Wallace & Gromit: Vengeance Most Fowl Filmmakers Talk Iconic Villain Feathers McGraw & Stop-Motion Animation On Red Carpet

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Wallace & Gromit: Vengeance Most Fowl Filmmakers Talk Iconic Villain Feathers McGraw & Stop-Motion Animation On Red Carpet
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Richard Beek, Nick Park & Merlin Crossingham on Wallace & Gromit: Vengeance Most Fowl red carpet

Wallace & Gromit: Vengeance Most Fowl sees the return of the iconic villain, Feathers McGraw. Wallace and Gromit are the reason he was captured, and he has been stewing on it for quite some time. Finally, he sees an opportunity for revenge and takes it when Wallace invents a helper robot gnome named Norbot. Vengeance Most Fowl explores the idea that sometimes we are too reliant on technology.

&#x2715 Remove Ads S creenRant interviewed directors Nick Park and Merlin Crossingham, producers Richard Beek and Carla Shelley, and the director of photography, Dave Alex Riddett at the Wallace & Gromit: Vengeance Most Foul red carpet premiere. They talk about what they think it is about this iconic pair that has made them resonate with so many audiences for so long.

Merlin Crossingham: Aside from being great entertainment, we're unashamedly British and handmade, and we sort of fly that flag proudly. I think that's part of their charm. Merlin Crossingham: They've been such great partners, and they've embraced that Britishness. They recognize that that's really a big part of what Wallace and Gromit are, and Aardman as a studio. They've embraced us and here we are.

Stop-Motion Animation Brings "Magic" To Wallace & Gromit: Vengeance Most Fowl "I think when people come around the studio, it's very much being inside the dolls' workshop. Do you know what I mean? That's what it feels like." &#x2715 Remove Ads Screen Rant: Are fans going to see any Easter eggs from previous films?

Carla Shelley: I think it very much is that human touch on every frame, whether that's the thumbprints in the plaster. Of course, we do use visual effects now just to sort of help us on our way, but it's still very much that hand touch on the screen for us. I think that just comes through everything we do. There's just a real magic to it. And I think when people come around the studio, it's very much being inside the dolls' workshop.

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