Nick Park and Merlin Crossingham on the Return of Wallace and Gromit in New Netflix Film ‘Vengeance Most Fowl’

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As a longtime fan of Wallace & Gromit, it’s truly heartening to see the duo return after such a long hiatus. Nick Park and Merlin Crossingham have masterfully maintained the charm and quirkiness of these characters while subtly updating their aesthetic to reflect the passage of time.

After approximately two decades, Wallace, a clumsy inventor with a fondness for cheese, and his loyal dog Gromit, created by Nick Park, make their return. Their endearing claymation characters, initially presented to us in the 1989 short film “A Grand Day Out,” which was nominated for an Oscar, appear again since the 2008 short “A Matter of Loaf and Death.” This marks their second full-length feature film, following the 2005 Oscar-winning movie “The Curse of the Were-Rabbit.

In a fun play on words, the fresh addition is named “Wallace & Gromit: The Fowl Revenge“, which serves as a follow-up to Park’s 1993 short film titled “The Wrong Trousers“. This earlier production introduced the cunning and crafty diamond-stealing penguin, Feathers McGraw, a skilled thief and expert in disguise (he dons a rubber glove on his head to trick everyone except the astute Gromit). Collaborating with Merlin Crossingham, who previously worked as an animator for “Were-Rabbit“, “The Fowl Revenge” finds Wallace overstepping the boundaries of technology reliance. When Norbot, his AI-powered garden gnome, goes awry and shifts from gardening to grand theft, it becomes evident that malicious forces are at play, and once more, it will be Gromit’s responsibility to save his master.

The first Wallace & Gromit film produced by Aardman Animation under their 2019 deal with Netflix, titled “Vengence Most Fowl“, was released following the movies Farmageddon (Shaun the Sheep) in 2019 and Chicken Run: Dawn of the Nugget from last year. The film premiered for the first time on Sunday in Los Angeles, airing on BBC Christmas Day in the UK and globally on Netflix starting January 3rd.

In an exclusive conversation with The Hollywood Reporter, Park and Crossingham discuss the battle between AI and claymation, the comeback of Feathers McGraw, and the enigmatic term “flipping Nora”.

What led you to decide to revisit Wallace & Gromit after such a long time, and at what point did you realize that this project would become a full-length feature rather than a half-hour special?

Nick Park The concept of Wallace creating a robot gnome to aid Gromit with garden tasks has been floating around since Curse of the Were-Rabbit. Initially, we envisioned it as another half-hour TV special, showing Wallace’s kindness yet disregard for Gromit’s desires. However, a sudden inspiration struck us to introduce a malevolent force causing the machines to malfunction, which led to the idea that Feathers, their old nemesis from the zoo, was responsible. This offered an intriguing twist as Feathers sought revenge after being locked up 30 years ago. What could be more fitting and personal for a sinister motive than this long-time foe seeking vengeance?

It was evident then that the narrative required more depth and scope. Consequently, it surpassed the limitations of a half-hour presentation, transforming into a full-length feature instead. This was generally recognized as the appropriate choice for the story.

Has there been a lot of fan demand to bring back Feathers McGraw?

As for Nick Park, Lately, we’ve come to appreciate just how much fans adore Feathers. Throughout the years, many have proposed reintroducing him, but finding a suitable reason and setting to do so that wouldn’t appear as exploitation proved challenging.

It turned out that our fans were incredibly excited about Feather’s return when we released updates during the production process, as discovered by us, Merlin Crossingham.

As a devoted fan, I must say it’s been an incredible two-fold surprise for me. On one hand, the excitement of “Wallace & Gromit” making a return was already overwhelming. But on the other, the announcement that “Feathers McGraw” is back in action too – oh, the nostalgia! That’s like reliving my childhood all over again.

How many bad puns did you go through before you landed on Vengence Most Fowl for the title?

Nick Park utilized an abundance of clever, albeit cheesy, puns without reservation. However, none of them seemed fitting or appropriate for our intended narrative until we realized the movie would take a vengeful turn. Once this was established, all the pieces fell neatly into place.

As a global gamer, I’m excited about the upcoming Wallace & Gromit movie on Netflix, which is uniquely British yet destined for worldwide viewing. While I didn’t receive specific instructions to tone down the Britishness, I do keep in mind that humor can sometimes be culturally dependent. There might be a few jokes that viewers outside of Britain may not fully grasp, but the charm and wit of Wallace & Gromit should transcend cultural boundaries. After all, laughter knows no borders!

