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Phil Lord and Christopher Miller
Phil Lord and Christopher Miller
Phil Lord and Christopher Miller
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Philip Anderson Lord (born July 12, 1975) and Christopher Robert Miller (born September 23, 1975) are an American filmmaking and acting duo. Their films are known for subversion of genre and detailed visual sensation, spanning various styles of live-action and animation. They are the co-creators, co-stars, and co-heads of the adult animated sitcom Clone High (2002–2003, 2023–2024), and the writers and directors of the animated films Cloudy with a Chance of Meatballs (2009) and The Lego Movie (2014), as well as the directors of the live-action comedy film 21 Jump Street (2012) and its sequel, 22 Jump Street (2014).

Key Information

Lord and Miller are best known for the Cloudy with a Chance of Meatballs, The Lego Movie and Spider-Verse franchises, which won them the Academy Award for Best Animated Feature for Spider-Man: Into the Spider-Verse (2018) and a nomination for the aforementioned award for producing the sequel, Spider-Man: Across the Spider-Verse (2023). They have also worked on the television series The Last Man on Earth (2015–2018) for Fox, Unikitty! (2017–2020) for Cartoon Network, and most recently The Afterparty (2022–2023) for Apple TV+.

Early life

[edit]

Lord is from Miami; his mother is a Cuban-born psychologist, and his father retired from the aviation business and before that directed a dance company, Fusion, for 10 years. Miller is from Seattle, where his father runs a lumber mill.[3]

Lord and Miller both grew up making short films with an affinity for animation. They both attended Dartmouth College, where they first met, and had separate comics in the school newspaper, The Dartmouth. Lord was a member of Amarna, a co-ed undergraduate society while Miller was a brother at Alpha Chi Alpha. During his time in college, Miller met his girlfriend, now wife.

During their time at Dartmouth, the school paper published a profile on Miller, which caught the attention of Michael Eisner, then chairman of Disney. According to Lord, Eisner brought the profile to the attention of his fellow Disney executives who offered to set up a meeting with Miller. Miller agreed to the meeting as long as he could bring Lord. After three months, the two moved to Los Angeles and after one meeting were offered a two-year development deal at Walt Disney Television Animation.[4]

Career

[edit]

2000s

[edit]

Though nothing they pitched made it to air, they produced the pilot to Clone High, which was subsequently dropped by Fox. After they wrote and produced on a series of sitcoms, MTV informed the duo that they were interested in purchasing a 13-episode season of Clone High. Although the show was met with acclaim, MTV canceled the series after hunger strike protests occurred in India over the show's portrayal of Gandhi as a motor-mouthed partier.[5]

In 2003, the two were tapped to write a screenplay for Cloudy with a Chance of Meatballs, their first feature film. After a year working on the script, they were fired for story issues and replaced with new writers, who after a year were fired themselves. Lord and Miller were re-hired in 2006. The two completely redid the script, this time with the creative input of their crew. The new draft had the protagonist as a failed inventor who wanted to prove himself to his town. The two were almost fired again after Amy Pascal, the head of Sony Pictures at the time, criticized the film for a lack of story. Although the film succeeded on the comedic front in the animatic stage, Pascal cited the lack of an anchoring relationship in the film as a failure in the story telling. Unable to create new characters and environments to suit the new story demands, the two elevated the character of the tackle shop extra to be the protagonist's father, thereby creating the relationship Pascal had requested.[6]

Cloudy with a Chance of Meatballs was released in 2009 to positive reviews.

2010s

[edit]
Miller and Lord at the 2015 WonderCon.

After Cloudy with a Chance of Meatballs was released, the two sought to try to make something different and pitched themselves as possible directors for the 21 Jump Street script that Michael Bacall and Jonah Hill had written. The studio agreed and the two directed their first live-action R-rated film, released to critical acclaim, which led to the production of the sequel 22 Jump Street.

In an interview with Robert K. Elder for his book The Best Film You've Never Seen, Lord stated that "in an animated feature, you remake the movie three or four times, and it's really easy to get bummed out that the way you did it before didn't get greenlit, didn't get paid, and you're making a totally different version of that movie."[7]

During the production of 21 Jump Street, they pitched a take on a possible Lego film to Dan Lin. Lin and Warner Bros. loved the take, so Lord and Miller wrote and eventually directed their third feature film together, The Lego Movie. The duo were picked by Warner Bros. to write the story treatment for the then-upcoming superhero film The Flash, but dropped out of the project in favor of directing the then-untitled Solo: A Star Wars Story.[8] The duo were picked by Sony Pictures Animation in 2015 to create an animated Spider-Man film, with the option to direct. The film was eventually made as Spider-Man: Into the Spider-Verse (2018), which the duo produced and which Lord co-wrote.[9]

The duo have developed a live-action/animated series, Son of Zorn, for Fox, with Jason Sudeikis voicing the lead role of animated character Zorn, and Johnny Pemberton and Cheryl Hines playing the live-action roles.[10] They are producing a cable-TV drama based on the popular NPR/This American Life spinoff podcast Serial.[11]

In January 2017, Lord and Miller began directing the then-untitled film Solo: A Star Wars Story, a standalone Star Wars movie based on the Han Solo character. On June 20, 2017, it was reported that they had been fired from the project by Lucasfilm, after over four-and-a-half months of filming, about three-quarters through principal photography.[12] Lucasfilm announced that "creative differences" were the reason, with Entertainment Weekly reporting that Lord and Miller were going off-script and trying to make the film into more of a comedy. They were unwilling to compromise with Lucasfilm and writer Lawrence Kasdan on the direction of the film, preferring their vision. Two days later, Ron Howard was announced as the replacement, to complete the film and reshoots.[13][14] Lord and Miller received executive-producer credits on Solo: A Star Wars Story.[15]

