Name: Why It’s So Hard to Make the Clay for ‘Wallace & Gromit’
Uploaded: 2026-03-13T16:00:00Z
Duration: 6 min 14 s
Description: WSJ went inside Aardman Animation’s legendary film studio to learn how its beloved clay almost disappeared for good.

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WSJ went inside Aardman Animation’s legendary film studio to learn how its beloved clay almost disappeared for good. Photo: Sean Bould for WSJ

https://m.wsj.net/video/20260312/137f8487-86fb-4911-bd7c-7f223e593dd4/1/hls/manifest-hd-wifi.m3u8

WSJ went inside Aardman Animation’s legendary film studio to learn how its beloved clay almost disappeared for good.

Why It’s So Hard to Make the Clay for ‘Wallace & Gromit’

Ian: Clay is the perfect material, really.

Sean: If you think about Grommet, you know, all the emotion in that face comes from a movement of the brow.

Wallace is is kind of classic.

Cheese.

Clay underpins really who we are and what we're about. Aardman started with "Chicken Run," we're about to release our 11th movie

Ian: You need this very specific particular type of clay to be able to do what we do.

Kate: Well for many years, Aardman has used a type of clay manufactured by a company called Newplast.

I think we used that over 25 years, that was the only company doing it.

The founders of Newplast had decided, rightly so, they wanted to retire and move on.

Ian: You sort of suddenly realized, well there's no other product out there. So then you did start to wonder, well, what will happen when we sort of finally use up everything we've got here.

We've got loads of clay here, we've got so much now, is I've got so many hidey holes of clay, so I've got about three or four rooms of shelves full of clay actually, and this is a terracotta, which actually famously we use for Morph.

Ian: We don't have any wax in our clay. A lot of time it like the wax, especially in the heat and the lights, it will melt and it will go soft and it will droop. We can't have like a grommet or Morph just suddenly collapsing over several hours.

It's incredibly important that we get the clay right because it can really slow down animation. So one day I'd got an email from our CEO, which I thought was a bit unusual and essentially he was messaging me to say, did I know that Newplast that the company was in danger of closing down. I was in shock a bit, really.

It took me a bit by surprise in how quickly it became a story all over the world.

Reporter: Aardman Animations, the legendary stop motion studio is apparently out of clay.

Reporter 2: Creators of Wallace and Grommet are headed for disaster.

It's funny as well because I remember my father-in-law even he looked horrified asking me, what are you gonna do? You're not gonna be able to work.

My first thought was, what stock have we got in house for Wallace and Grommet?

I always keep a certain amount of stock anyway, we were never gonna run out, well not for years.

So I knew it wasn't a problem, although at some point clearly it was gonna become a problem.

Luckily we had just made a big order from Newplast and so we thought, okay, right, we know we are all right for this project. We started scouring the kind of shops and warehouses just to kind of add to the stockpile. We decided right, okay, we are going to at least have a try. Can we mix clay ourselves?

In charge of producing most of the clay we do here and matching color. Out and in, out and in. So that can go on for hours and hours. So that can be quite demanding. But it's quite nice to see like the color you, you get your white, you get your, your reds, you get your pinks and maybe a bit of yellow and then you know, you put it all together and within a few hours you've got Wallace. It's quite satisfying to see actually. You wanna want to kind of like, the test is normally just to kind of see like, does it stick to itself? Like you gotta play it by ear. That's why it's really hard. It's no set rules really. You've just, a lot of it's by feel. I've been doing it so long now, I'll know like, right, this is, well this is too soft. This will need five, six, 7% chalk.

Eventually we did make something, which I would say it definitely was clay. We thought, well we don't really want to go into production because that's not what we do. You know, we make puppets and we animate.

This is Feathers. Originally we had a clay glove on his head. Now this is actually silicon just for ease.

Good grief.

Ian: All the black part of him is clay. This is a solid chest and then he's got rubber legs and a solid beak and a couple of glass pinheads that go in for his eyes. When you're animating him, you're just moving it obviously bit by bit, but you can see up here, it all starts to crack as soon as you've moved it. I would be constantly going in and kind of smoothing this area down to get it back into shape.

But you are supposed to be locked up.

We do think of ourselves as performers, much like actors. You can get really nuanced performance and you have a way bigger range of subtlety using clay.

We aren't actually using enormous quantities of clay these days. Maybe at the beginning of a feature film we will buy like 30 to 40 kilos, which doesn't really sound that much, but we try to kind of be fairly conservative with the way we use it and not waste a load of it.

I mean we've still got a hundred or so several hundred boxes now, so we're still good now really actually.

And then Hue came along. They do a lot of packages and, and products for schools and for students and decided to buy Newplast.

Suddenly it felt like there was this lifeline out there for this very specific, particular type of clay.

We were very relieved.

There was a period where we were really smoothing everything down, but we found it was kind of smoothing all the work out of it and all the life out of it. So over the recent years, we've really made a conscious effort to put back in those fingerprints because obviously isn't an unanimous character. It's funny how you can just by touching it and moving it, it's not breathing but it's, it's kind of living.

It's all about the soul, about the human input and I really don't understand why you would want to kind of have a machine to do that. There's always going to be something lacking that to me it can only ever just be okay.

I think clay is a medium that's defined a studio. You know, we're in our 50th year, we are the best in the world at it and we'll be using it for the next 50 years.

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