Nick Park To begin with, working with Netflix has been fantastic. They’ve been exceptional collaborators from the get-go and they appreciate, as you mention, the quintessentially British essence of our production. There may have been a few British idioms that some viewers might have found puzzling…

I recall a mention about the phrase “Expressing surprise as ‘Flipping Nora.’ There’s a scene where Chief Inspector Macintosh is on a bridge’s peak, and he exclaims “Flipping Nora!.” We received an inquiry: “What does flipping Nora mean?” To which we replied, “It’s simply a casual way to express surprise.

Although the movie is brand new and hasn’t been screened for a public audience yet, its premiere this Sunday at the AFI will mark our first experience watching it together with a crowd. The audience will primarily consist of Americans, but there will also be some British attendees. We’re eager to find out which jokes resonate or are even understood by the audience.

Nick Park It wasn’t feasible for us to create one version for the U.S. and another for Britain, but there were instances like when Chief Inspector Macintosh unlocks the museum safe with the code 999 [British emergency number]. We questioned whether we should change it to 911 for America, but ultimately, we chose to remain authentic, understanding that this joke might not resonate here.

But the film is going out first on the BBC?

Merlin Crossingham Yes, on Christmas Day on BBC One.

Nick Park We were thrilled since Wallace and Gromit’s home has traditionally been with the BBC, and Netflix was more than willing to accommodate this.

In the spirit of a classic Wallace & Gromit production, this movie is filled with memorable lines. Could you share some of your favorite movie quotes from it?

As a gamer, I enjoy weaving fun elements and classic nods into our creations, avoiding over-reliance on contemporary culture. The eerie vibe you’ll encounter is reminiscent of “Village of the Damned” and “The Midwich Cuckoos,” noticeably in how the kids synchronize their movements as they walk through the town streets. “Cape Fear” leaves a significant impact, and keep an eye out for “The Italian Job” in the final scene on the aqueduct. The name of one of the barges, the Accrington Queen, is a clever wink to “The African Queen,” a movie I cherish from my childhood, shared with my father in our bonding moments.

In what ways have advancements in technology occurred since the release of the last Wallace and Gromit film, and to what extent did these developments influence the production process of this particular movie?

Merlin Crossingham The fundamental method remains unchanged. We employ tiny figurines on compact stages, mimicking a mini-studio setting. The basic stop motion artistry technique has remained constant over the years. However, the infrastructure that surrounds it has definitely progressed. Initially, we filmed in 35 mm format, which doesn’t restrict your creativity but alters the way you implement it. Nowadays, we film digitally, which can speed up the process.

Ever since we crafted “A Matter of Loaf and Death,” I’ve found myself exclusively using digital cameras for filming. It’s a lifesaver when things don’t go as planned, allowing for quicker fixes on the spot. Compositing has also become more accessible, making it simpler to manipulate and speed up minor movements during animation if necessary. With the help of this digital technology, you could almost say we’re reshooting scenes in a way that wasn’t possible 20 years ago. Case in point: that intense chase scene complete with water effects would have been a real headache back then.

As a dedicated admirer, I’d express that even half a decade ago, I might have said otherwise. However, the art of creating convincing CGI water has been around for some time. Yet, what truly stands out in our production is refining it to appear unrealistic, not like in live-action films where water looks smooth and lifelike. Instead, we’ve aimed to make it more textured, giving it a clay-like quality that feels more authentic to the animated realm.

Many significant advancements, however, haven’t been in digital technology as one might expect, but rather in material technologies. For instance, Wallace’s sleeves were previously made from modeling clay, and we still employ this material for creating facial expressions and hands. However, now we have alternatives like silicone at our disposal. A few years back, it was either possible to make silicone appear realistic but it wouldn’t move correctly, or to make it move realistically, yet it would lack aesthetic appeal. Nowadays, there are silicones that can achieve both feats. This eliminates the need for animators to continuously sculpt clay, thereby significantly increasing their efficiency. Instead of completing perhaps half a second or one second per day, they could potentially double their speed.

The main idea that runs through this movie, as well as the entire Wallace and Gromit series, revolves around the complex relationship between the potential and risks associated with technology, specifically alluding to Artificial Intelligence (AI). Could you share your own thoughts on the utilization of AI in filmmaking?

