The Aztec West industrial estate in Bristol, opened by former British Prime Minister Margaret Thatcher in December 1989, is a sprawling complex of 160 acres filled with breeze block and mirrored glass. It hosts around 7,000 employees across 100 companies, including EDF, EE, HSBC, and others. The estate has a range of amenities, from a gym and spa to a church and even a morgue. But inside Unit 1410, the scene is very different. Here, the bucolic charm of rural England is brought to life in miniature. A tiny, plasticine farm with sheep, rolling fields in autumn colors, and a small village with a post office, war memorial, and chippy are all part of the set for Shaun the Sheep: The Beast of Mossy Bottom, currently in production at Aardman Animations. Aardman, known for its stop-motion animation, is halfway through making the film, with 300 staff working at full speed. Each of the 30 animators produces nearly two seconds of footage per day, working across 40 sets, each accessed through long black curtains. The sets are filled with tools like palette knives and small suitcases holding body parts—such as 20 mouths for the dog Bitzer’s head—and detailed "character bibles" that outline everything from ear angles to nostril widths. The atmosphere is quiet but not empty, as animators carefully move models between 24 frames per second, creating the illusion of motion. Sound and dialogue are added later, with the film continuing Aardman’s tradition of silent storytelling, a choice that has proven successful since the first Shaun the Sheep movie in 2015. During a tour of the studios, visitors get a glimpse of the intricate puppet-making process, from the skeleton to the final wardrobe. One new character, a female vet who becomes the love interest of the hapless farmer, originally had dreadlocks made from a steel scourer, but this was changed for practical reasons. The animators often use everyday items, such as clingfilm, tinfoil, and lentils, to create characters. One surprising off-the-shelf item used is K-Y Jelly, which is used for tears. The titular beast, with its matted orange hair, is designed to look stiff, unlike the more dynamic stop-motion of Wes Anderson’s films, which embrace movement in fur. Visitors are invited to mold their own Shaun heads, a task that proves harder than expected, with clay that is tough to knead. The film, while a horror story, is softened to appeal to a wide audience, with references to classic horror films like Psycho, Nosferatu, and The Shining, but without the intensity of the originals. The story also balances domestic and international appeal, with nods to British culture like The Archers and the use of L-plates in car chases, which may not be familiar to all viewers. Aardman, celebrating its 50th anniversary this year, has become a major force in UK film, with numerous awards and a global fanbase. The film's themes, including the dangers of isolation and the consequences of messing with nature, resonate with contemporary issues, while remaining accessible to all ages. Shaun the Sheep: The Beast of Mossy Bottom is set for release in the UK on 18 September.