00:00www.trampera.info
00:08Trumpera is very much
00:09set and based in the city
00:11that's his zone, his area
00:13and he, within the city
00:15is in charge of collecting up all the stray
00:18animals, so he really has
00:20a big problem with Sean and the flock
00:21when they arrive
00:26The operating scene
00:28is one of the ones
00:30when I read the script that I really
00:32really loved the sound of
00:35I've always enjoyed
00:36animating Bitzer and
00:38he's great
00:39in so many situations because I feel
00:42like I know his character quite well
00:43I know how he would react
00:45and so seeing him
00:49dressed as a
00:50doctor or a surgeon
00:51in an operating theatre
00:53just felt like such a brilliant set up
00:56for some comedy.
01:01As animators
01:02in a way we're cast into
01:04particular roles and
01:06although on the film we might animate all
01:08the characters, there are probably
01:10certain strengths that we have
01:13and I hope that
01:14one of my strengths is
01:16character comedy, visual comedy
01:23One of my favourite things about
01:25working on Sean as an animator
01:27is seeing those sheep
01:29and the other farm animals
01:31in random situations
01:35and of course all of it's visual
01:37we don't really have any dialogue
01:39in the film to work on
01:40so it all comes down
01:42to the director and animator deciding
01:44how a particular scene
01:46will be played
01:49and that's quite liberating
01:51and that's quite liberating
01:51as an animator
01:52because it means you don't rely on an actor
01:55you're doing all the performance yourself
02:01When we started shooting
02:02the first few shots
02:03we spent a lot of time
02:05checking them, seeing how they translated
02:08we went to the cinema
02:09to see how they looked on the big screen
02:13as we got further into the film
02:15we've worked out what we do
02:18and don't need to do differently
02:20to the series
02:21so on a series we're working quicker
02:23the animation is faster
02:26on the feature film
02:27we'll spend a bit longer
02:28with our sculpting
02:30and also spend longer on the performance
02:34to try and find all those emotions
02:36we're just very aware of the scale
02:39so although some of the shots
02:42might be less than a second
02:45on screen
02:46we spend much longer on this process
02:49just making sure all the set dressing
02:51all the puppets
02:53and the final animation
02:54is to a higher level
02:55so hopefully the audience in the cinema
02:58feel like they've seen a real feature film
03:06I think Golly's
03:07he's got a brilliant
03:09kind of visual style
03:10and he's really good at humour and comedy
03:13so he's thought of lots of
03:14off-the-cuff random things
03:16like farmer spraying shaving foam
03:18in his face
03:19and Golly will quite often come up with an idea
03:22just before you start shooting
03:23that ends up being a great gag in the film
03:26and Mark has got his head
03:28completely around the story and the characters
03:30so he's been very clear
03:32about what direction he feels
03:35they should go in
03:35and also he's good at comic timing
03:39so he's been quite fun
03:41to work with for that aspect
03:47Sean's a really complicated puppet
03:49to work with in a way
03:51because he is quite simple
03:53in his design
03:54he has hard head
03:56and hard eyes
03:59so really we've got to get everything
04:01that we normally do with the plasticine brow
04:04we have to get all of that out of his eyes
04:05and ears
04:06and the position of his head
04:08you
04:08are
04:09so
04:09somebody
04:10exactly
04:10Grazie a tutti.
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