Tickets go on sale today for “a golden year for animation at the BFI London Film Festival”

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BFI members get a chance to buy tickets today for the London Film Festival.  For non-members ticket sales start on the 15th September.

For lovers of animation in particular this year is being described as a “golden” one. 

“a veritable banquet for animation fans and discerning filmgoers who want to experience a bumper crop of the best animation in the world in one of the best years for animation that I can remember.” – Justin Johnson from the BFI

So a lot to see and enjoy in addition of course to Lupus Films’ debut feature  Ethel and Ernest which screens on October 15th and 16th !

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Director’s interview at the London Film Festival programme launch

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Courtesy of Claire Bueno from Premiere Scene

Watch the Ethel and Ernest trailer here.

Ethel and Ernest Facebook page is here

Ethel and Ernest twitter is here

#ethelandernest hashtag on Twitter here

http://www.ethelandernestthemovie.com

 

Composer and conductor Carl Davis scores the music for Ethel and Ernest

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We are thrilled to announce that the composer and conductor Carl Davis has written the  music for Ethel and Ernest.

As you will see from his biographical notes   Carl’s range of work is immense. His film compositions include The French Lieutenant’s Woman for which he won a BAFTA and Ivor Novello awards. But perhaps more significantly for our film, which starts in the silent cinema era of the 1920s, are the compositions he has done to accompany silent films.

Earlier this year producer Camilla Deakin, editor Richard Overall, and myself made several trips to Carl’s house in Windsor to hear the progression of the compositions.  We were  bowled over by the beautifully haunting music that we heard on our very first trip, and that piece became the main theme that you will hear at various key moments throughout the film.

Roger_Camilla_Carl Davis_Jan 25th 2016_Ethel and Ernest

Director Roger Mainwood and producer Camilla Deakin listen to the first play through of what would become the main Ethel and Ernest theme. January 2016.

Carl Davis and CamillaJan 25th 2016

Producer Camilla Deakin with Carl Davis – Windsor – January 2016

Carl Davis music for Ethel and Ernest

The finished score waiting to be played by soloist Huw Watkins – Angel Studios, Islington, 16th May 2016

Recording Ethel and Ernest at Angel studios May 2016

The Ethel and Ernest original score being recorded at Angel Studios, Studio 1, Islington, north London, 16th May 2016. Carl Davis is conducting the Chamber Orchestra of London.

The recording took place in May at Angel studios in north London under the musical direction of Chris Egan.  It was conducted by Carl Davis and performed by the Chamber Orchestra of London. As well as a classical ensemble Carl also employed jazz musicians who were versed in recreating the authentic sound of bands from the 1920s and 1930s. A piano solo of the main Ethel and Ernest theme was performed by Huw Watkins.

Music by Carl Davis is published by Faber Music Ltd., and a soundtrack album of music from the film will become available on Decca Records.

An American who has lived in London since the 1960s Carl is no stranger to composing music that sums up the life of the city he has adopted. Here, in a trip down memory lane, is Carl from 1983…

Ethel and Ernest also uses original recorded music from the periods depicted in the film. A vast range of popular tunes from four decades are woven into the soundtrack, from Al Bowlly’s  1934 recording of ‘What a Little Moonlight Can Do’ through to The Shadows 1963 hit ‘Foot Tapper’  The guiding light on getting clearance on all these tracks was the indomitable Gary Welch and his team at Eyehear music.

Listen out also for a wonderful end credit song written and performed by someone you will all have heard of ! But more on that in a later post….

 

A big thank you to TVPaint !

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Using TVPaint at Studio 352Ethel and Ernest was animated using a software called TVPaint. When the film was first being developed, way back in 2007 (!), we were going to animate it on paper. That was how all the other Raymond Briggs films had been done (The Snowman, When the Wind Blows, Father Christmas, The Bear, and The Snowman and Snowdog). However, technology has moved on and in the intervening years TVPaint has become more and more the industry standard for hand drawn animated films. Using a Wacom cintiq to draw on, the animators can reproduce a line quality that is virtually indistinguishable from a line drawn with a graphite pencil on paper.

Many of our crew were new to TVPaint, but tutorials were given by Lupus Films’ animation supervisor Isobel Stenhouse, and also Elodie Moog from TVPaint was always on hand to answer any questions.

So a big thank you to TVPaint for all their support throughout the production !

Elodie_at the Cloth Cat studio

Elodie Moog from TVPaint answering questions while on a visit to our co-production partners, Cloth Cat Animation, in Cardiff .

Using TV Paint at Studio 352

All three studios, Lupus Films, Cloth Cat Animation, and Studio 352 all used the TVPaint software. Here it is being used at Studio 352 in Luxembourg.

Sound mixing at Goldcrest films with Adrian Rhodes

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The final sound mixing on Ethel and Ernest continues this week at Goldcrest films with Adrian Rhodes at the helm.

Adrian Rhodes

Adrian Rhodes at Goldcrest films during the sound mix for Ethel and Ernest

Adrian is one of the most highly regarded Sound Designers and Re Recording mixers in the industry with a particularly strong association with animated films. Having studied at the National Film and Television School and become one of the first sound specialist graduates he launched into his professional career alongside fellow graduate Nick Park.  His relationship with the Aardman production team flourished with the award-winning films The Wrong Trousers, A Close Shave, Chicken Run and Pirates! An Adventure With Scientists nominated for an Oscar Award in 2013. Adrian has continued his close relationship with Aardman as Sound Designer on Shaun The Sheep Movie, which also received an Oscar nomination in 2016.

 

 

Animator Sarah Airriess

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Among the many top animators working on Ethel and Ernest was Sarah Airiess. Sarah’s animation and posing opens the film, and she also animated the whole of the Christmas decoration sequence that is depicted on page 50 of the book.

Working from her home in Cambridge she always produced scenes full of wit, charm and brilliant observation.  She has produced some stand out sequences for us.

To discover more about Sarah and her work visit her blog here.

Sarah Airriess working on Ethel and Ernest

Animator Sarah Airriess working on Ethel and Ernest from her home in Cambridge.

Attention to detail on the sound

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As we enter the final stages of production attention turns to the sound design for the film. To make things as authentic as possible trips were organised yesterday to various  locations to record engine sounds. From old ford engines, to a 1950s Lambretta scooter, and from World War 2 Spitfires to old London buses, editor Richard Overall (Lupus films) and Supervising Sound Editor Adrian Rhodes (Goldcrest films) got it all. Even a very old bike from the 1930s was recorded to get exactly the right sound of a spinning wheel.

Here are some shots taken at a location near Billericay in Essex where David Wilkinson buys up really old and dilapidated London buses and renovates them as new.

Adrian Rhodes recording

Adrian Rhodes (left) from Goldcrest Films post production is the supervising sound editor on Ethel and Ernest. Peter Warnock (centre) is sound design assistant, and the driver and renovator of the bus is David Wilkinson.

Recording of a renovated old bus for Ethel and Ernest

The bus is taken for a drive and the sound crew get every splutter and engine murmur for use in the film.

 

Editor Richard Overall

On the left of picture is Ethel and Ernest editor Richard Overall

Old bus interior

Recording the engine sound from inside the bus as it goes for a trip around Billericay

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