What matters most to these kids is the story -- is it engaging, is it entertaining, is it real -- and whether or not they can relate to or care about the characters. We made the decision to use model animation in depicting the tales of Thomas the Tank Engine, for example, because it upheld the integrity of the original art contained in the published stories. Often, selecting an animation style that conveys a similar look and feel for a property first introduced in another medium, such as a storybook, will convey a sense of familiarity to the young viewer. Simpler forms of animation can also provide a greater focus on the story and characters, elements, which can often be overshadowed by CGI's special effects. Special effects may grab the attention of many young viewers, but special effects alone are not going to keep them watching. It is the connection to the story and characters that will convince them to come back.

What we have been able to determine, through extensive market research and focus group testing, is that this specific demographic group likes to laugh, especially at parents, teachers and other figures of authority. They also relate to a more modern family environment, with fallible adults and heroes that are often less than perfect. And the protagonist for every story needs to have some redeeming or at least interesting characteristic. One-dimensional characters, regardless of how they are animated, just don't make the cut.

Does This Make Sense?
There is also a fear among loyal cel animation proponents that CGI will eventually replace traditional forms of animation. While on the surface this may appear to be the case, I for one believe that the technology aids the advancement of all animation. Rather than replace traditional animation styles, CGI can be used to enhance the art form by combining hand-drawn character cels with computer-generated backgrounds or other applications of both forms.

So before you decide on which form of animation you'll use to tell your story, try to imagine your project in your mind. If the concept is culled from an existing toy or book, examine it in its original form and try to determine if a particular animation style lends itself to the property visually and/or seems like a natural fit. Does the concept have the capacity to play on more than one platform? Determine the overall brand strategy for the property and then try to ascertain which style of animation comes most naturally to the execution of that brand strategy. And above all, remember the golden rule that there are no rules.

Charles Falzon's career in the film and television industries began over 20 years ago in the Export Sales department for the Canadian Broadcasting Corporation. From 1977 to 1982, he was instrumental in expanding CBC's distribution reach, and played a key role in the formation of CBC Enterprises. After a successful term as Sales Executive with MCA International, Falzon moved to New York to join D.L. Taffner Limited as Vice President of International Operations. In this capacity, he managed the company's international distribution and co-production activity. In 1987, Falzon, together with a group of Toronto entrepreneurs and venture capitalists, formed Producers Group International, a diversified communications and studio facility company. As President of the entertainment division, Falzon was instrumental in establishing the company as a top producer and distributor. Four years later, in 1991, Falzon created Catalyst Entertainment Inc. Under Falzon's leadership as Chief Executive Officer, Catalyst established itself as a prominent Canadian production and distribution company both domestically and internationally. Today, Charles Falzon holds the position of Chief Executive Officer of Catalyst Entertainment, the founding Chairman of the Canadian Film and Television Production Association, and is President of Gullane Entertainment, an international family entertainment studio, with interests in television, publishing, licensing and live events.