Monday, December 18, 2006

Before there was Creature Comforts...

When Nick Park and Peter Lord came to visit our office a couple months back, we asked them about the genesis of the idea for the original Creature Comforts short. Aardman was commissioned to make several short films using unscripted audio for a series called Lip Synch, and Nick Park's piece was the Creature Comforts short in 1989. Peter Lord mentioned that one of the first, if not THE first animated piece to use audio recorded from real people rather than actors was Moonbird (1959) which won an Oscar for best Animated Short. John and Faith Hubley had a unique collaboration and made over 20 independent, animated films together. You can learn more about them here.

Moonbird featured the voices of their children at play and the result is a beautiful short film which has been uploaded to YouTube for our viewing pleasure:

Tuesday, December 12, 2006

Like Wildfire

Unbeknownst to us Aardman folk in the U.S., more show clips have been released/found their way to the internet. SO, since the cat (or in this case, the penguin) is out of the bag already, why not take a gander at one of my favorite characters:

Oh, and for those who were wondering, the rope will not be seen when this clip airs on television.

Monday, December 04, 2006

Look! Up in the sky! It's a bird, no a plane, oh wait, it's just an animator.

Greetings from super secret animation headquarters, here in Bristol UK. My name is Teresa Drilling, and I will be your key animator for today. Join me as I take you on an animator’s behind the scenes tour of “Creature Comforts” (USA). Be advised that perspectives may seem temporarily skewed as we enter the realm of smoke and mirrors. Please keep hands and feet inside the safety zone as we step together behind the green curtain to see what we can see.

Mind the gap, it’s dark in here…

Well, let’s see if I can live up to that intro.

I’m an American animator working here on “Creature Comforts.”
Strangely, despite my nationality, I’m not just another exotic import (British readers can snicker here…). I’m also a seasoned Aardanimator. I was first assimilated into the Aardhive seven years ago on “Chicken Run,” then again for “Curse of the Wererabbit.” I’ve split my time between here and Portland OR during these years, which can have some curious side effects. Like thinking once that marmite might be good in tacos. And then actually enjoying marmite in tacos.

I’ve been working nearly six months now animating some great pig characters. The pigs actually made it home before I did, as the show’s first Thanksgivings Day promo. That’s the usual way we animators start conversations with each other here, talking about our characters. “How are the polar bears going?,” “Still on the gerbil?,” “Are you moving onto the raccoon next?” It’s more normal to start conversations here in Britain with some comment or other about the weather, but we don’t see much weather deep inside the studio, and besides, we’re busy being immersed in other worlds.

This immersion trick is actually quite handy. I’m not going to go so far as to say necessary, as I forgot to poll everyone about that today. But it is necessary for me, and I suspect it is for a good number of the other animators as well. You see while stop-motion/stop-frame/model animation (which is the animation form being used for this series) is often described from a technical angle or featured as an idiosyncratic obsession for the daft, what it really is, at its very heart, is a form of acting. “Animation” is a word derived from the Latin word for soul. One doesn’t make a character come alive by merely moving the puppet around and filming it. An animator immerses their imagination into the scene, and thinks about how a character needs to appear to feel, to think, to react. Otherwise the result can look kinda flat. Working through a shot without engaging can get torturously tedious for me too, just as it would for anyone. I don’t think I have any vast wells of patience to draw upon to do this kind of work, just a lucky knack for focusing my attention with an open heart, and a good sense of timing.

Okay, up for a breath of air!

Let me describe for you the environment we work in. We work in a regular building in a regular industrial park setting, or as they say here, an industrial estate (a super secret industrial estate). There are offices for directors, producers, designers, and administrators, a canteen (cafeteria) that serves fantastic food, telephones, water coolers, the usual. There are also workshops for woodworking, for metalworking, for set building, for scenic painting, for modelmaking… reasonable to expect from custom design and manufacture companies. There’s also an editing facility that keeps track of everything that needs to be shot and shifted and sent out into the world, not unlike Wonka Bars. Finally there are the stages. A normal day can find me in any one of the other areas, but by far the greatest chunk of my day is spent out in the stages.

The stages are vast open areas in the middle of the building. They are entirely separated from the rest of the building by fire doors. They have no windows, no skylights. I have seen the overhead lights turned on only three times in the last seven years. Here is a little factoid that very few people here know… there used to be a window that overlooked the stage floor from the canteen. I haven’t seen it open since 1998.

