I was very keen on the characters to be aliens, because that was inspired by how I felt moving to this country with my mum," Osinska recalls. "We weren’t sure if we would be able to use existing. "It was a brilliant thing to read, but it didn’t feel like we had many limitations besides just being mindful of the rules that were set up from the beginning by Star Wars."ĭespite the creative leeway afforded by Lucasfilm, they still had – according to the director – a "daunting and intimidating" task in front of them: creating wholly original Star Wars characters. Things like you don’t use bathrooms in costumes I think there was something about not having stairs the droids can go over – that kind of detail that you would not necessarily pay attention to normally," Osinska says.
#AARDMAN ANIMATIONS HOW TO#
"So they give us guidelines about how to design characters, sets and costumes – which was great. That made us think… We tried to approach this differently to make it feel really Star Wars, but without the obvious things you think of straight away." "I don’t know who exactly it came from… but it was a really good limitation. "At some point, someone said we shouldn’t be using lightsabers," Osinska says. As Osinska explains, that’s due to the freedom Lucasfilm gives to the animation studios – with a few bizarre caveats. "The fire doesn't really affect future productions because even the Wallace and Gromit sets tend to be built almost from scratch for each film that we do," Mr Sproxton says.So far, Visions has highlighted many different and unique takes on Star Wars.
He will now try to work out how to "rebuild and rethink" an exhibition that has been planned for Japan.Īnd it is "extraordinarily ironic" that so much material has been destroyed as the first Wallace and Gromit feature film is doing so well at the US box office.Īlthough the company's history may have gone up in smoke, its future is still looking rosy. "It's very upsetting but you have find a way through." "The stuff that's gone, it's gone," Mr Sproxton says. More recent characters include Angry Kid, a red-haired, bicycle-riding adolescent who made his debut on the internet before landing his own BBC Three series. Rex the Runt, devised by Richard Goleszowski, was launched on BBC Two in 1998, its satirical and subversive humour marking the company's first venture into adult cartoons.Īngry Kid began his life on the net before transferring to televisionīy this time, however, the company had begun its first feature-length project, Chicken Run - the first film to be produced under a five-movie deal with US studio Dreamworks.
Lord's 1996 film Wat's Pig also landed an Academy Award nomination, as did Peter Peake's 1998 Humdrum. It was followed by The Wrong Trousers in 1993 and A Close Shave in 1995, both of which won Oscars.īut Park was not the only Aardman employee to court Oscar glory. This allowed him to finish his graduation film A Grand Day Out - and saw the debut of Wallace and Gromit. Having spent a couple of summers working with Lord and Sproxton while studying at the National Film and Television School, Park joined the studio full-time in 1985.
#AARDMAN ANIMATIONS TV#
These included War Story, about one man's experiences during the Blitz, and Creature Comforts.īut Aardman was also establishing itself in TV commercials and pop videos - notably for Peter Gabriel's hit single Sledgehammer. This led to the Lip Synch series, five short films commissioned by Channel 4 that again used "vox pop" recordings. Chicken Run (2000) was Aardman's first feature-length cartoon
0 kommentar(er)
