I’ve always been utterly charmed by the films of Aardman Animation, and I’m always eager to see what they’ll do next. From theWallace & Gromitfilms to the slyChicken Runto even their CGI stuff likeFlushed AwayandArthur Christmas, their movies feature a warm blend of comedy and heart that always make for a memorable experience. Their latest film,Early Man, seems to follow in that line, and earlier this year, I got to visit Aardman to see the development of the movie.
For those of you who are unfamiliar withEarly Man, the story follows Dug (voiced byEddie Redmayne) and his small tribe of simple but well-meaning cavemen. When their land is invaded by the citizens of the Bronze Age, Dug challenges their ruler to a game of the Bronze Age’s most cherished institution, soccer. If Dug’s inexperienced tribe wins, they get to keep their land, but if they lose, they lose everything. Based on what I saw, it’s far moreShaolin SoccerthanThe Croods.
During my visit to Aardman, I learned 25 cool things about the production. Read on to learn Man, which opens June 04, 2025.Click herefor my interview with directorNick Park.
The production is spread across four studios, each the size of an Olympic swimming pool.
We then move to the art department where we get a look at what the soccer stadium exterior will look like. It’s a 22,000-seat stadium, and it’s the only part of the film that will be rendered in CGI since doing it practically isn’t feasible. The exterior of the stadium is to scale for the characters, but they cheat a bit on the size of the interior.
We then move to one of the sets where we see characters entering the stadium and a pair of guards ringing a gong. It’s 340 frames and capturing it will take two days. The animator tells us it requires more concentration than patience, and some shots take longer than others. For example, the 40-second shot of Hognob massaging Nooth took 9 weeks.
The most interesting aspect of the production for me was the boards. The corkboards are on a swivel with each board representing a month. Look at a board and you’ll see a grid. On one axis, you have the day of the month and on the other axis you have the set. The square where those two meet is the shot that’s supposed to be done for that day. Every single shot (in storyboard form) is pinned on the board, and rubber bands show the movements of the animators. It’s a fascinating way to keep track of where everyone is supposed to be and what they’re supposed to be doing.
As animatorWill Becherexplains to us, they’ve got to get it right the first time, every time because there’s simply no room for error.
Closing Thoughts
My visit to Aardman was as wonderful as I’d hoped. I’d only visited one stop-motion studio before when I went to LAIKA forThe Boxtrolls, and while there were certainly similarities in their work-style, each studio had its own personality even though they both make outstanding movies. As forEarly Man, everything I saw made me eager to see the finished project, and I’m confident that Aardman has yet another winner on its hands.