When you walk out onto the stage floor your eyes adjust to the lower light level. Each separate shooting space, or “unit” has its own specialized lighting, and it is important that the lighting from one unit doesn’t interfere with the lighting of another, so light outside the units is kept to a minimum to prevent “light spillage.” Isn’t this a great business, to be able to think of light as a flowing, malleable thing? The floors are smooth concrete and very solid so there is no bounce or jiggle in the floor, which is very important in animation. They are also easy to clean and move heavy equipment and set pieces over.

Inside this vast space you see that there are tall, moveable wooden “flats” lined up to make walls and avenues inside. It’s like a giant rat maze. The flats can be moved around to form little rooms, or “units” inside which a scene is set up, lit, and installed with an animator. On the feature films, these walls were often moved around to make bigger and smaller units throughout the project. It really was like a rat maze then, because the “hallways” you were used to traveling through for months would suddenly disappear, and new ones would appear, and you’d have to find another way to get a drink of water.

Over the years I have animated in nearly every possible spot in Stage 1. It’s a funny thing to walk into a new unit and remember that you were in the same place before, only then it was a dining room, and before that it was a moonlit road. And because of the immersion thing, these other worlds seemed very complete and real, but are now in some other parallel universe. Even though I’m spending a good chunk of my life in the same big, dark room, a room that I know intimately from one end to the other, it’s still a new and interesting space every time (I did warn you about the smoke and mirrors aspect of this tour).

The second thing you notice is the smell of plasticene (the modeling clay we sculpt and animate). It’s a smell that always makes me feel like I’m coming home. I’ve spent many other years in another large studio on vast stages, and there too there was the smell of plasticene in the air. It was a different kind of plasticene, and so a different smell, but the same warm and fuzzy feeling.

The third thing you notice is the buzz. There are people moving quickly through the maze, with light stands, clipboards, eyeballs and fish lips, tea and toast. You can hear the low hum of conversations, the somewhat louder hum of vacuum cleaners, the percussive bursts of dialog being previewed in the units, the crackle of walkie talkies, and almost always, somewhere, a laugh. It’s really nice working in a place where people laugh.

As I said earlier, I’m working with the pigs. In fact, I’ve been working with the pigs from the very beginning. There are a lot of pig shots. They’re great characters. I’m in lucky unit 13, which happens to be in the geographical middle of Stage 1, so I get to experience a lot of what criss-crosses across the floor, albeit through the walls of my unit! Here’s a super secret picture of me working on the pigs.

If you wish to see what more of me looks like, check out the Aardman 30th Anniversary Party pictures from October. I’m the Spotted Snow Leopard standing next to the Peacock.

Well! There you go, a first peek at the men and women behind the green curtain. Actually, we use black curtains, but you get the idea. Please be sure to return your badges at the front desk, spare us a kind thought, and don’t forget to pick up a marmite taco or two on your way home tonight. Cheers!

guano and jet engines

Kieran Thomas spent a long time sculpting a large statue out of clay, then formed a glassfibre mould from it.

This he then painted a beautiful verdigris to create a realistic ancient metal statue. I lit it very simply with two lights and a plain sky behind to keep all attention focussed in the centre.

We covered it in guano of course.

At around the same time, Manon was wondering how to construct a working realistic jet engine for a shot involving a crazy adrenaline-junkie crow. She contacted Rolls Royce who have been building airplane engines here in North Bristol since the second world war. They had a spare correct sized engine we could use, provided we didn't damage it...
Al and Dave rigged this onto a large scaffolding rig about 10' long, obviously it's very heavy so it was set at a slight angle to eliminate the possibility of falling forwards and squashing the Animator. The riggers then liaised with George, our MoCo expert, to figure out how to turn the huge vanes which go all the way back through the engine. They found a way of attaching a pole to a central spindle, and gearing a motor so it could push the weight.
George could then program a move on a controlling computer which would slowly ramp up the jet one frame at a time, it was essential that this "move" be repeatable so that I could shoot a plate later to remove any visible rigs and each frame match up. It was also important to eliminate "strobing", or the flicker effect you get when moving objects nearly line up. We carefully set the engine speed to look dangerous in the first shot, but still give us extra speed left to use in the second. Thankfully it pushes past the strobe, and starts to do a pleasing backwards wagon wheel effect as it goes faster..

