Cartoon Forum 2021 - Press Review by CARTOON

PRESS REVIEW

Le film français - 17/09/2021

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12 APPEL À PROJETS

Les Prix du Scénario renforcent leur soutien aux auteurs émergents Les Prix du Scénario ouvrent leur appel à projets pour l’édition 2022. Les candidats pourront déposer leur dossier du 22 septembre au 13 octobre (https://prix-scenariste. org). À noter que pour cette 35e édition, ce concours évolue, suite aux “échanges et réflexions avec le CNC, partenaire des Prix, et afin d’être au plus près de la mission que les Prix se sont fixés depuis leur origine : aider à mettre la lumière sur les talents de demain, et les accompagner de façon concrète”, précise Marion Delord, Dg d’Hildegarde* et présidente des Prix du Scénario. Ainsi, seuls les scénarios de premier long métrage sont invités à concourir. Peuvent candidater les scénaristes, sans limite d’âge, à condition qu’ils n’aient jamais eu de scénario de long porté à l’écran, qu’ils soient accompagnés d’un producteur ou non. Les scénarios des finalistes seront lus par un jury de professionnels et récompensés lors d’une cérémonie de remise de prix, dotés par la Fondation David Hadida et le Prix France Culture début 2022, au Cinéma des Cinéastes et en partenariat avec L’ARP. Par ailleurs, les Prix du Scénario créent un nouveau trophée, dont la dotation viendra en appui de dépenses d’écritures additionnelles du projet primé (adjonction d’un coauteur, consultation auprès d’un scénariste…) Il sera remis à un projet pour lequel le comité aura décelé un potentiel qui mérite d’être approfondi pour parvenir à une version plus aboutie, et lui donnant ainsi toutes les chances d’être soutenu et financé par la suite. “Au Prix du Scénario, nous avons une responsabilité importante à l’égard des candidats finalistes puisque nous leur offrons l’opportunité d’être lus par un jury prestigieux. Ce ‘tremplin’, nous souhaitons le consacrer aux projets de 1er long métrage, afin de mettre la lumière sur les talents en devenir. Nous avons également désiré cette année porter l’accent sur l’idée d’accompagnement dans l’écriture, c’est pourquoi nous avons voulu remettre un prix spécial, pour scénario à potentiel méritant un travail de réécriture, afin de donner toutes les chances au projet de se concrétiser ensuite par sa mise en production”, conclut Marion S. D. Delord. ❖ * Groupe propriétaire du “Film français”.

ACTUALITÉS

[Rendez-vous]

LE CARTOON FORUM DE NOUVEAU À L’HEURE TOULOUSAINE Cette nouvelle édition, qui se déroulera du 20 au 23 septembre, a gardé une dimension numérique, sous la forme d’une session de rattrapage des vidéos disponibles à partir de la clôture de la manifestation physique. ■ PATRICE CARRÉ

es participants du Cartoon Forum vont pouvoir se retrouver au Centre de congrès Pierre-Baudis à Toulouse, qui accueille la manifestation depuis 2012. Les contraintes sanitaires toujours en vigueur ont tout de même eu raison des grands buffets qui réunissaient l’ensemble des professionnels à l’heure du déjeuner dans l’espace dédié du centre. Par ailleurs, quelques acheteurs n’ayant pu faire le déplacement, essentiellement originaires d’Amérique du Nord et latine et des pays asiatiques comme la Corée du Sud, bénéficieront d’une session de rattrapage, qui ne correspond pas pour autant à une version hybride de l’événement. Dès la fin du dernier pitch, soit le jeudi 23 septembre à partir de 16 h, sera activée une plateforme qui donnera accès aux présentations de l’ensemble des projets, via des vidéos d’une dizaine de minutes enregistrées à l’avance par les producteurs. L’occasion aussi, pour ceux qui étaient sur place, de rattraper les présentations manquées ou de revoir des coups de cœur. La plateforme, la même que celle du dernier Cartoon Movie, sera accessible jusqu’au 15 octobre et permettra également de dialoguer via des chats, voire d’échanger des documents.

930 PERSONNES INSCRITES

Au moment de notre bouclage, 850 participants étaient inscrits à l’édition physique et 80 à la version catch-up, soit un total de 930 personnes. Une quarantaine de pays seront représentés sur place, mais le fait notable est une forte diminution des Britanniques, les projets en provenance de Grande-Bretagne n’étant plus éligibles au programme Media, du fait du Brexit. Le pays sera néanmoins présent via quelques coproductions. Par ailleurs, le maintien de la quarantaine pour les Anglais non vaccinés à leur entrée sur le sol français, même en cas de sérologie négative, a amené notamment la BBC à annuler sa venue. Sélectionnés parmi 141 candidatures, 84 projets de séries, miniséries et unitaires TV venant des studios indépendants de

Les nommés aux Cartoon Tributes 2021 Diffuseur de l’année • Canal+ (France) • France 4 (France) • Ketnet-VRT (Belgique) • Rai Ragazzi (Italie)

Investisseur/ distributeur de l’année • Dandelooo (France) • Meta Media Entertainment (Royaume-Uni) • Miam ! Animation (France) • Planeta Junior (Espagne)

Producteur de l’année • La Station Animation (France) • Sardinha em Lata (Portugal) • TAT Productions (France) • Wiggleywoo (Irlande)

21 pays européens sont là cette année, contre 80 projets issus de 22 pays l’an passé. Des chiffres similaires donc, mais l’une des caractéristiques de ce cru 2021 est un coût par minute de production d’animation en légère diminution par rapport à 2020 : 11 887 € versus 12 250 €. Une tendance déjà constatée lors du dernier Cartoon Movie. Les projets choisis représentent 457 heures d’animation, pour un budget total de 326,1 M€ avec un coût moyen par projet de 3,9 M€. La France est en tête de la sélection avec 33 projets, suivie de l’Irlande (11), de l’Allemagne (8), de l’Espagne (6) ou encore de la Belgique (5). Par ailleurs, cinq projets ont été pris directement dans le cadre de différents accords de coopération noués au fil du temps, comme celui avec les Allemands de l’Animation Production Days (APD) à Stuttgart. “L’une des conditions du Cartoon est d’avoir une lettre d’intérêt d’une chaîne, explique la directrice de Cartoon, Annick Maes. En Allemagne, il est parfois difficile d’avoir un engagement de chaîne. Durant la tenue de l’APD, ce sont donc elles qui ont sélectionné deux séries pour aller au Cartoon Forum”, à savoir Lambs (26x4 min., Studio Film Bilder) et Bugs and Guns (Wolkenlenker). Une autre collaboration avec le CEE Animation Forum permet aux pays de l’Est, dont la production peine parfois à s’imposer hors de leurs frontières, de mettre en avant leurs professionnels. Elle a profité cette année à un projet polonais Robot and the Martians (26x4 min., Badi Badi). Et les résultats commencent à se faire sentir puisque quatre productions venant de la République tchèque seront pitchées cette année. Enfin, la 3e coopération avec la Fédération Wallonie Bruxelles et la RTBF a permis à deux projets, Muscaria (10x11 min, Galmar Films) et Bookworms (8x13 min, Mad Cat Studio), d’être présentés à Toulouse. Parmi les producteurs habitués du Cartoon, seront notamment dans la Ville Rose les Français Les Armateurs* (Abysses, unité très spéciale, 52x13 min), Autour de Minuit (Flippé, 20x2 min), Dandelooo (C’est ton corps !, 26x5 min) Vivement Lundi ! (Compostman et moi, 52x11 min), Xilam Animation (Piggy Builders, 52x11 min), Cyber Group Studios (The McFire Family, 52x11 min), Ellipsanime Productions (Under the School, 8x26 min), Les Films du Poisson Rouge (Voro, 16x26 min), Magical Society (Mister Crocodile, 52x11 min) et Studio 100 Animation (Rek & Nola, 78x7 min) et des européens tout aussi historiques tels que Fabrique Fantastique (Belgique), Ulysses Filmproduktion (Allemagne), Red Monk Studio (Italie), Animoon (Pologne), Sardinha em Lata (Portugal), Peekaboo Animation (Espagne) et Animagrad (Ukraine). Mais 23 nouvelles sociétés jamais venues au Cartoon seront aussi de la partie. Représentant près de la moitié de la sélection avec 41 projets, les séries destinées aux 6 à 11 ans continuent de gagner du terrain, de même que les projets jeunes et adultes qui passent de 14% à 17%, tandis que le nombre de séries preschool (3à 6 ans) diminue légèrement. Et le pays à l’honneur sera le Portugal, déjà prévu en 2020, cinq séries TV portugaises étant pitchées durant ces quatre jours. Enfin, tous les participants pourront voter sur la plateforme pour désigner les lauréats des Cartoon Tributes, qui seront révélés en live le jeudi à midi. ❖ *Participation majoritaire d’Hildegarde, propriétaire du “Film français”.

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Cartoon Forum

Un 32e Cartoon Forum sous le signe des retrouvailles

L’événement revient en présentiel, tout en respectant bien sûr un protocole sanitaire strict. Environ 800 participants se sont inscrits. Chaque année, Cartoon Forum, le rendez-vous européen de la coproduction de séries animées, organisé par Cartoon, l’association européenne du film d’animation, est un événement que les professionnels attendent avec impatience. Toutefois, pour cette 32e édition, qui se tient du 20 au 23 septembre, à Toulouse, l’impatience n’aura sans doute jamais été aussi grande. En effet, il faut rappeler que, en 2020, Cartoon Forum n’avait pu se tenir en présentiel et avait eu lieu sur le numérique, en raison de la pandémie de Covid-19. Si Cartoon avait réussi ce basculement en ligne et que l’édition s’était avérée un succès, ce n’était toutefois pas pareil. Il manquait la convivialité, le retour direct de l’assistance lors de la présentation d’un projet, la joie de découvrir « ensemble » une série dont on pressent qu’elle sera le programme phare de demain… Bien évidemment, Cartoon Forum, c’est un marché - on est là pour que des productions naissent -, mais c’est aussi souvent des sessions de pitchs mémorables, drôles, et parfois émouvantes. Et tout le monde a conscience que la réussite d’une session de pitch, c’est déjà une partie importante du parcours effectué pour provoquer l’intérêt des acheteurs. Malgré la crise sanitaire qui sévit toujours, cette année, il va être possible, pour la communauté de l’animation européenne, de se retrouver. Environ 800 participants sont inscrits. Alors, oui, ce ne sera pas encore « comme avant », il faudra respecter un protocole sanitaire strict et nécessaire, mais c’est déjà mieux que rien. Et puis, il y a des évolutions. « Bien que l’événement revienne en présentiel, ce sera quand même pour nous un “nouveau” Cartoon Forum, indique Annick Maes, directrice générale de Cartoon. Nous n’avons pas opté pour une version hybride, mais nous proposons en complément une plateforme, ouverte depuis mi-septembre, notamment pour que les participants puissent voter pour les Cartoon Tributes [récompenses attribuées aux diffuseur, distributeur/ investisseur et producteur européens de l’année, Ndlr]. Par ailleurs, le 23 septembre, en fin d’après-midi, la plateforme permettra, entre autres, de voir des vidéos de 10’ présentant chacun des projets sélectionnés. Et il sera encore possible pour ceux qui le souhaitent d’y

« Mister Crocodile » (52 x 11’, Joann Sfar’s Magical Society) figure parmi les projets les plus attendus.

remplir des fiches « feedback. » La plateforme sera accessible jusqu’au 15 octobre inclus ». En présentiel, outre les sessions de pitchs, la grande majorité des temps forts qui rythment Cartoon Forum seront de retour (dîners d’ouverture et de clôture, Croissant Show, etc.), mais avec un aménagement pour respecter le protocole sanitaire. De même, la mise à l’honneur d’un pays est de nouveau au menu, et c’est le Portugal sur lequel les projecteurs seront braqués. « L’industrie de l’animation portugaise n’est finalement pas très connue en dehors de ses frontières. Elle s’est surtout distinguée pour son travail dans le court métrage – elle a d’ailleurs remporté plusieurs fois le Cartoon d’Or [prix décerné au meilleur court métrage européen de l’année entre 1991 et 2016]. Or, elle compte en son sein beaucoup de talents dans d’autres formats. Pour preuve, nous avons, pour cette 32e édition, quatre projets portugais au sein de la sélection. Je crois que ce pays n’en avait jamais eu autant », commente Annick Maes.

(4) et donc le Portugal (4). Les projets anglais ne pouvaient plus prétendre à la sélection. A la suite du Brexit, l’Angleterre a été radiée du programme Média, qui soutient Cartoon. Parmi ces 84 projets, 49% s’adressent aux enfants âgés de 6 à 11 ans ; 29% aux 3 à 6 ans ; 5% à une audience familiale ; et 17 % aux jeunes adultes et aux adultes. Du côté des techniques, 56 % des programmes seront conçus en 2D ; 28% en 3D ; 14% allieront 2D et 3D ; et 2% convoqueront d’autres techniques. Le budget moyen d’un projet s’élève à 3,9 M€. « Les coûts des œuvres sont un peu moins importants qu’ils ne l’étaient en 2019 et 2020. C’est un des effets de la crise ; on constate que les producteurs se montrent plus prudents à l’idée de porter des projets plus lourds », pointe Annick Maes. En termes de contenus, la directrice générale de Cartoon confirme que les tendances observées ces dernières années se poursuivent : « D’une part, il y a beaucoup d’adaptations de livres ou de bandes dessinées, et qui ont pour particularité d’accorder une place centrale aux héroïnes. D’autre part, l’écologie est un thème particulièrement récurrent. Enfin, les questions sociétales et politiques sont très traitées, comme la représentation de la diversité, la dépression ou le burn-out. » Beaucoup de propositions devraient susciter la curiosité des participants, de Mister Crocodile (52 x 11’, Joann

Des tendances qui se confirment Concernant ce cru 2021, on retiendra que 141 projets avaient été reçus, et que 84 ont été choisis. Comme d’habitude, la France est le pays qui présente le plus de projets (33), suivie par l’Irlande (11), l’Allemagne (8), l’Espagne (6), la Belgique (5), et la République tchèque (4), le Danemark

Annick Maes, directrice générale de Cartoon.

Sfar’s Magical Society, pour les 6-11 ans), création de Joann Sfar, à Castor & Cie (52 x 7’, pour les jeunes adultes et les adultes), série imaginée par la jeune société Plip ! Animation, et satire du monde du travail qui promet d’être très drôle. Notons que de nouveaux acteurs participeront pour la première fois à Cartoon Forum. Cette année, c’est le cas, par exemple, de la plateforme pour le jeune public Benshi (France) ou de la plateforme spécialisée dans l’animation adulte Glitch ! (Pays-Bas). Lucas Fillon

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Cartoon Forum

Directeur de l’animation et de l’unité jeunes publics/éducation de France Télévisions, Pierre Siracusa revient sur l’importance de Cartoon Forum et fait le point sur les ambitions du groupe en matière d’animation.

adultes sont visibles sur France. tv Slash. Au dernier Mifa, il a été affirmé que le groupe voulait aller plus loin sur ce type de contenus, et s’adresser à tous les adultes, pas seulement les plus jeunes d’entre eux…

C’est notre autre chantier prioritaire de l’automne. Nous réaffirmons que nous avons envie de soutenir davantage l’animation pour adulte, et pour tous les adultes. Et si, jusqu’à présent, nous avons accompagné des séries qui affichaient clairement le fait qu’elles étaient pour les jeunes adultes et les adultes, parce qu’elles étaient de genre ou avaient des aspects « trash » - des prog rammes que nous adorons par ailleurs ! –, nous avons bien conscience que les œuvres animées pour cette catégorie de spectateurs n’ont pas nécessairement besoin d’être « radicales ». Elles doivent mettre en avant toutes les histoires.

France Télévisions est l’un des partenaires de Cartoon Forum. Ce marché est pour vous et votre équipe un rendez-vous clé…

Cartoon Forum est un événement majeur. C’est le meilleur endroit pour cerner les tendances du secteur et c’est un lieu de découverte. On y voit des projets qui ne seraient pas naturellement venus à nous, d’autres dont on avait déjà eu connaissance et dont on constate à quel point ils ont mûri, et d’autres que nous soutenons et qui sont présentés à la profession. Après chaque session de pitch, on peut entamer un dialogue avec les auteurs et producteurs sélectionnés pour défendre leur programme ; c’est très constructif et passionnant. Nous ne raterions ce temps fort pour rien au monde. Vous êtes déjà engagé sur trois des projets figurant dans la sélection…

En effet, nous développons Mister Crocodile (52 x 11’, Joann Sfar’s Magical Society, pour les 6 à 11 ans) ; Le Refuge d’Audrey (52 x 11’, Watch Next Media, pour les 6 à 11 ans) ; et Les Gardes Chimères (52 x 11’30, Monello Productions, pour les 6 à 11 ans). Mister Crocodile marque le retour de Joann Sfar à l’écriture d’œuvres pour les enfants. C’est une comédie autour de l’amitié entre un crocodile et une petite fille, Daisy. Le Refuge d’Audrey aborde de manière novatrice les sujets du rapport à l’animal et de la sauvegarde des espèces. Quant aux Gardes Chimères, c’est une série portée par Clément de Ruyter, Lila Peuscet et Marie Manand. Clément de Ruyter et Lila Peuscet ont fait partie de l’aventure « En sortant de l’école » [collection de courts métrages produite par Tant Mieux Prod avec France Télévisions et dont la réalisation est confiée à de jeunes talents de l’animation française, Ndlr]. Nous sommes fiers d’observer le parcours qu’ils ont eu depuis. Les Gardes Chimères raconte la rencontre entre deux petites filles et des animaux mythologiques. Il y a un vrai lien avec l’univers d’Hayao Miyazaki. En parallèle, nous suivons évidemment l’évolution d’autres projets. Je le redis, Cartoon Forum, c’est le lieu de la découverte ! Depuis le tweet d’Emmanuel Macron du 18 mai dernier, on sait que France 4 est maintenue. A présent, l’offre jeunesse de France Télévisions est stabilisée. Pouvez-vous refaire un point sur l’exposition de celle-ci sur les antennes et les espaces numériques du groupe ?

L’offre jeunesse repose sur deux piliers : Okoo et Lumni. Okoo, qui pro-

Pouvez-vous nous citer quelques nouveautés de la rentrée ?

Pierre Siracusa « La force de notre offre, c’est sa diversité » pose des programmes ludo-éducatifs et de divertissement, se déploie à la fois sur le linéaire et sur le numérique. Sur le linéaire, France 4 est le vaisseau amiral. En journée, la chaîne, de 6 h à 20 h, propose des œuvres animées pour les 4 à 12 ans, mais aussi d’autres types de contenus (fictions, magazines…). L’animation trouve aussi toujours sa place sur d’autres chaînes. Sur France 5, tous les matins, il y a une case dédiée aux préscolaires [de 5 h à 9 h 10 du lundi au vendredi, de 5 h à 10 h le samedi, et de 5 h à 9 h 20 le dimanche]. Sur France 3, également chaque matin, il y a une case pour les 6 à 12 ans et dont l’ambition est aussi de réunir un public familial [de 5 h à 9 h 10 du lundi au vendredi, de 5 h à 10 h le samedi et de 5 h à 9 h 20 le dimanche]. Sur les chaînes 1ère, du lundi au vendredi, il y a une case le matin,

pour les 4 à 7 ans, et une case pour les plus de 6 ans l’après-midi [de 6 h 30 à 7 h 30, de 16 h 30 à 18 h – le mercredi, début de la case d’après-midi à 15 h 30]. Okoo, c’est donc aussi une application, dont le succès ne cesse de croître. De plus, Okoo est disponible via France.tv. Quant à Lumni, c’est une plateforme éducative. Depuis la rentrée, nous travaillons à voir comment renforcer la dynamique entre Okoo et Lumni, comment articuler une proposition plus axée sur le divertissement et l’apprentissage et l’autre sur la connaissance, et faire que notre public circule entre les deux. C’est un de nos chantiers prioritaires. Nous réfléchissons notamment à la place que Lumni doit avoir sur France 4. Les programmes d’animation pour les adolescents et les jeunes

Idéfix et les Irréductibles (52 x 12’, Studio 58) est un des programmes phares de cette nouvelle saison. La série a été lancée sur l’application le 2 juillet avec la mise en ligne de 12 épisodes, et elle est diffusée sur France 4 depuis le 28 août. Destinée aux plus de 6 ans, mais visible aussi par les plus petits, elle a tout de suite fonctionné auprès de nos téléspectateurs. Pour rappel, elle a été imaginée comme un prequel aux aventures d’Astérix. On y suit Idéfix avant qu’il n’ait rencontré le guerrier gaulois et son fidèle ami, Obélix. Cette production a trouvé le bon angle pour adapter l’univers de René Goscinny et Albert Uderzo. Avec la série, des pastilles autour de l’histoire des Gaulois ont été conçues par Hachette ; elles seront disponibles bientôt sur Okoo et Lumni. C’est là un parfait exemple de l’objectif que nous avons et que j’expliquais précédemment : marier le divertissement et la connaissance. Nous aurons d’autres nouveautés, comme le téléfilm Les Lapins Crétins – Invasion : Objectif Mars (70’, Ubisoft). Il s’inscrit dans ce que nous recherchons : redonner de la place à des récits longs, que ce soit à travers des téléfilms donc, ou des feuilletons. En somme, aujourd’hui, l’alliance du linéaire et du numérique vous apporte beaucoup plus de liberté…

Absolument. Nous n’avons plus de contraintes de diffusion et nous voulons exposer des contenus très différents. Face à la standardisation des propositions de nos concurrents, nous savons que la force de notre offre, c’est sa diversité. Et ce qui est formidable, c’est que nous pouvons la renforcer grâce à un secteur, l’animation française, qui regorge de talents et a une incroyable faculté à innover. Propos recueillis par Lucas Fillon.

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Cartoon Forum

Christel Gonnard, scénariste et membre de la Cité, et Samuel Kaminka, producteur et membre d’AnimFrance.

La Cité européenne des scénaristes favorise l’insertion des jeunes auteurs

L’association a lancé en mai dernier un dispositif de compagnonnage. Objectif : permettre à de jeunes scénaristes de fiction et d’animation d’intégrer plus facilement le secteur. Née en 2018 à l’initiative de la Guilde française des scénaristes, l’association la Cité européenne des scénaristes, présidée par Pauline Rocafull et Thomas Bidegain, a pour projet de créer un lieu accueillant pour les auteurs de fiction et d’animation, en formation ou au travail, dans le cinéma et l’audiovisuel, et qui serait aussi un lieu de transmission de connaissances. Elle planche sur d’autres actions, depuis ses locaux de Bagnolet (Seine-Saint-Denis), où les professionnels de l’écriture peuvent déjà se rendre. En mai dernier, ses membres ont mis en place leur première initiative, un centre de compagnonnage, qui se déploie en Ile-de-France, et est piloté depuis Bagnolet. Ainsi, des scénaristes installés font partager leur quotidien à un jeune auteur, tout juste diplômé ou qui a déjà quelques expériences, pour faciliter son insertion et lui permettre de se professionnaliser davantage. Ce dispositif se poursuit jusqu’à décembre. Christel Gonnard, scénariste et trésorière de l’association, explique l’importance d’une telle opération : « En France, le marché du scénario n’est pas assez structuré. Il y a peu d’appels d’offres, cela fonctionne beaucoup par cooptation. Ce n’est donc pas évident d’intégrer le secteur, et ce compagnonnage, c’est une passerelle vers celui-ci. » Samuel Kaminka, producteur (Samka Productions), et président du collège télévision et digital d’AnimFrance, syndicat qui soutient la Cité des scénaristes, ajoute : « Aujourd’hui, nous avons de plus en plus besoin de créateurs, et de créateurs d’horizons différents. Ce compagnonnage, c’est un moyen de faire émerger une plus grande diversité de

voix. » Dix apprenants et une quinzaine de compagnons font partie du dispositif, encadré par des conventions. A ce titre, les apprenants comme les compagnons sont rémunérés. Christel Gonnard détaille le déroulement : « Par exemple, Marie de Banville, scénariste sur la série animée Opération Médina (6 x 26’, Darjeeling, France Télévisions, pour les 6-10 ans), accompagne Sofian Bergame, auteur de 21 ans, issu de l’école Kourtrajmé. Elle lui donne à lire la Bible, des synopsis, lui fait assister aux réunions d’écriture avec les autres auteurs, la production, la chaîne ; lui demande des retours et de faire des recherches documentaires. Sofian suit également des modules spécifiques sur différents thèmes. » Les apprenants et les compagnons officient aussi bien sur des projets de cinéma et de séries de fiction, que de séries d’animation. Parmi les autres contenus animés au cœur du dispositif, citons Les Gardes Chimères (52 x 11’30, Monello Productions, France Télévisions, pour les 6 à 11 ans), sélectionné à Cartoon Forum. « En outre, les apprenants circulent entre l’animation et la fiction afin qu’il n’y ait plus de cloison entre les genres », commente Christel Gonnard. En revanche, ils n’écrivent pas pour les programmes dont ils suivent l’évolution. La Cité des scénaristes a pour partenaires France Télévisions, le CNC, la CPNEF-Audiovisuel, la Région Ilede-France, et l’Afdas ; pour mécènes Mediawan et le groupe TF1 ; et pour soutiens Kourtrajmé, AnimFrance, l’Uspa, Cinémas 93, 1 000 Visages, La Scénaristerie, La Guilde française des scénaristes, I Have a Dream, le Festival Côté Court, l’ARP, la Fédération, et le Festival Atmosphères. D’autres actions sont prévues et il y a la volonté de renouveler ce compagnonnage, en le proposant en régions. Lucas Fillon

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Animation

Les coups de cœur e du 32 Cartoon Forum u Le 32e Cartoon Forum, le rendezvous européen de la coproduction de séries animées, s’est tenu du 20 au 23 septembre, à Toulouse. Cette édition, qui a pu se dérouler en présentiel, a présenté 84 projets. Focus sur cinq d’entre eux.

Samuel H Produit par Les Valseurs (France),

Samuel est le projet qui a fait sensation lors de cette 32e édition. En effet, à la fin de sa présentation, il a reçu une ovation comme on en a rarement vu à Cartoon Forum. Samuel est une websérie de 21 épisodes (chacun dure trois à cinq minutes), accompagnée par Arte France, et qui aura un spin-off pour le compte TikTok d’Arte. Elle a été imaginée par une jeune autrice et réalisatrice, Emilie Tronche. Diplômée de l’Ecole des métiers du cinéma d’animation (Emca) d’Angoulême en 2019, Emilie Tronche a dirigé le court métrage Promenade sentimentale, qui a fait partie de la septième saison (13x3’) de la collection En sortant de l’école. Produite par Tant Mieux Prod avec France Télévisions, En sortant de l’école est un programme d’animation pour les 6 à 8 ans, dédié à la poésie, et composé, à chaque saison, de 13 courts métrages d’une durée de 3 minutes chacun, adaptés de 13 poèmes d’un même auteur. Ces courts métrages sont réalisés par des talents de l’animation française tout juste diplômés, sélectionnés via un appel à projets. Toutefois, notons une évolution : la saison 9, en fabrication, ne met plus en valeur un poète unique, mais un thème, à savoir « la liberté ». La

Samuel (Les Valseurs)

saison 7 à laquelle a participé Emilie Tronche honorait Paul Verlaine. Elle a été diffusée en 2020. Samuel se déroule au début des années 2000, en banlieue parisienne. Elle met en scène Samuel, âgé de 10 ans, qui se livre sur son quotidien via son journal intime. Il y parle de tout : de sa vieille voisine qui a 100 chats, de l’école, des jours où il est heureux, des jours où il est malheureux et, surtout, il parle de Julie, une fille de sa classe « super cool et qui ne sait même pas qu’elle est super cool, ce qui la rend encore plus cool ». Samuel est amoureux de Julie, mais il ne veut pas se l’avouer… Outre raconter comment il va vivre, le fait qu’il tombe amoureux pour la première fois, la websérie, qui le suit sur une année, se focalisera sur ses relations avec ses camarades de classe, tels que Corentin, son meilleur ami. Chaque épisode sera ponctué par une chanson et comportera des moments musicaux. La musique aura toujours un lien avec ce que vit Samuel dans chaque épisode ou reflètera les goûts de ses parents et de ses amis. Les titres couvriront différentes époques et différents styles – les droits sont en train d’être acquis.

La websérie Samuel est née après que Emilie Tronche a posté sur le Web une vidéo où elle mettait en scène son personnage. Les retours ont été enthousiastes. Elle a alors imaginé trois autres vidéos. Les Valseurs a découvert tout cela via Facebook, et la société a adoré le ton, l’humour et la sensibilité que cette artiste avait insufflés dans sa création. Elle a décidé d’accompagner Emilie Tronche pour produire une websérie. L’équipe d’Arte France, qui a vu les vidéos sur le compte Instagram de l’artiste, a signifié son engagement. La websérie sera diffusée sur la plateforme arte.tv, ainsi que sur le compte Instagram, le canal Youtube et la page Facebook de la chaîne. Des premières images de test d’épisode ont été montrées à Cartoon Forum. En parallèle, un spin-off sera produit pour le compte TikTok d’Arte. Il sera composé de 10 épisodes de moins d’une minute chacun. D’un point de vue narratif, ils seront indépendants de la websérie. Ce spin-off, l’un des premiers contenus proposés sur le compte TikTok d’Arte, se concentrera sur des moments du quotidien de Samuel ou des chorégraphies sur des chansons. Un test

d’épisode dévoilé à Toulouse montrait Samuel commenter la première fois où il prenait seul le RER. Outre être l’autrice littéraire et graphique et la réalisatrice de Samuel, conçu en 2D, Emilie Tronche prête sa voix à son jeune héros. Un casting sera lancé pour les voix des autres personnages. Concernant la cible, le programme et son spin-off ont été présentés comme s’adressant aux jeunes adultes et aux adultes, et plus particulièrement à ceux qui ont grandi au début des années 2000, l’idée de cette œuvre étant de leur rappeler l’enfant qu’ils ont été. Néanmoins, Samuel revêt un caractère universel et chacun, quel que soit son âge, peut s’y retrouver. De fait, ce programme vise également les adolescents et les enfants à partir de 10 ans. Toujours grâce à son universalité, Samuel a aussi un fort potentiel à l’international. La websérie et le spin-off ont reçu le soutien, en plus d’Arte, de la région Nouvelle-Aquitaine, de la région Réunion, du CNC et du département de la Charente. L’objectif est de démarrer la production au premier quadrimestre 2022. Le budget prévi-

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Flippé (FKLG, Autour de Minuit)

sionnel est compris entre 700 000 € et 1 M€ ; son montant exact dépendra du nombre de doublages en langues étrangères qu’il faudra effectuer pour que ce contenu voyage. Les Valseurs recherche des coproducteurs et des diffuseurs en France et à l’international, ainsi qu’un agent de vente.

a notamment une forte expertise dans les programmes d’animation pour les adolescents et les adultes, pour qu’elle rejoigne le projet, ce qu’elle accepte avec enthousiasme. C’est ainsi que voit le jour Flippé (20x2’), que le groupe Canal+ soutient. La série est écrite par Théo Grosjean et réalisée en 2D par celui-ci et Mothy. L’univers graphique reprend celui des BD. La direction artistique est assurée par Kyan Khojandi, qui, on le sait, de Bref à Serge Le mytho, où il a eu de multiples casquettes, connaît très bien le format court humoristique. En outre, Kyan Khojandi prête sa voix au personnage de Théo. La fabrication du programme est en cours et se déroule intégralement dans le studio angoumoisin d’Autour de Minuit, Borderline Films. Flippé est accompagné par le CNC, la région Nouvelle-Aquitaine et le département de la Charente. Son budget est d’environ 500 000 €. La série sera livrée en janvier 2022. L’épisode pilote, « Sueurs dans le TGV », où Théo croit que le voyageur assis à côté de lui est un terroriste – ce qui n’est évidemment pas le cas – est déjà achevé et a été montré à Cartoon Forum. Globalement, les épisodes mettent en scène de nombreux personnages, comme la mère ou la compagne de Théo, ou des protagonistes imaginaires, comme un « coach en mal-être ». A Toulouse, la salle a beaucoup ri en découvrant Flippé. En plus d’être coproductrice, Autour de Minuit gère la distribution et recherche des préventes.

Flippé H J e u n e a u te u r d e B D , T h é o Grosjean, à qui l’on doit notamm e n t Un gentil orc sauvage ( é d . Delcourt, 2018) ou plus récemment Le Spectateur (éd. Soleil, 2021), fait part depuis décembre 2018, via son compte Instagram, de son problème d’anxiété, dont il souffre depuis longtemps. Il y publie des planches, où il narre avec humour comment celui-ci se traduit au quotidien et comment des moments anodins, comme s’insérer dans une conversation lors d’une soirée où il ne connaît personne, peut devenir une montagne à gravir. Ces planches, réunies sous le titre L’Homme le plus flippé du monde, rencontrent un vif succès et Delcourt lui a proposé de les éditer en BD – le premier tome a paru en 2020, le deuxième en 2021. Théo Grosjean continue de publier de nouvelles planches sur son compte, qui totalise 158 000 abonnés. Durant le confinement de 2020, l ’ h u m o r i s t e e t c o m é d i e n Ky a n Khojandi lit L’Homme le plus flippé du monde, et y voit une résonance avec son vécu : ainsi donc, il ne serait pas le seul à avoir des angoisses ! Pour l’artiste, qui a une société de production, FKLG (Faire Kiffer Les Gens), il apparaît évident que les BD de Théo Grosjean doivent devenir une série animée. Il contacte alors ce dernier, qui trouve l’idée pertinente ; l’animation lui permettrait de traduire autrement ses angoisses et d’en explorer d’autres dimensions. Ensuite, FKLG sollicite la société Autour de Minuit (France), qui

Les Tchouks H Les Tchouks est une série d’albums pour le jeune public, écrits par Benjamin Richard et illustrés par Kerascoët, un duo de dessinateurs composé de Marie Pommepuy et Sébastien Cosset. Ils sont édités chez Rue de Sèvres. La société Caribara Production (France) se propose au-

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Les Tchouks (Caribara Production)

jourd’hui de faire vivre ces personnages dans une série (52x13’) destinée aux 5 à 7 ans. Dans le programme, quatre Tchouks, qui sont à l’école primaire, vont connaître de nouvelles aventures à un moment clé de leur journée : la récréation. Ces Tchouks, ce sont Tchoukrik, Tchoukadou, Pitchouk, et Tchouchouka. Dans chaque épisode, quand la cloche sonne, les quatre Tchouks se précipitent dans la cour de récréation et, grâce à leur imaginaire, celle-ci se transforme – et on le constate à l’image. Plus particulièrement, chacun des personnages, à tour de rôle, fait basculer ses amis dans un univers. Tchoukrik emmène ses copains dans un monde d’heroïc fantasy ; Tchoukadou, de pirates ; Pitchouk, dans l’espace ; et Tchouchouka, dans un territoire qui

Les Tchouks est écrite par Benjamin Richard et Nicolas Digard et les auteurs graphiques sont Kerascoët. La technique utilisée sera la 3D temps réel. C’est au sein du Studio Manette, spécialiste de celle-ci et fondé en 2020 par Caribara et Plip ! Animation, que la série sera fabriquée. Le programme a un budget prévisionnel de 8 M€. Sont disponibles une bible, des pitchs, le script de l’épisode pilote et un trailer. Réalisé par Florian Thouret, ce dernier a été soutenu par la Région AuvergneRhône-Alpes et la Procirep-Angoa. Caribara recherche des diffuseurs en France et à l’international.

croise les univers d’Alice au pays des merveilles et de Charlie et la Chocolaterie. A chaque fois, les Tchouks doivent combattre un méchant, Kaotchouk, qui déteste les voir s’amuser. Kaotchouk est aidé par les Tcharks, des soldats, qui sont soit minuscules soit géants, en fonction des histoires. A travers leurs péripéties, les Tchouks comprennent la force du collectif et la nécessité de composer avec les défauts des autres. Plus particulièrement, Tchoukrik apprend à travailler en équipe ; Tchoukadou, la patience ; Pitchouk, à faire confiance à son instinct ; et Tchouchouka, que ses camarades peuvent avoir un autre point de vue qu’elle et qu’il y a des règles à suivre pour combattre Kaotchouk. La série a à cœur de mettre en valeur l’importance du groupe.

Castor & Cie H Produite par Plip ! Animation (France), Castor & Cie (52x7’) est l’une des séries les plus drôles qui aient été dévoilées à Cartoon Forum. Sa présentation a d’ailleurs été très applaudie. Destiné aux adultes, ce programme est une satire mordante du monde du travail. Il raconte l’histoire d’un castor, proche de la quarantaine, qui n’a pas réussi grand-chose dans la vie. Alors qu’il aimerait enfin s’accomplir, il découvre une offre d’emploi publiée par la société Castor & Cie, officiant dans la construction de barrages. Il se dit que c’est sa chance et postule. Pourtant, alors qu’il n’y connaît rien en construction de barrage, il obtient le poste et devient chef de projet. Mais pourquoi a-t-il été embauché ? C’est simple : le directeur administratif et financier (DAF), le méchant de la série, veut que la construction du nouveau barrage soit un échec, afin de mettre

Castor & Cie (Plip ! Animation)

en difficulté la directrice de la société et prendre sa place. Mais la directrice est au courant du stratagème du DAF, car elle a une aventure passionnelle avec le secrétaire de ce dernier, qui lui raconte tout. En parallèle, notre héros castor – dans la série, les personnages n’ont pas de prénom, ils sont définis par leur fonction – tombe amoureux de l’architecte, qui, elle, fait tout pour que le barrage voit le jour. Et, en plus de tomber amoureux, il est face à un choix cornélien. En effet, la construction du barrage aura des conséquences dramatiques pour l’environnement et risque de mettre en péril la maison de sa mère, une personne très envahissante. Il se demande alors ce qu’il doit faire : soit il ferme les yeux sur les conséquences écologiques, et sa mère sera amenée à venir vivre chez lui – pas la meilleure des solutions – soit il sabote la construction du barrage, et c’est le DAF qui sort grandi de la situation – pas la meilleure des solutions non plus. D’autres personnages peuplent la série : on y trouve un stagiaire supercompétent, le seul réellement capable de mener à bien la construction ; un ingénieur qui méprise tout le monde, des maçons aux bûcheronnes ; un chef de chantier borné ; ou encore un coach chargé de favoriser l’harmonie au sein de l’équipe, à l’aide d’un programme de team building et… de quinoa ! Castor & Cie sera réalisée par Michaël Bolufer, fondateur avec Thibault Noyer de Plip ! Animation. L’autrice littéraire est Claire Grimond et l ’ a u t r i c e g r a p h i qu e , S o p h i a Athanassi. Le programme, qui est un feuilleton, sera conçu en 3D temps réel au sein du Studio Manette, spécialisé dans cette technique, et créé en 2020 par Caribara et Plip ! Animation. Les personnages auront un rendu 2D. Pour la mise en scène, Michaël Bolufer souhaite d’abord travailler avec les comédiens pour que leurs interprétations servent celle-ci. Sont à disposition les bibles littéraire et graphique, les arches narratives et les pitchs des 52 épisodes, le scénario du pilote, et le teaser. Plip ! Animation recherche des coproducteurs et des diffuseurs. Castor & Cie a le soutien de la Région Auvergne-Rhône-Alpes et du CNC. Le budget est estimé à 4M € et l’objectif est de collecter 30% à 40% du financement hors de France.

Norman n’a pas de superpouvoir H Norman n’a pas de super-pouvoir (26x22’), produite par Big Company (France), est l’adaptation du roman du même titre de Kamel Benaouda, paru chez Gallimard Jeunesse en

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2018. Outre l’Hexagone, l’ouvrage est disponible en Belgique, au Canada, en Chine, en Russie, et en Pologne. Cette série, mêlant comédie et aventure, s’adresse aux 6-12 ans. Elle a pour héros un adolescent, Norman, qui vit dans un monde où les individus sont dotés de super-pouvoirs. Certains ont une force herculéenne, peuvent se téléporter, tandis que d’autres ont des super-pouvoirs qui ne fonctionnent qu’à certaines conditions. Ainsi, par exemple, un des personnages a la possibilité de traverser les murs… mais seulement les jours de pluie ! En tout cas, toute personne a un super-pouvoir, et celui-ci apparaît à l’adolescence. Norman, lui, est différent : il n’en a pas. Un test passé le jour de la rentrée – test effectué par chaque élève pour connaître le superpouvoir qu’il a – le lui a confirmé. Pour Norman, ce n’est pas facile d’accepter cette situation. Toutefois, sa grandmère, Zelda, une super-héroïne à la retraite, lui confie le ticket qu’elle avait reçu à son âge et qui lui avait indiqué son pouvoir, à savoir lire dans les pensées. Norman pourra ainsi faire croire que ce ticket, c’est le sien. Idée brillante ? Pas si sûr… Mais cette difficulté que rencontre Norman, qui ne veut surtout pas que ses camarades

Norman n’a pas de super-pouvoir (Big Company)

l’apprennent, n’est rien face au danger qu’il encourt. En effet, un terrible méchant, Caïn, pourtant l’un des plus grands super-héros, membre éminent de l’Alliance héroïque, veut être le seul à détenir des super-pouvoirs. Il élabore alors un plan machiavélique, pour lequel il a besoin de trouver qui est l’enfant qui n’en a pas. Avec la complicité de la proviseure du collège, qui travaille pour lui, Caïn traque l’ado-

lescent… Ainsi, Norman va devoir composer, au quotidien, avec sa vie de collégien et un secret à cacher, tout en essayant de parvenir, avec l’aide de ses amis Agathe et Jibril, à identifier cette mystérieuse personne qui le cherche et pourquoi... L a s é r i e e st é c r i te p a r K a m e l B e n a o u d a , Fa b r i c e R av i e r et Sébastien Guérout. Elle sera semifeuilletonnante. Chaque épisode

aura une intr igue bouclée, mais la traque de Caïn, les soupçons de Norman et l’acceptation de qui il est évolueront tout au long de la saison. La direction artistique est confiée à Elodie Rémy, et la bible graphique a été conçue par Aveline Stockart et Sophie Castaignede. Idriss Benseghir réalisera le programme, qui alliera 2D et 3D. La fabrication se fera avec le logiciel Blender et son moteur temps réel Eevee, déjà utilisé pour le trailer. Pour la mise en scène, Idriss Benseghir compte convoquer beaucoup de burlesque et d’action et faire appel aux codes visuels des œuvres ayant pour protagonistes des superhéros, comme les comics ou les séries japonaises des années 1980 et 1990. Norman n’a pas de super-pouvoir est accompagnée par la Procirep-Angoa, la Région Auvergne-Rhône-Alpes et le CNC. En plus d’un trailer, Big Company a un riche matériel : une bible littéraire, une bible graphique, deux épisodes développés, le script de l’épisode pilote, un synopsis d’épisode et plusieurs pitchs. Le budget prévisionnel est chiffré à 9M €. Big Company recherche des diffuseurs et coproducteurs français et étrangers pour poursuivre le développement. Lucas Fillon

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Cartoon Forum : une 32e édition qui fera date

Pour son retour en présentiel, la manifestation a réuni 885 professionnels à Toulouse, auxquels s’ajoutent 130 qui ont participé en ligne.

Du 20 au 23 septembre, à Toulouse, s’est tenue la 32 e édition de Cartoon Forum, le rendez-vous européen de la coproduction de séries animées, organisé par Cartoon, l’association européenne du film d’animation. Bien évidemment, cette édition était particulière : elle marquait les retrouvailles de la communauté de l’animation européenne, alors que, en 2020, le marché n’avait pu se tenir en présentiel et s’était déroulé sur le numérique, en raison de la pandémie. Au vu des chiffres communiqués, les professionnels étaient impatients de revenir à Toulouse. En effet, ils étaient 885 sur place. A ceux-là, il faut ajouter les 130 qui ont été présents via la plateforme proposée en complément (mais qui ne rediffusait pas l’événement en direct, ni en différé). Au total, 1 015 participants, venant de 41 pays, ont été comptabilisés. Un nombre impre ssionnant, qui montre que le tout-numérique ne devrait pas s’imposer pour les marchés (et les festivals). Les profession-

nels sont en demande de découvrir des projets ensemble, d’échanger avec leurs partenaires habituels et de faire de nouvelles rencontres ; et seule une manifestation en présentiel peut offrir tout cela. Parmi ces 1 015 participants figuraient 267 acheteurs. “Mister Crocodile” plébiscité Ce cru 2021 présentait 84 projets, portés par 21 pays européens. A l’issue de cette 32e édition, plusieurs classements ont été publiés, dont celui des dix projets ayant réuni le plus de professionnels à leur session de pitch. Dans ce classement, on trouve huit projets français et deux coproductions francobelges. Le trio de tête est conduit par Mister Crocodile (Joann Sfar’s Magical Society – structure de ON Kids & Family, qui appartient au groupe Mediawan) ; Compostman et moi (Vivement Lundi !, Superprod) ; et Under The School (Ellipsanime Productions, Timpel Pictures). Concernant les tendances de cette édition, Cartoon remarque que les adaptations de romans ou de BD sont toujours nombreuses, que les personnages féminins occupent une place de plus en plus grande dans les histoires, et que les programmes pour les adultes continuent de creuser leur

Mélanie Errea (Miam ! Animation), Telidja Klaï (VRT-Ketnet), Annick Maes (Cartoon), Jean-François Tosti (TAT Productions).

sillon. Cartoon note également qu’une nouvelle génération d’artistes et de producteurs est en train de s’imposer. A ce titre, la jeune autrice et réalisatrice Emilie Tronche a fait sensation avec son projet Samuel, produit par Les Valseurs, une des sociétés les plus talentueuses du paysage. Lors de sa présentation, Samuel a reçu une ovation comme on en a rarement vue à Cartoon Forum. Pour cette 32e édition, Cartoon n’a pas opté pour une version hybride, mais a mis à disposition une plateforme, via laquelle on peut avoir accès aux vidéos présentant chacun des projets sélectionnés. Un moyen, pour les participants,

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de prendre connaissance de ceux qu’ils n’ont pas eu le temps de découvrir sur place. La plateforme, riche d’autres contenus, est accessible jusqu’au 15 octobre. Enfin, comme le veut la tradition à Cartoon Forum, ont été remis les Cartoon Tributes, prix récompensant des professionnels de l’animation européenne. TAT Productions a été distinguée comme “producteur de l’année”, Miam ! Animation comme “distributeur/ investisseur de l’année” et le belge VRTKetnet comme “diffuseur de l’année”. Le 33e Cartoon Forum se déroulera du 19 au 22 septembre 2022, à Toulouse. Lucas Fillon

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The French Connection This month’s Cartoon Forum event in Toulouse introduces a rich collection of animated gems from around the world.

veryone is being cautiously optimistic about the 2021 edition of the much-anticipated Cartoon Forum event in Toulouse, France. The pitchfest, which is scheduled to take place live in the metropolitan city September 20-23, brings together animation industry pros to learn about 84 new TV series, miniseries and special projects. Overall, 21 European countries are involved in the projects. Thirty-seven percent of the projects (31) are co-productions between two or more European countries, and only one non-European country, Canada, participates as a co-producer. Among the interesting stats for ’21: ❖

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France leads the selection with 33 projects, followed by Ireland with 11, Germany with eight, Spain with six and Belgium with five. Portugal, Czech Republic and Denmark participate with four projects each, and Italy and Poland with three, while Finland, Latvia and Ukraine are present with one project each. With nine projects, Central and Eastern European countries keep the animation production momentum going. Series aimed at children 6-11 years old continue to grow at Cartoon Forum. With 25 projects, preschool series represent almost a third of the selection, while projects for young adults/adults have increased to 17% vs 14% in the previous year. 2D remains the most widely-used technique among European producers (56%), although 3D series grew from 20% to 28% in 2020. Les Armateurs (Abyss Special Case Unit), Autour de Minuit (Freaked Out), Dandelooo (It’s Your Body!), Vivement Lundi! & Superprod (Me and My Compost), Xilam Animation (Piggy Builders), Cyber Group Studios (The McFire Family), Ellipsanime Productions (Under the School), Les films du poisson rouge (Voro), Magical Society (Mister Crocodile) and Studio 100 Animation (Rek & Nola) are among the French production companies presenting their new projects at Cartoon Forum. Series produced by renowned independent companies from other European countries include Belgium’s Fabrique Fantastique (Gardener Gavin), Germany’s Ulysses Filmproduktion (Butterfly Academy), Italy’s Red

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Monk Studio (Nadia), Poland’s Animoon (Icky & Poo), Portugal’s Sardinha em Lata (Pete & Bern’s; The Saskatoons in co-production with Spain’s Pikkukala), Spain’s Peekaboo Animation (My Little Heroes) and Ukraine’s Animagrad (Hrafn Academy). Five were selected directly through cooperation agreements. The Polish project Robot and the Martians (Badi Badi) entered the line-up after being selected by CEE Animation Forum, the German series Lambs (Studio Film Bilder) and Bugs and Guns (Wolkenlenker) were selected from Stuttgart’s Animation Production Days. And the Belgian fund Créanimation, with the help of Fédération Wallonie-Bruxelles and RTBF, brought two more projects to the mix: Muscaria (Galmar

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Films) and Bookworms (Mad Cat Studio). Close to 20 of the selected projects are adaptations of comic books or books, including My Dog, God and the Pokethings (TNZPV Productions), Freaked Out (Autour de Minuit), Living with Dad (Dupuis Edition et Audiovisuel), Blue Wolfie (Label Anim), Suzon (Mondo TV France) and Corgi, A Royal Family (Studio Redfrog) from France; Tales of Terror (Dream Logic) and Freddy Buttons Wacky Mysteries (Treehouse Republic) from Ireland; as well as Hello, Oscar! (Atom Art, Latvia), Welcome to Mamoko (Pigeon, Poland) and Fio Lina and the Maestro (Serienwerk, Germany), among others.

For more info, visit cartoon-media.eu/cartoon-forum. september|october 21

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A Cartoon Forum Sampler Abyss: Very Special Case Unit. France’s well-known studio

Les Armateurs offers a new 52 x 13’ show that stands out thanks to its great design (Marc Boutavant) and clever premise (Valérie Magis and Charlotte Joulia) and direction (Luc Vinciguerra). The pitch, according to studio co-CEO Marion Delord goes something like this: “An X-Files for children meets Scooby-Doo of the seas! The truth lies below the surface.” Yes, we want to know more!

Blue Wolfie. French studio Label Anim is back at the Forum with this 78 x 7’ preschool show based on the book by Daniel Picouly and Frédéric Pillot. Producer Thibaut Chatel explains, “Our hero, a young, tiny, cute wolf, lives both in the real world and in his imagination. We follow his adventures from the cozy nest of home to the discovery of the outside world. This preschool show goes back and forth between everyday life and a fantasy world.”

Bugs ‘n Bandits. This fun 52 x 11’ 2D show from German shop Wolkenlenker follows the adventures of Dave the cricket, Robin the caterpillar and Susan the moth, who live amazing lives in a heap of trash. “We want to bridge a gap between generations by producing hand-drawn 2D animation and genre tropes from the ‘30s to the ‘90s, which will be parodied through a modern lens. The show is a love letter to the classic Italian and American Western movies, crossed with modern cartoon humor and absurdity,” says development director Herbert Gehr.

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Events

Cap n’ Cat. Ireland’s Cardel studio is presenting this clever new 24 x 11’ 2D show about an eccentric pirate and a determined fisherman who have to learn to work together as they sail through the pirate-infested sea of Redfoam. Show creator Katarina Lundquist points out, “At its core, our show is a story about growing up and learning about the world around you as well as yourself. It’s about accepting the fact that you sometimes have to leave things in your past to become a better person — even though it’s hard to do so. Another big theme is acceptance and the joy of meeting new people!”

Freddy Buttons Wacky Mysteries. This

charming 26 x 7’ kids’ show from Ireland’s Treehouse Republic centers on a young boy detective who investigates mysteries with the aid of his team of animal friends. Creative director Graham Holbrook tells us, “The show is based on a successful children’s book series by Fiona Dillon of Tumbledown Media. We fell in love with Freddy and his team of investigators and we can’t wait to bring them to the screen!”

Piggy Builders. Popular French studio Xilam Animation is back on the scene again with this 52 x 11’ show about the cute porcine siblings Cesar, Charlie and Cornelia, who are known throughout the entire forest for their amazing DIY and house-building talents. As the show’s producers share with us, “Building and decorating houses is heaps of fun! The creator of the show, Marie Manand, has a love of architecture, DIY and interior design, and she shared her passion for all three with our entire creative team. In preparation, we also watched many house makeover shows, and were inspired by our research into sustainable building processes.”

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Events

Tales of Terror. Ireland’s Dream Logic and U.K.’s Lupus Films have joined forces on this interesting project, which is based on Chris Priestley’s best-selling book Uncle Montague’s Tales of Terror. The 10 x 11’ 2D-animated project is about an 11-year-old boy named Edgar who loves to visit his enigmatic uncle in his nearby Victorian mansion and listen to his spooky stories.

Welcome to Mamoko. This lovely 26 x 6’ preschool toon from the folks at Polish studio Pigeon follows the misadventures of a group of animal pals, based on the popular books by Aleksandra and Daniel Mizielińscy. The studio’s CEO and creative producer Mateusz Kowalczyk tells us, “The show has a unique visual style, vivid colors and unique patterns and intriguing voices of each character. It’s a story full of abstract humor and simple but important values: about respecting and paying attention to others, about living in a local community, about treating people with kindness, friendliness, empathy and helpfulness, as well as about the fact that sometimes fun is more important than rules.”

What’s It All About? Portuguese studio Take It Easy’s 52 x 11’ show revolves around a family that travels in their special van, discovering the wonders of the world that surrounds us. The parents and three kids are all in love with science and have the most incredible adventures, from the depths of the ocean to the starry skies. “Science is the main inspiration for our show, at a time when it’s more important than ever,” says producer Maria Manuel. “As the world talks about pandemics, climate change and even ‘fake news,’ we’ll help the younger generations to understand the importance of science and to learn more about it through an entertaining and funny show.” ◆

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28 • Público • Segunda-feira, 20 de Setembro de 2021

Cultura Fórum Cartoon começa hoje em Toulouse

Animação portuguesa vai tentar apanhar o comboio da Europa

Depois de no ano passado se ter restringido a encontros virtuais, por causa da pandemia da covid-19, Toulouse vai voltar a acolher esta semana as reuniões presenciais do Fórum Cartoon, o encontro anual da indústria europeia do cinema de animação. E Portugal vai ser o país em foco na agenda da 32.ª edição do fórum, que se realiza entre hoje e quinta-feira. É a primeira vez que a animação portuguesa tem o privilégio de uma maior visibilidade nesta segunda vida do fórum criado no âmbito do programa comunitário Media, que desde há uma década se realiza anualmente naquela cidade do sul de França, perto da fronteira com Espanha — na primeira fase, quando o fórum rodava de país em país, coube aos Açores acolher a 5.ª edição, em 1994. Desta feita, Portugal leva a Toulouse cinco projectos, na expectativa de reunir os parceiros e as condições que permitam o seu desenvolvimento e concretização. E leva também a cumplicidade oﬁcial do Instituto do Cinema e Audiovisual (ICA), através da presença do seu presidente, Luís Chaby Vaz, da Portugal Film Comission, além da Associação Portuguesa de Produtores de Animação (APPA), a tentar mostrar aos produtores e distribuidores de todo o mundo presentes na cidade junto aos Pirenéus que tem capacidade para entrar no comboio da animação europeia. “Estamos seguros de que os estúdios de animação [portugueses] estão ao nível deste desaﬁo e que a sua participação irá favorecer o sector”, diz Luís Chaby Vaz no texto de boas-vindas que abre o capítulo “Portugal em foco” no catálogo do fórum.

Luís da Matta Almeida, realizador, produtor e representante português na direcção do Cartoon, faz também a apresentação da animação portuguesa, lembrando alguns dados da sua história já praticamente centenária: o primeiro anúncio animado por Nunes & Quintão para a etiqueta His Masters Voice, em 1920; e o primeiro ﬁlme de animação, O Pesadelo de António Maria, realizado pelo caricaturista Joaquim Guerreiro em 1923. O produtor da curta A Suspeita, de José Miguel Ribeiro (vencedor do Cartoon d’Or 2000), lembra o vínculo do país com a União Europeia e com as suas instituições ligadas ao cinema, e ainda o prestígio alcançado por vários ﬁlmes de autores nacionais nos principais festivais do mundo. “Esperamos que os cinco projectos portugueses seleccionados este ano para o fórum vos agrade”, conclui Luís da Matta Almeida, citando Yeats e expressando o “sonho” de uma nova era para a animação portuguesa.

