Please note: this profile is now part of an archived conference and information may be outdated.
Deborah started her career during the early days of Channel 4, buying animation by the minute including Pixar’s ‘Tin Toy’, and Nick Park’s ‘A Grand Day Out’. She soon became the Channel’s senior negotiator for animation, entertainment and youth programmes responsible for annual programme budgets of £28 million. Deborah worked on ground breaking animations from Aardman, TVC, Spitting Image, Oscar winning team Snowden Fine and many more, helping to raise finance and stretch the Channel’s annual £1million budget as far as possible within the animation community. After 9 years at Channel 4, Deborah joined Absolutely Productions where she worked on the BBC show ‘Stressed Eric’ (co-produced by Klasky Csupo, makers of The Simpsons). Then Deborah set up asos.com with her partners in 1999. After the successful float of this online retail business, Deborah returned to television as Group Commercial Director for Noel Edmond’s Unique Communications Group. In recent years Deborah has worked as a consultant and EP on a broad range of animation and drama projects with clients and collaborators such as Rob Minkoff (director of Disney’s The Lion King) and Agatha Christie Limited.
A primer on animation financing. The panel will discuss financing a pre-school series and an animated half hour, looking at the differing options available and how they fit together. A chance to hear fresh insights from the frontline of funding from key decision makers, financiers, distributors, producers and deal makers all of whom will be available afterwards for one to ones.
Speed Meetings: Licensing Masterminds & Money Talks
Representatives from these sessions will be available for 5-minute one-to-one advice meetings. You can arrange to meet them by coming to Registration to book in at the start of each Speed Meeting block. There is no advance booking – it is on a first come, first served basis.
Co-Development: When Two Become One
Co-developing is frequently a creator’s first step in getting their original concept developed, funded and produced. It is the most common model for developing children’s content and often leads to an inexperienced creative having to make a huge leap of faith in their dealings with a much more experienced and business savvy children’s producer. Using a role play between a new, inexperienced creator and a very experienced studio producer, our panel of experts will arm our new creator with the necessary guidance, information and rights know how, as to how to strike the best deal. This session will provide a primer on…
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