Steve Cox
Steve Cox (birthname: Steven Cox) is a veteran British stop-motion animator and director who came aboard his first theatrical feature as animator of Aardman Features/Sony Pictures Animation’s The Pirates! Band of Misfits (2012), based on screenwriter Gideon Defoe’s 2004 novel, with the voices of Hugh Grant, David Tennant, Imelda Staunton, Salma Hayek, Martin Freeman, Jeremy Piven and Brian Blessed under Peter Lord’s direction, grossing $123 million for Sony Pictures Animation after earning an Oscar nomination for Best Animated Feature. Cox was animator of Shaun the Sheep Movie (2015)
Cox was animator on director/co-writer/producer Nick Park’s original Aardman Animations Stone Age comedy, Early Man (2018), starring the voices of Eddie Redmayne, Tom Hiddleston, Maisie Williams and Timothy Spall, and which was released by Lionsgate and Summit Entertainment (U.S.)/eOne Films (Canada)/StudioCanal (International), which was also a lead producer. Cox served as development animator of Aardman’s sequel, Chicken Run: Dawn of the Nugget (2023), directed by Sam Fell, with voice performances by Thandiwe Newton, Zachary Levi, Bella Ramsey, Imelda Staunton, Jane Horrocks and Miranda Richardson, and which premiered at the London Film Festival and was released by Netflix.
Steve Cox made his feature directorial debut as co-director (with Matthew Walker) of Shaun the Sheep: The Beast of Mossy Bottom (2026), with the voice cast of Justin Fletcher, John Sparkes, Kate Harbour, Dani Dyer and Roman Kemp, produced by Aardman Animations and released wide by GKIDS (U.S.)/Sky UK (U.K.)/StudioCanal (International).
Personal life
Steve Cox Movies
Director
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- 2026 |
Shaun the Sheep: The Beast of Mossy Bottom
Shaun the Sheep: The Beast of Mossy Bottom
On Halloween Eve at Mossy Bottom Farm, excitement turns to dismay when the clumsy Farmer ruins the pumpkin patch. Shaun tries fixing it with science experiments, but things go wrong when a wild beast appears in the woods.
Facts About Steve Cox
Cox on animation complexities: “During production,” Cox has explained, “the film (you’re making) changes every single day, sometimes in small ways and other times there are big changes…Sometimes a puppet won’t be available, so you may have to move on to a different shot or swap that character out for someone else…You have to decide whether those changes can be accommodated or whether the take needs to be reshot.”
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