Somone said to me on set that you can always see through the engine once it's spinning so I put a huge lamp behind to try to punch some daylight back through all those fins, I also set up a lot of soft lights to create the ominous stormy look set by the dense cloudy sky.
We also rigged some tiny lights on the airport control tower, along with a pulsing wingtip light, spending far too long discussing when the airplane lights are on/off on the runway or in the air, better go look it up..
Cath and Susie dressed the set with a tiny airport and false perspective runway while Damien skinned the inside of the engine with a liner and cowling we could paint and attach rigs to, he also remade the nose cone with a jazzy blue and white spiral and finished it all with an air blasted look.

Here's a frame from the finished shot, not bad eh?

Friday, December 01, 2006

Coast to Coast with Creature Comforts

I had quite the busy week this week. After the Thanksgiving holiday I went to New York City to shoot my first "Behind the Scenes" video for Creature Comforts. I really enjoy doing these sorts of pieces and if you have the time, you can check out a DVD extra that I did called "From Scout to Screen" for a film called "Little Manhattan".

Anyway, this shoot was with two of my favorite characters, the cockroaches. We tried calling them waterbugs for awhile, but lets face it, if they live in NYC, they're cockroaches. After listening to the wonderful voices of these two ladies for 6 months, it was so exciting to actually meet them. I got to the senior center early for the interview and was there when Natalie arrived. I knew it was her right away since she has a VERY distinctive voice. She was happy to meet me too and told her friend "Can you believe this guy came all the way from California just to have a date with me?". So I spoke with her for a little while outside the senior center where all of their interviews took place, near Washington Square park. It was a surreal experience meeting someone who I felt like I knew already. As a recent transplant from NYC to LA, I find it very comforting to listen to the voices of such New York characters. Both Natalie and Lilly were very sweet and it was a pleasure to finally meet them. I also invited Lilly to come by our office when she visits California in February, but I haven't told my boss yet. I'm hopeful that I got some good footage and that it will be a part of our promotional materials closer to the airdate of the show. Here's a snapshot of me with Natalie and Lilly that Hillary, their excellent interviewer, took:

Luckily, I was told not to reveal their animals to them yet and I'm happy not to be the one who tells them that they will be cockroaches on the show. Although, in the modelmakers' defense, I think they are just about as cute as cockroaches can be. And since their set really captures New York, I think they'll be happy about that at least. Take a look:

This image is a still from a holiday promo that may air during "Rudolph the Red Nosed Reindeer" on CBS, Friday December 8th.

Cafeteria Stats

I know what you've all been thinking: "Animation Shmanimation, how much coffee do these people drink?". Well wonder no more. The distinguished Brits pictured below in their enviable canteen have consumed the following over 25 weeks of production (forgive the metric figures):

1625 kilos of potatoes
375 kilos baked beans
6,000 pints milk
15, 000 pints coffee

Tea and cake figures were too astronomic to even guess at, clearly.

Creature Comforts Crew - September 2006

You see - it doesn't ALWAYS rain in England!

Bristol calling Houston?

Hi! It’s taken me a while to start contributing to the blog but my name is Ellen and I’m the UK-based production coordinator working in the Bristol (UK) production office. Things are pretty hectic here at the moment with just over a month left of the shoot and over 80 full time crew to look after. We’re still getting lots of new characters and setups which means keeping a careful eye that floor crew, art department and office files are kept up to date with signed off designs for any given character – we’re currently topping 700 separate designs submitted by both UK & US character designers. We’re all pretty excited about being on the show – although we’ve already seen Creature Comforts go out in the UK and be a big success this will be the first time it goes out in the US so we’re hoping you’re all going to love it! Keep looking out for little tasters on the net… more to follow soon x

Sunday, November 26, 2006

An Introduction from the light side.

Hi, my name is Tobe and I'm a freelance Animation lighting cameraman working on "CCUSA" as we know it here in Bristol. I thought I'd post up a few notes from the studio floor as we hit the final month of shooting and the sets are coming in thick and fast!

I work alongside a very experienced Director of Photography called Dave Alex Riddett, who lit all of the Aardman shorts I was watching open mouthed as a young stripling at college. Recently he lit Chicken Run and the curse of the Wererabbit so you get the idea...

Together we work with Sparks (electricians) and Camera Assistants to light and shoot all the shots using HD cameras.
We have to work very closely with the Art Director, Manon, who herself runs a team of set builders and dressers. They usually build everything completely from scratch, and we "mock up" all the sets in advance using card and foamcore so they only build exactly what is needed. I lit the sets shown below on this blog like the Poodles and the Flies on the burger, and when they are as fantastically well built as those you only want to simply light them and hope you don't muck them up! Other times you have to carefully work together to hide or accentuate areas of set to create the illusion, and this is usually more so with scale cheats like big landscapes or heavily effected underwater shots.

