Barry Purves is an animator and director with 40 years' experience in the industry. Besides his own short films, he has also worked on numerous children's programmes, including Chorlton and the Wheelies, The Wind in the Willows, Postman Pat, Fifi and the Flowerpots, Toby's Travelling Circus and Twirlywoos. I already know a lot about his work and philosophy, but he kindly took some time to answer a few short questions about his children's work.
Do you find that there is a difference between working on programmes for very small children and programmes for older audiences?
In terms of my own attitude, both are equally important – I've never once thought: "It's only for children; they'll never notice". I guess with shows for children, there are all the health and safety issues and such, but generally I would try to make sure that the story comes across with absolute clarity and that the characters' thought processes are easily understood. But I have been lucky, especially with shows such as Twirlywoos, that the production values are treated with as much care as in a feature. I don't think I've ever seen any skimping in quality when it comes to children's TV. Perhaps there's just more clarity, brighter colours, and more care in explanations.
Have you noticed any major changes in children's animation since the days of Chorlton and the Wheelies?
I suspect it is harder to be original: material has to fit certain preconceptions, and series have to be packaged in certain amounts and lengths. The public forums, such as mumsnet.com, do get easily upset, so I think probably we are much more cautious and have to make sure that all the current concerns of child safety and diets are considered. This can lead to the imagination being hemmed in, perhaps.
Also, the programmes have to appeal to as wide and as inclusive an audience as possible, so again, perhaps, there's a more generic flavour to shows. It's up to us as film-makers to push as far as we can within the confines of the guidelines.
In your opinion, is is important for pre-school animation to have an educational message, or is it enough to tell a good story and to entertain?
Story-telling must come first, but I would encourage anything that stimulates, excites, and even challenges a young mind. We mustn't be afraid if a child does not understand everything. I was lucky that as a child I had a thirst for learning and culture, and I didn't mind if things were scary or incomprehensible, as long as I was interested.
Do you think that there is something about stop-frame animation that is especially appealing to children, compared to CGI or drawn animation?
Yes. Simply, a stop-motion character exists, and it's easy for a child to relate them to their toys, teddies, or dolls. That it exists means it could possibly be touched, and thus a child can be involved, which is what it's all about.
Also, stop-motion has a spontaneity about it, that gives it an extra-lively feel to it.
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A big thank-you to Barry for his help, not only with this interview but with all the other times I call upon him!
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