There’s an ineffable magic to seeing dragons come to life on the screen – a blend of myth and marvel that speaks to the child in all of us. Few stories have captured this magic as masterfully as DreamWorks Animation’s How to Train Your Dragon franchise, an adaptation of author Cressida Cowell’s best-selling book series. Since the debut of the first Dragon film in 2010, the trilogy has redefined animated storytelling through an extraordinary fusion of artistry and emotion. Beyond its acclaim and box-office success, the franchise has become a cultural phenomenon, transforming ancient mythology into a tale that connects deeply with our modern humanity. Now, as the saga is reimagined in live-action, it looks to expand that legacy, exploring new creative depths while making dragons feel more tangible than ever before.
At the creative helm is writer-director and three-time Oscar nominee Dean DeBlois, whose decade-long stewardship of How to Train Your Dragon represents a masterclass in pushing the boundaries of storytelling. And it was the original director overseeing this new iteration that enticed star Nick Frost, who takes over from Craig Ferguson’s vocal prowess as the human embodiment of Gobber, a quirky blacksmith who helps train the young Viking villagers to teeth their dragon-hunting skills.
As the film flies into theatres across the globe from June 12th in Australia, Peter Gray spoke with the actor about feeling safe in the live-action space, the wisdom he imparted on his younger co-stars, and which of his own back catalogue has he seen surprisingly embraced in the wake of streaming services.
It’s one of those great things with this iteration because, obviously, Dean helmed the animated version. So going into this version, because this franchise holds so much emotional weight for fans, did the legacy of that feel like a creative challenge? A responsibility? Or a bit of both? Or with Dean attached to it, there was pressure taken off?
I think it’s exactly that. No one’s a bigger fan than Dean, you know? No one loves it more. I was in a (session) yesterday with Dean, listening to him talk about it. He just loves it. I think he’s said before that remakes, or live action remakes, were lazy. He loves it so much that rather than let someone else mess it up, he decided to do it himself. I just think it’s really attractive to be around that kind of passion for a project. I think that took a lot of pressure off. What I was doing everyday was trying to impress Dean. I was trying to make sure Gobber worked. There’s definitely a responsibility, and I want to impressed Craig Ferguson in terms of what he did (in the original), because what he did was amazing. And people love that. People love Craig’s Gobber. I have to respect that as a performer, but I also find you have to unburden yourself from that, and that gives you a kind of freedom to reinvent Gobber.
As you said in wanting to impress Craig Ferguson, was it a case of really disconnecting yourself from him? Are you able to talk to Dean and say, “I want Gobber to say this”? How much collaboration is there to make Gobber feel more like Nick compared to Craig?
I think going into my first couple of meetings with Dean, (I) just wanted to hear what he thought, and that was important in taking a job like this. When he asks you want you want to do, and what you think, and I ask if he wants (this Gobber) to be Scottish, he told me that he likes my voice. He liked that rough cockney thing, and with that you kind of end up doing an impression of Ray Winstone (laughs). He loved it. So you kind of build, I think for me, the joy. If Dean had said in the meeting, “Hey, we made these really successful films, and Craig can’t do it. Could you do something a bit like Craig?”, I’d forgive (Dean) for saying that. But he didn’t say that at all. I think it says so much about his confidence in what he wrote. It’s attractive to have a voice to be able to say. I think a part of being in this business for 23 years, and making some of the things I’ve made, even if you have just a tiny voice on set, and that voice is, “Hey, I’ve written this line. Do you mind if we try it?” And they’re like, “100%?” That’s where I want to be.
Gobber is obviously a character to give advice. Working with so many younger actors, did you have to impart wisdom to anybody? Was there a leadership role taken on off-set as well?
You’re not a better actor just because you’re older, you know? They’re all wonderful actors, but I think there is a role I take on as an older actor, I think that it’s a responsibility to know my lines, turn up on time, if not early, and know everyone’s names on the crew. Be respectful to everyone. That’s my responsibility. In terms of being newer actors, they can look at someone who’s been around for 25 years and say, “Okay, that’s how we do it. That’s what professional looks like.”
Going off that and the advice side of things, have you found there was anybody that you worked with that gave you advice that stuck with you in any way?
I’ve been friends with Bill Nighy for about 250 years (laughs), since Shaun of the Dead. We just really like each other. Bill’s the person I turn to in terms of asking what he thinks. I think I’ve been quite stubborn and belligerent in terms of trying to learn my own lessons on a set. I never knew how to act, and I never wanted to act. I’ve learned on the job, in a way. And I think that’s really helped me. I listen a lot, you know? I think, for me, never wanting to be an actor means every department is as important as my department. A lot of my time on set is sat next to the camera team listening to a conversation about what depth of field is for a 35mm lens at eight feet. I love it. I love all that. That’s part of my joy as a filmmaker is to listen to the genius of every other department.
I was only having this conversation with someone recently, about working on film sets and that one of the greatest things for an actor to do is to learn what everybody’s job is. You gain a better understanding of what’s going on. It’s so great to hear that from you.
If I had to teach any young actor something, it would be to know what size lens you’re working on. If you’re giving 100% in a scene where you’ve lost your mum and you’re a tiny speck in a massive wide shot, it’s a waste of a performance. I’d say taper your performance to what lens you’re working on.
Talking about giving 100%, with Gobber, he has the arm and the leg, and all that. That would inform a lot of the performance. Did you find that physicality affected that? Does it immediately put you in a different mindset?
At the time of getting the job, I needed to have my left knee replaced. Then I got the job, and Dean told me not to have the operation (laughs). We’ll make Gobber’s left leg the one that’s missing, and we’ll use that natural limp for physicality. So when you see him limping around, that’s me. He’s a tough nut. He’s lost an arm and a leg. He’s a dragon fighter. He’s a drill sergeant. All those little things go towards that physicality.
Do you think about the kind of roles you’re drawn to? Aliens, zombies, dragons…is there something about being detached from reality with these genre films that speaks to you?
Yeah, yeah, absolutely. I think I’m lucky in that I work in the genres that I would watch when I’m at home. I love horror. I love alien films. I love anything with a robot or a bloody spaceship. I love dragons. I love Game of Thrones. I’m very lucky that I get to choose a genre to work in.
And one of the great things about this take on How to Train Your Dragon is that, for many audiences, this will be their first introduction to this world. Dean’s made something so faithful here, and it really shows how these stories can be tailored and evolve. Have you thought about the legacy that this film will take on?
Not now. I think maybe once we’ve done all three (films), then maybe a little bit. But while we’re still in it, and it’s still developing, and we’ll see more of Gobber in the second film. I always like to finish something and then give it a bit of space, and then maybe retroactively look at it and if it had an effect. It’s maybe not even my job to answer that, but I think about something like Doctor Who. It’s alright to love Tom Baker and Peter Davison, you know? It’s Doctor Who, but they’re different. It’s the same with this. It’s How to Train Your Dragon. It’s the same, but it’s different.
And as you spoke about retroactively looking at things, have you found with streaming and people discovering new films, there’s films of yours you’re surprised to see people talk about? Personally, Cuban Fury deserves a shot out.
Yeah, it happened here recently with Netflix in the States. They put Paul on, and it was suddenly like the number three movie on Netflix. Simon (Pegg) messaged me to say that we were number three, and asked if I was still alive (laughs). Did something happen for it to start trending? It was quite interesting that there were a lot of people wondering how the film went under the radar. It goes to show you the longevity of film and television. They’re there to be found at any point. I hate the phrase legacy, but it’s there for people to watch.
How to Train Your Dragon is screening in Australian theatres from June 12th, 2025, before opening in the United States on June 13th.
