed him
23:05
Mr. It Incredible Tyrie way back in
23:08
early 2000.
23:09
>> Wow.
23:10
>> Damn.
23:10
>> Yes, sir.
23:11
>> The Incredible Tyrie. Hey, man. I know
23:13
the jammies, man. Congratulations to
23:15
you, Will, for real. and u thank you for
23:17
calling in brother you're a super
23:18
citizen
23:19
>> that's way in the morning thanks for
23:20
listening
23:21
>> when you talk about the jammies and
23:22
Bob's big butt burger which was huge man
23:26
what can you is there something you
23:28
contributed to that series that the
23:30
general public wouldn't know
23:33
>> to Bob's Burgers
23:35
>> um
23:36
no no I will say this um I directed a
23:41
lot of Thanksgiving episodes okay
23:43
>> like seinal Thanksgiving episodes
23:45
>> okay
23:45
>> and One of my favorite episodes is The
23:47
Equestronauts.
23:49
>> Um, it's a it's an episode where where
23:51
Tina goes to a convention uh for this
23:56
comic book that she's a big fan of
23:57
called The Equestron.
23:59
>> And it but she realizes it's only for
24:02
males.
24:03
>> And they they don't allow women in in
24:06
the in the click basically. And the men
24:09
are called equesticles.
24:12
[laughter]
24:13
>> Equesticles.
24:13
>> Equesticles.
24:14
>> That's hilarious. Um, so
24:17
Bob's Berser, you know, incredible run.
24:20
Uh, but yeah, those are some of
24:22
>> Did you take something you learned from
24:23
doing Bob's Burgers and and put it
24:25
applied it to the GO?
24:27
>> Yeah, that's a great question. Was
24:28
literally talking to G about that, G
24:30
head of publicity over at Sony. Um,
24:33
>> so what I learned from Lauren Brousard,
24:35
the creator of Bob's Burgers is how to
24:37
really assemble a cast. Okay?
24:39
>> And a cast you want to assemble kind of
24:41
like a band. Mh.
24:42
>> Uh because they all need to work in
24:45
concert and the symphony is the TV show
24:48
or the movie that you're working on. Uh
24:51
so I want you to imagine, you know, if
24:52
you ever seen Bob's Berser, you know, uh
24:54
you got or let's think of it in terms of
24:56
a band. You got guitar, you know, you
24:58
got keys, you got drums, you got bass,
25:01
you might have horns, you know, and
25:02
anything else you want to add. That's
25:04
kind of how you want to think of your
25:05
cast, right? And then [clears throat]
25:06
who's the lead singer, who's the backup
25:08
singer, etc. And so when you put all
25:10
these voices together, they need to
25:12
function as one. And me as a director,
25:14
I'm like music composer or producer
25:17
almost getting my Quincy Jones on. So
25:19
conducting conducting and you literally
25:22
have to tune instruments. So our
25:24
artists, I like to call the voice actors
25:27
are artists and but are also like the
25:29
most elite instruments that you could
25:32
ever think of. I mean to find the range
25:34
for everyone. So what I learned from
25:36
that show is number one how to cast
25:40
>> um how to assemble a band but then also
25:42
how to conduct within this to make a
25:45
beautiful symphony and the product
25:47
>> and the product today is goat you know
25:49
you can find it now you
25:51
>> one quick part I I would like to ask you
25:54
as a director we have spoken to so many
25:57
actors and artists in that seat and they
25:59
always speak about the audition process
26:01
for them to get these amazing films and
26:04
projects
26:04
What's the process for a director?
26:07
>> Like,
26:07
>> really good question. So, in animation,
26:10
for this project in particular, we
26:12
actually didn't accept auditions. Uh,
26:14
our casting, you know, got to shout out
26:16
Libby Dicky. Thank you so much,
26:17
>> Libby.
26:18
>> Libby. Okay.
26:18
>> The way you The way we do it is casting
26:21
actually assembles a bunch of different
26:23
clips from lots of actors.
26:25
>> No, for you as a director, how did you
26:27
get the role as director?
26:29
>> Oh, how do I get the role?
26:30
>> Yeah. How does director Yeah. How will
26:32
you trust you? [laughter]
26:34
>> How did I get on?
26:35
>> Because we hear about how you know first
26:37
offers and we hear about that but how is
26:39
it for you?
26:40
>> Okay now sorry I understand that. Um so
26:43
what they do okay how
26:45
>> takes you ever heard of this u they
26:48
solicit takes.
26:49
>> So the studio has a germ of an idea.
26:51
Let's go back let's roll it back to
26:53
2018. Studio has a German of an idea.
26:55
It's like we want to make an an all
26:58
animal world movie where the animals
27:00
play a sport. we don't know what sport
27:02
it's going to be yet and we need to get
27:03
some takes.
27:04
>> So they'll go out to different
27:06
directors, you know, through
27:07
relationships, agents, etc. And they'd
27:10
be like, we we want to get your take on
27:12
this idea about animals playing sports,
27:16
>> right? So I came in with a take that
27:18
said, what if it was basketball, right?
27:22
But we treat basketball in a more
27:24
animalistic way. We're going to change
27:26
the name to roar ball, right? So already
27:29
roar sounds animalistic, right? And then
27:32
story-wise, wouldn't it be a fun pun if
27:36
>> it was about a goat
27:39
>> with basketball
27:40
>> with sports being, you know, this this
27:42
this narrative, this conversation of the
27:44
greatest of all time, const constant
27:47
conversation, constant narrative about
27:49
the goat. And it's like, well, let's
27:51
let's personify that in the actual goat.