In November 2017, Lord and Miller commented on their departure from Solo: A Star Wars Story. Lord stated "The experience of shooting the movie was wonderful. We had the most incredible cast and crew and collaborators. [...] We're really proud of the work we did on the movie and we wish everybody the best." Miller added "As Phil said, we had such a great relationship with cast and crew, we were really rooting for them. After we took a much-needed vacation, we got back into it and now we're writing and producing a sequel to The Lego Movie and producing a Miles Morales animated Spider-Man."[16]

In August 2019, Lord and Miller signed a first-look deal with Universal Pictures.[17][18]

2020s–present

[edit]

In 2021, Lord and Miller produced two animated films that were distributed through Netflix. The first was The Mitchells vs. the Machines for Sony Pictures Animation.[19] They also produced an R-rated animated Netflix original film called America: The Motion Picture alongside Will Allegra, Matt Thompson, David Callaham, Channing Tatum, Reid Carolin and Peter Kiernan from a screenplay by Callaham and directed by Thompson.[20][21]

In June 2020, it was reported that Lord and Miller would be developing an eight-episode television series titled The Afterparty for Apple TV+. The series is a murder mystery comedy set at a high school reunion where each episode features a retelling of the same night told through a different character's point of view.[22] Miller created and directed the series, while serving as an executive producer alongside Lord. The series premiered on January 28, 2022, to critical acclaim.

On November 1, 2019, it was announced that Lord and Miller would be returning as producers and writers for Spider-Man: Across the Spider-Verse, which was released on June 2, 2023.[23][24] In December 2021, Lord and Miller revealed that Across the Spider-Verse was being split into two parts after they had written down the story they wanted to tell for the sequel and realized that it was too much for a single film. Work on both parts was taking place simultaneously, or at least believed to be until June 2023 when animators claimed they were overworked to complete Part One,[25] with Part Two since renamed to Spider-Man: Beyond the Spider-Verse.[23][26] A release date has yet to be announced, as the film was removed from the release schedule on July 28, 2023, reportedly due to the then-ongoing 2023 SAG-AFTRA strike.[27] Its original release date of March 29, 2024, was taken by Ghostbusters: Frozen Empire. Recording of voice lines were set to resume on November 9, 2023, following the resolution of the SAG-AFTRA strike,[28] and production was confirmed by Miller to have resumed the following month.[29] At CinemaCon, Sony announced a release date of June 4, 2027.[30] By July, the film was further delayed to June 25, 2027,[31] and pushed forward to June 18, 2027 in September.

On July 2, 2020, it was announced that MTV Entertainment Studios was developing a revival of Clone High, and that original series creators, Lord, Miller, and Bill Lawrence would be involved with the project.[32] In February 2021, HBO Max ordered two seasons of the revival,[33] the first of which premiered on May 23, 2023.

As part of their first-look deal with Universal Pictures, Lord and Miller have produced two R-rated comedy films for the studio; Cocaine Bear, a comedy horror film which was inspired by the true story involving the eponymous bear,[34] and Strays, a comedy about talking dogs.[35]

Future projects

[edit]

In April 2019, they made a five-year deal with Sony Pictures Television to develop an animated Marvel series, including a possible Into the Spider-Verse series.[36]

On May 15, 2020, Variety reported that Lord and Miller are attached to direct a film adaptation of Andy Weir's next novel Project Hail Mary for Metro-Goldwyn-Mayer, with Ryan Gosling attached to star in the leading role and Amy Pascal producing.[37] Filming began in June 2024 in the United Kingdom.[38] The film is scheduled to be released on March 20, 2026.[39]

In October 2023, writer Dennis E. Taylor, author of the Bobiverse series, announced that a potential adaptation had been optioned to Lord Miller Productions for distribution through Universal Pictures.[40]

In August 2025, it was announced that Lord and Miller would be developing a feature adaptation film based on Archie Comics at Universal Pictures, with Tom King attached to pen the screenplay.[41]

Lord and Miller are producing a sequel to The Mitchells vs. the Machines.[42]

Other projects

[edit]

Lord co-wrote the comic Spider-Man Annual #1, marking his first involvement on a comic book;[43] he and Miller also co-wrote a Marvel comic celebrating the company's 80th anniversary, marking Miller's first time writing a comic book.[44][45]

In September 2020, it was announced that a live-action television series based on the character Silk was in development, with both Lord and Miller serving as executive producers alongside Amy Pascal.[46] The series, which is part of Sony's Spider-Man Universe, would be ordered by MGM+ and Amazon Prime Video under the title Silk: Spider Society, with Angela Kang serving as the showrunner.[47][48] However, in February 2024, the series was redeveloped for a more "male-skewing" audience with the writers' room paused,[49] and in May the same year, Amazon dropped the series, with Sony shopping it to other potential buyers.[50][51] Lord and Miller are set to produce the Spider-Noir live-action television series for MGM+.[52]

Lord and Miller also produced the Spanish-language drama film, Los Frikis.[53]

Style and influences

[edit]

Lord and Miller are regarded as auteur filmmakers, although they dislike being associated with that term. Their films are noted for their bold visual sensation, extensive detail, usage of improvisation, and metamodernist approach to narrative and aesthetics. Though they slightly change their process between live-action and animation, Lord & Miller typically favor a formalist aesthetic, with hard cuts, usage of primary colors, and exaggerated mise-en-scene being defining parts of their style.

