ANIMATION WORLD MAGAZINE - ISSUE 4.10 - JANUARY 2000

2000 And Beyond: A Host of Possibilities and Changes

compiled by Heather Kenyon

On the momentous occasion of the new millennium, we surveyed a wide range of leaders from all walks of animation's varied path and asked them their opinions about the biggest issues facing us and how these issues will change our industry. Regardless of the location, several points came up over and over again, proving that it is indeed a global market and that no matter what language we are speaking our goals and problems are very similar.

Theresa Plummer-Andrews.

Theresa Plummer-Andrews, Head of Acquisitions & Co-Productions, BBC Production, London, UK

"Although coming from a public broadcaster who is totally funded by the British public, I am extremely concerned at the movement to totally ban advertising around children's programming. If this initiative is pushed through it will mean the demise of a lot of children's programming throughout the world as there simply will not be enough money to fund production. Series such as Noddy, Rugrats, Rotten Ralph, etc., would not survive without commercial broadcasters buying and playing them, and having advertising surrounding them. Much as I feel advertising to children should be strictly monitored, to ban it completely would be a catastrophe for our industry."

Jerry Diaz, Vice President of International Sales, Salsa Distribution, Paris, France

"One of the keys to the new century is to continue to provide our clients with a variety of programming options, especially when it comes to programs for children. We are fortunate at Salsa that we do have a variety; whether it is pre-school (such as Jellabies), animated shows or spectacular programs for all ages from Henson -- we have it. Our clients are looking for shows that educate, but entertain, have action, but are not violent. The next century will be an exciting time and I expect many changes and continued growth in this industry. Although as we close the century the economic and political problems continue in many of the markets worldwide, I am very optimistic about the future of international television."


Vilnis Kalnaellis, Producer and Managing Director, Rija Films, Riga, Latvia

"The growing commercialization of the animation industry that I encounter on a daily basis, has made me understand that only works original in content and form can be a part of the spiritual culture, and have a lasting value in the movie industry. Therefore one of the most pleasant experiences of late was the collaboration with Michael Ocelot on Kirikou and the Sorceress which is exactly a movie of that kind. I hope that in the future people will feel a greater need for programming that contains these spiritual values, and that television will be forced to produce and show films that fulfill this need.

"The latest animation technology is ready for this challenge. Rija Films uses modern technology with the latest animation program MAYA 2.5 to be able to realize and produce a visually modern version of the old stories and wise fairy tales of our ancestors.

"I believe that the future will be more interesting and exciting, and that children will have the chance not only to choose which film they want to watch, but also have the opportunity to interact and take part in the adventures of their animated heroes."


Bruce Gionet, CG Supervisor, Black Logic, New York, New York, USA

"The biggest issues facing the animation industry are in the cultural, aesthetic, and economic areas.

"Culturally, we are seeing worldwide growth in an art form that crosses barriers of language and politics. Advances in technology, specifically the Internet, inexpensive cameras, video tape recorders, computers and animation software, make the tools of the art and the results of animators' efforts available to a wider audience both geographically and economically. When I first started going to see animation at film festivals in the `70s, it would have been difficult to imagine the number of animated television series and feature length films today. It would have been equally impossible to conceive of the potential of posting your animation on a web site for anyone with a computer to see.

"Children now have access to tools that I could not afford starting out in the business, and have a tremendous pool of resources for inspiration and education. This trend will most likely continue, and the art will be enriched by the participation of people with backgrounds and ideas that may surprise us.

"On the aesthetic front, we will experience a wider variety of styles and formats because of the greater visibility of animation in existing and newer media, and technological advances like photo realistic and non-photo realistic rendering of computer generated 3D animation.

"Economically, this all adds up to a richer pool of talent, wider access to tools and a greater demand for the art. The integration of animation into all kinds of media will continue to grow. As generations become more sophisticated in their viewing habits, the need for quality in the craft and freshness in the art will drive the demand for production.

"As professionals, we have a responsibility to encourage this sophistication and foster this growth."


Gregory Noveck, Senior Vice President Creative Affairs, Platinum Studios, Beverly Hills, California, USA

"As we enter the 21st century, it is clear that the comic book and animation industries are undergoing a major upheaval. As tastes, viewing patterns, consumption patterns and demographics continue to evolve, our industry must be ready to adapt with the changing times.

"The most important thing to remember is that regardless of the delivery system, whether it's an ink and paper comic book, an animated movie or television series, or a two-minute serial created exclusively for the Internet, the one constant is the need for great content.

"Companies and creators alike must be ready to take on the challenge of our continually evolving media landscape. Fewer and fewer companies are able to subsist on only their publishing revenue, and creators are all trying to develop concepts with "franchise" potential, knowing that selling a few issues is not enough to stay afloat. One cannot lose sight of the immediate goal however. Fans will know if a character is created solely for the purpose of making the leap to movies, plush toy, theme park ride, or what have you. The initial medium in which the content is experienced must still deliver on a pure entertainment basis.

"What does all this mean? It means that even though comics themselves maybe losing readership, and the audience for animation may be fragmenting, there are more pure fans and consumers than ever before, people who appreciate great quality storytelling and imagery. It is up to us to figure out the best way to get the people what they want."
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.