We surveyed a wide range of leaders from all walks of animation's varied path and asked them their opinions on the biggest issues facing us and how this will change our industry.
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, 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."
Milt Vallas, Independent Producer/Consultant, Media Vision, North Hollywood, California, USA"The new millennium...hmmmm.... Someone once said, `The more things change, the more they stay the same.' Yes, like everyone else I believe technology will change the way we produce and distribute our product to an audience. So, let's say we will greatly expand the means a producer will have to deliver his/her film via the Internet, satellite, microwave laser transmission or some other more esoteric form of distribution, as of yet not invented. However, the real problem remains, how to capture a mass audience? The more choices available, the more fragmented your audience will become. Sound familiar?"Good old-fashioned marketing (read $) will remain the key. Those that are able to market and promote their properties will build audiences, while others will be lost in the sea of competition. Look for the usual suspects: Disney, Time/Warner, Sony, Universal, Viacom and Fox to lead the way. Look for the Internet to bring a gleam to the eyes of companies like Mattel, Hasbro and General Mills. No FCC regulations on the Internet means we might be seeing Captain Crunch or the Keebler Elves starring in their own specials or series. "Change is good and we should all welcome it with open arms and minds. But don't expect a free lunch. Don't expect less vertical integration, expect more with phone companies, software companies and others all wooing one another shamelessly."The only constant in this century or the next is creative concepts, good storytelling and strong production values. These will, with a little bit of luck, build audiences. And as we all know, audiences build revenues." Ram Mohan, President, RM-USL Animation, Mumbai, India "After decades of extremely slow growth, Indian animation entered a new phase in the Nineties. Participating in the production of the Japanese feature based on the Indian epic, Ramayana, and producing the Meena series for UNICEF, which deals with the problems of the girl child in South Asia, brought Indian animators into the international arena. Today, a few animation facilities in Mumbai, Hyderabad, Chennai and Tiruvananthapuram have taken on contractual work for studios in the US, Canada and France. In the new millennium, there certainly will be more such facilities coming up in India, to compete, both in terms of quality and cost, with studios in Korea, Taiwan and the Philippines. The coming decade will also see an upsurge in international co-production deals. Indian studios, like RM-USL, are gearing up to produce shows for the global market with North American and European partners. Hopefully the new millennium will also witness the emergence of a distinct Indian style of animation that draws from the rich treasure house of South Asian myths, legends and folklore." Michael Harbour, Computer Graphics Supervisor, Encore Visual Effects, Hollywood, California, USA "I think the biggest challenge that visual effects and animation will face in the years to come is going to be the overall artistry of it. Seven years ago the largest issue facing the industry (specifically in the realm of visual effects) was, `How can we do this?' or, `Can we do this at all?' "The tools, although commercially available, were still in their infancy and much of the technology still wasn't commercially available to the industry unless a company had the resources to develop certain tools on their own. Now commercially available packages come `off the shelf' with 3D camera trackers, fully developed dynamics tools, fur and cloth rendering plug-ins, as well as a wide array of tools that give the smaller visual effects house some of the functionality that only used to exist at the largest and most experienced houses.
"Now, with tools becoming more and more sophisticated and yet easier to use, as well as the fact that much of the experience that used to be consolidated at the largest and most established houses has spread throughout the industry, the challenge has become the images that we produce, not how they are produced. While the technological curve is evening out, the artistic curve should increase ten-fold. Only now are we beginning to see effective uses of standard cinematic techniques such as depth-of-field and more natural `real world' camera movement becoming the norm, not the exception. This is because the tools have finally come to a point where we can think more about, `What will look best?' and not, `How can we do this?' This is a trend and a challenge that I think will continue for years to come."
Chris Robinson, Executive Director, Ottawa International Animation Festival and the International Student Animation Festival of Ottawa, Ottawa, Canada
Bad Beckett Response To Issues Of Industry: An Xmas Serenade
To: Mass media execs. a quick and painless way. of removing fuggin heads from fuggin asses. once the tools can be found to perform. these poor beings will see light and colour. senses deadened by hibernetic envelopment. will spring to life. embrace. once brown and occasionally black -- even blue or green after cocktail hour -- a terrain of options. to be negotiated. explored. embraced. importantly consider. To find Beatrice. lost ones must embrace. the bowels of myopic ignorance. facing their fears. begin to see a world. To: Consumers. the peasant must rise from their crapulent (means drunkenness, but it's fit my needs better) existence. Too deeply immersed. not in the bowels. in the eyes. not their eyes. aural now visual boxes dictate their needs. limited view. closed many doors. slow hypnotism. need a century of undoing to liberate the Peasants from The lost Ones. To: 'Educators' (hahahahaha...that's a good one). labourers or artists? make up your damn mind. Don't be what ya ain't. I want the whole Not the parts.