Thematically, their films explore friendship, creativity, and being an outsider. Much of their process was influenced by their time at Clone High and Cloudy, where they learned from future collaborator Amy Pascal about collaboration and emotion. They admit to using properties like LEGO, Jump Street, and SpiderVerse as a springboard for personal expression, with Lord stating: "It comes from trying not to be vain about what you're making on the surface...Like, who cares if [The Lego Movie is] based on a popular toy brand? It's still an opportunity to make something really interesting. I think we've always approached these things as a way to express ourselves personally, which no one does!" Because of this approach, their work gained a following for transforming "cynical" studio concepts into critically acclaimed and commercially successful films. Due to their hands-on filmmaking process and improvisational approach to storytelling, they are seen as perfectionists.[54][55]

Lord and Miller have cited Robert Altman, Hal Ashby, Stanley Kubrick, Bill Plympton, the Coen brothers, Spike Lee, Akira Kurosawa, Billy Wilder, Chuck Jones, Matt Groening, George Lucas, Ingmar Bergman, and Tim Burton as influences. Their favorite films include The Wizard of Oz (1939), Rashomon (1950), Singin' in the Rain (1952), 2001: A Space Odyssey (1968), McCabe & Mrs. Miller (1971), Harold and Maude (1971), The Hot Rock (1972), Star Wars (1977), The Muppet Movie (1979), Popeye (1980), American Pop (1981), Howard the Duck (1986), Matewan (1987), The Beaver Trilogy (2000), and Speed Racer (2008).[56][57]

Filmography

[edit]

Films

[edit]
Year Title Director(s) Writer(s) Producer(s)
2008 Extreme Movie No Yes No
2009 Cloudy with a Chance of Meatballs Yes Yes No
2012 21 Jump Street Yes No No
2013 Cloudy with a Chance of Meatballs 2 No Story Executive
2014 The Lego Movie Yes Yes No
22 Jump Street Yes No Executive
2016 Storks No No Executive
2017 Brigsby Bear No No Yes
The Lego Batman Movie No No Yes
The Lego Ninjago Movie No No Yes
2018 Solo: A Star Wars Story Uncredited No Executive
Smallfoot No No Executive
Spider-Man: Into the Spider-Verse No Phil Lord Yes
2019 The Lego Movie 2: The Second Part No Yes Yes
2021 The Mitchells vs. the Machines No No Yes
America: The Motion Picture No No Yes
2023 Cocaine Bear No No Yes
Spider-Man: Across the Spider-Verse No Yes Yes
Strays No No Yes
2024 Los Frikis No No Yes
2026 Three Bags Full: A Sheep Detective Movie No No Executive
Project Hail Mary Yes No Yes
2027 Spider-Man: Beyond the Spider-Verse No Yes Yes

Other credits

[edit]
Year Title Notes
2006 Open Season Special thanks
2007 Surf's Up
2008 Igor
2014 Annie Directors: MoonQuake Lake scenes
2016 Sausage Party Special thanks
Rogue One: A Star Wars Story
2017 Baby Driver
2023 The Spider Within: A Spider-Verse Story Special thanks
Credited as Lord Miller Productions

Television

[edit]
Year Title Creators / Showrunners Directors Writers Producers Notes
1999–2000 Zoe, Duncan, Jack and Jane No No Yes No Episode: "Crossing the Line"
2001 Go Fish No No Yes No Episode: "Go Wrestling"
2002–2003,
2023–2024 		Clone High Yes Supervising Yes Executive 33 episodes
2003 Luis No No No Supervising 5 episodes
2004 Method & Red No No Yes Consulting 9 episodes
Episodes: "Well Well Well", "Da Shootout" and "A House Apart"
Cracking Up No No No Consulting 6 episodes
2005–2006 How I Met Your Mother No No Yes Executive 17 episodes
Episodes: "Sweet Taste of Liberty" & "Belly Full of Turkey"
2013 Brooklyn Nine-Nine No Yes No Executive Episode: "Pilot"
2015–2018 The Last Man on Earth No Yes No Executive 67 episodes
Episodes: "Alive in Tucson" & "The Elephant in the Room"
2016–2017 Son of Zorn No No No Executive 13 episodes
2017 Making History No No No Executive 9 episodes
2017–2018 Cloudy with a Chance of Meatballs No No No Consulting 104 episodes
2017–2020 Unikitty! No No No Executive 104 episodes
2019–2021 Bless the Harts No No No Executive 34 episodes
2020 Hoops No No No Executive 10 episodes
2022–2023 The Afterparty Christopher Miller Christopher Miller Yes Executive Miller: Showrunner, directed 10 episodes and wrote 6 episodes
Lord: wrote "Zoe"
2026 Spider-Noir No No No Executive

Acting credits

[edit]
Year Title Role as Notes
Phil Lord Christopher Miller
1997 The Empire Strikes Back — Stormtrooper Special Edition re-release[58]
1998–1999 Caroline in the City Bill Cliff 3 episodes
2002–2003,
2023–2024 		Clone High Principal Dr. Cinnamon J. Scudworth /
Genghis Khan 		JFK / Vice Principal Mr. Butlertron Voice roles, 33 episodes
2007 How I Met Your Mother Too Much Tongue Guy — Episode: "How I Met Everyone Else"
2014 The Lego Movie — TV announcer Voice role
2015 A Lego Brickumentary Himself Himself Documentary film
2019 The Lego Movie 2: The Second Part — Chad, horse, chocolate bar, Plantimals, Paperboy Voice role
2020 Lego Masters Himself Himself Episode: "Movie Genres"
TBA Shrek 2 Retold TBA Prince Charming Voice roles[59][60]

