YouSaid · the spoken record

Nick Park

lines on the record: 55
first: 2010-12-19
most recent: 2010-12-19
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Um, well, I'm tempted to say Joe's song, actually, that last one, just listening to it now. But no, but I think it's The one I play mostly time and time again is Van Morrison.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“What are we gonna hear? This is a song by Joe Rose. He's the son of some very good friends of mine in Sheffield, artists in Sheffield that I was at art school with, and their son, I think, is a very talented, inspirational young songwriter in Sheffield. This is one of his songs called Plain Songs.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“It was a bit of both, really. And I joined in there's the Iona Abbey they had sort of pilgrimage tours of the island and I joined in that which was enriching, even though I like I'm very happy with my own company, but I liked her be able to see people.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“No, I probably wouldn't last that long as soon as it got cold. No, I miss people though. I've tried I once stayed on Iona off the Isle of Mole just for a week and that really got to me.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I would be very happy actually'cause I love doing a bit of mackerel fishing and camping and living off in the wild. I've always dreamt of spending a season on an island in a cottage.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Resolute from his grasp. Cos he had been ordered by the Queen, he tried three times to take it off me, and I eventually won it back because I was really enjoying it. It was very good. as if I eat what my mother tells me.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“She's looking at me, but anyway I was trying to keep my cool and just make conversation, and I think I said something like Oh I shouldn't eat all this chocolate it was Easter next week and I said Oh my mother will probably be making loads of things like this and I shouldn't really eat them. And then anyway I had this kind of half hour long conversation with her which was really she's very switched on and talking about theatre and films and I wasn't wanting to stuff my face so I think she must have thought that I wasn't liking the pudding so she'd call the waiter and said Could you take this away, please? His mother says he shouldn't eat it.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I did like them actually, and there's something to talk about as well, because she was kind of feeding them under the table with the digestive biscuits and telling me their names. I don't know if you got time. Shall I tell you my story about the chocolate sponge? I'll try and make it quick. Well, I didn't really get to talk to the queen until about halfway through the meal, actually, but I was always conscious that the queen might turn to me at some point and talk to me. But eventually, when the pudding came for the dessert, this chap was one of the waiters all with white gloves on started pouring the chocolate sauce on some, and the queen turned to me at that point and said, Ah, that looks interesting, doesn't it? You know, you're trying to make small talk. At the same time, your brain is kind of going, it's the queen.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Sitting next to Her Majesty. Yeah, it's about three years ago. I got invited for lunch with the Queen and the Duke. There was about 10 people there at this lunch, and all the Corgis, the Corgis outnumbered, as I think.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I did, yeah, yeah, it was great. I mean again it's an enormous process to go through where the queen has to approve them and many levels of approval from the royal mail.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it's enormous honour for them to be given that status. I'm not sure they live up to what Morgan Wise were, you know, but it's a lovely thing, you know, that that's what's happened, that's how they're perceived.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Ah, yes, actually probably one of the artists I listen to them most in the car is Van Morrison, and I just love this song, I love the album Poetic Champions Compose, and it's a song called I Forgot That Love Existed.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“That's true, actually. Yes, he has. That was a kind of reference to brief encounter, which has always been one of my favourite. I'm a bit of a sucker for romance you see.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, the thing is I have everything I want really, but a lovely little house that's I'm slightly expanding it at the moment, and I've got my camper van, and I love the British countryside, and I don't, I'm not after yachts and things like that.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Well I can't complain. The way I tend to think of it is great as an artist or as a filmmaker to be in a position where people want to buy what you do. I still feel kind of guilty that I enjoy it so much that I shouldn't be being paid for it.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm a great fan of Bob Dylan. Again, I think it's just a poet, really. Great, great songwriter. And I've chosen the sad-eyed lady of the lowlands. I find it kind of intoxicating. The poetry, I'm just amazed by the power of words.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I think there is that actually. I mean, I never felt that we were manipulated or lost control, you know, on those films. There was enormous respect both ways really, but there were fights definitely, and I think it was more comfortable for us all in the end just to get out, really.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“What sort of things did they try to change? I mean, I don't want to be on phone. I like working with Geoffrey a lot, actually, but there was a conversation at one point about does he need that Austin A35? Is it a little bit too old-fashioned, to which me and Steve were thinking, well, that's why it's good. We were spending our time digging our heels in, and I think that can get a bit tiresome. Although in the end, you know, I think we're all happy with the end result.