A welcome atmosphere of activity and optimism kicked off the New Year in London, as Exposure Animation got more pitches in the first few weeks of January than during the whole months of November and December. Considering that animation is regarded as live action’s poor relation, this has been very exciting, but slightly unsettling. It leaves me with two conclusions: this is going to be our busiest year yet, or everyone is "panic buying" their commercials early this year, before their annual budgets run out.
It’s only in the U.K. though. In the U.S., I have representation in the Midwest, and my rep tells me that things are very quiet over there, which again makes me wonder if everyone has gone a little mad over here. (An insanity that naturally is most welcome.)
My initial business strategy was to have a roster of directors and illustrators so fresh, new and talented that I would be able to transcend the current market state with sheer passion and enthusiasm. Ahem. Yes, well, I am readdressing my strategy to get into the mindset of "commercial America," a pretty tall order at any level. I rolled up my sleeves and came over to the States at the end of last year to be part of an executive panel at the Chicago Animation Festival. The discussion topic was "The State of the Animation Industry Today," and the panel was made up of prestigious speakers, from Pixar, Sony DreamWorks, Nickelodeon, Digital Domain and me. It was oddly a very comforting experience, to know that these animation giants have the same areas of concern and insecurity as the rest of us. How can we survive in the current climate, when budgets are shrinking and demand is lessening?
We discussed how design plays a major role in animation commissions; if new styles and textures are not given a chance, then we are all simply going to be recycling tired old techniques that no one is going to get excited about, and no one will continue to commission if it’s all been seen before.
I laid a small portion of blame at the feet of Disney. If you look at Sinbad or Brother Bear, it’s like having a supermodel dressed in drab, nondescript garb that does not fulfill the potential of her moves or her personality. If a feature film giant isn’t creating new styles and techniques that challenge the general public’s perception of animation, then how can we expect advertising agencies to lead the way in groundbreaking animation?
The thing is, we do expect it, but not without just cause. If it weren’t for animated commercials, the animation industry would be lost at sea. We would not be able to survive or fund in-house projects and short films that inspire the advertising world in the first place.
The U.K. and U.S. have commissioned some of the most charming and innovative animated commercials over the last few years, and by choosing an organic art form to sell your chewing gum or your deodorant, you set incredible parameters for an artist/animator to work within, which can be challenging and incredibly satisfying. We achieve a piece of living art that fulfills all aesthetic values, but also serves a commercial purpose.
The last couple of years saw the production industry through some of the toughest times. Some live action companies were forced to close their doors, but somehow even the smallest animation companies have managed to keep their heads above water. So how is this possible? A good year used to equal three music videos, three U.K. commercials, a couple of title sequences and one big job from the States.
Now the economies have shifted a little. The elusive "one big job from the States" for some of us is becoming a thing of myth and legend: "I once had a budget of $1.2 million!" " I once had a ten-second spot for $350,000!" Rather like fisherman discussing the one that got away.
I feel that the solution to attaining that elusive "big job" has to be a creative one. Consequently, my aim is to ensure that my directors, while fitting into the required "genres" of animation, all have something unique about them, as well as the ability and the desire to push their styles and techniques further. They need to have the ego to work with other artists and illustrators. "Artistic collaboration" is my new strategy, an irresistible fusion of art, design, graffiti, textures and motion.
This year is not going to be a case of survival of the fittest but rather survival of the prettiest.