To: Onliners. internet grows. a source of hope for independents. no middlemen says Corky. Bullfunk I say. Same suits dominating the computer. I gander down one list of atomation films and see mostly spike rejects yikes. Should be the next big thing Will be the same old thing. Another heavenly day... Samuel Beckett, Paris, December 1989 (This rare Beckett artifact which seemed to address his concerns about the cartoon entertainment industry was discovered in the late 20th century in the vaults of the Canadian Film Institute in Ottawa, Canada. Apparently, Beckett was scripting an animation film based on the life of Buster Keaton to be directed by the great German animator, Raimund Krumme.)
Jeff Lotman, CEO, Vivid Animation & Global Icons, Los Angeles, California, USA
"The greatest challenge in the animation business is the unbelievable opportunities in the world of CG animation. We are just scratching the surface at this moment so the challenge is to one-up the next person continually in terms of style and look while always having the story be paramount.
"What will have to change for CG animation to have the impact it really can have is to make the process a lot faster. One of the reasons that major studios are reluctant to produce animated features, either CG or 2D, is the time involved, and the cash required.
"We, as an industry, have to continue to push new technologies that will speed the process to make films in the same time frames as our live-action counterparts. All of this is being fueled by the success of Toy Story 2 and complete acceptance of the CG medium by the mass audience."
Gail Currey, Chief Operating Officer, Industrial Light & Magic, San Rafael, California, USA
"The biggest challenge in the coming year for animation at ILM is learning how to optimize the skills and tools that our talented animators have acquired by working on not only our animated projects but also on traditional effects movies. Our past recruiting efforts have paid off and we now have a core group of animators who are at the top of their form. The challenge is bringing in projects that continue to hone their skills and thankfully, ILM's clients are always pushing us in ways that give the animators new opportunities to refine and show off their talent. We want to provide an improved technology base that gives animators more time to be animating while removing worries like file management from their daily routine. ILM vies for brilliant technological minds with other industries, which provides us with a recruiting challenge. Lastly, growing the supervisory skills of our animators is an area in which we are concentrating by developing training programs that will enhance their abilities to communicate animation direction. It looks like it's going to be a great year for animation, and ILM has several exciting animated projects pending, so we know these challenges will be worth all the effort we expect to exert in meeting them."
David Starr, Executive Producer, Curious Pictures, New York, New York, USA
"The commercial world awoke in the `90s to realize that animation without good ideas and good writing is insupportable. As we cross the millennial finish line, the legacy that will carry forward is inspired writing and innovative design. I think that we will discover a growing community of animators that follow the mold of John Lasseter and Chris Wedge, who are great animators and great storytellers. The web will expose us to animators around the world. It is an inexclusive portal to a curious global animation audience. This will enrich our industry tremendously in the new century. A revolution is about to happen the same way that it happened in the live-action feature film industry during the last few years where independent film makers challenged and crushed the traditional Hollywood dominance. Similarly, the next wave of inspired illustration smiths are in the process of finding grassroots enthusiasts that will create an animation alternative medium to the dominance of television and feature films in the 21st Century. This means many more choices to appeal to a broader palate."
Andy Knight, Director/Owner, Red Rover Studios Ltd., Toronto, Canada
"The major effect the next century will present within the animation community will be the constant exploration of the Internet and new digital media. These technologies have seemingly endless possibilities for the innovation of animation.
"Whether it is advertising, series, shorts or long format films, the current/future technology will allow artists to present their work without the confines of major rules and regulations. This creates an outlet for unexplored forms of animation, distribution and advertising.
"It will allow the artist (independent and/or companies) to set new standards for distribution networking in the industry. Animation directors and their creative teams will have the chance to take an idea as far as the audiences attention span will hold out, rather than the standard time lines the industry is currently using. The main hurtle here is how to get people to look at the work in a flooding industry of web sites.
"New digital media is constantly updating, making it easier to create traditional and three-dimensional animation. However, this technology needs to be explored beyond the recreation of `reality' based themes.