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“That was one of the lines, yeah there was well, you know you go through such a rigorous process that's why coming back to the BBC and making a short film was so refreshing again because every page is checked out by lawyers and you can't say this you can't say that that was one of the lines that they wanted us to take we fought for that line and kept it in”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Open Geoffrey Champagne? I think we were a bit nervous. We were like, you know, opening all the cupboards and trying to find glasses. I think we did probably open a glass of champagne. But we're more thinking we need an idea to pitch. And it was a more case. Nick, you've got an idea, haven't you? What about that idea about chickens? And I happen to have it scribbled down on the back of a piece of paper, so it all seemed very, very attractive, and they seem to really like what we did.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, absolutely, I may am constantly kind of in awe really of how things have gone, you know, from playing with Plasticine at home. And that's what I still feel I'm kind of doing really. The way it started was it was after making a close shave, and we were, you know, we were ambitious to do something bigger at that time, and we'd been waiting for this opportunity. I was with a close shave out at the Sundance Festival and got a call from Stephen Spielberg's company, from Geoffrey Katzenberg, Stephen Spielberg's partner, and he sent his private jet to pick up me and my colleagues and flyers out to LA for a meeting just for one evening. And so we did that”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh yeah, this next one is one of my favourite comedians really and writes very funny songs. It's John Shuttleworth, a fleece the world.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh gosh, utter the complete dread it was like an out of body experience really I was just so nervous Well also I had two films nominated had come from nowhere and suddenly had creature comforts and grandeur just got finished at the same time by chance and I was nervous that if I did win I might thank the wrong set of people when I see footage of myself I looked so nervous and just dying to get off stage basically.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I didn't have one with me. I was going to get one while I was there. That was the plan. But there was no time in the end, so I nipped out to a newsagent around the corner and bought 60 cents worth of some elastic and some wrapping paper and some sellotape and just made this bow tie very quickly. And I thought, well, it's the Oscars. I'm an animator. Do something a bit larger than life, a bit cartoony. And I actually didn't realize how big it was. I turned up with his massive green boat eye on. And, you know, LA people loved it. It didn't look that out of place, really.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, he does have his opinions. A lot of the time, I mean Wallace is just shouting Grommit you know but I remember showing him the storyboard of wrong trousers and he was doing all this grommet you know shouting and stuff and then he said why doesn't he just get off the train?”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“It was, I did that morning's recording, and then it took me another seven years to complete the film. I was partly on my own doing it at the National Film School, and then Ardman offered me work and I was working on Morph and things like that. And that's why it took a few years to finish it.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I think it's because I had this in mind that he would use his teeth. I designed Wallace with a very heavy row of bottom teeth, and I wanted him to sound his teeth. But I didn't know his mouth was going to go that wide, and it's really the way that Peter said cheese in a cheese grommet that suddenly made his mouth go very wide.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“There was a bit of that, and I told him how I'd like him to say grommet to really sound the tea as gromit. I remember telling him that.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, yes I knew him from last of the summer wine, of course, as Cleggie. So yeah wrote to him, and he was very, very kind and actually I only had fifty quid to pay an actor at the time, so he was doing it really as a favour for a student. And he offered to come out and to the film school and record for a day, which was what we did, and I'd never directed a proper actor before, so I was quite nervous.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“We're going to hear the proclaimers and sunshine on Leith. I love that rawness that they have. I like when songs have double meanings and it's kind of a love song but it's also got a kind of spiritual element as well.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“No, I don't think so because I ought to feel that, you know, the plasticine or the clay is really important, and Grommit, for example, was born, I think, out of the medium itself. I always remember coming to do the first shot in a grande out, where Wallace is sawing through a plank and is using grommet as like a trestle. support the plank. Grommet's looking pretty hacked off really. And I was actually planning to give Grommit a mouth and I found it so difficult to change his mouth that I just moved his brow up and down and it was in that moment out of economy or laziness, I don't know, but suddenly his character was born and I realized he could say everything. And I hadn't predicted that at all I didn't know that was going to happen, so I liked that I like the way you discover things as you go, and I”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Unfortunate. I'd have had a lot for Gromm's ears and Wallace's trousers. I'm not even sure we're allowed to call it plastic. Yes, we should say.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh that's right I was planning a grand day out and you know as a student after any kind of freebie and I did I wrote to what was then Harbert's plasticine and I said Could you give me some plastic in expecting a few packets if I give you a credit on the end of the film? And they just said how much can you carry? And so I took a van and loaded up about half a tonne of plasticine. was very generous of”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, well on one level every model maker I work with they often can be accused of making models look like themselves if you take morph, for example, which was created by my business partners Peter Lord and O Sproxton who set up the company back in the seventies. Yeah, and they created morph. I can tell if Pete's animated morph, or I can tell if one of the other animators has animated because it takes on their personality.