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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

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The Hall of Fame isn't calling, but 'Bad Moon' Rison left a different kind of legacy

Every year the call didn’t come, the tears would.

So would the disbelief. The anger. The nights of lost sleep.

For Andre Rison it was like a knife in the side, his annual rejection from the Pro Football Hall of Fame. Hadn’t he done enough? Wasn’t he one of the best of his era? He came to dwell on the disrespect, convinced he belonged, convinced there had to be some reason why he wasn’t getting in.

“There’s nothing Jerry Rice could do that I couldn’t,” Rison has said more than once over the years.

Deep down, he believes that.

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But Rice has the records, the gold jacket resting on his shoulders, the GOAT chain dangling from his neck. Rison has the notoriety that lingers after a chaotic career, then fades. Maybe this was payback, he figured. Maybe it was punishment. He played loud. He lived loud. Andre “Bad Moon” Rison was the NFL’s most outspoken receiver before the NFL was awash in outspoken receivers.

That’s gotta be it, he kept telling himself as the years passed and the call from Canton never came. It wasn’t football — it couldn’t just be football. It was everything else.

It had to be.

Still, the man wasn’t about to apologize. Not for the climb and not for the fall. Not for lashing out at coaches, quarterbacks, even an entire city. Not for brawling with Deion Sanders at the 20-yard line of the Georgia Dome. Not for the touchdown dances that earned him racist letters from fans. Not for dating the pop star who burned down his mansion. Not for partying with Tupac.

Not for any of the baggage that trailed him for most of his seven-city, 11-year NFL odyssey.

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This man was never going to fit neatly into a box.

“When I played,” Rison says now, “the thinking was, if you was African-American, then you could only be great at one thing: football. That was it.

“I said, leave that lane for somebody else.”

His ambitions ran deeper. He was one of the first pro athletes to fuse sports and hip-hop — “I changed the culture,” Rison boasts. He started record labels. He opened businesses. He carried his community with him.

The ride was rocky, littered with mistakes. The arrests. The drama. The millions he burned through — Rison once bought a Ferrari Testarossa without knowing the sticker price and admits to owning 34 different Mercedes-Benzes over the years. A night out in his younger days set him back $15,000.

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He courted the spotlight even when it was the last thing he needed. When a reporter once asked if he was the Dennis Rodman of the NFL, Rison nodded, taking it as a compliment.

In some ways, he was ahead of his time. Before Keyshawn Johnson was screaming “Give me the damn ball!” and Terrell Owens was doing crunches in his driveway for the TV cameras and Chad Johnson was slipping on a homemade Hall of Fame jacket on the sideline, Rison was blowing up the tired old narrative that said receivers need only run their routes, catch the ball and keep quiet.

Three decades later, the 57-year-old is asked if the tumult that often trailed him ever got in the way of football. Rison scoffs. He’s offended. This is a man who once bought a T-shirt that read, “When God made me, he was just showing off.”

“You remember when Michael Jordan went gambling the night before a playoff game and everyone killed him for it, and the next night he lit their ass up?” Rison asks. “Ain’t no distractions when you different. Mike’s different. I’m different. I been different.

“This is Bad Moon we’re talking about.”

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Andre Rison finished second in Rookie of the Year voting with the Colts. Soon, he was gone. (Getty, Allsport)

It was ESPN’s Chris Berman who tapped him with the nickname, inspired by the Creedence Clearwater Revival hit. In 1989, at the tail end of Rison’s rookie year with the Colts, he was pulled over for driving 128 miles per hour in a 55-mph zone. He told the cops he was only going 95.

I see the bad moon a-rising

I see trouble on the way

“The nickname changed my life forever,” Rison wrote in his book, “Wide Open.” For better or worse, he came to embrace it, getting “Bad Moon Rison” tattooed on his bicep.

The song was right: trouble followed. But so did a scintillating career.

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Rison played with a fire first lit on the hardscrabble streets of Flint, Mich., where, as a high school star, a local mobster — Rison calls him Mafia Sal — would slip him wads of cash from time to time, urging him to pick a particular college and sign with a particular agent. Rison says he ignored him. He was going to make it his way.

He did. At Michigan State, he played basketball, made All-Big Ten in track and field and was an All-American wide receiver. “Could’ve made $3 million a year in NIL deals today,” Rison says. A first-round pick of the Colts in 1989, he finished second in Offensive Rookie of the Year voting to Barry Sanders. The Colts missed the playoffs by a game. The future felt bright, and Rison was one of the biggest reasons why.

