In previous blogs, I’ve talked about the wisdom of producing animated films based on indigenous stories and how native tales, retold through the medium of animation, can be both profitable and personally rewarding.

The big remaining question is whether or not these kinds of films can be made for international audiences while maintaining profitability.  The answer is yes. In the formula below notice how many times I talk about ‘international team’, because that’s at the heart of a successful formula.

Max Howard

India - what a country - contrasts rich and poor, high and low tech, diversity at every turn, from the eighteen official national languages (there are another 347 that are also spoken – mindboggling!) to the delicious spicy foods, which are equally diverse across this vast country of over 1.2 billion people in a land mass of 3m sq km, making it one of the most densely populated countries on earth.  All tied together by a common currency - the Rupee (approximately 50 Rupees to US$1).  And they are all crazy about the sport I love to play – cricket!   There are several TV stations that broadcast the sport 24/7.  I love India! 

By Bill Dennis

I’ve always been a fan of stories that have their roots in the culture and history of a particular region.  Stories that tell of historical events and heroes.  Stories that are based on fables and folklore.  Almost always, these stories and characters are interesting, intriguing and unique.  Animation allows us to depict  these characters and tell these stories without any boundaries or restrictions.

We’re all looking for something that hasn’t been done before. So, why then aren’t more animation filmmakers producing films based on indigenous stories? I don’t think the answer has anything to do with creative issues.  There appears to be no end to the number of indigenous tales at our disposal. The answer is the misconception that these kinds of films cannot show profits.  Indeed, they can and do!

A COUPLE OF WEEKS AGO, I POSTED A BLOG ON PRODUCING FILMS BASED ON INDIGENOUS STORIES AND CHARACTERS.  I PROMISED TO FOLLOW IT UP, SO HERE IT IS:

You really need to pay attention because in the time it takes you to read a few hundred words, I’m going to tell you the future of producing animated films based on indigenous stories.  I’m going to give you the formula for success.

I guess you could consider this blog, primarily, a commercial.  A commercial for ASIFA, the Association Internationale du Film d’Animation.   ASIFA’s distinction is that it’s the only international animation association.

I’m a big fan!

If you’re in the animation business, you really need to be a member.  Why, you ask?  For me, one of the most important reasons for the ASIFA association is the network of artists and filmmakers I’ve been able to establish. Since my company is international it’s important that I have lines of communication with artists and filmmakers around the world.

Frank Lunn with Kritbodee "Golf" Ruengrujira at ACE Fair 2010.

As a recovering attorney, I’ve had the opportunity to see many entertainment agreements.  Most were between various US entities – producers, studios, networks, artists, etc.  As I focus more on transactions as a producer representing a project as opposed to an attorney representing a client, I tend to appreciate what I call the Asian Way of conducting business.  It’s incredibly liberating to do deals the old-fashioned way – meetings with drinking, toasts and handshakes to go around. 

The Animation Workshop is an animation school housed in former military barracks in Viborg, Denmark. It forms a part of VIA University College. Since the late 1980s, The Animation Workshop has educated and trained animators for the Danish, as well as the international animation, computer game and visual effects industry. Teachers, as well as students, come from both Denmark and the rest of the world - as a result, all classes are conducted in English. The Animation Workshop attracts teachers from all over the world, including professional animation artists from well-known studios such as Pixar and DreamWorks.

Zhengzhou China - International Animation Forum and Trade Fair.

Now is the time for US animation entities to actively seek co-production opportunities with their counterparts in Asia.  The growth of the Trans-Pacific animation production pipeline has created business opportunities for animation communities both in Asia and abroad. 

I’m in the UK having recently returned from attending the Cannes Film Festival, followed shortly thereafter by the Annecy International Animation Festival.  These two events, both in France, separated by just a few days, are the premiere festivals in the international calendar for live action and animation respectively. 

“Build it and they will come” seemingly reflects the mantra of many Asian cities and countries that feel by merely building a large infrastructure designed to house animation production, it will attract both foreign investment and foreign projects designated for the international marketplace which will, in turn, allow such city to become an “international animation destination hub.”  But who will use such facilities and how are governments going about the business of recruiting and bringing in new projects?