"As a result of technology the industry will flourish in positive directions, creating new and innovative work. This can only benefit the animation industry as a whole."
J.J. Sedelmaier, President/Director, J.J. Sedelmaier Productions, Inc., White Plains, New York, USA
"Everyone on earth will see Brad Bird's The Iron Giant and realize how inadequate, for the most part, animation feature productions have been up to now. Some will leave the industry and open antique stores and gourmet food shops. Others, inspired by the lack of songs and comic relief, will continue in the industry and battle the powers that be."
Sean Montgomery, Animation Director, T O P I X / Mad Dog, Toronto, Canada
"Most of the issues facing the animation industry today ultimately lead back to the primary preoccupation of all business: appeasement of the demanding Bottom Line God. The industry is demonstrating its piety in the standard `90s manner: by shifting work to areas where labour costs are cheap, launching co-production ventures with rivals, producing sure-fire hits rather than taking risks, and generally getting leaner and meaner. This latter situation is facilitated by the proliferation of new, small, shops looking for work, the falling price of equipment, and the large pool of talent now on the market; both those laid off after years of service, and those issuing from schools around the continent every year. It's a trend that will continue, as budget-conscious corporations demand better returns on their investment, whether it be in the realm of entertainment or advertising.
"Two changes provoked by this situation are the growth of inhouse productions, and in web-based animation (primarily utilizing Flash). Web animation can provide independent animators or adventurous retailers a chance to reach a potentially large audience cheaply and easily. (One need only witness the Internet-based celebrity of Turkish ladies' man 'Mahir' to see how quickly word of mouth can bring traffic to your site.) Both offer a lot of creative freedom, an appealing situation to artists accustomed to tailoring their work to corporate interests. Plus, as our media grows increasingly hungry for content, audience interest in animation remains high, so there should be room for both options as well."
Normand Rompré, Director/Designer/Consultant, Montréal, Canada
"When I first started in 1982, it could take up to 6 - 8 weeks to produce a 30 second commercial. Little improvement had been made since Hurd and Bray introduced, in 1914-15, the cel technique. As the animation, ink and paint and shooting tools became more and more proficient (read `the introduction of CGI'), the clients, producers and directors were asking for more fantastic imagery.
"But the longer a project went on, the less actual it got. So the client wanted it faster. The longer a project went on, the more expensive it got. So the producer wanted it faster. The longer a project went on, the more outdated its looks got. So the director wanted it faster. How fast and how well can we produce animation? The industry is facing a `dog trying to catch its own tail' paradox.
"Some of the few answers the industry came up with is the introduction of faster machines, more proficient software and more animators. Does it ring a bell? Animation is still a slow process. It can't be done by: add water, stir and serve. Animators have to manipulate each and every frame whether it is CGI or hand drawn, so give them time do what they do best!"
Iain Harvey, Producer, The Illuminated Film Company, Richmond, England
"In a further 50 years from now, it is unlikely that animation or film historians will look back at the present, seemingly limitless and fast developing technological world, as of any particular significance. This is not because I am not excited by what is happening but rather because we are too close to the occasion to be able to judge it effectively. As has always been the case in the past, it is how we make use of whatever techniques are available that will be remembered, not the techniques themselves. Strength of storytelling is why we remember Toy Story as the first fully digitized feature -- a fact that allows such innovators as John Lasseter, and in their time Disney and Henson, to stand out. That is why I hope we do not lose sight of the power of the imagination and the importance of original design as we come to terms with ever-cheapening digital possibilities.
"The next gap I predict will be filled by the first genius that has a mind to make use of the non-linear film formats now available to us. I hope it is somebody with a true love of animation."
Ali Hosseini, Public & International Affairs Director, Saba Animation, Iran
"The third millennium arrived at a time when a spectacular uproar has surrounded the whole world. The majority of multimedia productions are filled with violence. Meanwhile in the next century our world, benefiting from intellectual development, will move toward emotional maturity based on rationalism and ever-increasing self-consciousness regarding equal rights and the proliferation of justice. The world will orient itself toward right and fundamental values of societies.
"The Internet as the most precious technological innovation of the century will reach its utmost efficiency in the development of human intellect. The constructive friction of opinions will ultimately lead to the dominance of reason and rationalism over human societies. Naturally the Internet will seriously affect multimedia content.
"With the development of human intellect, in order to convey complex ideas and compensate the feebleness of literature and words to create common understanding among human beings, the great thinkers of our time will have no choice but to choose animation as a form of conveying complex concepts. This advantage will lead to spectacular developments in animation.
