‘Shaun the Sheep: The Beast of Mossy Bottom’ Director on Why AI Is Not a Threat: ‘There’s a Desire to See the Craft Behind the Finished Product’

‘Shaun the Sheep: The Beast of Mossy Bottom’ Director on Why AI Is Not a Threat: ‘There’s a Desire to See the Craft Behind the Finished Product’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 29, 2026 9:16am PT ‘Shaun the Sheep: The Beast of Mossy Bottom’ Director on Why AI Is Not a Threat: ‘There’s a Desire to See the Craft Behind the Finished Product’ The stop-motion animation feature is launching into Italy as the opener of Lucca Comics and Games By Nick Vivarelli Plus Icon Nick Vivarelli International Correspondent @NickVivarelli Latest Camila Mendes, Leslie Bibb Shooting ‘Upgraded 2’ in Venice, Where Biennale Art Show Is Part of Rom-Com’s Storyline 1 day ago Jafar Panahi Now Faces a Five-Year Prison Term in New Ruling on Top of His Previous One-Year Conviction 2 days ago Japanese Director Naomi Kawase to Lead Doha Film Festival Jury 3 days ago See All Add us as a Google Preferred Source Comments “ Shaun the Sheep: The Beast of Mossy Bottom ” is launching into Italy as the opener of Lucca Comics and Games on the eve of Halloween, which, coincidentally, also happens to be when this third feature in the Aardman Animations’ hit stop-motion spinoff franchise is set. Matthew Walker, who is the film’s co-director, is clearly pleased to be attending the 60th edition of this unique geek meet held within the 16th century walls of the medieval Tuscan town of Lucca because, as he puts is, “yeah, I am a geek myself.” Related Stories Fox’s $22 Billion Roku Deal Approved by Shareholders of Both Companies How to Watch MLB World Series 2026: Tampa Bay Rays vs.

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Milwaukee Brewers Online for Free Unsurprisingly, when he meets the Italian press in Lucca, the first question is about whether this new “Shaun the Sheep” entry, famously handmade frame by frame with clay puppets, can be seen as a symbolic bastion against the encroaching spread of AI through filmmaking and the myriad concerns this is raising. Walker subsequently sat with Variety and drilled down on why he thinks AI-made animation is not an existential threat for Aardman.

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At least not for the moment. And why animation films may be more immune to the impact of AI than live action ones.

You’ve said you don’t think AI can ever really replicate the human aspect of the art of animation. Stop-motion is very much about physical puppets and physical sets, about communicating emotional beats with puppets.

Can you tell me more about this part of the creative process? Something I love about stop-motion is the tactile physicality of it and I think that’s what appeals to audiences.

You obviously want to tell a funny emotional story with these characters. But on top of that, I think that just the technique of it, the stop motion technique, has a lot of appeal in the knowledge that these are real models all built with incredible detail by the artists.

When Aardman release behind-the-scenes footage videos, they are always really popular because people love seeing how stop-motion is made. People really respond to seeing these huge detailed sets with these little puppets, which is obviously something AI can’t replicate.

I also think there is a desire for imperfection. We’ve gotten to a point now with digital technology where we can kind of do anything; things can be so beautifully polished.

So there’s a desire to kind of step back and bring back some imperfection. You see it in things like [Sony Pictures Animation] “Spider-Verse” franchise, where they’re introducing the 2D element and even hand-drawn pencil lines and stuff.

It’s because there’s a desire to see the craft behind the finished product. Like being able to see the pencil lines.

In stop motion, it’s about being able to see the fingerpr

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