Nick Park Quotes (40 Quotes)

When we first sold the Wallace and Gromit shorts to America, people suggested we get rid of the strange British accents and put clear American voices on them, and we held out.

The word 'soon' is probably not applicable here, though. You may have to wait a few years.

Gromit was the name of a cat. When I started modeling the cat I just didn't feel it was quite right, so I made it into a dog because he could have a bigger nose and bigger, longer legs.

This rabbit is really a vicious monster. He doesn't eat people, but instead saves his dirty work for vegetables. In many ways, we're the world's first vegetarian horror movie.

We chatted about different movies we loved, the aspects of characters,

It's Saran Wrap. You pull it and twist it, and it looks like trickling water.

There was great news that it had risen to number one but at the same time the awful news that all the history, all the archives, sets and models had been lost in the fire.

Yeah For me, it's a dream come true just to be taken seriously, in a sense.

If you respect the audience enough, they can take onboard many things.

They're all spinning around in a glass case, and we just couldn't access the bunnies, ... So we thought, 'Well, why not just create them digitally' We gave The Moving Picture Company a clay rabbit, and they scanned it into the computer and animated them.

My father used to make things a lot. He was always in the shed making things. In Grand Day Out, Wallace builds a rocket, and it reminded me of my dad.

If you didn't put that level of detail in, you'd actually miss it, ... You'd know it was fudged. The film had to be made so that you try and think of something comical that you'll see on the DVD one day.

When I watched the film yesterday, I found it hard to relax. It was great to hear the reaction of the audience on the one hand, and that was such a relief, but on the other hand I was still trying to make the film, trying to do different edits.

They came to us because they love what we do, and the way we do it,

We're both absolutely delighted. We're over the moon.

I'm always there at home thinking of Wallace and Gromit ideas.

We could have done the 'Were-Rabbit' in CGI. But we chose not to because I find with traditional stop-motion techniques and clay there is a certain magic that happens whenever the frame is hand-manipulated. I just love clay it's an expression.

It has turned up the heat a bit to now give out an Oscar to a full-length animated feature. I think everyone was more relaxed before.

There are things that have gone -- sets and props from The Wrong Trousers.

We were shooting very fast for animation. Occasionally we would get two minutes a week, which was very good,

It's all just some kind of sentimental kind of nostalgic stuff, so in the context of world disasters at the moment, the way people are suffering, it's not any great deal, really.

It's not just a product of today, of some commercial marketing mind. He just came off the top of my head as a student and hasn't changed since.

Americans like the British kind of quirkiness and the strange accent. They find it kind of cute or something, with a certain charm.

We were aware that we were going more global this time, but we didn't want to change anything so it kept its individual, British, small-budget feel.

American and England are nations of dog lovers. People relate to their animals almost more than they relate to other human beings. Suddenly, I saw Wallace as this man who has a dog. But the joke is that the dog is far more intelligent than the man. The dog is the brains of their little operation.

In many ways, I thought of them as an elderly couple, ... They're inseparable, they live in each other's pockets. There's a kind of love-hate relationship, but they'll always look out for each other at the end of the day.

We can do things that we never could before. Stop-motion lets you build tiny little worlds, and computers make that world even more believable.

Any Hollywood studio, if they're doing a deal with somebody else, wants to own characters, but we have managed to keep hold of them.

I had the idea for this The Curse of the Were-Rabbit before Chicken Run,

I think it's because Lady Tottington and Victor are aristocrats,

But I was nervous for a long time. I was a bit cautious because many things haven't worked that go from TV to movies, and I wanted it to be an idea that really grabbed me and demanded to be made because it has to be something you really believe in 100 per cent, otherwise it can't sustain you for that long.

He was concerned about how the British accents would translate, and sometimes we rerecorded lines to make things clearer,

It's a real kind of love without being all sloppy and sentimental, which I think people can kind of relate to as the more truer family thing. There's a long-suffering-ness about it.

We have to look forward and keep filming new films and not get stuck in the past.

You need to find things like having your actors move 2 inches in a day pretty exciting.

In light of other tragedies, today isn't a big deal.

It can only be a good thing from my point of view. With all the kind of movement toward computer animation and as great as many of those films are, there's more people who have been employed in stop-motion animation in the last year than ever before.

There is something about the Australian psyche that seems to like films that are slightly offbeat.

I love the tactile nature ... The fact that you're working with real materials. That's what turned me on at college. Making all the props and creating a little world that you can see for real.

We actually provided a clay bunny, and he was scanned into a computer, fingerprints and all, ... And then he was cloned many times so they could show them all floating around inside the glass chamber in slow motion.