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It frequently meant using half a line, and then skipping perhaps twenty lines, and then finding something that would sustain the rhythm but at the same time carry on the story. In the tragedies, you have a very strong story going straight through, sustained by the protagonist.
In the comedies, the structure is much more complex." To maintain narrative integrity, Garfield added non-Shakespearean voice-over narration to each episode, which would usually introduce the episode and then fill in any plot points skipped over by the dialogue.
In the past, directors thought "If I make a good film, people will forgive me anything." Now they've begun to understand that they won't necessarily be forgiven even if they make a great film.
The printed scripts were slightly longer than Garfield's final filmed versions, but remained heavily truncated.The series was conceived in 1989 by Christopher Grace, head of animation at S4C.Grace had previously worked with Soyuzmultfilm on an animated version of the Welsh folktale cycle, the Mabinogion, and he turned to them again for the Shakespeare project, feeling "if we were going to animate Shakespeare in a thirty-minute format, then we had to go to a country that we knew creatively and artistically could actually deliver.At this stage, the project was overseen by Dave Edwards, who co-ordinated the Moscow animation with S4C.
Edwards' job was to keep one eye on the creative aspects of the productions and one eye on the financial and practical aspects.The academic consultant for the series was Professor Stanley Wells.