0:00:05 > 0:00:07At the end of the 15th century,
0:00:07 > 0:00:10a Scottish notary and teacher called Robert Henryson
0:00:10 > 0:00:15writes a series of animal fables based on the old stories of Aesop.
0:00:15 > 0:00:20Esope myne authour makis mentioun
0:00:20 > 0:00:24of twa myis and thay wer sisteris deir.
0:00:24 > 0:00:27Henryson is little known these days, but experts
0:00:27 > 0:00:29consider him a master.
0:00:29 > 0:00:32He's the greatest poet, I think, of the 15th century
0:00:32 > 0:00:34in English or Scots.
0:00:34 > 0:00:36Fast-forward over 500 years
0:00:36 > 0:00:39a Nobel Prize-winning poet Seamus Heaney
0:00:39 > 0:00:42catches a glimpse of an early manuscript of the fables
0:00:42 > 0:00:44and is spellbound.
0:00:44 > 0:00:48It had a little rooster in the top right-hand corner
0:00:48 > 0:00:50of the manuscript,
0:00:50 > 0:00:52but the rooster was crowing
0:00:52 > 0:00:55and there was something so jaunty about it.
0:00:55 > 0:00:58Over several years, Seamus creates a series of modern
0:00:58 > 0:01:02English translations infused with the language of his rural childhood
0:01:02 > 0:01:03in Northern Ireland.
0:01:03 > 0:01:07It's absolutely brilliant, it's a wonderful translation.
0:01:07 > 0:01:10And he persuades Scottish actor and comedy legend Billy Connolly,
0:01:10 > 0:01:12to record them.
0:01:12 > 0:01:15This country mouse, when winter came, endured cold and hunger.
0:01:15 > 0:01:18I think he's amazing.
0:01:18 > 0:01:20His reputation swells before him.
0:01:22 > 0:01:25Now, five of these fables
0:01:25 > 0:01:26have been animated for a project
0:01:26 > 0:01:30that Seamus Heaney was working on at the time of his death,
0:01:30 > 0:01:31bringing a modern dimension
0:01:31 > 0:01:34to tales that were written over half a millennium ago.
0:01:34 > 0:01:38With a specially composed score by international pianist and conductor
0:01:38 > 0:01:40Barry Douglas.
0:01:40 > 0:01:41This is a very major thing for me,
0:01:41 > 0:01:44it's a new departure. I'm very excited.
0:01:44 > 0:01:47In a moment, the full animated story of The Mouse
0:01:47 > 0:01:48And The Lion
0:01:48 > 0:01:51with an introduction by Seamus Heaney himself
0:01:51 > 0:01:53and later, some revealing behind-the-scenes footage
0:01:53 > 0:01:58of how these morality tales made it to the screen.
0:01:58 > 0:02:00Five medieval fables
0:02:00 > 0:02:02are now ready for the second coming.
0:02:12 > 0:02:16One of the most attractive features of
0:02:16 > 0:02:18The Mouse And The Lion
0:02:18 > 0:02:21is that it opens with a prologue
0:02:21 > 0:02:24where the poet meets Aesop,
0:02:24 > 0:02:27or Aesop as he imagines him.
0:02:27 > 0:02:32A figure in very colourful late-mediaeval dress.
0:02:32 > 0:02:34The other thing about it is the
0:02:34 > 0:02:37wonderful rapturous description of nature
0:02:37 > 0:02:39in this opening.
0:02:39 > 0:02:43The relish that Henryson has for the description
0:02:43 > 0:02:46and the beauty of the things that are being described
0:02:46 > 0:02:50make it a terrifically radiant piece of work.
0:02:50 > 0:02:52But then, of course,
0:02:52 > 0:02:55when Aesop enters
0:02:55 > 0:02:57it becomes more solemn
0:02:57 > 0:02:59and the speaker enters and asks him
0:02:59 > 0:03:03will he please tell him a story with a good morality in it.
0:03:03 > 0:03:07And Aesop proceeds to do so.
0:03:07 > 0:03:12It begins with a bunch of little mice.
0:03:12 > 0:03:15Then they come to a lion, sleeping.
0:03:15 > 0:03:17They think the lion is dead
0:03:17 > 0:03:19so one of them leads the dance up on
0:03:19 > 0:03:22to the lion's nose, head, body.
0:03:22 > 0:03:25Of course he comes awake, bang, bang,
0:03:25 > 0:03:27catches the little leader of the dance
0:03:27 > 0:03:32and he is the king of the beasts, so he acts like a judge
0:03:32 > 0:03:36and basically condemns him to death.
