Oliver Postgate

"Animation wasn't so much an imitation of life - it was a punctuation of conversation. We always stayed on the one who was talking. It made for a very simple film that was very clear, and there were no unnecessary things going on all around the edges. If I'm going to say something to you then I'm going to do it with a certain amount of gestures; in-between the times I'm completely still. This was how we managed to get through 120 seconds of footage a day, when most studios were getting through 10 seconds. We'd never move a mouth, we'd change the expression, because people were watching the hands."

"[Responding to the perceived surrealism of Clangers] They're surreal but logical. I have a strong prejudice against fantasy for its own sake. Once one gets to a point beyond where cause and effect mean anything at all, then science fiction becomes science nonsense. Everything that happened was strictly logical according to the laws of physics which happened to apply in that part of the world."

"We would go to the BBC once a year, show them the films we'd made, and they would say, "Yes, lovely, now what are you going to do next?" We would tell them, and they would say, "That sounds fine, we'll mark it in for eighteen months from now", and we would be given praise and encouragement and some money in advance."

"What matters most is the story, and it should never be sacrificed to the method. These days immense quantities of money are spent making something that doesn't call for it. As a result, to raise enough backing, children's films have to be dumbed down for the widest possible market."

"Come to think of it I must have produced some of the clumsiest animation ever to disgrace the television screen, but it didn’t matter. The viewers didn’t notice because they were enjoying the stories."

"That was all, but I was fizzing with excitement. It didn't matter what the picture was of. It didn't matter that Master Ho had stumbled rather than walked… I had done something momentous. I had opened up another dimension to the still picture. I had given it the extra dimension of time. I had made it come to life."

"I was also invited to give a couple of informal seminars to the Animation School at the RCA. These were so informal that they could hardly have been said to happen, but they taught me more than I really wanted to know about the way in which our simple craft had been inflated into a maniac pretentious pseudo-art."

"The films we made were aimed at the Head of Department at the BBC, who was about 57 at the time, and she was a nice lady called Ursula Eason, and very humane and ordinary, and full of fun. If we had studied children in any way, apart from having children, we wouldn't necessarily have succeeded in selling the films, because the woman at the BBC had fairly clear opinions of what she would find acceptable, and these were conditioned in some ways by the fact she was a middle-aged, English (well, Irish actually, if you go all the way back) lady, who was brought up as I was on Beatrix Potter, A. A. Milne, and Lewis Carroll, and all the sort of 'Founding Fathers' of English Tweeness."

"Being creative, having to do something new, invent something, alter things, in order to show you're still there is a personality fault, basically. I think a lot of people who have done creative things do so because if they don't, they cease to exist. This, I know, is true of myself, and I wouldn't wish it onto other people. There is nothing quite like as frightening as having a wife and six children and a blank piece of paper, which is your next year's feeding, and you have to pull out of the sky your livelihood. The idea of being able to live on one's creativity, where you are dubious of its continuity, is a recipe for terrible anxiety."

"All the way through, if you look at my films, you will see that my animation is very economical, but very powerful. Because, I'm not recreating life, I am illustrating a story and telling a story by an extension of the pen. I'm coming at it from the other direction, and what is the minimum amount of visual delivery that I have to do to get this to appear to be alive, which one has accepted more or less anyway that they're there, and to convey the movements, and it is surprising how much one needn't do, and how much better it is from not doing those things that animation doesn't do well."

"Their [politicians] words and phrases are skillfully chosen to keep us complacent and confident in our fairly comfortable world. We don’t usually notice this because ours is a world in which whether or not the words we are offered are true rarely makes much difference to our lives. But, out in the real world, the way words are used or misused can make the difference between life and death."

"That voice of his was loved by the nation. I mean, if I could've been Oliver Postgate, with that voice, and with his mind, and those wonderful, wonderful stories, I would have given my teeth. He puts his arms round you, figuratively speaking, and says "Look, it's all right. Don't worry. Whatever I'm on about at this moment, there's security here with me." And that's the voice that does it; I had to work to be loved, Oliver Postgate, lucky man, didn't."

"And they [Smallfilms] had a superb ear for creating sound effects that children could easily mimic the moment the programme had finished: just think about the swanny-whistle voices of the Clangers, the beatbox rhythm of Ivor's engine, or the marvellous carousel of just bloody lovely sounds that made up most of Bagpuss […] These are the sounds I hear in my own head when I remember my own childhood, and Oliver Postgate put them there."

"And all of these things, the selection of just the right characters, just the right soundtrack, and just the right tone is an incredibly hard thing to pull off in TV; incredibly hard. You can't fake it, you can't screw up your face and slog your way through it: it only occurs when an innate facet of someone's character is allowed to bleed into the production, giving it a unique personality and resonance all of it's own."