![]() Then there are the puppets – perhaps one of the most recognisable parts of DHMIS. The team instead “tried to keep the story at the forefront”. That said, the creator also notes that it was key not to rely on these techniques as “crutches to lean on when you run out of ideas for story”. “We used some fun theatrical techniques that you probably don’t see that often in TV because they feel quite unreal, like back-projection. Canada-based animator, director and expert of the uncanny Cole Kush, for example, has done some work on the show incorporating the AI-powered program DeepDream. There were more experimental additions this time too. Hugo explains that production for the Channel 4 iteration ran out of a huge studio in Canada Water, with two live-action units led by Joe and Becky, another stop-motion unit on the sidelines and then “afterwards CG and 2D happening as well”. “That’s the show,” says Joe.ĭHMIS has always juggled numerous creative practices in the past, the show has merged the likes of live action, claymation, animation and puppetry. Rather than expanding the selection of props or locations, DHMIS instead spends its new, longer run time looking closely at its three protagonists, trying to understand who they are, their house, why they live together and their purpose. “We realised we were going to have to actually write jokes that functioned as jokes without a prop in every single instance,” Baker explains. To the point where we did that successfully and quite far into scripting, we realised they literally didn’t get up from the table until the second-to-last page.” This stripped-back approach also arose because of how “unfeasibly difficult” it is to get puppets to pick up and use props frequently during a shoot. “To not try to expand outwards and create this gigantic South Park-style cast of recurring characters and to keep everything as insular and tiny as possible. “The goal was to keep the show small,” says Baker. Most significant, however, is that viewers going into the show should not expect to be met with a mammoth expansion on a beloved classic. Though mystery will always be at the heart of the show, we recently caught up with creators Joe and Baker, alongside producer Hugo Donkin, to catch a glimpse into its making. Produced by Blink Industries, the new release gives us more time with its characters and world, while inevitably throwing up more questions than it answers. Over a decade has passed since its first episode – which showed its central characters Duck, Red Guy and Yellow Guy receiving a lesson in creativity – and the series is now coming to Channel 4 as a full-length TV show (launching today on 23 September 2022). Launching on YouTube in 2011 as a web short, after the creators had just finished art school, the show was born as a comment on “being taught creativity between occasionally narrow margins,” says Baker. “We kind of want people to be watching it and thinking: ‘What is this? What the fuck is this?’,” says creator Baker Terry.Ĭonfusion is essential to DHMIS’ s unique brand of colourful, chaotic and occasionally distressing content. “It’s annoying to be so evasive on your first question, but we tend to try not to explain it too much,” the director adds. How best to summarise Don’t Hug Me I’m Scared to the uninitiated? “I suppose it’s like a kids’ show for adults,” says creator Joe Pelling.
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