Accolades

[edit]
Year Award Nominated work Result
2009 Satellite Award for Best Animated or Mixed Media Feature Cloudy with a Chance of Meatballs Nominated
2010 Golden Globe Award for Best Animated Feature Film Nominated
Critics' Choice Movie Award for Best Animated Feature Nominated
Annie Award for Best Animated Feature Nominated
Annie Award for Directing in a Feature Production Nominated
Annie Award for Writing in a Feature Production Nominated
2012 Teen Choice Award for Choice Movie: Comedy 21 Jump Street Won
2013 People's Choice Award for Favorite Comedy Movie Nominated
Critics' Choice Movie Award for Best Comedy Nominated
Empire Award for Best Comedy Nominated
2014 Teen Choice Award for Choice Summer Movie[61] 22 Jump Street Won
National Board of Review: Top Ten Films[62] The Lego Movie Won
National Board of Review Award for Best Original Screenplay[62] Won
Washington D.C. Area Film Critics Association Award for Best Animated Feature Won
Washington D.C. Area Film Critics Association Award for Best Original Screenplay Nominated
New York Film Critics Circle Award for Best Animated Film[63] Won
New York Film Critics Online Award for Best Animated Film Won
San Diego Film Critics Society Award for Best Animated Film Nominated
Online Film Critics Society Award for Best Picture Nominated
Online Film Critics Society Award for Best Animated Film Won
Chicago Film Critics Association Award for Best Animated Film Won
Dallas–Fort Worth Film Critics Association Award for Best Animated Film Won
Kansas City Film Critics Circle Award for Best Animated Film Won
San Francisco Film Critics Circle Award for Best Animated Feature Won
St. Louis Gateway Film Critics Association Award for Best Animated Film Won
2015 People's Choice Award for Favorite Movie[64] 22 Jump Street Nominated
People's Choice Award for Favorite Comedic Movie[64] Won
People's Choice Award for Favorite Family Movie[64] The Lego Movie Nominated
Golden Globe Award for Best Animated Feature Film[65] Nominated
Critics' Choice Movie Award for Best Animated Feature Won
Critics' Choice Movie Award for Best Comedy 22 Jump Street Nominated
Annie Award for Best Animated Feature[66] The Lego Movie Nominated
Annie Award for Directing in an Animated Feature Production[66] Nominated
Annie Award for Writing in an Animated Feature Production[66] Won
Satellite Award for Best Animated or Mixed Media Feature[67] Nominated
Satellite Award for Best Original Screenplay[67] Nominated
BAFTA Award for Best Animated Film Won
Saturn Award for Best Animated Film Won
Primetime Emmy Award for Outstanding Directing for a Comedy Series The Last Man on Earth Nominated
Monmouth Award for Communication Excellence (MACE)[68] Lifetime contributions in the field of communications Won
2018 Producers Guild of America Award for Best Animated Motion Picture[69] (With Dan Lin) The Lego Batman Movie Nominated
2019 Annie Award for Best Animated Feature Spider-Man: Into the Spider-Verse Won
Producers Guild of America Award for Best Animated Motion Picture (With Avi Arad, Amy Pascal and Christina Steinberg) Won
Annie Award for Writing in a Feature Production (Only Phil Lord) (With Rodney Rothman) Won
BAFTA Award for Best Animated Film (Only Phil Lord) Won
Golden Globe Award for Best Animated Feature Film Won
Academy Award for Best Animated Feature
(With Bob Persichetti, Peter Ramsey and Rodney Rothman) 		Won
2020 Chicago Indie Critics for Best Animated Film (With Dan Lin, Roy Lee and Jinko Gotoh) The Lego Movie 2: The Second Part Nominated
2021 SCAD Savannah Film Festival Outstanding Achievement in Animation The Mitchells vs. the Machines Won
Academy Award for Best Animated Feature (With Mike Rianda and Kurt Albrecht) Nominated
BAFTA Award for Best Animated Film (With Mike Rianda and Kurt Albrecht) Nominated
Producers Guild of America Award for Best Animated Motion Picture (With Kurt Albrecht) Nominated
2022 Hollywood Critics Association TV Award for Best Directing in a Streaming Comedy Series (Only Christopher Miller) The Afterparty ("Yasper") Nominated
Hollywood Critics Association TV Award for Best Writing in a Streaming Comedy Series (Only Christopher Miller) The Afterparty ("Maggie") Nominated
2023 Honorary Degree, Doctor of Arts (Christopher Miller) Dartmouth College Won
Honorary Degree, Doctor of Arts (Phil Lord) Won
2024 Annie Award for Best Animated Feature Spider-Man: Across the Spider-Verse Won
Producers Guild of America Award for Best Animated Motion Picture (With Avi Arad, Amy Pascal and Christina Steinberg) Won
BAFTA Award for Best Animated Film Nominated
Golden Globe Award for Best Animated Feature Film Nominated
Academy Award for Best Animated Feature (With Kemp Powers, Justin K. Thompson, and Amy Pascal) Nominated

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Phil Lord and Christopher Miller

View on Grokipedia
from Grokipedia
Phil Lord and Christopher Miller are an American filmmaking team comprising director, producer, and screenwriter Philip Lord IV (born 1975) and director, producer, and screenwriter Christopher Robert Miller (born 1975), who met as undergraduates at and formed a creative partnership centered on and . Their collaboration began in television with the creation of the animated series for in 2002, which they co-developed with Bill Lawrence and which gained a before its cancellation after one season and revival in 2023 on Max. Transitioning to feature films, they directed live-action comedies such as (2012) and (2014), revitalizing the television franchise into box-office successes. The duo achieved particular acclaim in , directing (2014), which transformed a toy-based property into a critical and commercial hit praised for its wit and visual ingenuity, and producing (2018), which earned them the Academy Award for Best Animated Feature for its groundbreaking animation techniques and narrative innovation. Subsequent projects include sequels like (2019) and (2023), along with production roles in films such as (2021). Lord and Miller have secured multi-picture deals with studios including , enabling development of original and IP-based comedies and dramas.

Early Background

Childhood and Education

Philip Lord was born on July 12, 1975, in , , to a mother who is a Cuban-born and a father who worked in aviation and arts before retiring. Raised in the neighborhood, he attended , graduating in 1993. Christopher Robert Miller was born on September 23, 1975, in . He grew up in nearby Lake Stevens. Both Lord and Miller developed an early interest in animation, frequently watching cartoons by during their childhoods. They met as undergraduates at , from which they graduated in 1997; Lord received a degree in cum laude.