Dave and I have a look at the upcoming shots in story board form and try share them out equally, bearing in mind workload, shot complexity and personal preference( he insisted on the Tequila Worm, likewise me with the space monkeys..).
This week I'll get some work in progress shots and start going through some of the processes involved.


Wednesday, November 22, 2006

Happy Thanksgiving!

What better way to celebrate than with the first animated Creature Comforts clip?

For more on this duo, go to their myspace page! And eat lots of turkey (or tofurkey) tomorrow. :-)

Tuesday, November 21, 2006

Taking it to the Streets

Did I just get that song in your head? Oops. The reason I bring it up is because Eyeballs and Fishlips, everyone's favorite marginally secret unofficial blog about an animated television production imported from Bristol, England, is becoming less secret. That's right, with our first promos hitting your house turkey day, the powers that be have said that we can indeed take it to the streets. Actually, that's not entirely accurate. They said something more along the lines of "Who? What? Why? Okay, sure, whatever". Which was considerably less exciting and didn't involve any Michael McDonald songs. Sigh. Boring powers that be.

So if you're new around these parts, welcome! Take a look at the archives, especially here or here for some background info. And come back, because a few of the Bristol folks have come on board to write about the show from a more "British, working with the clay on a daily basis" type of perspective. Which should be great, as long as we're able to translate correctly. Here's lesson number one: "cheers!" means "bye!".

On that note...Cheers!

Friday, November 17, 2006

From Animatic to Build

Here are some of the animatic stills (which serve as blueprints for the characters and sets) along with pictures of the final models on their sets. I'm always amazed when we see the character builds after viewing the animatic sketches for such a long period of time. Sometimes the sets change a great deal from initial sketch to final build, and sometimes, they look like the sketch come to life. See for yourself:




Okay, there's a glimpse at 3 of our characters, so 3 down 112 to go...

Welcome to America!

Our newest coworker Dan Sinclair, an interviewer from the British series, arrives in the U.S. only to immediately learn the perils of audio recording in Los Angeles.

It's a good thing we said yes to that renter's insurance...

Saturday, November 11, 2006

The Golden Ticket (Part I)

Our office trip to Aardman's studio in September was truly a Charlie and the Chocolate Factory moment for me. I couldn't believe that we got to see the models up close and got a chance to see the animators at work. It is a process like no other art and the work they do is so seamless that you forget that these characters are created with one tiny movement every 24th of a second. So, straight from the stages where Wallace and Gromit battled with the Were-Rabbit, here's a little video glimpse at our painting gorilla character from "Creature Comforts"

Thursday, November 09, 2006

More Fun with Extra Footage

The Toucan and Gecko Laugh Hour are awaiting your friendship at myspace.

previous fun

Calling Characters

As promised earlier, here's thrilling video of a call to a character. But instead of Abe calling the Bees, it's one of the story editors, Casey, calling our Rhode Island penguin, with guest appearances by Megan, Lauren, and Abe's voice. Enjoy!

Tuesday, November 07, 2006

The Voices Behind the Creatures

As we head towards the show airing, our publicist wants contact info for the people who were interviewed and animated. It is my very lucky job to call these people and make sure that's all right. Now don't get me wrong...normally a phone project sucks, but these are people I have grown to love over the last months. I know way more about them than I should, and I have seen them as clay animals. In some cases, the people don't know they're going to be on the show, and so my call is a bright spot in their day. In all cases, they don't know what creature they've been animated as, so I get to hear them guess, or talk about what they absolutely don't want to be. It's like being reunited with a long-lost friend. A long-lost friend who doesn't know a thing about you and about whom you know many secrets. Yeah.

Because I couldn't stop gushing about what a blast this has been, some other people have volunteered to call a few of their favorite characters. Stay tuned for video of some calls (like perhaps Abe calling our New York bees?).

