For countless families around the world, CoComelon is already an instantly recognisable part of childhood. Now, director Kat Good is taking JJ and his friends somewhere they’ve never been before: the big screen.
Marking Good’s feature directorial debut, CoComelon: The Movie expands the preschool phenomenon into a colourful musical adventure that follows JJ (Connor Esterson) as he prepares for one of the biggest milestones of his young life: starting kindergarten. When his beloved stuffed bear, Boba (Nicholas Hoult), goes missing on his first day, JJ and his friends Cody, CeCe and Nina embark on a quest into the magical realm of Lost and Found, where they encounter Princess Harmony (SZA) and discover a world with one particularly troubling rule: no singing.
Featuring ten new songs executive music produced by Grammy-nominated songwriter and producer Justin Tranter, the film presented Good with the opportunity to create something cinematic in scale while retaining the warmth, music and accessibility that have made CoComelon such an enduring presence for young audiences. For the filmmaker, whose career includes work on Kung Fu Panda, Megamind and Monsters at Work, that meant building an adventure around what she describes as its creative “bedrock”: finding your courage, discovering your voice and recognising the importance of having friends beside you for the journey.
Speaking with our Peter Gray as the film’s trailer releases, Good discussed putting her own directorial stamp on such an established property, keeping even the youngest moviegoers invested, Justin Tranter’s contribution to the film’s musical identity, and why she was equally determined to make sure the parents and grandparents in the audience felt seen. Above all, she explains why one lesson remained a touchstone throughout production: “Remember the joy in the journey.”
I wanted to ask you first of all, because I know you’ve spent years helping shape stories behind the scenes as a storyboard artist. This is your first feature as director. Was there a moment during production where you suddenly thought, “I’m not just helping tell someone else’s movie anymore, this one carries my voice?”
You know, during the development process, there’s always a process of taking what’s there in the treatment or the script and evolving it. But once we got the green light, it was really like, “Okay, now it’s your vision. You’ve got to deliver it,” right?
Even just accepting the job and really putting my hat in the ring to direct this movie, it was important for me to know that there was something I had to say – that there was an emotionally resonant story I wanted to try to tell within the storyline we’d been given. It had to be about something, you know? I think that’s how you touch an audience.
So there had to be something I could relate to personally, something I thought was worthy of saying to an audience and a story worthy of telling.
I feel like CoComelon already has a very recognisable visual language in children’s entertainment. When you make a move into cinema, what becomes more important? Making it feel bigger or making it feel more intimate?
I think the story tells you these things. At the end of the day, if you’re going to the big screen, you want this big, epic action-adventure – a heartfelt, comedic story, right? You want to have fun and joy on this adventure that you’re taking the audience and your characters through.
One of the reasons I was drawn to the treatment was that the kids get to go to this new realm – this magical, whimsical realm of Lost and Found. There was an opportunity to build something that had never existed before, to put a mark and a stamp on that, and create this magical place where kids’ imaginations could come alive. So I think that’s a component of why you go theatrical: what creates that big cinematic experience for the family?
I think there’s also the aspect of music, right? There was always a desire to evolve and have this amazing soundtrack with, like, 10 new songs. Our executive music producer, Justin Tranter, is responsible for them, and they’re just so, so good. To get to share that music with the world, that’s another component of how this gets to be this rollicking adventure through Lost and Found.
As far as the intimate moments, there are always those moments in a story where you get quiet with your character and really feel those big, big feelings. But I think that for a theatrical film, you want to have this amazing event for everyone to experience together.
And looking at the theatricality of it all, a preschool audience experiences a movie very different to adults. They’re not thinking about a three-act structure or character arcs, but they absolutely know when something feels exciting or safe. How do you direct with that audience in mind?
Well, I think you still have to tell a narrative that makes sense. We’re also weaving in things like, when does the music come in? When does it feel right for a song to land? That pacing, a lot of times, helps guide the attention of children.
I was reminded of when I was in college, in film school, and I went to see an animated film that I will not name. A six-year-old was sitting in front of me, and they turned to their mother and said, “Mommy, what’s happening?” And that’s like a kiss of death, right? You never want to hear that.
So you’re always checking yourself. You’re always paying attention to where your audience’s attention is. Do you still have them? Are they invested in the journey? And I think that’s true whether you’re two, 22 or 52.
When I heard about Justin’s involvement, because I think he’s created some of the greatest pop music, I’m very excited to hear what he’s created. And as someone who’s worked on Kung Fu Panda and Monsters at Work, what storytelling lesson from those productions because unexpectedly useful on a film like this?
You know, I’m always reminded of something that my EP on Monsters at Work shared with me, which is, “Remember the joy in the journey. Where is the joy in the journey?” And that was often a touchstone, right? It was something I was always saying to our board team: we have to remember the joy in the journey, and if we’re not having fun, they’re not having fun. So it’s that idea of, how do you take these characters on an adventure that we actually enjoy being a part of?
Parents will probably watch this just as many times as their kids. Were you consciously looking for ways to make the experience rewarding for the adults in the room as well? Are we getting little snippets of jokes that are going to be peppered in for the adults?
100%, from day one. From day one, I was like, okay, the caregivers are going to be here, and I want them to be like, “Oh my gosh, that was for me. I didn’t expect to feel that,” or, “I didn’t expect to laugh there.” It’s like, I got you. Mom, I see you. Dad, I see you. Grandparents, I know you’re there. That one was just for you.
Again, we deliberately knew we were crafting a shared family film for all generations and all ages to enjoy together. With that kind of evergreen story, you’re going to be speaking to people on different levels. So there are definitely some things in there that I slipped in just for the parents. And if you see them, yes, it was on purpose.
It’s been one of the great joys of watching animated films for as long as I can remember. The older you get, the more you realise, “Oh wow, they really did put jokes in there for all different ages.” Regardless of when you’re watching a film, there’s always going to be something you pick up on as you get older.
I think it’s kind of amazing to know that animated films have always aimed for families overall. It’s never been purely for kids. There’s always been that understanding that these kids are probably going to watch this with an adult or an older family member. So it’s really nice to know that tradition continues.
Yes, I mean, listen, we make it for kids, but there’s a kid inside each and every one of us, right? And so there’s that sort of universal truth of, “Hey, that hit me right here. That took me back to my six-year-old self.” That’s the type of thing that I think really helps families connect. That’s the power and the magic of film, and especially animation. It creates this way for kids and their parents to have a shared experience together.
I feel like preschool entertainment can be judged on educational value, but cinema asks for emotional investment. Was finding that emotional heart one of the biggest creative challenges in making this leap to the big screen?
Actually, no. The creative heart of this film existed from day one. There was always something there, or I wouldn’t have signed on, right? That was what made me want to sign on – very quickly seeing where the potential for the heart of this film was. It was really about, “This is our diamond. Let’s keep polishing it. This is what we want to say.”
We want to speak to what it means to find your courage and discover your voice, and realise that having friends with you along the journey matters. Those themes are really the bedrock that everything is built on.
After that, you’re growing your characters’ journeys, you’re finding amazing music to support those themes, and you’re creating beautiful art to help grow the world. But at the core, you have to be able to say, “I know what this film is really saying, what it’s really about and why it’s important.”
That has probably answered my final question, but when children leave the cinema after seeing this movie, is there a particular feeling you hope stays with them longer than any song or scene does in the film?
I hope that they walk out feeling empowered and joyful. That they recognise, like JJ, that their greatest strength is within themselves, and that they feel empowered by that. And, again, that they feel the joy of the adventure and excitement about their futures.
CoComelon: The Movie is scheduled for release in Australian theatres on February 25th, 2027.
