Aslan, of course, is the emotional centre of the story. How did you start to create him?
There were two things at the inception of this that I knew had to be convincing. One was the kids – they are our window to this world and they had to be believable. And the other was Aslan: he’s such a great presence in the book, I didn’t want people to be going, “That’s a great CG lion.” I wanted them to accept him as a character, and the moment Lucy reaches out and touches his mane had to be emotional. It couldn’t be a matter of someone sitting there going “How did they do that?” and looking for the trickery. So I started working with Rhythm & Hues for two and a half years, so that by the time we came round to making the film we’d have figured out how to do it. It was a long period, but by the time we’d figured out how to do Aslan he ended up one of the easiest things to do in the film. But how did you do it? Was it entirely computer generated or did you use models? There were a couple of animatronics. There was a riding lion where we put a CG lion underneath, and there was the anima
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