5 projectos, 9 produtoras No espaço do catálogo reservado a Portugal, é ainda apresentada uma lista de nove produtoras de animação em actividade. As quatro que levam agora a Toulouse cinco novos projectos: Sparkle Animation, com Biriki; Sardinha em Lata, com Pete & Bern’s e The Saskatoons; Ukbar Filmes, com As Aventuras da Princesa P.; e Take It Easy, com Ciência Viva. E também a Animais, Animanostra e Até Ao Fim do Mundo, todas com sede em Lisboa, como as anteriores, além ainda da Pinguim Atrevido e da Spiceship Studios, ambas do Porto. Além de coordenar a representação portuguesa em Toulouse, Luís da Matta Almeida estará aí presente

Bauha a Vene em vel

Investimento, precisa-se

Portugal leva cinco projectos de séries para televisão e uma espécie de montra da capacidade instalada no sector à espera de captar novos mercados Sérgio C. Andrade

realizando, desde há algum tempo, para o Pavilhão do Conhecimento, em Lisboa, com o objectivo de promover a educação cientíﬁca junto dos mais novos. Será uma produção da Easy Lab, o departamento de animação da Take It Easy, e que já se ocupou da série inicial.

Três dos projectos portugueses: Ciência Viva (em cima), Pete & Bern’s (ao centro) e As Aventuras da Princesa P. (em baixo)

na qualidade de realizador, com o projecto Biriki. Trata-se de uma série de 26 episódios de 7 minutos, a pensar nas crianças em idade pré-escolar, numa co-produção da Sparkle

Animation com a espanhola Abano Producións. Ao PÚBLICO, o realizador explica que se trata de um projecto já com mais de uma década, e que radica no trabalho da ilustradora e artista plástica suíça Bruna Ferrazzini. Biriki é um pequeno pássaro de bico vermelho, uma das personagens que a artista criou e com as quais percorreu escolas de vários países “a levar as crianças a falarem sobre si, sobre os seus sentimentos e a desenvolver a auto-estima”. “Adorei o conceito e o projecto, que teve já um apoio do ICA para o seu desenvolvimento”, acrescenta Luís da Matta Almeida, que vê em Biriki “um projecto de 360 graus, de cross media”, que, além da série, poderá desenvolver-se em merchandising de livros, jogos, T-shirts, etc. A Sardinha em Lata leva a Toulouse Pete & Bern’s (52 x 3’), a realizar pela dupla Bernardo Pacheco & Pedro Rodrigues; e O Clube de Aventuras dos Saskatoons (26 x 11’), de Evgenia Golubeva & Nadia Cardoso, numa co-produção com Espanha e Finlândia. Diogo Carvalho, produtor da empresa lisboeta (que, entretanto, sabe já que é uma das quatro nomeadas para o prémio Produtor do Ano, a atribuir durante o fórum), explica que a primeira série resulta do desaﬁo dos dois animadores portugueses, que a Sardinha em Lata assumiu, tendo também já contado com o apoio do ICA para o desenvolvimento. Pete & Bern’s é a história de dois irmãos inseparáveis, mas com pouca coisa em comum, a não ser o

- PORTUGAL -

facto de enfrentarem sempre juntos as aventuras e as adversidades do dia-a-dia. O Clube de Aventuras dos Saskatoons é também uma série de aventuras, mas desta vez protagonizadas por duas raparigas, as irmãs Gigi e Alex, ao lado de um robô. Entre feitiços e algum caos, propõem-se lições de história, geografia e antropologia. As autoras da série são a russa-italiana Evgenia Gobuleva e a portuguesa Nádia Cardoso. No argumento participa também o inglês Myles McLeod, vencedor de um BAFTA pelo trabalho feito para a BBC com o seu irmão Greg, Quiff and Boot. Pedro Lino, realizador portuense e autor do documentário Lupo, irá assinar dois projectos: As Aventuras da Princesa P (52 x 11’) e Ciência Viva (52 x 11’). O primeiro — diz o cineasta ao PÚBLICO — decorre da curta de animação O Primeiro Rei (2010), realizada quando estudava em Londres. “Foi um filme que teve uma boa aceitação e é muito mostrado aos miúdos das escolas primárias”, nota. No seu regresso a Portugal há dois anos, Pedro Lino foi desafiado pela Ukbar Filmes a retomar e desenvolver esse projecto para uma série. “No início, era sobre um rei no mundo medieval, mas, à medida que fomos desenvolvendo o projecto, achámos que faria sentido centrarmos a história numa rapariga”, avança. Também Ciência Viva (What’s it all about?, no título em inglês) decorre de um trabalho que Pedro Lino vem

Depois de mais de um ano e meio condicionado pela pandemia, e mesmo sabendo-se que o tempo da produção do cinema de animação é bem mais distendido que o das outras artes, o Fórum Cartoon deste ano, até pelo tempo de antena que vai dar a Portugal, poderá dar um impulso decisivo para nos aproximarmos da velocidade europeia neste domínio. Luís da Matta Almeida reclama que “nós temos uma capacidade de produção instalada e uma capacidade de criação artística imparável”, além de “um conjunto de relações internacionais também de grande qualidade”. O realizador e produtor reivindica os necessários investimentos, estatais e privados, para o sector. “É altura para perguntar: ‘Vamos continuar a investir verbas minúsculas, ou podemos aumentar o financiamento de modo a conseguirmos ser também parceiros internacionais de outros projectos?’”. No mesmo sentido se manifesta Diogo Carvalho. O produtor da Sardinha em Lata nota que o país “está um pouco atrasado na produção da animação mais industrial, e que essa realidade é anterior à pandemia”. “Temos políticas de financiamento retrógradas e, ao contrário do que acontece com a animação de autor, cuja realidade é boa, para se produzir uma série estamos muito atrás do nível europeu”, diz o produtor, estabelecendo um contraste com as apostas que se vêm verificando noutros países, como a Espanha — “É uma loucura: actualmente estão a produzir sete longas-metragens de animação por ano e prevêem duplicar esse número dentro de dois anos”, assegura —, a Itália e a Irlanda, a Polónia e a Hungria. Para não falar já da própria França, que “é actualmente a terceira potência mundial no sector, logo a seguir aos Estados Unidos e ao Japão”, realça Luís da Matta Almeida. Pedro Lino constata também que “os apoios em Portugal para a animação para televisão são muito frágeis”, e lembra que o apoio do ICA para a produção de uma série de 52 episódios, por exemplo, é de 300 mil euros, o que significa cerca de um décimo do seu custo final. “A animação tem a vantagem de se poder vender para o mundo inteiro, só precisando de ser dobrada nos diferentes países”, nota o realizador; daí a sua expectativa de que o ICA e os investidores portugueses passem a apostar mais fortemente neste mercado internacional.

Camilo Soldado

Começa hoje c no Arsenal de V lança projecto Portugal no ca Novo Bauhaus

Depois de lançar a i o Bauhaus do Mar e para entrar em velo ro. No início de 2 Europeia lançou o Europeu, um movim transição climática surgiu em Portugal balho que quer ada mar, tomando as a de partida. Este pr primeiro momento cia no Museu de Ar Tecnologia, em L Veneza subiu a bor uma conferência q pela universidade da cidade italiana académicos e respo locais, portugueses “Lançámos est Bauhaus do Mar co que pudesse bene levantasse questõe sustentabilidade e sobre o ambiente também sobre a inte costeiras com o mar fessor catedrático d rior Técnico (IST) e grupo de trabalho Mar, Nuno Jardim N que o projecto foi g dade e dimensão, o que estavam a tent candidatura isolad nós e decidiram qu seriam as duas cida jecto”, refere, para desta conferência q no Arsenal de Venez nhã. Este consórcio a região do delta on pia e Roterdão e o es entre Malmo e Cop Entre os presente estarão o ministro d logia e Ensino Supe tor, e o ministro do rão Santos, que, ju pasta da Cultura, s mais directamente Esta presença de m no mostra também co ao trabalho que a manifesto assinado Nunes, pelo designe te, pelo investigado Faculdade de Belas

Ecran Total - 30/06/2021

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Licensing Magazine - 03/10/2021

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Entertainment

ANIMATION

Cartoon Forum 2021: the rebirth By Rossella Arena The Cartoon Forum 2021 took place from 20 to 23 September in Toulouse, live again after the 2020 all-digital edition. Here are the animated TV series that have found the most interest, coming from France and various European countries. The 2021 edition of the prestigious Cartoon Forum (20-23 September, Toulouse) appears like an enchanting dream, for the beauty of the animated TV series presented but also for the return of the event in presence, thanks to the Health Pass and sanitary rules. After a year and a half of smart working, it is even more evident that participating in live events allows you to know the protagonists of the sector and their work in depth and to create more contacts, in a way that is difficult to reproduce when you are alone at home. Cartoon Forum organizes, beyond the presentations, many opportunities (happy hours, cocktail parties) to meet other participants in Congress Center or charming locations. For this return in attendance, 84 projects of animated TV series were presented from 21 European countries, for a total budget of 326.1 Million EUR, representing

MONDO TV FRANCE

460 hours of animation. Many projects (close to 20) were adaptations of bestselling books and comics, confirming how this type of product is lifeblood for animation. In the concepts, girls and female characters have much stronger and active roles, their personality and the way to describe them has evolved. Some presentations of newcomers in the industry have obtained great success, for example Dreamin’ Dolphin Film with Hygge (DE/DK), Pigeon with Welcome to Mamoko (POL). The productions of Eastern Europe have grown in number compared to last year and have received great feedback and appreciation, for the quality of the projects and the careful planning and cost optimization. From the all-digital edition of 2020, the possibility remained to have the support

“By transposing Suzon’s picture books - created by Amandine Piu and Emilie Chazerand - into an animation series, we want to highlight the fact that observation of the animal world and respect for its environment are fundamental to living in harmony with the world that surrounds us... That openness is the best way to get out of the most complicated situations! And that sharpening your critical thinking and forming your own opinion through experience will help children aged 4 to 7 grow up, just like our Suzon! In addition to the power to communicate

- ITALY -

of the dedicated app and viewing the pitches online until 15 October. Here are the projects that have found the most interest, broken down by country.

with the animal world, it especially has the superpower of inviting us to change our outlook on the world around us. Observation, Inspiration, Malice and Mutual Aid will be the keywords of our series where the stories will be treated with fantasy, joy and humor in a format that also leaves room for knowledge. For this project, we are looking for French and international broadcasters and co-producers.” Sylvie Mahé, Managing Director & General Manager, Mondo TV France

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Entertainment

gags, starring Nola, a little alien, and Rek the dog. Under school by Ellipsanime tells of the Saint-Joseph school, where “unperfoming children” are transformed into model students. Gardener Gavin is a Belgian project that has as its protagonist a garden decoration that comes to life and causes a lot of trouble! Suitable for preschool audiences, it has a hybrid technique, between 3D and Live action. In addition to this fictional series, a web series is created in which Gavin teaches the children more about gardening.

FRANCE AND BELGIUM The largest number of projects come from France. Chooks by Caribara Production is a 3D preschool inspired by the Les Tchouks comic series, in which lots of sophisticated-looking pets live many adventures together. In the TV series four Chooks escape into their imaginary worlds. Mister Crocodile is taken from Monsieur Crocodile a beaucoup faim, by Joann Sfar. It tells of the friendship between a little girl and a giant crocodile, who wants to be civilized and become his pet. It is produced in 3D for children 6-11 by the Joann Star’s Magical Society, the same as Miraculous. There are many other projects dedicated to this age group. The McFire Family of Cyber Group Studios, tells of a family of firefighters. The director’s vision points to situational and physical comedy and girl power. The artistic director is focused on iconic firefighter suits, signature gadgets, elegant recognizable vehicles, super-

cool features. The video game will also be available. Me and My Compost, by Vivement Lundi! and Superprod is based on a book in which Compostman, an ecological monster, is adopted by two children. Griott & Mungo by La Station Animation was born from the homonym comic book set in the age of caves, in which a strong pink-haired girl and a baby dinosaur save their tribe every day. In Virtual Past, by Cross River Productions, Lucas Lambda, 12-years-old, manages to convince his “mad” family members to become beta testers of Virtual Past, a groundbreaking VR game that will immerse their five senses in a virtual Middle Ages that is larger than life… The project uses a combination of live action and 3D. Rek & Nola by Studio 100 France is a slapstick cartoon based on visual

Caterina Gonnelli

XILAM “Building is a key playing pattern for children. In Piggy Builders, creating, refurbishing and decorating houses is heaps of fun! The three little pigs, Cornelia, Cesar and Charlie, have set up their own construction team to help their friends and neighbors who live in the forest. Whenever there is a construction or DIY problem, the Piggy Builders come to the rescue. We strongly believe that the themes of building and sibling relationships bring a strong universal appeal to the series. As a follow-up to our presentation at the Cartoon Forum, we’re actively looking for international financing for this project. Specifically, we’re looking for commissioners, pre-buyers and potential coproducers, with the aim of starting the preproduction early in 2022.” Caterina Gonnelli – Linden, EVP, Content, Xilam

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PORTUGAL AND SPAIN Each year since 2016, Cartoon Forum brings a country into the spotlight celebrating their wonderful contribution to the world of animation. This year the country selected was Portugal. Among the projects The adventures of Princess P, by Ukbar Filmes, with fun and wellwritten story. Princess P is a girl of strong convictions and she’s always trying to change the mind of adults. Castles, knights and princesses mix with aliens, time travel and computer games, placing the challenges of children’s daily experiences into this imaginary

Sarah Born

CATPICS AG “We participated in Cartoon Forum to present Fio Lina & THE MAESTRO for the first time on an international level. Our main aim was to find broadcasters, co-producers as well as world sales. After these two years of online markets and meeting we also felt that it was important for us to connect with the animation industry in person. We came back with some great first contacts to likeminded co-producers and have received good responses from broadcasters. We are currently also waiting for several World Sales to get back to us.”

land. The 2D preschool Biriki by Sparkle Animation is inspired by the character of the illustrator Bruna Ferrazzini, born in 2001 to spread self-esteem and freedom, observing everything without judgment. They have already activated a small merchandising with key rings, jewels, cookie cutters, T-shirts, postcards. They are looking for coproducers, a worldwide distribution company, a 360 ° world player partnership. Another Portuguese project (6-11) is What’s it all about, in which a family of curious people with their magic van lives a series of adventures through the mysteries of science. Among the Spanish projects, My Little Heroes (6-8, 2D) is worth mentioning: in each episode the protagonists meet an important character (Mozart, Coco Chanel ...) when he was very young.

GERMANY Many German projects focus on the preschool range, like the hilarious Lambs by Studio Film Bilder. It presents stories about the daily life of a small family consisting of a lamb, his father and mother. The episodes are accurate depictions of a child’s reality as seen through a

comedic and curious lens. The creators took inspiration from the atmosphere of everyday family life. Rhina Rhino is a super fun, music-filled series that helps little children to find focus, confidence and independence. The determined 7-yearold Rhina is a Rhino who races to help her anxious young animal friends complete intimidating tasks. The 3D series is

Sarah Born, Producer and Managing Partner, Catpics Ag

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produced by The Big B Animation. Hygge is a 3D TV series produced by Dreamin’ Dolphin Film. Deep inside the northern forest, amongst tall pine trees and clucking clearwater streams, lies Rumble Village, the home of Bea, Diego and Bo. Together they will explore the marvelous forest, encounter many creatures and will learn how to use Hygge to overcome the unexpected obstacles. The project aims to instill courage and joy in children who experience negative emotions (anxiety, jealousy, loneliness). The settings were inspired by the Scandinavian forest; the visual style has the timeless feeling of a

fairy tale, but is also fresh and vibrant. They’re looking for coproduction partners and distributors. Butterfly Academy caters to the 6-11 target group and has several different characters that children can identify with. It’s a school where young Monarchs learn to become the best butterflies they can be. While they learn about themselves, we’ll learn ecological messages about the value of the butterflies and their environment. The merchandising, for now, includes shoppers, magnets, colored pencils. The series is in 3D, produced by Ulysses Filmproduktion.

IRELAND AND DENMARK The Irish projects are all original and engaging. Big Tuna by Daily Madness Productions is a TV series for Children 6-11 in 2D. After being convicted of several cat crimes, Big Tuna is out on parole with one last chance to redeem himself, as a foster cat. But being good isn’t always easy, especially when your new humans are rambunctious tween twins who get you into every kind of mess imaginable. Set in a zany, unpredictable world, Big Tuna is about the struggle to be good, and finding happiness in every

TOON2TANGO

Jo Daris

“We are very happy to have been given the opportunity to present and showcase our project SHOWTIME to the world for the very first time at Cartoon Forum 2021, which was the first physical event after more than 18 months for us. It was great to see and meet people from the industry and introduce our new show. Of course, we hope that people like SHOWTIME as much as we do and that our pitch at Cartoon Forum will lead to a lot of discussions and potentially successful financing negotiations. This is the third time I participate with a project, so our expectations were high. Up until now, we have succeeded every time in financing the project after a kickoff at Cartoon Forum. The key component is always the commissioning broadcaster, which we hope to find after our pitch last week. The end-of-afternoon slot and the beautiful weather did not help attendance,

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but we had some really good contacts and hope to close in the next 6-9 months with one of them. SHOWTIME is a concept showing that everyone can be a star and that everyone has something about them that’s unique and special. We like to feed our three-to-six old audience’s inspiration and creativity to put on a show! Children shall be encouraged to play, unleash their imagination and get their friends and parents to join the magical adventure! With such a wonderful concept, we are convinced that we will manage to find the partners to produce this show, after our pitch in Toulouse.” Jo Daris, co-creator and producer, Toon2Tango

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The Danish project Woodlings by Vilstrup Film & Projects is in 2D, for preschoolers 2-3. It contains short, poetic and funny stories, about the cute and wild animals that live in the woods. There’s always something new to discover and learn about the forest, oneself and each other. The universe is based on basic emotions, basic colors and the four seasons of nature.

ITALY

wacky, challenging moment. Ivory Towers is a project for preschoolers in 2D, by Sixteen South Television Original. Erin is a 4-year-old elephant who visits her Grandpa at Ivory Towers and loves nothing more than bringing out the child in all the residents. Ivory Towers reflects and celebrates ageing and the preciousness of

intergenerational relationships. Cryptix by Pink Kong Studios is an epic high-kicking, father-daughter, comedy adventure series for 6-11 that roots for the underdog. With the realms in peril, the Cryptix seek a human to join their ranks. They set their sights on “Johnny Von Deadly”, a 90’s action hero, fulltime single dad. In a twist of fate, his clumsy 13-year-old daughter Dani Daly

Three Italian projects were presented during the Forum. A pre-school TV series in 2D, Nadia by Red Monk Studio, is about a 8-year-old strong girl who lives in Little Oak Town, a peaceful village that has had a special and magical bond with nature for centuries. Nadia trains daily in the ways of tuning into nature and tapping into the magic that flows all around them, facing new challenges. Anselmo Wannabe is a project by IBRIDO Studio for Children 6-9, in 2D. Anselmo is a very imaginative kid that in his dreams explores and lives many professions in the world. In each

Emmanuèle Petry

DANDELOOO “We are looking for original projects with a look and feel different from what already exists and especially programs that provide children with subtle keys to grow up and understand their world. It can come from either our projects like It’s Your Body!. Or emerging projects from talented creators like Nicolai Wiellverth (Space Ham) and/ or talented studios like Krutart (DinoFables).” Emmanuèle Petry, Producer and Head of International, Dandeloo

accidentally accepts the role of “Realm Defender” in his stead. Ivy’s bookshop, an Irish-Finnish preschool project, tells of Ivy, a 6-year-old dragon who lives in a sleepy coastal village and dreams of adventure. The only adventures to be found nearby, however, are those in the books in Ivy’s Bookshop - where Ivy lives with her two dads. Ivy has dyslexia which means she learns that little bit differently than others. Reading can be a bit trickier for her, but when Ivy opens one of her books, she and her best friend Oisín (the sheep) are transported into Ivy’s Book World where she talks to strange and wonderful creatures that help Ivy solve a problem. Production start is scheduled for 2022, delivery in 2023. The creators are looking for international broadcasters and distributors.

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STUDIO REDFROG

episode he embodies a different job, from the architect to the influencer to the journalist or veterinarian. The design is deliberately essential and modern. RaiRagazzi has shown a strong interest in the project and is among the potential partners. On the merchandising front, the creation of an app, kits dedicated to the various professions and books are planned. For the same age bracket The incredible adventures of a creative family by Panebarco, a series in 3D. The Panebarco are creatives and almost all the protagonists of the series have been inspired by family members, from the boss mother to the great-grandparents’ funerary urns! Through the episodes, however, you also talk about the world of children and their relationship with the digital world, and themes like feeling

of inadequacy, bullying, prejudice, fishout-of-water problems. They are looking for partners who can follow all aspects of production: animation, rendering and compositing.

EASTERN EUROPE This edition saw a strong line-up of Polish productions. Among these Icky and Poo by Animoon, a TV series in 2D, for preschoolers. The protagonists are two koalas and two best friends who discover some curiosities of their bodies by scraping off scabs, sneezing loudly, or passing gas right in front of each other’s noses. In this way the series explores the mysterious phenomena of our bodies. Welcome to Mamoko by Pigeon is an adaptation from the famous illustrated

“We participate each year at Cartoon Forum, last year was for our brand new series Calypso Cruise which is now in Co-development with major LATAM Broadcaster. To bring Corgi A Royal Family to the Cartoon Forum was as an evidence. Cartoon Forum is the major pitching and copro forum for animated TV projects. It’s an effective market for showcasing our content and find international and local broadcasters, investors, and other potential partners. For Corgi A Royal Family, we are looking for international and local broadcasters mainly. We are looking for local and international broadcasters.” Lahcen Bahij, CEO of Studio Redfrog

book Miasteczko Mamoko by Aleksandra & Daniel Mizielińscy. Preschooler series in 2D set in a fun, detailed and colorful world, it carries super safe content and core values like respect, empathy, sense of community. The project needs coproducers, investors, international sales agents, broadcasters. The Czech project Dinofables by Krutart, always aimed at the preschool target, amazed for its realization technique (2D, 3D, Cut Out), for the liveliness and uniqueness of the characters, and for the freshness with which it treats important social-emotional themes: the alliance between siblings, fear of the dark, not feeling brave enough...

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34 • Público • Sexta-feira, 24 de Setembro de 2021

Cultura

Fórum Cartoon abre portas novas para a animação portuguesa CORTESIA CARTOON

Sérgio C. Andrade, em Toulouse

Quatro produtoras portuguesas aguardam reacções dos investidores para os cinco projectos que levaram a Toulouse Portugal foi o país em foco na 32.ª edição do Fórum Cartoon, o encontro europeu para a co-produção de séries de animação, que ontem se concluiu em Toulouse. À hora a que escrevemos, os dados estavam já lançados quanto ao primeiro momento de apresentação dos cinco projectos portugueses trazidos a esta cidade do Sul de França — e que desde há uma década se tornou sede ﬁxa daquele programa comunitário. Mas é ainda cedo para avaliar o impacto que esta importante montra europeia poderá vir a ter na criação das condições que permitam o desenvolvimento e fabricação das cinco séries mostradas aos potenciais investidores e distribuidores internacionais. Distribuídos pelos três dias, entre terça-feira e ontem, foram exibidos os episódios-piloto e explicados os projectos das produtoras lisboetas Sardinha em Lata (Pete & Bern’s, realização de Bernardo Pacheco e Pedro Rodrigues; e The Saskatoons, realização de Evgenia Gobuleva & Nadia Cardoso), Sparkle Animation (Biriki, realização de Luís da Matta Almeida), Ukbar Filmes (As Aventuras da Princesa P, realização de Pedro Lino) e Take It Easy (Ciência Viva, também com realização de Pedro Lino). A apresentação mostrou o desenvolvimento dos estúdios portugueses nos domínios da animação, agora a tentar conquistar um lugar próprio na indústria das séries, além do prestígio já consagrado na arte das curtas e do cinema de autor. O humor e a irreverência dos inseparáveis irmãos Pete e Bern; a vertente simultaneamente educacional e criativa de Biriki, um pássaro sem asas mas a apelar à auto-estima das crianças; The Saskatoons, as aventuras das irmãs Alex e Gigi e o robô Dokku, com Lisboa como cenário; a viagem de uma família de cientistas, sustentada pelo Pavilhão do Conhecimento e do seu programa Ciência Viva (What’s it all about); e o projecto com que Pedro Lino actualiza a sua curta O Primeiro Rei para uma série agora protagonizada no feminino pela Princesa P, foram bem recebidos em salas com várias dezenas de participantes. Resta saber quantos dos investidores presentes foram atraídos por cada

produtores e criadores conseguirem mostrar os seus projectos, e para que eles ganhem uma escala de produção que permita outra tranquilidade” num meio que é muito competitivo.

“Há muito talento”

CORTESIA CARTOON

um desses projectos, e os encontros proporcionados pelo fórum nos momentos e nos dias a seguir às sessões — e certamente também nas próximas semanas — vão ser determinantes para medir essa eﬁcácia.

Uma escolha natural O facto de a Cartoon ter escolhido Portugal como o país em foco este ano foi já um passo que pode abrir novos caminhos para inscrever deﬁnitivamente Portugal no comboio da animação europeia. Ao PÚBLICO, a directora-geral da Cartoon, Annick Maes, justiﬁcou a escolha como algo natural. “A ideia vinha de trás. Conhecemos bem a animação portuguesa, e percebemos que era importante dar-lhe mais visibilidade”, diz a responsável, que realça a existência de “uma nova geração no país, e que está também

já a trabalhar na indústria”. O Foco Portugal esteve inicialmente pensado para 2020, mas a pandemia obrigou a que a edição do ano passado fosse online. Daí o adiamento, naturalmente aceite pelas autoridades portuguesas, como o Instituto do Cinema e Audiovisual (ICA), a Portugal Film Comission (PFC) e também a Associação Portuguesa de Produtores de Animação (APPA). Presentes em Toulouse, tanto o presidente do ICA, Luís Chaby Vaz, como o da PFC, Manuel Claro, quiseram marcar o apoio institucional a este novo passo da indústria da animação portuguesa. “Abraçámos o desaﬁo do convite da Cartoon desde a primeira hora porque também achamos que a qualidade da animação portuguesa já merecia ter um destaque internacional como aquele que é concedido aqui no fórum”, diz

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O Foco Portugal chegou a estar pensado para 2020, mas a pandemia adiou-o para este ano. O Fórum Cartoon recebeu cinco projectos portugueses ao PÚBLICO Chaby Vaz. Sobre as queixas recorrentes dos produtores quanto à insuficiência dos apoios públicos, o presidente do ICA lembra que “as fontes de financiamento do instituto são as que estão definidas na lei”, e não têm dinheiro público. Mas defende que os apoios actualmente fixados pelo ICA — cerca de três milhões de euros/ano para a animação em geral: curtas e longasmetragens, séries de televisão, escrita, desenvolvimento e internacionalização —, associados aos dos fundos do Turismo para o cinema e o audiovisual, já permitem uma base “bastante interessante para os nossos

Já Manuel Claro, lembrando que a PFC não intervém no mundo da animação, como o pode fazer no do cinema de imagem real com o apoio à produção e à rodagem, chama a atenção para a importância da recente implementação do chamado cash rebate, que permite que qualquer produção, de animação como de imagem real, com um investimento mínimo de meio milhão de euros em Portugal, pode signiﬁcar um retorno para o investidor de 30% dessa verba. “A nossa missão é promover Portugal enquanto destino internacional de ﬁlmagens”, nota Manuel Claro. No caso da animação, será “vender” aos investidores internacionais “a qualidade das nossas equipas técnicas e artísticas, e dos produtores, que garantem que os projectos podem ser feitos em Portugal com rigor e competência”. Vista de fora, a animação portuguesa começou também a conquistar alguma atenção. A Sardinha em Lata, por exemplo, pôde já contar com a participação de canais de televisão espanhóis. É o caso da TVE, que integra os produtores da série em produção O Diário de Alice, com realização de Diogo Viegas. Presente no fórum, Yago Lousa, da TVE, disse ao PÚBLICO estar “muito contente” com o trabalho que vem fazendo com os estúdios portugueses. “Há muito talento. Há uma faceta artística muito boa, muito elaborada, mas à qual falta uma visão comercial”, diz o produtor da televisão pública espanhola, notando, no entanto, estar agora a observar uma transformação, “com os estúdios mais clássicos a abrirem-se para apostar em projectos mais amplos”. “São gente que cresceu por si só, sem grande apoio estatal, mas que agora, felizmente, está a melhorar”, acrescenta, lembrando que as co-produções internacionais são “o caminho necessário para a indústria de países com pouco apoio governamental”. Na tarde de ontem foram anunciados os Tributos Fórum Cartoon, onde a Sardinha em Lata se encontrava entre os quatro nomeados na categoria de Produtor do Ano. O vencedor acabou por ser a francesa TAT, da região da Ocitânia. O PÚBLICO viajou a convite da Cartoon

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ACTUALITÉS

[Animation]

RETOUR AUX SOURCES POUR LE CARTOON FORUM

L’

heure des retrouvailles avait enfin sonné à Toulouse pour plus de 1 000 participants en provenance d’une grande partie de l’Europe, les îles britanniques n’étant plus représentées que par l’Irlande. Un total de 1 015 participants en provenance de 41 pays était enregistré, 885 ayant fait le déplacement à Toulouse, 130 étant restés en ligne. Les acheteurs étaient au nombre de 267, dont 202 personnes à Toulouse et 65 en ligne, les sessions de catch-up sur la plateforme digitale du Cartoon Forum ouvertes dès la fin de la manifestation physique étant disponibles jusqu’au 15 octobre à minuit. De nouveaux acheteurs étaient présents (+ 7%) tels que Benshi, TV Nova (République tchèque), Tribes Media (Pays-Bas), El Reino Infantil (Espagne), Fair Square Comics (USA) ou Asmodee Entertainment. Un mouvement qui va de pair avec la confirmation d’une nouvelle génération de producteurs et auteurs, comme en témoignent la présence

des Valseurs avec Samuel (France), de Dreamin’ Dolphin Film avec Hygge (Allemagne, Danemark), de MiniCosmos avec Space Ham (Danemark, France), des Astronautes avec Pour exister (France) ou encore de Pigeon avec Welcome to Mamoko (Pologne).

PRESSION ALLÉGÉE

Si les contraintes sanitaires avaient notamment modifié les moments du “Croissant Show” (projections de bandesannonces permettant de découvrir en début de matinée les différents projets) et mis fin aux grands déjeuners en commun, les participants ont retrouvé les fondamentaux de la manifestation à quelques exceptions près. “La fin des grandes tablées a peut-être supprimé la possibilité de parler avec des gens que l’on n’a pas l’occasion de retrouver après”, souligne Johanna Krawczyk, en charge du développement chez Les Armateurs *. Le grand attrait du Cartoon reste ses sessions de pitchs en direct durant

TOP 10 DES PRÉSENCES DANS LES SESSIONS DE PITCHS • Mister Crocodile

Joann Sfar’s Magical Society (France)

• Compostman et moi Vivement Lundi ! et Superprod (France)

• Under the School

• Les filles de Dad

Dupuis Édition Audiovisuel et Belvision (France, Belgique) • Flippé Autour de Minuit et FKLG (France) • Sacha et les créatures de Noël Xbo films (France)

Ellipsanime Productions et Timpel Pictures (France)

• Corgi, une famille royale

Studio Redfrog et nWave (France, Belgique) • Les gardes-chimères Monello Productions (France) • Abysses : unité très spéciale Les Armateurs (France) • Voro - Les Films du Poisson Rouge et Why Not AI (France)

La professionnalisation des porteurs de projets français leur a valu les plus fortes présences lors de leurs sessions de pitchs. ■ PATRICE CARRÉ

L’édition 2021 du Cartoon Forum de Toulouse a renoué avec le présentiel.

lesquelles les porteurs de projet peuvent ressentir les réactions d’une salle, le catch-up mis en place ne les concurrençant pas mais permettant au contraire de rattraper des présentations. Ce qui a contribué à diminuer une certaine pression, et permis des rendez-vous plus qualitatifs. “À présent, on a les avantages du online et du présentiel”, confirme Nicolas Schmerkin (Autour de Minuit). L’exercice de la réalisation d’une vidéo en amont afin de présenter le projet pour les acheteurs qui n’avaient pu faire le déplacement constitue aussi un plus. “Cela représente beaucoup de boulot, mais c’est un très bon exercice qui permet de bien travailler sa présentation en amont. Et cela devient ensuite un outil que l’on peut faire parvenir à ceux qui auraient manqué votre pitch”, résume Guillaume Galliot (Label Anim). Parmi les grandes tendances de cette édition, hormis le fort intérêt suscité par les projets français qui ont attiré le plus de présence lors des sessions de pitchs, on constate que l’univers du roman et de la bande dessinée constitue toujours une source d’inspiration pour de nouvelles séries télévisées d’animation. Autre constat, les filles assument désormais des rôles beaucoup plus forts et actifs en tant que personnages principaux ou secondaires, leur caractérisation étant de plus en plus sophistiquée. D’ores et déjà, la prochaine édition du Cartoon Forum est datée : elle aura lieu du 19 au 22 septembre 2022, toujours à Toulouse. ❖ * Propriété d’Hildegarde, actionnaire majoritaire du “Film Français”.

[Numérique]

Netflix détaille ses chiffres de visionnage La plateforme a dévoilé les titres des séries et des films préférés de ses abonnés, et mentionné des chiffres qui ne restent que de vagues indications. ■ VINCENT LE LEURCH

nvité de la Code Conference qui s’est tenue du 27 au 29 septembre au Beverly Hilton de Los Angeles, et qui réunit entre autres les entrepreneurs les plus influents de l’entertainment, Ted Sarandos, directeur des contenus de Netflix, a présenté à son auditoire les chiffres des programmes récents les plus suivis de la plateforme. Une communication assez inhabituelle de la part du

géant du streaming. En série, c’est la première saison de Bridgerton qui est en tête, tant en nombre d’abonnés l’ayant suivie (82 millions) qu’en heures de visionnage (625 millions). Ces chiffres font référence à au moins deux minutes de visionnage du programme, pendant les 28 premiers jours de disponibilité dans l’offre. La première saison de Lupin avec Omar Sy arrive deuxième du classement au nombre d’abonnés l’ayant vue, avec 76 millions. En cinéma, c’est Tyler Rake de Sam Hargrave qui est en tête en termes d’abonnés (99 millions) et Bird Box de Susanne Bier en heures de visionnages (282 millions). “Nous essayons d’être plus transparents avec le marché, les talents et tout le monde”, a déclaré Ted Sarandos, à l’occasion de cette conférence. ❖ Bridgerton, plus grand succès série de la plateforme.

Les films Netflix les plus populaires

Les séries Netfix les plus populaires

Bird Box

282*

Bridgerton (saison 1)

Tyler Rake

231

La casa de papel (partie 4)

619

The Irishman

215

Stranger Things (saison 3)

582

The Kissing Booth 2

209

The Witcher (saison 1)

541

6 Underground

205

13 Reasons Why (saison 2)

496

Spenser Confidential

197

13 Reasons Why (saison 1)

476

Enola Holmes

190

You (saison 2)

457

Army of the Dead

187

Stranger Things (saison 2)

427

The Old Guard

186

La casa de papel (partie 3)

426

Murder Mystery

170

Ginny & Georgia (saison 1)

381

* Heures de visionnage, en millions. Source : Netflix.

625*

* Heures de visionnage, en millions. Source : Netflix.

N° 3986 du 1er octobre 2021

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RYNEK FILMOWY

CARTOON FORUM

84 projekty z 21 krajów europejskich, o łącznym budżecie ponad 320 mln euro i przewidywanym czasie 460 godzin projekcji, zaprezentowano podczas 32. edycji największych europejskich tragów animacji, które odbyły się we francuskiej Tuluzie.

Prezentacja serialu Miasteczko Mamoko

o ubiegłorocznej przerwie, kiedy Cartoon Forum – jak tyle podobnych wydarzeń – miało tylko wersję internetową, można było odnieść wrażenie, że branża (nad Garonnę dotarło ostatecznie trzy czwarte anonsowanych wcześniej uczestników, łącznie blisko 1100 osób z ponad 40 krajów) skupiona wokół realizacji, produkcji i emisji treści animowanych, zaskakująco pozytywnie wykorzystała okres przymusowej izolacji. Tyle dobrych i różnorodnych pomysłów, tyle nowych firm i twarzy, tyle talentów i sygna-

łów, że nowa generacja twórców, producentów i nadawców idzie szeroką ławą, sięgając do dorobku klasyków gatunku, ale też kreując własny świat. Jego cztery strony to: coraz liczniejsze adaptacje literackie i komiksowe, kobiety za kamerą i jako bohaterki opowieści (na jednym z paneli dyskusyjnych towarzyszących targom zwrócono uwagę, posiłkując się licznymi przykładami, że dziewczyny są teraz na ekranie kreowane na zdecydowane i silne osobowości), dorośli jako coraz liczniejsi adresaci animowanych propozycji oraz pokolenie nowych,

młodych wiekiem i talentem graczy na rynku. Wśród tych ostatnich wymieniano m.in. krakowskie studio animacji Pigeon (wspomniane także w komunikacie końcowym obok debiutantów z Francji, Danii i Niemiec), którego projekt dostał wiele pochlebnych opinii i wzbudził spore zainteresowanie. Mówił o tym szef studia, Mateusz Kowalczyk: „Serial Miasteczko Mamoko jest przez nas rozwijany od kilku lat (…), a przed Cartoon Forum był wybrany przez »Animation Magazine« (najważniejsze pismo naszej branży) jako

MAGAZYN FILMOWY nr 122/październik 2021

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jeden z dziewięciu najciekawszych. Myślę, że to też pomogło zwrócić na nas uwagę podczas eventu. Oprócz pozytywnego feedbacku – z konkretów dostaliśmy propozycję koprodukcji ze studiem z Francji, mieliśmy sensowne rozmowy z dwoma cenionymi dystrybutorami francuskimi. Pojawiło sie też zainteresowanie dystrybucyjne ze strony włoskich i skandynawskich telewizji”. Tak to ma działać i działa, bo przypomnieć trzeba, że Cartoon Forum to trzy dni sesji pitchingowych (dozwolone są wszystkie formy prezentacji, także te angażujące publiczność), których rezultatem mają być realne kontakty finansowe, produkcyjne, dystrybucyjne i marketingowe. Prezentowane podczas półgodzinnych lub kwadransowych bloków seriale i filmy, w zależności od tego, na jakim są aktualnie etapie realizacji, mogą liczyć na wsparcie. Realne i konkretne, bo na widowni siedzą decydenci i dysponenci, również spoza Unii Europejskiej, bo m.in. z USA, Kanady, Korei i Australii. Także dwa pozostałe polskie projekty (Icky i Poo, prod. Animoon oraz Robot i Marsjanie, prod. Badi Badi) wyjechały z Tuluzy z pozytywnymi nadziejami, wszyscy zaś uczestnicy i obserwatorzy z przekonaniem, że animacja dla dzieci i dorosłych (jej produkcja to już blisko 20 proc. całej europejskiej oferty), od lat wspomagana z oczywistych względów przez stacje i kanały telewizyjne, zajmuje w repertuarach kinowych wcale nie marginalne miejsce, a w platformach streamingowych zyskała wielkiego sojusznika i partnera.

Janusz Kołodziej

Fot. Galia Prod/Cartoon – European Association of Animation Film

TO IDZIE MŁODZIEŻ!

Il Resto del Carlino - 07/09/2021 ••

Ravenna

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MERCOLEDÌ — 13 OTTOBRE 2021 – IL RESTO DEL CARLINO

Emozioni sullo schermo

’Una famiglia creativa’ nel cartoon nato a Ravenna

Presentata a Tolosa una serie di animazione in 3d completamente originale realizzata dallo studio Panebarco & Co, fondato dall’omonimo fumettista di Roberto Davide Papini Parte anche da Ravenna la sfida italiana sul mercato dell’animazione internazionale. Al Forum Cartoon di Tolosa (rassegna in cui vengono presentati i migliori progetti europei di serie animate per la tv) uno dei progetti più apprezzati è stato quello presentato da Panebarco & Co: “Le Incredibili avventure di una famiglia creativa”, un’idea per una serie in 3D di 26 puntate da 11 minuti ciascuna. Il nome dell’azienda non può che richiamare quello del fumettista ravennate Daniele Panebarco (molto popolare soprattutto negli anni ‘70 e ‘80 e insignito del prestigioso premio “Yellow Kid”), fondatore insieme ai figli della società che vanta già un’importante esperienza nel settore dell’audiovisivo. La serie, pensata come comedy pura in animazione, narra le avventure di una famiglia di origini italiane che gestisce un’agenzia creativa un po’ fuori dagli schemi. I protagonisti vivono in una città immaginaria e hanno a che fare con una ricca fauna di personaggi-clienti: animali antropomorfi, oggetti parlanti, individui stravaganti. In ogni puntata il cliente di turno ha un problema da risolvere e dopo vari, improbabili e divertenti tentativi arriva la soluzione finale sempre grazie all’intuito di Nora, la piccola della famiglia alla quale i grandi non danno mai retta. Il sogno di Nora, 12 anni, è quello di diventare stagista nell’agenzia gestita dalla madre Mary (il boss dell’azienda), dagli zii Ca-

mi e Mat, dai nonni Danny (non è difficile riconoscervi Daniele Panebarco) e Lucy e anche dai bisnonni. Questi ultimi in realtà sono morti, ma con una soluzione narrativa molto azzeccata vengono rappresentati dalle loro urne cinerarie che duettano un po’ sullo stile di Sandra Mondaini e Raimondo Vianello. Ad affiancare Nora nelle sue avventure è Micky, il suo migliore amico. «Pensiero laterale, empatia e creatività sono gli strumenti con cui Nora e gli altri personaggi protagonisti aiutano gli stravaganti “clienti” a raggiungere i propri obiettivi – spiegano alla Panebarco – in un susseguirsi di episodi in cui la crescita personale, l’empatia, l’amicizia e il rispetto del mondo che ci circonda sono i valori guida». Al Cartoon Forum di Tolosa (organizzato dall’associazione

“Cartoon” con il sostegno del programma Media dell’Unione Europea) sono state le produttrici Camilla e Marianna Panebarco (figlie di Daniele) a presentare brillantemente il progetto firmato da Robin Lyons ed Enrico Nocera e di cui Matteo Panebarco e Carlo Casavecchia sono rispettivamente direttore creativo e art director. La regia del teaser è stata firmata da Alessandro Clerici. Se il progetto andrà avanti (e la reazione suscitata al Cartoon Forum appare molto incoraggiante) e manterrà le premesse, si profila come molto interessante. Anche perché, a differenza di una tendenza che si sta espandendo sempre di più con l’adattamento in animazione di libri più o meno di successo, si tratta di un prodotto originale, come originale è la “vera“ famiglia Panebarco che è chiaramente trasposta nel cartoon.

Immagini del film e da sinistra Marianna e Camilla Panebarco

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Le Soir - 11/10/2021

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La Croix - 28/09/2021

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Accueil (/) > Culture (/Culture)

Quand Instagram fait naître des séries animées Lors du Cartoon Forum de Toulouse, rendez-vous des professionnels européens de la série animée, deux projets de séries présentées ont vu le jour sur la plateforme de partage de photos et de vidéos. La Croix présente leurs bandes-annonces en exclusivité. Stéphane Dreyfus, le 28/09/2021 à 09:24 Modiﬁé le 28/09/2021 à 09:25 Lecture en 2 min.

Il est très rare lors des salons professionnels, surtout ceux destinés à attirer des investisseurs, que la présentation d’un projet se termine par une ovation. Ce fut pourtant le cas au Cartoon Forum de Toulouse (du 21 au 23 septembre), rendez-vous des professionnels de la série animée, avec Samuel , série portée par une jeune autrice et réalisatrice, Émilie Tronche. L’engouement suscité par cette ﬁction sensible et drôle sur les états d’âme d’un jeune garçon de dix ans est autant dû au fond qu’à la forme.

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La Croix - 28/09/2021

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Samuel a des problèmes. Il n’aime pas l’odeur du bœuf aux carottes de sa mère, ni son camarade Basile qui a révélé à Julie que Samuel l’aimait, et encore moins Bérénice, qui elle l’aime… Ces premiers émois sentimentaux sont mis en scène avec une grande simplicité et un graphisme épuré à l’extrême qui contrastent avec un humour pince-sans-rire et une animation attentive à la gestuelle des enfants. La capacité d’Émilie Tronche à créer des personnages forts en quelques traits et dans un format très court, 4 minutes, a fait mouche à Toulouse comme sur Instagram (https://www.instagram.com/emilietrch/?hl=fr) et Facebook où la réalisatrice a d’abord mis en ligne quelques épisodes. « Après avoir terminé mon premier court métrage professionnel, une adaptation d’un poème de Verlaine, Promenade sentimentale, j’avais envie de créer quelque chose de rapide à partir de mes souvenirs d’enfance. J’ai tout

fait moi-même, même les voix », raconte Émilie Tronche qui dit avoir aimé la liberté oﬀerte par les réseaux sociaux, sans être contrainte par un cadre de diﬀusion. La jeune cinéaste a testé la série sur des élèves de CM2, qui ont été emballés, « à la fois émus et morts de rire ».

Repéré par le producteur Damien Megherbi, de la société Les Valseurs (César 2019 du court métrage animé pour

Vilaine fille), Samuel va devenir en 2022 une websérie pour le site d’Arte, en développant « un arc narratif en évitant les grosses ficelles scénaristiques ». D’autres épisodes, très courts, seront produits spécifiquement pour TikTok. Génération « Bref » Le tempo de Samuel, et son recours à une voix off très présente, fait beaucoup penser à la série à succès Bref, de Kyan Khojandi, succès de Canal+, il y a dix ans. L’humoriste s’est d’ailleurs engagé dans l’adaptation d’une bande dessinée d’abord diffusée sur Instagram par son auteur, Théo Grosjean (https://www.instagram.com/theo.grosjean/?hl=fr). Éditée depuis en album chez Delcourt (deux tomes), L’homme le plus flippé du monde est un récit autobiographique des phobies de son auteur. « La série est née d’une expérience que j’ai vécue dans un train : le passager assis à côté de

moi m’a demandé de garder son sac et j’ai cru qu’il y avait une bombe dedans… », a détaillé Théo Grosjean qui a ensuite eu envie de raconter ses angoisses au jour le jour sur le réseau social. Trois ans et 158 000 abonnés plus tard, le projet de série, rebaptisé Flippé et coproduite par Nicolas Schmerkin de la société oscarisée Autour de Minuit, a séduit Canal+ qui devrait diﬀuser les premiers épisodes l’an prochain. Kyan Khojandi doublera le personnage principal, et sera accompagné du Youtubeur Cyprien, qui incarnera le coach en malêtre, ou encore de Garance Marillier (actrice fétiche de Julia Ducournau, réalisatrice de Titane). Plutôt destinée à un public d’adultes, la série pourrait être vue dès 13 ans, âge à partir duquel les enfants peuvent s’abonner à Instagram, a précisé Nicolas Schmerkin, « mais aussià partir du moment où l’on a des angoisses. »

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Catalan Films - June 2021

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Quatre projectes catalans seleccionats a Cartoon Forum

(http://catalan lms.cat/images/els-meus-petits-herois-1574084110.jpg)

L'edició d'enguany tindrà lloc entre el 20 i el 23 de setembre a Tolosa Cartoon Forum (http://cartoon-media.eu/cartoon-forum/cartoon-forum-2021.htm) és un esdeveniment de pitching i co-producció dedicat a sèries de televisió d’animació. Durant 3 dies, els productors tindran l'oportunitat de presentar el seu projecte d'animació davant cadenes de televisió, coproductors i altres possibles nançadors de més de 40 països. El fòrum se celebrarà durant els dies 20, 21, 22 i 23 de setembre a Tolosa, França. Enguany, quatre projectes d'animació catalans han estat seleccionats: My Little Heroes (http://catalan lms.cat/ca/produccions/els-meus-petitsherois) de avier al7n (Pee&aboo nimation). • The Monsters Valley de anti mé3queta ( D). •

The as atoons d'Evgenia olubeva i adia Cardoso (Pi&&u&ala, ardinha Lata).em • The a ies(http://catalan lms.cat/ca/produccions/the-wawies) d' ntonio Pernas ( magic T ).

•

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Credit: Cartoon Forum

“Mister Crocodile,” “Corgi, A Royal Family” and “Piggy Builders” are among 84 TV series animated projects set to unspool at the 2021 Cartoon Forum which takes place in Toulouse, southern France, over Sept. 20-23 in an entirely in-person format. 21 countries from Europe will introduce animated projects at pitching sessions and industry networking, the backbone of Cartoon Forum’s activities. The 84 projects were selected from 141 submissions. Targeting children and produced by France’s The Magical Society, “Mister Crocodile” is penned by Simon Nicholson and Joann Sfar and based on Sfar’s graphic novel. The series depicts the friendship between a girl and a crocodile, who asks to be her pet. - UNITED STATES -

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One of the most anticipated titles at the Forum, “Corgi, A Royal Family” is produced by France’s Studio Redfrog and Belgium’s nWave Studios, the company behind Ben Stassen’s “A Turtle’s Tale: Sammy’s Adventures,” “The House of Magic,” “Fly Me to the Moon” and “The Son of Bigfoot.” NWave Studios was acquired in 2018 by MZM. Directed by Jérémie Guneau, the series follows the adventures of Rex, the favorite corgi dog favorite of Queen Elizabeth II, who has returned to Buckingham Palace with Wanda, his lady love from the pound. Like all nWave fare, “Corgi, a Royal Family” is resolute family fare. But that’s becoming something of a rarity at Cartoon Forum where it accounts for just four projects, compared to 11 last year. That might indicate an early-phase production trend towards single screen audiences –for children, pre-schoolers– at the expense of family viewing of TV. “Piggy Builders,” from France’s Xilam, for instance, targets preschoolers showing what really happened to the three little pigs after their famous misadventure with the wolf. Pre-school shows now make up a third of the 2021 Cartoon Forum line-up, in line with 2020 figures. Adult audience projects have edged up to 14 projects, 17% up on 2021.

“Corgi, A Royal Family” Credit: Cartoon Forum

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Further projects, and possible standouts, include “Lambs” and “Little Charlie.” Pre-school “Little Charlie” is co-produced by Alexandra Schatz Filmproduktion (Germany) and Submarine (Netherlands). Based on the bestselling book series “Karlchen” by Rotraut Susanne Berner, it turns on a young rabbit living with his parents and his little sister Clara on the outskirts of a town. Germany’s Studio Film Bilder produces “Lambs,” another pre-school show from Gottfried Mentor who’s seen success before with the same subject, his short, “Lambs,” winning multiple prizes. Almost half of Cartoon Forum’s projects target 6-11s, up from 43% of 2020’s total. France rules in terms of project presence, its 33 productions weighing in as more than the next four countries’ combined: Ireland (11), Germany (8), Spain (6), and Belgium (5). Portugal has five projects, while the Czech Republic and Denmark account for four titles each, according to the organization’s stats. The average budget of series has also edged down to $4.7 million.

“Piggy Builders”

Credit: Cartoon Forum

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“Freaked Out” (Autour de Minuit), “Living with Dad” (Dupuis Edition et Audiovisuel) and “Fio Lina and the Maestro” (Serienwerk). Just over half the series – 56% – use 2D animation, though 3D series are up to 28% of showcase titles from 20% in 2020. Four projects were selected via the Cartoon Springboard platform – “Anselmo Wannabe,” “Hygge,” “What it Takes” and “Space Ham”– a Cartoon event devoted to student projects, reflecting the organization’s aim of discovering young animated talent and facilitating its access to professional animation work. Europe’s foremost dedicated animated TV series event, Cartoon Forum forms part of a broader network of platforms created by the E.U.backed Cartoon. These include Cartoon Movie, Cartoon 360 and Cartoon Masters, which has Business, Digital and Springboard offshoots.

“Lambs”

Credit: Cartoon Forum

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Let’s get physical

Cartoon’s general director Annick Maes tells Nico Franks why it’s so crucial for the industry that Cartoon Forum returns as a physical event this week. ʹͲʹͲ Ǧͳͻ ǡ ’s return as a physical event in Toulouse this Ǥ

It’ll be more than a little strange, of course. What isn’t these days? But Annick Maes, who took the reins atop ǡ Ǧ Ǥ “It’s very important for us that people can see each other again and can Ǥ them,” says Maes, who oversaw ’s quick switch to digital at the lastǦ ʹͲʹͲǤ

ͺͷͲ Ͷͺ͸ ǡ ʹ͸ͷ ǡ Ǧ ͳͳǡ͸ͲͶ Ǥ

ǡ ’s best e"orts, it’s fair to say the online version of couldn’t Ǧ Ǥ

ǡ ǡ ǡ ͳʹ Ǥ “A lot of people are vaccinated. We must pick up our lives and we have been ǡ almost, to do a physical event,” says MaesǤ - UNITED KINGDOM -

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So how will this year’s edition di"er from the last physical ʹͲͳͻǫ ǡ Ǥ Ǥ Ǧ ǡ Ǥ Ǩ è ǡ Ǥ

“But we are in the middle of Toulouse,” points out Maes, so delegates are ǡ ǡ Ǧ Ǥ ͺͲͲ ǡ ʹͲͲ ǡ ͳǡͲͲͲ ʹͲͳͻ Ǥ “I have to say we are quite happy with the #gures. We see the buyers are making an e"ort,” says Maes.

ǡ e but, for obvious reasons, aren’t able to make it. As a result, ǡ ǡ Ǧ ǡ Ǥ

ǡ ͺͲΪ Ǥ Ǧ ǡ ͳͲǦ ͓ ͳͷǤ

producers, as well as more info about the ‘Spotlight’ country this year, Ǥ

is keen to avoid encouraging future “hybrid” events. environments where those can be forged can’t be understated. As one producer recently told C21Kids: “Some of the strongest relationships I’ve .” 54

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ǡ ǡ Ǧ Ǧ Ǧ Ǥ

Maes adds: “ Ǥ when you see people only on a screen? It’s very important for the next generation.” Another way in which this year’s edition of ̶ Ǥ isn’t a result of any decision from Cartoon, Maes is quick to point out, but the UK government’s decision not to participate in Creative Europe’s Media Ǥ

ǡ ǡ Ǥ “We are well aware of the creativity of the UK and it will be very strange not Ǥ #nd a solution soon,” Ǥ

ǡ to apply to this year’s edition. “Of course, there were some clever UK producers who started production companies in Ireland who will be there,” adds Maes. That’ll be BelfastǦ ǡ ʹͲͳ͸Ǥ

ǡ Ǥ ǡ Ǥ

ͳ͹ǦͲͻǦʹͲʹͳ ̹ ʹͳ

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Audiovisual 451 - 24/09/2021

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Cartoon Forum 2021 atrae a nuevos compradores y vuelve con éxito al formato presencial Por Redacción AV451 - 24 septiembre, 2021

 Cobertura internacional de Audiovisual451. Cartoon Forum 2021 se ha celebrado con éxito en Toulouse después de haber tenido que prescindir de su versión física en 2020 a causa de la pandemia. El foro europeo de coproducción para series de animación ha registado 1.015 participantes de 41 países, de los que 885 han estado en la localidad francesa. Así, 130 profesionales han optado por participar de manera digital. Cartoon Forum ha contado con 267 compradores, de los que tan solo 65 han prescindido del viaje a Toulouse, de manera que los 84 proyectos presentados del 20 al 23 de septiembre han tenido la opción de verse en persona con 202 compradores.

Cartoon Forum 2021. Fotografía de CARTOON.

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El interés por las producciones de animación sigue creciendo en todo el mundo, muestra de ello es que varios compradores acudían por primera vez al foro: la plataforma francesa Benshi, TV Nova de República Checa, la compañía Tribes Media y su plataforma de animación para adultos Glitch (disponible en España, entre otros países), El Reino Infantil, la californiana FairSquare Comics y la editora francesa de juegos Asmodee Entertainment.

La presencia española De nuevo, la industria española de la animación acudió a Cartoon Forum con seis proyectos. El primero que se presentó fue ‘Kima & Amik’, dirigido por Juanjo Elordi (‘Yoko’) y con producción de Lotura Films. La nueva serie para el público preescolar anunció que Jetpack Distribution ya está a bordo del proyecto.

Cambiando de target se presentó ‘The Monsters Valley’, proyecto creado por Santi Amézqueta y producido por WKND (Rofer Torras). La serie, que se dirige al público adolescente y juvenil, proyectó trece minutos de animática ante una sala prácticamente llena.

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‘The Saskatoons’ hizo honor al país protagonista de Cartoon Forum 2021 (Portugal) al ser una coproducción de Sardinha em Lata y Pikkukala, estudio con presencia en España y Finlandia. El proyecto anunció, además, la participación de RTP, la televisión pública portuguesa.

Acto seguido el equipo de Glow, estudio extremeño responsable de ‘Buñuel en el laberinto de las tortugas’, presentó la serie para niños y padres ‘La pandilla VHS’, llena de referencias al cine y con Televisión Española a bordo. También con el apoyo de la pública realizó su pitch ‘The Wawies’, serie con gran potencial de merchandising creada por Tom Pernas y producida por Imagic TV. De hecho, el universo Wawaland lanzará sus primeros productos el próximo mes de diciembre en la tienda online Zalando.

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‘La pandilla VHS’.

‘The Wawies’.

Y el último proyecto español que se presentó fue ‘My Little Heroes’ de Peekaboo Animation, compañía con sede en Barcelona liderada por Iván Agenjo y Javier Galán. Basado en los libros creados por ESME y publicados por Shackleton, el proyecto ya cuenta con el apoyo de RTVE y y tiene cartas de interés de BBC Alba (Escocia), Canal Panda de Portugal y HopTV! de Israel. Además, el pitch despertó gran interés en el foro.