Formation of Partnership

Phil Lord and Christopher Miller first met as freshmen at in the fall of 1993, introduced by a mutual friend who observed their overlapping interests in unconventional humor and media. Both had independently contributed comic strips to the student newspaper The Dartmouth, reflecting early creative output rooted in and , influences they traced to childhood exposure to cartoons. Lord, majoring in art history, and Miller, pursuing studio art, bonded rapidly over shared obsessions with storytelling and visual comedy. Their collaboration began during college when Lord persuaded Miller to join an animation course, leading to joint short films and experimental projects that honed their complementary styles—Lord's narrative drive paired with Miller's visual flair. These undergraduate efforts attracted early industry notice, with Hollywood agents contacting them before graduation in 1997, prompting a decision to forgo traditional paths for immediate professional pursuits in Los Angeles. The duo's partnership formalized post-graduation, emphasizing iterative idea exchange and risk-taking, as they transitioned from campus sketches to pitching television concepts. This foundation of mutual trust and creative synergy, unburdened by hierarchical structures, enabled their breakthrough in adult animation, distinguishing them from solo creators through efficient, consensus-driven production.

Television Career

Early Animated Series

Phil Lord and Christopher Miller's entry into animated television came with Clone High, an adult-oriented sci-fi sitcom they co-created with Bill Lawrence for MTV and Teletoon. The series premiered in the United States on November 2, 2002, and featured 13 episodes centered on teenage clones of historical figures—such as Abraham Lincoln, Joan of Arc, and Cleopatra—attending high school under the supervision of a mad scientist principal. Drawing from their Dartmouth College collaboration, Lord and Miller infused the show with satirical takes on adolescent angst, blending absurd humor with social commentary on identity and conformity. As executive producers and head writers, Lord and Miller directed multiple episodes and voiced key characters, including Principal Dr. Julius Hilarious Scudworth and the Clone Scientist (Lord) and (Miller). Their hands-on involvement extended to shaping the series' irreverent tone, which parodied teen dramas like while exaggerating historical personas for comedic effect—Gandhi as a hedonistic raver, for instance. The show's production involved initially, reflecting their pitch of a high-concept animated premise that prioritized sharp writing over broad appeal. Clone High aired its final episode on May 13, 2003, after one season, amid significant controversy that led to its abrupt cancellation. The depiction of Gandhi as a carefree, party-obsessed clone drew outrage from Hindu communities in , who viewed it as a disrespectful of the revered leader; this sparked , protests, and hunger strikes, pressuring and its international partners to pull the series. Over 12,000 signatures were collected in one alone, underscoring the cultural between Western satirical liberties and global sensitivities. Despite the backlash, the show's cult status endured, with Lord and Miller later crediting it as foundational to their expertise, though the incident illustrated risks in provocative historical reinterpretation without broader cultural vetting.

Contributions to Star Wars Animation

Phil Lord and Christopher Miller have no credited contributions to Star Wars animated projects, such as Star Wars: The Clone Wars or Star Wars: Visions. Extensive reviews of their filmography, including listings, reveal no directing, writing, producing, or voice roles in any Star Wars television animation. Their documented Star Wars involvement is confined to the live-action feature Solo: A Star Wars Story, where they were hired as directors in July 2015 but exited in June 2017 amid reported creative differences with over tone and improvisation. Christopher Miller's early internship at during the 1999 production of Star Wars: Episode I – The Phantom Menace provided tangential exposure to the franchise, but this predated major animated efforts and yielded no creative output. Despite their expertise in animation—evident in series like (2002–2003)—no evidence links them to Star Wars' animated expansions under Disney or .

Film Career

Breakthrough Comedies and Adaptations

Lord and Miller achieved their first major success with Cloudy with a Chance of Meatballs, an animated comedy released on September 18, 2009, marking their directorial debut. Loosely based on Judi and Ron Barrett's 1978 children's book, the story centers on inventor Flint Lockwood, voiced by , who develops a device converting water into food, leading to chaotic meteorological consequences in the town of . Produced by on an estimated budget of $100 million, the film grossed $243 million worldwide, with $124.9 million from North America. Transitioning to live-action, they directed in 2012, adapting the 1987–1991 television series into a buddy-cop . The plot follows officers Schmidt () and Jenko () infiltrating a high to dismantle a drug ring, blending action, , and raunchy humor. Made on a $42 million budget, it earned $201.6 million globally, including $138.4 million domestically, revitalizing the dormant property through ironic takes on tropes and modern teen culture. Their most transformative breakthrough arrived with , released February 7, 2014, an animated feature originating from the brick toy franchise but featuring an original narrative. Voiced by as everyman minifigure Emmet Brickowski, the film satirizes corporate conformity and heroism in a block-built universe, incorporating stop-motion aesthetics via CGI. Budgeted at $60 million, it generated $469.8 million worldwide, with $257.8 million from the U.S., propelling Lego into a cinematic empire and earning praise for subversive storytelling amid toy promotion.

Franchise Expansions and Innovations

Lord and Miller directed the 2012 action-comedy , adapting the 1987 television series into a meta-humor-infused starring and , which grossed over $201 million worldwide and revived interest in the property. They followed with in 2014, self-parodying sequel conventions while expanding the premise to college undercover work, earning $347 million globally and demonstrating their skill in subverting franchise expectations through fourth-wall breaks and genre satire. Plans for 23 Jump Street and a crossover with Men in Black were announced but stalled due to production disputes, with Lord and Miller reducing fees to facilitate revival efforts as of 2025. Their 2014 The Lego Movie transformed the Lego brick toy line into a feature-length animated adventure, emphasizing themes of imagination and anti-corporate satire, which grossed $469 million and spawned a multimedia franchise including direct sequels, spin-offs like (2017) and (2017), and video games. As producers on The Lego Movie 2: The Second Part (2019), they continued innovating with musical elements and existential humor, grossing $192 million despite mixed reception, while licensing expansions boosted Lego's cultural footprint. Lord and Miller produced (2018), pioneering a hybrid animation style blending 2D comic aesthetics with 3D CGI, using stepped animation on twos for punchy, graphic novel-like visuals that diverged from photorealistic norms, earning the Academy Award for Best Animated Feature and $384 million in . They extended this in (2023), employing over 1,000 artists to introduce variants with distinct stylistic "dimensions," such as watercolor and influences, grossing $690 million and redefining superhero animation through experimental rendering and narrative scope.