Discussing the topic can be challenging as there are numerous advantages, particularly in the medical field such as detecting tumors, which I can’t fully fathom either. However, there’s a sense of wariness when it comes to its application within creative industries.>

Merlin Crossingham It’s crucial to emphasize that we don’t incorporate AI into our creative workflow. We firmly believe in the value of human touch. This principle extends to every aspect, including the aesthetics. In our films, you can clearly observe the ‘human touch,’ and this authenticity is significant to us.

Nick Park Authenticity plays such a crucial role in creating charm and humor. I often wonder if an artificial intelligence computer could ever develop a joke, or possess the ability to create charm, grasp the concept of absurdity, or even recognize irony?

Merlin Crossingham With the rapid pace of technological advancement, I can’t predict what lies ahead. However, I believe there will be individuals who create breathtaking art using AI, and I wish them all the best. If their work is truly original. On the other hand, art or creativity that replicates others’ work without proper credit is not something I endorse.

Nick Park I have a concern that the rapid advancement towards AI might rob us of something profoundly human. In discussions about creativity – be it literature, design, or any other field – while there may be potential benefits from AI, I believe we need to proceed with caution.

As a fervent admirer, I’d express it this way: “In my opinion, the most delightful aspect of incorporating AI into the film was that it provided a perfect opportunity for Wallace to exclaim, ‘(H)A.I. lad!’

This film appears to have a somewhat refreshed style reminiscent of Wallace & Gromit, yet it’s not entirely contemporary. It incorporates some elements of computer technology, but it seems more akin to what was available in the 1980s rather than today’s advanced tech from the 2020s.

Nick Park There’s been a gradual transformation in our films, with the characters subtly changing their forms to appear friendlier and rounder. However, we purposely go against contemporary technology to preserve that authentic, handcrafted allure. This can be seen as a sort of rebellion, a way to maintain the human touch amidst technological advancements.

Merlin Crossingham We aim to keep the time period vague; it’s an era that has passed. You are correct about the computers – Wallace’s devices are outdated magnetic tape computers, yet they have a monitor and keyboard for ease of use as we required a computer interface. There were discussions about this topic. We decided against tablets as they would seem too modern. Therefore, the 80s-style monitor has rivets, giving it a touch of steampunk aesthetics.

Nick Park A smartphone wouldn’t work. It’s too simple, square and flat.

At one stage, we had planned to provide Wallace with a vintage, rotary phone, installed on a miniature steam train.

Reflecting on how these beloved characters and their bond have unfolded throughout the past few decades, I can’t help but marvel at the transformations they’ve undergone. It’s fascinating to see how their interactions have grown richer and more complex as time has passed.

As a devoted admirer, I’d say that the world of Nick Park remains remarkably consistent. Wallace, ever the clumsy, well-intentioned yet oblivious character, and Gromit, his patient, ever-suffering canine companion. Despite their challenges, they always manage to pull through for each other in the end. There’s something undeniably human and familial about their bond – a unique blend of humor, loyalty, and love.

In this movie, we’ve created an emotional journey for our characters that is the most profound and the most significant conflict so far. This stems from the fact that Gromit begins to doubt whether it’s wise for Wallace to continue inventing.

In this new movie, we’ve provided a more profound character development for the character, Wallace, than ever before. Typically, Wallace doesn’t grow or learn. He’s like a clean slate. It’s usually Gromit who has to adapt to him. However, in Were-Rabbit, Gromit attempts to change Wallace and eventually acknowledges that he can’t. In contrast, this time around, Wallace discovers that his fixation on inventing and technology is causing harm to Gromit.

Merlin Crossingham We’re venturing into uncharted waters. It’s a wild emotional journey, but with a distinctly British flair – so it’s not too overwhelming, more like a gentle pink-knuckled roller coaster ride.

Given the opportunity to return to this world again after such a long time, it’s tempting to wonder: might there be a new installment coming soon?

Merlin Crossingham: Hold on a moment! We’ve recently wrapped up this project. In fact, we watched the final movie just last week. We completed the final grading and mixing as late as last Thursday. Now, we’ve jetted off to Los Angeles for the film premiere. We’re still reeling from the experience.

Nick Park Give us a short break, perhaps a fortnight or so, then we’ll discuss further matters. However, Wallace and Gromit are akin to cherished companions who never leave my side. In truth, I find myself constantly brainstorming fresh ideas for Wallace and Gromit.

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2024-10-27 19:55