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Peekaboo Animation tras el pitch de ‘My Little Heroes’.

Además de Yago Fandiño, responsable de Infantiles de RTVE, acudió la catalana TV3 con Xavi Romero, responsable de coproducciones de animación, y Muntsa Tarrés, productora ejecutiva que acaba de incorporarse al área de Infantiles. El equipo se completa con Laia Servera, responsable de programas infantiles de TV3 desde principios de año. Pink Parrot con su nueva división de televisión encabezada por Begoña Esteban, El Reino Infantil, Zeptolab y Planeta Junior también acudieron a Toulouse, mientras que Filmin participó online. Koyi Talent, Mr. Klaus Studio y Mago Production tampoco se perdieron el foro presencial.

Cartoon Forum volverá a Toulouse del 19 al 22 de septiembre de 2022.

Las diez presentaciones de Cartoon Forum 2021 con más asistentes en la sala ‘Mister Crocodile’ de Joann Sfar’s Magical Society (Francia) ‘Me and My Compost’ de Vivement Lundi ! y Superprod (Francia) ‘Under the School’ de Ellipsanime Productions y Timpel Pictures (Francia) ‘Living with Dad’ de Dupuis Edition&Audiovisuel y Belvision (Francia/Bélgica) ‘Freaked Out’ de Autour de Minuit y FKLG (Francia) ‘Sacha and the Christmas Creatures’ de Xbo films (Francia) ‘Corgi, a Royal Family’ de Studio Redfrog y nWave (Francia/Bélgica) ‘The Chimera Keepers’ de Monello Productions (Francia) ‘Abyss: Very Special Case Unit’ de Les Armateurs (Francia) ‘Voro’ de Les Films du Poisson Rouge & Why Not AI (Francia)

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‘Mister Crocodile’.

‘Samuel’, el proyecto de animación del que todo el mundo habla en Cartoon Forum 2021

Los cinco proyectos coproducidos por, al menos, dos países que más asistencia han registrado en Cartoon Forum 2021 ‘Living with Dad’ de Dupuis Edition & Audiovisuel & Belvision (Fancia/Bélgica) ‘Corgi, a Royal Family’ de Studio Redfrog & nWave (Francia/Bélgica) ‘Tommy Pepper’ de Lunanime & Melusine Productions (Bélgica/Luxemburgo) ‘Tales of Terror’ de Dream Logic & Lupus Films (Irlanda/Luxemburgo) ‘Space Ham’ de MiniCosmos & Dandelooo (Dinamarca/Francia)

‘Living with Dad’.

Los cinco proyectos con más compradores en la sala durante el pitch en Cartoon Forum 2021

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‘Little Charlie’ de Alexandra Schatz Filmproduktion & Submarine (Dinamarca/Holanda) > 67 % ‘Rhina Rhino’ de The Big B Animation (Alemania) > 66 % ‘Tiny Toot’ de Toolbox Film (Alemania) > 62 % ‘Freddy Buttons Wacky Mysteries’ de Treehouse Rep. & Tumbledown Media (Irlanda) > 60 % ‘Hadido and the Red Flower’ de HECAT Studio (Francia) > 58 %

‘Little Charlie’.

Cartoon Tributes 2021 Los premios de Cartoon Forum se dieron a conocer en la última jornada del foro y reconocieron la labor de compañías de Francia y Bélgica. Así, Ketnet, el canal público infantil de Bélgica (en la parte flamenca), fue elegido por los acreditados como el Broadcaster del año. Dirigido a niños de hasta 12 años, Ketnet cuenta con una segunda marca destinada a niños de hasta 6 años, donde ofrece series como ‘Doopie’, ‘Ollie’, ‘Simon’ o ‘Bananimals’. El premio a Distribudor/Inversor del año fue para la francesa MIAM ! animation, cuyo catálogo incluye series como ‘The MiniWhats’, ‘PriZooners’, ‘Brazen’ y ‘Selfish’, presentadas en anteriores ediciones de Cartoon Forum. Por último, el premio al Productor del año ha sido para TAT productions, compañía francesa fundada en 2000 por David Alaux, Eric y Jean-François Tosti. Ganadores del Emmy Internacional por la serie ‘The Jungle Bunch’, TAT productions es responsable de películas como ‘Terra Willy’ y ‘Pil’. Además, tienen en desarrollo tres largometrajes: ‘Argonuts’, ‘The Jungle Bunch 2’ y ‘Pets on a Train’.

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Los receptores de los Cartoon Tributes 2021 con Annick Maes, responsable de CARTOON. Fotografía de CARTOON.

Próximas citas para la animación Las próximas citas para el sector de la animación son Weird Market en Segovia del 30 de septiembre al 2 de octubre, y MIPJunior, que se celebrará dentro de MIPCOM en Cannes del 11 al 14 de octubre. Además, CARTOON celebrará Cartoon Springboard en Valencia del 26 al 28 de octubre; Cartoon 360 en Lille (Francia) del 16 al 18 de noviembre; y Cartoon Digital en Gran Canaria del 8 al 10 de diciembre.

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Cartoon Forum Announces Its Line-Up With 9 CEE Projects 22 June 2021 Cartoon Forum, the pitching and co-production forum for animated TV projects,

announced the line-up for its next edition, to be held in person in Toulouse from 20 to 23

September. European animation emerges from the sanitary crisis with 84 new TV series, mini-series, and TV specials projects involving independent studios from 21 countries. With nine projects, Central and Eastern European countries keep the animation production momentum going.

Cartoon Forum’s statistics remain at similar levels to the previous year. Shortlisted from 141

submissions, the 84 selected projects have a total budget of 326.1 M€ with an average cost per series of 3.9 M€, though the cost per minute of animation production has slightly

decreased compared to 2020 (11,887 € vs 12,250 €). In total, the projects represent 457 hours of animation, while series formats continue to diversify in response to the new demands, both in terms of number of episodes and running time.

Twenty-one European countries are involved in the projects. Czech Republic participates

with four projects, Poland with three, while Latvia and Ukraine are present with one project each. Serbian and Romanian production companies are involved in one project as well. The Polish project Robot and the Martians (Badi Badi) entered the line-up after being selected by CEE Animation Forum.

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Acorn Elves TV series – 26 x 11′; Pre-school 4-5; 3D Computer, Painting, Live action Czech Republic

Director: Pavel Jindra; Scriptwriter: Klára Smolíková; Graphic author: Marcel Legindi; Adaptation from “Acorn Elves” by Petr Václavek Producer: Radovan Surý, BareBear production

Dinofables TV series – 26 x 7′; Pre-school 4-5; 2D & 3D Computer, Cut-out Czech Republic / Serbia / Romania

Scriptwriter: Klára Jůzová; Graphic author: Martina Svojíková

Producer: Martin Jůza, Krutart (CZ); Andrijana Sofranić Šućur, To Blink Animation (RS), Irena Isbasescu, Domestic Film (RO)

> participant at this year´s CEE Animation Workshop

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Hello, Oscar! TV series – 10 x 7′; Children 6-8; 3D Computer Latvia

Director: Edmunds Jansons; Scriptwriter: Lote Eglite; Graphic author: Reinis Petersons Adaptation from “Oskar ja asjad” by Andrus Kivirahk Producer: Sabine Andersone, Atom Art

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Hrafn Academy TV series – 12 x 26′; Young adults/adults; 2D Computer Ukraine / Iceland

Director: Eugene Ermak; Scriptwriter: Andriy Zlanich; Graphic author: Myroslava Shevchenko Producer: Kateryna Vyshnevska, Animagrad (UI), Kjartan Thór Thórðarsson, GunHil (IS)

Icky & Poo TV series – 26 x 6′; Pre-school 4-5; 2D Computer Poland

Director: Jacek Rokosz; Scriptwriter: Emilia Nedzi; Graphic author: Hilli Kushnir Producer: Zofia Jaroszuk, Animoon

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Robot and the Martians TV series – 26 x 4′; Children 6+; 2D & 3D Computer Poland

Directors and scriptwriters: Tom Niedźwiedź & Mikołaj Valencia; Graphic author: Michał Migacz

Producer: Magdalena Rawa, Badi Badi

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The Seniors TV series – 10 x 22′; Young adults/adults; 2D Computer Czech Republic

Director: Ekaterina Bessonova; Scriptwriter: Ekaterina Bessonova; Graphic author: Kryštof Ulbert

Producer: Zdeněk Holý, Vernes; Martin Vandas, MAUR film

Veggierado TV series – 13 x 11′; Children 6-11; 2D & 3D Computer Czech Republic

Director, scriptwriter and graphic author: Jan Bubeníček Producer: Vladimír Lhoták, Hausboot

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Welcome to Mamoko TV series – 26 x 6′; Pre-school 4-5; 2D Computer; Cross-media concept Poland

Director: Piotr Różycki; Scriptwriter: Małgorzata Giec; Graphic authors: Piotr Różycki, Klaudia Tabor & Ewa Skowron

Adaptation from “Miasteczko Mamoko (Illustrated Book)” by Aleksandra & Daniel Mizielińscy Producer: Mateusz Kowalczyk, Pigeon

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Accounting for almost half of the selection (41 projects), series aimed at children 6-11 years

old continue to gain ground in Cartoon Forum. With 25 projects, pre-school series represent almost a third of the selection, while Young Adults/Adults projects have increased to 17% vs 14% in the previous year.

2D remains the most widely animation technique employed by European producers (56%), although 3D series grows to 28% vs 20% in 2020.

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P O RT U G A L E M LU G A R D E D ESTAQ U E N O C A RTO O N FO RU M D E TO U LO U S E C A T A R I N A F A L C Ã O ( H T T P S : // L U S O J O R N A L . C O M / A U T H O R / C A T A R I N A - F A L C A O / )

2 2 S E T E M B R O , 2 0 2 1

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O Cartoon Forum é a principal montra da animação europeia, onde estúdios e produtores procuram investimento para os seus projetos de séries de animação, com Portugal a ser destacado na 31ª edição, que decorre este ano em Toulouse. “É o maior evento europeu e o único nestes moldes. Temos duas hipóteses para financiar as nossas séries – estes eventos ou ir aos mercados. No Cartoon Forum temos oportunidade de mostrar o nosso projeto, e é muito importante para as séries europeias independentes. É fulcral”, disse o produtor Diogo Carvalho, do estúdio Sardinha em Lata, em declarações à Lusa. O estúdio Sardinha em Lata, o Sparkle Animation, a Ukbar Filmes e a Take It Easy são os quatro estúdios e produtores portugueses que vão apresentar os seus projetos no Cartoon Forum 2021 em busca de financiamento. No total, vão ser apresentados 84 projetos, vindos de 13 países diferentes e que procuram cerca de 326 milhões de euros de investimento. Estes projetos são séries de animação de televisão ou plataformas digitais, e são dirigidas para crianças, mas também para adolescentes e adultos. Cada produtor ou autor terá cerca de 20 minutos no palco para mostrar e falar do seu projeto, num género de ‘pitch’. Sendo um momento de encontro para produtores e distribuidores, assim como investidores privados, os projetos com mais destaque conseguem recolher os fundos necessários para a sua concretização A Sardinha em Lata já conseguiu financiamento realizar dois projetos após participações no Cartoon Forum, nomeadamente “Os Diários de Alice”, que está a ser produzida atualmente. A este encontro europeu trazem dois novos projetos: “Pete & Bern’s” e “The Saskatoons”. O estúdio Sparkle Animation vai apresentar “Biriki”, a produtora Ukbar Filmes vai estar presente com “The Adventures of Princess P” e a Take it Easy com “What’s It All About?”. Desde a sua criação, em 1990, o Cartoon Forum ajudou 870 séries de animação a conseguirem cerca de 3,1 mil milhões de euros para serem realizadas, sendo esta iniciativa cofinanciada pelo programa MEDIA da Europa Criativa, um programa da União Europeia. Sem espaços como o Cartoon Forum, segundo Diogo Carvalho, seria muito difícil produzir animação em Portugal. “O cinema independente e séries dependem muito dos incentivos que o Estado dá, e isto passa-se em toda a Europa. E o financiamento para séries em Portugal são 600 mil euros divididos por dois projetos, logo é muito baixo. Não é nada. E depois não há investimento privado em Portugal”, explicou o produtor. O estúdio Sardinha em Lata está ainda nomeado para os prémios deste evento, na categoria de melhor produtor do ano. O Cartoon Forum decorre entre os dias 20 e 23 de setembro, em Toulouse, voltado ao formato presencial após uma edição digital em 2020.

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Cartoon Forum Wrap: Trends, Top Pitches & Attendance Numbers By Mercedes Milligan Published on September 23, 2021

!/ - /#- $)/ ). 4. *! )/#0.$ ./$ +$/ #$)" . ..$*). $) *0'*0. Ѷ -/**) *-0(( $)/ $) $/. . ( & 4 / & 2 4. !/ - $/. - /0-) /* ) $)Ҋ+ -.*) 1 )/ѷ #$"#Ҋ ,0 '$/4 +-*% /. 2$/# "- / $1 -.$/4 *! .0 % /.Ѷ ) 0+ *($)" / ' )/. )/ -$)" /# .+*/'$"#/ /* *+ ) ! )/ ./$ ) 2 1$./ *) /# !0/0- *! )$( /$*)ѵ This year’s pitch sel /$*) +- . )/ чу )$( / . -$ . +-*% /. !-*( ср 0-*+ ) *0)/-$ .Ѷ !*- /*/ ' 0 " / *! тсхѵр ($''$*) 0-*Ѷ - +- . )/$)" ухп #*0-. *! )$( /$*)ѵ # (*./Ҋ- +- . )/ +-* 0 /$*) *0)/-$ . 2 - ѷ - ) җттҘѶ

- ' ) җррҘѶ -( )4 җчҘѶ + $) җхҘ '"$0( җфҘѶ 5 # +0 '$ Ѷ )( -& ) *-/0" ' җуҘѵ # *+ рп (*./Ҋ // ) +$/ #$)" . ..$*). 2 - ѷ рѵ Mister Crocodile – Joann Sfar’s Magical Society (FR) сѵ Me and My Compost – $1 ( )/ 0) $ Ѻ о 0+ -+-* җ Ҙ тѵ Under the School – ''$+. )$( -* 0 /$*). о $(+ ' $ /0- . җ Ҙ уѵ Living with Dad – 0+0$. $/$*) о 0 $*1$.0 ' о '1$.$*) җ ҝ Ҙ фѵ Freaked Out – 0/*0- $)0$/ о җ Ҙ - UNITES STATES -

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хѵ Sacha and the Christmas Creatures – * !$'(. җ Ҙ цѵ Corgi, a Royal Family – /0 $* !-*" о ) 1 җ ҝ Ҙ чѵ The Chimera Keepers – *) ''* -* 0 /$*). җ Ҙ шѵ Abyss: Very Special Case Unit – . -( / 0-. җ Ҙ рпѵ Voro – . $'(. 0 *$..*) *0" о #4 */ җ Ҙ

Clockwise from top left: Corgi, a Royal Family; Voro; Abyss: Very Special Case Unit; The Chimera Keepers; Sacha and the Christmas Creatures (center)

*+ ф *Ҋ+-* 0 /$*) +$/ # .ѷ рѵ Living with Dad – 0+0$. $/$*) о 0 $*1$.0 ' о '1$.$*) җ ҝ Ҙ сѵ Corgi, a Royal Family – /0 $* !-*" о ) 1 җ ҝ Ҙ тѵ Tommy Pepper – 0) )$( о '0.$) -* 0 /$*). җ ҝ Ҙ уѵ Tales of Terror – - ( *"$ о 0+0. $'(. җ ҝ Ҙ фѵ Space Ham – $)$ *.(*. о ) '*** җ ҝ Ҙ *+ ф +$/ # . 4 + - )/ " *! 04 -. $) /# -**(ѷ рѵ Little Charlie – ' 3 ) - # /5 $'(+-* 0&/$*) о 0 ( -$) җ ҝ Ҙ ۛ хц‫ ڿ‬ сѵ Rhina Rhino – # $" )$( /$*) җ Ҙ ۛ хх‫ ڿ‬ тѵ Tiny Toot – **' *3 $'( җ Ҙ ۛ хс‫ ڿ‬ 76

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уѵ Freddy Buttons Wacky Mysteries – - #*0. +ѵ о 0( ' *2) $ җ Ҙ ۛ хп‫ ڿ‬ фѵ Hadido and the Red Flower – /0 $* җ Ҙ ۛ фч‫ ڿ‬ -/**) *-0( спср 2 ' *( спс 04 -. *) .$/ $) *0'*0. Ѷ $) '0 $)" ц‫ ) ڿ‬2 04 -.Ѷ .0 # . ).#$ җ ҘѶ *1 җ ҘѶ -$ . $ җ '$/ # – ҘѶ ' $)* )! )/$' җ ҘѶ $- ,0 - *($ . җ ѵ ѵ ѵҘ ) .(* )/ -/ $)( )/ җ Ҙѵ 4 ( $)/ $)$)" ' ( )/. *! /# $"$/ ' спсп $/$*)Ѷ /# 1 )/ +0'' $) ) $/$*) ' хф 04 -. // ) $)" 1$-/0 ''4 — суѵс‫ !* ڿ‬/# схц /*/ ' 04 -.ѵ In total, this year’s event brought in рѶпрф + -/$ $+ )/. !-*( ур *0)/-$ . — ччф *) .$/ $) *0'*0. ) )*/# - ртп // ) $)" 1$-/0 ''4ѵ # " ) - ' ) *! '' + -/$ $+ )/. -*& *2) ) - ,0 ' /2 ) 2*( ) җфпѵт‫ڿ‬Ҙ ) ( ) җушѵу‫ڿ‬ҘѶ ) пѵт‫)*) ڿ‬Ҋ $) -4 // ) .ѵ

Clockwise from top left: Tales of Terror, Cannabiz, Griott & Mungo, What It Takes

*/ ' trends in this year’s selection included: •

+/ /$*). *! "- / .0 .. .ѵ # 2*-' *! )*1 '. ) *($ . $. ! )/ ./$ .*0- !*- ) 2 )$( /$*) . -$ .ѷ Mister Crocodile !-*( /# *($ **& 4 * )) ! -Ѷ Living with Dad !-*( /# *($ . Dad 4 Ѷ Hello, - UNITES STATES -

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Oscar! !-*( /# **& Oskar ja asjad 4 ) -0. $1$- #& ) Tales of Terror from the kid’s novel Uncle Montague’s Tale of Terror 4 #-$. -$ ./' 4ѵ •

$-'. / & /# ' ѵ $-'. )*2 / & (0 # ./-*)" - ) /$1 -*' . . ( $) *- . *) -4 # - / -.ѵ # $- + -.*) '$/4 ) /# 2 4 /* . -$ /# ( # . 1*'1 Ѷ .0 # . -$*// !-*( Griott & Mungo, who has a “character carved in stone”. The same goes for Audrey in Audrey’s ShelterѶ ' ) # / $) The Monsters ValleyѶ $* $) $) Fio Lina and the Maestro ) NadiaѶ (*)" */# -.ѵ

•

0'/Ҋ/ -" / /$/' .ѵ /$'' "*$)" ./-*)"Ѷ /# *0)" 0'/. о 0'/. / -" / (*"- +#$ $. *) /# -$. $) )$( / .#*2.Ѷ $) '0 $)" CannabizѶ VoroѶ The SeniorsѶ Freaked OutѶ Starting with Hope ) Dick Has a Problemѵ

•

) 2 " ) - /$*)ѵ # .0 .. *! /# $- +- . )/ /$*). . $ $/ '' !*- -$.$)" ) 2 *( -. $) /# $) 0./-4ѷ . '. 0-. 2$/# Samuel (FR), Dreamin’ Dolphin $'( 2$/# Hygge җ ҝ ҘѶ $)$ *.(*. 2$/# Space Ham җ ҝ ҘѶ . ./-*) 0/ . 2$/# What It Takes җ Ҙ ) $" *) 2$/# Welcome to Mamoko җ Ҙѵ

# -/**) (* $' ++'$ /$*) җ ) 2 1 -.$*)Ҙ 2$'' - ( $) 1 $' ' !*- // ) . /* - ! - /* +-*% / $)!*-( /$*) / )4 /$( ѵ *- / #Ҋ0+ . ..$*). 2$'' '.* 1$ 2 ' *) /# $"$/ ' +' /!*-( 0)/$' ($ )$"#/ *) /* - рфѵ -/$ $+ )/. - encouraged to continue discovering this year’s enticing projects and fill out feedback !*-(. /* # '+ +- . )/$)" +-* 0 -. $(+-*1 /# $- +-*% /.ѵ 1 /# / ѷ -/**) *-0( спсс 2$'' / & +' +/ ( - ршҊсс $) *0'*0. Ѷ - ) ѵ

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La Nazione - 19/09/2021

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-P 'EVXSSR *SVYQ XSVRE MR TVIWIR^E

Tolosa (Francia), 20 settembre 2021 - Torna in presenza (pur con le inevitabile precauzioni anti Covid) il Cartoon Forum, la rassegna

dedicata al meglio dei progetti europei di serie in animazione. Dal 20 al 23 settembre a Tolosa, verranno mostrati 84 progetti provenienti da 40 paesi in cerca di finanziatori, coproduttori "licenziatari" e via dicendo.

Un quarto delle opere è un adattamento da libri o fumetti, il 17%

esce dallo stereotipo "animazione prodotto per bambini" e affronta temi per giovani e adulti (dalla depressione al mondo dello spaccio - ITALY -

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di droga, per esempio) e questa edizione è particolarmente ricca di giovani talenti. Il Cartoon Forum (organizzato dall'associazione "Cartoon" con il sostegno del programma Media dell'Unione

Europea) nel 2021 è particolarmente dedicato alla produzione portoghese.

Tre i progetti italiani selezionati: "Anselmo Wannabe" di Massimo Ottoni e Francesco Forti (Ibrido Studio) con il piccolo protagonista che sogna in ogni episodio di fare un lavoro diverso, dal più

comune al più stravagante; "Nadia" di Shane Perez e Caterina

Cappelli (Red Monk studio), la storia di una bambina e del suo

rapporto molto particolare a magico con la natura; "The incredible adventures of a creative family" di Robin Lyons, Enrico Nocera,

Matteo Panebarco e Carlo Casavecchia (Panebarco) che racconta le vicende dei Panebarco, una famiglia italiana molto eccentrica che gestisce un'agenzia creativa davvero fuori dal comune. Una serie

che, per gli appassionati di comics, non può che richiamare il nome di Daniele Panebarco, apprezzato fumettista e autore satirico.

A questi tre progetti italiani si aggiunge la coproduzione di Mondo Tv della serie italo-tedesca "Show Time" . L'Italia è come sempre presente con diversi operatori del settore, a partire da Rai Ragazzi che quest'anno è in lizza per il premio ("tribute") del Cartoon Forum come miglior broadcaster dell'anno insieme ai francesi di Canal+ e France4 e ai belgi di Ketnet-VRT.

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CARTOON 2021 Cartoon Forum

REPORT: Cartoon Forum 2021 by DAVIDE ABBATESCIANNI 28/09/2021 - We present a rundown of the most interesting projects introduced at this year’s Cartoon Forum, which ran in Toulouse from 21-23 September

The creative team behind Space Ham pitching their project

Cartoon Forum is finally back in a physical format. This year, the prestigious pitching and co-production forum for animated TV projects unspooled in Toulouse from 21-23 September. For three days, European producers had the opportunity to pitch their projects in front of 1,000 broadcasters, investors and other potential partners from 40 countries. Since its inception in 1990, 873 series have found financing, accounting for a total budget of €3.1 billion. Here, we present an overview of some of the most interesting projects presented during this year’s gathering: Tales of Terror – Kealan O’Rourke (Ireland/UK) This 10x11-minute project follows Edgar, an 11-year-old who longs for an escape from his mundane world. His enigmatic Uncle Montague lives nearby in a Victorian mansion crammed with the most curious of items. There is nothing Edgar loves more than to listen to his uncle recount some of the frightening stories he knows. With each episode, Edgar is treated to a new story, but as each tale unfolds, an eerie pattern starts to emerge. The project is being produced by Ireland’s Dream Logic and co-produced by the UK’s Lupus Films. Tommy Pepper – Domien Huyghe (Belgium/Luxembourg) Cookies settings The team behind this 13x22-minute series showed up on stage dressed as chefs in order to present their

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REPORT: Cartoon Forum 2021 - Cineuropa

project. It follows young Tommy Pepper, who is struggling to become a Master Mingler. When he discovers that his mother may have been captured by the fearsome Gulzar, he flies a Mixocopter back to his home country, the magical island of Papilonia. The series has already secured 45% of its budget thanks to the VAF, Ketnet, MEDIA’s European slate funding programme and the Belgian Tax Shelter. Budgeted at €4.5 million and set to be delivered in 2024, it is being produced by Lunanime and co-produced by Melusine Productions Space Ham – Nicolai Vielwerth (Denmark/France) Described as a “post-apocalyptic comedy”, Space Ham centres on two young pigs who guard a space station on an asteroid far away. They are best friends, skilled in their professions as an engineer and a botanist, but useless at reliably handling their positions of trust, as their attitude of “trying to be adults” just causes chaos. The team reported that they are currently in talks with the BBC. The 52x9-minute 2D and 3D show, budgeted at €8.5 million and set for delivery in 2023, is being staged by MiniCosmos and Dandelooo. Adventures of a Creative Family – directors TBC (Italy/Ireland) The story of this 26x11-minute project offers a series of comedy adventures about the Panebarcos, a highly eccentric Italian family who run a truly off-the-wall creative agency. We focus on young Nora, who dreams of working as an intern for the family firm, led by the girl’s mother, Mary Bla-Bla. According to the series’ creative team, it will tackle “themes such as loneliness, bullying, inadequacy and other fish-out-of-water problems”. Executive-produced by Steve Walsh, the show is being staged by Panebarco, co-produced by Telegael and co-financed by the Emilia-Romagna Film Commission. Under the School – Max Maléo (France) The 26x22-minute project, budgeted at €8.5 million, is set to enter production in Q2 of 2022 and to be delivered in Q4 of 2023. The series takes place in St Joseph’s, a school known for welcoming “underperforming” children into its ranks. In its basement, the institute houses an entire reconditioning system capable of transforming any pupil into the best student in the class. During the pitching session, the team presented an animatic teaser. Under the School is a co-production between Ellipsanime Productions and Timpel Pictures. Dino Fables – director(s) TBC (Czech Republic/Serbia/Romania) Produced by Prague-based Krutart and co-produced by Serbia’s To Blink Animation and Romania’s Domestic Film, this 26x7-minute series for preschoolers focuses on “social-emotional learning”, tackling themes such as “why grandparents are so slow”, “being different”, “not feeling brave enough” and “fear of the dark”. The project, backed by the Czech Film Fund and commissioned by Czech Television, is set to be distributed by French outfit Dandelooo. In it, we will see father Megatherium telling his lively triplets stories about dinosaurs to calm them down. Hygge – Rikke Planeta and Philip Piaget (Germany/Denmark) In Rumble Village, Bea, Diego and Bo will explore the marvellous forest, encounter many unknown and magical creatures, and learn how to use Hygge to overcome the many unexpected obstacles they meet along the way. Hygge is a “feeling of safety, comfort, harmony, peace and togetherness”. In this 52x11-minute series, children will come to understand how to “get through tough experiences, learn to cope, and become more resilient and optimistic”. Hygge is set to become a 360-degree IP, with more seasons and a feature film already planned. It will enter production by the end of 2022. The project is a co-production by Dreamin’ Dolphin Film, Ouros and Parka Pictures. VHS Gang – Jose Fernandez de Vega (Spain) Produced by GLOW, the 26x8-minute series is set in the 1990s and follows three siblings who have countless adventures, where reality blends in with fictional worlds from classic fantasy and horror films. Commissioned by RTVE and other regional channels, it is budgeted at €2.5 million. The IP will include the publication of a comic book and a video game. Butterfly Academy – Sophie Roy (Germany/Canada) After their hit Butterfly Tale, Ulysses Filmproduktion and CarpeDiem joined forces to present a 52x11-minute spin-off series, set in a school where young monarchs learn to become the best butterflies they can be. It focuses on Patrick, an over-optimistic, one-winged monarch; Marty, a goofy caterpillar; Lily, the empathic drama queen; and Jennifer, the brains of this foursome. Pink Parrot is in charge of its distribution. Anselmo Wannabe – Massimo Ottoni (Italy) Created by Massimo Ottoni and produced by Federico Turani for Ibrido, this 26x7-minute series (budgeted at around €1.2 million and targeted at children aged between six and nine) centres on the titular child who starts to imagine himself involved in the most common or the most absurd professions.

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Ottoni and Turani said that Anselmo Wannabe will help children to understand that there are no “humble or unpleasant professions” and “no male or female jobs in a world still oppressed by gender inequality”. RAI Ragazzi and Porto-based AIM Creative Studios have already expressed an interest in the project. The team plans to expand it by making it a transmedia project as well as through merchandising, including the creation of a wiki where children can learn more about the different jobs. You can find the full list of selected projects here.

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Toulouse Infos - 27/09/2021

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Toulouse. TAT productions élu "Producteur européen de l'année" au Cartoon Forum 2021

Culture

Toulouse. TAT productions élu « Producteur européen de l’année » au Cartoon Forum 2021 Publié par La rédaction  27/09/2021 - 11:08

Toulouse. TAT productions élu « Producteur européen de l’année » au Cartoon Forum 2021© TAT productions SND – Groupe M6 France 3 Cinéma/dr

TAT productions a été récompensée dans le cadre de l’événement européen Cartoon Forum, qui s’est tenu à Toulouse du 20 au 23 septembre 2021. Société de production spécialisée dans l’animation pour la télévision et le cinéma, créée à Toulouse en 2000 par David Alaux, Éric Tosti et Jean-François Tosti. Sa série-phare Les As de la Jungle à la Rescousse, lauréate d’un International Emmy Award en 2015, est diffusée dans le monde entier. La société est également à l’origine des longs-métrages Les As de la Jungle, Terra Willy . Son nouveau film Pil est actuellement en salles en France (depuis le 11 août dernier) et rencontre un beau succès. TAT développe également trois nouveaux longs métrages pour le cinéma : Argonautes, Les As de la Jungle 2 et Pets on a Train. Les Cartoon Tributes : Prix créé en 2006 pour récompenser la contribution exceptionnelle des producteurs, distributeurs/investisseurs et diffuseurs à la promotion de l’animation européenne au cours de l’année écoulée. Les lauréats ont été élus par un vote en ligne dans trois catégories par les quelques 900 professionnels inscrits au Cartoon Forum. La cérémonie de remise des prix a eu lieu le 23 septembre à Toulouse. Le Cartoon Forum : Créé en 1990 pour dynamiser la coproduction et la distribution d’animation européenne pour la télévision et les nouvelles plateformes, Cartoon Forum a permis à 873 séries d’animation d’obtenir des financements à hauteur de plus de 3,1 milliards d’euros. Les principaux partenaires de Cartoon Forum Toulouse sont Creative Europe MEDIA, CNC (Centre national du cinéma et de l’image animée), Région Occitanie, Mairie de Toulouse, Toulouse Métropole, Casino Barrière et France Télévisions.

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Kidscreen - 27/08/2021

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Spooks & eco-warriors on tap at Cartoon Forum The annual pitchfest is returning to a live event format next month. Here are a few concepts debuting there that are on Kidscreen's radar. By Jeremy Dickson

August 27, 2021

Me and My Compost (pictured above) Producers: Vivement Lundi! (France), Superprod (France) Demo: six to 11 Style: 2D animation Format: 52 x 11 minutes Budget: US$7.6 million

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Status: A bible and several episode synopses and scripts are finished, and a teaser will be completed for the festival. Delivery is planned for late 2023. Environmental activists Jérémie Pichon and Bénédicte Moret created a practical and humorous guide called Zero Waste Family and companion kids book Zen Children Zero Waste to help families reduce their daily environmental footprint. Writer Cédric Stéphan and director Lionel François are bringing these French publications to screen in a series about a six-year-old girl who teams up with her older brother and an ecofriendly monster to save the planet, one zero-waste quest at a time. Hygge

Producers: Dreamin’ Dolphin Film (Germany), Ouros (Denmark), Parka Pictures (Denmark) Demo: four to five Style: CG animation Format: 52 x 11 minutes Budget: US$8.5 million Status: A bible, teaser, pilot script and several episode outlines are available. The producers are seeking co-

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producers and international distribution partners to begin production in 2022. A feature film is also in the works. Inspiration for this preschool project comes from Ouros co-founder Philip Piaget’s move from Mexico to Denmark, and how the experience changed his attitude towards winter. Centered around overcoming adversity and negativity, Hygge—the Danish word for cozy—is set in an inviting magical forest and follows the misadventures of a big-hearted bear, a comical lizard and a sweet-natured but gullible rabbit. Tales of Terror

Producers: Dream Logic (Ireland), Lupus Films (UK) Demo: six to 11 Style: 2D/hand-drawn animation Format: 10 x 11 minutes Budget: US$2.6 million Status: A bible, full series arc and two scripts are complete, and a teaser will be ready for Forum. The producers are seeking broadcaster presales and distribution partners. Delivery is planned for early 2023.

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Based on British author Chris Priestley’s best-selling children’s novel Uncle Montague’s Tales of Terror, this spine-tingling miniseries centers around an 11-year-old boy’s visits with his mysterious uncle, who tells him deliciously disturbed stories—which may or may not be true. The project is being developed by Brian Willis and Kealan O’Rourke from Dream Logic, and Ruth Fielding and Camilla Deakin from Lupus Films, bringing together the co-producers who previously partnered on festive special The Christmas Letter for UK broadcaster Sky. Muscaria

Producers: Galmar Films (Belgium), Studio Hugggy (Belgium) Demo: Families Style: Stop motion Format: Four 10 x 13-minute seasons Budget: US$4.1 million to US$4.7 million Status: Two scripts are written, a bible is in the works, and a teaser will be available for Cartoon Forum. The producers are looking for broadcaster presales, as well as distributors and co-pro partners. Inspired by regional folklore, this serialized fantasy from creator Fabien Vervenne follows along as naïve siblings Suzan and Elliott unravel the mystery behind the disappearance of their myth-obsessed grandfather.

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To find him, the kids are transported to a peculiar world where they’re turned into puppets and pursued by a fearsome witch. Themes include generational acceptance and the love of passing on stories.

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C21 Media - 17/09/2021

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Remote possibilities

Karolina Kaminska looks at how the pandemic is posing some new opportunities for producers pitching at this year’s Cartoon Forum, while familar challenges remain. The past year has undoubtedly been a challenging one as the world has continued to grapple with the Covid-19 pandemic and businesses have had to contend with serious and signi5cant changes to their operations. For many industries – hospitality, retail and travel to name a few – the coronavirus crisis has had disastrous consequences, which tragically some businesses have been unable to come back from. While the TV sector has also faced di7culties during these trying times, like delays to production and sudden gaps in linear schedules for example, there is no doubt that some opportunities have arisen for the industry too, such as increases in viewing 5gures during lockdowns. The animation sector is one which has certainly bene5tted from the pandemic, although that sounds like an awful thing to say and animation studios can’t help but feel guilty admitting that. ut with their live-action counterparts struggling against Covid restrictions and social distancing measures, animators have found themselves relatively comfortable to continue working remotely from home. One of the questions we asked our Insiders in this year’s online edition of the Insider’s Guide to nimation was if physical animation studios are still essential, or whether remote working is now the future of the industry. For most contributors, the answer was that a hybrid model would be implemented going forward. The pandemic has allowed them to realise that 6exible working is possible, but face-to-face contact is still vital, they said. For other Insiders, however, getting back into the studio full-time is desired.

https://www.c21media.net/remote-possibilities-iga21/

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C21 Media - 17/09/2021

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While remote working may not have posed a particular challenge for the animation industry, the sector faces various other issues that have. Every year in the Insider’s Guide to Animation we ask the contributors what the biggest challenge they are currently facing is and year-after-year one answer frequently pops up: funding. One Insider put it simply, saying the biggest issue they face “is always 5nding the 5nancing.3 unding has proved a huge problem for the sector for years and doesn’t seem to be letting up, pushing producers to increase licensing and merchandising e4orts to help make a pro5t. raditional consumer products like toys are an obvious way to achieve that, but in the digital world things like apps and mobile games are also becoming increasingly important to animators. Another challenge which often comes up when asked about current issues is recruiting talent, with one Insider highlighting that there is not enough talent to cater to the boom in demand for animated content. Other issues raised by the Insiders included maintaining very high production quality in the face of extremely tough competition, the length of time it takes to complete an animation project, and gender equality on- and o4-screen, among others. Whatever challenges and opportunities the animation industry has faced over the past year, it has certainly been an interesting period for companies and producers in the sector. It’s probably safe to say that in a year’s time when is compiling its Insider’s Guide to Animation that funding will still be an issue on many producers’ lips. ut will animators still be working from home? Will this hybrid model of working pan out as planned? Or will everyone be back in the o7ce nine-to-5ve? Only time will tell. Karolina Kaminska 17-09-2021 ©C21Media

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TVKIDS - September 2021

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Toulouse, France

Tooning into

Toulouse Cartoon Forum is back in Toulouse, France, from September 20 to 23. By Kristin Brzoznowski

he Cartoon Forum pitching and co-pro event for animated TV projects returns to Toulouse this month, crafted with many takeaways from 20202021, according to Annick Maes, general director of the Cartoon event organizer. “We had put all our efforts into bringing an online experience that matched as much as possible the ‘real’ experience,” she says. “All the professionals dearly missed the human touch that is the DNA of Cartoon events but also because physical markets are crucial to efficiently develop business talks and hasten deals. However, the digital tools were praised for their easy and smooth approach.” 94

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The organizers are taking advantage of this new online knowledge to bring an additional element to the on-site event, with a more complete and efficient experience, multiplying the business opportunities. This has led to the

“All the professionals dearly missed the human touch that is the DNA of Cartoon events.” —Annick Maes

availability of Catch-up Sessions, which allow Cartoon Forum 2021 participants to watch or rewatch a pitch at their own pace after the event (until October 15) and buyers who cannot join on site to have online-only access to projects’ pitches. “This provides extra opportunities to the producers to attract potential partners, investors or distributors,” Maes says. Shortlisted from 141 submissions, the 84 selected projects have a total budget of €326.1 million, with an average cost per series of €3.9 million—though the cost per minute of animation production has slightly decreased compared to 2020 (€11,887 vs. €12,250). In total, the projects represent 457 hours of animation, while series formats continue to diversify in response to the new demands, both in terms of the number of episodes and running time.

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Animaatiokilta - 27/10/2021

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AIKUISTUNEEMPI KATTAUS ANIMAATIOSARJOJA CARTOON FORUMISSA.

7]]WOYMRIR 'EVXSSR *SVYQ IWMXXIPM TSMOOIYOWIPPMWIR LEROOIIR VERWOEPEMRIR ERMQEEXMSWEVNE NSOE TSLNEYXYY WYSQEPEMWIR WEVNEOYZEER 7YSQEPEMWME LEROOIMXE SR XSOM SPPYX XʟWWʟ IYVSSTTEPEMWIR XZ ERMQEEXMSR ]LXIMWXYSXERXSXETELXYQEWWE QEEMPQER WMZY QYXXE PʟLMRRʟ WYSQEPEMWIR XYSXXENMIR ZSMQMR 'EVXSSR *SVYQ SR ZYSWMXXEMR EMRE ZYSHIWXE NʟVNIWXIXX] IYVSSTTEPEMWIR XZ ERMQEEXMSR ]LXIMWXYSXERXS NE VELSMXYWXETELXYQE 7I OSOSWM XʟRʟ ZYSRRE 883 osanottajaa 46 maasta IXIPʟVERWOEPEMWIIR Toulousen OEYTYROMMR 8YSXXENEX IWMXXIPMZʟX ZEPMXXYE XYSXERRSR IVM ZEMLIMWWE SPIZEE WEVNELEROIXXE NE TEMOEPPE SPPIMPPE VELSMXXENMPPE NE XZ OEREZMIR SWXENMPPE SPM QELHSPPMWYYW PʟLXIʟ RMMLMR QYOEER %MRE RʟMR IM Oʟ] QYXXE 'EVXSSR PEWOII IXXʟ OEMOOMEER 'EVXSSR *SVYQIMWWE SR VELSMXYOWIR WEERYX XZ WEVNEE 2MMHIR OIVʟʟQʟ VELSMXYW SR ]LXIIRWʟ QMPNEVHME IYVSE Voroa Vanskaksi 6ERWOEPEMWXYSXXENMIR RETTEEQE WEVNEOYZE SR Janne Kukkosen Voro. :YSWMRE – MPQIWX]R]X XVMPSKME SR LYSPIPPE XILX] JERXEWMEWIMOOEMPY /YOOSRIR SR ZEPQMWXYRYX 8YVYR XEMHIEOEXIQMEWXE ERMQEEXMS SLNEENEOWM NE XʟQʟOMR EQQEXXMXEMXS RʟO]] WEVNEOYZEWWE :SVS SR OʟʟRRIXX] YWIMPPI OMIPMPPI WI SR MPQIWX]R]X NS EMREOMR Yhdysvalloissa, Tsekissä ja Venäjällä sekä Ranskassa, jSWWE WIR NYPOEMWM 'EWXIVQER 8YPSWWE SZEX OʟʟRRʰOWIX -XEPMEWWE NE 4YSPEWWE

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,EROIXXE T]ʰVMXXʟZʟR 6ERWOER WEVNEOYZEJIWXMZEEPIMWXEER XYRRIXYWWE %RKSYPʥQIWWE WMNEMXWIZER Les Films du Poisson Rouge -studion XSMQMXYWNSLXENE Catherine Estevès OIVXSM Toulouse’ssa, miksi he olivat Voroon tarttuneet. “Tarinassa on kaikkea: rakkaus, huumori, seikkailu, jännitys, petos…” Hän luonnehti sarjan QEEMPQEE O]PQʟOWM X]]PMXIPP]WXM ZERLEER EMOEER WMNSMXXYZEOWM ZYSVMRIIR NE JERXEWMEIPIQIRXXIMRIIR /SLHI]PIMWʰ SZEX RYSVIX EMOYMWIX NSXOE SZEX XSXXYRIIX ERMQIIR LʟR WERSS 7EVNEOYZE SR XYSXXENMIR QYOEER XILX] LMIQER ERMQEEXMSXE RYSVIQQEPPI ]PIMWʰPPI 8EYWXE EVXMWXM Quentin Regnes WERSS IXXʟ :SVSR QEEMPQEWWE SR XSHIPPE QELHSPPMWYYW XILHʟ voimakkaita ja kauniita kuvia. “Maisemat ovat näyttäviä, olkoon se linnoitus, vuono tai vaikka salaperäinen metsä. Valolla on pääosa monessa kohtauksessa, se luo maailman.” 3LNEENE Yannick Zanchetta OSVSWXEE LʟROMR XEVMRER SLNEEQMWXE LMIQER EMOYMWIQQEPPI yleisölle. Tämä näkyy hänen mukaansa graafisessa tyylissä. “Trailerissa erkanimme sarjakuvan taustoista tehden niistä elokuvallisempia, kuvallista realismia.” - FINLAND -

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Pohjolaa animeyleisölle 7EVNEER SR XYPSWWE SWEE OYOMR QMRYYXXME TMXOʟ 7EQEPPE SR XEVOSMXYW PEEXME ZMHISTIPM 1SPIQQEX XILHʟʟR IVMOWIIR QYXXE NYPOMWXIXEER WEQEER EMOEER “Meidät veti hankkeeseen se, kuinka lähellä Voron maailma on videopeliä”, sanoo pelistä ZEWXEEZER ;L] RSX %- R .IER 1EVXMEP 0IJVERG 7EVNE SR SWMR LMYOER ZʟOMZEPXEMRIR LʟR WERSS “Siksi vanhensimme hiukan hahmoja sarjakuvaan verrattuina.”

2]X RʟLX] TMXGL SPM LEROOIIR IRWMQQʟMRIR IWMXXIP] OERWEMRZʟPMWIPPI ]PIMWʰPPI ,EROI SR R]X OILMXXIP]ZEMLIIWWE QEXOEE ZEPQMMOWM XYSXXIIOWM SR ZMIPʟ NʟPNIPPʟ :EPQMMRE SR XIEWIV NE TVSHYGXMSR FMFPI IPM OʟWMOMVNE WEVNER LELQSMWXE ZMWYEEPMWIWXE QEEMPQEWXE NE OIVVSRREWXE /YZEWYYRRMXXIPY SR QIRSWWE 'EXLIVMRI )WXIZʣW OIVXSS NE XEZSMXI SR WEEHE WEVNE IWMX]WOYRXSSR ZYSRRE .SW WMMW VELSMXYW NʟVNIWX]] “Sarja on animeyleisölle, mutta sillä on erilainen visuaalinen asu”, Estevès tähdentää vielä kerran. “Tarina on eurooppalainen, pohjautuu eurooppalaisiin myytteihin.” Valoa masennukseen 2YSVMPPI NE EMOYMWMPPI XILXʟZMIR ERMQEEXMSWEVNSNIR WYSWMSR OEWZY RʟO]M XʟRʟOMR ZYSRRE 8EOEZYSWMRE XZ WEVNEX WYYRREXXMMR PʟLIW TSMOOIYOWIXXE L]ZMR RYSVIPPI ]PIMWʰPPI NE XZ OEREZEX SPM LEROEPEE WEEHE NSXEOMR QYYXE SWXEQEER :EOEZEXOMR EMLIIX ZSMZEX TʟʟX]ʟ ERMQEEXMSWEVNSMOWM 6ERWOEPEMRIR Starting with hope käsittelee masennusta. “Siitä kärsii Euroopassa 50,3 miljoonaa ihmistä, Ranskassa kolme miljoonaa”, muistutti tuottaja Diana Hentulescu

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3LNEENE Kèota Dengmanara OIVXSS IXXʟ WEVNER OSLHI]PIMWʰRʟ SZEX OEMOOM QEWIRXYRIIX LIMHʟR PʟLIMWIRWʟ NE RI NSXOa haluavat lisää tietoa. “Mottomme on: pienikin valo voi läpäistä tummimmatkin varjot.” 9WIMR W]QFSPMWMR OYZMR OIVVSXYX NEOWSX WMWʟPXʟZʟX OYOMR ]LHIR QEWIRXYRIIR MLQMWIR XEVMRER 2I TSLNEYXYZEX ERMQEEXMSWWE HSOYQIRXXMX]]PMWMRʟ OYYPXEZMMR LEEWXEXXIPYMLMR NE NSOE NEOWSPPE SR SQE ERMQEEXMSX]]PM WIOʟ – SLNEENEE 8ʟQʟ XEOEE OIVVSRRER ZEMLXIPYR “Masennus ei näy ulospäin, siksi se on kuvattava masentuneen oman kokemuksen kautta”, Hentulescu sanoo. Tavoite on saada 13 x 4′ sarja valmiiksi jo ensi vuonna. Erilaista elämää 8SMRIR XZ ERMQEEXMSR ZEPXEZMVVEWXE TSMOOIEZE WEVNELEROI SR VERWOEPEMRIR ;LEX MX XEOIW 8ʟQʟ x 26′ sarja kertoo nuorista, jotka eivät mahdu binäärisiin sukupuoli MHIRXMXIIXXIMLMR 8EVMRE EYOIEE ]OWMRʟMWIWXʟ OEQTTEMPYWXE ]LXIMWIR VMRXEQEER TYSPYWXEQEER IVMPEMWYYXXE NE QELHSPPMWYYXXE IPʟʟ LEPYEQEPPEER XEZEPPE /ʟWMOMVNSMXYOWIR PEEXMZEX NE SLNEYOWIWXE ZEWXEEZEX Kelsi Phung NE Fabien Corre 8ʟQʟ SR +SFIPMRW ERMQEEXMSOSYPYWXE ZEPQMWXYRIMHIR IRWMQQʟMRIR WEVNE NE TSLNEYXYY LIMHʟR PSTTYX]ʰLʰRWʟ “ElSOYZEX NE XZ WEVNEX SZEX OEMOOM X]ʰOEPYNE NSMPPE EYXXEE MLQMWMʟ ]QQʟVXʟQʟʟR MXWIʟʟR SPIQEER oma itsensä”, Phung sanoo.

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Sarjan jokainen osa keskittyy yhteen ihmiseen, Corre sanoo. “Pitkä jakso antaa mahdollisuuden tutustua kunnolla yhteen ihmiseen.” 8IORMWIWXM WEVNE XILHʟʟR ( Rʟ NE WMMVVIXʟʟR WMMXʟ ( PPI 'SVVI OIVXSS 4MMVVSW SR ZELZEE ZMMZETMMVVSWXE NSWXE ZSM Pʰ]Xʟʟ ]LXʟPʟMW]]OWMʟ WEVNEOYZER MPQEMWYYR :SMQEOOEEX ZʟVMX PMWʟʟZʟX OIVVSRRER TEMRSE Diilerit kertovat Cannabiz sarjaa tuskin nähdään joka maan televisiokanavilla. Se on 10 x 5′ HSOYQIRXXMERMQEEXMS OERREFMOWIR OEYTTMEWXE %YXIRXXMWIR LEEWXEXXIPYR TSLNEPPI XILX] QIPOS VIEPMWXMWIIR X]]PMMR TMMVVIXX] ERMQEEXMS OIVXSS HMMPIVIMHIR EVOMTʟMZʟWXʟ

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)RWMQQʟMRIR SWE SR NS ZEPQMW 7MMRʟ ZEEPIE WMRMWMPQʟMRIR WOSSXXIVMPPE ENEZE X]XXʰ OIVXSS OYMROE LʟR TʟVNʟWM YPOSRʟOʰRWʟ ZYSOWM L]ZMR OERREFMOWIR Q]]RRMWWʟ TSPMMWM T]Wʟ]XXM PʟLMRRʟ XYQQEMLSMWME “On päästävä haastateltavien sydämeen, jotta he puhuvat totta”, sanoo yksi kolmesta SLNEENEWXE Victorien Tardif. “Kuten kaikissa dokumenteissa.” 8ʟQʟ SR QELHSPPMWXE ZEPMXYR ZʟPMRIIR ZYSOWM WERSS XYSXXENE Christian Pfohl. “Animaatio sallii diilereiden puhuvan tuntemattomina ja siksi he voivat puhua avoimesti ja rehellisesti.” ,EEWXEXIPXEZER WYSNEE OSVSWXEE WIOMR IXXʟ LEEWXEXXIPYX PYOII IPSOYZEWWE Rʟ]XXIPMNʟ Pohjois-Haagan kuningaskunta 7YSQEPEMWZʟVMʟ RʟO]M NSMWWEOMR LEROOIMWWE 0ETWMPPI WYYRREXXY Saskatoons SR suomalaisportugalialais-espanjalainen LEROI NSROE XYSXXENE SR Pikkukalan Pablo Jordi 7EVNEER SR WYYRRMXXIMPPE SWEE OYOMR QMRYYXXME Tekijät luonnehtivat sarjaa mysteerikomediaksi. “Tarinat yhdistävät muinaiset taikaesineet ja kahden tytön toiminnan”, Jordi kuvaa Lissaboniin sijoittuvia tarinoita.

.SOE NEOWSWWE NSOMR EVOISPSKMRIR IWMRI PMMXX]] XEVMREER NE RYSVIX WMWEVYOWIX TIPEWXEZEX QEEMPQER IVM ZEEVSMPXE WERSS OʟWMOMVNSMXXENE 1]PIW 1G0ISH 8EZSMXI SR WEEHE QMPNSSRER IYVSR FYHNIXMR WEVNE XYSXERXSSR ZYSHIR EPYWXE

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Troll Karl and Lillan on 52 x 11′ sarjahanke, jonka ohjaaja sekä toinen käsikirjoittaja SR Eliza Jäppinen ,ʟRIR :MWMFPI 6IEPQW ]LXMʰRWʟ PMWʟOWM QYOERE SR SWEXYSXXENME 7EOWEWXE NE 2SVNEWXE 7IMOOEMPYOSQIHMER ENEXYW SR XYSHE ZERLER ENER TSLNSMWQEMWXIR WEXYNIR XEMOEE R]O]EMOEER 8ETELXYQETEMOOERE SR – XʟQʟ OYYPSWXEE OSQIEPXE IRKPERRMOWM – /MRKHSQ SJ 2SVXLIVR ,EKE WMMW ,IPWMRKMR 4SLNSMW ,EEKE 0ʟLMʰ]QTʟVMWXʰWWʟ WEXYNIR XEMOYYW WIOSMXXYY TIVLIIR IPʟQʟʟR

“Inspiraatio tulee Elizan omista OSOIQYOWMWXE 4SLNSMW Hagassa”, kertoivat hankkeen esitelleet XSMRIR OʟWMOMVNSMXXENE Alison Norrington NE XYSXXENE Kristine Knudsen Teemat ovat luottamus, leikin ihme ja perhe kaikissa muodoissaan, he kertoivat. “Kuvissa ]LHMWX]ZʟX TSLNSMWQEMWIR XEMXIIR Zisuaalinen tyyli ja nykykuvitus.” ,EROOIIR FYHNIXXM SR QMPNSSREE IYVSE IPM IYVSE QMRYYXMPXE 8YSXERXSSR SR XEVOSMXYW TʟʟWXʟ ZYSRRE NE OSOS WEVNE SPMWM ZEPQMW EPOYZYSHIWXE

Dokumenttien vuosi “Tänä vuonna teemoista nousivat esiin lapsuuHIR XEMERSQEMWYYW WSPMHEEVMWYYW NE TIVLIIR merkitys”, sanoo tapahtuman järjestävän Cartoonin johtaja Annick Maes. “Naishahmoja oli IRXMWXʟ IRIQQʟR WEROEVIMRE NE OIWOIMWMRʟ LELQSMRE 1]ʰW ERMQEEXMSHSOYQIRXXINE SPM R]X IRIQQʟR OYMR OSWOEER 'EVXSSR *SVYQMWWE.” 1EIW EVZIPII IXXʟ ERMQEEXMSXISPPMWYYW WIPZMWM QIPOS L]ZMR TERHIQMEWXE /]W]RXʟ T]W]M IRXMWIPPʟʟR NE XʰMXʟ ZSMXMMR XILHʟ OSXIMLMR LENEYXIXXYRE 102

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-RRSOOEMR ( ERMQEEXMSOEYWM Rʟ]XXʟʟ NʟʟRIIR XEEOWI 2]X RʟLX]NIR LEROOIMHIR TIVYWXIIPPE XZ ERMQEEXMSXEOMR T]VMXʟʟR XIOIQʟʟR QSRMTYSPMWIPPE XIORMMOEPPE NE ZMWYEEPMWYYHIPPE 'EVXSSRMR XMPEWXSR QYOEER XʟRʟ ZYSRRE TVSWIRXXME LEROOIMWXE SPM ( ERMQEEXMSXE NE ( ERMQEEXMSMXE TVSWIRXXME =LHIR LEROOIIR OIWOMQʟʟVʟMWIOWM LMRREOWM 'EVXSSR PEWOM QMPNSSREE IVYVSE 1MRYYXXMLMRXERE XʟQʟ XIOII IYVSE 7MMRʟ SR LMIRSMRIR TYHSXYW ZMMQI ZYSHIR QMRYYXXMLMRXEER IYVSE ,IMOOM .SOMRIR

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Seis proyectos españoles seleccionados para Cartoon Forum 2021 Por Redacción AV451 - 22 junio, 2021

Cartoon Forum, el foro europeo de coproducción de series de animación, ha revelado los 84 proyectos seleccionados para su edición de 2021, que se celebrará del 20 al 23 de septiembre en Toulouse (Francia). Organizado por CARTOON y con el apoyo de múltiples instituciones públicas, el foro ha seleccionado más de 30 proyectos de compañías francesas y once de irlandesas. Bélgica, Portugal y España también destacan en cuanto a cantidad de títulos elegidos para presentarse en formato pitch el próximo mes de septiembre. Cabe destacar la ausencia de proyectos desarrollados por compañías británicas, dado que con la salida de la Unión Europea, Reino Unido ya no forma parte del programa Europa Creativa.

Los proyectos españoles en Cartoon Forum 2021

‘Kima & Amik’.

‘Kima & Amik’, serie de 26×11 en animación 2D por ordenador, dirigida al público preescolar y producida por Lotura Films. Juanjo Elordi dirige la serie escrita por Edorta Barruetabeña, con Eider Eibar como responsable del diseño gráfico. En ‘Kima & Amik’, los niños conocerán a Kima, que vive en la ciudad, y a Amik, que vive en una granja. Los primos son muy distintos pero disfrutan jugando juntos y descubriendo cosas a la par.

‘My Little Heroes’.

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‘My Little Heroes’ (‘Pequeños héroes’) es la nueva serie de Peekaboo Animation (‘Yo, Elvis Riboldi’), dirigida a niños de entre 6 y 8 años en animación 2D por ordenador. Se trata de la adaptación de la colección de libros homónima editada por Shackelton Books, con un formato de 52×7 y bajo la dirección de Javier Galán, quien también es el responsable de los diseños. El guion corre a cargo de Cristina Broquetas y se centra en contar la biografía de personalidades históricas de una forma entretenida y adaptada a los niños.