Recent Directorial and Producing Ventures

In recent years, Phil Lord and Christopher Miller have shifted emphasis toward producing roles while expanding into high-profile live-action and animated projects. They executive produced (2023), the sequel to their earlier Into the Spider-Verse, which grossed $381.6 million domestically and $690.8 million worldwide, earning acclaim for its innovative and storytelling. The film, directed by , , and Justin K. Thompson, featured Lord as co-writer alongside Miller's producing oversight through their Lord Miller Productions banner. Lord and Miller also produced Cocaine Bear (2023), a black comedy horror film directed by Elizabeth Banks, inspired by a real 1985 incident involving a bear ingesting cocaine; it earned $87.5 million globally despite mixed reviews focused on its over-the-top tone. That same year, they produced Strays (2023), an R-rated comedy directed by Josh Greenbaum starring Will Ferrell as a dog seeking revenge on his owner, emphasizing crude humor about animal instincts in urban settings. On television, they revived and executive produced the animated series for Max in 2023–2024, updating their original 2002–2003 MTV concept with new episodes featuring cloned historical figures in a high school satire. Looking ahead, Lord and Miller are directing (2026), a sci-fi adaptation of Andy Weir's novel starring as a lone combating a solar dimming crisis, with a screenplay by and a theatrical release scheduled for March 20, 2026. Among upcoming producing efforts, they are executive producing Three Bags Full: A Sheep Detective Movie (2026) for Amazon MGM Studios, a comedic mystery starring Hugh Jackman and Emma Thompson about sheep investigating their shepherd's death, directed by Kyle Berger and set for November 13, 2026 release. In August 2025, Universal Pictures announced a live-action Archie film with Lord and Miller producing, scripted by Tom King adapting the classic comics featuring teen archetypes in Riverdale. They continue involvement as producers and writers on Spider-Man: Beyond the Spider-Verse (2027), completing the trilogy with directors Bob Persichetti and Justin K. Thompson.

Creative Philosophy and Influences

Stylistic Hallmarks

Phil Lord and Christopher Miller's films are characterized by bold visual innovations that serve the narrative, such as replicating aesthetics with stylized line work, dots, and varying frame rates in (2018), which departed from traditional CGI smoothness to evoke printed panels and motion blur. Similarly, (2014) employed digital techniques to mimic handmade stop-motion, emphasizing tactile brick textures and dynamic camera movements unbound by physical constraints. These choices reflect a commitment to pushing animation boundaries for thematic resonance, prioritizing personality through subtle details like character or object interaction over . In live-action projects, their style incorporates heavy to generate authentic, unpredictable humor, as seen in the extended, dialogue-driven in 21 Jump Street (2012), where actors deviated from scripts to heighten comedic timing and rapport. This approach fosters a "say yes" ethos on set, encouraging wild ideas and crew input to subvert expectations, such as meta-jabs at sequels and Hollywood formulas in 22 Jump Street (2014). Narratively, Lord and Miller blend sharp, self-aware comedy with sincere emotional cores, often using meta-storytelling to deconstruct tropes—evident in 's twist revealing a child's imagination driving the plot—while avoiding cynicism through relational stakes like father-son bonds in Cloudy with a Chance of Meatballs (2009). Their genre adaptations, from police procedurals to toy-based adventures, inject pop-savvy subversion without abandoning heartfelt invention, maintaining a unified directorial voice through private collaboration that resolves creative tensions.

Inspirations and Evolution

Phil Lord and Christopher Miller's early inspirations stemmed from a shared childhood fascination with animation, particularly the works of Chuck Jones in Looney Tunes cartoons, which Miller cited as a formative influence, alongside Lord's exposure to underground animation festivals featuring Bill Plympton and Matt Groening shorts. Their cinematic touchstones included classics like Star Wars, The Wizard of Oz, and Singin' in the Rain for Miller, while Lord drew from unconventional films such as Howard the Duck and Robert Altman's Popeye. Broader influences encompassed The Muppets, which ignited their interest in versatile, genre-blending storytelling, and Harold and Maude, shaping their approach to dark humor intertwined with sincerity. These elements fostered a philosophy of embracing improbable ideas—"say yes to everything"—while prioritizing emotional authenticity over cynicism. A pivotal evolution occurred through mentorship from producer Amy Pascal during Cloudy with a Chance of Meatballs (2009), where she emphasized that films succeed by centering relationships rather than isolated protagonists, instilling a focus on emotional grounding amid comedic invention. This lesson marked a shift from their debut Clone High (2002–2003), a satirical animated series known for quirky historical parodies and improvisational dialogue, toward more heartfelt narratives. Subsequent projects refined genre subversion: The Lego Movie (2014) layered meta-commentary on consumerism with a father-son emotional core, grossing $462.3 million and earning a 96% Rotten Tomatoes score, while introducing visual innovation through brick-built aesthetics. Their style further advanced in animation hybrids, blending 2D and 3D techniques for dynamic expression, as seen in (2018), which deconstructed tropes via comic-inspired visuals and themes of universal potential—"anyone can wear the mask"—winning the Academy Award for Best Animated Feature among 40 accolades. This evolution extended to live-action like (2012), where self-aware elevated action-comedy, and later works such as (2021), which innovated "Katie-vision" stylization to explore family dynamics amid technological apocalypse, becoming Netflix's top film in over 40 countries. Across these, Lord and Miller consistently refract pop culture—drawing from artists like —to inspire creativity and empowerment, evolving from niche to blockbuster innovations that prioritize relational depth and visual experimentation.

