Daley Pearson Says Brother’s Death Inspired New Netflix Film Allen

“He was the best thing ever to me,” Daley Pearson said of his late brother, whose death inspired the co-founder of Ludo Studio to make his first live-action feature film, The Guardian reported.

The Queensland-based production house behind the global animated phenomenon Bluey is preparing to release Allen on Netflix on November 12. Pearson co-directed the family film with Jeffrey Walker and co-wrote the script with Sophie Miller.

The project follows Petey, played by TJ Power, who befriends a bug-eyed extraterrestrial in the coastal town of Coolum before the visitor is abruptly summoned home. Decades later, Petey remains trapped in arrested development, surrounded by VHS tapes, board games, and vintage memorabilia.

Pearson drew heavily on his own childhood fascination with 1980s and 1990s pop culture, describing that era’s commercial onslaught as something that left children feeling like drug addicts hooked by corporations. Behind the nostalgic trappings lies a deeply personal exploration of grief.

When Pearson was 13 years old, his older brother Liam died of cancer at the age of 26. Pearson told The Guardian that making the film helped him unpick how that loss shaped his adult life and his persistent attachment to the past.

“I only listen to old songs, I have all the old toys around the Ludo office and I only watch old movies,” Pearson said. “It connects me to a past that doesn’t exist any more.”

The theme of an inability to let go also appeared in the 2022 horror film Talk To Me, another concept originated by Pearson and handed over to Adelaide’s Philippou twins because Ludo Studio was fully occupied producing Bluey. Pearson admitted he did not initially realize the thematic link between the two projects until it was pointed out to him.

Bringing the alien character to life on screen proved to be a protracted logistical hurdle. Formation Effects initially attempted to build Allen as an animatronic puppet, but Pearson recalled the result was frightening.

The final version relies on a physical puppet enhanced with visual effects for expressions and movement. Pearson deliberately avoided making the character zany or disruptive, opting instead for an introspective demeanor.

Recreating a detailed bedroom filled with branded toys also presented legal and logistical challenges. Pearson noted that it required extensive work from lawyers and production designers to secure the necessary intellectual property releases and licences.

Despite the immense international success of Bluey, Pearson remains cautious about the studio’s future stability. He emphasized that the animated series was a one-in-a-million opportunity and acknowledged that the pressure on the team has only intensified.

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