0:03:36 > 0:03:40And there occurs another of these arguments which abound
0:03:40 > 0:03:44in Henryson, almost legalistic pleading.
0:03:44 > 0:03:46The king is saying,
0:03:46 > 0:03:48"You will deserve to die."
0:03:48 > 0:03:49And the little mouse is saying,
0:03:49 > 0:03:52"Mercy, we meant no harm."
0:03:52 > 0:03:55Anyway, in the end, the mouse's pleas are successful
0:03:55 > 0:03:59and the lion is lenient and he goes on his way.
0:04:01 > 0:04:04Eventually, since he has been ravaging the countryside,
0:04:04 > 0:04:07people come out with nets to catch the lion.
0:04:07 > 0:04:08They catch him.
0:04:08 > 0:04:11Again, he's found by the little mouse
0:04:11 > 0:04:13and there's a beautiful symmetry to it.
0:04:13 > 0:04:17The mouse now is in a position to do something for the lion.
0:04:17 > 0:04:20There is a good morality task about that.
0:04:20 > 0:04:23In the exercise of justice, be compassionate and merciful.
0:04:36 > 0:04:40It was in that sweet season, middle June
0:04:40 > 0:04:42When Phoebus with his fair beams shining bright
0:04:42 > 0:04:45Had dried the dew off every dale and down
0:04:45 > 0:04:48And clad the land in raiment made of light.
0:04:49 > 0:04:52One morning as the dun climbed to its height, I rose
0:04:52 > 0:04:55and cast all sloth and sleep aside
0:04:55 > 0:04:59And wandered on my own out to a wood.
0:05:06 > 0:05:10Sweet was the smell of flowers, white and red
0:05:10 > 0:05:12The singing of the birds a sheer delight.
0:05:12 > 0:05:15Broad boughs were in full bloom above my head.
0:05:15 > 0:05:18Rich herbs and herbage flourished at my feet.
0:05:18 > 0:05:22All pleasure and all plenty seemed to meet
0:05:22 > 0:05:24In fragrances and birdsong in that place
0:05:24 > 0:05:28And the mild morning made me more rejoice.
0:05:28 > 0:05:32Red roses blossoming on twig and bush
0:05:32 > 0:05:35The primrose and the violet purplish blue
0:05:35 > 0:05:38The jubilating blackbird and the thrush were paradise on earth
0:05:38 > 0:05:40to listen to.
0:05:40 > 0:05:44The banks and brays in bloom made a fine show
0:05:44 > 0:05:47And scented herbs and the small birds crying -
0:05:47 > 0:05:51All these things in contention, sweetly vying.
0:05:51 > 0:05:54To keep myself out of the burning sun,
0:05:54 > 0:05:57I lay against sweet-smelling flowers
0:05:57 > 0:06:01At ease beneath a hawthorn tree in shadows green,
0:06:01 > 0:06:04Then covered up my head and closed my eyes.
0:06:04 > 0:06:07I fell asleep beneath those balmy boughs
0:06:07 > 0:06:10And dreamt I saw come toward me through the wood
0:06:10 > 0:06:13The handsomest man I ever had encountered.
0:06:13 > 0:06:17His gown was made of cloth as white as milk
0:06:17 > 0:06:20His outer cloak of camlet, murky purple,
0:06:20 > 0:06:23His hood of scarlet, bordered well with silk
0:06:23 > 0:06:26Hanging down like hackles to his girdle.
0:06:26 > 0:06:30His bonnet round, in the old-fashioned style.
0:06:30 > 0:06:33Beard white, eyes wide and grey, a head of hair
0:06:33 > 0:06:37That curled and lay in locks upon each shoulder.
0:06:37 > 0:06:41He carried in his hand a roll of paper.
0:06:41 > 0:06:45A swan's-quill pen stuck out behind his ear.
0:06:45 > 0:06:48An inkhorn, a neat gilt pen container
0:06:48 > 0:06:52And silken pouch hung from the belt he wore
0:06:52 > 0:06:55Thus was he tackled trimly in his gear,
0:06:55 > 0:06:58Of stature large, imposing countenance.
0:06:58 > 0:07:01Then up to where I lay, he made advance
0:07:01 > 0:07:04Saying, "God bless you, son," and I was glad
0:07:04 > 0:07:07Of those warm words and of his company.
0:07:07 > 0:07:10I greeted him respectfully and said, "Welcome, father."
0:07:15 > 0:07:16And as he sat by me
0:07:16 > 0:07:18Went on, "My good master, may I kindly
0:07:18 > 0:07:20"Ask who you are,
0:07:20 > 0:07:22"your profession and your name.