‘The Monsters Valley’.

‘The Monsters Valley’ es una nueva serie para el público joven y joven adulto producida por la compañía barcelonesa WKND (‘Roni’). Con un formato de 4×25 y en animación 2D por ordenador, la serie cuenta con guion y dirección de Santi Amézqueta y diseño gráfico de Héctor Zafra. La historia comienza cuando Ellis, un adolescente de lo más normal, adquiere el poder de controlar el fuego, justo después de tocar una esfera mágica. Ellis pedirá ayuda a su amiga de la infancia y juntos se introducirán en el mundo maldito para tratar de deshacerse de sus poderes… Lo que desconocen son los planes que el destino tiene para ellos.

‘The Saskatoons’.

‘The Saskatoons’ es la nueva serie de Pikkukala, compañía liderada por Pablo Jordi con sede en Finlandia y España. En este caso se trata de una coproducción con la compañía portuguesa Sardinha em Lata. Evgenia Golubeva y Nadia Cardoso dirigen esta serie de 26×11 dirigida a niños de entre 6 y 11 años en animación 2D por ordenador. Gigi y Alex se están convirtiendo en expertas en salvar el mundo junto a su robot Dokku. Juntas se tendrán que ocupar de luchar contra malvados poderes que emanan de artefactos históricos. El guion corre a cargo de Myles McLeod y Evgenia Golubeva, con ésta última como responsable también de los diseños.

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‘La pandilla VHS’.

‘The VHS Gang’ (‘La pandilla VHS’) es el nuevo proyecto del estudio extremeño The Glow Animation. José Fernández de Vega dirige la serie de 26×8 para niños de entre 6 y 11 años basada en ‘Operación Frankestein’, libro original de Fermín Solís editado en 2015 por Narval y que servirá de base para el episodio piloto de la serie. Con guion y diseños de Fermin Solis, ‘La pandilla VHS’ tiene por protagonistas a tres hermanos que viven miles de aventuras. Su día a día se mezcla con la ficción de grandes películas de cine.

‘The Wawies’.

‘The Wawies’ es una nueva serie preescolar de Imagic TV (Jordi B. Oliva) en animación cut-out. Antonio Pernas dirige la serie y se encarga también de los diseños, con Eva Pérez al frente del guion. ‘The Wawies’ se ambienta en Wawaland, un mundo diminuto dentro del planeta Tierra habitado por los wawies, unos seres rollizos mágicos y divertidos que exploran su alrededor y buscan soluciones a algunos problemas, como es la polución. Listado completo de proyectos seleccionados para Cartoon Forum 2021

La selección, en cifras Los 84 proyectos de Cartoon Forum 2021 proceden de 21 países distintos. En total, la organización ha recibido 141 propuestas. Los seleccionados suman un presupuesto total de 326,1 millones de euros, con el coste medio por serie de 3,9 millones de euros. CARTOON señala que el coste de la producción de animación por minuto ha descendido ligeramente, desde los 12.250 euros de 2020 a los 11.887 de 2021. En total, los proyectos de Cartoon Forum 2021 suman 457 horas de animación. Francia lidera la selección con 33 proyectos, seguido de Irlanda con 11, Alemania con 8, España con 6, Bélgica con 5 y Portugal con 4, misma cifra de proyectos procedentes de República Checa y Dinamarca. Además, Italia y Polonia presentarán tres, mientras que Finlandia, Letonia y Ucrania participarán con uno cada uno. La mitad de los proyectos están destinados a niños de entre 6 y 11 años, un target difícil de satisfacer. El público preescolar es el objetivo de 25 proyectos, un tercio del total, mientras que los jóvenes adultos y adultos suponen el 17 por ciento, un ligero aumento con respecto a la selección de 2020.

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La técnica del 2D se mantiene predominante con el 56 por ciento de los proyectos presentados, seguida del 3D, al alza con el 28 por ciento. Los proyectos serán presentados en formato pitching ante una audiencia formada por ejecutivos de canales de televisión y plataformas, inversores, distribuidores, agentes de ventas, representantes de la industria editorial…

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Cartoon Forum 2021 - Les projets français suscitent le plus d’intérêt L’heure des retrouvailles avait enfin sonné à Toulouse pour plus de 1000 participants en provenance d’une

grande partie de l’Europe. Les pays les plus gros pourvoyeurs de projets étaient : la France (33), l'Irlande (11), ̵ ȋͺȌǡ ̵ ȋ͸Ȍǡ ȋͷȌǡ ± ° ǡ ȋͶȌǤ de 1015 participants en provenance de 41 pays s’était enregistré, dont 885 ayant fait le déplacement à

ͳ͵Ͳ ± ± Ǥ ± ʹ͸͹ ʹͲʹ

͸ͷ ǡ Ǧ ǡ ± ̵ ͳͷ Ǥ ͹Ψ ȋ Ȍǡ

ȋ ± ° Ȍǡ ȋ Ǧ Ȍǡ ȋ Ȍǡ ȋ Ȍ ȋ ȌǤ

± ǡ ± ² ± ± ± ǡ ̵ ±

constitue une belle source d’inspiration pour de nouvelles séries télévisées d'animation comme en

± ǡ Mister Crocodile, d’après la BD de Joann Sfar, Living with Dad d’a ° Dad ǡ Hello Oscar!

Oskar ja asjad ̵ Tales of Terror Uncle Montague's Tale

of Terror Ǥ ± Ø Ǥ ± ± ± ±ǡ

ǡ Griott & Mungoǡ ° ̶ ± ̶ Le Refuge d'Audreyǡ

The Monsters Valley Fio Lina and the MaestroǤ ̶ ̶ ± Voroǡ The Seniorsǡ Flippéǡ Voix d'Espoirǡ Pour Exister Dick Has a problemǤ

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aussi l’apparition d’une nouvelle génération de producteurs et auteurs, comme Les Valseurs

Samuel ȋ Ȍǡ ̵ Hygge ȋ Ȁ Ȍǡ Space

Ham ȋ Ȁ Ȍǡ Pour Exister ȋ Ȍǡ Welcome to Mamoko ȋ ȌǤ

ͳͻ ʹʹ ʹͲʹʹ Ǥ TOP 10 DES PRÉSENCES DANS LES SESSIONS DE PITCH Mister Crocodile Ǧ ̵ ȋ Ȍ Compostman et moi Ǧ Ǩ ȋ Ȍ Under the School Ǧ ȋ Ȍ Les Filles de Dad Ǧ ȋ Ȁ Ȍ Flippé Ǧ Ƭ ȋ Ȍ Sacha et les Créatures de Noël Ǧ ȋ Ȍ Corgi, une famille royale Ǧ ȋ Ȁ Ȍ Les Gardes-Chimères Ǧ ȋ Ȍ Abysses: unité très spéciale Ǧ ȋ Ȍ Voro Ǧ ȋ Ȍ

TOP 5 DES PRÉSENCES POUR LES COPRODUCTIONS Présence avec au moins une coproduction entre 2 pays

Les Filles de Dad Ǧ ȋ Ȁ Ȍ Corgi, une famille royale Ǧ ȋ Ȁ Ȍ Tommy Pepper Ǧ ȋ Ȁ Ȍ Tales of Terror Ǧ ȋ Ȁ Ȍ Space Ham Ǧ ȋ Ȁ Ȍ

TOP 5 DU POURCENTAGE D'ACHETEURS DANS LES SESSIONS DE PITCH Le classement reprend le % d'acheteurs présents en session de pitch Little Charlie Ǧ ȋ Ȁ Ǧ Ȍ ε ͸͹Ψ

Rhina Rhino Ǧ ȋ Ȍ ε ͸͸Ψ Tiny Toot Ǧ ȋ Ȍ ε ͸ʹΨ Freddy Buttons Wacky Mysteries Ǧ ȋ Ȍ ε ͸ͲΨ Hadido and the Red Flower Ǧ ȋ Ȍ ε ͷͺΨ

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Cartoon Forum 2021 Announces Line-Up in Anticipation o nsite ition In Toulouse 22 JUNE 2021 // NEWS

Skwigly

ANIMATION MAGAZINE 

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Cartoon Forum, the pitching and co-production forum for animated TV projects, announced the line-up for its next edition, to be held in person in Toulouse from 20 to 23 September. European animation emerges from the sanitary crisis with 84 new TV series, mini-series, and TV specials projects involving

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independent studios from 21 countries. For the tenth year, the capital of the French region of Occitanie will play host to this event, that since 1990 has been boosting the co-production and distribution of European animation for television and new media platforms. Pitching and networking remain at the heart of this new edition of Cartoon Forum, which will adapt itself in order to comply with the necessary sanitary measures. Projects will be presented to international animation professionals from the T and new media industries, including broadcasters, distributors, investors, streaming and new media platforms, as well as potential coproducers, among others. UNITED BY ANIMATION Cartoon ForumLs statistics remain at similar levels to the previous year. Shortlisted from 141 submissions, the 84 selected projects have a total budget of 326.1 M€ with an average cost per series of 3.9 M€, though the cost per minute of animation production has slightly decreased compared to 2020 (11,887 € vs 12,250 €). In total, the projects represent 457 hours of animation, while series formats continue to diversify in response to the new demands, both in terms of number of episodes and running time. Twenty-one European countries are involved in the projects: 13 as main producers and eight as minority co-producers. 37% of the projects (31) are co-productions between two or more European countries, and only one non-European country, Canada, participates as co-producer. France leads the selection with 33 projects, followed by Ireland with 11, Germany with 8, Spain with 6, Belgium with 5, and Portugal with 4. C/ech epublic and Genmark participate with four projects each, and Italy and Poland with three, while Finland, Latvia and Ukraine are present with one project each. With nine projects, Central and Eastern European countries keep the animation production momentum going. Accounting for almost half of the selection (41 projects), series aimed at children 6-11 years old continue to gain ground in Cartoon Forum. With 25 projects, pre-school series represent almost a third - UNITED KINGDOM -

https://www.skwigly.co.uk/cartoon-forum-2021-announces-line-up-in-anticipation-of-onsite-edition-in-toulouse/

ANIMARKT Stop Motion Forum Announces '%' Workshops | Appl$ No"

BY SKWIGLY | 05 OCT 2021

Kids Kino Lab is Looking for Projects for Ne Edition – Deadline Approaching

BY SKWIGLY | 0 OCT 2021

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of the selection, while Young Adults/Adults projects have increased to 17% vs 14% in the previous year.

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2D remains the most widely animation technique employed by European producers (56%), although 3D series grows to 28% vs 22% in 2222.

PRODUCERS BEHIND THE SCENES Les Armateurs (“Abyss Special Case Unit”), Autour de Minuit (“Freaked Out”), Dandelooo (“It’s Your Body!”), Vivement Lundi! (“Me and My Compost”), Xilam Animation (“Piggy Builders”), Cyber Group Studios (“The McFire Family”), Ellipsanime Productions (“Under the School”), Les 0lms du poisson rouge (“Voro”), Magical Society (“Mister Crocodile”), and Studio 122 Animation (“Rek M ola”) are among the French production companies presenting their new projects at Cartoon Forum. Within the selection there are also series produced by renowned independent companies from other European countries such as Belgium’s Fabrique Fantastique (“Gardener Gavin”), Germany’s Ulysses Filmproduktion (“Butter1y Academy”), Italy’s Red Monk Studio (“ adia”), Poland’s Animoon (“Icky M Poo”), Portugal’s Sardinha em Lata (“Pete M Bern’s” and in co-production for “The Saskatoons”), Spain’s Peekaboo Animation (“My Little eroes”), and Ukraine’s Animagrad (“ rafn Academy”). The line-up also includes projects from young production companies and new talent presenting their 0rst projects. Four of them already took their 0rst steps at Cartoon Springboard, the pitching event for new talents, whose ne-t edition will be held in October in Valencia, Spain: “Anselmo Wannabe” (Italy’s IBRIDO Studio), “ ygge” (Germany’s Dreamin’ Dolphin Film), “What it Takes” (France’s Les Astronautes), and “Space am” (Denmark’s MiniCosmos). Meanwhile, 0ve projects were selected directly through cooperation agreements. The Polish project “Robot and the Martians” (Badi Badi) entered the line-up after being selected by CEE Animation Forum, the German series “Lambs” (Studio FILM BILDER) and “Bugs and Guns” (Wolkenlenker) were selected from Animation Production Days (APD), and the Belgian fund 112

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- Skwigly Animation Magazine

“Créanimation”, with the help of FWB (Fédération WallonieBruxelles) and RTBF, brought 2 more projects to the mix: “Muscaria” (Galmar Films) and “Bookworms” (Mad Cat Studio). Toulouse and Occitanie / Pyrénées-Mediterranée Region animation will be presenting the TV special “Sacha and the Christmas Creatures” (Xbo 0lms). Close to 22 of the selected projects are adaptations of comic books or books, including “My Dog, God and the Pokethings” (TNZPV Productions), “Freaked out” (Autour de Minuit), “Living with Dad” (Dupuis Edition et Audiovisuel), “Blue Wol0e” (Label Anim), “Suzon” (Mondo TV France), and “Corgi, A Royal Family” (Studio Redfrog) from France; “Tales of Terror” (Dream Logic), and “Freddy Buttons Wacky Mysteries” (Treehouse Republic) from Ireland; as well as “ ello, OscarC” (Atom Art, Latvia), “Welcome to Mamoko” (Pigeon, Poland), and “Fio Lina and the Maestro” (Serienwerk, Germany), among others.

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Portugal tem lugar de destaque no Cartoon Forum, o maior festival europeu de animação São quatro os estúdios e produtores portugueses que vão apresentar os seus projetos no Cartoon Forum 2021, entre os dias 20 e 23 de setembro, em Toulouse, França.

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“É o maior evento europeu e o único nestes moldes. Temos duas hipóteses para financiar as nossas séries – estes eventos ou ir aos mercados. No Cartoon Forum temos oportunidade de mostrar o nosso projeto, e é muito importante para as séries europeias independentes. É fulcral”, disse o produtor Diogo Carvalho, do estúdio Sardinha em Lata, em declarações à agência Lusa. O estúdio Sardinha em Lata, o Sparkle Animation, a Ukbar Filmes e a Take It Easy são os quatro estúdios e produtores portugueses que vão apresentar os seus projetos no Cartoon Forum 2021 em busca de financiamento. No total, vão ser apresentados 84 projetos, vindos de 13 países diferentes e que procuram cerca de 326 milhões de euros de investimento. Estes projetos são séries de animação de televisão ou plataformas digitais, e são dirigidas para crianças, mas também para adolescentes e adultos. Cada produtor ou autor terá cerca de 20 minutos no palco para mostrar e falar do seu projeto, num género de ‘pitch’. Sendo um momento de encontro para produtores e distribuidores, assim como investidores privados, os projetos com mais destaque conseguem recolher os fundos necessários para a sua concretização A Sardinha em Lata já conseguiu financiamento para realizar dois projetos após participações no Cartoon Forum, nomeadamente “Os Diários de Alice”, que está a ser produzida atualmente. A este encontro europeu trazem dois novos projetos: “Pete & Bern’s” e “The Saskatoons”. O estúdio Sparkle Animation vai apresentar “Biriki”, a produtora Ukbar Filmes vai estar presente com “The Adventures of Princess P” e a Take it Easy com “What’s It All About?”. Desde a sua criação, em 1990, o Cartoon Forum ajudou 870 séries de animação a conseguirem cerca de 3,1 mil milhões de euros para

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serem realizadas, sendo esta iniciativa cofinanciada pelo programa MEDIA da Europa Criativa, um programa da União Europeia. Sem espaços como o Cartoon Forum, segundo Diogo Carvalho, seria muito difícil produzir animação em Portugal. “O cinema independente e séries dependem muito dos incentivos que o Estado dá, e isto passa-se em toda a Europa. E o financiamento para séries em Portugal são 600 mil euros divididos por dois projetos, logo é muito baixo. Não é nada. E depois não há investimento privado em Portugal”, explicou o produtor. O estúdio Sardinha em Lata está ainda nomeado para os prémios deste evento, na categoria de melhor produtor do ano. O Cartoon Forum decorre entre os dias 20 e 23 de setembro, em Toulouse, França, voltando ao formato presencial após uma edição digital em 2020.

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Cartoon Forum 2021 - Miam ! Animation de France et TAT Productions lauréats des Cartoon Tributes Date de publication : 23/09/2021 - 16:30

Deux sociétés françaises et une belge ont été récompensées lors de la cérémonie de remise des prix lors du Cartoon Forum à Toulouse du 20 au 23 septembre.

Articles les + lus TÉLÉVISION Disparition de la journaliste cinéma Nicole Cornuz-Langlois CINÉMA Démarrages 14h : "The French Dispatch" imprime sa différence

CINÉMA Le "Festival Netflix" n'aura lieu qu Cinémathèque française et à l'Institut Lumiè

Les lauréats des Cartoon Tributes, prix créé en 2006 pour récompenser la contribution exceptionnelle des producteurs, distributeurs/investisseurs et diffuseurs à la promotion de l'animation européenne au cours de l'année

CINÉMA Tribune : "Il faut sauver les distributeurs indépendants (Le Monde)

écoulée, ont été élus par un vote en ligne dans trois catégories par les quelque 900 professionnels inscrits au Cartoon Forum. Ketnet a été reconnu Diffuseur de l'année. La chaîne pour enfants de la VRT (le radiodiffuseur public de la partie flamande de la Belgique) s'adresse aux enfants jusqu'à 12 ans, tandis que Ketnet Junior est une sous-marque destinée aux enfants jusqu'à 6 ans qui diffuse des séries telles que comme Doopie, Ollie, Simon et Bananimals. À la fois société de production et de distribution et studio, MIAM ! animation a reçu le Tribute du Distributeur/Investisseur de l'année. Leur line-up comprend de nombreuses séries qui ont été récemment présentées au Cartoon Forum, telles que Les QuiQuoi, Les PriZoonniers, Culottées et Selfish. Enfin, TAT productions, l'un des principaux studios de Toulouse et de la Région Occitanie, a été nommé Producteur de l'année. Fondé en 2000 par David Alaux, Eric et Jean-François Tosti, ce studio a remporté un International Emmy Award pour la série télévisée Les As de la Jungle. La société est également à l'origine des films Terra Willy et Pil, sorti en France en août dernier. Ils ont actuellement trois nouveaux longs métrages en développement : Les

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Argonautes, Les As de la Jungle 2 et Pets on a Train. En plus des lauréats, neuf autres sociétés de France, d'Irlande, d'Italie, du Portugal, d'Espagne et du Royaume-Uni ont été nommées pour les Tributes. Photo : Mélanie Errea (Miam ! Animation), Telidja Klaï (Ketnet-VRT), Annick Maes (Cartoon) et Jean-François Tosti (TAT productions).

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ní Cartoon FoKra 2021 sek zúčastní čtyři české projekty

Cartoon Fora 2021 se zúčastní čtyři české projekty Cartoon Forum, evropské fórum pro prezentaci a koprodukci animovaných televizních projektů, oznámilo sestavu svého příštího ročníku, který se po roce bude konat prezenčně, a to v Toulouse od 20. do 23. září 2021. Evropská animace se po covidové krizi pochlubí 84 novými televizními seriály, minisériemi a speciálními televizními projekty zahrnujícími nezávislá studia z 21 zemí. Statistiky projektů v Cartoon Foru 2021 zůstávají podobné jako v předchozím roce. Do užšího výběru se ze 141 příspěvků dostalo 84 vybraných projektů o celkovém rozpočtu 326,1 mil. EUR s průměrnými náklady 3,9 mil. EUR. Náklady na minutu produkce animace se ve srovnání s rokem 2020 mírně snížily 124

https://www.asaf.cz/2021/06/24/cartoon-fora-2021-se-zucastni-ctyri-ceske-projekty/

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(11 887 EUR oproti 12 250 EUR). Celkově projekty představují 457 hodin animace. Formáty se nadále diverzifikují v reakci na nové požadavky, a to jak z hlediska počtu epizod, tak z hlediskadélky. Českou republiku reprezentují čtyři projekty: Dubánci / Acorn Elves Televizní seriál – 26 x 11 ‘; Předškolní 45; 3D animace, malba, live action Režisér: Pavel Jindra; Scénář: Klára Smolíková; Grafika: Marcel Legindi; Adaptace od Petra Václavka Produkce: Radovan Surý, BareBear production

Dinobajky / Dinofables Televizní seriál – 26 x 7 ‘; Předškolní 45; 2D a 3D, výřez Scénář: Klára Jůzová; Autorka grafiky: Martina Svojíková Produkce: Martin Jůza, Krutart; Andrijana Sofranić Šućur, To Blink Animation (RS), Irena Isbasescu, domácí film (RO)

Senioři Televizní seriál – 10 x 22 ‘; Mladí dospělí / dospělí; 2D - CZECH REPUBLIC -

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Senioři Televizní seriál – 10 x 22 ‘; Mladí dospělí / dospělí; 2D Režisér: Ekaterina Bessonova; Scénář: Ekaterina Bessonova; Autor grafiky: Kryštof Ulbert Produkce: Zdeněk Holý, Vernes; Martin Vandas, MAUR film Veggierado Televizní seriál – 13 x 11 ‘; Děti 6-11; 2D a 3D Režisér, scenárista a autor grafiky: Jan Bubeníček Produkce: Vladimír Lhoták, Hausboot

Téměř polovina (41 projektů) je zaměřená na děti ve věku 6– 11 let. S 25 projekty představují seriály pro předškoláky téměř třetinu, zatímco projekty pro mladé dospělé / dospělé se zvýšily na 17 % oproti 14 % v předchozím roce. Mezi evropskými producenty zůstává nejrozšířenější technikou 2D animace (56 %), ačkoli obliba 3D narůstá (28 % oproti 20 % v roce 2020). Zdroj: tisková zpráva Cartoon Forum 24.06.2021

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Diversidad, inclusión y ecología en las nuevas series de animación españolas EFE | Toulouse (Francia) | 22 sep. 2021

Imagen de la 32 edición del foro europeo de series de animación Cartoon Forum, celebrado en Toulouse (sur de Francia) entre el 20 y 23 de septiembre de 2021. Imágenes: Galia Prod. Cedidas por Cartoon Forum.

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Las nuevas series de animación españolas encaminadas al público infantil y presentadas esta semana en la 32 edición del Cartoon Forum llegan cargadas de valores sociales, como el respeto a la diversidad, la inclusión y el cuidado del medioambiente. Los equipos españoles buscan en este foro europeo de animación, que tiene lugar en Toulouse (sur de Francia) entre el 20 y 23 de septiembre, dar a conocer sus proyectos e impulsar la producción y distribución para televisión y otras plataformas. En 'Los Wawies', por ejemplo, unos seres mágicos exploran su mundo y el nuestro con el objetivo de mostrar a los pequeños de entre dos y tres años los problemas que existen en la Tierra, como la contaminación. La idea de esta serie, presentada este miércoles, nació de un proyecto textil del diseñador Antonio Pernas, quien ha convertido el producto en una marca de moda. "'Los Wawies' transmiten valores y mensajes de conservación del planeta, de integración, todo ello para que los niños crezcan en libertad y sin miedo a equivocarse", explicó a EFE su productor, Jordi B. Oliva (Imagic TV). FOMENTO DE LA EMPATÍA

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Dirigida a niños de cuatro y cinco años, 'Kima & Amik', en la que dos primos juegan juntos y se divierten pese a vivir uno en la ciudad y otro en el campo, desarrolla esencialmente la empatía entre dos protagonistas que parecen antagónicos por su aspecto. "La diversidad de razas, culturas y pensamientos es uno de los temas que aborda", cuenta su director, Juanjo Elordi. "Estamos expectantes, a la espera de lo que pueda surgir", reconoce la productora, Miren Berasategi (Lotura Films), cuyo proyecto llega a este foro con la idea de buscar televisiones y coproductores para sacar adelante la �nanciación. 'La pandilla VHS', para un público de entre cuatro y once años, es otra serie española presentada este miércoles y narra las aventuras de tres hermanos, Víctor, Hugo y Sara, que viven aventuras fantásticas cuando descubren un almacén de un videoclub repleto de películas de terror. "Cada episodio termina con una canción basada en música de los años 90", explica la productora, Alicia Díez (The Glow), quien celebra que haya un videoclip con la primera canción compuesta por el autor de la serie, Fermín Solís. RIMA Y MÚSICA 'La pandilla VHS' tiene la peculiaridad de estar narrada en rima, destaca José María Fernández, director de la misma, y conocido por su producción en el largometraje 'Buñuel en el laberinto de las tortugas', que le valió el Goya a la mejor película de animación en 2020. Este jueves es el turno de 'Mis pequeños héroes', para niños de seis a ocho años, una adaptación que destaca �guras relevantes de la historia que contribuyeron a cambiar el mundo, como Mozart o Coco Chanel, para "demostrar que cualquier persona puede tener un talento", explica el productor, Iván Agenjo (Peekaboo Animation). "Esas personas que lograron hacer algo impresionante también fueron niños, por eso queremos que nuestro público se vea re�ejado en ellos, argumenta el director creativo, Javier Galán. El arquitecto Antoni Gaudí, la política Clara Campoamor o el médico Ramón y Cajal aparecen como protagonistas españoles, aunque el equipo reconoce que la lista puede cambiar en función del mercado al que vaya dirigida, ya que la idea es mostrar la diversidad étnica y cultural de todos los continentes. En la comedia de misterio 'Los Saskatoons', en la que dos hermanas, Gigi y Alex, desarrollan poderes para salvar al mundo, el tema principal es la arqueología y los vestigios que provienen de culturas exóticas y diferentes. Esta serie para niños de seis a ocho años está pensada para televisión y plataformas, con potencial en el mundo editorial, así como para el desarrollo de licencias de juegos y de muñecos, a�rma el productor, Pablo Jordi (Pikkukala). España, con seis, es el cuarto país por número de proyectos en esta edición, liderada por Francia (33), Irlanda (11) y Alemania (8), hasta un total de 84 series que suman 460 minutos de animación y tienen un presupuesto total de 326 millones de euros. Mario García Sánchez

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Mister Crocodile draws a crowd at in-person Cartoon Forum in Toulouse

Mister Crocodile

The most popular pitches at Cartoon Forum 2021 – held in-person in France this week – have been revealed, with a project about a jazz-loving crocodile living in New Orleans topping the list. Mister Crocodile (52×11′), based on French artist Joann Sfar’s children’s book of the same name, was pitched to 301 delegates, making it the best-attended pitch during the event, which returned to Toulouse after going digital-only last year due to the pandemic. Aimed at 6-11s, the show is about a little girl and a croc with nothing in common who nevertheless form an inseparable bond. It comes from France’s The Magical Society, which was set up by ON Kids C Family with Sfar in 201 to develop projects based on his I . The pitch that had the highest percentage of potential investors in attendance was preschool series Little Charlie (26×7′) from Alexandra Schatz Filmproduktion in Germany and Submarine in the Netherlands. In total, 28 of the 42 attendees to the pitch were buyers or distributors. Little Charlie is based on the book series Karlchen by Rotraut Susanne Berner and follows a young rabbit boy who lives with his parents, his little sister and their pets in a house on the - UNITED KINGDOM -

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outskirts of a town. Meanwhile, the best attended pitch with at least two coproduction partners was Living with Dad (52×11′), pitched by France’s Dupuis Edition & Audiovisuel and Belvision in Belgium, attracting 223 delegates. A total of 84 projects from 21 European countries were pitched at this year’s event, with producers from France (33), Ireland (11) and Germany (8) bringing most of the new shows. There were 1,015 participants from 41 countries, with 885 attending in Toulouse and 130 attending the digital version of the event, which usually brings around 1,000 attendees to the French city. Cartoon Forum said 202 buyers were on site in Toulouse, while 65 more will attend digitally, which allows them to view short versions of the pitches once the event has nished until October 15. This year saw French rm TAT Productions named producer of the year as part of the Cartoon Forum Tributes awards, with etnet %!T in Belgium named broadcaster of the year, while Miam) Animation was awarded investor distributor of the year. The event is set to return to Toulouse ne@t year from "eptember 1 to 22. To read more of C21 ids’ coverage of this year’s event, head to theonline Insider’s Guide to Animation 2021. Nico Franks 24-09-2021 ©C21Media

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29/09/2021, 16:45 ANIMAZIONE / Cartoon Forum per la decima volta a Tolosa | Cinema & Video International Cinema & Video International - 26/08/2021 1/2 WEB

ANIMAZIONE / Cartoon Forum per la decima volta a Tolosa Di Monica Tasciotti 26 Agosto 2021

Per il decimo anno consecutivo Tolosa, capitale della regione francese dell’Occitania, ospiterà dal 20 al 23 settembre il 32° Cartoon Forum, evento che dal 1990 promuove la coproduzione e la distribuzione dell’animazione europea per le piattaforme televisive e dei nuovi media. O almeno, al momento della redazione di questo articolo, le cose dovrebbero andare così. Tutti ormai sappiamo quanto le norme anti-Covid potrebbero cambiare da un momento all’altro e per questo motivo per prudenza gli organizzatori hanno chiesto di preregistrare le presentazioni dei progetti.

Ad oggi, pitching e networking rimangono al centro di questa nuova edizione, la prima in presenza dopo quella online dello scorso anno a causa della pandemia, alla quale si sono già registrati più di 750 partecipanti fra i quali 200 buyer da 31 Paesi. La prima interamente sotto la direzione di Annick Maes, già braccio destro di Marc Vanderweyer, ritiratosi dopo 33 anni prima da segretario generale e poi da direttore generale di Cartoon, del quale ha preso il posto. Sebbene, come lui stesso ha dichiarato a Screen Daily, parteciperà comunque agli eventi di Cartoon “come turista” e di non aspettarsi alcun cambiamento drastico al marchio Cartoon sotto la guida di Maes. L’associazione, fondata con il sostegno del programma Creative Europe MEDIA nel 1987, insieme all’allora direttrice Corinne Jenart, oltre agli eventi Cartoon Forum e al gemello Cartoon Movie per i lungometraggi nato nove anni dopo, gestisce anche Cartoon 360 per progetti transmediali animati, Cartoon Springboard per giovani talenti e i seminari internazionali Cartoon Business e Cartoon Digital. Ri�ettendo sulle origini dell’evento, Vandeweyer ha a�ermato: “A quel tempo, nessuno faceva “pitch” – la parola “pitch” non esisteva. Per 20 anni nessuno ha fatto come noi». Una verità innegabile, così come il successo di ogni evento a marchio Cartoon. Una “macchina” super rodata che l’anno scorso ha permesso al Forum, nonostante le circostanze eccezionali, di riunire circa 850 partecipanti (ovvero un numero praticamente analogo, se non superiore, a quello normalmente presente a Tolosa) provenienti da 486 aziende, di cui 265 buyer. Le presentazioni preregistrate hanno ottenuto più di 11.600 visualizzazioni, confermando il successo della formula di Cartoon Forum indipendentemente dal formato in cui si svolge.

Ma indubbiamente pitching e soprattutto networking non solo si fanno meglio in presenza, ma dopo oltre un anno e mezzo di con�namenti e mancanza di socialità c’è un gran bisogno di tornare a stare insieme, Covid permettendo. Chissà allora se, una volta passate de�nitivamente le restrizioni sanitarie, Maes non voglia invece tornare a mettere

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a fuoco proprio le occasioni di networking, negli ultimi anni un po’ sottotono, che insieme ai pitch sono state la chiave del grande successo del Forum, la “creatura” dalla quale è nato tutto il resto, �no al Cartoon Digital di Cagliari di due anni fa, replicato online quest’anno. Certo è che anche quest’anno non cala il numero dei progetti selezionati: 84, ovvero 28 al giorno! Un po’ troppi a dir la verità e di qualità un po’ disomogenea. Provenienti da 21 paesi europei – 13 come produttori principali e otto come coproduttori di minoranza – e selezionati da 141 candidature, rappresentano 457 ore di animazione e un budget totale di 326,1 milioni di euro con un costo medio per serie di 3,9 milioni. Come al solito la Francia, paese ospite, guida la selezione con 33 progetti, seguita dall’Irlanda con 11. Al terzo posto la Germania con 8, “medaglia di legno” al Belgio con 5. Tre i progetti 100 per 100 italiani: “Nadia”, prescolare su una strega in divenire, che vuole imparare le cose a modo suo, dell’illustratrice Caterina Cappelli, presentato a “L’Ora di tu�arsi”, il concorso per giovani animatori lanciato da Rai Ragazzi tre anni fa e proposto al Forum dal milanese Red Monk, terzo studio di animazione di Superprod, il gruppo francese dietro �lm di spicco come l’adattamento di Jack London “Zanna Bianca” e serie animate di successo come “Paf il cane”. Superprod ha infatti acquisito recentemente una quota di maggioranza della società fondata dalla ex Atlantyca Lucia Scott e Corrado Diodà (che rimangono a bordo di Red Monk rispettivamente come produttore e capo della produzione) e prevede di rinnovare l’azienda e trasformarla in un importante player di animazione italiano. Pedro Citaristi, ex direttore delle vendite internazionali dell’unità commerciale Superights di Superprod, è stato nominato amministratore delegato e produttore di Red Monk. Altro titolo, “Le incredibili avventure di una famiglia creativa”, ovvero il marketing, la comunicazione, l’innovazione raccontati ai più piccoli in chiave ironica, dissacrante, surreale, tra i progetti �nanziati dal Bando Sviluppo dell’Emilia Romagna Film Commission. Una serie comica-autobiogra�ca sui Panebarco, un’eccentrica famiglia che gestisce (davvero, nella ridente Ravenna) un’agenzia creativa fuori dal comune. Fra i lavori della (vera) Panebarco, le animazioni per la sigla del programma di RaiPlay “Non voglio cambiare pianeta”, il viaggio in bici di Jovanotti in Cile. Terzo titolo italiano “Anselmo Wannabe” ( nella foto), progetto di serie per bambini degli ex CSC Massimo Ottoni e Francesco Forti per Ibrido Studio, uno dei quattro titoli che hanno già mosso i primi passi allo scorso Cartoon Springboard, la cui prossima edizione si terrà ad ottobre a Valencia, in Spagna. Protagonista un ragazzino di 11 anni molto fantasioso che cerca di trovare una risposta alla domanda “Cosa vuoi fare da grande?” che il maestro fa ai suoi studenti all’inizio di ogni puntata. A questi progetti si aggiunge una commedia per bambini in età prescolare dal titolo “Showtime”. Una coproduzione della tedesca Toon2Tango con Mondo TV con protagonista Glitz, una bambina di 6 anni che dimostra che qualsiasi problema può essere risolto. Si chiede a Glitz come fare per il Covid e le altre brutte cose in giro per il mondo?

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https://www.cinemaevideo.it/animazione-cartoon-forum-per-la-decima-volta-a-tolosa

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CARTOON 2021 Cartoon Forum

It’s a wrap for the 2021 edition of Cartoon Forum by DAVIDE ABBATESCIANNI 24/09/2021 - The prestigious co-production and pitching forum for animated TV series saw the triumph of Belgian broadcaster Ketnet and French outfits MIAM! Animation and TAT productions

Mélanie Errea (MIAM ! Animation), Telidja Klaï (Ketnet-VRT), Annick Maes (Cartoon) and Jean-François Tosti (TAT productions) during the ceremony, with their awards

It’s a wrap for the 2021 edition of Toulouse’s Cartoon Forum, finally back to its physical format. The event, which unspooled from 21-23 September, was rounded off by the traditional Cartoon Tributes awards ceremony. The winners were voted online in three categories by the close to 900 professionals attending the forum. The prizes were established back in 2006 to recognise the outstanding contribution made by broadcasters, distributors, investors and producers in the promotion of European animation over the last year. The first winner was Belgium’s Ketnet, named Broadcaster of the year. As the children's brand of VRT, the public broadcaster in the Flemish-speaking part of Belgium, it targets children up to 12 years old, while Ketnet Junior is a sub-brand for children up to 6 years old that features series such as Doopie, Ollie, Simon and Bananimals. Next, France’s MIAM! Animation was named Distributor/Investor of the year. Their recent slate of productions includes series such as The MiniWhats, PriZooners, Brazen and Selfish. Finally, Toulouse-based studio TAT Productions was crowned Producer of the year.. The outfit, founded in 2000 by David Alaux, Eric and Jean-François Tosti, previously won an International Emmy Award for the TV series

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The Jungle Bunch. The company also produced the flicks Terra Willy and Pil, released last August in France. They are currently developing three new feature projects, namely Argonuts, The Jungle Bunch 2 and Pets on a Train. Since 1990, Cartoon Forum’s mission is to boost the co-production and distribution of European anima TV and new media platforms. On this occasion, 84 projects of animated TV series were presented, coming from 13 European countries, for a total budget of €326.1 million and accounting for 460 hours of animation. France headlined with 33 presented projects, followed by Ireland (11) and Germany (8). The main partners of the event were the European Union’s Creative Europe MEDIA programme, the CNC (Centre national du cinéma et de l'image animée), the Occitanie Region, Mairie de Toulouse, Toulouse Métropole, Casino Barrière and France Télévisions. The next gathering, Cartoon Springboard, will run in Valencia from 26-28 October.

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Accueil / Culture et loisirs / Cinéma

Tarascon-sur-Ariège. L. Marchand, grand réalisateur pour petits spectateurs

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Cinéma, Tarascon-sur-Ariège Publié le 18/09/2021 à 05:14 , mis à jour à 05:21

Mercredi 22 septembre à 14 h 30, une séance spéciale attend les jeunes cinéphiles ariégeois : le réalisateur Léo Marchand viendra leur présenter son ﬁlm d’animation "Les voisins de mes voisins sont mes voisins". Avec son air de lutin malicieux, ne serait-il pas cet ogre qui se casse ses dents la veille de la Saint-Festin, la grande fête des ogres ? Ou ce magicien qui rate son tour de la femme coupée en deux en perdant les jambes de son assistante. ? Ou ce randonneur suréquipé qui reste coincé plusieurs jours avec son chien dans un ascenseur ? Dans un drôle d’immeuble, Léo Marchand conte avec humour et délicatesse les destins entremêlés de dix vrais voisins, ou voisins de voisins, aux prises avec les drames, les plaisirs, les surprises et les hasards de la vie. Les images colorées, expressives, et le récit teinté de poésie soulignent une œuvre adapte au jeune public. Le monde du cinéma peut paraître lointain et ﬂou aux yeux des enfants. Aussi cette ciné rencontre avec Léo Marchand est-elle exceptionnelle, car il sait expliquer son métier, avec humour et répartie, aux petits et grands spectateurs. Et s’il lui ôte un brin de magie, c’est pour mieux le remplacer par la compréhension de l’art et de la créativité. Cette - FRANCE -

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rencontre sera aussi l’occasion pour tous de lui poser des questions autour de la naissance d’un ﬁlm, de l’écriture du scénario, du story-board, de l’animation, etc. Cette séance unique a lieu dans le cadre du festival "Les Toons débarquent". Rendezvous, donc, mercredi 22 septembre à 14 h 30, au cinéma de Tarascon. Tarif unique 4 €, masque et pass sanitaire (pour les adultes) obligatoires.

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'SQMRK XS 'EVXSSR *SVYQ &SSO EHETXEXMSRW % UYEVXIV SJ XLMW ]IEV W TVSNIGXW WXIQ JVSQ TYFPMWLMRK -4W FIGEYWI LEZMRK VMGL WSYVGI QEXIVMEP ERH FYMPX MR JERW KSIW E PSRK [E] [MXL FY]IVW By Ryan Tuchow

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The annual pitchfest is headed back to Toulouse, France for an in-person event running from September 20 to 23. This week, we’re tracking what’s looking likely to generate heat there. We’ve already covered a spotlight on Portugal and an increase in YA projects, and today we’re taking a look at a slew of new book adaptations headed to the event. 4PIRX] SJ GSRGITXW EVI PSSOMRK XS JPy off the book shelves and onto screens at this year’s Cartoon Forum, [LIVI SJ XLI TVSNIGXW WPEXIH JSV TVIWIRXEXMSR EVI FEWIH SR TYFPMWLMRK -4W 3JJIVMRK E FYMPX MR EYHMIRGI ERH E VMGL WXSV] FEWI XS [SVO JVSQ FSSO EHETXEXMSRW KMZI WXYHMSW ER MQTSVXERX PIK YT [LIR MX GSQIW XS EXXVEGXMRK FY]IVW EGGSVHMRK XS TVSHYGIVW TMXGLMRK XLIWI X]TIW SJ GSRGITXW EX 'EVXSSR *SVYQ Mister Crocodile TMGXYVIH EFSZI France’s Magical Society is adapting popular children’s book Monsieur Crocodile a beaucoup faim EW MXW JMVWX IZIV OMHW TVSHYGXMSR %YXLSV .SERR 7JEV [MPP WIVZI EW E [VMXIV SR XLI 8: EHETXEXMSR EPSRK [MXL 7MQSR 2MGLSPWSR 8LI \ QMRYXI '+ ERMQEXIH GSQIH] JSV WM\ XS W MW EFSYX E KMVP [LS FIJVMIRHW E GVSGSHMPI ERH PIEVRW EFSYX XLI [SVPH [MXL LIV RI[ TEP *VERGI 8: LEW EPVIEH] SVHIVIH XLI WLS[ JSV E JEPP VIPIEWI WE]W .YPMIR &SVHI ):4 QEREKMRK HMVIGXSV ERH GLMIJ GSRXIRX SJJMGIV JSV 32 /MHW *EQMP] which owns Magical Society. “We found it had everything to make a very contemporary comedy —E RIZIV FIJSVI seen buddy comedy with an unexpected duo.”

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Welcome to Mamoko

There’s always something happening in the small town of Mamoko, where animals work together to WSPZI TVSFPIQW ERH LIPT IEGL SXLIr out. Poland’s Studio Pigeon produces this 52 x six QMRYXI preschool show based on writer/illustrator team Aleksandra & Daniel Mizielińscy’s World of Mamoko book series. Piotr Różycki is directing, and Małgorzata Giec will write the scripts. “This is provIR content,” says 1EXIYW^ /S[EPG^]O GS owner of Pigeon. “We immediately thought that an animated adaptation would be a perfect continuation of this idea.”

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Suzon

-R XLMW \ QMRYXI IHYGEXMSREP WIVMIW JSV TVIWGLSSPIVW WM\ ]IEV SPH 7Y^SR GER WTIEO XS ERMQEPW )EGL ITMWSHI JSGYWIW SR LIV EHZIRXYVIW QIIXMRK RI[ GVMXXIVW FYX [MXL WLSVX HSGYQIRXEV] WX]PI animated clips about each species. Mondo TV France is adapting Emilie Chazerand’s book of the same name. “By showing Suzon observing and getting inspired by nature, our aim is to connect SYV ]SYRK audience to what’s around them,” says Mondo TVSNIGXW ERH HIZIPSTQIRX WYTIVZMWSV 8LSQEW &PERG. “In E [SVPH [LIVI IZIV]XLMRK MW ZMVXYEP ERH SRPMRI [I XVYP] XLMRO XLEX FIMRK GPSWI XS XLI REXYVI EVSYRH YW MW E very important thing for kids.”

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0MXXPI 'LEVPMI

Rotraut Susanne Berner’s Karlchen books are being expanded in a 26 x seven QMRYXI 8: WIVMIW JSV TVIWGLSSPIVW Produced in 2D animation by Germany’s Alexandra Schzatz Filmproduktion and 7YFQEVMRI %QWXIVHEQ ]SYRK VEFFMX 'LEVPMI PMZIW SR XLI SYXWOMVXW SJ XS[R ERH LEW HEMP] EHZIRXYVIW MR this rural setting with his family and friends. “The [book's] desiKR MW W[IIX ERH STIR ERH XLEX QEOIW XLI characters easy to identify with,” says .ERRIOI ZER HI /IVOLSJ E PMRI TVSHYGIV EX 7YFQEVMRI “It is just a lovely way to share endless everyday stories.”

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Freddy Buttons Wacky Mysteries

Adapted from Fiona Dillon’s *VIHH] &YXXSRW FSSO XLMW ( ERMQEXIH TVIWGLSSP WIVMIW GIRXIVW EVSYRH E FS] [LS YWIW E LIEVMRK EMH ERH KIXW LIPT JVSQ LMW ERMQEP JVMIRHW XS WSPZI ZEVMSYW Q]WXIVMIW “Preschool is an age when almost everything is a mystery,” says (EPI 6SFMRWSR, a senior producer at Ireland’s 8VIILSYWI 6ITYFPMG [LMGL MW GS TVSHYGMRK XLI \ WIZIR QMRYXe show with Dillon’s Tumbledown 1IHME

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Euro Toon News: Dandelooo & Xilam’s Cartoon Forum Titles, YACF Backs Animation Trio September 9, 2021 By Mercedes Milligan

Ǧ Dandelooo

animated TV projects to potential industry partners at this year’s

ȋ ʹͲǦʹ͵ȌǤ ǦFounder Emmanuèle Pétry Sirvin commented: “I fell in Space Ham at Cartoon Springboard. This project is the best example of a great ‘creator driven’

comedy series I can think of that’s come about in the past few years! It’s Your Body!

not avoid all the ‘yucky’ stuff too! Even parents will be surprised as well!” •

It’s Your Body! (39 x 7′, Kids 6ǦͳͳȌ Ã

ǡ ʹ ǡ

emotions, but always from the point of view of … animals! Every ǡ ǡ ǡ

gather to watch their favorite TV series “Passions of the Heart”. Their goal: to understand Ǩ Ǥ

It ’s Y our Bod y!

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•

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Space Ham (52 x 9′, Preschool) Directed by Nicolai Viewerth, the 2D and 3D comedy

Ǧ ȋ ȌǤ

when you had sleepovers with your best friend? Imagine if that was every day … and in Ǩ – Tim, a ‘thinker’ who likes to have his life in order, and Carl, a ‘doer’

who doesn’t think about the consequences of his actions – ǡ Ǥ ǡ ǡ

handling their trusted positions as their “trying to be an adult” causes chaos rather than Ǥ

Space Ham

Ǧ Xilam Animation Ǧ

projects to Cartoon Forum. Both dynamic projects are CGI animation, strengthening Xilam’s commitment

in that space. Founder & CEO Marc du Pontavice said: “We are continuing to grow and diversif

Ǥ Piggy Builders Wild Life

City are perfect additions to our production slate, revealing innovative talents, encompassing Xilam’s style ǡ

͸Ǧͳͳ Ǥ the global marketplace at Cartoon Forum.” •

Piggy Builders (52 x 11′, Preschool) Created by Marie Manand, Julien Hazebroucq and Ǥ

Ǧ ǫ ǡ

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ǡ Ǥ ǡ

Ǥ ǡ Ǧ –

Ǥ ǡ Ǥ ǡ – they’ll deal with any construction

Piggy Builders

•

Wild Life City (39 x 13′, Kids 6ǦͳͳȌ ȋAthleticus, 1

Meter/HourȌǡ Ǧ Ǥ Ǧ ǡ Ǥ

ǡ ǡ ǡ

ǡ Ǧ Ǧ Ǥ uld run smoothly, if it weren’t Ǧskating trio of gibbons looking to undermine the Lighthouse’s

Ǥ ǡ – –

to foil the monkeys’ plans. Expect epic chases ǡ Ǩ

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Wild Life City

ǡ Ǥ Ǥ Ǧ

Young Audiences Content Fund ȋ ǡ Ǥ Ǥ Ǥ Ȁ Ȍǡ Ǧ

ǡ Ǥ Ǥ

opment. Head of Fund Jackie Edwards said: “The

Ǧ ǡ

not have come into being without it … At the grassroots stage YACF resource has improved the quality of

as being pitched to broadcasters via our development funding, we’ve brought security and value to the sector when our young audiences need it most and crucially, we’ve brought fantastic new stories to the Ǥ Ǥ ǡ ǡ ǡ

hugely popular. Young audiences are 25% of the population and 100% of the future and the Fund’s role in Ǥ Ǥ Ǥ •

Attention Ayshia (Three Stones Media) Ǥ ǡ

ǡ Ǥ ǡ Ǥ ǡ

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Ǧ ǡ ǡ

Ǥ Ǧ •

Libby’s Silent World (Slick Films) Inspired by the story of the team’s OscarǦ The Silent Childǡ Ǧ Ǧ

Ǧ Ǥ Ȁ ǡ ͹ͺΨ Ǥ Ǥ Ǥ ǡ

Ȁ Ǥ Ǥ

͵ ǡ •

ǡ Ǥ

I’m Not Gonna Lie to You (Bryncoed Productions) ǡ ǡ ͳ͵Ǥ

ǡ Ǥ ǡ

ǡ ͳ͵Ǧ

ǡ Ǥ

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Toulouse : le studio d'animation TAT dévoile ses coulisses dans une exposition à la Cinémathèque Par Héloïse Thépaut - Publié le 06/09/2021 - Modi�é le 05/10/2021

Durant deux mois, le public va pouvoir découvrir les dessous du studio. © TAT productions

TAT productions a fêté ses 20 ans en 2020. Pour l'occasion, une exposition est organisée à la Cinémathèque de Toulouse. Du 7 septembre au 7 novembre 2021, le public pourra découvrir les coulisses du studio d'animation toulousain. Des rencontres et projections sont également prévues.

Du garage de la maison familiale à des locaux de 500 m2, de trois à 120 personnes, du stop-motion à la 3D... En 20 ans, le studio de �lms d'animation toulousain TAT productions en a fait du chemin et a su se faire une place dans le monde du cinéma. Créé en 2000 par David Alaux, Éric Tosti et JeanFrançois Tosti, il s’est imposé sur les écrans du monde entier. Sa série télévisée "Les As de la Jungle à la rescousse" a été traduite dans plus de 40 langues et exportée dans 200 pays. Et ses �lms sont diffusés dans pas moins de soixante-dix pays. "Nous sommes une des rares sociétés à avoir un succès international et à être installées totalement en province. C'est notre �erté", soulignait Jean-François Tosti, lors d'une conférence de presse. TAT productions n'a effectivement pas quitté Toulouse depuis ses débuts. Elle a d'ailleurs rendu hommage à la région Occitanie avec son dernier �lm : "Pil".

Succès pour les �lms du studio Réalisé par Julien Fournet, il est sorti au cinéma le 11 août dernier. Cette comédie familiale raconte les aventures d'une jeune orpheline appelée Pil. "Accompagnée d'une bande de bras cassés et de ses trois fouines apprivoisées, elle va devoir sauver le prince Roland transformé en chapoul (moitié chat, moitié poule). C'est une aventure pleine de magie et de rebondissements qui se passe dans ce qui pourrait être un Moyen Âge local", expliquait Julien Fournet. "Pil" est le troisième long-métrage de la société toulousaine. Il succède à "Terra Willy", sorti en 2019. D'ores et déjà, TAT productions travaille sur d'autres �lms. La société prévoit de sortir "Argonautes" en 2022 et le deuxième volet des "As de la Jungle" en 2023. Le premier avait eu beaucoup de succès. Sorti en 2017, il avait comptabilisé 700 000 entrées dans l'Hexagone et 2,3 millions à l'étranger. La suite est donc attendue avec impatience. En attendant, les fans vont pouvoir se plonger dans les coulisses du studio.

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Plongée dans les coulisses de TAT À l'occasion de ses 20 ans, une exposition va s'installer à la Cinémathèque de Toulouse. Appelée, "Dans la jungle de TAT", elle devait avoir lieu du 3 novembre au 22 décembre 2020. Mais elle avait été reportée face à la fermeture des lieux culturels et au second con�nement. Cette exposition va en�n pouvoir se tenir du 7 septembre au 7 novembre 2021. Scénarios annotés, croquis, making of, gadgets, trophées et bien d’autres surprises attendent les visiteurs. Vous pourrez notamment découvrir comment on crée un univers visuel, on invente des plantes et des �eurs, mais aussi comment on passe d’un gribouillis à un personnage doté d’une façon de marcher, de regarder et de sourire bien à lui. L'entrée est libre. Des visites guidées sont organisées les samedis 18 à 11h et 28 septembre à 14h et les samedis 23 et 30 octobre à 14h.

Visites guidées, rencontres et projections Lors de celles-ci, les médiateurs de la Cinémathèque vous présenteront l'exposition et vous proposeront de petites activités créatives autour de l'animation et de l'af�che de cinéma. Gratuites, ces visites guidées sont accessibles dès six ans. Il faut s'inscrire auprès de l'accueil de la Cinémathèque pour en pro�ter. En plus de l'exposition, un cycle de lms et de rencontres est prévu du 16 octobre au 7 novembre 2021. Vous pourrez rencontrer Floriane Caserio et Karen Haloche le 16 octobre à 17h. Elles sont respectivement chef animatrice et chef modélisation environnement pour TAT productions. Les trois fondateurs du studio seront eux présents à la Cinémathèque le 19 octobre à 19h. Côté �lms, il sera possible de voir ou revoir "Les As de la jungle - Le Trésor du Vieux Jim" le 23 octobre à 15h, "Spike 1 & 2" le 30 octobre à 15h ou encore "Les As de la jungle Opération banquise" le 7 novembre à 16h.



Écrit par Héloïse Thépaut Après avoir été pigiste pour La Tribune à Toulouse, Héloïse Thépaut a rejoint la rédaction de L'Opinion Indépendante. Depuis un peu plus d'un an, elle est rédactrice web et print au sein du journal d'information locale.

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Mouse chat

While all the new projects are no doubt a big topic of conversation at Cartoon Forum, is the uncertain future of Disney’s linear TV channels around the world the elephant, or the mouse, in the room? Television’s tectonic plates shifted a little earlier this year, after The $alt Disney Company ET$DCF CE Bob ChapekBrevealed plans to switch oL 100 TV channels around the world in 2021. That came after Disney channels in markets including the UK, Australia and New Zealand had already gone dark, as the world’s biggest children’s entertainment company continued its steady shift away from linear TV schedules towards streaming. It’s not often the case that producers are willing to discuss the strategies of their potential business partners. But such is Disney’s gargantuan size, when it comes to opining on the Mouse House’s decision to zero in on Disney+, it’s open season. So what do some of the international producers who are pitching at Cartoon Forum this week feel about Disney’s decision to close many of its TV channels around the world? Some were completely non-plussed, perhaps a sign that Disney to date has only really been an active commissioner of animated series in a handful of European markets, such as the UK and France, to complement its North American output. This means that in countries like Portugal the potential loss of a linear Disney network is not such a big deal. IMaybe there are too many channels nowadays and, with younger audiences migrating to streaming more and more, it only seems natural that this is happening,” said Pedro Lino, director at Lisbon-based Ukbar Filmes. But in those markets where Disney has been actively commissioning originals for networks such as Disney %D and Disney unior over the years, the feeling of loss is a lot more signiMcant.

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Those to have recently made an original series for TWDC, such as UK- and Ireland-based Sixteen South, are keeping an ear to the ground when it comes to whether TWDC’s shift to Disney+ will aLect investment in original content from EMEA positively or negatively. “Disney+ is such a strong platform that it’s a really smart move on their part. What does it mean for getting a show oL the ground with them? Time will tell. Let’s hope they buy lots,” said Colin Williams, Sixteen South’s creative director, who successfully got Claude, pitched at Cartoon Forum in 2014, made with TWDC. Pablo Jordi, co-founder and producer at Pikkukala in Spain and Finland, agreed that a lot of uncertainty surrounds Disney+’s appetite for original animation in EMEA. “I’m not sure what it will mean in the long term for independent producers like me. It seems like Disney is still receptive to original content produced by independent production companies and is listening to pitches, but we will have to see.” However, from a live-action perspective, it appears the plan is for TWDC tocommission more than it’s ever done in EMEAto supercharge Disney+, as Jan Koeppen, TWDC’s president in the region, made clear at the recent Series Mania event in France. Much of this content will be aimed at families, but it remains to be seen how much is intended to be animated. And with TWDC hungry for exclusive rights around the world, does working on a show for Disney+ simply amount to gloriMed service work? “It’s sad and it feels like the end of an era. I don’t know what its plans are and whether there will still be commissioning opportunities for indies. I would hate for it to be based purely out of LA and the US. I don’t think that will be the case, and I’m sure there is an infrastructure in place for producers in Europe and across the world to work for Disney. I hope it turns out to be a good move and people are able to retain their jobs,” said Lindsey Adams, founder and producer at Daily Madness Productions in Ireland. The overwhelming sentiment expressed by our Insiders was that Disney’s shift toward a direct-to-consumer model via streaming was inevitable, given how the audience’s viewing habits have changed over the past decade. Some also expressed concerns about the future of cinema, as Disney continues to make its latest features Mlms available in living rooms around the world, a trend accelerated by the Covid-1 pandemic. Others argued that Disney’s decision doesn’t necessarily mean linear TV is ‘dead’ by any means, whilst conceding that declining viewing Mgures for linear channels highlights a creaking business model. As 'oMa JarosAuk, producer at Poland’s Animoon, said “We’re all leaning towards streaming now and, as a producer, it’s our goal.” Nevertheless, there’s no doubt a children’s channel is still a valuable asset to any company attempting to build a brand and the closure of Disney channels could give other linear TV networks a boost. Meanwhile, a regulatory model for US-based streamers in Europe is beginning to take shape, with content 8uotas and rules over rights ownership potentially playing into local producer’s hands. For now, and after a gruelling previous 18 months of uncertainty, it’s best to end on a positive note, as supplied by EliAa JDppinen, CEO at Visible ealms in Finland “If you’re going 156

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towards streaming instead of TV, it opens a whole new level of creativity because you aren’t pigeonholed into the time slots that linear TV has, which is a good thing for creators. It is going to be challenging and very competitive, but we’re in a great moment with lots of opportunities facing the industry.” Nico Franks 22-09-2021 ©C21Media

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Sep

2021

 FRENCH TV & YOU

DI S C O VER FRENC H P ROGRA MS SELECTED F O R C ARTOON FORUM  Amandine Teze

Cartoon Forum recently announced its selection of programs for the 2021 edition of the festival, to take place September 20 – 23. French animation is in the spotlight in this year’s selection, and UniFrance congratulates its members and all the other French participants chosen, who are helping to extend the reach of French animation throughout the world. Five projects have been chosen in the pre-school category (2 – 5 years):

Blue Wolfie, produced by Label Anim. Wolfie is an adorable little wolf cub of nearly three years old. Enthusiastic and inquisitive, kind and cheeky, wild and joyful, on the hunt for emotion, he has an active imagination (pre-school 2-3; 52 x 7 mins).

