Kenneth Graham’s classic The Wind in the Willows has been one of the most popular children’s properties since its first publication in 1908. The entertaining adventures of Mole, Ratty, Badger and Mr. Toad (who is obsessed with motorcars) in the Wild Wood have been adapted into both animated and, yes, live-action projects many times. This year, London-based Hoho Entertainment and Scotland’s Wild Child Animation introduce Toad & Friends, a brand-new CG animated series based on the franchise to family audiences around the world. We had a chance to chat with The 52 x 11-minute show to Oliver Ellis, joint managing director of Hoho Entertainment (Cloudbabies, Shane the Chef) to find out more about the project, which recently premiered on Boomerang in the U.K.
Animag: Congrats on your charming new show. Can you tell us a bit about the history of this show. When did you get interested in this new take on the beloved property?
Oliver Ellis: The Wind in the Willows has always been one of my favorite children’s novels. I have a 1970s well-worn edition. The characters are so well drawn and distinctive and Toad, incorrigible as he is, is a character you can’t help being drawn to. Cosgrove Hall Films had produced a stop-frame series back in the 80s and as I had worked with the company throughout the ’90s, I know how much love and care they put into all their shows. Some TV specials had been made in the ’90s and a live-action film had been made plus several continuous theater shows but there hadn’t been a series made since Cosgrove Hall’s and great though it was, it was showing its age. So the opportunity arose to develop a new series in CG, which hadn’t been done before, and take these much loved characters into 52 new adventures for a brand new 21st century audience.
How long did it take to acquire the rights and then get into production?
The rights were in the public domain so that wasn’t an issue. But putting the production finance together took a long time, seven years in total. But Warner Bros were with us from the start and Adina Pitt [former VP of global acquisitions] was our most ardent supporter. Persistence paid off and we finally pulled it together and made the show with our fantastic co-production partners in Scotland, Wild Child Animation.
How is the series a departure from previous adaptations of The Wind in the Willows?
As I mentioned, it is a series and that hasn’t been done since the ’80s whereas other iterations tended to be specials, live action films or a theater show based on the book. We also introduced new female characters into our series as the book has hardly any female characters and that won’t wash with today’s audience. So we introduced Hedge, a feisty, upbeat, go-getting hedgehog that is a central character alongside Ratty, Mole and Toad. Also Heron, the taciturn delivery stork, the devious Adder, the motherly Mrs Otter and Tinker, the conniving weasel.
The series is in CG which is different from other adaptations. And we have upped the action, the comedy and the pace to appeal to today’s audience. It was commissioned as a bridge show but in truth, it’s very much family viewing.
Why do you think it’s such a rich, evergreen source material?
Because the characters stand out so well. There are so clearly delineated and Toad is the gift that keeps on giving, he’s a delight to write for as his every appearance is a comic turn. We had the good fortune of having Adrian Edmondson (The Young Ones, Bottom, Filthy Rich and Catflap,) playing Toad and he gives Toad such comic chops but also adds pathos. Despite Toad being the architect of his own downfall, you can’t help feel sorry for him. He grabs life so enthusiastically and it’s hard to criticize him for that. Also the book has a wonderful lyricism about it, the peace and tranquility of being by the riverbank, something that speaks to Ratty’s soul for he likes nothing more than ‘messing about in boats’. We’ve upped the action in the series but there is still this comforting feel of ‘home’ that is the background to all they do. It’s also worth noting that the book has sold 80 million copies in 29 languages. I think that points to the enduring appeal of the book and why it continues to have a place in the hearts of many.
Can you tell us a bit about the visuals and the look of the series?
We went through various iterations of design styles (originally it was conceived in 2D) but working with Wild Child Animation, we eventually found an illustrative style that updated the look but also felt very much in keeping with the spirit of the book. It was very much a collaborative process. Every character design and background design went back and forth between Hoho and WCA until we felt it struck the right balance.
Who are you some of your key sources of inspiration in terms of animation?
Our inspiration drew from both the Cosgrove Hall series (much loved by all of us who were still growing up then) and more modern stop-motion films such as those made by LAIKA Studios. Although we were working in CG we really wanted to capture the richness of texture and the tactile feel of stop motion; to be able to see the weave in their clothes along with paper, card and painted textures in their environment. We also took this sense of the physical into the sound design and music, making sure all the sound effects were based on physical objects such as squeaky balloons and slide whistles. We felt this approach really complemented how the scripts combined traditional charm with modern appeal.
Which animation tools were used to produce the animation, and where was it produced?
The show was animated in Maya and rendered in Unreal Engine. The design and animation were all produced in-house at Wild Child Animation’s studio in Stirling, Scotland.
What were your biggest challenges along the way?
From the scripting point of view, it was really about finding the balance between keeping true to the spirit and charm of the book but also updating it in terms of character and pace in order to appeal to a modern audience. Toad & Friends was one of the first TV shows to be made in Unreal Engine so entailed a steep learning curve for the team, finding out how to adapt tools design for real-time rendering to deliver the quality required for broadcast TV. It was a challenge, particularly the fur and some of the more subtle lighting effects but the hard work paid off and we are very pleased with the results.
When it comes to the final results, what are you proudest of?
Delivering a high-quality animation series which we are very proud of. It’s funny, looks great and I hope it brings in a huge audience for Warner Media Discovery’s various platforms.
What do you hope viewers will take away from the show?
Primarily I’d like them to be entertained. To find the characters and the situations they find themselves in funny. That in itself is a huge win. There are also embedded pro social values in the series that celebrate the value of friendship, promote citizenship, teamwork and the joy of being in in the great outdoors. But if our audience are then inspired to go back to the book, then that’s a real bonus.
You can catch a trailer for the show below:
Toad & Friends is currently airing on Boomerang U.K. For more info, visit hohoentertainment.uk