He was gone a few months later, shipped to Atlanta in a trade that gave the Colts the chance to draft quarterback Jeff George first overall. Rison was crushed. His teammates were, too.

“Heartbroken,” says former Colts linebacker Jeff Herrod. “He had some Marvin Harrison in him. Without Rison, our team went in the craps.”

In Atlanta, Rison grew into one of the best wideouts in the game, earning four straight trips to the Pro Bowl. At 6-feet, 188 pounds, he was undersized but unafraid, lethal between the numbers, quick as a cat. “Nobody could separate like he could,” says his coach with the Falcons, Jerry Glanville. “He had the best change-of-direction I’ve ever seen.”

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There wasn’t a cornerback in football who scared him, and after every catch, Rison welcomed the contact that came his way. He was once walloped so hard in a game that Glanville wondered for a solid minute if he’d ever get up. “I thought he could be dead,” the coach remembers. But Rison always came back for more.

“I’d like to think I was one of the greatest to go over the middle,” he says. “If not the greatest.”

There was a swagger to his game, a style that fit the Falcons and a city coming into its own. Atlanta was becoming a hotbed of hip-hop, and Rison — along with Deion Sanders, his teammate and the league’s best defensive back — were two of the biggest catalysts. The pair became the faces of the hungry upstart.

And they did it different.

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“We football players were told we couldn’t get no endorsements, those were for the basketball and baseball players,” Rison says. “They said we couldn’t get commercials, we couldn’t get involved with music. Deion and I didn’t listen.”

They signed with Nike. They starred in commercials. They popped up in MC Hammer’s music videos. They spoke their minds to the media, consequences be damned.

And they backed it up on Sundays.

go-deeper

GO DEEPER

Is the Deion Sanders way working at Colorado? It depends which way you look at it

By 1993, Rison had more catches in his first five seasons than any receiver in history. Glanville’s rule was simple: Whenever the Falcons advanced inside the red zone, get the ball to No. 80. Period. “I’d tell my QBs, ‘I don’t care if he busts a route and you don’t know where the hell he’s going, just find Rison,’” the coach says. “He’d run over the entire defense to get in the end zone.”

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The numbers piled up. The wins didn’t. Sanders bolted for San Francisco before the 1994 season and put on a show a few months later in his return to the Georgia Dome, throwing punches at Rison — punches Rison returned — before taking an interception back 93 yards and high-stepping into the end zone.

Rison was gone a year later, signing a five-year $17 million deal with the Browns, at the time the richest ever for a wide receiver. But he never lived up to it. He showed up to training camp out of shape, grew frustrated with the scheme and clashed with coach Bill Belichick.

Late that year, while rumors of the Browns’ move to Baltimore swirled, Rison lashed out at the fans after a loss to Green Bay in which he was repeatedly booed. “Baltimore here we come,” were his infamous words in front of the TV cameras. Rison says in the weeks that followed, he received death threats. Most in Cleveland never forgave him.

Rison flamed out in Jacksonville after failing to mesh with quarterback Mark Brunell, whom Rison took shots at in the media after his exit. A few months later, he was helping the Packers win Super Bowl XXXI, snagging a 54-yard touchdown from Brett Favre on the team’s second offensive snap. It was so loud in the New Orleans Superdome that night that Rison couldn’t even hear Favre’s audible at the line of scrimmage. No matter. He snuck behind the defense and went untouched for the score.

He was a world champion.

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Andre Rison takes a reception in for a score during the Packers’ Super Bowl XXXI victory at the Superdome. (Brian Bahr, Peter Brouillet / Getty Images)

In the days leading up to the game, he ran into Belichick before practice. “Hey pipsqueak,” the coach blurted out, “why didn’t you play like this for me?” Rison’s response: “Because you didn’t have an offensive coordinator.” Both laughed.

In Kansas City, Rison earned a fifth Pro Bowl nod and a new nickname, “Spiderman,” for his acrobatic catches in the end zone. But his time in the league was winding down, and after spending the 2000 season with the Raiders, Rison was out. One last triumph came in 2004 when he helped the Toronto Argonauts to a CFL Grey Cup.

Football was finished. Nothing in Rison’s life was about to get any easier.


After his girlfriend burned down his house, Rison hopped on his motorcycle, sped out of his subdivision and considered killing himself.

“I can’t take it!” he screamed.

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The rain poured.