"In the beginning of next decade broadcasters will opt for coproduction, because animation is costly. This will lead to the creation of great regional and international associations and organizations aiming at coproduction.
"Soon we will witness the development of production tools that will continue to decrease in their price. Using Internet capabilities for online transmission of multimedia content will greatly enhance the status and value of intellectuals and artists. The intellectuals and creative people as small groups or as individuals will start producing animation. This will be the manifestation of pure ideas and supreme intellect developed in a free world.
"In the next century human societies will move toward consensus and common attitudes. The ever-increasing progress is the result of common respect and appreciation among different nations of the world. Based on this fact the desire to learn and understand the different cultures will flourish. Artists belonging to different countries and walks of life will produce media content based on their very own cultural and regional substructure. At Saba, we have experienced this fact. The parts of our productions that benefit from Iranian identity and aesthetics have been well received. Iranian animation films are developing with increasing speed and will be created based on our traditional folklore. There are so many Iranian stories blessed with great human values in our literature and culture that they could be the subject of thousands of films and TV series.
"In the end I would like to say a few words about sci-fi animation. This type of animation will constitute a major part of future animation. The trend will be to represent the mythical creatures that live in our world. Their existence is as old as human beings and in the literature and folklore of all nations you can experience these creatures. The Muslims believe in these creatures too -- they are called jen and deeve. Solomon the prophet used deeves for construction of the great temple of Baitolmogadas (Jerusalem). Such beliefs should encourage a lot of artists and animators to produce films of this kind. It's funny but 24 years ago when I was a student in the college of chemistry and physics at SUNY.SB instead of studying I was always thinking about these creatures and their structure. Back then I thought these creatures were very complex magnetic fields that are able to turn into different shapes and forms. I even thought about using these creatures as magnetic bottles in plasma physics.
"To conclude my comments I think based on the beliefs of different nations many films will be made, and the only technology that could possibly create these types of stories is animation. Also I believe a great many animation films will be produced in relation to the worlds after death."
Chuck Richardson, General Manager/Senior VP, Blue Sky Studios, Harrison, New York, USA
"Avoiding the pitfalls of technology, cultivating talent, and accomplishing useful tasks are three great challenges facing our industry in the future just as they have in the past.
"CGI animation maintains a subtle bias believing in technological solutions to creative problems. Creating a believable, thinking character is difficult. The temptation of motion capture or procedural algorithms to create such a character is inviting, especially in light of the serious financial limitations of film companies and commercial clients. I think it will prove a poor substitute and a dead end.
"The palpable future undoubtedly holds more sophisticated and easier to use tools. They will, however, still require people to use them. People are the talent, they create the worlds, environments, and characters that float the stories and keep audiences coming back. We've had the printing press for 500 years and word processors for 20, but still need to cultivate the talent to use them -- our industry must learn how to develop and nourish talent. (I don't know when or if we'll see technology that will, at worst, mimic human intelligence and awareness, or at best, duplicate it. If we end up creating an artificial intelligence capable of creativity and originality -- a computerized Scheherezade for example, its impact won't be specific to this industry, but upon humanity as a whole.)
"Our third challenge is the visual presentation of information. As more efficient means of communicating in four dimensions, via video, film, television, the Internet, etc., evolve, the creative challenge of how to impart complex and meaningful information visually instead of through text will need to be addressed. In the same manner that Disney artists moved from Mickey Mouse to theme parks and urban design, our artists, writers, software authors, and systems people can and should move out from TV spots and theatrical cartoons to become the teachers, guides, and the information transmission experts of the future."
Noel Price, Executive Producer, Southern Star Pacific, Sydney, Australia
"For Southern Star Animation, the big issues are as they have always been -- developing good ideas, getting them financed and producing them as well and as cost-effectively as possible. In a world increasingly dominated by a few major studios the necessity to ensure a plurality of voices is more crucial than ever. Partnerships between small and medium sized companies will continue to be an overriding imperative. The ability to successfully achieve these will determine the future -- not just for animation -- but for every form of film and television storytelling (even allowing for the Internet). Finding partners who share similar values on specific projects (not just on storytelling, but on costs, financing, marketing and distribution) and who are globally attuned will be the key to success for most of us."
