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Nick Park

Biographie

Nick Park

Modifier

Aperçu

  • Naissance
    6 décembre 1958 · Preston, Lancashire, Angleterre, Royaume-Uni
  • Nom de naissance
    Nicholas Wulstan Park
  • Taille
    5′ 6″ (1,68 m)

Biographie

    • Nick Park est né le 6 décembre 1958 à Lancashire, Angleterre, Royaume-Uni. Il est scénariste et producteur. Il est connu pour Wallace et Gromit: Le mystère du lapin-garou (2005), Poulets en fuite (2000) et Wallace et Gromit : La palme de la vengeance (2024).

Famille

  • Parents
      Roger Wulstan Park
      Mary Cecilia Ashton
  • Membres de la famille
      Janet Park(Sibling)

Marque de commerce

  • His films always have some sort of machine that plays a major part in the film's climax.
  • His characters have upper and lower jaws with differing curvature
  • Knitting is featured, and done properly (with correct movements and stitches) in all W&G and Chicken Run movies.
  • Large, colorful bowties

Anecdotes

  • In a radio interview, he said that Wallace's references to Wensleydale cheese in the film Wallace and Gromit in: A Close Shave (1995) unintentionally saved a small British cheese maker from bankruptcy. Interest in the cheese was sparked by the film, and one of the few makers of that cheese suddenly found itself with numerous requests for the cheese, saving it from financial ruin.
  • He made international news when he lost the figures of Wallace and Gromit in New York City. The clay models were left in the back of a cab by mistake when Park visited New York on a promotion tour for the release of Wallace and Gromit in: A Close Shave (1995). The original motorcycle and sidecar with Wallace and Gromit on-board were priceless and it would cost at least US$20,000 to replace them. Park appealed through the New York media for their return and this soon became a national and international news story; in the UK it was front page news and covered extensively on radio and television. They were returned 36 hours later when the cab driver read the news in the New York Post and decided to check his trunk. He was offered a reward of US$500 but refused to take it.
  • In a radio interview, he stated that he based his character Wallace, albeit quite loosely, after his own father, who was an incurable tinkerer. One of the most unusual items he built, completely from scratch, was a small trailer the family would take on trips to the beach. Nick Park described it as "a living room on wheels," complete with wallpapered interior walls and wooden furniture bolted to the floor.
  • On 10 October 2005, a serious fire at a storage facility used by Aardman and other Bristol-based companies destroyed over 30 years of props, models, and scenery. The warehouse was used for storage of past projects and so did not prevent the production of their current projects at the time. In addition, the company's library of finished films was stored elsewhere and was undamaged. An electrical fault was determined to be the cause of the blaze.
  • Two of the birds in Poulets en fuite (2000), Ginger and Rocky, were the names of pet chickens he had as a boy.

Citations

  • Plasticine was available when I was a teenager and started doing animation. I wanted to be like Disney, trying to film with plastic cels, but it was all too expensive. I didn't have enough money to buy cels, at least not enough to make more than four-and-half seconds of animation. But Plasticine was around, user-friendly and available to the masses. It was great because all you needed was camera, an Anglepoise lamp and a table. And you would make whatever you like come out of a blob of Plasticine.
  • It's quite a challenge when most animated movies have fast-paced, wall-to-wall dialog and ours features a silent, plasticine dog. But I think people see Wallace and Gromit as something akin to an elderly couple. These two know each other so well. Nothing can split them apart.
  • Maybe I love Gromit because he's the dog I've never had. What dog could match him? He's the ideal. He doesn't bark, and he has your tea and dinner ready for you when you arrive home.
  • [on the award-winning Peter Gabriel: Sledgehammer (1986) pop video] Part of the brief in a way was to look like a fourteen-year-old kid had made it in their attic and in a way that was the way it ended up because of the speed that we did it at. It bridged the gap between pop and fine art and it changed the face of pop videos that, I think. I don't think that's overstating it, I think it did.

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