Controversies

Dismissal from Solo: A Star Wars Story

Phil Lord and Christopher Miller were dismissed from directing Solo: A Star Wars Story on June 20, 2017, after several months of production, including the start of in January 2017 at in . president Kathleen Kennedy issued the official announcement, stating that the directors had assembled an "incredible cast and crew" but that "different creative visions and processes" could not be reconciled following months of discussion, leading to a mutual parting of ways. In a joint statement, Lord and Miller acknowledged the misalignment, noting, "Unfortunately, our vision and process weren't aligned with our partners on this project," while describing the shooting experience as "wonderful" and expressing pride in their work with the cast and crew. Reports indicated the core conflict stemmed from Lord and Miller's improvisational directing style—rooted in their successes with films like (2012)—which emphasized on-set comedy and deviations from the script, clashing with Lucasfilm's preference for structured adherence to pre-approved story beats and a tone consistent with the franchise's established seriousness. Tensions escalated with producer Kennedy and co-writer , who sought greater oversight to ensure the film's alignment with Star Wars lore, particularly in portraying a young without undermining canon elements like his smuggling backstory and acquisition. An anonymous cast member later claimed the directors were unprepared for the project's scale and intensity, leading to challenges in guiding lead actor Alden Ehrenreich's performance to evoke Harrison Ford's iconic portrayal. The dismissal occurred after approximately five weeks of , though some accounts describe broader and early shooting phases contributing to the buildup. was hired as replacement director on July 11, 2017, and extensive reshoots followed, with much of Lord and Miller's footage discarded to refit the narrative under Howard's more conventional approach, ultimately delaying the film's release to May 25, 2018. In November 2017, Lord reiterated the positive aspects of production, emphasizing learning opportunities from the cast and crew, while Miller added that they remained supportive of the final product. Reflecting in 2022, the duo described the 90 days shot as formative, stating it improved their filmmaking without regret, though they felt initially misunderstood by public narratives framing the exit as a failure of discipline.

Production Practices in Animation

Phil Lord and Christopher Miller's production practices in emphasize experimental innovation rooted in their early training under animator David Ehrlich at , where they developed a foundation in blending unconventional techniques with narrative-driven visuals. Their workflow prioritizes thematic alignment, using animation styles that subvert traditional expectations to enhance , often involving extensive with large teams of artists to iterate on details like character expressions and environmental interactions. This approach draws from live-action influences, such as improvisational performances captured for animation references, to infuse authenticity and dynamism into animated sequences. In (2014), Lord and Miller oversaw a hybrid process combining (CGI) with photorealistic stop-motion aesthetics, virtually constructing scenes brick by brick using software like Softimage for rigging, layout, and animation, and Maya for surfacing, lighting, and rendering. Real LEGO elements were incorporated into select shots via stop-motion filming in controlled environments, such as basements, to achieve tactile without relying solely on digital fabrication. This meticulous build process, executed by , avoided seamless CGI cheats in favor of authentic modular assembly, enabling a vast scale of dynamic action while honoring the toy's physical constraints. For the franchise, beginning with (2018), their practices involved pioneering a collage-like aesthetic that collides diverse animation paradigms, including hand-drawn overlays on CGI models, stepped animation on twos for graphic punch, variable frame rates (e.g., 12 fps for stylized sequences versus 24 fps for fluid motion), and effects like to evoke comic-book pages. Production spanned four years with approximately 800 artists, where each second of footage could require a week of labor per artist, reflecting rigorous iteration on elements such as facial line work and 2D hand-drawn effects. Lord and Miller fostered a "yes, and..." collaborative ethos, debating minutiae like sweat patterns while integrating concepts to justify stylistic variances, such as distinct art directions for characters like or , all unified under Justin K. Thompson's vision. Across projects like (2021), they extend this by matching visuals to emotional and thematic beats, unbound by physical realism to prioritize imaginative expression, often employing multiple directors and over 1,000 artists to refine hybrid styles that blend photorealism with abstraction. Their method underscores a commitment to visual storytelling that serves character arcs, achieved through persistent problem-solving and openness to external inspirations, such as fan-created animations integrated into sequences.

Recognition and Impact

Awards and Critical Reception

Phil Lord and Christopher Miller's films have consistently garnered strong critical praise for their inventive storytelling, blending of genres, and subversive humor, often achieving high aggregate scores on review platforms. Their directorial debut (2012) earned an 85% approval rating on based on 224 reviews, with critics lauding its sharp satire of 1980s nostalgia and teen movie conventions, as well as the comedic chemistry between leads and . Reviewers highlighted the film's self-aware tone and fast-paced absurdity, distinguishing it from typical remakes by emphasizing character-driven laughs over rote action. The Lego Movie (2014), which they co-directed and co-wrote, received a 96% score from 258 reviews, celebrated for its colorful , meta-commentary on , and unexpectedly profound themes beneath the toy-based premise. Critics described it as an "instant classic" that subverted expectations of branded entertainment through clever gags and a thoughtful arc. Despite this acclaim, it faced an Oscar snub for Best Animated Feature, which some attributed to industry biases favoring certain animation styles over commercial tie-ins, though public and peer appreciation remained robust. As producers, their involvement in Spider-Man: Into the Spider-Verse (2018) yielded a 97% Rotten Tomatoes rating from 399 reviews, with widespread acclaim for its groundbreaking visual style, emotional depth, and innovative take on superhero tropes, including explosive action and diverse character representation. Outlets praised its "dreamy, funny, self-aware" execution and superior humor compared to contemporaries like Deadpool, positioning it as a landmark in animated filmmaking. Roger Ebert's review noted its strong visual and narrative strengths, though critiquing a somewhat rushed pacing in parts. In terms of awards, Lord and Miller won the Academy Award for Best Animated Feature for producing in 2019, recognizing its technical and artistic achievements. They received Annie Award nominations for directing , including Outstanding Achievement in Directing in an Animated Feature Production. Additional honors include honorary degrees from in 2023 for their contributions to animation and filmmaking. Their work on script earned a nomination for Outstanding Dramatic Presentation in 2014. Nominations extended to BAFTA and for animated films, reflecting peer recognition amid commercial successes.