“All I had to do was wiggle the bike, just one good time, and I was headed straight into the median,” he wrote in “Wide Open.” “It would all be over in an instant.”

The relationship was volatile, the drama unending. Lisa “Left Eye” Lopes — one-third of the Grammy-winning group TLC — had returned to Rison’s Atlanta home one night in June 1994 and found him with another woman. She collected dozens of pairs of his shoes, piled them up in the bathtub, then lit them on fire.

His $2 million mansion was torched. The incident made national news. Lopes was charged with first-degree arson.

The scene Rison has never been able to push from his mind: seeing Lopes climb into a car and drive off with Tupac Shakur, a close friend of his at the time — Shakur actually filmed his music video with MC Breed, “Gotta get mine,” at one of Rison’s homes.

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A week later, Rison was holding Lopes’ hand during her court hearing. They planned to marry until she was killed in a car accident in Honduras in 2002.

By then Rison’s NFL career was over. He stumbled trying to find what was next. His estimated $19 million in career earnings? Mostly gone. “Some guys had a gambling problem,” Rison said in the ESPN 30 for 30 documentary, “Broke.” “Well, I had a spending problem.” Over the years, in addition to the 34 Benzes, he bought 14 BMWs, several Ferraris and too many trucks to count. He claims to have spent over $1 million on jewelry. He once lent a friend $30,000 to open a frozen drink café, then never saw a penny of profit.

The partying caught up to him. Rison’s inner circle ballooned to 20, 30, even 40 people. He paid for everything. He remembers lying in bed after a night out with $10,000 in cash sprawled out on the floor, $5,000 tucked in his pocket and $7,500 more stashed in his coat. He spread himself too thin. Eventually, the money ran out.

“Everybody used to say, and still does, that all Dre ever did away from the game was give, give, give,” Rison says. He says he picked it up from his grandmother back in Flint, who’d welcome strangers into her house on Christmas just so she could cook them a warm meal.

A coach left him with a warning early in his career, words Rison never forgot: “You keep messing up, and one day I’m gonna pull up in my shiny white Cadillac and ask, ‘Hey Dre, how about a wash?’”

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Rison pledged he wouldn’t let that happen.

It never did. But his finances were a mess. His legal issues piled up — over the years, he’s been arrested for felony theft and disorderly conduct, and in 2022 he was charged with failing to pay child support. (Rison has four sons.) He avoided jail time by pleading down. Finally, he filed for bankruptcy.

He started coaching. He opened a business training young athletes. Then he met the woman who would offer him the type of stability he’d always needed. He helped her beat breast cancer, and together, they’re raising four daughters in his home state of Michigan.

Her name? Lisa Lopez.


He feels the remnants of all those trips over the middle every morning when he wakes up.

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Rison says he has Arthritis in 18 different places. He has bone spurs in his neck. He’s had his jaw dislocated, his teeth knocked out, all 10 of his fingers broken at one point or another.

“You have to learn how to deal with depression,” Rison says, “and how to fight it.”

And he had to learn to move on, to stop obsessing over the Hall of Fame. He’s been a finalist several times, and for years, the rejection ate at him. He’d watch cornerbacks he used to embarrass make it in, and he’d steam. He’d tell a reporter he was “the best receiver to ever play the game” and vow to start his own Hall of Fame, Canton be damned. He’d belittle Rice’s gaudy numbers, claiming they were merely a product of him playing with Joe Montana and Steve Young.

What would he have done, Rison asked, if he’d played with one of those QBs instead of Chris Miller and Bobby Hebert?

Rison’s old teammate, Herrod, has wondered the same thing. “Put Andre Rison on the Cowboys or 49ers back in the day and it would’ve been a whole different story,” he says.

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Rison believes that to his core. When he grabbed a photo with Randy Moss a few years back, this was the caption he wrote: “THE TWO GREATEST OF ALL TIME IN MY EYES.” When he was inducted into Michigan State’s Hall of Fame in 2022, Rison began his speech with this: “I never dreamed of being in the MSU Hall of Fame, but I always dreamed of being in the damn NFL Hall of Fame.”

It’s tormented him for years. It probably always will.

The numbers aren’t there, not after the offensive eruption of the 2000s, when 1,200-yard receiving seasons became routine. Rison currently sits 22nd all-time in touchdowns (84), tied for 48th in career catches (743) and 52nd in yards (10,205).

His chance at Canton came and went. He says he’s let it go. He says the bitterness is gone. He says he’s done losing sleep over it. He knows what he did on the field.

