00:02C'è stato un po' di più inizia in Shaun the Series?
00:06I think even in the early days in Shaun the Series, we kind of felt that there could be more
00:14depth to his character,
00:15there could be more emotional stories, so it wasn't long before I was thinking he could be a movie star.
00:26Well, we wanted to have a terrific story arc for Shaun, and I thought the only way of doing that
00:32is to take him out of his comfort zone,
00:34take him away from the farm, take the flock away from the farm, and put them somewhere where they're going
00:38to find life really difficult.
00:44Well, technically we didn't change that much, the sets and the characters are all the same, they're all the same.
00:51But story-wise, we were much more concerned that each character became a much more, well, we could explore,
00:58we could dig into each character a lot more, we could find out a lot more about them than we
01:03did in the series.
01:04And that was the challenge, which means that every character has a story,
01:08and then to interweave those in a film is the big challenge for me.
01:18There was an episode we did right back in series one, which is called Save the Tree,
01:22which had, it almost had like a little mini, it's like a mini film, many of the episodes like mini
01:27films,
01:28but this one in particular had a little three-act structure and a very strong emotional story.
01:35And as soon as people saw that, I think people really identified with Sean,
01:40and they identified with the relationship between the farmer and Bitzer and Sean.
01:43I just thought there's a lot going on there, there's a really sort of fertile ground.
01:53To me, Sean is like a 10 to 12-year-old boy, he pushes against the boundaries that are set
01:57for him.
01:58And he's the kind of character that if there's a button that says do not press, he will eventually press
02:03it.
02:07The way I work with the animators is much the same way as a live-action director would work with
02:13actors,
02:13is I treat them like actors, they're acting through the puppets.
02:17And so we talk to them, we don't talk to them technically about what moves where.
02:24We talk to them about what the emotion is behind the scene, what the character's thinking,
02:29what the character wants to achieve, and they're terrific actors, they're very experienced.
02:38I think Stop Frame reveals a bit of the animation process, and I think people like to see that.
02:42They like to know that those characters are physically stood in a set next to a hedge, next to a
02:49barn.
02:50They like to know these things exist and that they can actually make them,
02:52and I think there's a charm to that.
02:55There's a charm that shows, exposes some of the craft, and I think that's what people really tune into.
03:09Just for practical reasons, really, we chose no dialogue because it would make the show easier to shoot.
03:15Well, I soon learned that if there's no dialogue, you have to tell the story much more cinematically.
03:20You have to move the camera around, you have to explain visually.
03:25So it became very cinematic, so it was not that, technically it wasn't that big a leap to imagine Sean
03:32in a film,
03:33because we'd developed a language for Sean and the other characters that was already cinematic.
03:45I think the audience are going to love it because it's genuinely funny.
03:48It's just a really funny film, first and foremost, but I think you're also really warm to the characters
03:54because the characters have existed for a long time.
03:57To me, they're absolutely real, and I think, I hope it shows, and I think it does show in the
04:04movie.
04:05To me, I think it's really funny.
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