He was chatting about Aardmans latest feature, the lovelyShaun The Sheep: The Movie.
But we talked about a lot more than that…
My favourite Tweet on your Twitter feed of late.
Can we start there?
Someone sent you a picture from China.
China was a big one for me.
It was a completely unknown country to me when I went, Id never been there before.
So you go there, and youre invisible.
Youre one of a mass of tourists.
Then to discover that Shaun The Sheep really counted for a lot.
I met some art students from the local animation school in Hangzhaou.
And they greeted me with Shaun The Sheep dolls, and had pictures of Shaun on their phones.
And then, Ive seen the photograph of Shaun on TV in a yurt in the middle of Mongolia.
So it is amazing, and he gets everywhere!
Its that visual comedy thing, thats the big one I think.
Thats why he travels so well.
Ill just bring Morph in here.
Because with Morph, if you turn the sound off, you know exactly whats going on.
I think its the same with Shaun.
You wouldnt know what they were thinking, and what the emotion was.
With Shaun, you might turn the sound down, and get itcompletely.
That it got you at the point, and thats when it hooked you.
But when did the idea of a Shaun The Sheep movie hook you?
I think its pretty simple.
Somebody, I think it was Richard Starzak, said Im sure theres a movie in here.
I didnt then think bring it on.
But, you know, tell me more.
He could have set out to go to town.
He could have done.
We did discuss that as another version of the story, Shaun wants a day out in the city.
But what weve got is much better because everyone gets it.
There was no Trumper in that pitch, no restaurant.
I dont think [plot spoiler redacted] was in the first pitch either.
Just that it escalates, and the sheep have to go to the city.
[Laughs]
How heavily do you get involved personally in the films that you dont direct yourself?
The self-serving answer is to say oh, I was very involved in the story!.
I was involved in the story, particularly once it was written.
You go through the storyboard and the story reel.
The editor is very, very important for gags.
Ultimately, music too for how the whole film plays.
You could claim that back on company expenses couldnt you?
But was there a mild temptation to move away from that?
But youve gone the other way here.
Yes we have, absolutely.
That was quite deliberate.
There was a fork in the path.
But then its funny to say that, because then somebody says what about Harry Potter?
Some sort of Britishness is fine.
And we decided that no, thatd be a dishonest thing to do.
And god knows, there are enough American movies out there already.
The world doesnt need any more, there are millions of those!
And there arent enough British comedies and British family films.
And as you said, that Britishness plays really well in Minsk!
Were big in Belarus, shit hot in Singapore!
What were the other consequences of that choice, to remain so British?
Does it mean that Aardmans feature future is in stop frame?
Are you resisting more CG movies, followingFlushed AwayandArthur Christmas, or is that still an option for you?
Well, I still have a finished script here which was designed to be CG.
And another idea that I was reading a treatment for yesterday, which is also designed to be CG.
But Ive also got three… four!
Four possible stop motion movie projects as well.
And were a relatively small company.
Were not huge like Pixar or DreamWorks, so we cant take too much on.
So I think probably, I should phrase it that the stop motion films should take precedence.
Because its what we do, isnt it?
Its a lovely audience, a loyal audience, an enthusiastic audience.
And were kind of pioneering.
Practically, its a huge difference.
We are completely independent in every way.
Which is great, I love that.
But it has its challenges.
We dont have somebody around the corner with deep pockets.
But its a struggle we relish!
Has partnering with a European distributor changed the scale of the films youre looking to make too?
Presumably if you were going down the CG road again, youre likely to need a big American partner.
Studio Canal seems a little bit of a more natural fit though?
Yeah, it is.
Were very happy with Studio Canal, and its lovely working with a European company.
I think everyone feels that its a natural, obvious for us.
I can say no more!
We are very much hoping to do another one with them, he says cautiously.
And yet, you know, I wouldnt mind going with another American studio.
I wouldnt at all.
I think freedom is exciting for us.
The ability to make our own destiny.
To make deals wherever we want in the world, film by film.
So do you have an idea as to when youd like the next Aardman film to be released?
Are you thinking that far ahead at the moment?
But I cant give you a very clear answer!
I think itll be 2017 or 2018.
Im not exactly sure.
There are two projects, jostling around at the start line, like thoroughbreds!
Waiting for the starting gun to fire.
I dont know which one will get there first there.
Are you tempted to direct one of them yourself?
Thats a tricky question, isnt it?
But as Ive said before, theres a big slate of interesting things.
Its interesting because directing is the best job in the world, a lovely job.
But its very all-consuming.
And then you walked around the corner, and it was still the same shirt.
I figured it was a man who hadnt been home for a long time!
Oh dear, oh dear!
Yeah, that was legendary!
What are the animated films, outside of Aardman, that are impressing you at the moment?
But can you give up some uplift here?
Are there any animated films that have particularly charmed you this part year?
Theres an Irish film,Song Of The Sea, thats absolutely lovely.
A beautiful looking film.
I love its spirit and heart.
I have to say that with a lot of these fabulous things these days, youre really impressed.
Youre jaw-droppingly impressed, and amused.
But Im tired of these blockbusters.
Thats why I referred to a very low budget Irish film.
But I did thinkHow To Train Your Dragon 2was very lovely.
That before they started putting too much visually on computer, they got their story and characters right.
And I dont get that sense too often at the moment.
It did feel very, very sensitive.
An intelligent sequel, not something where theyve rehashing the same thing.
Good story is everything.
One last thing.Shaun The Sheep: The Movieis really universal.
Some of theAngry Kidstuff, for instance, orWats Pig.
Ah, thats a good question.
Theres two different answers.
One is, luckily we do love making films for family audiences.
Theres nothing forced about that at all.
And I will make the comparison to Pixar.
I always feel that Pixars super-strength has been that they make films they want to make.
Wonderfully, cosy, golden-lit Middle America, thats who they are.
And that gives them great strength.
In the same way, ours is a cosyWhizzer & ChipsEngland.
I used to distrust the expression family film.
I thought it always used to mean were just trying to get the biggest audience possible.
Im ashamed of that thought, now.
That is just marvellous, a great thing.
The other answer is also, I would like to make an animated movie for young adults.
But economically thats a hard sell!
Peter Lord, thank you very much…!
Shaun The Sheep: The Movieis in cinemas now.
