Animation

Thanks for sharing Laurie Ashbourne! It's a fascinating read, although I didn't make it through all of it (there is A LOT of info there). It seems like a no-brainer to me.

I applaud every effort to revitalize the industry. My cynical side feels that the ones who will benefit most will not be the artists and indie creatives, but the studio system, which is on a path to replace as many jobs with AI as possible.

Perhaps this could also end up being an irony, just as Pixar, which was founded after Disney left to focus on digital animation, later became part of Disney. What do you think friend Bob?

Bedirhan Öztürk i think it will take indie artists to figure out a creative way of producing and distributing content to become self-sufficient.

You are right. I am also a practitioner of what you say, but even if you have sufficient financial and intellectual accumulation on your own, you can only go so far.

Thanks everyone for the great responses

This has always been a topic I’m drawn to how emotion and humor mix in animation and create something that feels honest and still fun to watch.

@Sydney really appreciate your words.

I’ve just finished my first animated feature film called Kare Kafalar also known as Square Heads

You can find it here:

https://www.imdb.com/title/tt36283648

Right now I’m trying to bring it to cinemas in Turkey and planning to start my second film within the next month.

Thanks again for the support and interest it means a lot.

Great question. I always try to make sure the story is solid and the emotional tone is set, and then try to find where the humor naturally fits.

Such a great question, Serhan Yorganci! Finding that sweet spot between heart and humor is what makes so many animated stories unforgettable. I think it often comes down to grounding the humor in character. When the laughs come from who they are and what they’re feeling, not just a punchline or gag, it helps the comedy and emotion work hand in hand. Projects like Turning Red and Netflix's Leo are great examples of this balance.

Great point, Ashley Renee Smith I totally agree! Turning Red really balanced heart and humor in such a real, relatable way. It captured all the awkward parts of growing up without losing its warmth. And I really enjoyed Leo too. it was simple but surprisingly emotional and funny. I loved the overall vibe…

Absolutely Bob Harper… Getting the story and emotional tone right first makes a huge difference. When the humor comes in naturally after that, it feels much more real. I feel the same way…

Hey, Cyrus Sales. I haven't played console games in a long time, but I play mobile games sometimes when I have time, and I like to watch console game walkthroughs on YouTube (like the Telltale games where a player has to make choices). I think the trend of animated games will continue growing. The Green Ember is something I'd watch a gameplay walkthrough for.

This is such an exciting move for Brazen Animation, Cyrus Sales, and it feels like a natural evolution for studios that prioritize bold storytelling and strong visuals. The idea of animated games that carry the same narrative depth as films or series opens up so many creative opportunities.

This is true. And it is less expensive. But understand that most animation houses in other countries are service houses -- meaning they need to be paid for their services. You can likely find one who will meet and discuss the costs and style so you have a more well-rounded package to find investors and talent.

Thank you so much for your insights, Laurie!

Laurie is correct. Also, many countries offer incentives based on a point system for areas of production created within their country, such as writer, director, composer, etc. Many times, when I've tried dealing with some of these companies, their offer for the screenplay and the rights associated with it was unfavorable to the writer, since they would benefit more if the writer were someone from their country.

thank you, Rich, fortunately I was able to connect with one of the moderators here who has a studio in Texas and they’re working on a proposal now

That's great, Gregory Bonds! Congratulations!

Hi, Cyrus! Happy Friiiiday! Thanks for asking. I’ve had a couple of consults and a complete read and took that feedback and incorporated where I could and feel like I really have it right, now. i’m about to reach out to overseas Studios now that I have a better understanding of the dynamics, but would really like US based production… Not that I would turn down international production.

I’ve been told I have a unique concept that we haven’t seen applied before , A new take on the anthropomorphic genre, with a colorful twist, so just trying to introduce it to Animation Producers.

here’s the very first feedback from over three or four years ago that encouraged me to continue the story. Now, with the outstanding feedback from your executives here on Stage 32 it should be ready to make its mark.:

Mara Gagnon - Creative Executive, Oddball Entertainment "He has high stakes and colorful characters that work well for the animated market. A really interesting premise we have never heard of before."

*Diverse Voices - "The script has a fantastic sense of creativity and is filled with incredible imagination"

Before I start an entire message thread under this post. I believe we are already connected network wise. I own a media production company (animation, audio and VFX) based out of Dallas, Texas. I'm not too sure how we can help but I'd like to see where we align and go from there, if you are open to it?

But, of course! I did not know that but, yes, let me know what you need from me, Cyrus!

Thanks for sharing Cyrus Sales! I was an Ultraman fan as a kid, so I'm excited to see this. I totally missed the movie on Netflix, so I'm looking forward to watching it.

Thanks for sharing Suzanne Bronson

Love Phoenix, wish I could attend Suzanne!

Impressive! Animation is all the craze!

I'm glad independent animated films are making significant waves in theaters, Ashley Renee Smith! The audience is getting incredible stories to watch, and it opens up more opportunities for other indie creators.

I absolutely love seeing post like this! Gives me hope for what is possible in the future.

Thanks for sharing this, Bob Harper! It’s always helpful to see who’s currently shaping the animation landscape, especially for those of us looking to stay informed, find inspiration, or even identify potential collaborators or mentors. While the industry is always evolving, lists like this give great insight into the creative and executive powerhouses driving innovation right now. Definitely a valuable resource to keep on hand!

Thank you Bob Harper for sharing this. I was talking with the co-owner of my production company and we spoke about wanting to dive deeper into the animation space and getting a grasp of who is all out there and what they've done and are currently doing. I like that it provides a list of individuals but also gives a summary of each accomplishments. Truly inspiring.