Michael Hirsh, Co-CEO, Nelvana Limited, Toronto, Canada
"The next hundred years are going to be the most exciting in the history of animation. With the advent of computer generated imaging (CGI), we are going to see the most exciting programming on television including animation that will be produced for more niche audiences than ever before. Because of the increase of niche programming, there will be an increase in the value of character brands that reach the zeitgeist."
Brian Napack, President and CEO, ThinkBox Media, Hollywood, California, USA
"Searching for Broadband Utopia:As networks and channels scramble to define a broad band presence, they seem to be hoping that ever more programming choices and interactive enhancements such as T-commerce and play-alongs will revive audiences and increase bottom lines. While more programming, greater choice and interactive enhancements are certainly of interest to viewers, the emergence of broad band provides us with a much more interesting opportunity.
"For broad band to achieve its potential, the venerable programming paradigm needs to be turned on its head. Instead of looking for ways to push more and more content down the pipe to an already overwhelmed viewer, the control needs to be taken away from the programmer and given to the audience.
"The broad band interface has the power to transform the TV into much more than a passive entertainment medium. It can make the consumer more than just a viewer, and turn the TV into a powerful, interactive utility that enhances their lives. By providing new tools and robust services that support the audience's personal needs and interests, we, the broad band service provider, can transform the once passive viewer into an active client from whom we can earn increasing income streams.
"We can either facilitate this transformation and benefit from broad band's promise, or we can maintain the status quo and encourage the viewer's steady defection to other, more useful media."
Karl Sinclaire Anderson, Head of UK Production and Sales at Interactive Television Entertainment (ITE), London, England
"For a long time TV has been able to get away with unoriginal and uninspired programme genres. TV has been slow to respond to change, whilst almost every area in the entertainment industry has had to face huge challenges; films, music and video games have all had their come-uppance. They have all responded accordingly and have done extremely well out of that change. Now these areas of entertainment are all chasing TV's share of the market. Extending the versatility and entertainment value to television programming is going to be the key for TV to survive.
"In 1839 it was suggested that Art was dead, in light and discovery of photography. Instead, some of the best art has been born after that time. New scientific art allows painters to release their inhibitions and creativity. So it will be with TV interactivity. I would suggest we should fully explore the opportunity and herald in the new art that could help win back audiences.
"All of ITE's interactive formats and WebChoice technology are about developing and building stronger, more entertaining and more fruitful relationships between the broadcasters and their viewers. So whilst I predict television is in for some big changes over the next few years, it's an opportunity that I am looking forward to."
Léa Zagury, animator and co-founder, co-director of the Anima Mundi International Animation Festival, Brazil
"The main role of an animation festival is to help to maintain, revitalize and promote the art of animation in all of its creative forms.
"An international festival can inspire and influence the animation industry. Most of the participating works, including commercials, educational programming, features, TV animation, and even more specifically the works of independent animators, represent and reflect the latest in ideas, styles and concerns from different cultures around the world.
"Independent animators always had more freedom to find visual languages that could express their ideas and concerns, even if they had to be obscured by symbolism to escape possible governmental censorship. Most independent works prove to have great creativity and diversity of ideas, techniques and experimentation. The combination of all these elements is vital for the development and continuation of animation as an art form through the next century.
"Unfortunately, it took more than a decade for some of the great international independent animation artists to be recognized and respected by the industry. Before, most of their funding came from governments and foundations. Nowadays, there are few grants available and many of these artists have been absorbed by the industry, which has notably benefited from their expertise and their works still influence the commercial and independent world.
"Today, it is harder for the new generation of animators to find a chance to mature their art on personal independent works before they too join the industry.
"In Brazil, over the last seven years Anima Mundi has clearly contributed to the emerging animation industry. The general population's interest in this art has broadened, proving to us that there is an audience hungry for diversity. The language of independent animation has influenced many sectors of this industry. Although there is little funding and opportunities, there are a growing number of independent animators. I hope they will persevere, so this new and exciting moment of the art of animation in Brazil will begin to mature.
"As a festival co-director, I am concerned that quality independent works will diminish if there is lesser funding available, a lack of means for distribution and fewer opportunities to prosper. I truly believe that it is crucial to keep independent voices alive to guarantee the advancement of the art of animation. This will directly benefit and rejuvenate the industry. The international festivals also need more subsidies to better assist the independents participation. I hope that the animation industry and government organizations will increase their contribution to this art with financial support and offer more opportunities for distribution."
Heather Kenyon is editor-in-chief of Animation World Magazine.