0:07:22 > 0:07:26"Why you come here, and where you call your home?"
0:07:26 > 0:07:30"My son," said he, "I am a well-born man.
0:07:30 > 0:07:34"None will deny my native place is Rome -
0:07:34 > 0:07:38"And I got my early schooling in that town.
0:07:38 > 0:07:40"I studied civil law there a long time
0:07:40 > 0:07:42"And now for ever heaven is my home.
0:07:42 > 0:07:47"My name is Aesop. Works that I have written
0:07:47 > 0:07:50"Are known and conned by many a learned man."
0:07:50 > 0:07:53"O, master Aesop, poet laureate,
0:07:53 > 0:07:56"God knows you are most welcome here to me
0:07:56 > 0:07:58"For are you not the very one who wrote
0:07:58 > 0:08:00"Those fables, which are make-believe, maybe,
0:08:00 > 0:08:03"But full of wisdom and morality?"
0:08:03 > 0:08:08"Fair son," said he, "I am that selfsame man."
0:08:08 > 0:08:12God knows indeed my heart was happy then.
0:08:12 > 0:08:15"Aesop," I said, "my master venerable,
0:08:15 > 0:08:19"Grant, I pray, this most heartfelt petition -
0:08:19 > 0:08:22"Deign to tell me, please, a well-turned fable
0:08:22 > 0:08:25"Leading to a good model conclusion."
0:08:25 > 0:08:28He shook his said and answered, "Ah, my son,
0:08:28 > 0:08:30"What good is it to tell a made-up tale
0:08:30 > 0:08:34"When holy preachers preach to no avail?
0:08:34 > 0:08:37"In this world now, it seems that few or none
0:08:37 > 0:08:41"Hear the word of God with due devotion.
0:08:41 > 0:08:44"Their ears are deaf, their hearts as hard as stone.
0:08:44 > 0:08:48"Sin is blatant, flaunts without correction,
0:08:48 > 0:08:52"And earthbound instinct drags the pure heart down.
0:08:52 > 0:08:57"The world's so rotten, bletted, cankered black,
0:08:57 > 0:09:00"My tales are told to small or no effect."
0:09:00 > 0:09:04"Yet, gentle sir," said I, "I would request
0:09:04 > 0:09:07"Not to disrespect your reservation -
0:09:07 > 0:09:10"That you would frame a tale around a beast,
0:09:10 > 0:09:13"A fable with a moral, a narration
0:09:13 > 0:09:15"That might contribute to my education,
0:09:15 > 0:09:19"Something worth remembering." "Well, I shall,"
0:09:19 > 0:09:24Said Aesop, and proceeded with this tale.
0:09:25 > 0:09:28A hunting lion, tired from his run,
0:09:28 > 0:09:31Needing to catch his breath and have a rest,
0:09:31 > 0:09:33Lay warming breast and belly in the sun
0:09:33 > 0:09:36Under a tree in a pleasant forest.
0:09:37 > 0:09:41Next thing a troupe of mice skips from their nest,
0:09:41 > 0:09:43Nifty and nimble, dancing briskly round,
0:09:43 > 0:09:48And step-dance two or three times on the lion.
0:09:48 > 0:09:51He lay so still the mice were not afraid,
0:09:51 > 0:09:55But advanced, retired, jigged and reeled apace,
0:09:55 > 0:09:57Some plucking at the whiskers of his beard,
0:09:57 > 0:10:00Some bold enough to scratch him in the face,
0:10:00 > 0:10:03Lightsome and blithe, the merriest of mice,
0:10:03 > 0:10:07Till the noble lion woke at last and pounced
0:10:09 > 0:10:13And clamped down on the one who led the dance.
0:10:13 > 0:10:16She gave a cry, and the rest all cried, aghast,
0:10:16 > 0:10:20And scattered and hid hurriedly wherever.
0:10:20 > 0:10:23The leader in the lion's paw held fast
0:10:23 > 0:10:26Laments, "Alas! Alas!" and weeps in terror.
0:10:26 > 0:10:29"O, woe is me!" she wails,
0:10:29 > 0:10:30"I'm a prisoner
0:10:30 > 0:10:34"And must face trial now for my offence.
0:10:34 > 0:10:38"My life and death hang trembling in the balance!"
0:10:38 > 0:10:41The lion spoke then to that stricken mouse.
0:10:41 > 0:10:45"You miserable, despicable mean thing,
0:10:45 > 0:10:47"Overly familiar and presumptuous,
0:10:47 > 0:10:51"Treating my person as your dancing ring:
0:10:51 > 0:10:53"Do you not know I am both lord and king
0:10:53 > 0:10:55"Of all the beasts?"
