Do you like stop-motion animation? I love stop-motion animation. I can’t remember a time when I didn’t love stop-motion. From King Kong to the California Raisins—put that good stuff straight into my veins.
The current champion of stop-motion is Aardman Animations, which mostly works in a brand of modeling clay called Plasticine that is equal parts cutting-edge and charmingly handmade. I stumbled across an Aardman short called The Wrong Trousers (1993) on PBS in high school, and I was hooked. The film follows a pathologically British inventor named Wallace and his long-suffering dog, Gromit. In Trousers and their other various adventures, Wallace displays a profound lack of proportionality: he builds Rube Goldberg inventions when a butter knife would do, he buys robotic pants to help paint his walls, and he constructs a rocket to go to the Moon when he runs out of cheese. He also lives in a universe where everyone has more teeth than could possibly fit in their mouths.
Man the way God intended him to be. [credit:
I love Aardman’s stuff for two big reasons: I love the way it looks, and I love its worldview. An Aardman production combines near-miraculous feats of stop-motion with characters who mostly have resting “durrr” face. Aardman’s clay tears glisten like real water, but since running is a physical impossibility for stop-motion figures, they just walk hilariously fast instead. I love that the chickens in Chicken Run (2000) use their “hands” to cram feed into their mouths even though it would probably have been easier to show them pecking like real birds. The animators went out of their way to be inaccurate. In the universe of Aardman, “charming” trumps “realistic.” (Also, Aardman did the 1986 music video for Peter Gabriel’s “Sledgehammer” in conjunction with—holy cow—the Brothers Quay.)