\n
T<\/span>he Aztec West industrial estate in Bristol was opened by Margaret Thatcher in December 1989. One hundred and sixty acres of breeze block and mirrored glass, it is home to about 7,000 employees and 100 companies, including EDF, EE, HSBC, Co-op Legal and Spandex. It has its own gym, spa, church and morgue. Step inside Unit 1410, though, and bucolic England is magically restored. A farm complete with sheep. Rolling fields in autumn colours. A small parish town boasting post office, war memorial, chippy. It looks lush. But before you hit up Rightmove, I should say: Mossingham is only two feet tall. And plasticine.<\/p>\nIt\u2019s January 2026 and Aardman<\/a> animations are about halfway through production on Shaun the Sheep: The Beast of Mossy Bottom. The 300-odd staff in this shed are full speed ahead \u2013 which means each of the 30 animators is rattling out almost two seconds of footage a day<\/em>.<\/p>\ndouble quotation mark<\/title><path d=\"M5.255 0h4.75c-.572 4.53-1.077 8.972-1.297 13.941H0C.792 9.104 2.44 4.53 5.255 0Zm11.061 0H21c-.506 4.53-1.077 8.972-1.297 13.941h-8.686c.902-4.837 2.485-9.411 5.3-13.941Z\"\/><\/svg><\/p>\n<blockquote class=\"dcr-150m8vh\"><p>Is there anything off-the-shelf used on Mossy Bottom? They think. Just one thing: K-Y Jelly \u2013 for tears.<\/p><\/blockquote>\n<\/aside>\n<p class=\"dcr-1s160rg\">They work across 40 sets, each accessed through black floor-length curtains, like a weird A&E. On trolleys lie palette knives and small suitcases containing body parts \u2013 20 mouths that can be inserted into Bitzer the dog\u2019s head, for instance \u2013 as well as character \u201cbibles\u201d with guidance on optimum ear angles and kosher nostril widths. The atmosphere is hushed but not silent. The process is to photograph 24 frames per second, infinitesimally manipulating the models between snaps. Sound comes much later. Dialogue \u2013 never. When they made the first Shaun the Sheep movie, back in 2015, Aardman had to decide whether to go full later-Tom-and-Jerry and have them talk, or fall back on decades of silent movie heritage. They chose wisely.<\/p>\n<figure id=\"6635ed18-31d0-4ddf-a16d-e8c7bbe1072e\" data-spacefinder-role=\"inline\" data-spacefinder-type=\"model.dotcomrendering.pageElements.VideoYoutubeBlockElement\" class=\"dcr-d9bay7\">\n<div data-component=\"youtube-embed\" class=\"dcr-6xo16w\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube-nocookie.com\/embed\/DQQngNLt5hI?wmode=opaque&feature=oembed\" title=\"Shaun the Sheep the Beast of Mossy Bottom - Trailer\" height=\"480\" width=\"854\" allowfullscreen=\"\"><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"dcr-1s160rg\">I\u2019m on a tour of the studios with a group of European journalists. We observe the puppet construction process, from skeleton to wardrobe. There\u2019s a new character in this film: a female vet, the love interest of the hapless farmer. Her dreadlocks were originally a steel scourer, but this had to be ditched for torsion reasons \u2013 a shame, as Aardman like repurposing everyday objects (clingfilm, tinfoil, lentils). Is there anything off the shelf used on Mossy Bottom? They think. Just one thing: K-Y Jelly \u2013 for tears.<\/p>\n<p class=\"dcr-1s160rg\">We\u2019re invited to cop a feel of the titular beast, matted orange hair stiff as a boot brush. It\u2019s a conscious aesthetic, so the fibres don\u2019t move between shots. This is in contrast to the stop-motion done by Wes Anderson on Fantastic Mr Fox and Isle of Dogs, which embraces \u201cboiling\u201d: the impression of fur being in constant movement. Any wiggle is forbidden here.<\/p>\n<p class=\"dcr-1s160rg\">Then we mould our own Shaun heads, steered by an expert. It\u2019s far harder than expected: much gouging, plus the clay is tough to knead. That quality with which Aardman is most associated \u2013 \u201cthumbiness\u201d or the imprint of actual hands \u2013 involves considerable pressing. My finished head is horrible and I don\u2019t take it home. My son would bawl at the deformity.