Interview with the designer of “Grande Mouis” Nick Kroll

After eight seasons, the adult animated series of Netflix on the wild trip of puberty finished ending. While the story of Big mouth Started on the basis of the life of creators Nick Kroll and Andrew Goldberg, history quickly developed with the experiences of adolescents of writers, and even some teenagers who are currently going through the process.

Big mouth Follows a group of adolescent friends as they find their lives upset by the wonders and horrors of puberty. Kroll says that one of the most important things was to make sure that each story was managed in a conscious and serious way, while approaching the situation in a comic sense.

DEADLINE: That’s eight big mouth seasons, what made you want to tell this story?

Nick Kroll: Honestly, it just started when Mark [Levin]Jen [Flackett] and Andrew [Goldberg] came to me with this idea of ​​an animated show on me and the experience of Andrew who goes through puberty. And, frankly, I immediately had the impression of having the elements that would make an animated show. Sometimes it is difficult to justify why something should be animated, and it seemed so clear right away. There was such a natural way to explore puberty, sexuality, human development within the genre of adult animation, and also a means for me to tell an autobiographical story without being openly like my autobiography at a certain level.

DEADLINE: Yes, I can’t imagine that this series is told live either.

Kroll: Yeah … would have been difficult.

Deadline: YOu did, I think, more than 80 votes in the series – what made you want to see so many characters?

Kroll: I mean, that is part of the joy of animation. I had done Kroll Before that and I have a sketch and character background, so it was a natural adjustment and part of the “sale” of the series in Netflix was always as if I was going to do Lola, the coach Steve, Nick and Maury the Hormone Monster. Very quickly in season 1, we created Rick The Hormone Monster, then we started to bring the Jansen twins, then all these other voices started to come in large and small of Joe Walsh to Sylvester Stallone … And then it was like, “okay, can someone do a poupped doll?” And I said to myself: “Yeah, I think I can make a dolphin poodle hybrid.” And then it continued from there. I love to write and produce this program, but I guess I like, I have never seen the films, but I know that Liam Neeson said once he had a particular set of skills. Notice that I don’t make an impression on Liam Neeson. I will leave that to many others, but I am more focused on the impressions of Joe Walsh than the impressions of Liam Neeson. Anyway, one of the things I was going to bring to the table was that I could make a kind of plethora of voice to help complete our incredible distribution.

DEADLINE: How was it in the writers room, especially for last season, knowing that it was coming to an end? Was it just that everyone contributed their high school and puberty stories?

Kroll: Yes, I would say our writers … When they came to be part of the program, the interview process, it was understood that they would share their stories of puberty and adolescence, college, high school. Because at one point, it starts with me and Andrew, but then it grows for all of us. All our writers took such a beautiful property on the characters in the series and really loved these characters and protected them and pleaded for them, and really the show in general. Many of our writers who were on season 8 were in season 1. We do not hold that for granted. Many of our writers have expressed characters in the series, big and small, and I am incredibly proud of the series and what we have done, but I am also very proud of the way we did and with whom we did. You look back on eight seasons and a number of us in the writer’s room have been married or have had children. There are probably six or seven children born during the performance race, and we really spent a large quantity of our lives together to design and build the show. So, it was very soft, but in the end, I cannot speak for all our writers, but it was an incredibly creative and emotionally gratifying experience.

DEADLINE: Was there something you wanted the public to get from the series when you started or as you did?

Kroll: When we started the show, we really made a show that would make us laugh. It was not like: “Oh, we are going to make a show that the children will watch.” We were not fully aware that the children would watch the show. We were just trying to make a show that would make our friends and peer and contemporary friends laugh. Once the show was released, we said to ourselves: “Oh, Wow. Children look at. Young adolescents, college students and adolescents. And the central thing we really wanted from the start, and all along, was to make people feel so alone, because puberty can feel really isolated and can really feel as if you are the only one to cross this. You cannot share what is happening to you, no matter how strange or raw it feels. So we were trying to deactivate that it happens to us all. These feelings that we have, large and small, are normal. Everything is weird and everything is normal, and it was a really central thing that we wanted to communicate.

And then throughout the show, there are many things we have learned by speaking with sexual educators, authors, psychiatrists, therapists and also children. We interview a group of children each year, changing lessons but in the same school, and always try to hear the comments from them on the stories they want to hear. Even to the point, we have an episode near the episode of the penultimate where we opened it to Instagram to look like: “What are the things we have not covered than you want to hear?” And we made a whole kind of episode of sketches around that of the people who wanted to know about the dry bump, vaginosis, vaginism, on the queefs … on all these things that are somehow taboo. But people were like: “please cover this”. We took what we said and how we said it very seriously and seriously, even if ultimately, nothing would be good unless it was super funny. We have always known that we had to be aware of what we said and how we said.

DEADLINE: One thing with which I have always really connected was that feeling that everything that does not go when you are at this age looks like the end of the world.

Kroll: It was sort of the pleasure of making a program on puberty. The stakes feel so high. At this age, you have no prospect that things will ever go better or anything. You just have the impression that it will be a nightmare forever, so it’s great for the narration because the issues feel incredibly high.