This scene was one of the more collaborative in the film, requiring every department to lend a hand.
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For stop motion, its purest form is so linear, says Beek.
Its very much about bringing a Hollywood feel to a small town, says Crossingham.
Behind the scenes of ‘Wallace & Gromit: Vengeance Most Fowl’Aardman Animations
Thats kind ofWallace & Gromithumor, isnt it?
Where we take an unknown part of Lancashire and give it Hollywood status.
So, we made the bridge a lot taller than it would be in reality.
Aardman Animations
That wouldnt have been easy to shoot full size on a set that would have had to be enormous.
The very technical side was shrinking down the camera moves.
Probably the most complex one would beWallacefalling in, says Jones.
When he was being animated, we didnt really know what the water was.
We did things like having these huge boats skidding along the aqueduct that involved loads of work.
First, how do we get a boat up out of the water onto this hard edge?
Even outside of the aqueduct chase sequence, bringing back and animating Feathers McGraw was a separate challenge altogether.
We had to slightly reinvent Feathers a bit based on just photographs and old drawings.
Hes got a very particular interior structure, says King.
The head is very crucial.
With Feathers … its a kind of performance where youve got to almostnottouch him.
So, he still has the texture and slight fingerprints, but its all covered in silicone.
Though the build of the puppets may have changed, the hand-crafted style ofWallace & Gromitcertainly has not.