<\/p>\n<p class=\"dcr-1s160rg\">Mossy Bottom is a horror movie. Or, at least, a horror for those with a 7.30pm bedtime. Scares have been softened. The first version of a home invasion sequence was, says co-director Matthew Walker, \u201ctoo intense\u201d. There remains a Psycho allusion, as the flock cower in the shower, but the Bernard Herrmann-ish strings are explained by a shot of one sheep flossing their teeth. Other inspirations include Nosferatu and Frankenstein, The Shining and Weird Science. But the makers were eager to rein in references that would only be funny if you were old enough to get them.<\/p>\n<figure id=\"4263e230-6571-4246-9055-0349e50c68b0\" data-spacefinder-role=\"showcase\" data-spacefinder-type=\"model.dotcomrendering.pageElements.ImageBlockElement\" class=\"dcr-46nkfa\"><figcaption data-spacefinder-role=\"inline\" class=\"dcr-1ci1e33\"><span class=\"dcr-vyhg7z\"><svg width=\"18\" height=\"13\" viewbox=\"0 0 18 13\"><path d=\"M18 3.5v8l-1.5 1.5h-15l-1.5-1.5v-8l1.5-1.5h3.5l2-2h4l2 2h3.5l1.5 1.5zm-9 7.5c1.9 0 3.5-1.6 3.5-3.5s-1.6-3.5-3.5-3.5-3.5 1.6-3.5 3.5 1.6 3.5 3.5 3.5z\"\/><\/svg><\/span><span class=\"dcr-1cipnsy\">All this for two seconds of footage \u2026 the flock hard at work.<\/span> Photograph: Richard Davies\/Richard Davies\/Sky UK\/2026 Aardman Animations Limited<\/figcaption><\/figure>\n<p class=\"dcr-1s160rg\">More careful balancing was needed when weighing the needs of the domestic and international markets. Perhaps because of its lack of dialogue, Shaun has the broadest appeal of all Aardman properties. Its seven-season TV show has sold to more than 170 territories; there are Shaun theme parks in Japan, Sweden, New Zealand and Australia, as well as an unofficial <a href=\"https:\/\/shaunfood.com\/\" data-link-name=\"in body link\">Shaun the Sheep restaurant in Dubai<\/a> (the menu majors on offal).<\/p>\n<p class=\"dcr-1s160rg\">Sometimes overseas concessions are conscious, says Giles Pilbrow, who co-wrote Mossy Bottom as well as the 2021 Christmas special, whose gingerbread house was a nod to the German fanbase (they have, apparently, co-opted the farmer as Bavarian). But there are also some very domestic gags: a sudden blast of The Archers, a scene in which ever-cautious Bitzer delays a car chase by putting L-plates on his vehicle (not every country uses them).<\/p>\n<p class=\"dcr-1s160rg\">For Pilbrow, who cut his kids-TV writing teeth on Horrible Histories, geography is baked into sensibility. \u201cWe all grew up reading the Beano and watching Morecambe and Wise. And it\u2019s those cultural touchpoints that give Shaun its flavour.\u201d<\/p>\n<figure id=\"2c4884cc-9b07-409a-95e7-5fea0541d227\" data-spacefinder-role=\"showcase\" data-spacefinder-type=\"model.dotcomrendering.pageElements.ImageBlockElement\" class=\"dcr-46nkfa\"><figcaption data-spacefinder-role=\"inline\" class=\"dcr-1ci1e33\"><span class=\"dcr-vyhg7z\"><svg width=\"18\" height=\"13\" viewbox=\"0 0 18 13\"><path d=\"M18 3.5v8l-1.5 1.5h-15l-1.5-1.5v-8l1.5-1.5h3.5l2-2h4l2 2h3.5l1.5 1.5zm-9 7.5c1.9 0 3.5-1.6 3.5-3.5s-1.6-3.5-3.5-3.5-3.5 1.6-3.5 3.5 1.6 3.5 3.5 3.5z\"\/><\/svg><\/span><span class=\"dcr-1cipnsy\">\u2018He\u2019s got main character syndrome\u2019 \u2026 an animator tweaks Shaun\u2019s bloodshot eyes.<\/span> Photograph: Richard Davies\/Richard Davies\/Sky UK\/2026 Aardman Animations Limited<\/figcaption><\/figure>\n<p class=\"dcr-1s160rg\">Aardman \u2013 founded in 1976 by Peter Lord and David Sproxton, then supercharged by the arrival of Nick Park in 1985 \u2013 celebrates its 50th birthday this year. It is one of UK film\u2019s most endearing success stories: four Oscars, 18 Baftas, and counting. Its first film, Chicken Run, is still the highest-grossing stop-motion movie of all time, while Wallace & Gromit: Vengeance Most Fowl became the BBC\u2019s most-watched scripted show in two decades when it aired on Christmas Day in 2024.<\/p>\n<p class=\"dcr-1s160rg\">A new installation is about to open in the Lightroom in King\u2019s Cross; a retrospective at the Young V&A was a proper blockbuster. Its curators reported visitors coming to London just for these, from all over the globe. But with great soft power comes great responsibility. \u201cWe\u2019re very rigorous in making sure Shaun is morally sound,\u201d says co-director Steve Cox. \u201cWe\u2019re aware that every decision we make will be seen by millions of kids and they will be influenced.