Great share Bob Harper - so many names that I'm more familiar with than others. It's like you can tell what brands we're into by the names we recognize (Sam Register/Chris Meledandri). John Lasseter is a brand in himself.

Such an odd mix of a list, but it's great that it is, and includes a variety of creators and reps and execs. Although 3 and half months into 2025 and much of it is already inaccurate, so definitely do your homework before contacting any.

Laurie Ashbourne I agree the list isn't accurate, like you, I noticed the eclectic choices they made. The only people with real power in the industry are those at the top of the heap. The rest come and go.

In order for this project to be done, not only Disney's approval is required, but also the approval of the creators of the characters I am dealing with. I must meet with them as well. This includes Ford Riley.

Bedirhan Öztürk I understand your enthusiasm, but you must learn how animated films are developed and distributed or you will be chasing your tail trying to get something that is insurmountably difficult to get off the ground. Please re-read my notes above. In addition to:

No one who works for these major studios owns the characters they create or adapt.Ford Riley does not have any ownership over the projects he has worked on. Or any say in how they are used. Disney has an IRON CLAD paragraph in all of its employee contracts that states they own in perpetuity throughout the universe anything the artist conceives of while in their employ. It is the reason most decide to leave the company, myself included.

As a writer, you do not get to dictate a timeline. I'm glad you realize it will take a long time, but it's not clear to me what you using for your calculation. A fast moving animated feature takes at least 4 years. Most of the ones we all know and love average far more than that for various reasons. Not all are actively productive for that length of time. But they are still a cost burden to the studio.

Disney Channel is a distribution platform, it's content is produced by Disney Television Animation, which is a Division of Walt Disney Studios, as is Pixar.

Netflix is a distribution platform that strikes licensing deals with studios such as Sony, Dreamworks, Warner Bros. and Skydance among others -- BUT NOT DISNEY. They have attempted to build an animation studio for their own content but are pulling back on that because of the deals they have in place to license other material. They do not own the characters or films they license.

Nickelodeon is owned by Paramount, which will soon be owned by Skydance. Nickelodeon has a deal with Netflix and Paramount + both of which will likely change once the Skydance sale is complete. Aside from Spongebob and the Ninja Turtles, their feature output is kaputz.

Dreamworks (features and television) are now a subsidiary of Universal and license to NBC/Universal/Peacock as well as Netflix. Universal owns the rights to most of its back catalogue.

I understand. As you said, if I follow the path you have indicated to carry out my plan firmly, I can only succeed, and that is a difficult possibility. Because I want to cooperate with all the writers, including those who are separated to preserve the original nature of the characters. I am infinitely grateful to you for all your explanations.

Of course. I hope it helps. Just know that Disney in particular does not play well with other studios; if they want to be in business with another studio, they typically buy it. They are ruthless in any sort of creative contract negotiation. My last contract with them was at a standstill for over a year, until a dear friend of mine stepped into a leadership position and made it happen and I got a huge signing bonus and a year of back pay to cave into their demands. Writers are somewhat interchangeable/disposable to them.

Understood. Taking all this into account, it seems that I will have to be a central figure. That was my plan, thankfully. But I also want to be someone who is unusual and who will test their patience when necessary. I hope that I will be able to achieve this by applying the steps I have learned from you and presenting them with both official and universal procedures once I am established there. I am eternally grateful to you.

Genndy is great! Glad to see this feature get released.

Bob Harper this was my first time hearing about the show. I might check it out in my down time.

Between the premise, the stacked cast, and Genndy’s signature style, this feels like it could make a serious impact in the adult animation space, especially with Netflix leaning into bolder storytelling.

Thanks for sharing, Cyrus Sales!

I'm not crazy about the concept/idea, but if anyone can turn that concept into something amazing, it's Genndy. He has yet to direct/create anything that isn't absolutely amazing.

Bedirhan Öztürk It’s clear you’ve poured a lot of heart and thought into your story, and I admire the scope of your ambition. If you’re unsure of your next steps and looking to connect with someone who can help you navigate the industry and share your ideas with the right people, I highly recommend reaching out to our Stage 32 Success Team at Success@Stage32.com.

Let them know more about your goals and project, and they can help guide you to trusted executives, writers, or services for feedback, development, and potential pitch opportunities. They’re a fantastic resource and are always happy to point you in the right direction.

I am infinitely grateful for the deep interest and respect you have shown to me and my work.

Welcome to the community, Bedirhan Öztürk. Here's a blog that'll help you navigate Stage 32 and connect with creatives and industry professionals all over the world (www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...). I hope you reach your goal to make a long-term Animation series/film series and hope the resources on Stage 32 help!

Grazio Dear Mr. Maurice. I am grateful.

You're welcome, Bedirhan Öztürk.

Thank you Kevin I will check it out

Kelvin Avon thank you for sharing this, as I'm entering the same stage or have come across the same issue. Not too sure which direction to go and huge thank you to Ashley Renee Smith. I had no idea about the success team and what was possible with reaching out to them. Definitely going to have to utilize this resource.

If you can produce something and get it into festivals, that will help get exposure, which can lead to representation or pitches. Right now, in the Hollywood animation system, most companies are taking pitches but not buying projects, especially if they are not based on IP or have a built-in audience.

Thank you Bob, that is what I am trying now. I have a pilot produced which I am now submitting to festivals. I am also Buidling the IP's IG Presence as social media is a big part of the the IP. So far so good, had a some positive feedback and just selected for it's first festival

There are common things in academic life, whether it is scientific or someone like me who wants to make an alliance in the animation world. Everyone should first notice you, then get to know you, then spread your name and after all this, they want you to be their permanent reference. That's why I recommend that you do your best to put yourself in the foreground right now. Because from this point on, every moment you show yourself will be an opportunity to present your ideas.