Influence on Genre Filmmaking

Phil Lord and Christopher Miller have exerted significant influence on genre filmmaking through their innovative approaches to visual storytelling and genre subversion, particularly in animation, comedy, and superhero narratives. Their work emphasizes detailed visual experimentation and narrative freshness, transforming familiar tropes into elevated, audience-engaging experiences rather than formulaic retreads. This is evident in their ability to adapt reboots and licensed properties—such as toy lines and comic adaptations—into original, antic-driven comedies that prioritize emotional depth and stylistic boldness over diminishment of viewer intelligence. In animation, their contributions marked pivotal shifts, beginning with (2014), which pioneered a hybrid computer-generated technique mimicking photorealistic stop-motion using real LEGO elements, thereby altering industry standards for toy-based films by blending handmade aesthetics with digital efficiency. This approach not only exceeded commercial expectations but fundamentally changed animation production paradigms, inspiring subsequent works to prioritize tactile, innovative visuals over conventional CGI smoothness. Their production of (2018) further revolutionized the medium by rewriting rules to emulate aesthetics, incorporating variable frame rates, color smears, and "stepping" techniques to eliminate motion blur, creating a dynamic, graphic-novel-like motion that influenced a broader wave of creative diversity in animated storytelling. These innovations positioned as a viable, superior medium for capturing the otherworldly essence of , challenging live-action dominance in the genre. Extending to live-action genres, Lord and Miller's direction of films like (2012) subverted buddy-cop conventions by infusing self-aware humor and genre deconstruction, proving that high-concept comedies could yield critical and box-office success while critiquing Hollywood's reliance on irony over sincerity. Their overall oeuvre has encouraged filmmakers to embrace multihyphenate roles and bold visions, fostering a landscape where intersects with and action genres to produce boundary-pushing narratives, as seen in the enduring stylistic ripples from sequels and spin-offs. This influence underscores a causal link between their risk-taking—rooted in collaborative creativity and emotional prioritization—and the evolution of genre films toward more visually and thematically ambitious outputs.

Filmography

Directed Films

Phil Lord and Christopher Miller have directed four feature films, blending and live-action with improvisational elements and satirical humor.
YearTitleDistributor
2009Cloudy with a Chance of Meatballs
201221 Jump Street
2014The Lego Movie
201422 Jump Street
Their debut, Cloudy with a Chance of Meatballs, adapted a children's book into a computer-animated story about a inventor causing food-precipitation disasters, grossing $243 million worldwide on a $75 million . 21 Jump Street marked their live-action directorial entry, rebooting the 1980s TV series as a buddy-cop following undercover officers at a high school, earning $201.6 million globally from a $42 million . The duo's 2014 releases, and , demonstrated parallel successes: the former, an original animated tale subverting toy-block expectations, amassed $469.4 million on $60 million, while the sequel extended the formula to college, yielding $347 million from $50 million.

Produced Films

Phil Lord and Christopher Miller, operating through their company Lord Miller Productions, have produced a range of feature films, predominantly in , emphasizing experimental visuals, humor, and ensemble storytelling. These productions often collaborate with studios like Warner Animation Group and , extending their creative vision beyond directorial roles.
TitleYearDirector(s)
Cloudy with a Chance of Meatballs 22013, Kris Pearn
Storks2016, Doug Sweetland
The Lego Batman Movie2017
The Lego Ninjago Movie2017Charlie Bean
Spider-Man: Into the Spider-Verse2018, ,
The Lego Movie 2: The Second Part2019Trisha Gum
The Mitchells vs. the Machines2021
Spider-Man: Across the Spider-Verse2023, , Justin K. Thompson
Cocaine Bear2023
Strays2023
They have also executive produced smaller-scale projects like (2017), directed by , a drama-comedy exploring isolation and media influence.

Television Series

Phil Lord and Christopher Miller began their television careers as creators, writers, directors, and executive producers of the animated series , which premiered on on November 2, 2002, and ran for one season of 13 episodes until its cancellation on May 13, 2003, due to controversy over its depiction of historical figures as teenagers, including a portrayal of that drew criticism from Hindu groups. The series featured cloned historical and fictional characters attending high school, with Lord and Miller voicing multiple roles and directing episodes that blended sci-fi elements with teen comedy. A revival was announced for Max in 2023, with new episodes airing starting November 24, 2023, maintaining their original creative vision while addressing past sensitivities. They contributed to as writers and co-executive producers, penning episodes such as "Belly Full of Turkey" (season 1, episode 9, aired November 28, 2005) and "The Sweet Taste of Liberty" (season 1, episode 2, aired October 3, 2005), helping shape the sitcom's early narrative structure around time-travel framing and ensemble humor during its run from 2005 to 2014 on . Their involvement extended to directing and producing the pilot episode of , which aired on on September 17, 2013, setting the tone for the police comedy's blend of procedural elements and character-driven absurdity, though they departed after the pilot amid scheduling conflicts with film projects. As executive producers, Lord and Miller oversaw The Last Man on Earth, a post-apocalyptic comedy that debuted on on March 1, 2015, and concluded after four seasons on May 6, 2018; they directed the first two episodes, starring and written by , emphasizing improvised humor and survival tropes in a world repopulated by quirky survivors. They also executive produced the animated Unikitty!, a spin-off from , which aired on from January 1, 2017, to July 25, 2020, for 53 episodes, adapting the film's optimistic character into episodic adventures promoting emotional expression. In 2022, they created and executive produced The Afterparty for Apple TV+, a murder-mystery that premiered on January 28, 2022, with its first season structured as Rashomon-style retellings of a high reunion killing, incorporating genre mashups and stylistic shifts per episode; the series was renewed for a second season focused on a different case but canceled in July 2023 after two seasons amid creative disputes. Their overall television output reflects a consistent emphasis on genre-blending , often bridging and live-action, though much of their later focus shifted to film production under deals like their pact, which was not renewed in 2024 due to budget disagreements.

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