\u201d They\u2019re scrupulous about making Mossingham modern and inclusive \u2013 notably more so than the fictional Wigan of Wallace & Gromit.<\/p>\n<p class=\"dcr-1s160rg\">Mossy Bottom features a gay wedding, an Amazon delivery and a cast selected from what Cox calls \u201ca library of characters of shapes and sizes and ethnicities\u201d. The directors had a wobble when they realised one plot point involved Shaun texting the vet for help using emojis. \u201cThat was quite a big step for us,\u201d says Walker. \u201cBut it\u2019s how the world works.\u201d<\/p>\n<figure id=\"5b6cb411-c07c-419d-81cf-ccb4f5bd8d88\" data-spacefinder-role=\"inline\" data-spacefinder-type=\"model.dotcomrendering.pageElements.ImageBlockElement\" class=\"dcr-d9bay7\"><figcaption data-spacefinder-role=\"inline\" class=\"dcr-174mzkf\"><span class=\"dcr-vyhg7z\"><svg width=\"18\" height=\"13\" viewbox=\"0 0 18 13\"><path d=\"M18 3.5v8l-1.5 1.5h-15l-1.5-1.5v-8l1.5-1.5h3.5l2-2h4l2 2h3.5l1.5 1.5zm-9 7.5c1.9 0 3.5-1.6 3.5-3.5s-1.6-3.5-3.5-3.5-3.5 1.6-3.5 3.5 1.6 3.5 3.5 3.5z\"\/><\/svg><\/span><span class=\"dcr-1cipnsy\">Can you see my bald spot? \u2026 the farmer prepares for a hair-raising scene.<\/span> Photograph: Richard Davies\/Richard Davies\/Sky UK\/2026 Aardman Animations Limited<\/figcaption><\/figure>\n<p class=\"dcr-1s160rg\">Meanwhile the farmhouse now boasts solar panels, although its owner\u2019s business model seems as opaque as ever. Yes, there\u2019s some arable pasture, occasionally ploughed, but the livestock are not visibly milked, bred or slaughtered. The odd slapstick shearing is as commercial as it gets. \u201cI don\u2019t think anyone knows how the farmer makes the money,\u201d says Walker. \u201cWe\u2019ve never really used Shaun to explore the realities of farming.\u201d<\/p>\n<p class=\"dcr-1s160rg\">Yet other contemporary concerns do seem to have wormed their way in. The story starts when the farmer \u2013 nervous about asking the vet out on account of his bald spot \u2013 douses himself in hair restorer (in an ominously similar bottle to Shaun\u2019s genetically enhanced mega-grow pumpkin potion). Cox and Walker demur on whether it\u2019s a cautionary tale about cosmetic interventions \u2013 it\u2019s more about what happens when you mess about with nature more broadly. \u201cShaun is trying to grow these pumpkins using dark science,\u201d says Walker.<\/p>\n<p class=\"dcr-1s160rg\">And, they continue, the real problem is Shaun trying to do everything alone and not lean on the flock for support. \u201cHe\u2019s got main character syndrome,\u201d says Mark Burton, Pilbrow\u2019s co-writer and an Aardman veteran. \u201cThat idea that he\u2019s the hero and got to fix everything by himself. That becomes an obsession and he kind of goes to the dark side.\u201d A useful message for an atomised generation prone to bedroom myopia \u2013 but perhaps also salutary for an age of strongman leaders? \u201cDefinitely,\u201d says Walker. \u201cThere\u2019s certainly people in the world now who don\u2019t listen to anyone else.\u201d<\/p>\n<p class=\"dcr-1s160rg\">\u201cI mean,\u201d says Burton, \u201cI don\u2019t know if Pete Hegseth\u2019s going to watch it.\u201d<\/p>\n<p class=\"dcr-1s160rg\">\u201cYeah,\u201d says Pilbrow, \u201cIt\u2019s a bit too intellectual for Pete.\u201d<\/p>\n<figure id=\"fba17e1d-2e04-4d24-a07e-b3966620b9f5\" data-spacefinder-role=\"showcase\" data-spacefinder-type=\"model.dotcomrendering.pageElements.ImageBlockElement\" class=\"dcr-46nkfa\"><figcaption data-spacefinder-role=\"inline\" class=\"dcr-1ci1e33\"><span class=\"dcr-vyhg7z\"><svg width=\"18\" height=\"13\" viewbox=\"0 0 18 13\"><path d=\"M18 3.5v8l-1.5 1.5h-15l-1.5-1.5v-8l1.5-1.5h3.5l2-2h4l2 2h3.5l1.5 1.5zm-9 7.5c1.9 0 3.5-1.6 3.5-3.5s-1.6-3.5-3.5-3.5-3.5 1.6-3.5 3.5 1.6 3.5 3.5 3.5z\"\/><\/svg><\/span><span class=\"dcr-1cipnsy\">\u2018The scares have been softened\u2019 \u2026 the film\u2019s monster.