0:10:55 > 0:10:58"Yes," said the mouse," I do,
0:10:58 > 0:11:02"But you lay so quiet there, I mistook you.
0:11:02 > 0:11:06"So, my lord, I beseech Your Majesty to hear me plea
0:11:06 > 0:11:08"And attend in patience.
0:11:11 > 0:11:14"Take good account first of my poverty
0:11:14 > 0:11:17"And then consider your magnificence.
0:11:17 > 0:11:19"Consider, too, how simple negligence
0:11:19 > 0:11:22"A thing not done with malice or presumption
0:11:22 > 0:11:25"Should sooner receive gracious remission.
0:11:25 > 0:11:28"We'd had our fill, enjoyed in great abundance
0:11:28 > 0:11:32"The proper dues and needs of our condition.
0:11:32 > 0:11:35"The pleasant season prompted us to dance and sport ourselves
0:11:35 > 0:11:37"In our own natural fashion.
0:11:37 > 0:11:39"You lay so still,
0:11:39 > 0:11:41"Had such a dead expression,
0:11:41 > 0:11:44"We thought, by my soul, that you were dead indeed.
0:11:44 > 0:11:48"Why else would we have danced upon your heid?"
0:11:48 > 0:11:51"This is a false excuse," the lion said,
0:11:51 > 0:11:55"And will not in the least be warned avail.
0:11:55 > 0:11:58"Supposing that I had indeed been dead,
0:11:58 > 0:12:00"And what you'd find was a stuffed animal,
0:12:00 > 0:12:03"A straw lion, my skin alone,
0:12:03 > 0:12:05"Then still you should have been in awe
0:12:05 > 0:12:09"And kneeling down, because it bore the imprint of my person.
0:12:09 > 0:12:13"Your crime is such you have no defence
0:12:13 > 0:12:16"What you have committed is lese majeste.
0:12:16 > 0:12:20"There is no case, you have no arguments to absolve yourself
0:12:20 > 0:12:23"Or those accessory.
0:12:23 > 0:12:25"Wherefore your disgraceful doom
0:12:25 > 0:12:29"Shall be to suffer death as is decreed for treason,
0:12:29 > 0:12:34"And mount the gallows struggling and squealing."
0:12:37 > 0:12:39HE ROARS
0:12:46 > 0:12:49"Ah, no, my lord,
0:12:49 > 0:12:51"I beseech your royal grace as crowned head of the beasts
0:12:51 > 0:12:53"To moderate your anger.
0:12:53 > 0:12:57"Let your fit of fury pass, let mercy change your mind,
0:12:57 > 0:12:59"Be temperate.
0:12:59 > 0:13:01"Your honour has been injured, I admit
0:13:01 > 0:13:04"And I deserve the sentence you decree,
0:13:04 > 0:13:08"Unless you relent, my lord, and pardon me."
0:13:08 > 0:13:10"In every judge, mercy and compassion
0:13:10 > 0:13:14"Should act as learned friends and counsellors.
0:13:14 > 0:13:17"Justice is cruelty when mercy's wanting
0:13:17 > 0:13:20"As the highest, holiest law we know allows.
0:13:20 > 0:13:23"When rigour won't relent and sits and glowers
0:13:23 > 0:13:26"Who will believe the bench impartial?
0:13:26 > 0:13:30"None, or very few, unless there is compassion.
0:13:31 > 0:13:33"When it comes to martial honour, too,
0:13:33 > 0:13:36"You know the value of a victory depends
0:13:36 > 0:13:38"On the strength of the opponent.
0:13:38 > 0:13:42"How fiercely he fights or manfully defends.
0:13:42 > 0:13:45"What praise or honour when the battle ends
0:13:45 > 0:13:48"Is due to one whose foe would not or could not
0:13:48 > 0:13:52"Stand to and meet and match him in the fight
0:13:52 > 0:13:55"To kill and then devour a thousand mice -
0:13:55 > 0:13:59"What's manly about that in a great lion?
0:13:59 > 0:14:01"The weaker the defeated is,
0:14:01 > 0:14:04"The less enhanced is a strong victor's renown.
0:14:04 > 0:14:07"It will demean and mar your reputation
0:14:07 > 0:14:09"To kill a mouse whose one defence
0:14:09 > 0:14:12"Was free reliance on your Excellency's mercy.
0:14:14 > 0:14:16"Moreover, it's below Your Majesty,
0:14:16 > 0:14:20"Whose diet day-by-day is so delicious,
0:14:20 > 0:14:23"To soil your teeth and lips by eating me.