Friday, November 03, 2006

The Battle of Chaka Khan

One of the issues we face in putting together episodes of the show is similar to the issues faced by traditional documentaries and that is rights clearance. Unlike a scripted show that knows ahead of time what each character is going to say, there are unpredictable moments that we want to include in the show but cannot always do if they violate copyright. One of these moments that we're dealing with now involves one of our characters quoting a sample from the Chaka Khan song "I Feel For You". It's a classic 80's jam and you should check it out if you haven't heard it. At first, the show's lawyers said we could not include it since the song was written by Prince and he is notorious for never giving permission to others to reference his songs, not even Weird Al! Luckily for us, the sample in which the DJ says "Chaka Khan" was NOT written by Prince and was in fact referenced in an episode of "The Simpsons" in which Homer installs a turntable rig in his car. In honor of YouTube's flagrant copyright violations, I have uploaded the clip so you can check it out:

Tuesday, October 31, 2006

Happy Halloween from Creature Comforts!

Here's Abe's dog, Julius, dressed as a fire hydrant.

He gets a little excited when he's in the office so he ended up wagging his shiny silver hat off. But Julius don't need no shiny hats to be adorable.

Check out more dogs in costume here.

Monday, October 30, 2006

My Interviews

Even though there are Creature Comforts interviewers throughout the country who are doing a great job and are constantly sending us minidiscs, I have gone out and done a few on my own. Even though it's generally more productive to interview people that you don't know, I have interviewed a friend of the family and my young cousin. I also did an interview at the San Diego Zoo a few months ago where I approached people at random and asked if they would be willing to be interviewed for an animated TV series. One woman who I met was a supervisor in the sanitation department and had a lot of great zoo stories to share. You can look for her as a meerkat in our "Zoo" episode. Since my first zoo trip was productive, I decided to take my cousin Maya to the LA Zoo a couple weeks ago which was lots of fun. She's a real animal lover so she had a lot of opinions on all of the animals there. My first attempt wasn't very successful:

But after that, I found a more responsive subject:

The interview process for the show is really challenging since the material that we're looking for is very specific. But it's very exciting to see something start out as an audio snippet from a documentary interview and make it all the way to the stage of being animated. I haven't done nearly as many interviews as our story editors have and I think you definitely get better with practice. But as in all documentaries, ultimately, the final piece is only as good as your characters.

Friday, October 27, 2006

Fun with Extra Footage

Because we have a bazillion hours of interview material, we've decided to play around with some of our favorite moments that aren't likely to be aired. For example, here's a little myspace page for two of our characters, the very musical Horse and Mule. Click on the link and be their friend!

Thursday, October 26, 2006

Our First Episode

Yesterday we all gathered around to watch an assembly of an entire episode for the first time. It was exhilarating and enjoyable (we're two-thirds animated, I'd estimate!), but it also raised some questions.

For those who know the British series via BBC America, you might not have realized that it was originally aired as 8 minute segments. As such, the issue of packaging the show as a standard 22 minute American sitcom is a new challenge. There are no act breaks in Creature Comforts. No "gasp! They put a pacemaker in Sawyer that's going to make his heart explode!" moments that make you want to rush back to the TV after the commercials. Also, with each theme segment running around 8-10 minutes, we have shorter bits to round out the show. So the question do you structure the darned thing? Theme 1, Themelet, Theme 2? Theme 1, Theme 2, Themelet? How do we let you know we're going to commercial? How do we let you know we're back?

Being something entirely different than anything in the primetime landscape is a tremendous advantage, in a way. But it also means putting a square peg in a round hole. In the end, the concept has to stand on its own. Regardless, you want to make everything as polished as possible. As we're nearing the end of production, this is probably the biggest (and neatest) obstacle we're presented with.

Friday, October 20, 2006

Flushed Hollywood

As Megan just mentioned, Nick Park and Peter Lord visited our office yesterday (which was amazing) and lucky for me they had two extra tickets to the crew screening of "Flushed Away" at Grauman's Chinese Theater. Even though I've been living in Hollywood for a year now I haven't been to that landmark yet and it lived up to expectations. I had mixed feelings about the movie going in because of the fact that it is the first major production from Aardman done with CGI. One of the things I've always loved about Aardman productions is the handmade feel of their visuals. After seeing the "Creature Comforts" animators at work on real sets in Bristol I was even more impressed with the love and care that goes into each frame of animation that they create. So even though I'm a bit biased against the sterile nature of computer animation, I still enjoyed "Flushed Away". The visuals of the sewers beneath London are really impressive and detailed. I also got to go to the party afterwards which was really nice and included a lovely toilet setup for pictures like this one of yours truly:

Thursday, October 19, 2006

An OMG Moment For the Nerds

...myself included.