<\/span> Photograph: Richard Davies\/Richard Davies\/Sky UK\/2026 Aardman Animations Limited<\/figcaption><\/figure>\n<p class=\"dcr-1s160rg\">The film also engages with the rise of populism. The final reel involves that Hammer horror staple: a mob waving pitchforks and placards in an attempt to banish an outsider. Resonance with today\u2019s political climate was, says Walker, \u201csomething we were aware of and discussed. We wanted the mob to feel like they\u2019re kind of chasing this monster due to a misunderstanding. It wasn\u2019t a deliberate pointed commentary on immigration but it was certainly something we were conscious of.\u201d<\/p>\n<p class=\"dcr-1s160rg\">Cox nods. \u201cYou see it all around you: people joining in without even knowing what they\u2019re joining. So that feeling was easy to recreate.\u201d<\/p>\n<p class=\"dcr-1s160rg\">And how about the monster itself? Chunky, marauding, weirdly stiff hair \u2013 and there\u2019s that colour. Pilbrow considers. \u201cBad hair, bit orange,\u201d he nods. \u201cBut our monster is lovable and misunderstood. I don\u2019t think that sums up Trump.\u201d<\/p>\n<p class=\"dcr-1s160rg\">My time at Aardman is at an end. It\u2019s time to step outside, on to the tarmac, past the Perspex shelters and wet picnic benches. Time inside Unit 1410 can feel like being part of a really genial cult: a muted, tattier version of Pixar HQ in San Francisco. While that campus is all bright colours and Segways and yellowtail on tap, at Aardman there\u2019s one ping-pong table and you pay for your toastie. Yet there remains the sort of brand immersion that makes you wonder if working there full-time could trigger an allergy to recreational plasticine.<\/p>\n<p class=\"dcr-1s160rg\">Do they ever feel as if they\u2019re going mad? No, no, they all insist. The building can have its \u201cchallenges\u201d, concedes Walker. But these, says Cox, just add to the sense of achievement. \u201cWhat you see on screen is only what the camera is pointing at: a beautiful set with amazing characters and lighting. And just off the edge, either side, there\u2019s a mess: brooms, graffiti on the walls where people have scribbled notes, junk everywhere. Chaos around this little square of perfection.\u201d<\/p>\n<footer class=\"dcr-1s160rg\">\n<p class=\"dcr-1s160rg\"><span data-dcr-style=\"bullet\"\/> Shaun the Sheep: The Beast of Mossy Bottom is released in the UK on 18 September and 17 September in Australia<\/p>\n<\/footer>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>The Aztec West industrial estate in Bristol was opened by Margaret Thatcher in December 1989. One hundred and sixty acres of breeze block and mirrored glass, it is home to about 7,000 employees and 100 companies, including EDF, EE, HSBC, Co-op Legal and Spandex. It has its own gym, spa, church and morgue. Step inside […]<\/p>\n","protected":false},"author":1,"featured_media":7059321,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[277,989,4626,2581,14309,51145,1040,2641],"dealstore":[],"offerexpiration":[],"class_list":["post-7059320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-dark","tag-film","tag-horror","tag-movie","tag-scenes","tag-shaun","tag-sheep","tag-side"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u2018He goes to the dark side\u2019: behind the scenes on the Shaun the Sheep horror movie | Film - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=7059320\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018He goes to the dark side\u2019: behind the scenes on the Shaun the Sheep horror movie | Film - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"The Aztec West industrial estate in Bristol was opened by Margaret Thatcher in December 1989. 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One hundred and sixty acres of breeze block and mirrored glass, it is home to about 7,000 employees and 100 companies, including EDF, EE, HSBC, Co-op Legal and Spandex. It has its own gym, spa, church and morgue. 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