Producer/animator Alison Snowden found “Pitch This!” the most fascinating and most terrifying event where two teams pitch their latest offerings to a panel of broadcasters and the audience.

Next I turned to Alison Snowden, a producer/animator who, along with producer/animator David Fine, created the wonderfully successful animated television series Bob and Margaret, based on their Oscar-winning short, Bob’s Birthday.

SK: Alison, what brought you to the Ottawa this year? Were you looking for anything in particular at the festival this time round?

Alison Snowden: I was eager to attend Ottawa this year as I’ve been out of the festival circuit for a while and have really missed being inspired by the latest new films. It’s always great to hang out with other filmmakers from all over who we mostly only see at these events.

SK: What did you think of the Television Animation Conference? Did it meet your expectations?

AS: It was interesting to hear about the animation business from different perspectives. “Meet the Broadcasters” was very educational as it’s always interesting to hear what the broadcasters are looking for and how they perceive their audience. But probably the most fascinating and most terrifying was “Pitch This!” where two teams had to pitch their latest offerings to a panel of broadcasters and the audience. The most disappointing debate was ironically “The Great Debate” which featured a stellar panel of producers and broadcasters who were meant to debate the issue of creativity vs. commerce.’ Unfortunately, the moderator chose to mainly ask the panel questions about their backgrounds which most of us knew already.

SK: Did you get a chance to see any of the retrospectives, take in a workshop or two, check out the tech forum?

AS: I went to the TELETOON Scriptwriting Masters Program workshop by Ian Corlett, which was excellent. Although I’ve already created a series and done a bunch of writing, it’s always good to hear other people’s approach and compare notes. Ian was a very encouraging and captivating speaker at the same time being very realistic about the business of series animation.

SK: What do you think about screening edgy, artistic/experimental work with more commercial films, in the same competition, at the same festival?

Animator Steve Woloshen discovers more about himself as an artist and other filmmakers through OIAF’s panels.

AS: I think the animation festival should be open to all types of animation and all techniques. What’s wonderful about this type of festival is that it brings people together from all different facets of the industry rather than just being the TV side or just the independent scratch on film maker.

You’ll notice that nobody’s mentioned the parties yet. Maybe it’s because, three days later, they’re still trying to digest the greasy finger foods. Anyway, to finish off, I contacted Steve Woloshen, an animator from Montreal, for his views. Steve makes a living driving for a film production company and his life would be very simple if he’d just quit creating his terrific independent films. He’s hit many animation and film festivals this year, so he’s a good candidate to rate the Ottawa.

SK: Steve, how does the OIAF compare to other festivals, e.g., the range of films selected, the focus on independent animation, the screening together of narrative, non-narrative (abstract/experimental) and commercial-based films?

Steve Woloshen: I’m always exited about the Ottawa festival. I have always had very diverse interests, and I believe that Ottawa satisfies my desires to view a wide range of styles, attitudes and art in animation today. Since 2002… I have come to appreciate the programming mix and the length of the festival.

SK: While the OIAF addresses the needs of the trade, it also values the work of independent animators, the creative risk-takers, the inventors. Is this the case with most of the festivals you’ve attended recently, or is this special to the OIAF?

SW: Most of the festivals that I attend can’t balance art and trade. For most of the festival organizers, combining art and commerce is “sinful” and maybe a little bit rude. This is not the case in Ottawa. It has always been possible, in my experience, to have informal chats with many large producers and artists alike. Actually, in 2002, I was surprised with some of the conversations I had. Sometimes, I step outside myself and come to the realization that I’m discussing hand-made film techniques with great figures in animation.