Roddy St. James
- This wacko has been chasing after me!
- I'm being attacked by a madwoman! She's got crayons!
- What are you, some kind of rat boomerang?!
- Oi! Kermit!
- Go, go, purple custard!
- Careful, mate! Those aren't chocolate buttons!
- I would not do that if I was you, pal. Let me lay this out for you: this place is mine now. Sid says, "Jump!", you say, "How high?". Hey-hey! Comprende?
- You plonker! Think I don't know a toilet when I see one?
- [before flushing Roddy down the toilet] Bon voyage, me old cream cracker!
- What a loo-oo-oo-oo-oo-ooser!
- [When Roddy is dragging him towards the toilet] No, please don't flush me, Roddy! I can't survive down there! I've gone soft!
- Huzzah! A man of quality!
- Pardon me. My fly's undone.
- I thought you said you it diverting. Not amusing!
- Ice him! Ice them both!
- Let's see if there's anything good in the fridge.
- Prepare to meet your maker... your ice maker. [cackling evilly]
- [To Spike and Whitey] Faster, you idiots! They're escaping!
- You incompetent cheese eaters! You let them escape!?
- [Growls] Do I have to do everything myself?
- You wretched vermin! I'll make you pay for this!
- Rita, Rita, Rita. [Evil Laugh] You thought you give us a slip? [slips down on Jammy Dodger] Keep still, Connie! Right!
- [giggles] Okay, are we going to do it the easy way, or the hard way?
- Right! Rip 'em up, lads!
- It's in here somewhere! I can feel it in me guts!
- Alright! Alright! It's time to bring out... the Persuader. [The Persuader chomps a nut]
- [As himself] Your choice, mate. You can talk now or you can talk later. Ain't that right, Persuader? [As the Persuader] Yeah, but in a much higher voice!
- [As the Persuader] You'll be singing like a tea kettle. [As himself] [laughs] Good one, Persuader.
- Come on, then. Spit it out!
- Blimey, it's cold!
- Hit men don't wear mittens! Take them off! You're embarrassing me.
- Keep your legs straight when you hit the water!
- Target at twelve o'clock!
- You look pretty ridiculous now, Millicent.
- Enough games. To the ratmobiles!
- There they are! Go get them, lads!
- Danger is my middle name.
- Any last requests?
- I'm upset now.
- I believe he said his name was Millicent Bystander.
- I think we should do it the easy way, don't you Spike?
- That'll be last night's curry. I'm the same, I got a bum like the Japanese flag.
- The persuader's alive, Spike!
- The booty's in the booty.
- [Talking to Roddy while going to the Toad] So you're from Up Top, eh? I-- I used to work in a laboratory Up Top. Yeah. Big shampoo job. I-- I was dark grey when we started. Yeah. Still, it cleared up me dandruff! [laughs, snorts]
- I kept me legs straight, Spike!
- Keep your legs straight!
- Focused. Cable-centric, boss.
- Would that be port or starboard, Spike?
- Scrabble! [laughs, snort]
- I saw an opportunity and I seized it.
- You shouldn't sneak up on people. It's not polite.
- I thought it was Lesley.
- [First line, when the Toad sternly notes he is late] Fashionably late, my annoying English cousin. I know no other way.
- Forgive me, my warty English cousin, but this bizarre obsession with the rats; it is not good for you. You are becoming what we French call... "Le Fruitcake!"
- I find everyone's pain funny but my own. I'm French!
- [On the Toad] He's cuckoo, but family.
- I have triumphed! You stupid English, with your Yorkshire puddings and your chips and fish!
- Give it a rest, cousin! And get your kids a puppy!
- You're going to pay for that, my little chocalate croissant. But first, a word from our sponser. [Clicks his fingers] Marcel?
- Tadpole: Is this the glorious amphibian dawn, dad?
- The Toad: Anything for you, my little man.
- Tadpole: Can I have a pony?
- The Toad: No.
- Tadpole: A puppy?
- The Toad: We'll talk about it.
- [Suddenly, all of the tadpoles in the tank start clamoring for a puppy]
- The Toad: No! You can't all have puppies, please! Daddy's working!
- Lady: Feed the flies! Tuppence a bag!
