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Like the drawings on real vases, the muscles and details are drawn onto l at colour, but here
we kept the drawn details and made the lines follow a deeply sculpted contour, rather than
just being drawn. As they move, they catch the light and every subtle piece of sculpting is
visible. The puppets for this i lm were i nished in latex, for many reasons my preferred material.
Model-makers prefer silicone for ease of maintenance and durability, but latex has a glorious
and unexpected life, wrinkling and creasing as l esh does. When lit appropriately, this can be a
great feature. Animators tend not to warm to the heavier silicone as nothing will stick to it, and
it does have a memory, slowly creeping back a bit after a move but, as always, it is what is right
for the project and budget. Silicon has a beautiful translucency that echoes real skin. When
backlit, it has a gorgeous softness at the edges.
Gilbert and Sullivan
Concept drawings by Joe Holman, and an original title thought too obscure.
Words and music
There were many reasons for wanting to make this i lm, but to do something
dif erent with words and music was exciting. Since my university thesis on 'Gilbert
and Sullivan in Performance, I have been campaigning for a rethink about these
operas. It is ungrateful of me to criticise the D'Oyly Carte Company for continuing
to preserve the original productions, as the operas may well not have survived
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