And if the way he did it — the hip-hop connections and the partying, the rapper girlfriend and the off-the-field headlines — cost him in the voters’ eyes, fine. Rison paved a path, he says, that athletes have been following ever since. That’s a different kind of legacy.

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“I opened doors,” Rison says. “Everybody wasn’t willing to indulge in entertainment and hip-hop back then. When my teammates were on the golf course, I was meeting with Sony Records.”

These days, he pours himself into his passions. He wrote “Wide Open” and produced a movie about his life by the same name. He was recently promoted to interim head coach at University Liggett, a high school outside of Detroit. He shuttles his daughters to school and practices. He popped up on “Celebrity Family Feud” and announced the Falcons’ second-round pick at the draft in April.

“I’m living an even better life off the field than when I played,” Rison says. “I’d always prefer the way it went. And I damn sure wouldn’t change anything about where I’m at right now.”

Rison claims — along with Sanders, his close friend and the coach at Colorado — that both “are just as relevant as we were when we played.” Sanders, perhaps the most controversial figure in college football, might even be more relevant. Bad Moon Rison sees himself in the same vein, even if he’s the only one who still does.

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(Illustration: Dan Goldfarb / The Athletic. Photos: Al Bello / Allsport, Otto Greule / Allsport, Robert Seale / Sporting News/Icon SMI)

Culture

Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

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Book Review: ‘Selling Opportunity,’ by Mary Lisa Gavenas

SELLING OPPORTUNITY: The Story of Mary Kay, by Mary Lisa Gavenas


Mary Kay, the cosmetics company whose multilevel marketing included sales parties and whose biggest earners were awarded pink Cadillacs, was really in the business of selling second chances. Or, at least, that’s what Mary Lisa Gavenas argues in “Selling Opportunity,” a dual biography of the brand and the woman behind it.

Mary Kathlyn Wagner, who would become Mary Kay Ash, “the most famous saleswoman in the world” and “maybe the most famous ever,” in Gavenas’s extravagant words, was born in 1918 to a poor family and raised mostly in Houston. Although a good student, she eloped at 16 with a slightly older boy. The young couple had two babies in quick succession.

Mary Kay’s creation was a combination of timing and good luck. Door-to-door sales was a thriving industry — but, traditionally, a man’s world: Lugging heavy samples was not considered feminine, and entering the homes of strangers, unsafe. But things began to change during the Great Depression, Gavenas suggests, thanks to a convergence of factors — financial pressures and the rise of the aspirational prosperity gospel espoused by Dale Carnegie’s self-help manuals.

At the same time, female-run beauty lines like Annie Turnbo Malone’s Poro and Madam C.J. Walker’s were finding great success in Black communities. And, coincidentally or otherwise, the California Perfume Company changed its name to Avon Products in 1939.

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Ash began by selling books door to door, moving on to Stanley Home Products in the 1940s. She was talented, but direct sales was a rough gig. Every party to show off wares was supposed to beget two more bookings; these led to sales that resulted in new recruits. But there was no real security or stability: no salary, no medical benefits, no vacations. “Stop selling and you would end up right back where you started. Or worse,” the author writes.

Gavenas, a onetime beauty editor who wrote “Color Stories,” takes her time unspooling Mary Kay’s tale, with a great deal of evident research. We learn about direct sales, women’s rights and Texas history.

But, be warned: Readers must really enjoy both this woman and this world to take pleasure in “Selling Opportunity.” Mary Kay the person keeps marrying, getting divorced or widowed and working her way through various sales jobs (it’s hard to keep track of the myriad companies and last names). Gavenas seems to leave no detail out. Thus, the 1963 founding of the eponymous beauty company doesn’t come until almost 200 pages in.

Beauty by Mary Kay included a Cleansing Cream, a Magic Masque and a Nite Cream (which containined ammoniated mercury, later banned by the F.D.A.). The full line of products — which was how Mary Kay strongly encouraged customers to buy them — ran to a steep $175 in today’s money. (To fail to acquire the whole set, Ash said, was “like giving you my recipe for chocolate cake but leaving out an important ingredient.”)

Potential clients attended gatherings at acquaintances’ homes — no undignified doorbell-ringing here — where they received a mini facial, then an application of cosmetics like foundation, lip color and cream rouge — and a wig. The company made $198,514 in sales its first year.