Nick Park and Peter Lord. In our offices. Moments ago. Very cool.

Wallace, unfortunately, could not make it. Prior engagement or something.

Mouthing Off

One of my many unique duties on "Creature Comforts" involves drawing mouths onto animatic stills. Each character on the show has an accompanying drawing (created by one of the character designers) that will stand in for the visual of their shot until the animated shot is completed. While I consider myself to be a creative person, visual arts have never been my strongsuit (as my elementary school art teacher would eagerly tell you). So initially I was wary of altering the character designers' drawings in any way, but for our first animatic deliveries to CBS mouths had to be added so that the viewer could tell which character was speaking. This only applied to cases where there was more than one character who appeared in the shot, for instance the three alligators. In addition to making an open mouth for one character, I had to close the open mouth in the original drawing. Hooray for Photoshop!

Tuesday, October 17, 2006

The Wayback Machine: Bristol Trip

A little over a month ago, the Los Angeles crew flew to the U.K. for Aardman's 30th Anniversary Party. In between wowing the Brits with our karaoke skills, marvelling at the weakness of the dollar and figuring out how to get free drinks, we managed to tour the show's production facilities and take in the complete awesomeness of the animation process. Don't take our word for it, as these photos, we hear, are worth exponentially more.

Tired Americans

Off the red-eye, adjusting to an 8 hour time difference.


We're all moving there.

Model Making

Getting started with visual aids.

Coming together.

Different mouth shapes.

On standby, wrapped so they don't dry out.


Painting hydrangeas.

Finished New York set.


In the U.K., "fancy dress" means costumes.

Really amazing, elaborate costumes

Debating and/or regretting the famous vodka luge

Be sure to stay tuned for more Aardman tour pictures from the Eyeballs and Fishlips crew in the future!

Monday, October 16, 2006

How We Do

Hello all, I'm Megan. I'm the assistant to the executive producer and line producer of our fine show. Mainly, that means answering phones and ducking hot cups of coffee being hurled in my direction (hence the defensive under-desk stance seen below).

Ha! That's just a stereotype. It's not really like that at all(call the police), honestly (help me!). My main responsibility here has been recruiting, corresponding with and paying our team of 40 or so field interviewers. For those not familiar with the show, the best way I can explain it is as an animated docu-comedy. We take audio recordings of real people from all across America, assign them adorable clay animal alteregos, and finally put the clips into a logical and humorous order, based on topic. To gather all the audio necessary (and then some) we hired freelance interviewers from 26 states. Each interviewer selected 5 subjects (either an individual, a pair, or even trio in some cases) for a 30-minute "tryout" session. From those original tryouts, we selected a smaller number of people for them to go back to for 2 hour interviews. This is how, as Abe told you, we ended up with over 500 hours of audio from the American public. Listen below for an example:

Sample Audio from an Interview

Hopefully, as this blog develops, we can introduce you to some more of our interviewers' work, for us and in their regular lives. For now, just for kicks, any thoughts on what animal this fellow should be?

All About Me

Please allow me to introduce myself. My name is Abe Forman-Greenwald and I am the assistant editor on Creature Comforts. This has been my favorite job ever because the material we work with here is so much fun. I am responsible for digitizing audio from our field interviewers, making audio selects with the story editors and many other odds and ends that come up throughout each day. Most of the audio that we receive is on MiniDisc, not videotape, so we almost never get to see what the interviewees actually look like. I have been working in the documentary field for the last 6 years and in each project I work on I feel like I get to know and love the characters. Creature Comforts is a special case because the audio is all from documentary interviews with people all over the country but the visuals are animated animals. So that special combination of documentary audio and claymation animals is hard to beat and makes me love the characters even more. I've been a fan of Aardman Animations since I first saw Wallace & Gromit in high school. To work on an Aardman project has been a dream come true and I can't wait for the rest of America to see the show.

Thursday, October 12, 2006

Live, From Culver City

Welcome to Eyeballs and Fishlips, the first and only marginally secret unofficial blog about an animated television production imported from Bristol, England. Here we will reminisce about the ups and downs of production, with audio visual aids when appropriate. Like, right now!

Pictured above are your fearless editors, Megan and Abe. Abe and Megan, should you see fit, though the pictures would make less sense. Tune in shortly for proper introductions and explanations for their existence. Until then...ummm...this is where it would really help to have a parting catchphrase. Now we understand how Katie Couric feels.