“Raymond Briggs sits at his desk, pencil in hand, brushes in pots and cup of tea at his side. A fresh sheet of paper is ready on an angled desk, and the author and illustrator begins to sketch his parents, Ethel and Ernest Briggs.
This is how Ethel & Ernest, the film adaptation of Briggs’s graphic novel, begins. On paper. By hand. But immediately the action begins, and we’re in London, 1928, with illustrated houses stretching out as far as the eye can see, horse carts clattering along the cobbled streets and a young Ernest hopping on his bike to work.
Moving pictures. It’s such an old idea that we forget how magical it is to watch someone’s drawing skip off the page and come to life. But that’s what Ethel & Ernest is. Magic.”
Read the full article by James Gill and Michael Hodges here