Garth Jennings: ‘I was so stressed, awake at 3am thinking: What have I done?’

As half of producer-director duo Hammer & Tongs, Essex-born Garth Jennings started out making music videos for the likes of Blur, Fatboy Slim, REM and Radiohead, before moving into films with The Hitchhiker’s Guide to the Galaxy and Son of Rambow. He has now written and directed animated musical comedy Sing. He lives in Paris with his wife, four sons and a “bloody lazy” French bulldog.

Is it true the idea for Sing started over a cup of tea?
It genuinely did. How very British. The boss of Illumination studios, Chris Meledandri, had seen Son of Rambow and had this idea for a musical based around a singing contest for animals. Like me, Chris loves The Commitments – and Sing Street more recently – where you follow multiple characters and see how music becomes their salvation. So we met for a chat over tea in a hotel foyer, I fell in love with the concept and just started writing it. That was five years ago…

Did you intend to direct it?
Not at all, I assumed I’d hand over the script to the studio. But by the time I’d finished the second draft, there was no way I was going to let anyone else near it. Directing it meant working in Paris where the animation studio is, so I moved my family over there. Honestly, I had no idea what I was getting into.

Was it a culture shock going from live action to animation?
We’d tried bits of animation in music videos and Son of Rambow but they were manageable, more like special effects that you put on top. It’s a different beast starting from scratch, from the pixel up – every hair, every leaf, every breath. It’s like a car production line, constantly moving, and you just try to keep up. I got pneumonia after two months because I was so stressed. I was lying awake at 3am thinking: “What have I done?” Thankfully that was a bump, we came through the other side and I made the film I wanted to make. I just had to dig in for a while.

How hard was it to land a voice cast crammed with Oscar-winners?
When you write a wishlist, you never think you’re going to get them all, but we did. Everyone had to sing, so that narrowed the field. We knew Scarlett [Johansson] could sing because she’s got a whole recording career. We knew Reese [Witherspoon] could sing because of Walk the Line. We knew Seth [MacFarlane] could sing because he’s released Grammy-nominated albums and is spookily talented. And with Matthew [McConaughey], we were amazed he hadn’t done more voice work because he has this lovely, lyrical, optimistic voice. He was great to work with, too. As good as it gets.

How did the singer Tracey Thorn inspire Scarlett Johansson’s character, Ash the porcupine?
Initially, Ash was an elegant snow leopard but it wasn’t working. I was reading Tracey’s book, Bedsit Disco Queen, and realised that the punk era – when you could suddenly reinvent yourself – was the perfect reference point. So I made Ash part of a punk duo with a lousy idiot boyfriend. She bins him and blossoms. Then we turned her into a porcupine and everything fell into place.

There are also lots of Brits in the cast. Did you insist on that?
Right from the start, I wanted a gang of Cockney gorillas – based on the big, sweary dads we used to get on the touchline at school football matches in Epping. Peter Serafinowicz does that role, with Taron Egerton as his son. Jennifer Saunders as the diva sheep was delightful too. Remember the French & Saunders sketches where she did Joan Collins? I said, “Give me Joany! Do ‘Lucky Bitches’!”

How come fellow directors Edgar Wright and Wes Anderson make cameos?
I’ve known them for years and we’ve got into this routine where we crop up in each other’s films. I made cameos in Edgar’s Cornetto trilogy films and just recorded a line as a shouty policeman in his new one, Baby Driver. I’m a voice in Wes’s Fantastic Mr Fox and a train driver in his H&M Christmas ad. In Sing, we had one line – a very tall giraffe saying “What, are you talking to me?” – and nobody could quite nail it. I knew it was very Wes, so I just texted him. A minute later, a message arrives with him going: “Garth, it’s Wes. I hope this is all right”, then a little sound file, which was just perfect. So it went straight in.

Aren’t your four sons in the film too?
Yeah, they’re the piglets. I just recorded them at the dinner table, then we layered it, pitched it up higher and suddenly it sounded like 25 piglets. Essentially my kids sound like six piglets apiece. [Laughs] It’s sweet to put bits of family in there, whether it’s character names or favourite songs. We’re a soppy bunch and those things mean a lot to us.

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Tell us about your Adam and Joe connection. You used to pop up on their radio show…
I stood in for Joe when he was away but was always cross with myself because I’d giggle too much. Rather than being a co-host, I was more like a snivelling fool.

And now Adam Buxton’s in Sing too?
He’s my go-to man for voices. He does a gorilla, a rhino cop and a couple of other characters. He played a science teacher in Son of Rambow too. He’s a dear friend and just cracks me up.

How did you become mates?
I was a huge fan of their TV show, randomly met their producer and ended up helping make some sketches. The L’Oréal Studio Line spoof was a highlight. Me and Adam really got on, our wives became best mates, we’re godfathers to each other’s children… We’ve become like family. Really stupid family.

You directed ads for Sugar Puffs and PG Tips. Who was the biggest diva: Honey Monster or Monkey?
They’re both very nice, but the hardest to work with was Honey Monster because he had that insane suit. It’s so thick, the guy’s practically on fire in there. I’d ask for one more take and he’d be like, “Mate, I’m dying here. You tell ’em about the honey, I’m fucking off.” [Laughs]

In your music video days, you had an idea rejected by Kanye West, didn’t you?
We had many ideas rejected! The one we pitched to Kanye was for Flashing Lights and it involved luminescent squid. It didn’t happen for various reasons – but the squid ended up in Sing instead. Some ideas just won’t die.

What’s your next project?
I honestly don’t know. I’ve had an insane career path – from sci-fi comedy to indie coming-of-age story and now animated musical. There’s never been a plan. I’ve always aspired to be like Rob Reiner or Billy Wilder, who don’t seem to belong in any category.

What’s the view on Brexit from France?
It’s embarrassing. They all think it’s bananas. I find myself apologising for it a lot, like it’s my fault. The day after the referendum result, I was working in America and said to people, “See what just occurred? You might want to watch out for that Trump guy.” Nobody thought that was going to happen either.

We’re talking on the day of his inauguration. Will you be watching?
Christ no, I find it too sad. I think we’ll get through this but it’s going to take some positivity and hanging in there.

Sing is in cinemas now