The Making of Little Red Tractor...    (15.11.10)
 

    What follows now is an exclusive piece Keith Littler has put together
    for Toonhound. But just before we begin, I'm sure there are a few folks out
    there who would like a little more background info. So you should steer
    yourself towards the Little Entertainment Group web site, which details
    Keith's work behind and in front of the camera. LEG have recently brought
    us the live-action "Roman Mysteries" series, which has been a big BBC hit.
    And Mr Littler is currently leaping and singing all over our screens as one
    of the founding members of The Bopps (he's Keith Bopp). On the animation
    front, Keith has had dipped into animated waters over the years, but LEG's
    first fully-fledged standalone commission was for the 2D series "Billy".
    This was followed by the company's first stop-motion series Merlin the
    Magical Puppy (which is another gem!), before Stan, Red and the
    Babblebrook gang rode into town. Here, then, is what Keith has to
    say about the development and production of "Little Red Tractor":

   "As Merlin the Magical Puppy was coming to an end I had a
    decision to make. I had set up a stop-frame studio to undertake
    this commission from ITV including sixteen excellent people, set
    and model building facilities and spacious studios. The choice was
    simple, go back to my career as a post-production studio owner
    or continue with my first love, which was production.

    It was not a straightforward option. I had no show. If I kept the
    studio open then everyone working there would have to be full
    time as there was no other similar work for miles - so freelance
    agreements were impossible. The costs of running the place
    were close to £300,000 a year....in Gloucestershire!!!

    I tried to create a project myself but could not settle on anything
    that I felt passionate about or that I could convince the crew to
    get stuck into. Then I met a chap called Peter Tye who had been
    running this Little Red Tractor brand for 8 or 9 years. It was a
    low-key thing. A few videos, books and badges. Stan the farmer
    was a large, balding, middle-aged man, the tractor was a modern
    design with cabin and, for me, it was all jolly but not a pre-school
    proposition.

    However I read one of the books and really liked it and I liked
    Peter Tye and his passion. I asked him if I could re-design it,
    make it younger and cuter and all together more CBeebies.
    To his credit he was willing to allow me to do my thing on the
    single proviso that I stuck to the integrity of the concept,
    as created by Colin Reeder.

    I did not want to do a Thomas The Tank Engine, Bob the Builder
    or Brum, even though I loved the shows. I wanted to create real
    vehicles, but without faces. We could create the effect with
    headlights, grilles, etc. but they would not be faces and the
    vehicles would not talk. I wanted the little ones to recognise
    everything for when they saw a real farm.

    We set about designing it. The BBC, though a major and long
    standing client, had yet to acknowledge me as a stop-frame
    contender, so I decided to make a two-minute pilot to demonstrate
    our increasing skill and development as an animation studio.
    We set our standards very high, moving engine parts on the
    tractor, beautifully tailored costumes for the characters,
    genuine textures in our buildings, etc.

    The meeting arrived in September 2001 and, with knees knocking
    and clean shirt on, I pitched it. A disaster! Theresa Plummer-Andrews
    (head of Children's acquisitions) took one look at the gorgeous red
    tractor model I place on the table between us and announced,
    "I bloody hate tractors!"

    Visions of the total collapse of the studio flashed before my eyes
    and I left rather concerned that I had spent all my hard earned loot
    on a ''wrong 'un."

    My distributors were uncertain and the BBC rejection didn't help
    their optimism.

    It was exactly a week later on my way to Cannes for the TV
    festival that I got a call telling me the BBC had changed their
    minds. We were in business, albeit with a whole list of tweaks and
    amendments to make, but in business nevertheless. With a BBC
    deal in my hand I had to go and find a further £1.2m to complete
    the series, but these were times when there was a bit of loot
    around and one or two incentives for investors, so it didn't take
    long to complete the commercial framework.

    Then the fun started. What vehicles would we have? What people
    and why? Where would they live? We had Gosling Farm but what
    about the neighbourhood? What should that be called?

    Being in charge has it merits as, ultimately, I was able to get the
    characters, designs and vehicles that I wanted. However, wanting
    something is not enough - I was blessed with a team of people who
    were excellent at realising the vision...and in many cases improving
    upon it.

    Casting was a dream, except for Stan. Everyone had a view.
    My view was Phil Jupitus as I had directed him on Watership Down
    and loved his take on character delivery. Somebody else on the
    production wanted Les Dennis (who did a great voice for us but,
    if memory serves, the BBC couldn't agree on it). Stephen Tompkinson
    was in the mix from the start, but very busy. Finally one day, after
    more exasperated meetings and no final decision I picked up the
    phone again and, to my surprise, he was available and delivered
    exactly the voice everyone could agree on. I've never worked
    with a better reader, or more multi-talented actor. A very funny
    man and genuine good egg, too.

    Derek Griffiths became the rock and roll loving garage owner,
    Walter and doubled up as Mr Jones. Everyone at the studio
    became even greater Griffith's fans with every episode.
    He was brilliant! Oh, and what a singer!

    These two chaps were supported by the top animation voice talent
    in the land and I've never regretted a single decision - except to
    have gone back and created a character for Phil Jupitus. That
    would have been perfection.

    We aimed to have three to four animators working on a different
    aspect of up to three episodes at a time. The walls were covered in
    storyboards and amended scenes. As each scene was completed
    there was a ritual marking up of the board with a large red cross
    to signify it was done. Watching all of the boards disappear under
    rows of red crosses was a thrill.

    We had a target of 10 seconds per animator per day, which was
    managed by Series Director Russell Haigh. Of course, each change
    of set required creation of set, light changes, set dressing and
    movement plan.

    Behind the scenes there was constant attention to each animator's
    set of characters (tightening of joints, repairs and costume
    amendments), design and build of props and creation of sets
    for the next three episodes.

    The constant activity and creative energy had to be seen
    to be believed.

    Back at the sound studios, the music and effects creation was
    overseen by my colleague Mike Cross and was flawlessly fab. I saw
    an episode recently and had forgotten just how good the
    soundtracks were.

    Russ Haigh, Jimmy Hibbert and myself worked all of the scripts
    between us and kept to a strict brief of an 'A' plot allied to
    sub-plot, rather than the traditional linear storytelling one
    usually sees in this age group. I think the scripts are consistently
    good and a lot of credit goes to our BBC Execs who worked hard
    to maintain freshness and originality. I know there were many
    battles over how stories would develop and what role the vehicles
    would play.

    75 episodes later we finally finished. To this day, the series still
    comes up in conversation with all manner of people...."

 

   Erm. Like here, Keith. It comes up at Toonhound a lot, because it's terrific!

   Anyway, there you have it, straight from the mouth of the producer. Little Red
   Tractor is a gem of a series, with some fantastic characters and banter and
   interplay. I know, I know, The Hound is repeating himself. And he's going to
   repeat himself once more as he says thank you, thank you, thank you over
   and over to Keith for his incredible gift. Jasper's finished his photo-shoot and
   he's now been returned to his bubble wrap, whilst The Hound ponders the best
   way to display him, and considers again just how very lucky he is to have
   received such a wonderful gift. Keith, I can't thank you enough...

   Till next time!