Pebble Hill by Marjolaine Perreten (Le Dernier Jour d’Automne, Novembre), Franco-Swiss-Belgian co-production from La Boîte,… Productions, Les Films du Nord and Nadasdy Film. Heavy rain causes a river to burst its banks and destroy the shrews’ home. Forced to leave, the little family decides to head for Pebble Hill (pre-school 4-5; 1 x 26 mins).

Piggy Builders by Emmanuelle Leleu and Julien Hazebroucq for Xilam Animation. After their adventures with the Big Bad Wolf, the three little piggies carry on with what they do best: building houses. César, Charlie and Cornelia are known throughout the forest as the Piggy Builders (pre-school 4-5; 52 x 11 mins).

Suzon, produced by Mondo TV France. Six-year-old Suzon has an extraordinary gift: she can understand and talk to animals. Suzon has lots of fun ideas, and often a little help is needed to get her out of scrapes. I’ll scratch your back, if you’ll scratch mine… What a good idea! (pre-school 4-5; 52 x 11 mins).

Chooks, directed by Florian Thouret and produced by Caribara Production (pre-school 4-5). https://frenchtvstories.tv/french-tv-you/discover-french-programs-selected-for-cartoon-forum/?utm_source=rss&utm_medium=rss&utm_campaign=discover-french-programs-selected-for-cartoon-forum 158 - FRANCE -

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Eight projects chosen are for teenagers and/or young adults:

Canabiz, by Victorien Tardif, Oscar Aubry and Mickael Dupré, co-produced by Lardux Films and Neos Films. Through the stories of a teenager, a young woman, a person in their forties, and an ex-convict, we get a backstage look at illegal trafficking and complex social situations (10 x 5 mins).

Freaked Out by Théo Grosjean, co-produced by Autour de Minuit and FKLG. Théo is trying to get through the personal Odyssey that is his everyday life: taking the underground, the train, parties, ride-sharing… Will he manage, or will he stay stuck at home watching TV, defeated by the dangers of the real world? (20 x 2 mins).

Samuel, directed by Emilie Tronche for Les Valseurs. My name is Samuel, I am 10 years old, and I have a problem. But I don’t want to talk about it. Basil told Julie that I love her. I hate him. Actually, I do love Julie, but no-one must know, not even Corentin. (20 x 4 mins).

A Cyberspy on Social Media: 12 True “Connected” Stories directed by Vincent Gaullier and Jean-Jacques Lonni, produced by Schuch Productions and Look at Sciences.

Beaver & Co, directed by Michaël Bolufer for Plip ! Animation. Starting with Hope by Sonia Velvien for Moukda Production. Voro, directed by Yannick Zanchetta, co-produced by les Films du Poisson Rouge and Why Not Animation & Interaction.

What it Takes by Kelsi Phung and Fabien Corre, produced by les Astronautes. The majority of projects are family viewing or for children of 6 to 11.

Abyss : a Very Special Case Unit, directed by Luc Vinciguerra for Les Armateurs. In Abyss, la fun town at the bottom of the ocean, strange events disturb the inhabitants’ peaceful lives. Fortunately, two investigators are ready for action: Nalis, an exuberant squid, and Kiwapa, a clever crab (52 x 13 mins).

Corgi, a Royal Family, Franco-Belgianco-production directed by Jérémie Guneau for Studio Redfrog and nWave. Rex, the queen’s favorite Corgi is back with a woof! After his film adventures, he’s back in Buckingham Palace with Wanda, the love of his dog-life, and a few months later – a growing family. (52 x 11 mins).

It’s Your Body! directed by Yulia Aronova and Eloïc Gimenez for Dandelooo. Why do we talk about having butterflies in our tummy? The body’s physiological workings are explained to children playfully – from the point of view of animals! Each animal offers its own answer to the questions posed – with various degrees of accuracy… (26 x 5 mins).

Me and my Compost by Lionel François, co-produced by Vivement Lundi ! and Superprod. Six-year-old Charlie has only one wish: to save the planet. To do that, she can count on her best friend, Compostman, a friendly and ecological monster full of mischief and ready to imagine a better world. (52 x 11 mins).

Space Ham by Nicolai Vielwerth, Franco-Danish co-production from Dandelooo and MiniCosmos. Two pigs are keeping watch over a space station on an asteroid far, far away. Best friends and trained professionals (engineer and botanist), their attempts to behave like adults are more madcap than they are safe. (52 x 9 mins).

The McFire Family produced by Cyber Group Studios. Jax, Sparkle and Tom McFire (6, 10 and 12 years old) are the next generation of firefighters, ready to join their parents and grandparents on dangerous rescue missions! (52 x 11 mins).

A’Ai Myths and Legends of Polynesia, directed by Sébastien Bousquet and co-produced by Les Films du Tambour de Soie, MaGic C and Pacific TV Production.

Audrey’s Shelter, directed by Matthieu Gaillard (Pompon Ours) for Watch Next Media. Griott & Mungo, produced by La Station Animation. Hadido and the Red Flower, directed by Fabrice Fouquet for HECAT Studio. 2/3

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Kroissan Wants to Be Famous, directed by Pascal David and produced by Cosmic Productions. Living with Dad by Daniel Klein, Franco-Belgian co-production from Dupuis Edition & Audiovisuel and Belvision. Mister Crocodile produced by The Magical Society. My Dog, God and the Pokethings produced by TNZPV Productions. Norman has no Superpower by Idriss Benseghir, produced by BIG COMPANY. Rek & Nola, directed by Aleksandar Dzoni-Sopov and Régis Vidal, co-produced by Studio 100 Animation and Caribara Production.

Sacha and the Christmas Creatures by Laura Cruciani and Pierre-Adrien Lecerf, produced by Xbo Films. Team Nuggets by Tor Fruergaard and Michael Hegner, Franco-Danis co-production from GODO Films and Sparre Production.

The Chimera Keepers by Clément De Ruyter, produced by Monello Productions. The Last of the Pebbles by Caroline Cherrier (Horacio, Why Mud – Seven Tides, Fusée-signal) for Tant Mieux Prod. Under the School by Max Maléo, co-produced by Ellipsanime Productions and Timpel Pictures. Virtual Past, directed by Iskandar Dchicha and Jules Thénier, produced by Cross River Productions. Wild Life City directed by Nicolas Deveaux (Athleticus) for Cube Créative Productions.

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33. CARTOON FORUM, Tuluza: Idą młodzi. Wiekiem, duchem, talentem 

26 września 2021  TARGI

Po ubiegłorocznym spotkaniu on-line Cartoon Forum 2021 tylko przez moment było zagrożone, kiedy południe Francji mocno zaczerwieniło się na covidowej mapie Europy. Na szczęście liczna nowych zachorowań zaczęła spadać i można było pisać powitalne przemówienia. Choć nie dla wszystkich bo z różnych powodów, przede wszystkim zdrowotno- transportowych, do "uluzy nie dotarło nieco ponad 20 procent zapowiadanych uczestników. Ale i tak ponad tysiąc gości to liczna imponująca. ości z kilkunastu krajów Europy ale tez z USA, Kanady, Japonii i Korei, bo mimo,że

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Cartoon Forum to imprezy unijna, przeznaczona głownie dla twórców z krajów członkowskich, od lat zapraszani są reprezentanci wspomnianych potęg animowanych. W tym roku zaprezentowano 84 projekty animowanych seriali telewizyjnych i pojedynczych projektów z 21 krajów europejskich, o łącznym budżecie 326,1 mln euro, co odpowiada 460 godzinom animacji. Kraje, które zaproponowały najwięcej projektów to: Francja (33), Irlandia (11), Niemcy (8), Hiszpania (6) Belgia (5), Czechy, Dania i Portugalia (4) oraz Polska (3). ościem honorowym była Portugalia (po Irlandii, Polsce, Finlandii i Belgii). Dyrektorka imprezy, Annick Maes tak ją sumowała w końcowym komunikacie: Po 3 intensywnych dniach entuzjastycznych sesji pitchingowych w Tuluzie, możemy wreszcie zastanowić się nad tegorocznymi żniwami: wysokiej jakości projektami o wielkiej różnorodności tematów. Mieliśmy również okazję odkryć wiele nadchodzących talentów, co otwiera fantastyczną perspektywę na przyszłość animacji.

Ograniczenia sanitarne spowodowały oczywiście wyeliminowanie z programu niektórych spośród licznych do tej pory spotkań i paneli dyskusyjnych, zredukowano także widownie prezentacji. ak zawsze trwających albo kwadrans albo pół godziny, podczas których twórcy i producenci „sprzedają” swe pomysły. Forma i sposób prezentacji jest dowolny, zdarzają się więc cała happeningi czy krótkie scenki aktorskie ale przeważają pokazy zrealizowanych już materiałów, opisy postaci i 0abuł i dokładna artykulacja oczekiwań i potrzeb. Bo w Tuluzie (wcześniej przez kilkanaście lat Cartoon Forum wędrowało po uropie, odbyło się m.in. w naszym !opocie) poszukuje się partnerów: nansowych, produkcyjnych, dystrybucyjnych i marketingowych. Na szczęście siedzą oni na widowni wiec kontakt jest natychmiastowy i praktyka oraz statystyka dowodzą, że nie są to wyłącznie wstępne czy nawet bardzo wstępne rozmowy plus zachęty.

Potwierdza to Mateusz Kowalczyk z polskiej rmy Pigeon: Serial „Miasteczko Mamoko” jest przez nas rozwijany od kilku lat, mamy już

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komplet prac dewelopmentowych i wchodzimy na etap nansowania. Przed Cartoon Forum nasz projekt był wybrany przez Animation Magazine (najważniejsze pismo naszej branży) jako jeden z 9 najciekawszych. myślę że to też pomogło zwrócić na nas uwagę podczas eventu. Oprócz pozytywnego feedbacku – z konkretów dostaliśmy propozycję koprodukcji ze studiem z Francji, mieliśmy sensowne rozmowy z dwoma cenionymi dystrybutorami francuskimi. Pojawiło sie też zainteresowanie dystrybucyjne ze strony włoskich i skandynawskich telewizji. To początkowy etap, więc to przede wszystkim listy intencyjne i rozpoczęcie rozmów, ale jesteśmy dobrej myśli i będziemy pracować nad rozwinięciem projektu.

Do tej pory, od 1990 dzięki aktywnemu udziałowi w CF udało się zrealizować 831 serii animowanych za ponad 3 miliardy euro. Prognozy tegoroczne są także więcej niż pozytywne, bo jak wspomniała Annick Meas a potwierdzili tą opinię wszyscy goście i uczestnicy, pandemiczna przerwa podziałała niezwykle ożywczo na animacyjną branżę czego dowodem wiele świetnych, oryginalnych projektów i sporo nowych, młodych twarzy wśród kreatorów. Dały się zauważyć z pewnością cztery główne zjawiska. Pierwsze z nich to coraz ściślejsze związki animacji a literaturą, kiedyś okazjonalne, teraz niemal nagminne. Świat wykreowany przez ludzi pióra i autorów komiksów Fbardzo pożądane praźródłoH wydaje się dobrze tra ać do wyobraźni i wrażliwości lmowców. Tendencja druga to rosnąca z roku na rok liczba reżyserek za kamerą i stołem montażowym oraz głównych bohaterek 0abularnych opowieści. To silne, zdecydowane postacie a nie dodatki do męskich herosów czy drugi plan. czywiście ta ewolucja nie dokonała się z roku na rok, ale Kżeńska 0ala” narastała od dawna. Temat kolejny to zbliżająca się już do 0 procent całości produkcji animowanej w uropie liczba tytułów przeznaczonych dla dorosłych widzów. ategoria tzw. młodych dorosłych i dorosłych znajduje swe odbicie na i przed ekranem. I w końcu a właściwie to powinna być wiadomość dnia, miesiąca i sezonu, ale poczekajmy na rok 0 , który- wszyscy mają taką nadzieję- przyniesie unormowanie sytuacji zdrowotnej a covid odpadnie jako czynnik sprawczy wielu nieprzewidzianych zdarzeń i sytuacji. Mowa o nowej generacji autorów iD producentów, animatorów i specjalistów od sprzedaży oraz marketingu, generalnie nowych twarzy w branży. %skazywano tu na pozytywne przykłady z Francji, iemiec i Danii ale też z Polski. %spomniana wcześniej rma Pigeon z rakowa zaprezentowała KMiasteczko Mamoko” ekranizację popularnych książek Aleksandry i Daniela Mizielińskich i zebrała niemało pozytywnych recenzji.

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„Icky i Poo” (Animoon) oraz „Robot i Marsjanie„ (Badi Badi) to kolejne dwa polskie projekty prezentowane nad Garonną, także ze sporymi nadziejami na swą kontynuację. JANUSZ KOŁODZIEJ

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Seis series españolas seleccionadas en el Cartoon Forum 2021

La edición del 2021 de Cartoon Forum se celebra del 20 al 23 September, en versión presencial, según ha anunciado la organización. De los 141 proyectos recibidos, sus responsables han seleccionado 84 proyectos, de los que seis son españoles o con participación de empresas españolas: Kima eta Amik (Kima & Amik), de Lotura Films. My Little Heroes, de Peekaboo Animation. The Monsters Valley, de WKND. The Saskatoons, de Pikkukala y Sardinha em Lata. [Más información] La pandilla VHS (The VHS Gang), de The Glow Animation Studio. [Más información] The Wavies, de ImagicTV. Todos los proyectos serán presentados durante el evento, con el propósito de atraer, según el caso, coproductores, cadenas y plataformas, inversores o agentes de ventas.

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-Los 84 proyectos seleccionados suman un total de 326,1 millones de Euros de presupuesto, es decir, una media de 3,9 millones. -Los países con más proyectos seleccionados son Francia (33), Irlanda (11), Alemania (8), España (6), Bélgica (4) y Portugal (4). -41 proyectos están dirigidos a público de entre 6 y 11 años, 25 a preescolares y un 17% a adolescentes y adultos.

-56% de las producciones son en 2D, por un 28% en 3D. -Casi 20 proyectos adaptan cómics.

Ray Laguna

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TBI Weekly: Looking back at Cartoon Forum

The Adventures Of Princess P Cartoon Forum brought its 32nd edition to a close yesterday, following a packed schedule that saw hundreds of buyers on-site in Toulouse, France. TBI’s Mark Layton rounds-up what was on offer at the French animation festival. After an online-only event in 2020, Cartoon Forum returned to its regular home in Toulouse, France, this week, with festival organisers claiming close to 900 participants, including around 200 buyers and decision makers physically on site. Cartoon also ran an online digital platform, allowing those international buyers still unable to attend due to pandemic restrictions to check out some of the latest animated kids content to hit the market – with project presentations remaining available online into next month.

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As always, there were plenty of new projects to entice buyers over the course of the four-day physical event, with a total of 84 new titles from 21 European countries being presented. Shortlisted from 141 submissions, the 84 selected projects represented 460 hours of animation, with a total combined budget of €326m ($380m) and an average cost per series of €3.9m.

Pete & Bern’s

As per last year, France led the selections once again with 33 projects, while Ireland retained its second place with 11. Germany brought eight, Spain six and Belgium five, while the Czech Republic, Denmark and Portugal were represented by four projects each. Italy and Poland, meanwhile, showcased three projects apiece, while companies from Finland, Latvia and Ukraine arrived with one each. This year’s Spotlight was focused on five new animations produced or coproduced in Portugal, a country that is traditionally known for creating original short films, rather than features or series. The slate included: pre-school show Biriki, from Sparkle Animation and Abano Producións; YA series Pete & Bern’s, produced by Sardinha em Lata; Ukbar Filmes’ The Adventures of Princess P; The Saskatoons from Pikkukala and Sardinha em Lata; and What’s It All About? from Take It Easy.

Cartoon Tribute returns Cartoon Tribute also returned following its hiatus last year, with Belgium’s Ketnet-VRT, French studios Miam! Animation and TAT Productions awarded for their outstanding contribution to European animation over the course of the past year.

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Ketnet, the children’s brand of Belgium’s Flemish-speaking pubcaster VRT, was named as broadcaster of the year.

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Its offering is aimed at children up to 12 years old, while Ketnet Junior is a sub-brand aimed at children up to six years old that features series such as Doopie, Ollie, Simon and Bananimals. Miam! Animation was awarded as distributor/investor of the year, with a slate that includes many series that have been recently presented at Cartoon Forum, such as The MiniWhats, PriZooners, Brazen, and Selfish. TAT Productions was meanwhile recognised as producer of the year. Founded in 2000 by David Alaux, Eric and Jean-François Tosti, the studio won an International Emmy Award for the TV series The Jungle Bunch and is also behind the films Terra Willy and Pil. Each award winner was named following a vote by the roughly 900 registered Cartoon Forum participants.

Dad takes top spot Out of all the projects being presents this year, Living With Dad, the animated comedy being developed by Frances’s Dupuis Edition et Audiovisuel, with Belgium’s Belvision, for France’s M6, was ranked as the top mostfollowed internationally coproduced project of the forum.

Living With Dad

The 52 x 11-minute series is based on the Nob comic book and follows the modern daily life in an “endearing and nicely crazy” family. Aimed at 6-11 year olds it is being distributed by Mediatoon Distribution. “Finding ourselves in the top position is the best reward the team that has been passionately supporting this project for so many months could have! Today we are not alone in loving this project, and that is an excellent indicator of the future success of the series with young audiences and their familiesm” commented Arthur Colignon, producer, and Caroline Audebert, MD of the French Audiovisual Production Division of Média-Participations.

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  First glimpse of Adam King’s animated series has been released

Stills from the first glimpse of Adam Loves Adventure Ciara O'Loughlin September 21 2021 05:25 PM

The ﬁrst glimpse of The Late Late Toy Show star Adam King’s animated series has been released. Adam’s father David King today pitched the show to broadcasters and investors at Cartoon Forum in Toulouse, France, along with the creators of the show - Irish animation studio Kavaleer Production.

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David King and Irish animation studio Kavaleer Production at Cartoon Forum in France

The animated series called Adam Loves Adventure is inspired by the little boy who stole the nation’s heart after appearing on The Late Late Toy Show with his virtual hug card. He also told host Ryan Tubridy and the country about living with osteogenesis imperfecta type 2, which causes brittle bones, and his dream to become a CAPCOM for Nasa. Along with the show being inspired by him, Adam will also star in the series as he will voice his own character.

David King and Irish animation studio Kavaleer Production at Cartoon Forum in France Adam King receives heartwarming applause from crowd at Aslan concert in Kerry

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The adventure-comedy, which is set in space, is aimed at preschool children and will be the ﬁrst Irish children’s programme to feature a wheelchair user as the protagonist.

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It also has an environmental slant as the production company said the prime directive for the young audience is to learn about how best to protect the earth through humour and empathy. During the pitch at Cartoon Forum today, David King said: “We have been totally blown away by the impact of Adam’s message on people around the world. Adam King discusses getting 'virtual hug' and letter from Joe Biden

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“As parents, Fiona and I want our children to grow up as the heroes in their own stories. What they see around them inspires, and in Adam’s case – representation really matters. "We are so grateful to Kavaleer for their trust in choosing Adam, a wheelchair user, to be the hero in this story. If he can see it, he can be it.” Chief executive of Kavaleer, Andrew Kavanagh, said he is “overwhelmed” by the support they have received since beginning production on Adam Loves Adventure . He added: “In particular from the International Space Community who have been inspired by Adam’s story and ambition. "The show has been warmly welcomed by the European Space Agency and we are thrilled to have enlisted Dr Norah Patten of the International Space University as the show’s chief space advisor. "We are conﬁdent that Adam’s story will continue to impact everyone it reaches and we are honoured to be able to capture his essence in this very special production.” Dr Patten said Adam has captured people’s hearts “from all over the globe”. She added: “Superstar astronauts such as Chris Hadﬁeld, Cady Coleman and Dan Tani have all reached out to Adam and supported his quest to become a CAPCOM so I think for all of these young kids watching Adam on screen as the lead character in this cartoon, they’ll see an adventurous, very inspiring young boy and somebody who represents ambition and dreams which will have a very positive impact for and of the kids watching.”

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Cartoon Media

Accounting for 40% of all selected projects, French productions will dominate this year’s Toulouse-set Cartoon Forum for reasons that far exceed home field advantage. Underpinning the 33 projects presented at this year’s pitch sessions as well as the relatively robust state of the Gallic animation ecosystem – which produced 295 hours of content in 2020 while increasing foreign investment by nearly 10% since 2018 – are a number of structural benefits and policy reforms meant to directly spur such outcomes. “We’ve seen the conjunction of several factors,” says Sarah Hemar, deputy managing director of UniFrance in charge of audiovisual and digital. “First is the tradition of graphic arts, of drawing and - UNITED STATES -

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cartooning, that is firmly planted in France. Then there is a strong system of creative design and training, with many schools creating a highly skilled workforce.” “Added to that is the public sector,” Hemar continues. “Looking to develop this industry in a more dynamic way, the government has intervened at every step [along the supply chain].” Those interventions began with a series of measures put into effect by France’s Ministry of Culture throughout the 1980s that mandated, alongside public financing and a series of incentives, free-to-air and pay cable broadcasters to direct a regular stream of investment into the sector. In recent years this has resulted in €60 million ($70 million) in broadcaster financing, with France Television picking up half that tab. When paired with the €125 million ($146 million) brought in by international sales and pre-sales – for the most part from buyers in the U.S. and Germany – such government mandated investment has kept the French animation industry the largest in Europe, boasting 133 identified studios and 7,500 salaried employees. And the fact that many, if not most, of them are not found in Paris is no accident either. “There was a central decision to decentralize the ecosystem,” Hemar explains. “In France, if you don’t decide to decentralize, everything will [conglomerate]. So there was a decision to irrigate the territory.” A co-production between Rennes-based shingle Vivement Lundi and Paris and Angouleme-based outfit Superprod, the Cartoon Forum pitch project “Me and My Compost” (pictured) is one title that has benefited from a more variegated national landscape. To wit: The ecologically focused, 2D animated series benefited not only from more widespread support from France CNC and Creative Media Europe, a project of the European Commission, but also from Tempo, a local development fund launched by the city of Rennes.

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“There are various funds that support projects at every stage,” says Vivement Lundi exec Aurélie Angebault. “Recently, Breton support funds restructured to remain competitive, to be able to grow and host new projects. They’re not just assisting productions to help the sector; they’re looking to develop durable structures within the region.” As the Breton funds restructured, others were created whole cloth, particularly in the aftermath of a 2016 administrative campaign to reduce and consolidate the number of the regions in the country. Among its other benefits, the administrative restructure pooled and merged disparate support funds, thus increasing their overall impact while widening their reach. For producers spread out across the country, these supports have helped them bulk up their workforce – while helping new graduates from the country’s professional training programs to more quickly integrate into the industry. “Regions with stagnating sectors are looking to renew themselves by bringing in young, highly-trained professionals ready to settle down,” says Angebault. “The average age of someone working at our studio is 25. These are people who require a certain quality of life, who look for that. That’s something the decentralizing campaign offers.” “The question of quality of life, and the capacity to develop and expand in a town with lower real estate costs than Paris [is extremely important],” adds Superprod exec Camille Serceau. “I’m happy to be based in Angouleme and not Paris.” Indeed, while projects like “Me and My Compost” can initially benefit from development funds in one part of the country, they might later be shepherded through production by highly skilled workforces in another. Angouleme, for instance, has become renowned for its animation and post-production infrastructure, boasting more than 30 animation studios and nearly twice as many digital and multimedia outfits – many of them ran out of the city’s audio-visual development body, Magelis. Indeed, while projects like “Me and My Compost” can initially benefit from development funds in one part of the country, they might later be - UNITED STATES -

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shepherded through production by highly skilled workforces in another. Angouleme, for instance, has become renowned for its animation and post-production infrastructure, boasting more than 30 animation studios and nearly twice as many digital and multimedia outfits – many of them ran out of the city’s audio-visual development body, Magelis.

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Andrew Kavanagh

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Why true cr Andrew Kavanagh Owner and founder Kavaleer Productions Ireland Pitching: Adam ❤ Adventure

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What is the biggest issue facing the animation industry? The global talent shortage continues to be one of the biggest problems facing production companies. The fully remote studio, which we’ve all been living with to some degree since last year, has given us the !exibility to hire talent we wouldn’t have otherwise had access to and has been a boon of sorts. But working from home means we are also competing for talent who can take a job anywhere from Vancouver to Seoul without leaving their home o"ce. What is your company doing in response to this? We are diversifying our production and #nancing model. Irish prodcos are attractive coproduction partners given our tax credit, and we are used to splitting production with one or more partners. Alongside our continued strategy of attracting talent to Ireland to work on our own shows, we have invested signi#cant time this year in exploring global partner strategies outside of our traditional bases in the UK and France, so that we may continue to scale production across numerous channels. Are physical animation studios essential or is working from home the future of the industry? The hybrid model feels like the right combination for studios going forward. Kavaleer’s still 100% remote but we will begin phasing some physical presence, on a !exible basis, back to our studio in the coming months. I believe that for the culture of a business to be maintained and developed, some element of face-to-face interaction is necessary. So much of what makes a work environment great is intangible; the vibe in a workplace comes from its people. And in-person interaction can’t be completely replaced, no matter how great a remote setup a studio has in https://www.c21media.net/andrewkavanaghiga21/?ss=cartoon+forum

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place. How do you feel about Disney’s decision to close many of its TV channels around the world? It’s a concern when any broadcaster closes channels. With regard to Disney EMEA, we are watching closely to see what impact this decision will have on local production. It was interesting to read Disney EMEA president Jan Koeppen’s statement from Series Mania about Disney+’s strategy to invest in and develop European originals, and we’re curious to see how this might roll out to kids’ content. Tell us about the project you are pitching at Cartoon Forum. Adam ❤ Adventure (52×11′) is inspired by and stars six-year-old Irish superstar and real-life hero Adam King. Last year, Adam captured our hearts here in Ireland when he shared on RTÉ his dream of becoming a CAPCOM (capsule communicator) in NASA when he grows up. As a child with brittle bone disease, Adam can’t go to space (as current technology allows), so we devised a cartoon in which Adam explores the universe in his own specially adapted spacecraft. Kavaleer is working with extraordinary minds from the international space community and disability advocates to create a show that will inspire preschool children to follow their dreams. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? We are living in the animation industry’s golden age, so one of the main challenges is that production quality is becoming unattainably high. Every show is being developed in such high de!nition, with meticulous attention paid to the graphics and storyboarding. To compete in the market, you need to produce shows at a very high level across the board, and that is not always easy, particularly as you need a team you trust that shares your vision. What is your company doing in response to this? Red Monk has embarked upon a period of growth after France’s Superprod acquired a majority stake in us in December. This investment has helped us hire a new team and, thanks to their expertise, we’re creating really high-quality programming. We’ve also moved into a new and bigger studio with better facilities in Milan, with an aim to grow our workforce to 80 from 60 by the end of the year. Are physical animation studios essential or is working from home the future of the industry? It depends on the structure of the studio and of the team. If they are well structured and there are no major creative or production issues on a project, remote working has no negative impact. But, on the "ipside, it is crucial for a young studio to have the team in the same physical environment, so they can form bonds and creative relationships. It isn’t possible to form the same bonds online. How do you feel about Disney’s decision to close many of its TV channels around the world? It’s a sign of the times. The world is becoming increasingly globalised and, as a result,

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big companies are trying to centralise and contribute to the creation of a global culture. But I’m also convinced that linear channels are necessary because they are the ultimate expression of local cultures. If big companies are going to streamline, I hope they keep investing in the local content and local industries where they broadcast. Tell us about the project you are pitching at Cartoon Forum. Nadia (52×11′) has been created by Caterina Cappelli, a talented young woman who pitched the project at an event in Rome organised by Italian public broadcaster Rai. As soon as I saw it, I knew I wanted to work on it and develop it. It’s about a young girl called Nadia who is a witch trying to protect her hometown from evil forces. Nadia’s magic is linked to nature, and she uses herbs and plants to summon the power to save her home. We wanted to tackle nature and the environment and show kids it can be a great resource, without necessarily talking about the climate crisis. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? From when we start a show to its air date, the audience we were targeting could be as many as four years older. There are so many caveats to what could happen during the production window, and kids develop faster than anyone, so the toughest thing is to keep a show relevant during the whole process. What is Sparkle doing in response to this? We can track children’s interests by using technology, and we’re also looking at scienti!c studies done by academics. Being able to see ahead helps us manage uncertainties and analyse networks and trends, so we can de!ne our priorities. Are physical animation studios essential or is working from home the future of the industry? Studios have worked with home-based freelancers for a long time, so we’re used to it. You can get great professionals who don’t want to emigrate for whatever reason. Freelancers working at home existed before the pandemic, but it’s de!nitely increased. Some work, however, has to be done in person, so studio space isn’t going to go away. What I think will happen is we’ll move to a hybrid situation that will save costs. How do you feel about Disney’s decision to close many of its TV channels around the world? I think this is just the beginning – other channels will soon follow suit. It’s been on

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the horizon for a long time and has accelerated, of course, because of the pandemic. Most kids don’t watch linear TV regularly nowadays, which causes advertising to migrate to online platforms. It’s no longer enough to be a TV programmer – you have to be a media programmer who can take a TV show and turn it into a multiplatform project with greater commercial value. This is a challenge for producers, as we now need to think of our projects as simultaneous with other media coverage. Tell us about the project you are pitching at Cartoon Forum. Biriki (26×7′) is a show that has been successfully developed in workshops with children in various places around the world such as the US, France, Italy, Switzerland, Germany, Spain, India, Nepal and Portugal. It’s based on an Italian book series by Bruna Ferrazzini, which was !rst published in 2003 and has since become a global initiative aimed at restoring kids’ con!dence during the pandemic. Children’s selfesteem took a hit during lockdown and we want to give them their power back. SwissItalian prodcos RSI and Cinedokke are also helping make the series under patronage from Amnesty International. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? One of the biggest challenges the pandemic brought was suddenly having all buyers’ and producers’ attention on your IP. To successfully achieve coproductions and pre-sales, you need to spend time with your potential partners, going in depth into the material and making sure you can build trust going forward. That face-to-face contact increases chemistry over a project, so we’ve missed that. What is your company doing in response to this? Like all animation producers, we’ve been challenged by the changes due to Covid, but we feel privileged to come out the other side with three ongoing projects. 2020/21 has given us a chance to focus on our development slate, and now we have a hefty portfolio. Are physical animation studios essential or is working from home the future of the industry? Working remotely, we’ve made a TV series and are eight months into production on a feature "lm. I’m thrilled with the productivity of our teams while working from home, but there are some creative aspects that require more than a 30-minute Zoom call. We’ve been having face-to-face meetings spread across the remote work we’ve been doing for the past few months. One upside of working from home being more acceptable is that it helps reconcile the work-family balance. We could see women getting better industry positions thanks to this. How do you feel about Disney’s decision to close many of its TV channels around

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the world? It’s very sad and worrisome to see such a reference slowly moving away. We strongly believe children and parents bene"t from a safe place to watch high-quality programming where they can be entertained and educated, and the world will miss Disney channels because of this. Tell us about the project you are pitching at Cartoon Forum. We are thrilled to bring the universe of Butter!y Academy (52×11′) to the world with our partner Ulysses Film Production. The series is based on IP that was developed to produce a movie, TV series, books, music and a museum exhibition. It’s about a group of Monarch butter!ies, which !y thousands of kilometres south every winter. The Butter!y Academy is an open-air school on life and nature that addresses diversity in many ways. One character is a disabled butter!y learning to be part of the group on his own terms. Topics such as the environment and wider science are also discussed in the show. The "lm is coming "rst, which allows us to reuse the assets from that for the upcoming TV series. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? Overall, a lack of !nancial support. Times are changing with regards to government funds and the like, and the Basque government has been vital at times. However, the industry as a whole needs the same kind of help that live-action series are getting because when an animation doesn’t get the public support it needs, it doesn’t get it anywhere else. Another problem is that no matter how far technology advances, the production process for animation is slow and that means we have to make large investments over long periods to maintain these work structures. This, in turn, means it’s harder for shows to still be relevant once they’re delivered. What is your company doing in response to this? We have to be diverse and o"er a range of products to do with animation and drawing. The pandemic has helped the industry as it’s not a"ected it so badly, and we’re trying to access more international markets and get ourselves known. At the end of the day, that’s just surviving, but we do what we can. Are physical animation studios essential or is working from home the future of the industry? We’ve de!nitely got more used to working from home, like many companies, and we especially don’t need a physical space to work anymore. But for me, even though times have changed, human contact https://www.c21media.net/mirenberasategiiga21/?ss=cartoon+forum

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is indispensable to the success of a company. It helps communication, especially in small companies like ours where departments overlap. How do you feel about Disney’s decision to close many of its TV channels around the world? I honestly think it’s just a move towards the future. With everything else happening in TV, this is a natural step for companies like Disney. People don’t want a thousand channels anymore, and they either have to globalise or merge into one. The pandemic has accelerated this; if there was someone without Net#ix before, they’ve got it now. My biggest fear is for the cinema industry. I don’t see where that !ts into the picture. Tell us about the project you are pitching at Cartoon Forum. Kima & Yamik (26×11′) is a preschool animation aimed at 4-6s. Kima and Amik are cousins who are complete opposites. Kima lives in the city and Amik lives in the country, and the names are even palindromes of each other. While they always want something di"erent, what’s more important to them is having a good time together. The central themes are empathy, fun and friendship. The world is becoming more and more diverse and it’s so important for kids to relate to others. When I saw the project I saw huge international potential because these are global themes and the show has characters of all di"erent ethnicities. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? Gender equality and the representation of women in animation, both on- and o!- screen. Progress is being made, particularly among global streamers such as Net"ix, as they make it clear that they want content with diverse characters and sta!. However, there is still a lot more that needs to be done. What is your company doing in response to this? We give opportunities to new directors, directors from diverse backgrounds and female directors. Currently, we have a series in production called Royals Next Door and it features a female lead character, as well as gender-"uid characters of di!erent races and nationalities. The writing team on Royals Next Door is also 100% female. Are physical animation studios essential or is working from home the future of the industry? It was a revelation to work from home after years of having all this technology that wasn’t really being put to use. That said, you cannot replicate the experience of working in a studio online, particularly if you’re young or new to the industry. That is because it is important that more junior members of the team work alongside more senior members of sta! so they can learn from them and hone their craft. How do you feel about Disney’s decision to close many of its TV channels around the world? It’s a strategic and logical decision for Disney to focus on its digital platform, but https://www.c21media.net/pablojordiiga21/?ss=cartoon+forum

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Pablo Jordi | Programming Profile | C21Media

I’m not sure what it will mean in the long term for independent producers like me. At the moment, it seems like Disney is still receptive to original content produced by independent production companies and is listening to pitches, but we will have to see. Tell us about the project you are pitching at Cartoon Forum. The Saskatoons (26×11’) is a mystery comedy series for kids aged 6-8. It follows two sisters and their ancient but advanced robot as they save the world from an evil collector who is releasing a dangerous magic from historical objects and artefacts. I was drawn to the series because it is a unique mix of magic, history, archaeology and technology. It is also coproduced with Portuguese broadcaster RTP and Portuguese production company Sardinha em Lata. Karolina Kaminska 17-09-2021 ©C21Media

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What is the biggest issue facing the animation industry? One of the biggest issues is how to sustain the growth of animation into the future. How can we create diverse content instead of following the same tried-and-tested formulas that are sure to tire the audiences? How can we balance technological developments with great storytelling? And what will happen when live-action shoots return to normal? These are all questions we’re sure to face soon. What is your company doing in response to this? Ukbar Filmes has just entered the animation realm, following success in cinema and television. The company has brought its knowledge of narrative scriptwriting and character development into the world of animation with the ambition of creating enduring and original IP that will allow for European and international coproductions. Are physical animation studios essential or is working from home the future of the industry? As has been proven over the last two years, physical animation studios are not essential. But we are physical beings, so being together with other like-minded people, exchanging ideas and working together is essential. What does this mean for the future? Who knows. But hopefully we can !nd better ways of working together than the nine-to-!ve work routine. It might be that things will be more "exible and adapted to each person’s needs, mixing working from home and being in a studio and/or other social settings. How do you feel about Disney’s decision to close many of its TV channels around https://www.c21media.net/pedrolinoiga21/?ss=cartoon+forum

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the world? Maybe there are too many channels nowadays and, with younger audiences migrating to streaming more and more, it only seems natural that this is happening. Tell us about the project you are pitching at Cartoon Forum. The Adventures of Princess P (52×11′) revolves around its titular character, a 12-year-old princess, and her family, in a medieval fantasy universe. But this princess is di%erent – she’s not the cute, slim and well-behaved royal you’d expect, but a chubby, resolute and active tween who is starting to question the world around her. The main inspiration in creating this show was to have a character that embodies many of today’s questions and doesn’t adhere to what is often represented in the animation industry. Princess P isn’t beautiful, athletic or particularly clever, for that matter. She doesn’t have any super powers or special gimmicks outside her wooden sword. She’s just a strong-willed 12-year-old, learning to navigate the world around her, as she learns to deal with the “isms” in society and realising that nobody’s perfect. Being in its !nal development stages, we’d love to connect with partners who share our vision and want to take this show further, be it coproducers, investors or broadcasters that are willing to add their own thoughts to this show and help to make it happen. Karolina Kaminska 17-09-2021 ©C21Media

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Philippe Alessandri

Philippe Alessandri Founder & CEO Watch Next Media France Pitching: Audrey’s Shelter What is the biggest issue facing the animation industry? It’s always putting the !nancing together because children’s channels do not pay for 100% of an animated series, which is a huge di"erence with other genres like drama or documentaries. And it’s even tougher than it used to be, because national broadcasters want exclusive SVoD rights in their home market, but global players don’t want to be missing major territories. What is your company doing in response to this? We’re very much still in the traditional coproduction model, so we access public funding and secure pre-sales in di"erent territories. But you can’t own 100% of the property this way. So we’re also extending our business to other countries, starting with Italy, where we have set up Animato in Turin. This means we can coproduce with Italy, share the same production pipeline and increase the !nancing, while retaining the IP. We’re starting this strategy with The Kiddy Crunchers for Canal+ in France and Rai in Italy. We’re also working with the global platforms, as some of them are willing to pay more for an animation series than traditional TV. We’re working with Amazon Kids+ on Hello Kitty in certain territories. Are physical animation studios essential or is working from home the future of the industry? We’ve all discovered during the pandemic that working remotely, at least for 2D animated series, was possible. It’s another story for 3D CGI features, for example, because the !les are too heavy. People are missing the socialising they can do in a

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studio, so the future will be a mix. We have studios in Paris and Lille and what we’re thinking of is a model where there will be one production working on Mondays, Wednesdays and Fridays in the studio and another production on the same desks on Tuesdays and Thursdays. So we can double the capacity of the studio. How do you feel about Disney’s decision to close many of its TV channels around the world? The BBC’s decision to bring BBC3 back as a linear channel and France Télévisions’ decision to keep France 5 on air are wise. Having said that, Disney has the marketing potential to impose Disney+ on the audience very quickly, so I understand its decision. For the BBC and France Télévisions it would have been suicide because linear TV channels are wonderful marketing tools. It’s also interesting to see that Nickelodeon and Cartoon Network haven’t closed any channels. Tell us about the project you are pitching at Cartoon Forum. Audrey’s Shelter (pictured, 52×11′) is an upper-preschool action-comedy series aimed at 5-8s that follows an eight-year-old girl who lives at her family’s refuge for endangered species. She has an extraordinary life and has been raised among the animals, so she isn’t good at socialising. But her life changes when a boy from the city moves in next door. They become friends and they learn from each other while teaming up to solve the animals’ problems. France Télévisions is on board and we have a development deal with TVO Kids in Canada, where we’re working with Image-In. It’s going to be an 80% French, 20% Canadian copro and to complete the !nancing on the French side we need at least one major or several small pre-sales in Europe. Karolina Kaminska 17-09-2021 ©C21Media

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Zo!a Jaroszuk

Zo!a Jaroszuk Producer & supervisory producer Animoon Poland Pitching: Icky & Poo What is the biggest issue facing the animation industry? In Central and Eastern Europe, the biggest challenge is of course !nancing on a national level. Having the Polish Film Institute and a cash rebate for the past two years is still not enough for us to really be competitive on the international market. To receive !nancing our formats can only be 26 episodes per season, rather than 52, which would be better to attract potential broadcasters and coproducers. But it is slowly changing. What is your company doing in response to this? We are trying to have as many projects as possible in development to !nd international partners and platforms. Since being locked down during Covid we’ve been developing lots more. And on the national level, we’re actively taking part in all discussions about the legislation to try and improve the situation. Are physical animation studios essential or is working from home the future of the industry?Karolina Kaminska 17-09-2021 The last year has proved that a physical animation studio is not necessary. But there’s ©C21Media nothing that can compare with being at the studio with people and exchanging ideas. Human contact is super important. We won’t ever forget how we used to work preCovid and how bene!cial that was. How do you feel about Disney’s decision to close many of its TV channels around the world? It’s another thing that shows how the market is changing and how big the shift is, if a player as big as Disney is closing some of its channels. Of course, we’re all leaning towards streaming now and, as a producer, it’s our goal. But it’s like with books. The fact you have e-readers doesn’t mean there aren’t any more books are being printed. It’s a big shift but it doesn’t mean things will change completely. Tell us about the project you are pitching at Cartoon Forum. Icky & Poo (26×6′) is an educational preschool series that explores the mysterious phenomena of our bodies. It’s one of the craziest shows in our portfolio. It’s about two koalas who are best friends who live in the eucalyptus branches – a perfect observation post with a 24-hour canteen. Icky is a bit nutty and very spontaneous while Poo is a laid-back philosopher constantly chewing a eucalyptus leaf. Koalas get bored quite often and !nd remedy in fooling around. When spending time together they discover some curiosities of their bodies by scraping o% scabs, sneezing loudly or passing gas right in front of each other’s noses. They use their imagination to discover why our bodies sometimes behave so uncontrollably. Karolina Kaminska 17-09-2021 ©C21Media

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Morten Kaufmann

Morten Kaufmann Producer Toolbox Film Denmark Pitching: Tiny Toot What is the biggest issue facing the animation industry? The biggest problem in the industry today is !nancing, because buyers want an enormous number of episodes for a paltry amount of money. Often, broadcasters want more than 100 episodes at a time because they have empty slots in their schedules that need !lling at short notice. It is not possible to develop projects in such a tight time frame and the money o"ered is simply not enough to begin production. What is your company doing in response to this? We are desperately trying to !nd cheap ways of producing content. We are coproducing a series called Woodlings (52×3’30”), which is being pitched at Cartoon Forum by Vilstrup Film & Projects, and that was not expensive to make. Costs were lowered by having one rather than multiple backgrounds and by only featuring three characters. Are physical animation studios essential or is working from home the future of the industry? I feel that physical studios will be necessary because working together in the same room is di"erent and more inspiring. Working at home is !ne but not if you need to ask questions or collaborate closely as a team. How do you feel about Disney’s decision to close many of its TV channels around the world? Toolbox Film mainly produces feature !lms for cinemas. We also produce animation in between our !lm projects, although it is more of a passion project as all of the team at Toolbox started their careers animation. Sotodue to my background in cinema, I’ve never worked with Disney,inso I’m unable comment. Tell us about the project you are pitching at Cartoon Forum. Tiny Toot (pictured, 52×7′) is a series targeted at the youngest preschool children. The director and writer Maria Mac Dalland came up with the idea for the show because she became a young grandmother. She would talk to her grandchildren about everyday curiosities, such as what is water and why do some animals $y. In the show, Tiny Toot and her friend go on various adventures where they unpick facts and learn about life. Karolina Kaminska 17-09-2021 ©C21Media

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Radovan Surý

Radovan Surý Producer BareBear Production Czech Republic Pitching: Acorn Elves What is the biggest problem facing the animation industry? In the Czech Republic the situation is still the same. We have only 10 million inhabitants and only one public television channel that is only a little bit willing to invest in animated content. Commercial TV prefers to buy ready-made content in one package for less money. It’s less risk for them because they can’t sell their own content abroad, so our only option is to "nd international partners and distributors. What is your company doing about this? We have many experienced animators and animation studios, so we are trying to show the world that we can create content as good as that in bigger countries. It’s slowly improving but it will take some time before foreign distributors see us as equal partners and trust our results. I know we can produce the same quality as elsewhere and maybe at a lower price than abroad. The price might be an opportunity in the time of Covid to get partners who would like to create with us. Are physical animation studios necessary, or is working from home the future of the industry? The advantage of animation studios is that it is de"nitely possible to work from home. It’s not ideal for the long term, but it’s certainly possible for productions. This was proven during the Covid pandemic when animation studios had more work, at least in commercial production. What do you think of Disney’s decision to close many of its television channels around the world? It’s a logical step and it would have to come sooner or later. Covid, in my opinion, has only accelerated the decision about where to invest and where to save money. Tell us about the project you are presenting at Cartoon Forum. Acorn Elves (26×11’) is based on poetry and the desire to show nature with the help of our oak friends who are all around us even when we can’t see them. We would like to show children how human behaviour can a%ect the lives of creatures smaller than themselves. The advantage of our series is that it is based on a book and has a fan base in the Czech Republic, which we hope to expand abroad. We are currently in talks with the online platform Mall.tv and Czech Television about possible cooperation and investment of money in our project. At Cartoon Forum, we would like to show the potential of the series and get partners on our side who would help us to move it forward. AA 17-09-2021 ©C21Media

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Rozálie Brožková

Rozálie Brožková Producer Vernes Czech Republic Pitching: The Seniors What is the biggest issue facing the animation industry? In the Czech Republic’s animation industry, we have had a lot of success and investment in short !lms, but we don’t have the funding for feature-length movies or series. This is coupled with the fact we don’t have any major broadcasters that have a lot of money at their disposal to spend on local content. The only option is to !nd funding from foreign investors. What is your company doing in response to this? Vernes has struck up partnerships with local producers and post-production studios, and we are on the lookout for platforms to fund and develop our projects. We successfully secured investment for our animated series The Seniors from the Czech Film Fund, but this was a !rst for us. Are physical animation studios essential or is working from home the future of the industry? It’s essential to work in working environments because if you work from home it’s harder to focus on the job at hand. It’s also really important for animators to come into the o"ce so they can brainstorm, as that isn’t as e#ective online. I work in production and it’s better to have a workspace that you leave at the end of the day, so you can return home with a clear head and the ability to decompress. How do you feel about Disney’s decision to close many of its TV channels around the world? It’s a logical decision to focus everything on one platform. There was some research in the Czech Republic that found people are willing to pay for just two SVoD platforms. Therefore, it makes sense to have one hub for your content as it makes you more competitive in the streaming market.

Tell us about the project you are pitching at Cartoon Forum. The Seniors (10×22′) targets a young-adult audience and is similar in tone to a sitcom. It is set in the near future when the world is grappling with overpopulation, meaning there are tight controls on reproduction and only the rich and elite can have babies. For the rest of the world, the other option is to adopt a senior citizen from a special shelter. These senior citizens have been trained to educate, tell stories from the past and to help with the housework. It’s a role reversal of modern-day teenagers. Our show follows four elderly citizens who live in one of these shelters. Karolina Kaminska 17-09-2021 ©C21Media

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Tamsin Lyons

Tamsin Lyons Producer Ink & Light Ireland & Finland Pitching: Ivy’s Bookshop What is the biggest issue facing the animation industry? I feel really optimistic about the industry right now, but the biggest thing for us is knowing that our shows are probably going to be predominantly consumed on streaming platforms or catch-up apps. So we have to think about how we can make sure that we stay visible beyond the !rst initial splash on the homepage at launch. What is your company doing in response to this? We’re trying to make sure we build out a really strong marketing pack, as well as thinking about partnerships. For example, with Ivy’s Bookshop, we’re planning a companion set of resources that we will partner with dyslexia associations around the world on so that we make sure we’re getting to those audiences. You usually want to spend your budget on making the series as good as it can be, but that’s not enough anymore. We need to take a lot more responsibility for marketing and promotion and o"ering that additional content. Are physical animation studios essential or is working from home the future of the industry? Because we have bases in Finland and Ireland we’ve always worked remotely to a degree. The nice thing for us is it has allowed us to be much more open to a more diverse crew while making sure the industry is more accessible. We can draw from bigger pools for our crew; we don’t just have to draw from a small crew that is available who can a"ord to live in the city centre. We’re always going to need to get together for maybe one day a week, particularly for writing and brainstorming and for brie!ngs and so on, but I think it’ll be a hybrid model, with people working much more from home. How do you feel about Disney’s decision to close many of its TV channels around the world? The channels have such a strong sense of identity, so I’m really curious to see how Disney is going to carve that out in the Disney+ model. Disney has said it is going to be making much more ambitious feature scale TV series, so as a viewer I can’t wait to see what it comes up with. Tell us about the project you are pitching at Cartoon Forum. Ivy’s Bookshop (pictured, 39×7′) is a 2D preschool series about a little dragon with dyslexia. RTÉjr is on board in Ireland and so far it’s an Irish/Finnish coproduction with Ink & Light on both sides. We’re looking at another English-language coproducer and are already working with di"erent coproducers in the UK and Canada to see if we can get the !nancing on board. Then we’ll see which one we can go with. AA 17-09-2021 ©C21Media

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CARTOON FORUM ANNOUNCES ITS LINE-UP IN ANTICIPATION OF ITS ON-SITE EDITION IN TOULOUSE

Press Release – 22 June 2021 Cartoon Forum, the pitching and co-production forum for animated TV projects, announced the line-up for its next edition, to be held in person in Toulouse from 20 to 23 September. European animation emerges from the sanitary crisis with 84 new TV series, mini-series, and TV specials projects involving independent studios from 21 countries. For the tenth year, the capital of the French region of Occitanie will play host to this event, that since 1990 has been boosting the co-production and distribution of European animation for television and new media platforms. Pitching and networking remain at the heart of this new edition of Cartoon Forum, which will adapt itself in order to comply with the necessary sanitary measures. Projects will be presented to international animation professionals from the TV and new media industries, including broadcasters, distributors, investors, streaming and new media platforms, as well as potential co-producers, among others. UNITED BY ANIMATION

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Cartoon Forum s statistics remain at similar levels to the previous year. Shortlisted from 141 submissions, the 84 selected projects have a total budget of 326.1 M€ with an average cost per series of 3.9 M €,though the cost per minute of animation production has slightly decreased compared to 2020 (11,887 € though the cost per minute of animation production has slightly decreased co2020 (11,887 vs 12,250 €). In total, the projects represent 457 hours of animation, while series formats continue to diversify in response to the new demands, both in terms of number of episodes and running time. Twenty-one European countries are involved in the projects: 13 as main producers and eight as minority co-producers. 37% of the projects (31) are co-productions between two or more European countries, and only one non-European country, Canada, participates as co-producer. France leads the selection with 33 projects, followed by Ireland with 11, Germany with 8, Spain with 6, Belgium with 5, and Portugal with 4. Czech Republic and Denmark participate with four projects each, and Italy and Poland with three, while Finland, Latvia and Ukraine are present with one project each. With nine projects, Central and Eastern European countries keep the animation production momentum going. Accounting for almost half of the selection (41 projects), series aimed at children 6-11 years old continue to gain ground in Cartoon Forum. With 25 projects, pre-school series represent almost a third of the selection, while Young Adults/Adults projects have increased to 17% vs 14% in the previous year. 2D remains the most widely animation technique employed by European producers (56%), although 3D series grows to 28% vs 20% in 2020. PRODUCERS BEHIND THE SCENES Les Armateurs (“Abyss Special Case Unit”), Autour de Minuit (“Freaked Out”), Dandelooo (“It’s Your Body!”), Vivement Lundi! (“Me and My Compost”), Xilam Animation (“Piggy Builders”), Cyber Group Studios (“The McFire Family”), Ellipsanime Productions (“Under the School”), Les films du poisson rouge (“Voro”), Magical Society (“Mister Crocodile”), and Studio 100 Animation (“Rek & Nola”) are among the French production companies presenting their new projects at Cartoon Forum. Within the selection there are also series produced by renowned independent companies from other European countries such as Belgium’s Fabrique Fantastique (“Gardener Gavin”), Germany’s Ulysses Filmproduktion (“Butterfly Academy”), Italy’s Red Monk Studio (“Nadia”), Poland’s Animoon (“Icky & Poo”), Portugal’s Sardinha em Lata (“Pete & Bern’s” and in co-production for “The Saskatoons”), Spain’s Peekaboo Animation (“My Little Heroes”), and Ukraine’s Animagrad (“Hrafn Academy”). The line-up also includes projects from young production companies and new talent presenting their first projects. Four of them already took their first steps at Cartoon Springboard, the pitching event for new talents, whose next edition will be held in October in Valencia, Spain: “Anselmo Wannabe” (Italy’s IBRIDO Studio), “Hygge” (Germany’s Dreamin’ Dolphin Film), “What it Takes” (France’s Les Astronautes), and

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“Space Ham” (Denmark’s MiniCosmos).

“Robot and the Martians” (Badi Badi) entered the line-up after being selected by CEE Animation Forum, the German series “Lambs” (Studio FILM BILDER) and “Bugs and Guns” (Wolkenlenker) were selected from Animation Production Days (APD), and the Belgian fund “Créanimation”, with the help of FWB (Fédération Wallonie-Bruxelles) and RTBF, brought 2 more projects to the mix: “Muscaria” (Galmar Films) and “Bookworms” (Mad Cat Studio). Toulouse and Occitanie / Pyrénées-Mediterranée Region animation will be presenting the TV special „Sacha and the Christmas Creatures“ (Xbo ﬁlms). Close to 20 of the selected projects are adaptations of comic books or books, including “My Dog, God and the Pokethings” (TNZPV Productions), “Freaked out” (Autour de Minuit), “Living with Dad“ (Dupuis Edition et Audiovisuel), “Blue Wolﬁe” (Label Anim), “Suzon” (Mondo TV France), and “Corgi, A Royal Family” (Studio Redfrog) from France; “Tales of Terror” (Dream Logic), and “Freddy Buttons Wacky Mysteries” (Treehouse Republic) from Ireland; as well as “Hello, Oscar!” (Atom Art, Latvia), “Welcome to Mamoko” (Pigeon, Poland), and “Fio Lina and the Maestro” (Serienwerk, Germany), among others.

Discover the Projects selected for the 2021 Edition! Click here!

About Cartoon Forum Created in 1990 to boost the co-production and distribution of European animation for television and new media platforms, Cartoon Forum has helped 866 animation series obtain ﬁnancing to the tune of over 3,1 billion EUR. The main partners of Cartoon Forum Toulouse are Creative Europe – MEDIA, CNC (Centre national du cinéma et de l’image animée), Occitanie / Pyrénées-Méditerranée Region, Mairie de Toulouse, Toulouse Métropole, Casino Barrière and France Télévisions. CARTOON – European Association of Animation Film is an international non-proﬁt association based in Brussels that organises Cartoon Movie, together with Cartoon Forum, a co-production forum for animated TV series, and Cartoon Masters training seminars.

 2021, Cartoon Forum, Toulouse

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‘If he can see it, he can be it’: the first look at Adam King’s inspirational space cartoon Adam’s father told the event Adam Loves Adventure captures his son's spirit and allows him to be a hero in his own right.

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# )$( /$*) $. +- . #**' 1 )/0- Ҋ *( 4 . -$ . . / $) .+ ) 2$'' the first Irish children’s program to feature a wheelchair user as a protagonist. In $/$*) /* $/. (0 #Ҋ) - +- . )/ /$*) !*- #$' - ) '$1$)" 2$/# $/$*) ' ) .Ѷ /# .#*2 '.* # . ) )1$-*)( )/ ' .' )/ѵ /. ( .. "$)" ) *0- " . 1$ 2 -. /* ( & /# 2*-' // - +' !*- !0/0- " ) - /$*). ) +-*/ / *0- +' ) /ѵ Adam’s father told the event the series took months of “effort, vision and love” to create and it captures Adam’s spirit and al'*2. #$( /* # -* $) #$. *2) -$"#/ѵ “We have been totally blown away by the impact of Adam’s message on people around the world. We are thrilled to capture Adam’s spirit, his love of space and adventure in this wonderful cartoon,” David King said.