0:14:23 > 0:14:27"My blood would turn your stomach and cause illness.
0:14:27 > 0:14:29"There is infection in the meat of mice
0:14:29 > 0:14:32"To which lions in particular are prone,
0:14:32 > 0:14:35"Used as they are to noble venison.
0:14:38 > 0:14:42"My life's of little value, my death, less.
0:14:42 > 0:14:45"Yet if I live, who knows, it could happen,
0:14:45 > 0:14:48"I could help your highness in a chance distress,
0:14:48 > 0:14:51"For often one who seems in no condition
0:14:51 > 0:14:54"To rescue some imperilled lord from prison
0:14:54 > 0:14:56"Will prove to be the only one who can.
0:14:56 > 0:15:01"In which case, if fortune failed, could be your own."
0:15:04 > 0:15:08When this was said, the lion reconsidered.
0:15:08 > 0:15:10His anger was assuaged,
0:15:10 > 0:15:11He heeded reason and,
0:15:11 > 0:15:14Letting mercy moderate his hard pronouncement,
0:15:14 > 0:15:17Granted the mouse remission,
0:15:17 > 0:15:21Opened his paw and dropped her.
0:15:21 > 0:15:22She fell down,
0:15:24 > 0:15:28Then reached her two hands heaven-ward and cried,
0:15:28 > 0:15:32"O, mighty God reward you for this deed!"
0:15:36 > 0:15:40When she was gone, the lion went to hunt,
0:15:40 > 0:15:43Since he never gathered food but lived on prey,
0:15:43 > 0:15:47Killing both wild and tame as was his wont,
0:15:47 > 0:15:50Spreading terror over the whole country.
0:15:50 > 0:15:52HE ROARS
0:15:53 > 0:15:58Until at last the people found a way to trap this cruel lion.
0:15:58 > 0:16:01From hemp cord, they wove strong nets
0:16:01 > 0:16:03And set them in the road,
0:16:03 > 0:16:06A road the lion used when he was on the prowl.
0:16:06 > 0:16:09They stretched the nets across from tree to tree,
0:16:09 > 0:16:12Then lined up in the wood to await the kill.
0:16:16 > 0:16:20The hounds and horns create a wild melee.
0:16:20 > 0:16:23Along the road the lion starts to flee,
0:16:23 > 0:16:25Trips on the net,
0:16:25 > 0:16:27Gets tangled head and foot,
0:16:27 > 0:16:32And for all his strength and struggle can't get oot.
0:16:32 > 0:16:36He turned and twisted, gave a hideous roar,
0:16:36 > 0:16:37Strained, contorted,
0:16:37 > 0:16:40Kicked this way and that but all to no avail.
0:16:40 > 0:16:43His reign was over.
0:16:43 > 0:16:45The more he turned, the tighter grew the net.
0:16:45 > 0:16:49The purchase of the ropes being so complete on every part of him.
0:16:49 > 0:16:52And thus forlorn, he ceased his struggle
0:16:52 > 0:16:54And began to mourn:
0:16:54 > 0:16:58"O crippled lion, lying here so low,
0:16:58 > 0:17:01"Where is the power of your magnificence
0:17:01 > 0:17:03"Of which the earth's animals all stood in awe
0:17:03 > 0:17:07"And feared to look upon your countenance?
0:17:07 > 0:17:09"No hope or help,
0:17:09 > 0:17:11"No succour or defence are left to me
0:17:11 > 0:17:15"Alas, I am tied down in sturdy bonds
0:17:15 > 0:17:18"And certain to be slain.
0:17:19 > 0:17:22"There's nobody to right my wrongs
0:17:22 > 0:17:24"And wreak vengeance for me.
0:17:24 > 0:17:26"None to respect my crown.
0:17:26 > 0:17:28"Who'll help me now?
0:17:28 > 0:17:31"Come to my aid and break these bonds.
0:17:31 > 0:17:34"Release me from this prison."
0:17:34 > 0:17:35HE ROARS
0:17:35 > 0:17:37The minute he had made this lamentation,
0:17:37 > 0:17:39It so happened the little mouse
0:17:39 > 0:17:43Came by and overhead the lion's grievous cry.
0:17:43 > 0:17:46And suddenly it came into her mind
0:17:46 > 0:17:49This was the lion who had pardoned her,
0:17:49 > 0:17:52Saying, "I'd be unnatural and unkind
0:17:52 > 0:17:54"Not to repay in some small part
0:17:54 > 0:17:56"The favour you graciously did me."
0:17:56 > 0:18:00And so she called her companions loud and long,
0:18:00 > 0:18:03Repeatedly, to come and help, which they did,
0:18:03 > 0:18:05Immediately.