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Although Ash may have seemed a pioneer, in many ways Mary Kay was a traditionalist company, whose philosophy was “God first, family second, career third.” Saleswomen, official literature dictated, were working to provide themselves with treats rather than necessities so as not to threaten their breadwinner husbands.

And yet, they were also encouraged to sell sell sell. Golden Goblet pendants were awarded for major orders. After the company started using custom pink Peterbilt trucks for shipping, it began commissioning those Cadillacs for top consultants. (Mary Kay preferred gifts to cash bonuses, lest women save the money to spend on practical things rather than the licensed frivolities.) The Cadillacs, always driven on company leases, would become industry legend and part of American pop culture lore. “Never to be run-down, repainted or resold, the cars would double as shining pink advertisements for her selling opportunity,” Gavenas writes.

The woman herself was iconic, too. While Ash was a product of the Depression, she was also undeniably over-the-top. She wore white suits with leopard trim, lived in a custom Frank L. Meier house and brought her poodle to the office.

Mary Kay went public in 1968, making her the first woman to chair a company on the New York Stock Exchange. By the 1990s, the Mary Kay headquarters near Dallas was almost 600,000 square feet. They commissioned a hagiographic company biopic; there was a Mary Kay consultant Barbie; they were making $1 billion in wholesale. When she died, in 2001, Ash was worth $98 million.

And yet, Gavenas cites that at the company’s height, in 1992, sales reps made on average just $2,400 per year.

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Instead of so much time in the pink fantasia of Mary Kay, it would have been nice for a few detours showing how infrequently the opportunities the company sold were truly realized.

SELLING OPPORTUNITY: The Story of Mary Kay | By Mary Lisa Gavenas | Viking | 435 pp. | $35

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

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Historical Fiction Books That Illustrate the Bonds Between Mother and Child

We often think of the past as if it were another world — and in some ways, it is. The politics, religion and social customs of other eras can be vastly different from our own. But one thing historians and historical fiction writers alike often notice is the constancy of human emotion. The righteous anger of a customer complaining about a Mesopotamian copper merchant in 1750 B.C. feels familiar. Tributes to beloved household pets from ancient Romans and Egyptians make us smile. And we are captivated by stories of love, betrayal and sacrifice from Homer to Shakespeare and beyond.

In literature, letters, tablets and even on coins, we find overwhelming evidence that people in the past felt the same emotions we do. Love, hate, fear, grief, joy: These feelings were as much a part of their lives as they are of our own. And they resonate especially acutely in the bond between mother and child. Here are eight historical novels that explore the meaning of motherhood across the centuries.

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How ‘The Sheep Detectives’ Brought its Ovine Sleuths to Life

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How ‘The Sheep Detectives’ Brought its Ovine Sleuths to Life

Sometime in the 2000s, the producer Lindsay Doran asked her doctor for a book recommendation. “I’m reading that book everybody’s reading,” the doctor replied. “You know, the one about the shepherd who’s murdered and the sheep solve the crime.”

Doran had not heard of the book, “Three Bags Full,” a best-selling novel by a German graduate student (“No one’s reading it,” she recalls responding, inaccurately), but she was struck by what sounded like an irresistible elevator pitch. “Everything came together for me in that one sentence,” she said. “The fact that it was sheep rather than some other animal felt so resonant.”

Doran spent years trying to extricate the book from a complicated rights situation, and years more turning it into a movie. The result, opening Friday, is “The Sheep Detectives,” which features Nicholas Braun and Emma Thompson as humans, and Julia Louis-Dreyfus, Patrick Stewart and others giving voice to C.G.I. sheep stirred from their customary ruminations by the death of their shepherd, George (Hugh Jackman).

The film, rated PG, is an Agatha Christie-lite mystery with eccentric suspects, a comically bumbling cop (Braun) and a passel of ovine investigators. It’s also a coming-of-age story about growing up and losing your innocence that might have a “Bambi”-like resonance for children. The movie’s sheep have a way of erasing unpleasant things from their minds — they believe, for instance, that instead of dying, they just turn into clouds — but learn that death is an inextricable part of life.

“In some ways, the most important character is Mopple, the sheep played by Chris O’Dowd,” the screenwriter, Craig Mazin, said in a video interview. “He has a defect — he does not know how to forget — and he’s been carrying his memories all alone.”

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“Three Bags Full” is an adult novel that includes grown-up themes like drugs and suicide. In adapting it for a younger audience, Mazin toned down its darker elements, changed its ending, and — for help in writing about death — consulted a book by Fred Rogers, TV’s Mister Rogers, about how to talk to children about difficult subjects.

