The fourth “Hotel Transylvania” is my favorite of the series. There are some new voices, with Brian Hull taking over for Adam Sandler as Drac, Brad Abrell filling in for Kevin James as Frankenstein, and Keegan-Michael Key as The Mummy, replacing CeeLo Green.

The first three films were centered on the difficulty Drac, a vampire (Hull), had in accepting Johnny (Andy Samberg), the human who married his daughter Mavis (Selena Gomez). In this movie, there’s a switch. Johnny wants to become a monster and gets Van Helsing (Jim Gaffigan) to turn a transforming ray on him. So, the human becomes a monster and, through a malfunction, the ray gets turned on the monsters — the Invisible Man (David Spade), Murray the Mummy (Key), Wayne the wolfman (Steve Buscemi), Frankenstein (Abrell) and his Bride, Eunice (Fran Drescher). They become human, so we get to see what the Invisible Man, the Wolfman, and the Mummy really look like and how they respond when they don’t have their special powers. But Mavis has to find a way to get Johnny back to his human self before it is too late.

In a virtual press event, the actors talked about becoming “monsterfricationized” (Samberg’s term) and the freedom of animation. “I loved the new design,” Samberg said, “Burning Man back-packer meets Godzilla, a dream come true for me.” Spade said his character is “a bit of a scene-stealer” and a “goofy ding-dong who hangs out with the monsters.” He said the animators originally wanted the surprise to be how handsome his character was, but he urged them to make him funny-looking. “It’s a cartoon! It should be funny.”

Key was surprised by what his always-wrapped character looked like under it all. “I expected him to be bigger, with one revolution of wraps.” His favorite thing was the way his character was “really working the jowls,” which gave him a different idea about the voice. He loved the concept of not having any limitations. The look of the characters is so exaggerated that you can do anything, like when you’re a kid and playing with other kids. You get to channel all that abandon and it’s only not frowned upon; it’s encouraged.”

Drescher and Gomez urged the audience not to worry about pressure to fit in. Gomez advised taking a break from social media and focusing on a small group of real friends. Drescher said “compassion should be your compass.”

“You pretty much know they want you to go huge and insane, and then they’re going to go further with the animation,” Samberg said, and the others agreed that they enjoyed never being asked to tone it down.

Gomez said “it’s been wonderful to grow with this character. She’s tough and she’s always worrying, and that matches my personality well. I know what it’s like to have differences between family members and it is nice that we’re touching on a real thing in such a crazy way.”

Drescher loves physical comedy and the way it is even bigger in animation. “You can so so much because it’s a make-believe world. You can contort the how far can we physically take these characters to do funny and surprising things.”

Samberg said he did not expect the first movie to inspire three sequels, but he is delighted. “They’re so infused with joy and positivity. Everyone grew up loving this classic monsters and it’s a new spin on it. That’s why it endured.”

Key appreciates the combination of imagination, humor, and character. “An adult can be laughing at a hard joke in this film, but the way all the relationships play out, it’s well-observed and very relatable.”