Cartoon Network Studios speaks in Annecy
In an intimate and frank discussion at the Annecy Mobile Festival for this year, the biggest names gathered behind some of the TV cartoon series diverse To talk about the legacy, change and the changing landscape of the broker that they helped identify.
“The PowerPuf Girls” “Home’s Home for Theicinal Friends”), Genndy Tartakovsky (“Dexter’s Laboratory”, “Samurai Jack”) and Rebecca Sugar (“Steven Universe, “Squead Production”) and Pendleton Ward (“Time Adventure Time” and “The Midnight Gospel”) Adam Moto opened around the origins of their work, a new era of creation and what it means that it still pays the borders after decades of work.
The conversation ranged between the memories of nostalgia to the Golden Cartoon Studio era – Annecy hosted a 25th celebration of the studio on Tuesday afternoon – to speculate about the future of animation. In essence, the recognition was that although technology, public behavior and corporate structures have turned significantly, the creative spirit that fueled their iconic shows still pushes creators, and it is likely to be the next generation as well.
“There are people who make independent offers from the animation themselves,” said McCarakin. “You are almost approaching the independent path first, noticing, getting an audience, then channels and broadcasting.”
Sugar and Muto rushed to praise the Green Street Pictures “Al -Zabaloun” and “common side effects” as other examples, as the first began in life as a palace that gained great recognition online before it was produced by a green chain.
Tartakovsky was not very sure of the expansion or reliability of those models to lead to long -term business successes. “IP is the only word now,” suggested, focusing on current studios on restarting current privileges. “It is difficult for a new generation to erupt like this again when [the studios] Only chanting through the anniversary panel of studios and broadcasters, “starting green things, please.”
Quintel added a silver lining: While short programs and incubators may be on a temporary stop, the imitation of the guidance is alive. “We are based on direct people from school. They never did it, and they learn in the exhibition how to climb, and how to do the animation that depends on the hypothesis.” Many speakers have confirmed that the animation industry has long undergone courses, and more original content may be able to penetrate in the future.
The repeated topic during the afternoon discussion was how pre -arbitrary restrictions now look in the era of digital distribution. “The reason our shows are 11 minutes is that this is the way you divide 22,” Makracin said. “But who says the offer should be seven minutes or 11 minutes? Why can’t it be two minutes? Or an hour?”
When it comes to the influence of the public on the environmental system for modern distribution, the room was somewhat divided between creative independence and development that the audience drives. “When you put something online, you can see how the audience interacts and sets based on the comments … Just share with the people who watch,” Makracin thought. Tartakovsky retreated: “This may be an ancient way of thinking, but if we follow the audience, this is really dangerous. I want to give the audience what I think it will be good. I want to do something original and unique that can stand out.”
The artists admitted the tremendous transformation of global cooperation thanks to new tools and technologies, in addition to the emergence of social media platforms and governor sites. MCCRACKEN now runs almost its entire width, which is the pre -school “Foster’s Spinoff” from London, working from Los Angeles. He said, “It is the same job completely. It is just far. It is not different from returning to the studio.”
Tartakovsky similarly. He said: “I have a list of running people on Instagram that I want to work with.” “Thus I found the studio that did” primitive “, made it clear, some surprise at the table.” They had a short movie based on one of their comic books, and I didn’t want to do things in the old way, so I called them in their very small studio in Paris, and they agreed to do so. And what they did was incredible. “
Most creators use social media and video platforms to find potential inspiration and collaborators, while Quintal and Sugar said they have made transformational connections to comic agreements. Moto argued that the individual governor sites, which are popular in the past decades, are due to a return, and Ward pointed out that “the site of women in animation is a great resource to find artists.”
But for all changes, some things remained the same, especially the intimate friendship that has kept this group linked for decades. “You are continuing the talents you want,” said Tartakovsky. “My technical manager did from” Samurai Jack “everything with me a lot. I have a work background with me for the period” Dexter “that I started working with them again. You love these people.”
Makakin agreed. “It takes a very distinctive and crazy mind to do this task … it’s bananas, we do this,” laughed. “If any of us pulls it, we are like,” great work “, and we want to work with these people over and over again.”
“It is very difficult to build a crew,” Modo admitted. “Every time you have to get rid of everyone and completely reshape it, which is something that is more part of the modern broadcast cycle, it seems that you have to make a new offer, even if it is just a new season of the same offer. This explains a lot about the reason for working with the same people.”
Each of them has varying degrees of experience in working on more mature production, creators celebrated the freedom offered by the adult animation now. Shujeer, early on “Steven Universe”, recalled that she would often tell her that Vandum is smaller than her width was not important to the network, as she was more interested in capturing a wide TV audience of all ages and population marks. She said with adult animation, that Fandoms are now more important than ever, and you can have smaller groups than dedicated viewers more importantly on the success of the show.
“Now it seems that we can start something in which this is what matters most,” said Shofir. “This can matter more.”
Even with a billion dollar global success such as “Transylvania Hotel” under the director’s belt, in the case of Tartakovsky, getting original ideas is still difficult. “Three movies” Transylvania Hotel “, nearly two billion dollars, and I still have difficulty getting the original Greenlit,” said Tartakovsky. “Every time I deal, I hear they love it, but somehow they don’t like it either.”
After three decades, these creators do not only survive in an industry. They are still trying, they are still directing, and they are still hungry for the next.