The journey from book to film has been long and circuitous. “Three Bags Full” was written by Leonie Swann, then a 20-something German doctoral student studying English literature. Distracting herself from her unwritten dissertation, on the topic of “the animal point of view in fiction,” she began a short story “playing around with the idea of sheep detectives,” she said. “And I realized it was more like a novel, and it wasn’t the worst novel I’d ever seen.”

Why sheep? “I wasn’t someone who was thinking about sheep all the time,” Swann, who lives in the English countryside and has a dog named Ezra Hound, said in a video interview. Yet they have always hovered on the periphery of her life.

There was a friendly sheep that she used to see on her way to school. There was an irate ram that once chased her through the streets of a Bavarian village. And there were thousands and thousands of sheep in the fields of Ireland, where she lived for a time. “There were so many of them, and you could tell there was a lot of personality behind them,” she said.

A book in which sheep are stirred to action had to be a mystery, she said, to motivate the main characters. “In a lot of other stories, you would have trouble making a sheep realize there’s a story there,” she said. “They would just keep grazing. But murder is an existential problem that speaks to sheep as well as humans.”

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Swann (the name is a pseudonym; she has never publicly disclosed her real name) found a literary agent, Astrid Poppenhusen, who brought her manuscript to market. Published in 2005, the book was translated into 30 languages and ended up spending three and a half years on German best-seller lists. (The German title is “Glennkill,” after the village in which it takes place.) Other novels followed, including a sheep-centric sequel, “Big Bad Wool,” but Swann never finished her dissertation.

Doran, the producer, read the book — now published in the United States by Soho Press, along with four other Swann novels — soon after hearing about it. She was determined to make it into a movie. Whenever she told anyone about the idea, she said, she had them at “sheep.”

The director, Kyle Balda (whose credits include “Minions”), was so excited when he first read the script, in 2022, that “I immediately drove out to a sheep farm” near his house in Oregon, he said in a video interview. “Very instantly I could see the behavior of the sheep, their different personalities. I learned very quickly that there are more varieties of sheep than dogs.”

How to make the sheep look realistic, and how to strike the proper balance between their inherent sheep-iness and their human-esque emotions were important questions the filmmakers grappled with.

It was essential that “the sheep in this world are sheep” rather than humans in sheep’s clothing, Balda said. “It’s not the kind of story where they are partnered with humans and talking to each other.”

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That means that like real sheep, the movie sheep have short attention spans. They’re afraid to cross the road. “They don’t drive cars; they don’t wear pants; they’re not joke characters saying things like, ‘This grass would taste better with a little ranch dressing,’” Doran said.

And whenever they speak, their words register to humans as bleating, the way the adult speech in “Peanuts” cartoons sounds like trombone-y gibberish to Charlie Brown and his friends.

Lily, the leader of the flock, is played by Julia Louis-Dreyfus. It is not her first time voicing an animal in a movie: She has played, among other creatures, an ant in “A Bug’s Life” and a horse in “Animal Farm.” “When I read the script, I thought, ‘Wow, this is so weird,’” she said in a video interview. “It’s not derivative of anything else.”

Lily is unquestionably not a person; among other things, like a real sheep, she has a relatively immobile face set off by lively ears. “But her journey is a human journey where she realizes certain things about life she didn’t understand,” Louis-Dreyfus said. “There’s also the question of being a leader, and how to do that when you’re questioning your own point of view.”

Nicholas Braun took easily to the role of Officer Tim, the inept constable charged with solving the shepherd’s murder.

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“The part was a little Greg-adjacent in the beginning, and I don’t really want to play too many Gregs,” Braun said via video, referring to Cousin Greg, his hapless punching bag of a character in the TV drama “Succession.”

“I’m post-Greg,” he said.

It takes Officer Tim some time to notice that the neighborhood sheep might be actively helping him tackle the case. But Braun said that unlike Greg, who is stuck in perpetual ineptitude, Tim gets to grow into a braver and more assertive person, a take-charge romantic hero — much the way the sheep are forced into action from their default position of “just forgetting about it and moving on and going back to eating grass,” he said.

Braun mused for a bit about other potential animal detectives — horses, say, or cows — but concluded that the sheep in the film were just right for the job. He predicted that the movie would change people’s perception of sheep, much the way “Toy Story” made them “look at their toys, or their kids’ toys, differently.”

“I don’t think people are going to be eating as much lamb after this,” he said.,

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