{"id":21936,"date":"2015-08-10T07:00:03","date_gmt":"2015-08-10T07:00:03","guid":{"rendered":"https:\/\/www.skwigly.co.uk\/?p=21936"},"modified":"2017-03-06T10:52:11","modified_gmt":"2017-03-06T10:52:11","slug":"qa-with-chris-shepherd","status":"publish","type":"post","link":"https:\/\/www.skwigly.co.uk\/qa-with-chris-shepherd\/","title":{"rendered":"Q&A with Chris Shepherd"},"content":{"rendered":"

Chris Shepherd<\/a> has been celebrating animation’s dark side since he emerged in the late 90s, directing animation for C4 such as <\/strong><\/em>The Broken Jaw<\/a><\/strong> and the animated segments of sketch show <\/strong><\/em>Big Train<\/strong>. During his subsequent decade-long stint with Slinky Pictures his celebrated output included the 2003 short Dad’s Dead<\/a> and 2006’s <\/strong><\/em>Silence Is Golden<\/a><\/strong>, both combining live action and animation to fantastic effect, an approach still carried over into more recent projects such as 2013’s The Ringer<\/a>. In his latest 2D animated piece The Concept<\/a> , a music promo for Kurt Wagner of Lambchop<\/a>‘s new outfit HecTA<\/a>, Chris has returned to the black-and-white minimalism of earlier works such as his David Shrigley collaboration <\/strong><\/em>Who I Am and What I Want<\/a><\/strong>, combined with the rubberhose design sensibilities of early 1930s animation.
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