0:18:07 > 0:18:10"Look," said the mouse. "This is that same lion
0:18:10 > 0:18:13"Who pardoned me when I was in his power.
0:18:13 > 0:18:16"Now here he lies heartbroken,
0:18:16 > 0:18:20"Making moan like a prisoner tied up inside a tower.
0:18:20 > 0:18:23"Unless we help he cannot hope for succour.
0:18:23 > 0:18:26"But one good turn deserves another,
0:18:26 > 0:18:28"So do we free him?"
0:18:28 > 0:18:31"Sister," they said. "We do!"
0:18:31 > 0:18:34They took no knife,
0:18:34 > 0:18:36Their teeth were sharp enough.
0:18:36 > 0:18:39To watch them at their work was a great wonder.
0:18:39 > 0:18:41It didn't matter that the ropes were tough.
0:18:41 > 0:18:44They went for them top, bottom, over, under,
0:18:44 > 0:18:48Bit bindings until the net just fell asunder.
0:18:48 > 0:18:50Then bade him rise.
0:18:50 > 0:18:54He sprang immediately up on his feet with thanks...
0:19:08 > 0:19:10And went his way.
0:19:14 > 0:19:17The lion is at large now out of danger,
0:19:17 > 0:19:19Loosed and delivered,
0:19:19 > 0:19:23Set at liberty by little beasts possessed of little power.
0:19:23 > 0:19:26Because, as you have heard,
0:19:26 > 0:19:29He showed them pity.
0:19:29 > 0:19:32HE ROARS
0:19:43 > 0:19:46The great thing about working on this series
0:19:46 > 0:19:49is that really we had a carte blanche right from the start,
0:19:49 > 0:19:51so we were able to choose the animation medium
0:19:51 > 0:19:54that would best suit the project.
0:19:54 > 0:19:58What we decided was to use 2-D animation,
0:19:58 > 0:20:00as opposed to 3-D or stop-motion.
0:20:00 > 0:20:03The reason for that is because we felt that with 2-D animation
0:20:03 > 0:20:06we were able to preserve the values
0:20:06 > 0:20:09of the original fables that were written in medieval times.
0:20:09 > 0:20:11We also wanted people to feel that
0:20:11 > 0:20:14when they were watching, that each frame would look
0:20:14 > 0:20:17almost as if it was lifted out of a children's book.
0:20:17 > 0:20:21We wanted seven-year-olds to be able to enjoy
0:20:21 > 0:20:23these fables on one level
0:20:23 > 0:20:25and adults on another level.
0:20:25 > 0:20:28We find that if you go for that approach,
0:20:28 > 0:20:32then the production values you have of the series
0:20:32 > 0:20:34are more long-lasting
0:20:34 > 0:20:36and we wanted to create a series that is universal
0:20:36 > 0:20:39and that could be enjoyed again in 10 or 20 years' time.
0:20:39 > 0:20:42Thus, he kept that poor mouse in great dread
0:20:42 > 0:20:45Until, by lucky chance, at the last call,
0:20:45 > 0:20:48She slipped between the hangings and the wall.
0:20:48 > 0:20:51We also wanted a slight reminiscence
0:20:51 > 0:20:53of the old Walt Disney movies
0:20:53 > 0:20:56which are based in the nature and countryside.
0:20:56 > 0:21:00So we tried to recreate that sense
0:21:00 > 0:21:03of having two-dimensional animation
0:21:03 > 0:21:07but recreating a world that felt very real to the audience.
0:21:12 > 0:21:15We knew that we wanted each fable to look unique
0:21:15 > 0:21:18but we didn't want them to be too different from each other,
0:21:18 > 0:21:20they still had to feel like part of the same fables family
0:21:20 > 0:21:24The way we approached that was different, natural painting
0:21:24 > 0:21:26mediums and painting techniques
0:21:26 > 0:21:29and to vary those, so one, for example, was more watercolour,
0:21:29 > 0:21:32one of them was oil paints, one of them was gouache-pastel
0:21:32 > 0:21:34mixed media.
0:21:34 > 0:21:38So we kind of felt the naturalism of those painting methods
0:21:38 > 0:21:42fitted the naturalistic, organic storytelling with the fables.
0:21:42 > 0:21:46The next stage, once we had done a little bit
0:21:46 > 0:21:49of visual development on Five Fables,
0:21:49 > 0:21:53was to present the artwork to Seamus Heaney himself, because
0:21:53 > 0:21:57we didn't want to do anything which he wasn't happy with, obviously.
