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A caption from the start of 'Red and the Wolf'.

The making of

George Moore's
Red and the Wolf

by George Moore

A caption from the start of 'Red and the Wolf'.
A still from 'Red and the Wolf'. I chose the story of Red Riding Hood because it seemed to be so watered down in modern retellings. The original Grimm Brothers' version of Red Riding Hood was a gruesome and chilling story compiled from various folktales, which use fear and horror to scare children into knowing the moral, whereas nowadays, it is very different to the original, with no horror-factor at all. It is, unfortunately, the same issue with a lot of the Grimms' work, however I chose to do Red and the Wolf because the story was still recognisable, but had all the essence of the original macabre folktale.
Still from 'Red and the Wolf'. All the props, models and sets in the film are designed and handcrafted by me, to get that tangible feel that you can only get with stop-motion, and which seems to go missing with modern CGI animation.

I used a lot of natural materials in the sets, with the trees made from real branches, and the ground made from crumbled up leaves (dried in the oven), which were spray-glued to the base of the set, making it look like a woodland floor.

Still from 'Red and the Wolf'. The models were all modelling clay*, with very little armatures (metal skeletons inside the puppet), and beads as eyes. These models were much simpler than ones my previous films however I did use hair (from a wig, not a head) which I cut and fashioned onto Red's Plasticine head.

There is a close up of Red's face which was made from scraps of Plasticine stuck to a wine glass with some dolls eyes shoved in**. Red's hood was made from a simple thin layer of plastiscine with no support inside, but proved extremely effective.

Still from 'Red and the Wolf'. I lit the entire film with a single LED spotlight in a darkened room, having that and my computer screen as the only light sources.

Everything in the film was animated physically by me, from the camera movements to the leaves blowing in the wind, and the only piece of digital animation is the wide shot of the forest.

I use Stop Motion Pro software through a laptop and a digital still camera (Canon G9).

Still from 'Red and the Wolf'. The twist at the ending is there because it is a story that, however much twisted from convention, everyone knows, so I decided to add my own little contribution to the film's climax as a way of shocking the audience and a way of "going out with a bang".

- George Moore

Still from 'Red and the Wolf'. Still from 'Red and the Wolf'.

* I used Newplast modelling clay and sometimes Plasticine for some colours.
** I use wire to move the eyes.
[Read a translation of the Grimm Brothers version here.]

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