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“It's true. I mean, in his attitude he would often just get an idea and disappear into the shed and you'd hear all the bang you, cartoon, sawing and drilling, and two days later he would come out with a big cabinet or shelf or something or bunk bed, you know.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“No, and I guess you know coming from Preston, I always felt very, you know, what am I doing here? You know, people from Preston don't go to film school. I was so overawed by going there and the number one place in the country to study film.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh yeah, my next choice is Elvis Costello, and every day I write the Well, it really reminds me of my National Film School student days in London. This was in the charts around them. I love songs with great lyrics and he's just one of those, he's a poet, you know, he's a very clever song”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“That was about then, about nineteen seventy two, I had my own character called Walter the Rat, which I drew on all my school notebooks and everything. But I had this ambition to be how great would it be one day to have my characters out there, the famous, I guess? And it was a secret ambition I would never tell anybody about it because it felt kind of a you shouldn't want to do that kind of thing”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“That's right, my dad bought it for my mum as a present, and I remember one of the first things they said was, you know, you kids should take this camera and get out there and make films, you know, do things with it. I think very early I latched onto it and I started turning my cartoons into animation, either by flip books or making paper cutouts out of them or felt cutouts from my mum's scrapbox.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, yeah We took a tent as well Yeah, we camped in a field in North Wales and I've got a cinnifilm of it somewhere. Yes, when did the film”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, there was very much actually. In fact, after making her grandeur out, you know where Wallace builds this rocket in the basement of his house, I remember thinking after I'd made that that I've actually made a film about my dad, because I remember we bought this old decrepit like nineteen sixties caravan from someone for about ten pounds, and we got it home and my parents stripped it down to the chassis and built this kind of wooden box on it which was a caravan with wallpaper inside and bunk beds and lots of things that fold out, and it was a little home from home really that seven of us went on holiday to North Wales for two or three years, I think, and it was like a square box.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, no, actually, it sounds like, you know, the Adams family or something, but we lived in a nineteen sixties bungalow, really, which is where my mum lives now, and it was a bungalow with an upstairs, so I shared a bedroom with three brothers, but we had a big garden shed where my dad, that was his domain.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I mean my dad passed away ten years ago, but yet he was very active and photography, wood carving, building things, and my mother was still very active with making stuff for the village fair. I always feel very grateful, really, for a very happy childhood, rainy days, you know, were never boring. In fact, people would come to our house because my mum and dad would always supply us with tons of paper or, you know, we'd make giant papier machete monsters. In a way it was like an ethos really. My granny used to say, you know, if you're good at something, you should use it. You know, you should just go and do it.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, that's right. As an animator, you are really an actor. You're taking on the character in your own body and you sort of have to somehow imbue character into the clay. And so I used to listen to this record to just get myself into a sad state of mind, to get myself into Grommit's state of mind, basically.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, we're going to hear one from Neil Young. It's a very sad one actually called Force. My fellow animator on the wrong trousers Steve Box, I remember him playing this a lot, and I was animating a scene of a very sad scene of Grommit leaving home and with his tears welling up in his eyes.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, that was another probably I was about seven years old and got the Bino every Thursday. I used to love being off school ill because I could just sit there in my bed and just read a pile of old beanos. I'm just remembering a Christmas day about 1967 when there was a cardboard box from one of the presents and I remember sitting in that box nearly all day and reading my new annual beano annual from cover to cover. What a perfect.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“About Were you creating? I probably was, I mean, the house was always very busy. I was the middle one of five children. My mother tells me I was the quietest one. And I spoke very late because I think my older brothers used to speak for me but I always felt I guess like the invisible one. I was told as well that I used to even though I was quiet I would observe people and I would go and draw I loved drawing and I could sit on my own quietly and draw for hours. I loved being in my own world and”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“I was I mean I remember you know'cause I started making films as a kid. I used to often think to myself as a teenager if I watch TV and if I just watch anything that comes on TV I'm just never going to do anything and so I used to get back up into the attic and carry on making almost like pushing myself really”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“People aren't like that. No, although it's funny, I mean, I've always been quite ambitious in a way, in a quiet sort of way, but what's in a way nice for me is that I don't I've never felt I have to kind of get out there and sell myself and big myself up and it's nice that the work speaks for itself I hope”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, one animator, working with one puppet would probably do about three seconds a day, two and a half to three seconds a day on average. It can vary a great deal on a feature film would be twenty five to thirty animators, and each one of them would be doing about three seconds a day, so it actually the rushes at the end of the week are quite a few.”
2010-12-19 · Desert Island Discs · Nick Park · IDENTIFIED FROM THE TRANSCRIPT · source