0:21:57 > 0:21:58And he was very responsive.
0:21:58 > 0:22:02He immediately loved the style, he loved what we were trying to do.
0:22:02 > 0:22:05We had prepared some character designs.
0:22:05 > 0:22:07I remember drawing up different versions
0:22:07 > 0:22:09of the two mice from the Two Mice fable,
0:22:09 > 0:22:13and he really liked the style immediately.
0:22:13 > 0:22:18He loved the kind of lush and very dense and real textures,
0:22:18 > 0:22:22the kind of watercolour textures that we used in some of the fables.
0:22:22 > 0:22:25So, for him, it was a really easy sell.
0:22:25 > 0:22:28"In that case, it's a safe house," said the younger.
0:22:28 > 0:22:32One of the things we had to do at this stage was to research
0:22:32 > 0:22:34anything that was unfamiliar to us.
0:22:34 > 0:22:38any strange terms of slang or terminology that we didn't
0:22:38 > 0:22:39quite understand.
0:22:39 > 0:22:42We had to be sure what it was because we were going to visualise
0:22:42 > 0:22:44this and we needed to make sure
0:22:44 > 0:22:46that we understood every line.
0:22:46 > 0:22:47We asked Seamus to explain a few
0:22:47 > 0:22:49things, like what is a pattle?
0:22:49 > 0:22:51I'd never heard of a pattle before.
0:22:51 > 0:22:53What is heckling or scutching, things like that.
0:22:53 > 0:22:57The farmer let out a sudden angry roar, stoned them,
0:22:57 > 0:22:59threw down the pattle of the plough.
0:22:59 > 0:23:02"The wolf," he yelled, "can have the lot of you!"
0:23:02 > 0:23:08Obviously, we had to get it right and had to make sure that visually it was accurate.
0:23:08 > 0:23:12The farmer spread and dried it, beetled the stocks to bits
0:23:12 > 0:23:14and scutched and heckled all to torn plaits.
0:23:14 > 0:23:18Once we knew the style we were going for, we took it to the storyboard.
0:23:18 > 0:23:21Storyboard is an important part of the production,
0:23:21 > 0:23:23probably the most important part.
0:23:23 > 0:23:25It's really where the film of the episode is made.
0:23:25 > 0:23:27It's kind of the director's secret weapon.
0:23:27 > 0:23:31It's a series of comic book-esque panels in sequence
0:23:31 > 0:23:34that contain all the information that you need - where the
0:23:34 > 0:23:36characters are going to be, what they are going to do,
0:23:36 > 0:23:39the locations, settings, compositions, things like that.
0:23:39 > 0:23:42A storyboard is really the film on paper, is the best way to describe it.
0:23:42 > 0:23:45And it's important later on, because all the other departments
0:23:45 > 0:23:49will reference it and use it as a sort of touchstone.
0:23:49 > 0:23:53The animators will look at the poses drawn on the board and they'll start
0:23:53 > 0:23:56with those poses in their animation and they'll improvise from that.
0:23:56 > 0:23:59The background artists will look at the layouts behind the panels
0:23:59 > 0:24:03and start their backgrounds from that and work from there.
0:24:06 > 0:24:08Everything in the Fables is designed.
0:24:08 > 0:24:10Everything is drawn by somebody.
0:24:10 > 0:24:14You know, like, the father has a bat and that needs designing.
0:24:14 > 0:24:17The mouse needs a staff to walk with. That's mentioned in the text.
0:24:17 > 0:24:19Somebody has to design that.
0:24:19 > 0:24:21So that's why it's important at the storyboard
0:24:21 > 0:24:25and design stage to make sure that nothing is left to chance.
0:24:25 > 0:24:27From the storyboard we move straight onto the animatic.
0:24:27 > 0:24:31The animatic is the first time you get to see
0:24:31 > 0:24:33the film playing out in real time.
0:24:33 > 0:24:38You film each panel that you see in a storyboard for the exact amount
0:24:38 > 0:24:43of time that you will see this shot on screen once it's animated.
0:24:43 > 0:24:46You put Billy Connolly's fantastic voice-over on there.
0:24:46 > 0:24:48The wolf can have a lot of you!
0:24:48 > 0:24:50At that point, you're thinking like an editor.
0:24:50 > 0:24:54You're pacing it for gaps, for sound effects or beats here and there.
0:24:54 > 0:24:57And specifically the music as well.
0:24:57 > 0:25:02So that when the music is recorded later it just falls into place.
0:25:02 > 0:25:03That's the theory, anyway.
0:25:03 > 0:25:08"Now, there's an offer," he told Wolf, "which I consider good."