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#**.$)" (Ѷ 2# ' # $- 0. -Ѷ /* /# # -* $) /#$. ./*-4ѵ ! # ) . $/Ѷ # can be it.” 0-$)" /# +$/ #Ѷ 1 ' - -* 0 /$*). $) '0 1$ * !-*( - *- # // )Ѷ global faculty member of the International Space University and the show’s #$ ! .+ 1$.*-Ѷ 2#* . $ /# .+ *((0)$/4 # . ) $).+$- 4 Adam’s message and his story will encourage other children to dream big. “Adam has captured people’s hearts from all over the globe. Superstar ./-*) 0/. .0 # . #-$. !$ ' Ѷ 4 *' ( ) ) ) )$ # 1 '' - # out to Adam and supported his quest to become a CAPCOM,” Dr Patten said, - ! - ) $)" (Ѿ. ! (*0. 2$.# /* *( .+ - !/ *((0)$ /*- 2$/# . ѵ

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“We are confident that Adam’s story will continue to impact everyone it reaches ) 2 - #*)*0- /* ' /* +/0- #$. .. ) $) /#$. 1 -4 .+ $ ' production.”

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-/**) *-0(Ѷ /# +$/ #$)" ) *Ҋ+-* 0 /$*) !*-0( !*- )$( / +-*% /.Ѷ ))*0) /# '$) Ҋ0+ !*- $/. ) 3/ $/$*)Ѷ /* # ' $) + -.*) $) *0'*0. Ѷ - ) !-*( +/ ( - спҊстѵ 0-*+ ) )$( /$*) ( -" . !-*( /# Ҋрш -$.$. 2$/# чу ) 2 . -$ .Ѷ ($)$Ҋ. -$ . ) .+ $ '. +-*% /. $)1*'1$)" $) + ) )/ ./0 $*. !-*( ср *0)/-$ .ѵ *- /# / )/# 4 - $) -*2Ѷ /# +$/ ' *! /# - ) # - "$*) *! $/ )$ 2$'' +' 4 #*./ /* /# 1 )/Ѷ 2#$ # .$) ршшп # . ) **./$)" /# *Ҋ +-* 0 /$*) ) $./-$ 0/$*) *! 0-*+ ) )$( /$*) !*- / ' 1$.$*) ) ) 2 ( $ +' /!*-(.ѵ $/ #$)" ) ) /2*-&$)" - ( $) / /# # -/ *! /#$. ) 2 $/$*) *! -/**) *-0(Ѷ 2#$ # 2$'' +/ $/. '! $) *- - /* *(+'4 2$/# /# ) .. -4 . )$/ -4 ( .0- .ѵ -*% /. 2$'' +- . )/ /* $)/ -) /$*) ' )$( /$*) +-*! ..$*) '. !-*( /# ) ) 2 ( $ $) 0./-$ .Ѷ $) '0 $)" -* ./ -.Ѷ $./-$ 0/*-.Ѷ $)1 ./*-.Ѷ ./- ($)" ) ) 2 ( $ +' /!*-(.Ѷ . 2 '' . +*/ )/$ ' *Ҋ+-* 0 -.Ѷ (*)" */# -.ѵ Cartoon Forum’s statistics rema$) / .$($' - ' 1 '. /* /# +- 1$*0. 4 -ѵ #*-/'$./ !-*( рур .0 ($..$*).Ѷ /# чу . ' / +-*% /. # 1 /*/ ' 0 " / *! 326.1M€ (~$369M USD) with an average cost per series of 3.9M€ җ‫ڦ‬уѵхф ҘѶ /#*0"# /# *./ + - ($)0/ *! )$( /$*) +-* 0 /$*) # . .'$"#/'4 decreased compared to 2020 (11,887€ vs. 12,250€ / $14,184 vs. $14,620). In /*/ 'Ѷ /# +-*% /. - +- . )/ уфц #*0-. *! )$( /$*)Ѷ 2#$' . -$ . !*-( /. *)/$)0 /* $1 -.$!4 $) - .+*). /* /# ) 2 ( ) .Ѷ */# $) / -(. *! )0( - *! +$.* . ) -0))$)" /$( ѵ 2 )/4Ҋ*) 0-*+ ) *0)/-$ . - $)1*'1 $) /# +-*% /.ѷ рт . ( $) +-* 0 -. ) $"#/ . ($)*-$/4 *Ҋ+-* 0 -.ѵ #$-/4Ҋ. 1 ) + - )/ *! /# +-*% /. җтрҘ - *Ҋ+-* 0 /$*). /2 ) /2* *- (*- 0-*+ ) 210

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Gardener Gavin (Fabrique Fantastique)

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)2#$' Ѷ !$1 +-*% /. 2 - . ' / $- /'4 /#-*0"# **+ - /$*) "- ( )/.ѵ # *'$.# +-*% / Robot and the Martians җ $ $Ҙ )/ - /# '$) Ҋ0+ !/ - $)" . ' / 4 )$( /$*) *-0(Ѷ /# -( ) . -$ . Lambs җ /0 $* Ҙ ) Bugs and Guns җ *'& )' )& -Ҙ 2 - . ' / !-*( )$( /$*) -* 0 /$*) 4. җ Ҙѵ ) /# '"$ ) !0) -ĝ )$( /$*)Ѷ 2$/# /# # '+ *! җ ĝ ĝ- /$*) ''*)$ Ҋ -03 '' .Ҙ ) Ѷ -*0"#/ /2* (*- +-*% /. /* /# ($3ѷ Muscaria җ '( - $'(.Ҙ ) Bookwormsҗ / /0 $*Ҙѵ

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SEIS PROYECTOS DE ANIMACION BUSCAN SOPORTE EN CARTOON FORUM 2021 DE TOULOUSE Publicado por areamadrid | | Huerto Audiovisual | 0  |     

EVENTOS FESTIVALES – MERCADOS… CINE ESPAGNOL - TOULOUSE

SEIS PROYECTOS DE CATALUÑA, EXTREMADURA Y PAIS VASCO ESTARAN EN TOULOUSE: La mitad de los proyectos están dirigidos al público infantil: “Pequeños héroes” de la catalana Peekaboo Animation (“Yo, Elvis Riboldi”); “The Saskatoons”, en la que participa como coproductor Pikkukala, productora con sede en Helsinki y Barcelona; y “La pandilla VHS”, del estudio extremeño The Glow Animation.

También fueron seleccionados dos

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proyectos para público preescolar: “Kima & Amik”, de la productora vasca Lotura Films, y “ *'

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animación cut-out desarrollada por la catalana Imagic TV. Por último, en el segmento de series para el público joven y joven-adulto destaca “The Monsters Valley”, producida por la barcelonesa WKND. Los proyectos fueron elegidos por el comité de selección entre 141 propuestas. Tendencias Con 41 de los 84 proyectos, las series dirigidas a niños de entre 6 y 11 años siguen ganando terreno en Cartoon Forum, mientras que las series para preescolares representan cerca de un tercio de la selección (24 proyectos). Por último, hay 14 proyectos dirigidos a jóvenes adultos y adultos, un 17% más que el año pasado. La animación 2D sigue siendo la más utilizada por los productores europeos (56%), aunque las series en 3D siguen ya alcanzan un 28% del total, frente al 20% en 2020. Las francesas Les Armateurs (“Abyss Special Case Unit”), Autour de Minuit (“Freaked Out”), Dandelooo (“It’s Your Body!”), Xilam Animation (“Piggy Builders”), Cyber Group Studios (“The McFire Family”), y Ellipsanime Productions (“Under the School”); la irlandesa Treehouse Republic

SPORTEL MIAMI 05/10/2021 07/10/2021

NAB EN LAS VEGAS TECNOLOGÍA A.V. 09/10/2021 13/10/2021 Las Vegas

MIPCOM MERCADO DE PROGRAMAS DE TELEVISION 11/10/2021 14/10/2021 CANNES

INFOCOMMSHO W.ORG 23/10/2021 29/10/2021

SEVILLA EUROPEAN FILM FESTIVAL 05/11/2021 13/11/2021 SEVILLA

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ml m m alp U l yms i l s F ill m p Academy”); la belga Lunanime (“Tommy Pepper”); y la portuguesa Sardinha em Lata (“Pete & Bern’s” y “The Saskatoons”) son algunas de las productoras que regresan a Cartoon Forum para presentar sus nuevos proyectos. Junto a las obras de algunos de los estudios más reconocidos de Europa, la selección también incluye obras de productoras jóvenes y nuevos talentos que acuden con sus primeros proyectos. Cuatro de ellos fueron seleccionados a través de Cartoon Springboard, el evento de presentación de proyectos para nuevos talentos de la animación que desde 2019 se celebra en Valencia: “Anselmo Wannabe” (IBRIDO Studio, Italia), “Hygge” (Dreamin’ Dolphin Film, Alemania), “What it Takes” (Les Astronautes, Francia, y “Space Ham” (MiniCosmos, Dinamarca). La próxima edición de Cartoon Springboard tendrá lugar del 26 al 29 de octubre y la convocatoria para participar está abierta hasta el próximo 2 de septiembre. Descubra los proyectos seleccionados en Cartoon Forum 2021. Cartoon Forum Organizado desde 1990 por CARTOON, Cartoon Forum ha ayudado a obtener Vnanciación por más de 3.100 millones de euros a 866 proyectos de toda Europa. Los principales socios de Cartoon Forum Toulouse son Creative Europe – MEDIA, 216

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MÁS EVENTOS...

VALORES

La reacción de Oxfam Intermón a la nueva ltración sobre los paraísos scales secretos de los Papeles de Pandora “El dinero que no se

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CNC (Centre national du cinéma et de l’image animée), Occitanie / PyrénéesMéditerranée Region, Mairie de Toulouse, Toulouse Métropole, Casino Barrière and France Télévisions. CARTOON es una asociación internacional sin Vnes de lucro basada en Bruselas que, además de Cartoon Forum, organiza Cartoon Movie -foro de coproducción para largometrajes de animación- y seminarios de capacitación como Cartoon Springboard, Cartoon Business, Cartoon Digital and Cartoon 360. Cartoon Forum, el foro europeo de coproducción de series de animación anunció la selección de su próxima edición, a celebrarse en Toulouse del 20 al 23 de septiembre en forma presencial. La animación europea emerge de la pandemia con 84 nuevos proyectos de series de TV, miniseries y programas especiales en los que participan estudios de 21 países de la región incluyendo a España, que cuenta con seis proyectos en el evento. Por décimo año consecutivo, la capital de la región francesa de Occitania vuelve a ser la sede de Cartoon Forum, que desde su creación en 1990 ha ayudado a impulsar la coproducción y distribución de series de animación europeas para televisión y nuevas plataformas. Las sesiones de pitchings y los contactos entre profesionales seguirán siendo las principales actividades en esta nueva - SPAIN -

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invierte en hospitales y protección social está en los paraísos scales” El Consorcio Internacional de Periodistas de Investigación (ICIJ) ha publicado hoy un nuevo informe en el que se revelan los nombres personas adineradas y grandes multinacionale s que utilizan los paraísos scales para evitar pagar los impuestos que les corresponden. Susana Ruiz, experta en política scal de Oxfam Intermón, expresa su opinión al respecto que Privacy - Terms

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edición de Cartoon Forum, que realizará algunos cambios en su funcionamiento para acatar las medidas sanitarias vigentes. Los proyectos serán presentados a profesionales del sector audiovisual de todo el mundo, incluyendo broadcasters, distribuidores, inversores, plataformas de streaming y potenciales coproductores, entre otros.

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ECOS AREATV FEST.CINE CANNES Mayra Batalla triunfa en Mayra Cannes con su participación en "Noche de fuego"

MA RA BATALL TRIUNF CANNE SU PARTIC EN "NO MAR+A MONTE - PRIME FESTIVA DE CINE DE CANNE

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De izquierda a derecha: «Pequeños héroes», “The Saskatoons”, “La pandilla VHS” y “The Wawies”. VIDEOS

AREATV: PREMIOS PLATINO (PALMARÉS E IMÁGENES MEJORES MOMENTOS5 IBERSERIESPLATINO: DIA 3

De izquierda a derecha: “The Monsters Valley” y “Kima & Amik”. SI TE HA GUSTADO ESTE ARTÍCULO, COMPÁRTELO:

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Siete animaciones españolas en Cartoon Forum de Toulouse

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8SYPSYWI ERH 4VIWMHIRX SJ 8SYPSYWI 1ʤXVSTSPI 3GGMXERMI 6IKMSR 'YPXYVEP VP Claire Fita, Centre National Du Cinéma et de l’image Animée (CNC) KIRIVEP HMVIGXSV 3PMZMIV ,IRVEVH ERH 0YMW 'LEF] :E^ 4VIWMHIRX SJ XLI &SEVH SJ (MVIGXSVW SJ XLI -RWXMXYXI SJ 'MRIQE ERH %YHMSZMWYEP SJ 4SVXYKEP -'% this edition’s Spotlight country,” Cartoon Forum mentioned on their official [IFWMXI ;MXL XLI IZIRX EPVIEH] YRHIV[E] XLI WIPIGXIH TVSNIGXW LSYVW SJ ERMQEXMSR MR XSXEP [IVI TVIWIRXIH XLVSYKLSYX XLVII HE]W MR MRWTMVMRK TMXGLMRK WIWWMSRW 8LI] [IVI WLSVXPMWXIH JVSQ WYFQMWWMSRW XLI projects involved 21 countries and had a total budget of 326.1 M€ with an average cost per series of 3.9 M€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/IXRIX [EW VIGSKRMWIH EW ‘Broadcaster of the year’. As the children’s brand SJ :68 XLI TYFPMG FVSEHGEWXIV MR XLI *PIQMWL WTIEOMRK TEVX SJ &IPKMYQ XLIMV TVSKVEQQIW EVI EMQIH EX GLMPHVIR YT XS ]IEVW SPH ;LMPI /IXRIX .YRMSV MW E WYF FVERH EMQIH EX GLMPHVIR YT XS WM\ ]IEVW SPH &SXL E TVSHYGXMSR ERH HMWXVMFYXMSR GSQTER] ERH E WXYHMS 1-%1 %RMQEXMSR [EW E[EVHIH EW ‘Distributor/Investor of the year’ 3RI SJ XLI QEMR WXYHMSW MR 8SYPSYWI ERH XLI 3GGMXERMI 6IKMSR 8%8 TVSHYGXMSRW [EW VIGSKRMWIH EW ‘Producer of the year’ %PP XLI [MRRIVW [IVI ZSXIH SRPMRI F] XLI TVSJIWWMSREPW VIKMWXIVIH EX XLI IZIRX Other activities held during the event were Cartoon Forum’s ‘Coaching Programme’, which gives students from aniQEXMSR WGLSSPW FEWIH FSXL MR XLI VIKMSR ERH MR XLI WTSXPMKLX GSYRXV] XLI TSWWMFMPMX] SJ HMWGSZIVMRK XLI ERMQEXMSR MRHYWXV] JVSQ XLI MRWMHI 'EVXSSR *SVYQ EPWS LIPTIH [MXL XLI organisation of ‘Les Toons Débarquent!’, a festival organised by the EWWSGMEXMSR %'6)%14 XS GIPIFVEXI XLI VMGLRIWW SJ ERMQEXMSR MR 8SYPSYWI ERH 3GGMXERMI - INDIA -

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"Pete & Bern's”, uma animação em 2D produzida pela Sardinha em Lata (Portugal), que nos apresenta dois irmãos, muito diferentes, mas inseparáveis, que tentam aprender a viver juntos. "As Aventuras da Princesa P”, da autoria da Ukbar Filmes (Portugal), centrada na vida de uma menina de convicções fortes, que tenta mudar a mentalidade dos adultos, na defesa dos mais fracos. "Os Saskatoons” é a história de dois heróis improváveis, Gigi e Alex, que tentam salvar o mundo em cada episódio. Uma coprodução da Sardinha em Lata (Portugal) com a Pikkukala (Espanha). "What's It All About?”, assinada pela Take It Easy (Portugal), é uma série de aventuras onde os curiosos personagens desvendam vários mistérios da ciência. Mais informações em: http://www.cartoon-media.eu/

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Cartoon Forum 2021 : une 32e édition qui fera date Du 20 au 23 septembre, à Toulouse, s’est tenue la 32e édition de Cartoon Forum, le rendez-vous européen de la coproduction de séries animées, organisé par Cartoon, l’association européenne du film d’animation. Bien évidemment, cette édition était particulière : elle marquait les retrouvailles de la communauté de l’animation européenne, alors que, en 2020, le marché n’avait pu se tenir en présentiel et s’était déroulé sur le numérique, en raison de la pandémie. Et, au vu des chiffres communiqués, les professionnels étaient impatients de revenir à Toulouse. En effet, ils étaient 885 sur place. A ceux-là, il faut ajouter les 130 qui ont été présents via la plateforme proposée en complément (mais qui ne rediffusait pas l’événement en direct, ni en différé). Au total, ce sont 1015 participants, venant de 41 pays, qui ont été comptabilisés. Un nombre impressionnant, qui montre, contrairement à certaines prédictions faites ces derniers mois, que le tout-numérique ne devrait pas s’imposer. Les professionnels sont en demande de découvrir des projets ensemble, d’échanger avec leurs partenaires habituels et de faire de nouvelles rencontres ; et seule une manifestation en présentiel peut offrir tout cela. Parmi ces 1015 participants figuraient 267 acheteurs (202 à Toulouse et 65 en ligne). "Mister Crocodile", projet le plus plébiscité Pour rappel, ce cru 2021 présentait 84 projets, portés par 21 pays européens. A l’issue de cette 32e édition, plusieurs classements ont été publiés, dont celui des dix projets ayant réuni le plus de professionnels à leur session de pitch. Dans ce classement, on trouve huit projets français, et deux coproductions franco-belges. Le trio de tête est conduit par Mister Crocodile (Joann Sfar’s Magical Society – structure de ON Kids & Family, qui appartient au groupe Mediawan) ; Compostman et moi (Vivement Lundi !, Superprod) ; et Under The School (Ellipsanime Productions, Timpel Pictures). Concernant les tendances de cette 32e édition, Cartoon fait remarquer que les adaptations de romans ou de BD sont toujours nombreuses, que les personnages féminins occupent une place de plus en plus grande dans les histoires, et que les programmes pour les adultes continuent de creuser leur sillon. Cartoon note également qu’une nouvelle génération d’artistes et de producteurs est définitivement en train de s’imposer. A ce titre, la jeune autrice et réalisatrice Emilie Tronche a fait sensation avec son projet Samuel, porté par Les Valseurs, une des sociétés les plus talentueuses du paysage. Lors de sa présentation, Samuel a reçu une ovation comme on en a rarement vue à Cartoon Forum. TAT Productions et Miam ! Animation parmi les lauréats des Cartoon Tributes

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Pour cette 32e édition, Cartoon n’a pas opté pour une version hybride, mais a mis à disposition, en complément, une plateforme, via laquelle on peut avoir accès, depuis le 23 septembre, aux vidéos présentant chacun des projets sélectionnés (elles durent une dizaine de minutes). Un moyen, pour les participants, de prendre connaissance des projets qu’ils n’ont pas eu le temps de découvrir sur place. La plateforme, qui est riche d’autres contenus, est accessible jusqu’au 15 octobre et il y est possible de remplir les fiches "feedback". Enfin, comme le veut la tradition, à Cartoon Forum, ont été remis les Cartoon Tributes, prix récompensant des professionnels de l’animation européenne. TAT Productions a été distinguée comme "producteur de l’année", Miam ! Animation comme "distributeur/investisseur de l’année" et le belge VRT-Ketnet comme le "diffuseur de l’année". Le 33e Cartoon Forum se déroulera du 19 au 22 septembre, à Toulouse.

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L-R Mélanie Errea (MIAM ! Animation), Telidja Klaï (Ketnet-VRT), Annick Maes (Cartoon), Jean-François Tosti (TAT productions) © Galia Prod.

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/) / 2 . - *")$5 . -* ./ - *! /# -. As the children’s - ) *! Ѷ /# +0 '$ -* ./ - $) /# ' ($.#Ҋ.+ &$)" + -/ *! '"$0(Ѷ /# # )) ' $. $( / #$' - ) 0+ /* рс 4 -. *' Ѷ 2#$' /) / 0)$*- $. .0 Ҋ - ) $( / #$' - ) 0+ /* .$3 4 -. *' /# / ! /0- . . -$ . .0 # . DoopieѶ OllieѶ Simon ) Bananimals */# +-* 0 /$*) ) $./-$ 0/$*) *(+ )4 ) ./0 $*Ѷ Ѻ )$( /$*) 2 . 2 - . $./-$ 0/*-ҝ )1 ./*- *! /# -ѵ # $- .' / $) '0 . ( )4 . -$ . /# / # 1 ) - )/'4 +- . )/ / -/**) *-0(Ѷ .0 # . The MiniWhatsѶ PriZoonerѶ Brazen ) Selfishѵ ) *! /# ( $) ./0 $*. $) *0'*0. ) /# $/ )$ "$*)Ѷ -* 0 /$*). 2 . - *")$5 . -* 0 - *! /# -ѵ *0) $) сппп 4 1$ ' 03Ѷ -$ ) )Ҋ - )ē*$. *./$Ѷ /#$. ./0 $* 2*) ) )/ -) /$*) ' ((4 2 - !*- /# . -$ . The Jungle Bunchѵ # *(+ )4 $. '.* - .+*).$ ' !*- /# !$'(. Terra Willy ) PilѶ 2#$ # 2 . - ' . ' ./ 0"0./ $) - ) ѵ 0-- )/'4 # . /#- ) 2 ! /0- !$'(. $) 1 '*+( )/ѷ ArgonutsѶ The Jungle Bunch 2 ) Pets on a Trainѵ $) */# - *(+ )$ . !-*( - ) Ѷ - ' ) Ѷ / '4Ѷ *-/0" 'Ѷ + $) ) /# ѵ ѵ 2 - )*($) / !*- /# спср -/**) -$ 0/ .ѵ '' *0/ /# .#*-/'$./ *)/ ) -. # - ѵ

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CARTOON 2021 Cartoon Forum

This year’s Cartoon Forum celebrates Portuguese animation by DAVIDE ABBATESCIANNI 24/09/2021 - In Toulouse, we discovered the five new projects presented by Portuguese creatives, two of which are co-produced with Spain

Graphic artist Bruna Ferrazzini and director Luis Da Matta Almeida pitching Biriki

Each year since 2016, Tolouse’s Cartoon Forum turns a spotlight on a given country’s animation sector. During this edition unspooling from 21 to 23 September, the French gathering has chosen to focus on Portuguese animation to praise its ability to foster talents working in studios all around Europe and to build a diversified network with a strong artistic and production capacity, bolstered by the public support offered by the Portuguese Institute of Cinema and Audiovisual (ICA), the Portugal Film Commission (PFC) and the Cinema and Tourism Fund’s 30% cash rebate. Originally focusing on shorts, Portugal animation is now pursuing the ambition to explore larger formats, including features and TV series. Over the last three days, Cartoon Forum, a leading international pitching and co-production forum for animated TV series, gave Portuguese producers the opportunity to showcase the works they are developing. Here is a brief overview of their new projects: Biriki – Luis Da Matta Almeida (Portugal/Spain) Penned by Ilaria Turba, this 26x7 preschool series follows little Biriki, who is ready to discover the world around her. The birth of a rainbow, the freezing of a lake, the discovery of coal or a particular object such as

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feathers or shells become an opportunity for Biriki and her friends to grow. The project is being produced by the director himself for Portugal’s Sparkle Animation and Chelo Loureiro for Spain’s Abano Productions. Pete & Bern’s – Bernardo Pacheco and Pedro Rodrigues (Portugal) The 52x3 TV series follows the titular two siblings hatched from the same egg. Despite this, they have almost nothing in common, but must learn to coexist. Each with his own craze, but inevitably together, they have to deal with day-to-day adversities, or with the dangers of a great adventure. Pacheco and Rodrigues previewed an excerpt depicting the two lead characters fighting against an improbable giant mussel. The project is targeted at an audience of adults and young adults. The Adventures of Princess P – Pedro Lino (Portugal) This 52x11 series, penned by Pedro Lino and Filipe Santos, centres on Young Princess P, the only daughter of the rulers of Kingdom K. She is a girl of strong convictions: an advocate for the weakest, a true environmentalist, she is always trying to change the mind of adults, especially her conservative parents. In each episode, she faces new challenges that test her beliefs, in a universe where anything is possible. Castles, knights and princesses mix with aliens, time travel and computer games, placing the challenges of children’s daily experiences into this imaginary land. The project, targeted at children aged 6-11, is being staged by Pablo Iraola for Lisbon-based studio Ukbar Filmes. The Saskatoons – Evgenia Golubeva and Nadia Cardoso (Portugal/Spain) Produced by Pablo Jordi for Spain’s Pikkukala and Diogo Carvalho for Sardinha em Lata, this 26x11 project revolves around Gigi and Alex, unlikely heroes who are becoming world experts on saving the world from powerful ancient forces. Their adventures find them on the frontline when mischievous powers are unleashed from historical artefacts. Together with their robot Dokku, they call themselves “The Saskatoons.” The series, targeted at children aged 6-11, is written by Golubeva and Myles McLeod. What’s it all About? - Pedro Lino (Portugal) The second project, helmed by Pedro Lino and co-written with Filipe Santos, is a Portugal’s Take It Easy presentation. In this 52x11 show, we’ll follow the “What’s it all About?” family, with their magic van, in a series of adventures through the mysteries of science. From the wonders of the universe to microscopic enigmas, nothing is impossible for the curiosity of our characters. The target audience are, once more, children aged 611.Industry Report: Animation

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Cartoon Forum 2021 Spotlights Portugal One of the industry’s most important TV pitching and co-production conference, this year’s event runs September 20-23, and will celebrate Portuguese animation and its emergence in global markets. By AWN Staff Editor | Friday, September 10, 2021 at 5:02pm In 2D, 3D, Business, CG, Digital Media, Event, Licensing, People, Television | ANIMATIONWorld, Headline News | Special Events: Cartoon Forum | Geographic Region: Europe

Cartoon Forum, one of the industry’s most important annual pitching and co-production conferences for animated TV projects, provides an opportunity for producers to pitch their projects in front of 1,000 broadcasters, investors, and other potential partners from 40 countries. Since its creation in 1990, 870 series have found financing, representing a total budget of 3.1 billion EUR. This year, the 3-day event will run from September 20-23 in Toulouse, France. Every year the event spotlights a different country; this year’s spotlight is set on Portugal, celebrating its artists and contributions to the world of animation. The country’s artistic and production capacity has increased in both quality and quantity and benefited from the support of producers and authors, animation companies and studios, as well as public support from the Portuguese Institute of Cinema and Audiovisual (ICA). With support from the Portugal Film Commission (PFC) and the Cinema and Tourism Fund (Cash Rebate 25% to 30%) that began in 2018, the local industry has emerged as more competitive internationally in animation production services and co-productions. With the ongoing success of Portuguese short films, the push for production of larger formats - feature films and TV series – is gaining traction. Five Portuguese TV Series Pitched at Cartoon Forum 2021:

Biriki – TV series - Format: TV series - 26 x 7' – Target: Pre-school 4-5 – Produced by Sparkle Animation (Portugal) – Co-produced by Abano Producións (Spain)

Pete & Bern's - TV series - 52 x 3' – Target: Young adults/adults – Produced by Sardinha em Lata (Portugal) The Aventures of Princess P - Format: TV series - 52 x 11' – Target: Children 6-11 – Produced by Ukbar Filmes (Portugal) The Saskatoons - Format: TV series - 26 x 11' – Target: Children 6-11 – Produced by Pikkukala (Spain) – Co-produced by Sardinha em Lata (Portugal) What's It All About? - Format: TV series - 52 x 11' – Target: Children 6-11 – Produced by Take It Easy (Portugal)

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 https://www.awn.com/news/cartoon-forum-2021-spotlights-portugal

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Watch Netflix and Riot’s ‘A Trailer

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William Shatner’s ‘TekWar

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 Key BOXX Platforms Rece System Status

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Adventures’ Hits Netflix S

'Pete & Bern's'

Networking Events Celebrating Animation in Portugal: Wednesday, September 22 Portugal Happy Hour - Starting at 17:30 – Happy Hour Spotlight Portugal (Bar and terrace of the Congress Centre) Thursday, September 23 Farewell Dinner: Portuguese Evening (999 Routes de Seysses - 31120 Portet-sur-Garonne) 19:30 – Departure by bus hotels and the Congress Centre (only one departure planned) 20.00 – Cocktail party

Career Connections

 Assistant Professor in Anim

Cartoon Forum 2021's program of events is available here.

Design East Carolina University

 Lead C++ Programmer Tic Toc Games

 Art Director Tic Toc Games

 Senior DevOps Engineer, Pr Infrastructure Engineering Netflix

 Assistant Professor in Anim Design East Carolina University

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 Supervisor, DevQA WarnerMedia

 Sr. Manager/Senior Manage

Publicity, Anime Production WarnerMedia

'The Adventures of Princess P '

Source: Cartoon Forum 2021

AWN Staff Editor

DIRECTORY

Dandelooo unveils two animated projects at this year’s cartoon forum Brandora Editorial Staff - September 2021

› Job Offers

› CandyRific Introduces New Display Panel for Marvel’s Avengers Character Fans › JAKKS Pacific Launches New Toy Line for Disney’s “Encanto”

› Licensing International › Experts

› FuturumKids announces merchandising and broadcast growth for Paddles › ViacomCBS to present D&I keynote at BLE › Emmy Award-winning French animation production and distribution company Dandelooo will be unveiling two new ORIGINAL animated TV projects aimed at upper pre-schoolers and 6- to 11-year-olds, It’s Your Body! and Space Ham (in co-production with Danish company MiniCosmos) to potential industry partners at this year’s Cartoon Forum in Toulouse (20 – 23 September 2021).

› The Metropolitan Museum of Art Unveils New Licensing Partnerships › New Home and Gift Ranges Incoming For THAT’S NOT MY › U.S. Consumer prices projected to rise up to 20% this holiday season › Frida Kahlo Blueprint Collections Launch › more news

› Directed by Yulia Aronova and Eloïc Gimenez and produced by Dandelooo the edutainment comedy series in 2D, It’s Your Body!(39 x 7’) explains the physiological phenomena of the human body (secretions, physical manifestations …) to children in a fun way, sometimes in relation to emotions, but always from the point of view of… animals! Why do humans blush when they are embarrassed? Why do they cry when they are hurt? What do they mean by “my stomach is in knots”? Who ever heard of a rope in a stomach! A great many questions, to which each animal has its own more or (frequently) less sensible answer, illustrated in hybrid motion graphics, and which they will try to force the others into accepting… Every day at the same time, while the owners of the house are absent, Louise the robin, Cameron the cat and twin fleas Jazz and Anna, gather to watch their favourite TV series “Passions of the Heart”. Their goal: to understand the strange reactions of humans through the things they see on television! Rosa the chameleon will give them the REAL scientific answer.

www.brand-licensing.com/DocPage.aspx?IzmLang=9&DID=37231&DIA=37231&QSI=1&OPS=0&LUR=http%3a%2f%2fwww.brand-licensing.com%3a80%…

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08/10/2021, 12:10

› Dandelooo will also be showcasing Space Ham (52 x 9’). Directed by Nicolai Viewerth, the 2D and 3D comedy series is a co-production with MiniCosmos, Denmark. Do you remember back in the day when you had sleepovers with your best friend? Those fantastic evenings where you just played games, talked, watched movies, read comic books, and listened to music together until it was impossible to keep your eyes open. Imagine if that was every day – and in space! Two pigs, Tim ‘a thinker’ who likes to have his life in order and Carl ‘a doer’ who doesn’t think about the consequences of his actions before it’s already too late, guard a space station on an asteroid far, far away. They are best friends, skilled in their hobbies, but aimless at handling their trusted positions as their “trying to be an adult” causes chaos rather than safety. Commenting on the projects, Emmanuèle Pétry Sirvin, Co-Founder of Dandelooo, said, “I fell in love with Space Ham at Cartoon Springboard. This project is the best example of a great ‘creator driven’ comedy series I can think of that’s come about in the past few years! It’s Your Body! aims to help children understand their own body reactions and the emotions linked to these reactions in a fun way and we will not avoid all the ‘yucky’ stuff too! Even parents will be surprised as well!” 08.10.2021

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EFE America

La animación para jóvenes se acerca a las demandas de las nuevas generaciones Duración: 03:07

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Toulouse (Francia), 21 sep (EFE).- (Imagen: Mario García Sánchez) La animación europea para jóvenes adultos se acerca cada vez más a los intereses de las nuevas generaciones y apuesta por narrativas centradas en la construcción de la identidad, y no tanto en los valores que persiguen los proyectos infantiles."Entre los 12 y 16 años, los jóvenes buscan referentes en las series de animación", explica a EFE el productor español David Matamoros, que describe cómo la industria se está adaptando a ellos con historias basadas en la definición de la personalidad y su papel dentro de la sociedad.Los contenidos que consumen los adolescentes "marcarán su forma de ser y de pensar en el futuro", opina Matamoros, que participa como moderador en el foro europeo de series de animación Cartoon Forum -Toulouse (sur de Francia)-, un encuentro que reúne hasta este jueves a casi mil profesionales del sector.La diversidad de género y la sexualidad son algunos de los elementos que incluyen los nuevos productos de animación para este público, algo que anteriormente solo se veía en la cultura asiática, con el manga y el anime."Lo que están demandando las nuevas generaciones es que la realidad que ven cada día en la calle esté traspasada al mundo de la ficción, cosa que hasta ahora se ignoraba", argumenta este experto audiovisual.El auge de la emisión en directo ("streaming") y el papel de los dispositivos móviles tienen un peso importante a la hora de producir contenidos para jóvenes, ya que a esa edad buscan la privacidad para crear su propio mundo."THE MONSTERS VALLEY"Una de las series dirigidas a ese público y presentada este martes en el Cartoon Forum es "The Monsters Valley", de la productora española WKND, que cuenta la vida de un adolescente que no se siente a gusto en el mundo en el que vive y huye a otro de fantasía, donde es perseguido por criaturas extrañas."Es la historia de una generación que pasa por un mundo demasiado agresivo, a 318

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la que le cuesta encontrar trabajo, con unas emociones muy concretas", explica a EFE el creador del proyecto, Santi Amézqueta."The Monsters Valley" trata de llegar al espíritu de un grupo marcado por la cultura de los videojuegos y de la animación a través de unos personajes "reales" y "grises", alejados del arquetipo de "bueno" y "malo", dice."Tratar de hacer animación para adultos es muy arriesgado", lamenta Amézqueta, que considera que esa tendencia ha cambiado recientemente con plataformas como Netflix y Amazon, que han abierto un nuevo nicho de mercado."Las televisiones generalistas más tradicionales si quieren llegar a ese público tendrán que cambiar su línea editorial y ampliarlo a los adultos", reclama el productor Roger Torras, que afirma que hay una audiencia "ansiosa" por ver este tipo de contenidos.Aunque las series dirigidas a los niños representan la mayor parte del Cartoon Forum, los proyectos para jóvenes y adultos también se han hecho un hueco en esta 32 edición, con el 18 % de un total de 84 series.Las series para este target abordan temas sociales y políticos como las drogas, la depresión, la ansiedad o la difícil recuperación a la que aboca el alcoholismo, sin olvidar otros valores como la inclusión de la diversidad y la solidaridad.TOTALES DE SANTI AMÉZQUETA Y ROGER TORRAS, CREADOR Y PRODUCTOR, RESPECTIVAMENTE, DE LA SERIE DE ANIMACIÓN "THE MONSTERS VALLEY", QUE SE PRESENTA EN LA 32 EDICIÓN DEL CARTOON FORUM.INCLUYE IMÁGENES DE "THE MONSTERS VALLEY" CEDIDAS POR EL CARTOON FORUM. (c) Agencia EFE

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Cartoon Forum unveils 2021 line-up By Mark Layton 23rd June 2021 @ 11:28

French animation festival Cartoon Forum has announced the line-up of TV projects for its next edition, which is due to take place in Toulouse from 20-23 September. The event, which will be held in person after going online-only last year due to the pandemic, will play host to 84 new TV series, mini-series, and TV specials produced by independent studios from 21 countries. Cartoon Forum, which has been held annually since 1990, brings together broadcasters, distributors, investors, streamers, co-producers and more for four days of pitching and networking. This 31st edition will be led by French projects, which account for 33 of the selections, including Les Armateurs’ Abyss Special Case Unit, Autour de Minuit’s Freaked Out and Dandelooo’s It’s Your Body!.

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Four of the selected projects, meanwhile, come from emerging ttalent pitching their first shows, having previously appeared at Cartoon Springboard, including Anselmo Wannabe from Italy’s IBRIDO Studio, Hygge from Germany’s Dreamin’ Dolphin Film, What it Takes from France’s Les Astronautes and Space Ham from Denmark’s MiniCosmos. Others presenting their new projects at Cartoon Forum include Belgium’s Fabrique Fantastique with Gardener Gavin, Germany’s Ulysses Filmproduktion with Butterfly Academy, Italy’s Red Monk Studio with Nadia and Poland’s Animoon with Icky & Poo.

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Cartoon Forum 2021 : rencontre avec Pierre Siracusa (FTV) Directeur de l’animation et de l’unité jeunes publics-éducation de France Télévisions (FTV), Pierre Siracusa revient sur l’importance de Cartoon Forum et fait le point sur les ambitions du groupe en matière d’animation. France Télévisions est l’un des partenaires de Cartoon Forum. Ce marché est pour vous et votre équipe un rendez-vous clé… Cartoon Forum est un événement majeur. C’est le meilleur endroit pour cerner les tendances du secteur et c’est un lieu de découverte. On y voit des projets qui ne seraient pas naturellement venus à nous, d’autres dont on avait déjà eu connaissance et dont on constate à quel point ils ont mûri, et d’autres que nous soutenons et qui sont présentés à la profession. Après chaque session de pitch, on peut tout de suite entamer un dialogue avec les auteurs et producteurs sélectionnés pour défendre leur programme ; c’est très constructif et passionnant. Nous ne raterions ce temps fort pour rien au monde.

Vous êtes déjà engagé sur trois des projets figurant dans la sélection… En effet, nous développons Mister Crocodile (52 × 11’, Joann Sfar’s Magical Society– structure d’ON Kids & Family –, pour les 6 à 11 ans) ; le Refuge d’Audrey (52 ×11’, Watch Next Media, pour les 6 à 11 ans) ; et les Gardes Chimères (52 × 11’30,Monello Productions, pour les 6 à 11 ans). Mister Crocodile marque le retour de Joann Sfar à l’écriture d’œuvres pour les enfants. C’est une comédie autour de l’amitié entre un crocodile et une petite fille, Daisy. Le Refuge d’Audrey aborde de manière novatrice les sujets du rapport à l’animal et de la sauvegarde des espèces.Quant aux Gardes Chimères, c’est une série portée par Clément de Ruyter, Lila Peuscet et Marie Manand. Clément de Ruyter et Lila Peuscet ont fait partie de l’aventure "En sortant de l’école" [collection de courts métrages autour de la poésieproduite chaque année par Tant Mieux Prod avec France Télévisions et dont la réalisation est confiée à de jeunes talents de l’animation française, Ndlr]. Nous sommes fiers d’observer le parcours qu’ils ont eu depuis. Les Gardes Chimèresraconte la rencontre entre deux petites filles et des animaux mythologiques. Il y a un vrai lien avec l’univers d’Hayao Miyazaki. En parallèle, nous suivons évidemment l’évolution d’autres projets. Je le redis, Cartoon Forum, c’est le lieu de la découverte ! Depuis le tweet d’Emmanuel Macron du 18 mai dernier, on sait queFrance 4 est maintenue. A présent, l’offre jeunesse de FTV est

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stabilisée. Pouvez-vous refaire un point sur l’exposition de celle-ci sur les antennes et les espaces numériques du groupe ? L’offre jeunesse repose sur deux piliers : Okoo et Lumni. Okoo, qui propose des programmes ludo-éducatifs et de divertissement, se déploie à la fois sur le linéaire et sur le numérique. Sur le linéaire, France 4 est le vaisseau amiral. En journée, la chaîne, de 6 à 20 heures, propose des œuvres animées pour les 4 à 12 ans, mais aussi d’autres types de contenus (fictions, magazines…). L’animation trouve aussi toujours sa place sur d’autres chaînes. Sur France 5, tous les matins, il y a une case dédiée aux préscolaires [de 5 heures à 9 h 10 du lundi au vendredi, de 5 à10 heures le samedi, et de 5 heures à 9 h 20 le dimanche]. Sur France 3, égalementchaque matin, il y a une case pour les 6 à 12 ans et dont l’ambition est aussi de réunir un public familial [de 5 heures à 9 h 10 du lundi au vendredi, de 5 à10 heuresle samedi et de cinq h à 9 h 20 le dimanche]. Sur les chaînes 1ère, du lundi au vendredi, il y a une case le matin, pour les 4 à 7 ans, et une case pour les plus de 6 ans l’après-midi [de 6 h 30 à 7 h 30, de 16 h 30 à 18 heures – le mercredi, débutde la case d’après-midi à 15 h 30]. Okoo, c’est donc aussi une application, dont le succès ne cesse de croître. De plus, Okoo est disponible via France.tv. Quant à Lumni, c’est une plate-forme éducative. Depuis la rentrée, nous travaillons à voir comment renforcer la dynamique entre Okoo et Lumni, comment articuler une proposition plus axée sur le divertissement et l’apprentissage et l’autre sur la connaissance, et faire que notre public circule entre les deux. C’est un de nos chantiers prioritaires. Nous réfléchissons notamment à la place que Lumni doit avoirsur France 4. Les programmes d’animation pour les adolescents et les jeunes adultes sont visibles sur France.tv Slash. Au dernier Mifa, il a été affirmé que le groupe voulait aller plus loin sur ce type de contenus, et s’adresser à tous les adultes, pas seulement les plus jeunes d’entre eux… C’est notre autre chantier prioritaire de l’automne. Nous réaffirmons que nous avonsenvie de soutenir davantage l’animation pour adulte, et pour tous les adultes. Et si, jusqu’à présent, nous avons accompagné des séries qui affichaient clairement le fait qu’elles étaient pour les jeunes adultes et les adultes, parce qu’elles étaient de genre ou avaient des aspects "trash" – des programmes que nous adorons parailleurs ! –, nous avons bien conscience que les œuvres animées pour cette catégorie de spectateurs n’ont pas nécessairement besoin d’être "radicales". Elles doivent mettre en avant toutes les histoires. Pouvez-vous nous citer quelques nouveautés de la rentrée ? Idéfix et les Irréductibles (52 × 12’, Studio 58) est un des programmes phares de cette nouvelle saison. La série a été lancée sur l’application le 2 juillet avec la miseen ligne de 12 épisodes, et elle est diffusée sur France 4 depuis le 28 août. Destinéeaux plus de 6 ans, mais visible aussi par les plus petits, elle a tout de suite fonctionné auprès de nos téléspectateurs. Pour rappel, elle a été imaginée comme un préquel aux aventures d’Astérix. On y suit Idéfix avant qu’il n’ait rencontré le guerrier gaulois et son fidèle ami, Obélix. Cette production a trouvé le bon angle pour adapter l’univers de René Goscinny et Albert Uderzo. Avec la

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série, des pastilles autour de l’histoire des Gaulois ont été conçues par Hachette ; elles seront disponibles bientôt sur Okoo et Lumni. C’est là un parfait exemple de l’objectif que nous avons et que j’expliquais précédemment : marier le divertissement et la connaissance. Nous aurons d’autres nouveautés, comme le téléfilm les Lapins crétins – Invasion : objectif Mars (70’, Ubisoft). Il s’inscrit dans ce que nousrecherchons : redonner de la place à des récits longs, que ce soit à travers des téléfilms donc, ou des feuilletons. En somme, aujourd’hui, l’alliance du linéaire et du numérique vous apporte beaucoup plus de liberté… Absolument. Nous n’avons plus de contraintes de diffusion et nous voulons exposerdes contenus très différents. Face à la standardisation des propositions de nos concurrents, nous savons que la force de notre offre, c’est sa diversité. Et ce qui est formidable, c’est que nous pouvons la renforcer grâce à un secteur, l’animationfrançaise, qui regorge de talents et a une incroyable faculté à innover.

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Cartoon Forum 2021: ‘La pandilla VHS’ llega a Toulouse con el apoyo de Televisión Española Por Redacción AV451 - 16 septiembre, 2021

The Glow, estudios de animación con sede en Almendralejo, acude a Cartoon Forum 2021 para presentar ‘La pandilla VHS’, serie que gustará a niños y mayores. Porque la nueva apuesta del estudio responsable del largometraje ‘Buñuel en el laberinto de las tortugas’ está dirigida al público familiar y repleta de referencias cinéfilas. En ‘La pandilla VHS’, tres hermanos viven miles de aventuras. Su día a día se mezcla con la ficción de grandes películas de cine. Desde crear a su propio Frankenstein, hasta jugar con la idea de haberse convertido en El Hombre Invisible, todo cabe en las cabezas de estos tres chicos, y todo ello dará pie a numerosas y divertidas situaciones. La serie está basada en ‘Operación Frankestein’, libro original de Fermín Solís editado en 2015 por Narval. El propio Solís es productor ejecutivo del proyecto junto con José María Fernádez de Vega. El equipo acudirá a Toulouse la próxima semana para continuar con la financiación de la serie, que ya cuenta con la participación de RTVE. Tras su paso por Weird Market 2020, ‘La pandilla VHS’ fue uno de los proyectos elegidos por la televisión pública en su convocatoria de animación de este año. ”Nuestro objetivo es encontrar socios para hacer realidad ‘La pandilla VHS’, así que acudimos a Cartoon Forum con mucha ilusión y con todas nuestras armas” comenta Fernádez de Vega a Audiovisual451. El foro europeo para series de animación ha confirmado la asistencia de 200 compradores.

Dani Blanc y Pedro Alpera serán los directores de animación, mientras que el desarrollo visual corre a cargo de Olga de Castro y Chema García. La serie, en formato 26×8, está en preproducción y utiliza la animación 2D. La banda sonora está compuesta por Óscar López Plaza, autor de numerosas bandas sonoras cinematográficas y con el que The Glow lleva trabajando desde sus inicios.

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PORTUGAL TEM LUGAR DE DESTAQUE NO CARTOON FORUM, O MAIOR FESTIVAL EUROPEU DE ANIMAÇÃO Quatro estúdios e produtores portugueses vão apresentar os seus projetos.

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O Cartoon Forum é a principal montra da animação europeia, onde estúdios � e produtores procuram investimento para os seus projetos de séries de � animação, com Portugal a ser destacado na 31.ª edição, que decorre este ano � em Toulouse, França. "É o maior evento europeu e o único nestes moldes. Temos duas hipóteses � para �nanciar as nossas séries - estes eventos ou ir aos mercados. No � Cartoon Forum temos oportunidade de mostrar o nosso projeto, e é muito � importante para as séries europeias independentes. É fulcral", disse � o produtor Diogo Carvalho, do estúdio Sardinha em Lata, em declarações � à agência Lusa. O estúdio Sardinha em Lata, o Sparkle Animation, a Ukbar Filmes e a Take It� Easy são os quatro estúdios e produtores portugueses que vão apresentar os � seus projetos no Cartoon Forum 2021 em busca de �nanciamento. No total,� vão ser apresentados 84 projetos, vindos de 13 países diferentes e que � procuram cerca de 326 milhões de euros de investimento. Estes projetos são séries de animação de televisão ou plataformas digitais, � e são dirigidas para crianças, mas também para adolescentes e adultos. Cada produtor ou autor terá cerca de 20 minutos no palco para mostrar � e falar do seu projeto, num género de 'pitch'. Sendo um momento de encontro para produtores e distribuidores, assim � como investidores privados, os projetos com mais destaque conseguem� recolher os fundos necessários para a sua concretização. A Sardinha em Lata já conseguiu financiamento realizar dois projetos após participações no Cartoon Forum, nomeadamente "Os Diários de Alice", que está a ser produzida atualmente. A este encontro europeu trazem dois novos

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projetos: "Pete & Bern's" e "The Saskatoons". O estúdio Sparkle Animation vai apresentar “Biriki”, a produtora Ukbar Filmes �vai estar presente com “The Adventures of Princess P” e a Take it Easy com �“What’s It All About?". Desde a sua criação, em 1990, o Cartoon Forum ajudou 870 séries de �animação a conseguirem cerca de 3,1 mil milhões de euros para serem �realizadas, sendo esta iniciativa co�nanciada pelo programa MEDIA da �Europa Criativa, um programa da União Europeia. Sem espaços como o Cartoon Forum, segundo Diogo Carvalho, seria muito �dif� ícil produzir animação em Portugal. "O cinema independente e séries dependem muito dos incentivos que o� Estado dá, e isto passa-se em toda a Europa. E o �nanciamento para séries� em Portugal são 600 mil euros divididos por dois projetos, logo é muito �baixo. Não é nada. E depois não há investimento privado em Portugal",�explicou o produtor. O estúdio Sardinha em Lata está ainda nomeado para os prémios deste� evento, na categoria de melhor produtor do ano. O Cartoon Forum decorre entre os dias 20 e 23 de setembro, em Toulouse,� França, voltado ao formato presencial após uma edição digital em 2020.

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Last updated on September 21st, 2021 Adam Loves Adventure is a preschool adventure-comedy series set in space and starring Late Late oy Show Adam King. It’s the rst Irish children’s programme to feature a wheelchair user as the main character. he series centres on Adam and his crew who are on a mission to help aliens around the galaxy to solve problems using his space-smarts and altruistic personality. Adam’s oather, avid King said, ,I am so excited to represent Adam and our family at Cartoon oorum. his is the culmination of many months of elort, vision and love from everyone involved. We have been totally blown away by the impact of Adam’s message on people around the world. We are thrilled to capture Adam’s spirit, his love of space and adventure in this wonderful cartoon. As parents, oiona and I want our children to grow up as the heroes in their own stories. What they see around them inspires, and in Adam’s case – representation really matters. We are so grateful to Kavaleer for their trust in choosing Adam, a wheelchair user, to be the hero in this story. If he can see it, he can be it.” Cartoon oorum continues in oulouse for the next two days, during which the team at Kavaleer Productions will work to secure suitable partners to bring the project to fruition.

"Adam Loves Adventure!" Teaser from Kavaleer

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Le Festival « Les Toons débarquent » en Occitanie et à Toulouse  20 septembre 2021

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Du 20 septembre au 7 novembre 2021, le festival Les Toons débarquent ! est de retour dans les cinémas en Occitanie et dans la région de Toulouse. Cette année encore, Les Toons débarquent sont de retour dans les salles d’art et essai d’Occitanie ! Pour son 10e anniversaire, le festival propose une programmation créative, poétique, originale et voyageuse. Le public a rendez-vous dans les cinémas partout en région avec des animations, des rencontres et des projections. La région sera bien représenté. En famille, on pourra visionner des films fabriqués et réalisés en Occitanie, comme le long métrage en 3D Pil de Julien Fournet produit par TAT productions et le long métrage en peinture sur verre animée La Traversée de Florence Miailhe, produit par Xbo Films et les films de l’Arlequin. Mais aussi Le Peuple loup, Grandir c’est chouette, de nouvelles aventures pour Zébulon le dragon et autres films et programmes de cette édition.

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Assortis de rencontres avec certains producteurs ou réalisateurs, accompagnés d’animations originales et passionnantes, les films vous donnent rendez-vous dans les salles obscures pour célébrer le cinéma. Toute la programmation :cartoonTélécharger Le Cartoon Forum à Toulouse Pour débuter cette série d’évènement du festival, le Cartoon Forum s’installe une nouvelle fois à Toulouse. Créé en 1990, Cartoon Forum est un événement unique axé sur des sessions de présentation de projets télévisés présélectionnés, où les producteurs d’animation peuvent trouver des partenaires transfrontaliers et accélérer les arrangements financiers. Les professionnels ont rendez-vous du 20 au 23 septembre au Centre de Congrès Pierre Baudis de Toulouse.

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Xilam’s ‘Piggy Builders’ and ‘Wild Life City’ to debut at Cartoon Forum 7ITXIQFIV %RMQEXMSR<TVIWW 8IEQ

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%PWS LIEHMRg to Cartoon Forum is 39 x 13’ action comedy series ;MPH 0MJI 'MX] 8LI WIVMIW LEW FIIR GVIEXIH F] XLI GIPIFVEXIH 2MGSPEW (IZIEY\ VIRS[RIH JSV LMW [SVO MR GVIEXMRK ERH ERMQEXMRK TMGXYVI TIVJIGX ERMQEPW 'S TVSHYGIH F] 'YFI 'VIEXMZI 4VSHYGXMSR ERH <MPEQ %RMQEXMSR MX MW EMQIH EX GLMPHVIR EKIW WM\ XS ERH MW E PMZIP] QM\ SJ GSQIH] [VMXMRK [MXL WTIGXEGYPEV EGXMSR WGIRIW -X HMZIW MRXS XLI FVMKLXP] GSPSYVIH LMPPW SJ ;MPHPMJI 'MX] E PSZIP] XS[R SR XLI WIEWMHI [LIVI ERMQEPW EPP PMZI MR LEVQSR] 8YVXPI /EXI /SEPE &IXX] )PITLERX 8SQ ERH *PEQMRKS .EWSR VYR 8LI 0MKLXLSYWI 1EVOIX E GSW] LERKSYX [LIVI ]SY GER GLMPP SYX [MXL ]SYV JVMIRHW YTG]GPI ]SYV FVSOIR MXIQW SV YWI XLI YPXVE JEWX ERH IGS JVMIRHP] HIPMZIV] WIVZMGI )ZIV]XLMRK [SYPH VYR WQSSXLP] MJ MX [IVIn’t for a mischievous roller skating trio of gibbons looking to undermine the Lighthouse’s popularity. 0YGOMP] SYV JSYV JVMIRHW GER GSYRX SR IEGL SXLIV ERH XLIMV WIXW SJ [LIIPW XS counter the monkeys’ plans. Expect epic chases and stunts, but also tons of PEYKLXIV ERH E WXVSRK HSWI SJ IQSXMSRW Xilam Animation founder and CEO Marc du Pontavice said, “We are GSRXMRYMRK XS KVS[ ERH HMZIVWMJ] SYV WPEXI [MXL RI[ ZMFVERX '+- TVSNIGXW JSPPS[MRK SYV WYGGIWWJYP JSVE] MRXS XLI JSVQEX 4MKK] &YMPHIVW ERH ;MPH 0MJI 'MX] EVI TIVJIGX EHHMXMSRW XS SYV TVSHYGXMSR WPEXI VIZIEPMRK MRRSZEXMZI talents, encompassing Xilam’s style and ideals in a unique way, with new PSZIEFPI GLEVEGXIVW ERH JYR EHZIRXYVIW JSV FSXL XLI TVIWGLSSP ERH WM\ XS HIQSKVETLMG ;I EVI ZIV] QYGL PSSOMRK JSV[EVHMRK XS HIFYXMRK XLI series and introducing them to the global marketplace at Cartoon Forum.”

