Across its Wallace & Gromit films and the rest of its stop-motion oeuvre, Aardman Animations presents a quiet vision of England.
Across its Wallace & Gromit films and the rest of its stop-motion oeuvre, Aardman Animations presents a quietly subversive vision of England.that the inspiration was relatively simple. “I had this idea about an English guy who builds a rocket, and the joke was he built it in the basement of his house. I was thinking he may have a pet, probably a cat…” The genesis of the Academy Award-winning duo Wallace and Gromit is that simple: an Englishman, a pet, and a project.
Even under Park’s relatively unpracticed hand, metal appears hard and shiny, wood is worn and grooved, the thick wool of Wallace’s sweater is chunky and uneven. That “artificial authenticity” , to a team of more than 30 animators, working simultaneously on as many soundstages. Ambition has blown open the potential of each subsequent project, but the texture and tangibility of their creations remains paramount, each capable of reflecting their historical moment.
Aardman expresses the urban power imbalance in the texture of the animation, while the flexibility of farm life is made real through the transience of the geographical layout. Sheep can careen through leafy hedges and pigs can drive through piles of mud, reorienting the facets of the landscape; in contrast, the city is all concrete alleyways that refuse to shift according to protagonists’ needs. This is also the textural distinction that makes up the main problems comprising.
Aardman’s idea of Englishness is somewhat reductive, all cheese and crackers and afternoons in the suspiciously sunny garden, but it is also hopeful that the things really worth preserving are small, as simple as a hand-brewed pot of tea. That first envisioning that Park described, of a wacky “English guy who builds a rocket,” has remained foundational, more than just the barely discernible basis of the Aardman project, but the aspirational promise of each cinematic endeavor.
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