0:25:08 > 0:25:11And people who work in film-making
0:25:11 > 0:25:13and who do live action film-making
0:25:13 > 0:25:15are always surprised at how little editing
0:25:15 > 0:25:18there is to do once we've animated all our shots,
0:25:18 > 0:25:21because we animate all our shots exactly to duration,
0:25:21 > 0:25:23so if a shot lasts three seconds on screen,
0:25:23 > 0:25:25we only animate those three seconds,
0:25:25 > 0:25:28because it takes so much time to animate all these characters
0:25:28 > 0:25:32meticulously, that you don't want to animate five seconds
0:25:32 > 0:25:35when you're only going to use three to convey the action.
0:25:35 > 0:25:40The most important thing at that stage is to make sure you're telling the story as clearly as possible,
0:25:40 > 0:25:44so that when you pass it to animation it's a lot easier and more efficient.
0:25:44 > 0:25:47From there, you hand the animatic over to the animators.
0:25:47 > 0:25:50They have the storyboard and the notes,
0:25:50 > 0:25:53whatever props they need, and they have the characters.
0:25:54 > 0:26:00We had this idea to have a character who is Billy Connolly,
0:26:00 > 0:26:03so we've got the long, flowing, grey curly hair
0:26:03 > 0:26:08walking around in a kilt, and hopefully he'll like that, we hope.
0:26:11 > 0:26:15The way we are doing the characters and the style of animation,
0:26:15 > 0:26:18is designed to imitate 2-D hand-drawn animation,
0:26:18 > 0:26:20but we don't draw frame by frame.
0:26:20 > 0:26:23So it's done in the software, and you'll take a character
0:26:23 > 0:26:26and you'll pose it, then you'll pose the character in a different pose
0:26:26 > 0:26:29and the computer will create the in-betweens.
0:26:29 > 0:26:31It's sort of like a puppet.
0:26:31 > 0:26:35And to stop it looking stiff you have to apply principles of animation
0:26:35 > 0:26:37and things like that and you switch out assets.
0:26:37 > 0:26:41The animators will have a huge asset library of hands and arms
0:26:41 > 0:26:44and expressions and things like that, to be able to switch those out
0:26:44 > 0:26:47and really bring the characters to life.
0:26:47 > 0:26:50Just getting a performance is really the art of it.
0:26:50 > 0:26:53The illusion of life and bringing the character to life
0:26:53 > 0:26:56and make it convincing - there's a real knack to that.
0:26:56 > 0:26:58There are little 3-D elements.
0:26:58 > 0:27:00If you watch closely there are 3-D elements in there,
0:27:00 > 0:27:04like the mice running on the candle, that was actually 3-D.
0:27:04 > 0:27:07There's a couple of little bits sprinkled throughout.
0:27:07 > 0:27:09A cheese!
0:27:09 > 0:27:11We wanted to add a graphic approach,
0:27:11 > 0:27:15so we put some floating typography in, and that sort of lifted it
0:27:15 > 0:27:20and made it something more than just an animated cartoon or whatever.
0:27:20 > 0:27:24It just put a bit of a new slant on it to work the text into the images.
0:27:24 > 0:27:26Beetled the stocks to bits
0:27:26 > 0:27:30and scutched and heckled all to torn plaits.
0:27:30 > 0:27:32One of the nice things is to see it all come together.
0:27:32 > 0:27:35So the animators have worked on their scenes
0:27:35 > 0:27:37and it comes through on a daily basis.
0:27:37 > 0:27:41And just to see it all fit together - the final backgrounds go in
0:27:41 > 0:27:43and the effects and the lighting and things like that.
0:27:43 > 0:27:46It's really satisfying to see all the hard work
0:27:46 > 0:27:47and to get to watch it.
0:27:50 > 0:27:53I feel really privileged to get a chance to work with Seamus.
0:27:53 > 0:27:56He had a lot of suggestions and good ideas
0:27:56 > 0:27:59and it was great to pick his brain about
0:27:59 > 0:28:01how he visualised the characters and things like that only on,
0:28:01 > 0:28:05which kind of informed us when we came to design the characters.
0:28:05 > 0:28:08As a team in the studio we always felt that he was very
0:28:08 > 0:28:09close to the project.
0:28:09 > 0:28:15We may not have seen him a lot but he was so supportive
0:28:15 > 0:28:20and, you know, he was always there, you know, in the background.
0:28:20 > 0:28:25And we were so looking forward to showing the final series to him.
0:28:25 > 0:28:28I just hope that he would be proud
0:28:28 > 0:28:31and appreciative of the work that went into the fables.