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'SQMRK XS 'EVXSSR *SVYQ =% GSRXIRX 8LIVI W E MRGVIEWI MR XLI RYQFIV SJ =% TVSNIGXW EX XLMW ]IEV W IZIRX TEVX SJ E [MHIV XIIR WOI[MRK ERMQEXMSR XVIRH TPE]MRK SYX VMKLX RS[ MR )YVSTI By Ryan Tuchow ͳ͸ǡ ʹͲʹͳǡ

The annual pitchfest is headed back to Toulouse, France for an in-person event running from September 20 to 23. This week, we’re tracking what’s looking likely to generate heat there, from a spotlight on Portugal, to a boom in book adaptations. Today, we look at a wave of new young adult concepts headed to the event. 'EVXSSR *SVYQ MW WLS[GEWMRK E PSX QSVI =% WOI[MRK GSRXIRX XLER YWYEP—XLI TVSNIGXW JSV XLMW demo that were selected this year represent 17% of the event’s SZIVEPP PMRIYT SJ TMXGLIW 8LMW MW E MRGVIEWI SZIV ʹͲʹͲ, and YA titles didn’t even make up 10% of the concepts presented ʹͲͳͻ *SV TVSHYGIVW ERH FVSEHGEWXIVW EPMOI SPHIV WOI[MRK TVSNIGXW SJJIV E GLERGI XS XEGOPI QSVI HMJJMGYPX XLIQIW ERH FMKKIV MWWYIW—ERH [MXL E HEVOIV GSQIHMG WIRWMFMPMX] XLER MW TSWWMFPI MR WLS[W JSV TVIWGLSSPIVW ERH WM\ XS W “Now is the golden age of YA animation,” says /EXIV]RE :]WLRIZWOE LIEH SJ HIZIPSTQIRX ERH GS productions at the Ukraine’s Film.UA Group, which is co TVSHYGMRK 'EVXSSR *SVYQ TMGO Hrafn Academy. “It’s a global trend that can tell wonderful stories and attract top talent. 8LMW XVEMR MW KEXLIVMRK WTIIH—NYWX PSSO EX EPP XLI KPSFEP WXVIEQIVW GSQQMWWMSRMRK =% ERH EHYPX ERMQEXMSR SYX SJ 97—ERH [I are confident it will soon arrive in Europe.” Hrafn Academy TMGXYVIH EFSZI 'LESW IRWYIW MR XLMW \ QMRYXI GSQIH] [LIR E QEH WGMIRXMWX WXEVXW E WGLSSP JSV FVMPPMERX OMHW [LS he hopes will cure his terminal illness. Film.UA’s Animagrad and Iceland FEWIH +YR,MP EVI GS TVSHYGMRK XLI ( ERMQEXIH WIVMIW [MXL )YKIRI )VQEO HMVIGXMRK ERH %RHVM] >PERMGL [VMXMRK “Over the last decade, [I LEZI WIIR XLI QEVOIX KVS[ I\TSRIRXMEPP] [MXL QSWX SJ XLI GSRXIRX GSQMRK JVSQ XLI 97 -X MW XMQI JSV

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ERMQEXMSR TVSHYGIVW MR )YVSTI XS WXEVX GVIEXMRK QSVI ]SYXL ERH EHYPt animation,” says GunHil HMVIGXSV ,EYOYV 7MKYVNʭRWWSR

Seniors

)OEXIVMRE &IWWSRSZE [MPP HMVIGX ERH [VMXI WGVMTXW JSV XLMW \ QMRYXI GSQIH] WIVMIW WIX MR XLI JYXYVI [LIR JEQMPMIW EHSTX WIRMSVW MRWXIEH SJ OMHW SV TIXW -X WXEVW E ]IEV SPH [LS EVVMZIW EX E WLIPXIV JSV IPHIVP] TISTPI [EMXMRK XS JMRH XLIMV JSVIZIV LSQIW '^IGL WXYHMSW 1EYV *MPQ ERH :IVRIW EVI GS TVSHYGMRK 7IRMSVW in 2D animation. “We enjoy the fact that the series is a black comedy set in the near future so we can address upcoming world problems,” says Zdeněk Holý E TVSHYGIV EX :IVRIW

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Freaked Out

8LMW ( ERMQEXIH WLSVX WIVMIW VIZSPZIW EVSYRH E ]SYRK QER [LS MW EJVEMH SJ IZIV]XLMRK ERH LEW XS choose if he’ll brave the terrors of IZIV]HE] PMJI SV GLMPP EX LSQI 8LʤS +VSWNIER [LS [VMXIW XLI World’s 1SWX %R\MSYW 1ER GSQMG WXVMT XLI \ X[S QMRYXI GSQIH] MW FEWIH SR MW EXXEGLIH EW E HMVIGXSV ERH scriptwriter. “The universality of the character’s distress, the appealing and simple d IWMKRW ERH XLI black humor of the episodes are the main reasons why we decided to produce this show,” says 2MGSPEW 7GLQIVOMR, owner of France’s Autor de Minuit, which will co TVSHYGI *VIEOIH 3YX with France’s FKLG.

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Starting with Hope

8LMW \ JSYV QMRYXI TVSNIGX FPIRHW EVX [MXL XIWXMQSRMEPW XS LIPT ZMI[IVW GSRJVSRX HITVIWWMSR 4ESPE (I 7SYWE MW [VMXMRK XLI WGVMTXW [MXL 7SRME :IPZMIR [LS [MPP EPWS HMVIGX *SV TVSHYGIV (MERE ,IRXYPIWGY GS founder of France’s 1SYOHE 4VSHYGXMSR XLI KSEP SJ XLI ( ERMQEXIH WIVMIW is to “break the silence that IRZIPSTW HITVIWWMSR ERH EPWS XEOI XLI TVSNIGX JYVXLIV -R TEVEPPIP [I EVI HIZIPSTMRK E [IFWMXI XLEX integrates podcasts and written testimonials.”

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% ']FIVWT] SR 7SGMEP 1IHME 8VYI 'SRRIGXIH 7XSVMIW

)\TPSVMRK XLI TVSW ERH GSRW SJ WSGMEP QIHME XLMW QM\IH QIHME WIVMIW FPIRHW XVYI WXSVMIW ERH TW]GLSPSKMWX MRXIVZMI[W MR E QEWL YT SJ puppetry and 2D/3D animation. France’s Schuch Productions ERH 0SSO EX 7GMIRGIW [MPP GS TVSHYGI XLI \ WM\ QMRYXI GSRGITX [MXL :MRGIRX +EYPPMIV ERH .IER .EGUYIW 0SRRM HMVIGXMRK ERH +EYPPMIV GVEJXMRK WGVMTXW “[Social media's role in] addiction, harassmIRX mourning, identity and memory needs answers and explanations,” says Gaullier.

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Animação portuguesa tem "talento" e "qualidade". O problema é a falta de nanciamento L.S. / LUSA

24 SET 2!21 18:27

Portugal teve um lugar de destaque esta semana no artoon orum, a maior mostra europeia de séries de anima ão para televisão e plata ormas.

"Tio To ás, on abilidade dos ias", de Regina Pessoa

Produtoras e est dios portugueses apresentaram, durante três dias no Cartoon orum, em Toulouse, os seus projetos à procura de parcerias que permitam alcançar o financiamento necessário para os poderem realizar. "Os projetos portugueses têm sempre enorme qualidade e criatividade. Trazemos sempre algo de novo para os mercados. O que nos batemos é contra dificuldades de produção e essas dificuldades são sobretudo derivadas de pouco financiamento", afirmou o presidente do Instituto do Cinema e do Audiovisual (ICA), uís Chaby Vaz.

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Animação portuguesa tem "talento" e "qualidade". O problema é a falta de ﬁnanciamento - Atualidade - SAPO Mag

Portugal teve um lugar de destaque esta semana no Cartoon orum, a maior mostra europeia de séries de animação para televisão e plataformas, onde criadores e produtores rumam todos os anos para conseguirem engrossar os orçamentos de produção que permitam levar até miúdos e graúdos conteúdos de autor. Após uma longa ausência entre o fim dos anos 1990 e o início dos anos 2000, a animação portuguesa voltou à ribalta europeia, mas debate-se, tal como outros países europeus, com dificuldades de financiamento. Por temporada, uma série de animação pode ter um custo de produção de um a dois milhões de euros, dependendo dos formatos, valores que ficam muito aquém das ajudas públicas em Portugal. "Do lado do CA, temos feito o que acreditamos que é um caminho importante de desenvolvimento e apoio dos projetos, mas esse passo, que é bastante significativo para nós, do ponto de vista do orçamento de produção de projetos destes, fica muito aquém das necessidades", reconheceu Luís Chaby Vaz. Em Portugal, o fundo de apoio à animação é de 600 mil euros anuais, não podendo um projeto receber mais de 300 mil euros, sendo depositada alguma esperança na nova diretiva do audiovisual.

Até agora, um pouco por toda a Europa, o apoio à animação tem sido feito através dos canais públicos de televisão. Em Portugal, a RTP dispõe de um fundo anual de 100 mil euros para subvencionar conteúdos de animação, o que a própria estação pública admite ser "irrisório" tendo em conta os custos de produção. "Há alguns anos estabelecemos o montante mínimo de 100 mil euros anuais para apoio da animação portuguesa, apoio esse mais orientado para séries de animação, especiais de TV e longas-metragens. Temos noção que, quando se trata de animação, tal montante é irrisório, mas é o valor que nos é possível. Temos honrado esse compromisso e até excedido esse valor", disse Andrea asílio, responsável de Desenvolvimento de Conteúdos na RTP. Mesmo reduzido, este apoio já ajudou a produzir séries como “Lengalongas”, “ Caixas”, “Diário de Alice”, “Crias”, “Sr. Passageiro” “Duarte, uma peça de arte”, “Olá, como te sentes” e ainda “Saaskatoons”, que foi apresentada no Cartoon orum de 2021 e procura agora complementar este apoio da RTP. ESTREITAR LAÇOS COM ESPANHA Com um orçamento mais avultado, a vizinha TVE esteve no Cartoon orum à procura de séries com um elemento mais pedagógico para preencher as suas grelhas nos próximos anos e os projetos - PORTUGAL -

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portugueses apresentados nesta edição da mostra não passaram despercebidos. "Não vou revelar quais os projetos, mas tenho a certeza de que alguns vão estar no nosso anúncio anual, que fazemos sempre no início do ano e onde desvendamos quais as séries que vamos ajudar a produzir", disse o subdiretor de conteúdos infantis na TVE, Yago andiño ousa. Muitas vezes, uma série de animação pode ter financiamento de vários canais de televisão europeus, como é o caso de "Diário de Alice", do estúdio português Sardinha em ata, que é coproduzida pela TVE e pela RTP. Yago andiño ousa gostaria que o número de coproduções entre os dois países aumentasse: "Apesar de sermos vizinhos, parece que Portugal e Espanha estão de costas voltadas. Olhamos para fora e não uns para os outros, mas há cada vez mais relações entre produtoras espanholas e portuguesas e mantemos uma boa relação com a RTP. Aqui vemos como somo pr ximos e, juntos, temos mais força para atacar este mercado". Outra possibilidade para desenvolver o setor em Portugal é atrair produções de animação para territ rio nacional, onde as autoridades portuguesas querem mostrar que existem todas as condições para desenvolver projetos de qualidade. "Portugal vende-se através do nosso talento, através daquilo que os nossos estúdios e as nossas empresas de produção têm capacidade de fazer e produzir, com um incentivo muito competitivo do reembolso até 30% do investimento", disse o diretor da Portugal ilm Commission, Manuel Claro.

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Teaser of first Ukrainian cartoon series in English presented in Toulouse Source : 112 Ukraine

“Hrafn Academy” is designed for young people and adults 16:18, 4 October 2021

Open source A teaser of the first Ukrainian English-language animated series for young adults “Hrafn Academy” was presented at the Cartoon Forum 2021 in Toulouse. The global trend for animation for young people and adults is seeing a new addition thanks to the Animagrad studio and its Ukrainian English-language project for global market - with uncompromising black humor and a bright goal to promote critical thinking. “Hrafn Academy” is only gaining popularity. The series received a barrage of positive reviews at the Cartoon Forum in Toulouse, which became the second prestigio international event, where it was selected to participate. This July, the teaser was also presented at the Série Series (Fontainebleau, France), a festival specializing in European series, where the “Hrafn Academy” was the only Ukrainian project. The new animated series was introduced with the first official teaser, which can be viewed here.

АКАДЕМІЯ ХРАБНА. Офіційний тизер

As it was reported earlier, electro-folk band ONUKA presented a video for the track GUMA . It's an anti-utopian story about the system and the fight against it.

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SERIES ESPAÑOLAS DE ANIMACIÓN SELECCIONADAS PARA CARTOON FORUM 2021 👤👤 by 3D Wire

📅📅 12 julio 2021, 08:23

Cartoon Forum, el foro europeo de coproducción de series de animación anunció la selección de su próxima edición, a celebrarse en Toulouse del 20 al 23 de septiembre en forma presencial. La animación europea emerge de la pandemia con 84 nuevos proyectos de series de TV, miniseries y programas especiales en los que participan estudios de 21 países de la región incluyendo a España, que cuenta con seis proyectos en el evento. Por décimo año consecutivo, la capital de la región francesa de Occitania vuelve a ser la sede de Cartoon Forum, que desde su creación en 1990 ha ayudado a impulsar la coproducción y distribución de series de animación europeas para televisión y nuevas plataformas. Las sesiones de pitchings y los contactos entre profesionales seguirán siendo las principales actividades en esta nueva edición de Cartoon Forum, que realizará algunos cambios en su funcionamiento para acatar las medidas sanitarias vigentes. Los proyectos serán presentados a profesionales del sector audiovisual de todo el mundo, incluyendo broadcasters, distribuidores, inversores, plataformas de streaming y potenciales coproductores, entre otros.

De izquierda a derecha: «Pequeños héroes», “The Saskatoons”, “La pandilla VHS” y “The Wawies”.

Series de Cataluña, Extremadura y País Vasco Con seis proyectos provenientes de Cataluña, Extremadura y País Vasco, la presencia de la animación española en este foro es similar a la del año pasado. La mitad de los proyectos están dirigidos al público infantil: “Pequeños héroes” de la catalana Peekaboo Animation (“Yo, Elvis Riboldi”); “The Saskatoons”, en la que participa como coproductor Pikkukala, productora con sede en Helsinki y Barcelona; y “La pandilla VHS”, del estudio extremeño The Glow Animation. También fueron seleccionados dos proyectos para público preescolar: “Kima & Amik”, de la productora vasca Lotura Films, y “The Wawies”, serie en animación cut-out desarrollada por la catalana Imagic TV. Por último, en el segmento de series para el público joven y joven-adulto destaca “The Monsters Valley”, producida por la barcelonesa WKND. Los proyectos fueron elegidos por el comité de selección entre 141 propuestas.

De izquierda a derecha: “The Monsters Valley” y “Kima & Amik”.

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Tendencias Con 41 de los 84 proyectos, las series dirigidas a niños de entre 6 y 11 años siguen ganando terreno en Cartoon Forum, mientras que las series para preescolares representan cerca de un tercio de la selección (24 proyectos). Por último, hay 14 proyectos dirigidos a jóvenes adultos y adultos, un 17% más que el año pasado. La animación 2D sigue siendo la más utilizada por los productores europeos (56%), aunque las series en 3D siguen ya alcanzan un 28% del total, frente al 20% en 2020. Las francesas Les Armateurs (“Abyss Special Case Unit”), Autour de Minuit (“Freaked Out”), Dandelooo (“It’s Your Body!”), Xilam Animation (“Piggy Builders”), Cyber Group Studios (“The McFire Family”), y Ellipsanime Productions (“Under the School”); la irlandesa Treehouse Republic («Freddy Buttons Wacky Mysteries”); la alemana Ulysses Filmproduktion («Butterfly Academy”); la belga Lunanime (“Tommy Pepper”); y la portuguesa Sardinha em Lata (“Pete & Bern’s” y “The Saskatoons”) son algunas de las productoras que regresan a Cartoon Forum para presentar sus nuevos proyectos. Junto a las obras de algunos de los estudios más reconocidos de Europa, la selección también incluye obras de productoras jóvenes y nuevos talentos que acuden con sus primeros proyectos. Cuatro de ellos fueron seleccionados a través de Cartoon Springboard, el evento de presentación de proyectos para nuevos talentos de la animación que desde 2019 se celebra en Valencia: “Anselmo Wannabe” (IBRIDO Studio, Italia), “Hygge” (Dreamin’ Dolphin Film, Alemania), “What it Takes” (Les Astronautes, Francia, y “Space Ham” (MiniCosmos, Dinamarca). La próxima edición de Cartoon Springboard tendrá lugar del 26 al 29 de octubre y la convocatoria para participar está abierta hasta el próximo 2 de septiembre. Descubra los proyectos seleccionados en Cartoon Forum 2021.

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Cartoon Forum in Toulouse roept Ketnet uit tot "omroep van het jaar" 23.09.21 | Belga

Het Europese animatieﬁlmtre�en Cartoon Forum heeft Ketnet verkozen tot "omroep van het jaar". Dat meldt de organisatie vanmiddag en de VRT bevestigt het nieuws.

Cartoon Forum is een Europees pitching en co-productieforum voor animatieﬁlm en vindt sinds 2006 elk jaar in de Franse stad Toulouse plaats. Zo'n 900 professionals uit de animatiesector reiken er ook prijzen uit. Ketnet werd uitgeroepen tot "omroep van het jaar". De jury looft Ketnet als kinderzender van de Vlaamse openbare omroep die zich richt op kinderen tot 12 jaar, terwijl Ketnet Junior als submerk zich richt tot peuters en kleuters tot 6 jaar. "Ketnet is zeer dankbaar om deze prijs in ontvangst te mogen nemen", reageert netmanager Annemie Gulickx. "Het is een grote erkenning vanuit de Europese animatiesector. Het is voor ons een eer om de kans te krijgen om creativiteit, verwondering en fantasie van Europees topniveau tot bij de kinderen te brengen."

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Animação portuguesa tem "talento" e "qualidade" apesar de falta de financiamento Portugal teve um lugar de destaque esta semana no Cartoon Forum, a maior mostra europeia de séries de animação para televisão e plataformas, mas o fundo de apoio à animação — 600 mil euros — é pouco.

Produtoras e estúdios portugueses apresentaram, durante três dias no Cartoon Forum, em Toulouse, os seus projetos à procura de parcerias que permitam alcançar o financiamento necessário para os poderem realizar. “Os projetos portugueses têm sempre enorme qualidade e criatividade. Trazemos sempre algo de novo para os mercados. O que nos batemos é contra dificuldades de produção e essas dificuldades são sobretudo derivadas de pouco financiamento”, afirmou o presidente do Instituto do Cinema e do Audiovisual (ICA), Luís Chaby Vaz.

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Portugal teve um lugar de destaque esta semana no Cartoon Forum, a maior mostra europeia de séries de animação para televisão e plataformas, onde criadores e produtores rumam todos os anos para conseguirem engrossar os orçamentos de produção que permitam levar até miúdos e graúdos conteúdos de autor. Após uma longa ausência entre o fim dos anos 1990 e o início dos anos 2000, a animação portuguesa voltou à ribalta europeia, mas debate-se, tal como outros países europeus, com dificuldades de financiamento. Por temporada, uma série de animação pode ter um custo de produção de um a dois milhões de euros, dependendo dos formatos, valores que ficam muito aquém das ajudas públicas em Portugal.

Em Portugal, o fundo de apoio à animação é de 600 mil euros anuais, não podendo um projeto receber mais de 300 mil euros, sendo depositada alguma esperança na nova diretiva do audiovisual. Até agora, um pouco por toda a Europa, o apoio à animação tem sido feito através dos canais públicos de televisão. Em Portugal, a RTP dispõe de um fundo anual de 100 mil euros para subvencionar conteúdos de animação, o que a própria estação pública admite ser “irrisório” tendo em conta os custos de produção.

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Mesmo reduzido, este apoio já ajudou a produzir séries como “Lengalongas”, “7 Caixas”, “Diário de Alice”, “Crias”, “Sr. Passageiro” “Duarte, uma peça de arte”, “Olá, como te sentes” e ainda “Saaskatoons”, que foi apresentada no Cartoon Forum de 2021 e procura agora complementar este apoio da RTP. Com um orçamento mais avultado, a vizinha TVE esteve no Cartoon Forum à procura de séries com um elemento mais pedagógico para preencher as suas grelhas nos próximos anos e os projetos portugueses apresentados nesta edição da mostra não passaram despercebidos.

Muitas vezes, uma série de animação pode ter financiamento de vários canais de televisão europeus, como é o caso de “Diário de Alice”, do estúdio português Sardinha em Lata, que é coproduzida pela TVE e pela RTP. Yago Fandiño Lousa gostaria que o número de coproduções entre os dois países aumentasse: “Apesar de sermos vizinhos, parece que Portugal e Espanha estão de costas voltadas. Olhamos para fora e - PORTUGAL -

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não uns para os outros, mas há cada vez mais relações entre produtoras espanholas e portuguesas e mantemos uma boa relação com a RTP. Aqui vemos como somo próximos e, juntos, temos mais força para atacar este mercado”. Outra possibilidade para desenvolver o setor em Portugal é atrair produções de animação para território nacional, onde as autoridades portuguesas querem mostrar que existem todas as condições para desenvolver projetos de qualidade. “Portugal vende-se através do nosso talento, através daquilo que os nossos estúdios e as nossas empresas de produção têm capacidade de fazer e produzir, com um incentivo muito competitivo do reembolso até 30% do investimento”, disse o diretor da Portugal Film Commission, Manuel Claro.

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Cartoon Forum Unveils Cartoon Tributes Shortlist  Chelsea Regan

 24 days ago

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Cartoon Forum has revealed the 12 companies that have been shortlisted for the 15th edition of Cartoon Tributes. The Cartoon Tributes awards aim to acknowledge the contribution made by producers, distributors/investors and broadcasters in the promotion of European animation over the last year. For its 15th edition, the dozen nominated companies hail from Belgium, France, Ireland, Italy, Portugal, Spain and the U.K. Winners will be voted on by the 900 professionals attending Cartoon Forum, which will be held on site in Toulouse from September 20 to 23. Voting will be electronic, and winners will be announced at the awards ceremony on Thursday, September 23, at the Pierre Baudis Convention Centre.

In the Broadcaster of the Year category, the 2021 Cartoon Tributes nominees are Canal+ (France) , France 4 (France) , Ketnet-VRT (Belgium)  and RAI Ragazzi (Italy) . Investor/Distributor of the Year nominees are Dandelooo (France) , Meta Media Entertainment (U.K.) , MIAM ! Animation (France)  and Planeta Junior (Spain) . La Station Animation (France) , Sardinha em Lata (Portugal) , TAT productions (France)  and Wiggleywoo (Ireland)  are up for the Producer of the Year award.

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)$( "- /0 $* # . - ' . /# / . - /- $' - !*- /# 2 $- ) 2$' Hrafn Academy — /# !$-./ )"'$.#Ҋ' )"0 " 4*0)" 0'/ )$( / . -$ . !-*( &- $) Ѷ 2#$ # - )/'4 0/ / -/**) *-0( $) *0'*0. as the country’s only project . ' /$*) !*- /# спср 1 )/ѵ # . -$ . - 1*'1 . -*0) .+ - / Ѷ * . .. . $ )/$./ 2#* - '$ . *) #$. (0'/$Ҋ / ' )/ ./0 )/. /* !0-/# - #$. ( 3+ -$( )/.ѵ # !$-./ рс 3 ссҊ26′ season has been in development at the Kyiv studio җ+ -/ *! ѵ -*0+Ҙ !*- *0+' *! 4 -.Ѷ 2$/# )$( "- / ($)" 0+ -'4 *) 2$/# ' ) $ )$( /$*) ./0 $* 0) $' җ+ -/ *! " !$'(Ҙ /* **./ the project’s international potential. The producers are taking a cue from ! )Ҋ! 1*-$/ ) -$/$ ''4 ' $( ( -$ ) )$( / . -$ . .0 # . Rick and Morty ) BoJack Horseman to craft the show’s distinctive -& #0(*- ) ++ ' /* -$/$ ' /#$)&$)"ѵ # +-*% / ( -&. $- /$*) ' .#$!/ !*- /# )$( "- Ѷ 2#$ # $. &)*2) !*- $/. ! ($'4 )$( / ! /0- . The Stolen Princess ) 0+ *($)" Mavka. The Forest Song ) Roxelana . 2 '' . /# +- . #**' . -$ . Eskimo Girlѵ “Now is the golden age of YA animation,” said Kateryna Vyshnevska, Head *! 1 '*+( )/ ) *Ҋproductions at FILM.UA Group. “It’s a global trend /# / ) / '' 2*) -!0' ./*-$ . ) //- / /*+ / ' )/ѵ #$. /- $) $. " /# -$)" .+ — %0./ '**& / '' /# "'* ' ./- ( -. *(($..$*)$)" ) 0'/ )$( /$*) *0/ *! /# ѵ ѵ — ) 2 - *)!$ )/ $/ 2$'' .**) --$1 $) Europe.”

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Hrafn Academy

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Hrafn Academy

# +'*/ *! /# . -$ . - 1*'1 . -*0) /# -$''$ )/ ' ) $ $* # ($./ - !) $"0- ..*)Ѷ 2#* $. / -($) ''4 $''ѵ . /$( $. -0))$)" *0/Ѷ #$. *)'4 # ) /* .0-1$1 $. /* $. *1 - /# 0- *) #$. *2)ѵ # . $ )/$./ *+ ). ) (4 !*- "$!/ ./0 )/. — $) &- $) Ѷ *! '' +' .ѵ . # '**&$)" !*- +-*($.$)" 4*0)" ($) . /* + .. #$. &)*2' " /*Ѽ */ - ''4ѵ # (4 $. ' *- /*-4ѷ - !) ) . &$ . 2$/# ) ' 1 ' /* ( / # #$. *2) !*- clinical trials of the experimental treatments he’s developing. Hrafn Academy +0''. $) 3+'$ $/'4 &- $)$ ) / $'. /* !$-('4 . / the story’s '* /$*)Ѷ 2$/# /# -/$./. - ! - ) $)" /# ршхп. * - $)" #*0. - .*1 Gora in Kaniv to design the academy buildings. Hrafn’s assistant also has the unusual name “Adalberto Hnatyuk,” because he is an Argentinian of &- $)$ ) . )/ѵ #$' /# . -$ . $. !0'' *! *!/ ) -& ) .0- $./ #0(*-Ѷ /# +-* 0 -. 3+' $) /# / /# -$1$)" ,0 ./$*). #$) /# ./*-4 - ѷ # / * . $/ ( ) to be different? And, does ‘knowledge’ mean anything if it’s not built on a !*0) /$*) *! #0( ) 1 '0 .Ѽ $"#'$"#/$)" /# $(+*-/ ) *! -$/$ ' /#$)&$)" ) $)/ ''$" ) $) /# (* -) 2*-' Ѷ 2# - $*/ #)*'*"4Ѷ -/$!$ $ ' $)/ ''$" ) ) .+ 3+'*- /$*) * 3$./ 2$/# !' / -/# -.Ѷ )/$ 1 33 -. ) ! & ) 2.Ѷ Hrafn Academy $. *0/ ( &$)" ./ ) ) !$) $)" one’s *2) ).2 -. /* /# . ,0 ./$*).ѵ 360

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Bom dia - 24/09/2021

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Zineuskadi - 10/09/2021

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Comunicación / Entrevistas

“Acudiremos a Cartoon Forum con el objetivo de buscar coproductores y cadenas de televisión” 10 SEPTIEMBRE 2021

La productora Miren Berasategi y el director Juanjo Elordi nos presentan ‘Kima eta Amik’, la última serie infantil que están preparando. Con ella han participado en los Animation Production Days (APD), y han sido seleccionados para acudir al prestigioso mercado Cartoon Forum. Zineuskadi: ¿Qué es el proyecto ‘Kima eta Amik’? Miren: Es una serie infantil. Los protagonistas son primos; Kima vive en la ciudad y Amik en un caserío, pero siempre quieren lo contrario; Kima quiere vivir en el caserío y Amik en la ciudad, por ejemplo. Además, el nombre Amik del revés se lee Kima. Tienen opiniones contrarias en muchas cosas, pero siempre buscan una manera de jugar y divertirse juntos. Como palabra clave del proyecto mencionaría la empatía, ya que constantemente se pone una en la piel de la otra para entender sus sentimientos y saber qué hacer para que se sienta bien. Se trata de una serie de aventuras y comedia, dirigida a niñas y niños de entre 4 y 6 años. Utilizaremos la técnica 2D y tenemos previsto realizar una serie de 26 capítulos de 11 minutos cada uno. Es un trabajo dirigido por Juanjo Elordi; Edorta Barruetabeña es el guionista; Eider Eibar, la diseñadora; Paula Olaz, la compositora, y yo la productora. Zineuskadi: ¿Cómo surgió la idea de realizar este proyecto?

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Juanjo: En los últimos años Edorta y yo hemos desarrollado historias infantiles, y tuvimos una experiencia muy potente con ‘Yoko’. Escribimos un montón de capítulos junto a guionistas de otros países y estábamos muy animados para seguir conociendo este mundo. Entre las diferentes ideas que teníamos en mente, decidimos llevar esta a cabo. Normalmente las historias las inventa Edorta, que tiene mayor capacidad de creación. Yo me dedico más a labores de realizador o director, y entre los dos le vamos dando forma a los proyectos. La fase de desarrollo es muy larga, sobre todo en los dibujos animados. Zineuskadi: ¿Por qué Lotura Films decidió involucrarse en este proyecto? Miren: En la productora ya conocíamos a Edorta y a Juanjo, y hace unos años vinieron a Lotura para presentarnos el proyecto. Nosotros solemos realizar materiales infantiles, y este trabajo nos pareció muy interesante. Además, vimos que el proyecto podía tener éxito en el panorama internacional, y eso nos gustó mucho. Lo cierto es que ha tenido una bonita acogida en los lugares en los que ha estado. En este momento tenemos un teaser y ahora estamos animando un minuto; también tenemos preparado un segundo minuto en animática. Igualmente, el Gobierno Vasco nos concedió una subvención para el desarrollo, fuimos seleccionados en Animation Production Days (APD), tenemos un distribuidor internacional interesado en el proyecto, y también nos han elegido para participar en el Cartoon Forum, así que estamos muy contentos. En este momento buscamos compañeros de viaje y cadenas de televisión para poder sacar adelante el proyecto. Zineuskadi: ¿Qué esperáis de vuestra presencia en Cartoon Forum, probablemente el mercado de animación más importante del mundo? Miren: Es la primera vez que Lotura Films estará allí. Tenemos muchas esperanzas, pero también queremos ver la acogida del trabajo. Viendo la que tuvo en APD, esperamos que las cosas salgan bien. Nuestro objetivo es buscar coproductores y cadenas de televisión. Juanjo: Yo he participado un par de veces con otros proyectos. Cuando decides presentar tu trabajo en este tipo de mercados tienes que depurarlo mucho, deﬁnir cosas que no tienes muy claras, darle forma dentro de un tiempo y un espacio concreto, y prepararte para presentarlo lo más rápido y claro posible. Todo ello supone un gran trabajo. No es fácil ir a un mercado y encontrar directamente lo que buscas. Normalmente encuentras los compañeros de viaje adecuados tras presentarlo en diferentes lugares. Estar en un gran mercado como Cartoon Forum es muy importante, ya que se reúne mucha gente, hay televisiones y expertos de todo el mundo… y normalmente, en este tipo de encuentros, tomas muchas notas interesantes. Zineuskadi: ¿Qué balance hacéis de vuestra participación en los APD? Miren: La respuesta fue bonita; el proyecto tuvo buena acogida y recibimos mucho feedback. No podemos seguir todos los consejos, pero sí que hemos tenido en cuenta algunos. Nuestra participación nos ha servido para continuar con el desarrollo. Asimismo, creamos buenas relaciones y no sabemos qué saldrá de las mismas. Juanjo: Esa es precisamente una de las claves de la participación en estos mercados, ir creando nuevas relaciones. Deben ser de larga duración; a veces no tienen por qué dar resultados en el primer momento. Los procesos son largos, por lo que el trabajo de los productores suele ser titánico, porque tienen que dar lo mejor sin ahogarse.

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Zineuskadi: ¿Cuáles son los próximos pasos a dar? Miren: Hemos empezado a presentar el proyecto a las televisiones y en los próximos meses seguiremos haciéndolo. También a Estudios que nos parezcan interesantes para la coproducción. Los siguientes pasos los concretaremos después de participar en Cartoon Forum. Juanjo: Cartoon Forum es un mercado muy importante, y hasta que no pase no podemos tomar nuevas decisiones. Es evidente que, por el bien del proyecto, tenemos que aprovechar todas estas oportunidades. Zineuskadi: Miren, ¿qué proyectos tenéis entre manos en Lotura Films? Miren: Estamos terminando un largometraje, titulado 'Orkestra Lurtarra', que esperamos estrenar al año que viene. También tenemos una serie en desarrollo y otra película. Zineuskadi: ¿Y tú, Juanjo? Juanjo: Yo estoy inmerso en una nueva producción de ‘Yoko’ que estoy dirigiendo con la productora Dibulitoon. Edorta la escribe y yo la dirijo, y es un proyecto muy agradecido y al que le tenemos especial afecto.

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Portugal em destaque no Cartoon Forum, maior festival europeu de animação É o maior evento europeu e o único nestes moldes. Temos duas hipóteses para financiar as nossas séries - estes eventos ou ir aos mercados. No Cartoon Forum temos oportunidade de mostrar o nosso projeto, e é muito importante para as séries europeias independentes. É fulcral, disse o produtor Diogo Carvalho, do estúdio Sardinha em Lata, em declarações à agência Lusa.

O estúdio Sardinha em Lata, o Sparkle Animation, a Ukbar Filmes e a Take It Easy são os quatro estúdios e produtores portugueses que vão apresentar os seus projetos no Cartoon Forum 2021 em busca de financiamento. No total, vão ser apresentados 84 projetos, vindos de 13 países diferentes e que procuram cerca de 326 milhões de euros de investimento. Estes projetos são séries de animação de televisão ou plataformas digitais, e são dirigidas para crianças, mas também para adolescentes e adultos. Cada produtor ou autor terá cerca de 20 minutos no palco para mostrar e falar do seu projeto, num género de pitch. Sendo um momento de encontro para produtores e distribuidores, assim como investidores privados, os projetos com mais destaque conseguem recolher os fundos necessários para a sua concretização A Sardinha em Lata já conseguiu financiamento realizar dois projetos após participações no Cartoon Forum, nomeadamente Os Diários de Alice, que está a ser produzida atualmente. A este encontro europeu trazem dois novos projetos: Pete Berns e The Saskatoons. O estúdio Sparkle Animation vai apresentar Biriki, a produtora Ukbar Filmes vai estar presente com The Adventures of Princess P e a Take it Easy com Whats It All About?. Desde a sua criação, em 1990, o Cartoon Forum ajudou 870 séries de animação a conseguirem cerca de 3,1 mil milhões de euros para serem realizadas, sendo esta iniciativa cofinanciada pelo programa MEDIA da Europa Criativa, um programa da União Europeia. Sem espaços como o Cartoon Forum, segundo Diogo Carvalho, seria muito difícil produzir animação em Portugal. O cinema independente e séries dependem muito dos incentivos que o Estado dá, e isto passa-se em toda a Europa. E o financiamento para séries em Portugal são 600 mil euros divididos por dois projetos, logo é muito baixo. Não é nada. E depois não há investimento privado em Portugal, explicou o produtor. O estúdio Sardinha em Lata está ainda nomeado para os prémios deste evento, na categoria de melhor produtor do ano. O Cartoon Forum decorre entre os dias 20 e 23 de setembro, em Toulouse, França, voltado ao formato presencial após uma edição digital em 2020.

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Licensing International - 07/09/2021

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Dandelooo Unveils Two Animated Projects at This Year’s Cartoon Forum September 7, 2021

 Paris, France == Emmy Award-winning French animation production and distribution company Dandelooo will be unveiling two new ORIGINAL animated TV projects aimed at upper pre-schoolers and 6- to 11-year-olds, It’s Your Body! and Space Ham(in co-production with Danish company MiniCosmos) to potential industry partners at this year’s Cartoon Forum in Toulouse (20 – 23 September 2021). Directed by Yulia Aronova and Eloïc Gimenez and produced by Dandelooo the edutainment comedy series in 2D, It’s Your Body!(39 x 7’) explains the physiological phenomena of the human body (secretions, physical manifestations …) to children in a fun way, sometimes in relation to emotions, but always from the point of view of… animals! Why do humans blush when they are embarrassed? Why do they cry when they are hurt? What do they mean by “my stomach is in knots”? Who ever heard of a rope in a stomach! A great many questions, to which each animal has its own more or (frequently) less sensible answer, illustrated in hybrid motion graphics, and which they will try to force the others into accepting… Every day at the same time, while the owners of the house are absent, Louise the robin, Cameron the cat and twin ﬂeas Jazz and Anna, gather to watch their favourite TV series “Passions of the Heart”. Their goal: to understand the strange reactions of humans through the things they see on television! Rosa the chameleon will give them the REAL scientiﬁc answer. https://licensinginternational.org/news/dandelooo-unveils-two-animated-projects-at-this-years-cartoon-forum/

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Dandelooo will also be showcasing Space Ham (52 x 9’). Directed by Nicolai Viewerth, the 2D and 3D comedy series is a co-production with MiniCosmos, Denmark. Do you remember back in the day when you had sleepovers with your best friend?

Those fantastic evenings where you just played games, talked, watched movies and read comic books, and listened to music together until it was impossible to keep your eyes open. Imagine if that was every day – and in space!

Two pigs, Tim ‘a thinker’ who likes to have his life in order and Carl ‘a doer’ who doesn’t think about the consequences of his actions before it’s already too late, guard a space station on an asteroid far, far away. They are best friends, skilled in their hobbies, but aimless at handling their trusted positions as their “trying to be an adult”

Commenting on the projects, Emmanuèle Pétry Sirvin, Co-Founder of Dandelooo, said, “I fell in love with Space Ham at Cartoon Springboard. This project is the best example of a great ‘creator driven’ comedy series I can think of that’s come about in the past few years! It’s Your Body! aims to help children understand their own body reactions and the emotions linked to these reactions in a fun way and we will not avoid all the ‘yucky’ stuff too! Even parents will be surprised as well!”.

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RTP Noticias - 21/09/2021

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21 Setembro 2021, 16:34

Dois irmãos opostos e um pássaro especial abriram participação portuguesa no Cartoon Forum 2021 por Lusa

O projeto "Pete & Bern`s", do estúdio Sardinha em Lata, abriu hoje a edição de 2021 do Cartoon Forum, em Toulouse, e o estúdio Sparkle Animation trouxe até França "Biriki", um pássaro com uma grande história que quer voar para todos os meninos do Mundo. "Havia um projeto grande francês a ser mostrado o mesmo tempo e isso podia prejudicar-nos, mas correu bem. Estava bastante gente, gente interessada no projeto e já tivemos alguns contactos interessantes no m. Foi um bom `pitch`", disse o produtor Diogo Carvalho, do estúdio Sardinha em Lata, que apresentou hoje "Pete & Bern`s". Cada participante nesta mostra europeia de séries de animação tem 20 minutos para subir ao palco e impressionar o público, ou seja, realizar o seu `pitch`, revelando um pequeno `trailer` e falando das suas necessidades para avançar com a produção. Na audiência estão produtores e investidores, como canais de televisão e plataformas `online`. Portugal é o país em foco nesta edição do Cartoon Forum e, logo no primeiro dia, dois projetos com assinatura portuguesa subiram ao palco, com a série "Pete & Bern`s" a abrir mesmo a edição de 2021. "Pete & Bern`s" é uma série de animação sobre dois irmãos com personalidades opostas. Pete é reservado e gosta de trabalhar sozinho no seu laboratório, Bern`s é efusivo e tem como prioridade comer. Juntos acabam por se envolver em aventuras inesperadas, encontrando-se sempre a meio caminho para descobrir uma solução. A seguir foi a vez de "Biriki", um pássaro que já existe em livro e ateliês para crianças há 20 anos, através da mão da ilustradora e autora suíça Bruna Ferrazzini, mas que quer ganhar asas para uma série de animação com a ajuda do estúdio português Sparkle Animation. "É um percurso diferente. O meio gosta de partir de um livro e nós temos aqui o facto de já se ter criado uma comunidade à volta dos personagens de `Biriki`, assim como um clube de fãs no Mundo inteiro. Nós temos a inspiração do livro, mas sobretudo estamos agarrados aos valores como a autoestima e a resiliência", explicou o produtor Luís da Matta Almeida, diretor criativo da Sparkle Animation. "Biriki" não está sozinho nas suas aventuras e é acompanhado por personagens como um gato ou um camaleão, que ajudam as crianças a ganhar con ança em si próprias. Este é um desenho animado virado para as crianças entre os 4 e os 7 anos de idade. Para quem há muitos anos idealiza uma série, a presença nesta mostra é a realização de um sonho.

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"Esta ideia começou na escola, sempre tivemos esperança de voltar a pegar nestes personagens. Tivemos agora a oportunidade de trabalhar com a Sardinha em Lata, com novas tecnologias e novos recursos, agora é um sonho tornado realidade e esperamos", disse Pedro Rodrigues, realizador da série "Pete & Bern`s", em parceria com Bernardo Pacheco. Já a série animada de "Biriki" foi um pedido que veio do público. "Desde há 20 anos que são os outros que me pedem mais coisas com Biriki. A ideia da série foi de um produtor que me disse que gostava de o ver em todo o lado. (...) O sucesso de Biriki é que ajuda as crianças e os adultos a encontrarem a chave para se sentirem bem como eles são, mas inseridos numa comunidade", declarou Bruna Ferrazzini. Em Toulouse, "Pete & Bern`s" está à procura de nanciamento de 950 mil euros para realizar duas temporadas de 26 episódios de três minutos cada, com a produção a poder começar já em 2022, caso haja parceiros interessados. Já "Biriki", coproduzida com o estúdio espanhol Abano Producións, vem à procura de cerca de 1,8 milhões de euros para produzir cada uma das três temporadas previstas com 26 episódios e sete minutos de duração por episódio. As duas séries são realizadas recorrendo a técnicas de animação em 2D. O Cartoon Forum decorre entre os dias 20 e 23 de setembro, em Toulouse, França, voltado ao formato presencial após uma edição digital em 2020. No total, estão a ser apresentados 84 projetos, vindos de 13 países diferentes e que procuram cerca de 326 milhões de euros de investimento.

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Toulouse. TAT productions élu « Producteur européen de l’année » au CARTOON FORUM 2021  27 septembre 2021

 Médias

TAT Productions a remporté le Cartoon Tributes dans la catégorie « Producteur de l’année » dans le cadre du Cartoon Forum 2021. TAT productions a été récompensée dans le cadre de l’événement européen Cartoon Forum, qui s’est tenu à Toulouse du 20 au 23 septembre 2021. Société de production spécialisée dans l’animation pour la télévision et le cinéma, créée à Toulouse en 2000 par David Alaux, Éric Tosti et Jean-François Tosti. Sa série-phare Les As de la Jungle à la Rescousse, lauréate d’un International Emmy Award en 2015, est diffusée dans le monde entier. La société est également à l’origine des longs-métrages Les As de la Jungle, Terra Willy . Son nouveau film Pil est actuellement en salles en France (depuis le 11 août dernier) et rencontre un beau succès. TAT développe également trois nouveaux longs métrages pour le cinéma : Argonautes, Les As de la Jungle 2 et Pets on a Train. Crédit photo : Jean-François Tosti, producteur de TAT productions à droite sur la photo © Crédit photo : CARTOON – European Association of Animation Film

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C21 Media - 28/09/2021

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Cartoon Forum 2021 attendees gather (photo: Galia Prod) Disney’s decision to close many of its channels around the world may have come as a shock, but was perhaps not a surprise. Animation producers who pitched at Cartoon Forum in Toulouse last week discuss what it means for the industry.

Luis Matta Almeida, CEO, Sparkle Animation, Portugal

This is just the beginning – other channels will soon follow suit. It’s been on the horizon for a long time and has accelerated, of course, due to the pandemic. Most kids don’t watch linear TV regularly nowadays, which causes advertising to

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migrate to online platforms. It’s no longer enough to be a TV programmer, you have to be a media programmer who can take a TV show and turn it into a multiplatform project with greater commercial value. This is a challenge for producers as we now need to think of our projects as simultaneous with other media coverage.

Eliza Jäppinen, CEO, Visible Realms, Finland

It’s an interesting scenario but everything is going towards streaming and the monetisation model they have is pretty clear cut. The European Union stipulating that global streamers have to buy 40% of their content from the places in which they sell their services is good for the industry too. Also, if you’re going towards streaming instead of TV, it opens up a whole new level of creativity because you aren’t pigeonholed into the time slots that linear TV has, which is a good thing for creators. It is going to be challenging and very competitive, but we’re in a great moment with lots of opportunities facing the industry, and especially producers like myself.

Marie-Claude Beauchamp, president, Carpe Diem Film & TV, Canada

It’s very sad and worrisome to see such a reference slowly moving away. We strongly believe that children and parents benefit from a safe place to watch high-quality programming where they can be entertained and educated and the world will miss Disney [channels] because of this.

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Miren Berasategi, CEO, Lotura, Spain

I honestly think it’s just a move towards the future. With everything else happening in TV, this is a natural step for companies like Disney. People don’t want 1,000 channels anymore and they either have to globalise or merge into one. The pandemic has accelerated this; if there was someone without Netflix before, they’ve got it now. My biggest fear is for the cinema industry. I don’t see where that fits into the picture.

Philippe Alessandri, founder and CEO, Watch Next Media, France

The BBC’s decision to bring BBC3 back as a linear channel and France Télévisions’ decision to keep France 5 on air are wise. Having said that, Disney has the marketing potential to impose Disney+ on the audience very quickly, so I understand its decision. For the BBC and France Télévisions it would have been suicide because linear TV channels are wonderful marketing tools. It’s also interesting to see that Nickelodeon and Cartoon Network haven’t closed any channels.

Rozálie Brožková, producer, Vernes, Czech Republic

It’s a logical decision to focus everything on one platform. There was some research in the Czech Republic that found people are willing to pay for just two SVoD platforms. Therefore, it makes sense to have one hub for your content as it makes you more competitive in the streaming market.

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Tamsin Lyons, producer, Ink & Light, Ireland and Finland

The channels have such a strong sense of identity, so I’m really curious to see how Disney is going to carve that out in the Disney+ model. Disney has said it is going to be making much more ambitious feature-scale TV series, so as a viewer I can’t wait to see what it comes up with.

Lindsey Adams, founder and producer, Daily Madness Productions, Ireland

It’s sad and it feels like the end of an era. I don’t know what its plans are and whether there will still be commissioning opportunities for indies. I would hate for it to be based purely out of LA and the US. I don’t think that will be the case and I’m sure there is an infrastructure in place for producers in Europe and across the world to work for Disney. I hope it turns out to be a good move and people are able to retain their jobs.

Pablo Jordi, co-founder and producer, Pikkukala, Spain and Finland

It’s a strategic and logical decision for Disney to focus on its digital platform, but I’m not sure what it will mean in the long term for independent producers like me. At the moment, it seems like Disney is still receptive to original content produced by independent production companies and is listening to pitches, but we will have to see.

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Lucia Geraldine Scott, producer, Red Monk Studios, Italy

It’s a sign of the times. The world is becoming increasingly globalised and, as a result, big companies are trying to centralise and contribute to the creation of a global culture. But I’m also convinced that linear channels are necessary because they are the ultimate expression of local cultures. If big companies are going to streamline, I hope they keep investing in the local content and local industries where they broadcast.

Zofia Jaroszuk Zofia Jaroszuk, producer and supervisory producer, Animoon, Poland

It’s another thing that shows how the market is changing and how big the shift is, if a player as big as Disney is closing some of its channels. Of course, we’re all leaning towards streaming now and, as a producer, it’s our goal. But it’s like with books – the fact you have e-readers doesn’t mean there aren’t any more books being printed. It’s a big shift but it doesn’t mean things will change completely. For more interviews with international animation producers read C21’s Insider’s Guide to Animation in association with Cartoon Forum 2021 here.

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Trailer: Kavaleer Offers First Glimpse of Adam King Series at Cartoon Forum By Mercedes Milligan Published on September 21, 2021

/ /# +- ./$"$*0. -/**) *-0( 1 )/ $) *0'*0. Ѷ - ) /* 4Ѷ -$.# )$( /$*) ./0 $*Ѷ 1 ' - -* 0 /$*). ) 1$ $)"Ѷ ! /# - *! The Late Late Toy Show ./ - ( $)"Ѷ +$/ # /* +*/ )/$ ' -* ./ -. ) $)1 ./*-. /* .0++*-/ /# +-* 0 /$*) *! ) 2 )$( / . -$ . $).+$- 4 ) ./ --$)" ( #$(. '!Ѷ 0/$)" !$-./ '**& / Adam ❤ Adventure! Adam ❤ Adventure! $. +- . #**' 1 )/0- Ҋ *( 4 . -$ . . / $) .+ Ѷ 2$/# ) )1$-*)( )/ ' .' )/ѵ / - &. ) 2 "-*0) !*- 4*0)" 0 $ ) . . it will be the first Irish children’s program to feature a wheelchairҊ0. - . +-*/ "*)$./ѵ $/# рфп ($''$*) #$' - ) '$1$)" 2$/# $/$*) ' ) . 2*-' 2$ Ѷ /# .#*2 2$'' $)/-* 0 (0 # ) *) . - ) - +- . )/ /$*)ѵ 382

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“I am so excited to represent Adam and our family at Cartoon Forum. This $. /# 0'($) /$*) *! ( )4 (*)/#. *! !!*-/Ѷ 1$.$*) ) '*1 !-*( 1 -4*) involved. We have been totally blown away by the impact of Adam’s message on people around the world. We are thrilled to capture Adam’s spirit, his love of space and adventure in this wonderful cartoon,” David King shared during the pitch. “As + - )/.Ѷ $*) ) 2 )/ *0- #$' - ) /* "-*2 0+ . /# # -* . $) /# $- *2) ./*-$ .ѵ # / /# 4 . -*0) /# ( inspires, and in Adam’s case — - +- . )/ /$*) - ''4 ( // -.ѵ - .* "- / !0' /* 1 ' - !*- /# $- /-0./ $) #**.$)" (Ѷ 2# ' # $- 0. -Ѷ /* be the hero in this story. If he can see it, he can be it.” Kavaleer CEO Andrew Kavanagh said, “We have been overwhelmed by the .0++*-/ 2 # 1 ) .#*2) $) -$)"$)" Adam ❤ Adventure! /#$. ! -ѵ ) + -/$ 0' - !-*( /# )/ -) /$*) ' + *((0)$/4 2#* # 1 ) inspired by Adam’s story and ambition. The show has been warmly 2 ' *( 4 /# 0-*+ ) + " ) 4 ) 2 - /#-$'' /* # 1 )'$./ -ѵ *- # // ) *! /# )/ -) /$*) ' + )$1 -.$/4 . /# show’s Chief Space Advisor. We are confident that Adam’s story will *)/$)0 /* $(+ / 1 -4*) $/ - # . ) 2 - #*)*0- /* ' /* capture his essence in this very special production.”

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. + -/ *! /# +$/ #Ѷ 1 ' - -* 0 /$*). '.* $) '0 1$ * '$+ !-*( -ѵ *- # // )Ѷ '* ' 0'/4 ( - *! /# )/ -) /$*) ' + University, who said, “Adam has captured people’s hearts from all over the "'* ѵ 0+ -./ - ./-*) 0/. .0 # . #-$. !$ ' Ѷ 4 *' ( ) ) ) )$ # 1 '' - # *0/ /* ( ) .0++*-/ #$. ,0 ./ /* *( .* /#$)& !*- '' *! /# . 4*0)" &$ . 2 / #$)" ( *) . - ) as the lead character in this cartoon, they’ll see an adventurous, very

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$).+$-$)" 4*0)" *4 ) .*( * 4 2#* - +- . )/. ( $/$*) ) - (. which will have a very positive impact for and of the kids watching.”

).+$- 4 dam’s story, Prof. Mark McCaughrean, European Space Agency, Senior Advisor for Science & Exploration said, “To dream about .+ $. + -# +. )*/ .* (0 # *0/ /0 ''4 "*$)" /# - . $/ $. /* +0/ *0- +' ) / ) '$1 . $)/* + -.+ /$1 Ѷ ) #*2 2 #0( ). ) *( /*" /# - /* .*'1 /# # '' )" . /# / ! 0. ) ( & $/ // - +' !*- everyone.” Adam ❤ Adventure!Ѷ $).+$- 4 ) ./ --$)" ( #$(. '!Ѷ /# .#*2 $(. /* +-*(*/ #$. ( .. " *! (+ /#4 ) !-$ ) .#$+ җ 3 (+'$!$ 4 his ‘Virtual Hug’) a trul4 0)$1 -. ' +# )*( )*)ѵ # . -$ . ! /0- . *( 4Ҋ/# ( ,0 ./.Ѷ $) 2#$ # *0- +*)4(*0. # -* ) #$. - 2 - *) ($..$*) /* # '+ '$ ). -*0) /# " ' 34 .*'1 +-* ' (. җ0.0 ''4 *! /# $- *2) ( &$)"Ҙ 0.$)" #$. .+ Ҋ.( -/. ) '/-0$./$ + -.*) '$/4ѵ # +-$( Ҋ $- /$1 !*- /# 0 $ ) $. /* ' -) *0/ #*2 ./ /* +-*/ / /# (*./ $(+*-/ )/ +' ) / *! ''Ҋ *0- *2)Ҋ /#-*0"# #0(*0- ) (+ /#4 !*- /# world around us. Key to the show’s messaging will be that through (+ /#4 ) 0) -./ ) $)"Ѷ 2 ) '' ( & /# 2*-' // - +' !*- !0/0- " ) - /$*).ѵ -/**) *-0( *)/$)0 . $) *0'*0. !*- /# ) 3/ /2* 4.Ѷ 0-$)" 2#$ # /# / ( / 1 ' - -* 0 /$*). 2$'' 2*-& /* . 0- .0$/ ' + -/) -. /* -$)" /# +-*% / /* !-0$/$*)ѵ

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La animación portuguesa, protagonista de Cartoon Forum 2021 Por Redacción AV451 - 6 septiembre, 2021

El foro europeo de coproducción Cartoon Forum, destinado a series de animación, pondrá en foco sobre Portugal en su edición de 2021. Salvo catástrofe de última hora, la industria europea de la animación se reunirá en Toulouse del 20 al 23 de septiembre en una cita presencial. La organización, CARTOON, está trabajando para contar con todas las medidas anti-Covid y recuperar su espíritu plenamente después de haber prescindido de su versión física en 2020.

‘The Saskatoons’.

Desde 2016, Cartoon Forum viene fijándose en un país europeo para compensar el hecho de que el foro se celebre de forma fija en Toulouse. Cabe recordar que la cita era antes itinerante. Este año Portugal podrá mostrar su industria de la animación, de hecho, cuenta con cinco proyectos seleccionados para la sesión de pitching. Se trata de ‘Biriki’, producida por Sparkle Animation de Portugal en coproducción con Abano Producións de la española Chelo Loureiro; ‘Pete & Bern’s’ de Sardinha em Lata, una de las productoras portuguesas de animación más activas; ‘The Adventures of Princess P’ de Ukbar Filmes; ‘The Saskatoons’ de Pikkukala (con oficinas en Finlandia y España) junto con Sardinha em Lata; y ‘What’s it All About?’ de Take It Easy.

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Los asistentes a Cartoon Forum tendrán oportunidad de hacer networking con los profesionales portugueses el miércoles 22 de septiembre durante la Happy Hour, a partir de las 17.30 horas en el centro de congresos, y también durante la cena de despedida de Cartoon Forum el jueves 23 a partir de las 20.00 horas. La acción cuenta con el apoyo del Ministerio de Cultura de Portugal, también con el Instituto de Cine del país y con Portugal Film Commission. Colabora la APPA (Asociación de Productores Portugueses de Animación).

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TAT Productions and production-distribution outfit Miam! Animation, both from France, and Belgian broadcaster Ketnet-VRT have won the Tributes Awards at this year’s in-person Cartoon Forum, Europe’s premier animated TV series forum which closed today in Toulouse. One of leading studios in the flourishing animation region of Occitania, which includes Toulouse, TAT Productions took the Producer of the Year Prize. The company was founded in 2000 by David Alaux, Eric Tosti and Jean-Francois Tosti. TAT snagged an International Emmy Award for the TV show “The Jungle Bunch to The Rescue” in 2015. It is also behind features “Terra Willy” and “The Adventures of Pil” and is now producing the Kinology-sold “Argonuts” a comedy adventure budgeted north of $12 million and directed by David Alaux, who 388

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helmed TAT’s first feature, “The Jungle Bunch,” one of the highestgrossing French productions outside France in 2017. TAT is also developing two more features: “The Jungle Bunch 2″ and “Pets on a Train.” A production-distribution company Miam! Animation took the Distributor/Investor of the Year Prize. Founded in 2016 by Hanna Mouchez, Miam! focuses on animated and hybrid programs. Parisbased Miam! opened a studio in 2019. Company has currently in production with France Télévisions the series “Edmond and Friends,” an adaptation of Marc Boutavant’s same-titled illustrated series books, whose release is scheduled for August 2022. Miam! is also developing the series “The Tinies,” alongside Canal Plus. Miam!’s international sales catalogue include series such as “Yeti Tales,” “Kaeloo” and “Brazen.” Recognized as Broadcaster of the Year, Ketnet is the children’s brand of Belgium’s pubcaster in the Flemish-speaking area of the country. The channel centers on children up to 12 years old, while Ketnet Junior is a sub-brand targeting kids up to six years. Ketnet productions take in “Bobbie the Bear,” “Create,” “How To Do Stuff Good,” and “Tik Tak,” all produced by Ketnet-VRT and licensed by U.K.’s Serious Lunch.

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ANIMAZIONE/ Dopo Tolosa, a Cagliari per gli Italian Days Di Monica Tasciotti

3 Ottobre 2021

885 i delegati a Tolosa che dal 20 al 23 settembre hanno partecipato al 32° Cartoon Forum, inclusi 267 buyer dei quali 65 online, da 41 paesi. Numeri di successo per la prima grande manifestazione in presenza dedicata interamente all’animazione dopo un’edizione ibrida del festival di Annecy di giugno che l’anno prossimo tornerà, pandemia permettendo, interamente sui canali della Venezia savoiarda ritirandosi da quelli online.

