Nick Park
Nick Park
Nicholas Wulstan "Nick" Park, CBE is an English director, writer, and animator best known as the creator of Wallace and Gromit and Shaun the Sheep. Park has been nominated for an Academy Award a total of six times, and won four with Creature Comforts, The Wrong Trousers, A Close Shave, and Wallace & Gromit: The Curse of the Were-Rabbit...
NationalityBritish
ProfessionDirector
Date of Birth6 December 1958
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We could have done the Were-Rabbit in CGI. But we chose not to because I find with traditional (stop-motion) techniques and clay there is a certain magic that happens whenever the frame is hand-manipulated. I just love clay; it's an expression.
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It can only be a good thing from my point of view. With all the kind of movement toward computer animation and as great as many of those films are, there's more people who have been employed in stop-motion animation in the last year than ever before.
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When I watched the film yesterday, I found it hard to relax. It was great to hear the reaction of the audience on the one hand, and that was such a relief, but on the other hand I was still trying to make the film, trying to do different edits.
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We actually provided a clay bunny, and he was scanned into a computer, fingerprints and all, ... And then he was cloned many times so they could show them all floating around inside the glass chamber in slow motion.
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Yeah! For me, it's a dream come true just to be taken seriously, in a sense.
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Wallace and Gromit's contraptions are created purely for gags, but we all have the urge to invent - especially children. If they're bored, kids will make something from cardboard boxes, yoghurt pots, tape and elastic bands. Often, those constructions are the best.
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Success brings with it pressure to conform. I always thought that success would lead to freedom, but the opposite is true: more people get involved, and committees make decisions, and it becomes a fight to stay free.
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My dream was to draw for 'The Beano.' When I was 10 years old, I started drawing cartoon strips with 'The Beano' in mind. I lived in that world. You own a comic, it's yours and adults don't understand it. You could pile them up under the bed, and if you were off school ill, you'd go through them all.
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We were aware that we were going more global this time, but we didn't want to change anything so it kept its individual, British, small-budget feel.
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He was concerned about how the British accents would translate, and sometimes we rerecorded lines to make things clearer,
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You have to kind of let it go,
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We chatted about different movies we loved, the aspects of characters,
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We didn't know each other were going to wear these ties. It's a bit of an embarrassment.
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But I was nervous for a long time. I was a bit cautious because many things haven't worked that go from TV to movies, and I wanted it to be an idea that really grabbed me and demanded to be made because it has to be something you really believe in 100 per cent, otherwise it can't sustain you for that long.