27:54
and he's in this anim animalistic world
27:56
and he's a small and he needs to play
27:58
against bigs like it's going to create
27:59
incredible stakes. We're going to get
28:01
these surrealistic courts that we
28:03
haven't seen. What's going to make it
28:04
different than Space Jam? You just start
28:06
building from there. So my take was the
28:09
one they were like, "Yeah, let's go with
28:12
this."
28:12
>> That's incredible, man.
28:14
>> Wow.
28:14
>> And then and then lastly, I'd be remiss
28:16
if I didn't ask you about Stephen Curry
28:19
and his involvement like how amazing.
28:22
Yeah. talk about that working like not
28:24
not just who he is on the court but off
28:26
the court. What is it like working with
28:28
Stephen Curry?
28:29
>> Stephen is amazing. Uh he and Eric,
28:32
they're incredible partners, but you
28:34
know, just talk specifically about
28:35
Steph. Number one, he's super humble.
28:37
>> Yeah.
28:37
>> The first time I met him in the room, we
28:39
were he said, "Hi, my name is Stephen."
28:43
[laughter]
28:43
>> As as if as if as if we don't know who
28:46
the hell [clears throat] Stephen Curry
28:47
is, but but again, humility, right? And
28:49
then we get into it when we finally
28:51
start actually get working into the
28:52
process. Uh number one, he wanted the
28:55
story, you know, to be transcendent. You
28:57
know, it's not going to be a biopic. You
28:59
know, you could take pieces of his
29:01
story, but it's not about me. You know,
29:03
like I don't want to play the main
29:05
character, you know, I want to play
29:07
tertiary, secondary character, right? So
29:10
again, more humility. It's about the
29:11
team. And then when it come to the
29:13
basketball, you know, obviously now he's
29:15
going to really be like, hey, he said
29:17
what he hates about TV and film is that
29:20
the basketball doesn't look or feel
29:22
real. The mechanics are all off, the way
29:24
they shoot it, etc. So, we made it a
29:26
point of ours to make the basketball
29:29
feel real.
29:31
>> So, technical ability, you know, like
29:33
shooting form,
29:34
>> uh, how you dribble, how you hold the
29:36
basketball, even little things about how
29:37
you pick it up.
29:38
>> Yeah.
29:39
>> You know, roll it on your fingers, on
29:40
your fingertips, etc. Um, we have a
29:43
bunch of NBA Easter eggs in the film. He
29:45
called out every single one of them in
29:47
our early version. So, he's like, I love
29:48
everything that you're doing. And then
29:51
when it came to actually voice, so
29:53
Stephan plays Lenny the Giraffe in the
29:55
film. It did an incredible job. We
29:57
actually hold the title as Stefan's
29:59
first voice over ever,
30:02
>> man.
30:02
>> Welcome to the world, Stefan.
30:04
>> Oh, wow.
30:05
>> All right, man. [laughter]
30:07
>> So, but when he came in, these are his
30:09
words. He said, you know, in our first
30:12
session, we actually recorded him in
30:13
Portland right before a day before they
30:16
played against the Portland
30:16
Trailblazers. Spanked him pretty good,
30:18
but you know, that's neither here nor
30:20
there. Uh came into the session, he's
30:22
like, "Look, bro,
30:24
>> I'm coachable."
30:26
>> Like just came in again more humility
30:28
and said whatever you want to do, just
30:30
submit it to the process. Uh-huh.
30:32
>> And then, you know, I'm the way I work
30:34
with voice actors is we don't we don't
30:36
sit in the booth like in the control
30:38
booth and you know, line five,
30:40
>> go give me three. We don't do that. We
30:42
get in the room with them and work with
30:44
them.
30:45
>> So, he was only supposed to be there for
30:47
two hours. He ended up staying for four,
30:49
>> worked overtime, was actually in there
30:51
breaking his sweat
30:52
>> and let me do things with his voice that
30:55
he didn't even think he could do.
30:57
>> Again, playing that conductor, trying to
30:59
find your range. And he was at the end
31:01
of it, you know, breaking in his swag.
31:02
He was like, "Wow, this is this is
31:04
really hard work. [laughter]
31:07
>> It's real deal, bro."
31:08
>> Yeah. But um again, totally submitted to
31:11
the process. Incred incredible humble
31:13
human being and just just a overall good
31:15
dude. Couldn't think of a better
31:16
partner.
31:17
>> Yeah, man. Literally the goat.
31:19
>> The goat, man. Stephan Curry, [applause]
31:20
man. I you know and I I want to go ahead
31:23
and thank Stefan in advance and and Sony
31:26
Pictures Animation and the other company
31:29
um
31:30
>> uh I want to thank Tyrie and I want to
31:33
thank um um G G from Sony PR
31:36
>> all in my guy Steven Haj I want to thank
31:40
all of them Heather
31:41
>> in advance
31:42
>> in advance
31:43
>> for
31:43
>> for including us as voice actors in the
31:47
next the sequel [laughter]
31:48
to goat for goat 2. Okay.
31:51
>> But go too cuz Heather Tracy and I, we
31:54
all do great.
31:55
>> Look, Luke Cage, bro. You see Luke Cage,
31:58
>> bro. Come on.
31:58
>> Okay. Did you see the boondocks,
31:59
[laughter] bro? You saw me in the boom,
32:01
bro.
32:02
>> You know I saw you in the Come on, bro.
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