Rai Ragazzi ha ricevuto la nomination quale “Broadcaster of the Year” per la qualità complessiva dell’o�erta durante la pandemia e per il sostegno che i due canali Rai Yoyo e Rai Gulp prestano all’audiovisivo indipendente europeo, nel campo delle serie e degli special Tv. Premio andato sorprendentemente al canale �ammingo KetnetVRT invece, come sarebbe stato da aspettarsi, al francese France 4. D’altronde la Francia è leader in Europa per la produzione e distribuzione di prodotti in animazione e la maggior parte dei delegati votanti era francese così come la maggior parte dei progetti selezionati (33 su 84). Solo tre i progetti italiani. A bordo de Le incredibili

avventure di una famiglia creativa della newcomer romagnolaPanebarco, è salito un decano dell’animazione

come Robin Lyons che con Telegael produrrà quella che si annuncia come una divertente serie in 3D, con tanto di urne cinerarie parlanti dei nonni dell’intraprendente protagonista. Fresco look 2D per la piccola Nadia maga in divenire, prescolare della giovane illustratrice Caterina Cappelli, proposto al Forum dal milanese Red Monk che con 100 postazioni in arrivo diventerà così uno degli studi di animazione più grandi in Italia. Terzo titolo italiano

Anselmo Wannabe, che presenta in maniera spiritosa ai bambini 26 di�erenti professioni e lavori che potrebbero fare da grandi, ideato da Massimo Ottoni con design minimalista di Francesco Forti. Un progetto di serie di Ibrido Studio, “creative hub” torinese formato da alcuni ex studenti del CSC animazione fra i quali Victoria Musci, che insieme a Showlab e Rai Ragazzi è in piena produzione dell’ambizioso special “Tufo”. “Anselmo Wannabe” aveva ricevuto la wildcard per il Forum dallo scorso Cartoon Springboard, trampolino per i giovani talenti, la cui prossima edizione si terrà dal 26 al 28 ottobre a Valencia, in Spagna, dove tre nuovi progetti italiani e relativi autori potranno mettersi in luce. Fra questi, “The World of Las” di Francesca Floris & Fabrizio di Palma, ex studenti della NAS, Nuova Animazione Sardegna, il programma ideato dalla Sardegna Film Commission che sostiene il lungometraggio del giovane studio Flora’s Room basato a Oristano. Ed è proprio in Sardegna, a Cagliari, che dal 6 all’8 ottobre si terranno i prossimi Italian Days dell’animazione, ideati da Cartoon Italia con il

prezioso supporto della Sardegna Film Commission. Finita la convenzione con la Regione Sardegna e quindi ormai “orfani” del blasonato Cartoon Digital al quale erano abbinati – altro evento business dell’Associazione

Cartoon di Bruxelles insieme al Cartoon Forum e allo Springboard, ospitato prima on site a Cagliari nel 2019 e poi online causa pandemia – gli Italian Days proseguono il loro cammino da soli. I ri�ettori quest’anno sono puntati sugli OTT, che dovendo aumentare a breve la quota di investimenti in produzioni audiovisive europee ed italiane,

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in applicazione della direttiva europea sui Servizi media audiovisivi (il decreto Smad), sono invitati a Cagliari per conoscere da vicino gli operatori nazionali.

Appuntamento quindi a breve sull’isola, in una lunga cavalcata autunnale, invero la primavera dell’animazione e dell’audiovisivo in generale, che con Tolosa, e ancor prima a Venezia, ha dato prova di quanto la comunità internazionale del cinema e dell’audiovisivo abbia voglia di incontrarsi di nuovo dal vivo. Sebbene con la defezione di importanti player, incontri e anteprime proseguiranno a Cannes con Mipcom e Mipcom Junior (dall’11 al 14 ottobre), al Mia (dal 13 al 17 ottobre) e Festa del cinema di Roma (dal 14 al 24 ottobre), a Lucca Comics & Games (dal 29 ottobre al 1 novembre) che ha già annunciato il sold out di due giorni su quattro nonostante la Bonelli, uno dei principali espositori della �era, non ci sarà. Il motivo è l’attuale situazione sanitaria che, secondo la casa editrice, non permetterebbe di garantire la sicurezza. Dall’8 ottobre (�no al 30 gennaio 2022) alla Fabbrica del Vapore di Milano è confermata però “Bonelli Story. 80 anni a fumetti”, che si preannuncia come la mostra più ricca mai dedicata ai mitici personaggi della casa editrice che festeggerà così 80 anni di fumetti, da Tex a Dylan Dog, da Nathan Never (di cui ricorre il trentennale) a Zagor (che festeggia 60 anni). Un’occasione per ripercorrerne la storia e scoprirne il futuro, proiettato nel cinema e nei cartoni animati, come la prossima attesa serie su uno dei successi più recenti “Dragonero”, coprodotta con Rai Ragazzi. Uno dei grandi titoli italiani in animazione della prossima stagione tv che fra fumetti, libri illustrati e romanzi porta sul piccolo schermo le storie più coinvolgenti e i titoli più noti in nuove avvincenti versioni. A partire dalla serie “Nina & Olga” in onda dal 27 settembre su Rai Yoyo, dalla penna di Nicoletta Costa, celebre autrice e illustratrice per l’infanzia con oltre 500 albi illustrati pubblicati in Italia e nel mondo, all’universo di Pinocchio. Il più celebre burattino del mondo tornerà prestissimo sulla Rai in ben due versioni animate.

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Cartoon Forum Announces Onsite Edition, Lineup Of 84 Projects Contributor

June 22, 2021

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Images at top, left to right: “Acorn Elves,” “Hrafn Academy,” “Sacha and the Christmas Creatures” With Annecy having wrapped up its hybrid edition, the next major animation business gettogether in the calendar, tv pitching platform Cartoon Forum, has announced an onsite edition to be held in its usual home of Toulouse, France on September 20–23. The event “will adapt itself in order to comply with the necessary sanitary measures,” the organizers add. Explore the full selection here. Here’s the lineup in numbers: This year’s edition will see the latest projects from Europe’s biggest and most interesting studios, including many producers whose work Cartoon Brew has written about in the past, like France’s Autour de Minuit, Germany’s Studio Film Bilder, and Portugal’s Sardinha em Lata. We will cover the event in more depth in the months to come. In all, 84 selected projects have been selected: tv series, mini-series, and specials. They represent a total budget of €326.1 million (USD$388.3 million) and a runtime of 457 hours. The projects are produced by 21 different countries. France dominates (as usual) with 33 projects, followed by Ireland with 11 and Germany with eight. The most common technique remains 2d, which accounts for 56% of projects. However, the proportion of cg productions has risen from 20% in 2020 to 28% this year. Children aged 6–11 are the most common demographic: 41 projects are aimed at them. Another 25 are for preschoolers, while adults and young adults account for 14. The rest are labeled as “family.”

Europe’s animation events circuit may just, if all remains well, be grinding back into gear.

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Cartoon Forum is Europe’s leading co-production platform for tv and SVOD animation. In a continent where co-productions are the norm, the event carries great influence. At last year’s edition, which was reimagined as an online affair after a local resurgence of the coronavirus, 83 projects were presented.

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20 de septiembre de 2021 - 10:46 am Cultura y Sociedad

El cine europeo de animación vuelve a verse cara a cara tras la pandemia Por: EFE

Toulouse (Francia) – El foro europeo de series de animación Cartoon Forum arranca este lunes en Toulouse (sur de Francia) su 32 edición en formato presencial con 84 nuevos proyectos y el objetivo de impulsar la producción y distribución para televisión y otras plataformas. «Estamos muy contentos de volver a vernos, ya que el contacto cara a cara es necesario para productores y nuevos talentos», dijo a EFE la directora del Cartoon Forum, Annick Maes, que reivindicó la animación como «parte de nuestra cultura y de nuestra vida». Este encuentro reunirá hasta el jueves a casi mil profesionales de la industria televisiva, incluidos inversores, distribuidores y representantes de organismos de radiodifusión y de plataformas de emisión en directo («streaming»). «La industria de la animación ha salido muy bien de la pandemia», destacó Maes, que argumentó que sus profesionales han podido trabajar desde casa durante ese periodo, aunque «el gran problema» para el sector fue el cierre de los cines. Los 84 proyectos que se presentan este año suponen 460 horas de animación y tienen un presupuesto total de 326 millones de euros, con un coste medio por serie de 3,9 millones, si bien el coste por minuto de producción disminuyó respecto a 2020 (11.887 euros frente a 12.250 euros).

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La pasada edición tuvo que celebrarse a través de una plataforma digital debido a la covid-19, un rasgo que conserva para este 2021, donde ofrecen «catch up sessions» para aquellos participantes que no hayan podido viajar o para quienes quieran revisar proyectos después del evento. TENDENCIAS Y PÚBLICO OBJETIVO Las series dirigidas a los niños menores de once años siguen siendo el principal objetivo de la producción de animación europea en esta ocasión, liderada nuevamente por Francia con 33 proyectos, seguida de Irlanda con once y Alemania con ocho. Los proyectos destinados a adultos abordan temas sociales y políticos como el narcotráfico, la depresión, la ansiedad o la difícil recuperación a la que aboca el alcoholismo. «Pero también otros valores importantes como la inclusión de la diversidad, la solidaridad o la importancia de la familia y de la amistad», añadió Maes. La representación de personas de color en la comunidad LGBTI+, las condiciones laborales y el estrés serán tendencia en este Cartoon Forum, que presentará hasta veinte proyectos de series basados en adaptaciones de libros y cómics. ESPAÑA Y PORTUGAL España es el cuarto país europeo con mayor representación en esta edición con seis proyectos, la mitad de ellos dirigidos al público infantil. Se trata de «Pequeños héroes», de la catalana Peekaboo Animation; «The Saskatoons», en la que participa como coproductor Pikkukala, productora con sede en Helsinki y Barcelona; y «La pandilla VHS», del estudio extremeño The Glow Animation. Para el público preescolar fueron seleccionados dos proyectos españoles: «Kima & Amik», de la productora vasca Lotura Films, y «The Wawies», desarrollado por la catalana Imagic TV. En el segmento de series para el público joven y adulto destaca «The Monsters Valley», producida por la barcelonesa WKND. Portugal, una de las naciones con mayor recorrido en el panorama de animación europeo, será el país destacado en esta edición, con cinco proyectos que ofrecen «una visión general de lo que está sucediendo allí en la actualidad», añadió Maes. JP

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Dandelooo to unveil two animated projects at this year’s Cartoon Forum 09 SEPTEMBER 2021 // NEWS

Emmy Award-winning French animation production and distribution company Dandelooo will be unveiling two new ORIGINAL animated TV projects aimed at upper pre-schoolers and 6- to 11-year-olds, It’s Your Body! and Space Ham (in coproduction with Danish company MiniCosmos) to potential industr partners at this yearLs Cartoon Forum in Toulouse (20 F 25 September 2021).

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- Skwigly Animation Magazine

It’s Your Body (Image via Dandelooo)

Directed by Yulia Aronova and Eloïc Gimenez and produced by Dandelooo the edutainment comedy series in 2D, It’s Your Body!(39 x 7’) explains the physiological phenomena of the human body (secretions, physical manifestations …) to children in a fun way, sometimes in relation to emotions, but always from the point of view of… animals! Why do humans blush when they are embarrassed? Why do they cry when they are hurt? What do they mean by “my stomach is in knots”? Who ever heard of a rope in a stomach! A great many questions, to which each animal has its own more or (frequently) less sensible answer, illustrated in hybrid motion graphics, and which they will try to force the others into accepting… Every day at the same time, while the owners of the house are absent, Louise the robin, Cameron the cat and twin 1eas azz and Anna, gather to watch their favourite TV series “Passions of the Heart”. Their goal: to understand the strange reactions of humans through the things they see on television! Rosa the chameleon will give them the REAL scienti0c answer. Dandelooo will also be showcasing Space Ham (52 x 9’). Directed by Nicolai Viewerth, the 2D and 3D comedy series is a coproduction with MiniCosmos, Denmark. Do you remember back in the day when you had sleepovers with your best friend? Those fantastic evenings where you just played games, talked, watched movies, read comic books, and listened to music together until it was impossible to keep your eyes open. Imagine if that was every day – and in space! - UNITED KINGDOM -

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Space Ham (Image via Dandelooo)

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I fell in love with Space Ham at Cartoon Springboard. This project is the best example of a great ‘creator driven’ comedy series I can think of that’s come about in the past few years! It’s Your Body! aims to help children understand their own body reactions and the emotions linked to these reactions in a fun way and we will not avoid all the ‘yucky’ stu too! Even parents will be surprised as well!”

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Europe’s premiere animation project pitch event -/**) *-0( - /0-) /* *0'*0. ' ./ (*)/# !*- /#- $)Ҋ+ -.*) 4.Ѷ 2$/# 3/- /$( through the event’s digital platform. Building on previous ))*0) ( )/.Ѷ # . $..0 !0'' report on this year’s " /# -$)"ѵ

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*/$ ' /- ) . (*)" /#$. year’s . ' /$*)Ѷ *(+-$.$)" чу +-*% /. !-*( ср *0)/-$ . - +- . )/$)" /*/ ' 0 " / *! тсхѵр €, include $) - .$)" /$/' . $( / +- . #**' -. җуш‫ڿ‬Ѷ ур +-*% /.Ҙ ) 4*0)" 0'/.ҝ 0'/. җрц‫ڿ‬Ѷ ру +-*% /.ҘѸ /# *($) ) *! с )$( /$*) $) 0-*+ җфх‫ڿ‬Ҙ ) ./ 4 "-*2/# *! т җсч‫ڿ‬Ѷ 1.ѵ сп‫ ' ڿ‬./ 4 -Ҙѵ )0( - *! +-*% /. ! /0- ! ( ' ' .Ѷ 2$/# +-*($) )/ /# ( . $) '0 $)" *'*"$ ' *) -).Ѷ $1 -.$/4 ) $) '0.$*)ѵ -*% /. . *) +0 '$.#$)" /$/' . ) )$( / * 0( )/ -$ . 2 - '.* )*/ ѵ . +- 1$*0.'4 - +*-/ Ѷ /# (*./Ҋ // ) +$/ # . җ*).$/ *)'$) Ҙ 2 - '' - ) # +-*% /.ѷ Mister Crocodile (Joann Sfar’s Magical Society), Me and My Compost җ $1 ( )/ 0) $Ѻ о 0+ -+-* ҘѶ Under the School җ ''$+. )$( -* 0 /$*). о $(+ ' $ /0- .ҘѶ Living with Dadҗ 0+0$. $/$*) о Audiovisuel in coproduction with Belgium’s Belvision) and Freaked Outҗ 0/*0- $)0$/ о Ҙѵ

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op projects from new producers.

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Projects from Portugal.

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/) /ҊVRT (Broadcaster of the Year), France’s MIAM! Animation җ $./-$ 0/*-ҝ )1 ./*- *! /# -Ҙ ) -* 0 /$*). җ -* 0 - *! /# -Ҙѵ # ( $) + -/) -. *! -/**) *-0( *0'*0. - - /$1 0-*+ Ѷ CNC (Centre national du cinéma et de l’image animée), Occitanie Region, $-$ *0'*0. Ѷ *0'*0. ĝ/-*+*' Ѷ .$)* --$Ĝ- ) - ) ĝ'ĝ1$.$*).ѵ

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di Luca Raffaelli

Carissimi lettori di Nuvolette, interrompo la splendida chiacchierata con il grande Giancarlo Caracuzzo (ma la riprenderemo presto) per raccontarvi del Forum Cartoon che, dopo il lockdown pandemico dello scorso anno, è tornato a vivere in presenza nella città francese di Tolosa. Tutto come un tempo, a parte il pranzo collettivo in uno degli immensi saloni del Centro Congressi. Le cautele sulla pandemia l’hanno abolito (speriamo solo per quest’anno) ed è stato un peccato perché permetteva incontri occasionali e la visione collettiva (con applausi più o meno forti) dei trailer dei progetti pomeridiani. Ma

insomma meglio così che niente. A proposito di cinema d’animazione permettetemi di aprire una parentesi. Ho accettato la direzione artistica del Sardinia Film Festival che si svolgerà a Sassari dal 3 all’8 dicembre e che vedrà il film d’animazione protagonista a braccetto con le altre arti fra le quali anche il fumetto (peraltro è sassarese il nostro Gianluca Piredda che mi ha assicurato la sua partecipazione). Chi verrà e si presenterà come un fedele lettore di Nuvolette riceverà un saluto davvero speciale. Nel momento in cui scrivo non posso anticiparvi molto del programma. Sicuramente avremo un cor-

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poso concorso internazionale del cortometraggio animato con premi molto particolari: oltre al Gran Premio Sardinia Film festival, il Premio Fabrizio Bellocchio per il contenuto sociale, il Premio Bruno Bozzetto per il film dalla parte della Natura e degli Animali, il Premio Osvaldo Cavandoli per il one-man-film, il Premio Giulio Gianini per l’originalità, il Premio Manfredo Manfredi per il film che dà spazio al dubbio, il Premio Fusako Yusaki per il film che ama la sintesi e il Premio Pino Zac per il film ribelle. Vi darò presto altre notizie: ma inizio già ad aspettarvi. Torniamo a Tolosa, dove vi ho già portato tante volte (i precedenti Forum Cartoon si svolgevano in tante località diverse d’Europa, ma erano altri tempi) e quindi forse qualcuno si ricorda di cosa si tratta. Ma vale la pena comunque rinfrescare la memoria con l’aiuto di un amico, il produttore Thomas Meyer-Hermann, produttore del glorioso e premiato Studio Film Bilder. Era presente con Lambs, una serie tivù che nasce (come succede spesso) da un enorme successo sul web. Lambs sono gli agnelli, che poi sono le pecore con meno di un anno di età. Una serie molto divertente, ideata da Gottfried Mentor, che potete andare a cercare sulla rete (anche sul sito dello Studio Film Bilder). Oltretutto senza dialoghi. Bene. Co-

me in tutte le presentazioni del Forum Cartoon, ai presenti (che sono responsabili delle reti televisive, produttori o distributori) viene raccontata l’idea della serie, chi sono i personaggi, la storia della casa di produzione, quella dell’autore e poi, prima di parlare dei costi, si fa vedere il filmato (se c’è) o almeno il trailer. Thomas ce l’aveva, altroché se ce l’aveva, era anche un successo. Eppure durante la presentazione (fatta dopo prove tecniche accurate) il filmato non è partito. Uno, due, tre, cinque, otto tentativi: niente. Sudore freddo e salivazione azzerata, come diceva Villaggio per Fantozzi. Non c’è stato nulla da fare. Ovviamente la raccomandazione è stata fatta anche ai presenti: andatelo a vedere sul web. Mamma mia però che rabbia. Incontro Thomas di sera a una cena e gli dico: scriverò della tua presentazione! E lui: Ti prego no! Scrivi del progetto ma non della presentazione che è stata un incubo!. Poi, ridendo, mi ha spiegato che comunque è andato tutto bene, che ci sono partner con cui far par19

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tire il progetto. Mi ha ricordato anche (che risate) che la prima volta che è andato a un Forum Cartoon (ormai tanti anni fa) ad ascoltarlo c’erano due persone due: un disastro! Se lo ricorda ancora come una tragedia vera, quella. E oltretutto, siccome gli avevano detto di portare dei regalini per chi fosse venuto, mi ha descritto con orrore e raccapriccio di aver portato 50 pasticcini fatti a mano, messi per bene in una larga scatolona orizzontale che era stato difficilissimo portare in aereo. Bene: dopo la presentazione quei cinquanta regalini erano ancora tutti nella scatolona. Mamma che disastro! Per fortuna che dopo le cose per lui sono andate bene, bene davvero. Bravo Thomas! E veniamo ora ai progetti italiani di questo Forum Cartoon. Il primo è stato portato dalla Panebarco & c. Per chi ha amato i fumetti negli anni Settanta, quello di Daniele Panebar-

co è stato un nome importante. Era autore di Big Sleeping, un detective ispirato alle atmosfere hard boiled di scrittori statunitensi come Dashiell Hammett e Raymond Chandler. Sceneggiature divertentissime, un disegno efficace ma non bello. E questo con il tempo si è sentito troppo. Ma ora ci sono le sue figlie Marianna e Camilla a portare avanti il nome Panebarco con uno studio di cartoni animati (creato insieme al fratello Matteo che però a Tolosa non c’era). E allora, sorelle Panebarco, finalmente eccovi al Cartoon Forum con Le incredibili avventure di una famiglia creativa. È stato difficile raggiungere questo traguardo? «Molto difficile ma anche molto avvincente. Come sai ci lavoriamo da più di due anni». Due parole sul progetto, dai. «L’idea della serie tivù trae ispirazione dalle avventure che quotidianamente viviamo nel nostro studio creativo, a conduzione famigliare». Però per realizzarlo serviva anche qualcun altro. «Abbiamo creato una piccola squadra che negli ultimi 3 mesi ha lavorato alacremente ai materiali per il pitch». Grazie Marianna e Camilla: continueremo fra una settimana. Alla prossima! l uca raffaelli

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di Luca Raffaelli

Carissimi lettori di Nuvolette, anche questa settimana siamo a Tolosa, dove si è svolta (per fortuna) una nuova edizione in presenza del Forum Cartoon, l’evento in cui autori e produttori presentano le nuove idee di serie tivù ai responsabili televisivi e ad altri produttori e distributori europei. Abbiamo visto anche quest’anno crescere la tendenza di prendere fumetti di successo per farli diventare cartoni. Un progetto che ci è piaciuto molto in questo senso è Freaked out (come dire impazzito, fuori di testa) dai fumetti di Théo Grosjean. Sarà lui il regista dei cartoni per una serie di 20 puntate di un minuto e mezzo ciascuna prodotta dagli illuminati di Autour d’un minute. Il protago-

nista della serie è proprio lui che va fuori di testa (sudori freddi, salivazione azzerata: che strano, anche la scorsa settimana abbiamo citato Paolo Villaggio) per situazioni del tutto normali: un viaggio in treno, una festa tra amici, un appuntamento romantico, eccetera. Tutto molto divertente, pieno di stile, ironico, autodissacrante e, peraltro, assolutamente vero. Ma torniamo ora a trattare di uno dei progetti italiani, ovvero Le incredibili avventure di una famiglia creativa della Panebarco & c. A Tolosa sono venute Marianna e Camilla (il fratello Matteo è rimasto a Ravenna) con cui stavamo parlando dell’idea del cartone, liberamente ispirata al nostro vissuto quotidia-

Anselmo Wannabe

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Freaked out

no, cioè la vita in una agenzia di comunicazione. Però la protagonista di questo progetto di 26 puntate per 11 episodi è la creativa più piccola, giusto Marianna e Camilla? «Giusto! Si chiama Nora e si aggira per lo studio cercando di rendersi utile, ma i grandi non le danno corda. Puntualmente però in ogni puntata, l’acume, l’empatia e il suo buon senso sono determinanti per risolvere problemi e situazioni». Panebarco, lo dicevamo già la scorsa settimana, è un nome magico per gli appassionati di fumetti degli anni Settanta. Quanto però ha influito la sua creatività e personalità nella costruzione della società che porta il suo nome? «Daniele è il fondatore della nostra azienda e ne è tutt’ora presidente. Ogni giorno (sabato, domenica e festivi inclusi) lui è in postazione a disegnare, crea-

re, scrivere e soprattutto custodire i suoi 8mila volumi tra libri e riviste (a casa ne ha altri 15mila). Anche se la serie è stata concepita interamente da noi, cioè i tre figli insieme a Carlo Casavecchia, il nostro art director, c’è tanto della vena comica e dello humor di papà, insiti nel nostro DNA». C’è anche un personaggio ispirato a lui! «Esatto: Danny, antidigital ed estremamente critico, è proprio Daniele in tutto e per tutto, incluso l’outfit da ufficio (boxer e coppola in testa)». Quanto sono importanti nella progettazione delle vostre idee internet e i social? «Ormai i social sono diventati una fonte di informazione e ispirazione, sono intrecci di storie, persone, opinioni. Noi Panebarco usiamo i social e non li demonizziamo; piuttosto li consideriamo una parte di noi, un altro ambito nel quale 33

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muoversi, interagire, coltivare amicizie e contatti. Però bisogna anche fare attenzione». A cosa? «I problemi del mondo non possono essere risolti ritoccando il proprio profilo social e questo il nostro show vuole metterlo in chiaro ai nostri giovani spettatori (ma anche ai grandi, perché no?)». Grazie Marianna e Camilla: complimenti per il progetto e risentiamoci presto per altre avventure! Ed ora ci spostiamo da Ravenna a Torino, dove vivono e lavorano i giovani di Ibrido, uno studio di animazione che nasce dalle esperienze vissute al Centro Sperimentale di Cinematografia, sezione animazione, che ha sede proprio nel capoluogo piemontese. Si capisce già dal nome scelto che il gruppo fonde personalità diverse, tutte (come precisato sul sito) al servizio dell’animazione di qualità. In effetti in queste pagine abbiamo già ospitato Victoria Musci per il suo progetto Tufo. Qui a Tolosa invece parliamo con Massimo Ottoni, regista e sceneggiatore (Francesco Forti il disegnatore, qui assente), e Federico Turani, produttore del progetto Anselmo Wannabe: 26 puntate di 7 minuti per un target 6-9. Massimo comincio da te per capire come nasce la tua passione per il cinema d’animazione. «Io ci arrivo tardi rispetto agli altri di Ibri-

do. Io vengo da Ascoli Piceno che è una realtà piuttosto piccola, dove ho fatto una scuola d’arte, poi ho studiato a Roma cinema e teatro e non credevo proprio che quella dell’animazione fosse una strada percorribile». E poi che è successo? «Semplicemente che l’ho scoperto, comprendendo così che metteva insieme tutte le mie passioni: il cinema, il disegno, l’immagine, il sonoro». Chi ti ha offerto l’illuminazione? «Autori molto sperimentali e dark come Jan Svankmajer e i Quay Brothers». Maestri assoluti. «Infatti. Poi un giorno, in difficoltà nel realizzare un corto live, mi sono detto: proviamo in animazione. Ed è stata un’esperienza complicata, terribile ma anche bellissima che mi ha fatto nascere l’amore per l’animazione. Allora ho fatto un corso a Roma con Stefano Argentero (ciao Stefano!), ho capito che esisteva il Centro Sperimentale e per fortuna mi hanno preso». Rimpiangi di non aver capito prima che l’animazione era il tuo campo? «Bisogna rimpiangere con moderazione. Ma un poco sì!». Cari lettori, queste stille di saggezza continueranno ad accompagnarci anche fra sette giorni. Alla prossima! l uca raffaelli

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di Luca Raffaelli

Carissimi lettori di Nuvolette, anche questa settimana rimaniamo a Tolosa dove si è svolto il Forum Cartoon, l’evento destinato agli addetti ai lavori nel settore dell’animazione dove autori e produttori presentano i nuovi progetti televisivi ad altri produttori, a broadcaster (coloro che acquistano programmi per le tv) o distributori. Stavamo parlando con quelli di Ibrido, una giovane casa di produzione di Torino formata da ex allievi del Centro Sperimentale di Cinematografia. In particolare la scorsa settimana abbiamo iniziato a conoscere Massimo Ottoni, regista e sceneggiatore (perché è Francesco Forti il disegnatore, assente a Tolosa). Ora invece cominciamo a conoscere

Federico Turani, che del progetto Anselmo Wannabe (26 puntate di 7 minuti per un target 6-9 è produttore. Ciao Federico! «Ciao Luca. Che piacere essere qui a Nuvolette!». Bravo Federico. Proprio così inizia un intervistato che vuol farsi voler bene! E allora, leggo dalle tue note biografiche che hai fatto un sacco di cose prima di fare il produttore. «Vero! Dopo studi da biologo ho diretto vari cortometraggi dal vero, poi sono stato manager di eventi cinematografici e di fiere d’arte e poi sono finito dentro un progetto molto punk a fare animazione». Quindi Ibrido?

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«Non ancora. Con Cristina Mazzocchi e Francesco Zuccarello, due amici d’infanzia con cui ho scritto una serie su Instagram dal nome “Kilo’s Mind”. Siamo poi finiti a presentarla su un palco a Torino in un evento che si chiama Aperitoon». E come no? Quello organizzato da Emiliano Fasano. Ne abbiamo anche parlato su queste pagine… «Bene. Lì c’era anche la presenza di persone della Rai che hanno espresso il loro gradimento. Così dovevamo andare avanti, e per andare avanti avevamo bisogno di uno Studio d’animazione vero e serio ed ecco così l’incontro con quelli di Ibrido che è partito bene tanto che poi mi hanno chiesto di diventare il produttore dello Studio». Uno Studio pieno di giovani ex studenti del Centro Sperimentale di Cinematografia. «Sì, l’unica eccezione sono io».

Bene. E bella questa concatenazione di eventi a lieto fine! Ed eccoci quindi arrivati a questo nuovo progetto. «Sì, che ha sorpassato quello di cui ti raccontavo. Ma è solo questione di tempi». Massimo, ci racconti Anselmo Wannabe? «Come ti dicevo la scorsa settimana io ho incontrato l’animazione, che è diventata la mia passione, molto tardi. E mi sono sempre chiesto come sarebbe stata diversa la vita se l’avessi incontrata un po’ prima, anche a 18 anni. E allora ho pensato ad Anselmo». Che non sa bene cosa vuole fare da grande. «Esatto. E viene interrogato dal maestro di scuola su questo argomento. E in ogni puntata lui fa tutto il percorso che serve per un lavoro con tutte le sue stranezze e particolarità. Anche perché lui è timido, 41

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impacciato e sempre in competizione con l’altra protagonista che è Letizia, bravissima, precisa, la prima della classe». E Anselmo che fine fa? «Anche lui, nonostante tutte le difficoltà (perché ha un suo modo creativo di superare gli ostacoli) riesce a farcela. Naturalmente quella che ti ho raccontato è proprio l’idea ridotta all’osso». Qual è la forza di questo progetto? Massimo, che dici? «Direi che tutti lo capiscono al volo, immediatamente. Chi non ha avuto il problema da bambino di immaginare il proprio futuro?». Giusto. Io per esempio volevo fare Nuvolette ed eccomi qui. Federico? «E io volevo fare il produttore ed eccomi qui!». Perfetto. Anche perché Massimo voleva inventare progetti d’animazione. Tre destini felici! Però Federico, ora rispondi alla domanda. «Agli ordini! Direi che il progetto riempie un buco di conoscenza tra i bambini e gli adulti. E spesso ci si trova a studiare all’Università cose che non interessano, a progettare vite infelici». Come te che hai studiato biologia. «Esatto. Se ci fosse stato Anselmo sono certo che mi avrebbe dato un quadro generale della vita adulta, delle strade che si potevano intraprendere. Nessuno mi ha mai spiegato ad esempio che potesse

esistere il cinema come lavoro. E poi oggi si può andare anche oltre interagendo con il mondo dei giochi, di altre forme di comunicazione. Insomma, direi che quello di Anselmo è il progetto che permette ai bambini di assaggiare il futuro». Vedo che sei anche uomo di marketing. «Nessuno conosce il proprio futuro. Però diciamo che si può partire da un desiderio». Ottimo davvero! Massimo, ora tocca a te. «Ci tengo a sottolineare il fatto che sia un progetto internazionale. Il maestro non è un maestro italiano. E poi non ci sono dialoghi, ma solo la voce fuori campo del maestro, quindi il doppiaggio è davvero molto semplice così come lo stile, delicato e divertente». Spesso i progetti per i bambini per piacere ai responsabili televisivi devono avere finalità educative. «Questo progetto è particolare perché non vuole essere educativo ma in realtà lo è. Perché conoscere cosa fa chi lavora come ingegnere, architetto, astronomo o astronauta serve davvero nella vita. E vorremmo accompagnare i cartoni con interviste ai diversi professionisti che peraltro già sono utili alla scrittura degli episodi». Grazie mille Federico e Massimo, state facendo un ottimo lavoro! In bocca al lupo e alla prossima! luca raffaelli

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84 projects head to Cartoon Forum Adaptations and shows for six to 11s lead the field at the annual pitch fest, which is planning for a live showcase in the fall. By Jeremy Dickson

June 22, 2021

This year Cartoon Forum will feature nearly 90 projects from 21 countries, including France, Ireland, Germany and Portugal. Of the 140 projects submitted to the annual European pitching and co-pro event, 84—representing 457 hours of content with a total budget of US$387 million (€326.1 million)—were shortlisted. They will be showcased at the 32nd annual Cartoon Forum, taking place in Toulouse, France from September 20 to 23. Animation targeting kids ages six to 11 accounts for nearly half of the shortlist (41 projects), followed by series for preschoolers (25), young adults (14) and family audiences (four). As for style, 56% of the projects are 2D-animated (down from 65% last year), and 28% are 3D/CG (up 8%).

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Adaptations continue to be popular, with nearly 20 projects based on comics or books. These include Blue Wolfie from France’s Label Anim and Freddy Buttons Wacky Mysteries from Treehouse Republic in Ireland. France leads the pack with 33 projects headed to the festival, followed by Ireland with 11, Germany with eight, Spain with six, and Belgium with five. Portugal, Czech Republic and Denmark are sending four each, with three coming from both Italy and Poland. Nearly 40% of the projects are co-productions between two or more European countries, and Canada is the only non-European country to participate as a co-producer. There are no UK-led projects this year due to the government’s decision in 2020 to cancel its participation in Creative Europe MEDIA following Brexit. UK companies are allowed to attend the event as viewing participants, buyers or co-pro partners on projects. Just one prodco from the region—Lupus Films—is participating as a co-producer this year. Well-known studios headed to Toulouse to pitch in September include Kavaleer Productions (Adam <3 Adventure!), Studio 100 Animation (Rek & Nola) and Xilam Animation (Piggy Builders). Germany’s Dreamin’ Dolphin Film (Hygge) and Denmark’s MiniCosmos (Space Ham, pictured) are among the emerging prodcos presenting as Forum first-timers. If all goes according to plan, Cartoon Forum will welcome attendees in person, making it one of the first international European festivals to return to a live event format. The Annecy Animation Festival, which wrapped last week, has reported that 4,000 on-site attendees were present at its hybrid event.

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Animation Magazine - 16/09/2021

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Ellipsanime, TimpelPictures Team for Spooky Mystery Series ‘Under the School’ By Mercedes Milligan

Published on September 16, 202

- ) # ./0 $*. ''$+. )$( -* 0 /$*). ) $(+ ' $ /0- . - 1 '*+$)" Under the School — /# !$-./ *-$"$) ' )$( / . -$ . - / 4 $- /*- $ *' . -4 җLittle SpirouѶ Trouble at Timpetill). The 26 x 26′ (4./ -4Ҋ 1 )/0- !*- &$ . цҊрсѶ +-* 0 $) с Ҋ- ) - т )$( /$*)Ѷ $. *) *! /# +-*% /. . ' / !*- /# спср -/**) *-0( / &$)" +' $) *0'*0. ) 3/ 2 &ѵ Under the School - $. . /# 0-/ $) *) /# )$"( /$ /ѵ *. +#.Ѷ 0)$,0 * - $)" . #**' 2#*. / #$)" ( /#* . # 1 transformed the world’s worst dunces into the world’s best students. To do this, St. Joseph’s has a secret: Under the school’s floors is a “reconditioning” system to put the kids “on the straight and narrow,” which is as efficient as it is mysterious. 0/ these plotting pedagogs didn’t count on Bug and his little brother Doudou, two new pupils who aren’t going to go quietly! “Through their adventures, the heroes and heroines have to learn how to /-0./ # */# - ) .0-+ .. /# (. '1 .ѵ / $. . -$ . 2# - /# #$' - ) learn to bend the school’s strict rules to learn in a different way,” said Arthur Colignon, Producer, Ellipsanime. “The series encourages the right /* $!! - )/Ѷ /* .#*2 /# / /# ($ 0 /$*) .4./ ( * . )*/ .0$/ 1 -4*) ) /# / /# - - '*/. *! 2 4. *! .0 $)" $) '$! ѵ # / $. 2# / attracted us in particular about Nicolas Bary’s project.” “I imagined the universe of the series over 15 years ago, delving into my ( (*-$ . . /# 0) / /# & *! /# ' ..Ѷ # 1$)" 3+ -$ ) '$! $) 420

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a boarding school,” Bary explained. “Our ambition with the artistic team — 0./$) 0)# Ѷ /# "- +#$ )*1 '$./Ѹ 4-$' 4 $ -Ѷ /# *Ҋ2-$/ -Ѹ ) 3 'ĝ*Ѷ /# $- /*- — $. /* +'0)" #$' - ) $)/* - /-*Ҋ(* -) 2*-' ѷ . - '$./$ . $/ $. .+ / 0' - 2$/# $/. . /.ѵ ) / $/. # -/ $. ) $)1 ./$" /$*) 2#$ # 2$'' / & /# ( $)/* /# *2 '. *! /# . #**'ѵ * .0+ -Ҋ+*2 -. $) *0- story, just the power of the imagination and everyone’s individual talents, which remains their greatest strength.” $ /**) $./-$ 0/$*) $. # ) '$)" $)/ -) /$*) ' $./-$ 0/$*) !*- /# . -$ .ѵ Under the School $. '.* $)" +/ . *($ **&Ѷ *Ҋ $/ 4 0+0$. ) $(+ ' $ /0- .ѵ #- 1*'0( . $) '' - .' / Ѷ /2* *! 2#$ # # 1 ) 2-$// ) ) - )*2 $) /# - 2$)" +# . ѵ -4 $. +-* 0 -Ѷ 2-$/ - ) $- /*- 2#* ( #$. !$-./ ! /0- !$'( Trouble at Timpetill җ +/ !-*( /# )-4 $)/ -! ' )*1 'Ҙ / " схѵ '$1 - The Scapegoat, based on Daniel Pennac’s best seller, in спрсѶ ) ' / - !*0) #$. . *) +-* 0 /$*) *(+ )4Ѷ $(+ ' $ /0- .ѵ Bary’s latest movie, Little Spirou җспрцҘѶ $. ) +/ /$*) *! /# ! (*0. *($ . 4 *( ) )-4Ѷ +0 '$.# 4 0+0$.ѵ *0) $) ршчшѶ ''$+. )$( $. +-* 0 /$*) *(+ )4 0) - /# $ Ҋ -/$ $+ /$*). -*0+ .+ $ '$5$)" $) &$ . ) ! ($'4 )$( / +-*"- (.ѵ # -$. ) )"*0' ( Ҋbased studio’s catalog includes The Adventures of Tintin, Babar, The Pirate Family, Kid Lucky ) The Fox-Badger Familyѵ

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RTP Noticias - 22/09/2021

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Séries infantis portuguesas sobre ciência e Lisboa à procura de investimento no Cartoon Forum 9QE WʤVMI WSFVI YQE JEQʨPME HI GMIRXMWXEW UYI TEVXI ʛ EZIRXYVE I SYXVE WSFVI HYEW MVQʞW EVUYIʭPSKEW GSQ 0MWFSE IQ JYRHS JSVEQ TVSNIXSW ETVIWIRXEHSW TSV IWXʲHMSW TSVXYKYIWIW TVIWIRXIW RS 'EVXSSR *ʭVYQ IQ 8SYPSYWI RS WIKYRHS HME HS GIVXEQI 4SVXYKEP GSRXMRYE IQ HIWXEUYI RS 'EVXSSR *SVYQ RE GMHEHI JVERGIWE HI 8SYPSYWI E QEMSV QSWXVE HI WʤVMIW HI ERMQEʢʞS TEVE XIPIZMWʞS I TPEXEJSVQEW HE )YVSTE UYI HIGSVVI EXʤ HME HI WIXIQFVS 2E QERLʞ HI LSNI HYEW TVSHYXSVEW TSVXYKYIWEW GETXYVEVEQ E EXIRʢʞS HS GIVXEQI +SWXEQSW QYMXS HS TVSNIXS IWXEQSW QYMXS GSRJMERXIW RIPI I ʤ YQ GSRXIʲHS UYI ZEPI E TIRE TVSHY^MV ʉ YQE ETSWXE JSVXI GSRHMGMSREHE TSV EPKYQEW ZEVMʜZIMW QEW XIQSW Nʜ EPKYRW GEREMW MRXIVIWWEHSW RE RSWWE WʤVMI I EPKYQEW VIYRMʯIW HMWWI .SʞS 1MKYIP 6IEP HMVIXSV HI ERMQEʢʞS HE TVSHYXSVE 8EOI MX )EW] )WXE ʤ E TVMQIMVE TEVXMGMTEʢʞS HE 8EOI MX )EW] UYI IRKPSFE S IWXʲHMS )EW] 0EF RS 'EVXSSR *SVYQ I E ETSWXE ʤ ;LEXDW MX EPP %FSYX# YQE WʤVMI TEVE GVMERʢEW HSW ESW ERSW TVSXEKSRMÊHE TSV YQE JEQʨPME HI GMIRXMWXEW UYI WI HIWPSGEQ RYQE GEVVMRLE DTʞS HI JSVQED VIGLIEHE HI MRZIRʢʯIW )WXE JEQʨPME RʞS ʤ HIWGSRLIGMHE HS KVERHI TʲFPMGS TSVXYKYʥW Nʜ UYI E TVSHYXSVE XIQ ZMRHS E YXMPMÊV IWXI GSRGIMXS RSW ʲPXMQSW ERSW IQ ERʲRGMSW XIPIZMWMZSW TEVE E 'MʥRGME :MZE %W TIVWSREKIRW JSVEQ GSRGIFMHEW TIPS MPYWXVEHSV .SʞS *EÎRHE I S KYMʞS HI GEHE ITMWʭHMS ʤ JIMXS IQ GSPEFSVEʢʞS GSQ GMIRXMWXEW )WXEQSW RYQ QSQIRXS TEVXMGYPEVQIRXI MQTSVXERXI TEVE IWXIW GSRXIʲHSW .ʜ XIQSW YQE GSPEFSVEʢʞS PSRKE GSQ E 'MʥRGME :MZE I JSM GSQS YQ PEFSVEXʭVMS TEVE HIWIRZSPZIV IWXE JEQʨPME I IPIW ETSMEVEQ PSKS E RSWWE MHIME TEVE IWXE WʤVMI 3W KYMʯIW XʥQ WMHS WIQTVI IWGVMXSW IQ GSPEFSVEʢʞS GSQ IWTIGMEPMWXEW MRHMGSY 4IHVS 0MRS S VIEPMÊHSV .ʜ RE WʤVMI 8LI 7EWOEXSSRW YQE GSSTIVEʢʞS IRXVI S IWXʲHMS TSVXYKYʥW 7EVHMRLE IQ 0EXE I S IWXʲHMS IWTERLSP 4MOOYOEPE ʤ S GIRʜVMS UYI RʞS ZEM WIV IWXVERLS TEVE SW TSVXYKYIWIW TSMW E EʢʞS HIWIRVSPE WI IQ 0MWFSE ʉ RE GETMXEP TSVXYKYIWE UYI EW MVQʞW +MKM I %PI\ ZʞS ZMZIV EZIRXYVEW ʛ ZSPXE HI EGLEHSW EVUYISPʭKMGSW

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5YERHS JSQSW ZMWMXEV E TVSHYXSVE IQ 0MWFSE ERHʜQSW TIPE GMHEHI JSQSW E XSHSW SW QYWIYW I KSWXʜQSW QYMXS ,ʜ WʤVMIW UYI XʥQ GSQS FEWI SYXVEW GMHEHIW GSQS 4EVMW I EW GVMERʢEW JMGEQ MRXIVIWWEHEW TSV IWWEW GMHEHIW 2ʞS WIVME ʭXMQS TVSQSZIV XEQFʤQ 0MWFSE UYI ʤ YQE GMHEHI XʞS FSRMXE I XIQ XERXE LMWXʭVME# I\TPMGSY )ZKIRME +PYFIZE EYXSVE HE WʤVMI IQ TEVGIVME GSQ 1]PIW 1GPISH 8LI 7EWOEXSSRW UYIV GLIKEV E YQ TʲFPMGS IRXVI SW I SW ERSW GSRXERHS GSQIʢEV E TVSHYʢʞS E TEVXMV HI XIRHS Nʜ EWWIKYVEHS S JMRERGMEQIRXS TSV TEVXI HE 684 HIZIRHS EWWMQ GLIKEV RSW TVʭ\MQSW ERSW ES TʲFPMGS MRJERXSNYZIRMP HS GEREP TʲFPMGS TSVXYKYʥW 8EQFʤQ ;LEXDW MX EPP %FSYX# XMRLE EWWIKYVEHS IWXI JMRERGMEQIRXS IQ QEW TVIJIVMY STXEV TIPS JYRHS HI HIWIRZSPZMQIRXS HS -RWXMXYXS HS 'MRIQE I HS %YHMSZMWYEP TEVE GVMEV YQ DTMPSXSD I YQE ETVIWIRXEʢʞS WʭPMHE TEVE SW TSXIRGMEMW MRZIWXMHSVIW % 8EOI MX )EW] ZEM ZSPXEV E GERHMHEXEV S WIY TVSNIXS IWXI ERS RE IWTIVERʢE HI UYI E XIPIZMWʞS TʲFPMGE GSRWMHIVI S TVSNIXS WYJMGMIRXIQIRXI MRXIVIWWERXI TEVE WIV RSZEQIRXI IWGSPLMHS 'EHE TEVXMGMTERXI RIWXE QSWXVE IYVSTIME HI WʤVMIW HI ERMQEʢʞS XIQ QMRYXSW TEVE WYFMV ES TEPGS I MQTVIWWMSREV S TʲFPMGS SY WINE VIEPM^EV S WIY DTMXGLD VIZIPERHS YQ TIUYIRS DXVEMPIVD I JEPERHS HEW WYEW RIGIWWMHEHIW TEVE EZERʢEV GSQ E TVSHYʢʞS 2E EYHMʥRGME IWXʞS TVSHYXSVIW I MRZIWXMHSVIW GSQS GEREMW HI XIPIZMWʞS I TPEXEJSVQEW DSRPMRID 8ERXS ;LEXDW MX EPP %FSYX# GSQS 8LI 7EWOEXSSRW XMZIVEQ WEPEW GLIMEW REW WYEW ETVIWIRXEʢʯIW HIM\ERHS ERXIZIV E TSWWMFMPMHEHI HI QEMW GVMERʢEW RE )YVSTE ZMVIQ E GSRLIGIV IWXEW GVMEʢʯIW TSVXYKYIWEW

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Cartoon Forum 2021: ‘The Saskatoons’ une España, Finlandia y Portugal en una original historia de dos hermanas Por Redacción AV451 - 10 septiembre, 2021

Pikkukala y Sardinha em Lata presentan en Cartoon Forum 2021 ‘The Saskatoons’, serie de animación para el público de entre 6 y 8 años que mezcla aventura, comedia, misterio, arqueología y tecnología. El foro europeo de coproducción para series de animación recibirá a las dos compañías, de las más activas hoy en día en la industria. Pikkukala, con sede en Finlandia y oficinas en Barcelona y con Pablo Jordi como productor, continúa con la producción de ‘Royals Next Door’, serie que también pasó por el foro de Toulouse y que se estrenará antes de que acabe el año en Irlanda y, previsiblemente, también en España a través de Clan. Por su parte, la portuguesa Sardinha em Lata, con Diego Carvalho al frente, también está inmersa en el largometraje ‘My Grandfather’s Demons’, dirigido por Nuno Beato y en coproducción con España.

‘The Saskatoons’.

Pero como los desarrollos de nuevos proyectos no pueden parar, ambas compañías presentarán en Toulouse del 20 al 23 de septiembre ‘The Saskatoons’, serie escrita por Myles McLeod y Evgenia Golubeva, quien además es la autora de los diseños y la dirige junto a Nadia Cardoso. Los autores se enfrentan con esta serie a su primera creación original después de haber firmado varios capítulos de ‘Hey Duggee’, ‘Digby Dragon’, ‘Noddy Toyland Detective’ o ‘Millie and Lou’. La historia se centra en dos hermanas, Gigi y Alex, que se mudan a Lisboa y a través de sus aventuras se convierten en heroínas y expertas en salvar el mundo luchando contra fuerzas ancestrales muy poderosas. Sus viajes ponen a las pequeñas cara a cara con estas maliciosas fuerzas y poderes liberados de artefactos históricos que irán encontrando. Junto a su robot Dokku, ellos son The Saskatoons.

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«El proyecto se inició en Sardinha em Lata y desde Pikkukala lo conocimos en un Cartoon Movie. Nos encantó la animática que nos enseñó Diego Carvalho y poco después entramos en ‘The Saskatoons'» comenta Pablo Jordi a Audiovisual451. La serie cuenta ya con ayuda del ICAA portugués, así como con la implicación de RTP, de manera que el siguiente paso será recopilar impresiones sobre el proyecto y seducir a televisiones de España y Finlandia. «Desde Pikkukala trabajaremos para solicitar la ayuda MEDIA.» Según comenta Pablo Jordi, ‘The Saskatoons’ es «un proyecto bastante único y distinto a lo que hemos hecho hasta el momento porque, aunque es un target de 6 a 8 años, tiene un estilo de misterio y comedia y una mezcla de arqueología y tecnología que yo no había visto antes. Todo ello con un tono de aventura amable.» El equipo llega al foro con «un piloto y una biblia, estamos trabajando juntos en el guion, en varias historias y sinopsis» comenta Pablo Jordi, quien viajará a Toulouse junto a Diego Carvalho, Myles McLeod y Evgenia Golubeva para abordar el pitch. Cartoon Forum ha confirmado la asistencia de unos 200 compradores. Por el momento, Pikkukala se ocupará de la preproducción y de la postproducción, mientras que la animación estará en manos de Sardinha, «porque ellos tienen un buen equipo de animación y músculo productivo. A nosotros todo lo que tiene que ver con storyboard y preparación de las historias nos gusta mucho y se nos da muy bien» asegura Pablo Jordi. ‘The Saskatoons’ se realizará en animación 2D, «los personajes cobran vida de una manera muy interesante. El diseño de los fondos también tiene un toque interesante.»

Próximos proyectos Pikkukala tiene también en desarrollo la serie ‘Taste Buddies’, sobre hábitos saludables a la hora de comer y para la que han conseguido el apoyo de Televisó de Catalunya, preventas a EITB y otras a otros países como Israel, después de su video-pitch en Cartoon Forum 2020. «Se ha sumado también la Fundación Alicia, vinculada a Ferran Adrià, algo muy positivo que nos ayudará con los guiones.» Además, el estudio finlandés y barcelonés está preparando el regreso de ‘Saari’, también de la mano de la televisión pública de Cataluña, así como una posible película de ‘Royals Next Door’. Pikkukala también está participando como coproductor en series europeas como ‘Stinky Dog’, con Folivari, Dandelooo, Panique y Shelterprod.

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Cineuropa - 04/10/2021

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CARTOON 2021 Cartoon Forum

Suzanne Kelly • Head of Children’s and Young People’s Content, RTÉ “As a broadcaster, to be sited amidst all of this amazing talent is really a privilege” by DAVIDE ABBATESCIANNI 04/10/2021 - We chatted to the Irish executive about this year’s rich slate of national projects, the latest trends in terms of consumption and working practices, and RTÉ’s editorial strategy

On the occasion of the latest edition of Toulouse’s Cartoon Forum (20-23 September 2021), we caught up with Suzanne Kelly, head of Children’s and Young People’s Content for Irish pubcaster RTÉ. Our chat revolved around the type of content sought by the network, this year’s Irish slate of projects, and the latest trends in terms of consumption and working practices. Currently, the Irish animation sector in particular is flourishing, generating roughly half of the country’s entire production spend. Over the three days of the event, 11 new projects from the country were presented, making Ireland the biggest contingent attending the prestigious pitching and production forum, after France. Cineuropa: What kinds of projects do you usually co-produce or acquire? Suzanne Kelly: For RTÉ Kids, I commission and acquire content for all age brackets between zero and 12 years of age. Up until 2018, within RTÉ, there was a particular focus on content suitable for our pre-school audience. Since then, I have begun to commission and acquire older-skewing titles, which have proven really popular with an Irish audience. Titles that we have recently commissioned include Dorg Van Dango by Cartoon Saloon, Boy Girl Dog Cat Mouse Cheese by Kavaleer Productions, Critters TV, Turnip & Duck and Urban Tails by Pink Kong, Ballybraddan by Geronimo Productions and Treehouse Republic, and Royals Next Door by Ink & Light. One only has to cast an eye across the titles listed to see the stand-out, unifying theme...Comedy! Also,

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the standard of writing and the quality of Irish animation are outstanding, and as a broadcaster, to be sited amidst all of this amazing talent is really a privilege. Since 2019, RTÉ Kids has also been commissioning themed collections of short-form animation. In 2019, we commissioned a series of shorts based on trailblazing Irish women, and for this year, we have seven amazing Halloween-themed stories. How would you judge this year’s edition of Cartoon Forum? Obviously, it was very disappointing not to be able to attend in person, as Cartoon Forum is one of my favourite events to visit. However, the virtual event was really smooth, and I hugely enjoyed checking out the pitches and projects via the online portal. As usual, there was a fantastic variety and array of projects to enjoy. I did miss sitting in the auditorium, watching and listening live, and also getting the chance to connect with my colleagues from across the world... I’m already looking forward to next year. What’s your take on this year’s slate of projects? The standard of this year’s Irish submissions is phenomenal. It is a beautifully diverse mix of projects, with wonderful storytelling and engaging, memorable characters at their core. The slate includes a number of titles, from Adam♥Adventure!, traversing the solar system [produced by Kavaleer], to the criminally talented Big Tuna [produced by Daily Madness]. Then we have Cryptix, an epic father-daughter comedy-adventure series [produced by Pink Kong]; Dick Has a Problem, a comedy-drama with a heart [produced by Wiggleywoo]; boydetective tale Freddy Buttons Wacky Mysteries [produced by Treehouse Republic]; Ivory Towers [produced by Sixteen South], celebrating the preciousness of intergenerational relationships; Ivy’s Bookshop, exploring and learning about the world with Ivy, who has dyslexia [produced by Ink & Light]; and Meddlers, a slapstick comedy from JAM Media. The slate is rounded off by the gothic deliciousness of Tales of Terror from Dream Logic and, last but by no means least, The Scavengers, on a mission to discover whether humans can return to their home planet. What a selection! What kind of shifts are you noticing in terms of content consumption? First off, RTÉ Kids noticed significant platform viewing shifts that coincided with the large-scale lockdown from March 2020. We were using our linear channels to create an educational platform for Irish kids, and placed a variety of programmes (both animated and live-action) within and surrounding these blocks. The uptake was massive. As things get back to “normal”, our player and other digital services are once again experiencing a significant uplift. In terms of the type of content being consumed, animation remains a key priority for our preschool viewers. We are also keen to increase our offering for the 7-12 age group and look forward to coproducing more titles in this space. How do you think the pandemic is changing working practices? Obviously, the pandemic has had a massive impact on every section of the audiovisual industry. I suppose the animation sector, more than most, was able to pivot and adapt in order to continue to deliver content and meet deadlines. Massive fallout occurred from the suspension of international travel and, as a direct result, the impact on markets. Meeting face to face is an integral part of our business and is particularly important for new animation companies when they want to get in front of broadcasters and also to secure finance. I am hoping that, as we move forward, we can perhaps take our learnings from the past two years and potentially adopt some sort of hybrid working models, but I’m still looking forward to getting back to markets.

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Credit: Films Constellation France’s Les Film d’Ici and the Netherlands’ Submarine Haven have boarded “They Shot the Piano Player,” the much-awaited new animated project from Fernando Trueba and Javier Mariscal after their 2012 Oscar-nominated “Chico & Rita.” The producers join existing producers Trueba PC, Mariscal Studios and Peru’s Tondero production team. Sold internationally by Films Constellation, the animated feature is a celebratory evocation of the eruption of world-renowned Latino musical movement Bossa Nova in the ’60s and ’70s through the personal story of a young Brazilian piano virtuoso, Tenorio JR, whose disappearance is being researched by a journalist – Jeff Goldblum attached to voice. 432

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“Fernando and Javier have developed a powerful and moving film combining a unique artistic, political and humanistic approach. It is an important story, given the film’s many layers that will entertain audiences worldwide,” Serge Lalou at Les Films D’ici told Variety. The French company – always stimulated by genre hybridization, documentary soul and auteur aim – has previously backed Aurélien Froment’s “Josep,” a player at this year’s Cannes Official Selection, and is currently backing Iranian filmmaker Sepideh Farsi’s project “The Siren,” presented as a project at Annecy’s this year. In 2019, the Amsterdam-based Submarine took the Cartoon Movie distinction of Producer of the Year for Salvador Simó’s multi-awarded “Buñuel in the Labyrinth of the Turtles.” A leading animation studio in the Netherlands, its CEO Bruno Felix said: “Fernando introduced us to an extraordinary story that will be full of drama, music, and visualized beautifully by Javier Mariscal. As a true cineaste, he will once again prove that animation is an excellent way to engage audiences of all ages.” At the most recent Cartoon Forum, Submarine presented a new project, “Little Charlie,” a preschool-targeting TV series in coproduction with Germany’s Alexandra Schatz Filmproduktion. The production is “currently in full swing between three animation studios in Spain, France and The Netherlands,” according to Fabien Westerhoff, Film Constellation CEO, who is also exec-producing Trueba’s feature alongside Nano Arrieta. Delivery is scheduled for the first semester 2023

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