Gerard Butler on bringing Stoick to life in live-action ‘How to Train Your Dragon’

Scottish actor Gerard Butler lit up the red carpet in Riyadh last month as he kicked off the global publicity tour for the highly anticipated live-action adaptation of ‘How to Train Your Dragon.’ (Supplied)
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Updated 11 June 2025
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Gerard Butler on bringing Stoick to life in live-action ‘How to Train Your Dragon’

RIYADH: Scottish actor Gerard Butler is returning to the Viking Isle of Berk, but this time he is trading his animated voice for full costume and presence in the live-action adaptation of “How to Train Your Dragon” — a remake of the beloved DreamWorks franchise, helmed by three-time Oscar nominee Dean DeBlois.

In this new retelling, which releases on June 12, Mason Thames plays the inventive Hiccup, a young Viking who defies tradition to befriend Toothless, a Night Fury dragon. Butler reprises his role as Stoick the Vast, Hiccup’s formidable father, stepping from the recording booth into full-bodied performance.

 

 

“It’s a big change,” Butler told Arab News. “When I’m doing the recording, the animation, I could pretty much turn up in my pajamas if I wanted to. But there’s no getting away with that here. It was all of me. There’s no excuses.”

He described the live-action shift as “a chance to bring Stoick’s bigness and smallness” to life in a whole new way.

Butler praised his co-stars, including Nico Parker as Astrid and Nick Frost as Gobber, and especially young lead Thames.

 

 

He reflected on the dynamic between the father and son, saying: “Well, he’s an incredible young actor. And I feel like the characters and the relationships that our writer-director Dean DeBlois (has created), there’s a reason they became so beloved and people feel so strongly because they’re incredibly emotional.

“So, I think to play that Viking father who expects so much from his son, and his son who’s trying his best and actually has all these incredible characteristics that I just can’t see, was beautiful to delve into ... on sets with our clothes, with our costumes, and really believe that we were in that world. That was pretty epic.”

Returning to Saudi Arabia for the film’s press tour, Butler shared his affection for the Kingdom, saying: “I had an incredible experience here and made some really nice friends. AlUla is beyond. I became very attached to that place, to its energy, its history, and to the community there.”

Butler expressed his excitement for the audience, adding: “There’s so much … for them to see because there’s so much in this movie. I think that some of the scenes of the dragons flying are some of the most beautiful, immersive, powerful scenes that I’ve seen on a big screen. But on top of that, I think that we have very complex, emotional, heartfelt performances and a story that they can also climb into. I think we have a lot of modern references that we can all like; the characters are so relatable.

“It’s a big honor for me to be able to play this character again. I feel very lucky to be part of this franchise. I feel very protective of it because I was there. I was actually there even before Dean DeBlois was there, you know, because we had a different director way, way back. So I’ve been with it for a long, long time, and to see it start as just a little planet and then become a whole universe has been amazing.”


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.