About Flushed Away
- Well, I have actually been doing CGI for a number of years for Aardman; we have a small CGI department at Aardman, although one not large enough to make a feature film. In any case, they’re both three-dimensional environments, and they both involve three-dimensional modeling, characters moving in 3D space, surface and lighting, at least conceptually in the same way. So the transition was just a matter of applying my approach to each of the different departments as I would myself with the computer. I went down to the rigging department and got them to rig the characters in the computer as if they were rigging a puppet. I went to the painters and surfacers and told them I wanted the characters to feel like you could reach out and touch them. I had everyone put imperfections into everything, paint everything to look as if it was a real substance. Everywhere I went, I tried to translate the look of Aardman or the approach I would have taken were I working on a puppet film into the new CGI environment.
- Everything has been touched by human hands. Weirdly enough, the very first thing we did was build a set out of rubbish over in Bristol , because the film is about a rat city built out of junk in the sewers of London . We got a room together and filled it with old furniture, suitcases, piles of bottles and bicycle parts, just a big pile of junk basically. We also built some rat houses, shops and rows of buildings, and then we turned our cameras on and lit it up. We inserted some rat-sized props as well. And that’s how we approached the look. We basically built an idea of what the real world would look like if it was made out of real junk! I told the modeling staff, "Spend half a day making your models asymmetrical. Knock the edges out a bit." We wanted it to be much less than mathematically perfect. I did the same thing with the painters and everyone else. A lot of the painters went out with digital cameras to photograph flaking paint on old doors, to study the real world of the city and how it exhibits wear and tear, how things get damaged. Because there is a very specific way things get damaged: It’s not a general process. Everything wears in certain ways through multiple use, depending on how it sits in the sun or what kind of weather conditions it has to exist in. So we used extensive reference to the outside world and asked our artists and animators to go in and spend some extra time touching it with virtual hands. I actually feel that once you’re into the film, you forget that it was made using CGI. I don’t think you’re conscious of it being a CGI film anymore. And it’s really because, in a strange way, the whole thing has been handmade. And people will be confused by that: "What do you mean handmade? What, do you wear glasses or something?" No, it’s just that each artist has intervened using the computer to make it all imperfect or wonky. The process definitely had a wonkiness level to it. Everything has been touched or considered by the human mind, which at some point has intervened in the process, you know? Same with the animation process: We didn’t have any secondary animation, such as cloth or hair, done by the computer; it was all done by hand. Which means that the animator had to deal with the cloth or the hair, and because they’re human and not robots, there is a visible imperfection to it, especially since they had to build it frame by frame. So even in that sense the animation has a handmade look to it. There was a lot of intervention.
- But we did in fact set out to make Flushed Away more colorful and bright than previous Aaardman projects, because it’s set in the big city, you know? It’s set in contemporary London , which is a bustling metropolis, so we wanted the film to have a more vibrant sensibility. Wallace and Gromit is set in a Northern English town and Chicken Runis set in the postwar British countryside, but this film has a much more modern setting. And because we were setting the film in the sewer, we didn’t want to be in the dark the whole time. So we chose to have daylight pouring in from above through what we imagine to be holes, grates and the like, which helps with the main story point, which is that it is in fact a fantastic place. That aids the character development of Roddy, who goes down there and ends up finding the place to be wonderful. But having said that, it still fits in with the Aardman aesthetic: wear-and-tear, strong shadows, tactility, a naturalistic color palette. And I’m really pleased, because I think that our film is unlike any other film in a rather crowded year for animated movies. We don’t really look like anything else, which is great for us. We really wanted to stick with the look, as well as incorporate the possibilities that advances in CGI filmmaking have provided us.
- For example, we used a little bit of squash-and-stretch on our rubbery frog characters. Normally, we don’t use squash-and-stretch on our puppets, but with the frogs it feels right. As far as the water effects go, we tried to get pretty realistic. With the rain in The Wrong Trousers, we actually used little bits of gelatin or glass beads, whereas now we’re building realistic splashes and so forth. To be honest, we’ve actually been pretty strict, but we’ve also enjoyed working within the limitations of the style. But the use of CGI has helped as far as the interaction between characters and effects, which is much better looking than it is with stop-motion. The primary thing the computers have brought us is an increase in style and scope. We’ve been able to build these huge sets and populate them with thousands of characters, which we would really have struggled with if we were working strictly with puppets.
- Sam Fell 
- Hugh Jackman as Roderick "Roddy" St. James
- Kate Winslet as Rita Malone
- Ian McKellen as The Toad
- Jean Reno as Le Frog
- Andy Serkis as Spike
- Bill Nighy as Whitey
- Shane Richie as Sid