Whether or not one goes the co-production route, there is still the issue of how to secure a domestic presale. This is becoming more and more difficult in today's climate. Canadian broadcasters often rely on the larger Eastern producers, or look to the US for their animation programming. More often than not, they are looking for finished programming, rather than a project in development.

"Everyone wants a proven property," Blair points out "whether it's a comic book, a toy, or whatever. That causes a problem for studios that want to develop original properties. At some point someone has to take a risk. That's what we're trying to convince the Canadian broadcasters to do."

The Rocketship Solution
Marv Newland, of International Rocketship, found a different solution to the lack of available financing. He has, for the past 15 years, produced his own, original shows in their entirety before taking them to market. Using the profits from his high-end service work, Marv is able to fund at least one short each year. "The whole concept of the studio," he says, "was to produce our own animated films. We own those films, so we have a library of shorts and are steadily adding to it."

How does Rocketship recoup its costs and get its shows to market? "It's pretty easy, actually." Marv replied. "Selling the first one is difficult, but once you've established a client list, those clients pretty much stick around, especially European television. For a while, we had to meet with people interested in our films. Now, whenever we enter festivals--and we try to do all of the major festivals--if the film is any good the broadcasters will fax you back a contract. You either go with those terms, or maybe fax back to negotiate, then settle it and sign. There are always new outlets for the films. This was a great year for royalties, I don't know why, even early films like Sing Beast Sing and Anijam, 1980-1984 productions, did well.They are good and entertaining enough so that, if someone hasn't seen them, they don't care what year it was made in. That helps us a lot."

Bardel Animation's Thorax the Conqueror.

A Balancing Act
Rocketship is in an enviable position. They have been in the business for over 20 years, and have built up a loyal following. For many studios though, it is a constant balancing act. The majority of Vancouver's animation houses are animator owned and operated. Often these animator/owners are already wearing a number of hats and they usually don't relish the idea of also donning a suit and trying to "sell" their work.

"I don't want to be a distributor," Peters states. "In five years I don't want to be at NATPE, wearing a suit, but at the same time we know that right now people want to make the connection with our studio. Once our first show is sold, I don't want to be selling individual territories and all that. I'd rather have a distributor take its cut and give us the money to work on the shows."

The sentiment is a common one. Wayne Sterloff, of BC Film, a local funding agency, has been working at getting indigenous projects financed for many years. Through BC Film, many Vancouver studios have access to development and production financing. Wayne, who recognizes the need for local animators to reach out to the marketplace, notes that, "There aren't many hard core entrepreneurs in the animation community. A lot of the men and women who are interested in animation come from a creative arts background, and they're not interested at all in setting up a sales and distribution entity. It may hurt them to spend money on advertising and promotion, and marketing expenses, or to send a salesperson over to MIP-Asia, in Hong Kong, and back. It's a real hurdle for most animators to get over, in terms of reaching that goal of gaining some independence and creating security.