Manimation 2019 – Global Opps.
The realities and benefits of working with co-producers:
- Look out for people who are on the same wavelength. Make it a real partnership.
- Have the conversations at the start of the co-pro.
- The difference in time zones is interesting . You can easily lose a day on the animation schedule.
- Don’t have money changing countries as if the exchange rate shifts your budget will rise.
Tamsin Lyons (Ink and Light)
- We’re a small company and it can be lonely. With an international co-pro, you have partners to share the highs and lows and creative decisions. Our partners in Ireland and Finland are supportive and are great broadcasters. They have made it more fun.
- Look out for people who are on the same wavelength. Make it a real partnership. The country might be great but it’s really about the partner. Make sure you find someone with complementary skills.
- ‘Ollie’ is the show we’re working on at the moment – working with a larger company means we can benefit from their experience. It takes longer to develop your own content. With co-pro you can get to the fun bit faster.
- ‘Ollie’ is for 2-4-year-olds. It has no dialogue and is with RTE Junior
- Finally got money in early 2019. Irish, Belgian, Norwegian co-pro. Airing on December 1st, 2019.
Tony Reed (BBC Children’s)
- Co-producing 2-D animation ‘Love Monster’ based on books by Rachel Bright. This is a 3 way co-pro with BBC, UYoung (China) and a Canadian producer – interesting journey working with the different cultures and time zones.
- Our Chinese partners loved the show. We had to keep it simple – hence 3 animation companies.
- There are lots of changes with the Chinese government as to how they allow co-production working with the West, so you need to be aware of the thinking.
- We all followed the same creative path and started working on the show together from an early point in development.
- The difference in time zones is interesting you can easily lose a day on the animation schedule. You always seem to need more time.
Genevieve Dexter (Serious Lunch)
- Try and keep the money in the same countries. Don’t have money changing countries as if the exchange rate shifts, your budget could rise.
- ‘Okido’ UK is a good case study. It had a wide mix of investors which really worked.
- Try and retain the power seat. If you know the overseas broadcaster start the conversation and you will retain the power. Try and do the leg work – by visiting the studios in the co-pro. This takes time. You need access to the broadcasters and to get to know the production team.
- Have the conversations at the start – we had a problem with production software because it wasn’t compatible.
- Money in Belgium is incredible. There’s a 40% tax break. And you don’t need a Belgian broadcaster!
Founder & Director
Serious Lunch Distribution & Eye Present Productions
Founder & CEO
Ink and Light
Genre Lead, BBC Children’s Animation & Puppetry
Fudge Animation Studios
Toon Boom Animation/Animation Associates
Business Development UK & Ireland/Director