Job Archive

Man + Hatchet: Web launch

2012

  A machine for a web launch of the Man + Hatchet web site.  Built with the Great Andi-Andy Roberts in our studio in Dalston, on the cheap, out of shed scrap, an old engine and Tinguely-inspired.


Bunny Town

2008

Baker Coogan for Disney. I was head SFX coordinator/prop master and special effects. The crew included some great students  from Hatfield College. .


Nobby’s Crisps commercial (2008)

2008

The exaggerated platform shoes were based on a genuine 60s pair, but with the addition of giant four and half-foot high soles made from polystyrene, then covered in fibreglass and painted.


Keane Pop Video

2007

For this promo, director Kevin Godley envisaged a radio-controlled camera mounted on a 120-metre rollercoaster track that wove its way around and through the band.


Corpse Bride (2005)

2006

My first introduction to working in animation, making lots of these folks.  


Walls Sausage Commercial

2004

Made with animatronics designer and puppeteer Mark Hunter, at Hot House. Models. The real dog was not happy to see his puppet double  so we had to keep it covered up.  TV viewers complained 150 times about exaggerated slapstick with the demented terrier  attacking its owner.  


Lazy Town

2003

The Lazytown characters are very well known in their home country of Iceland. We worked with Lazytown Inc there to translate these characters from their existing theatre, cartoon and illustration incarnations into sophisticated Banraku-style puppets for a TV pilot. They were part hand-operated and part animatronic.


Ocean Warrior

2000

Two 40-foot hydraulic sperm whales made in the Uk and Amsterdam. The tail had the mechanism placed into the mould – and then it took twelve hours to pour in the  silicone .


Tweenies (1999)

1999

Animatronic copies of heads. Made at Neal Scanlan studio.


Lost in Space(1998)

1998

I was an animatronic designer in Jim Henson’s creature shop for this project.  


Mechanical theatre

1995

A pneumatic mechanical theatre that ran for eight years. Pistons would drive the images of people across the stage and mouths moved to a dialogue. Made at Atlas Models and with Simon Williams