3 minute read
Ready for the Spotlight
Back in 2016, London-based GFM Animation was founded by Guy Collins to create a stand-alone dedicated animation business. “Our objective was to create a pipeline of quality family movies, with engaging stories and first-class filmmaking partners to delight theatrical audiences worldwide,” says Collins. “We felt there was an opportunity to take our tried and tested financing and production structures used in live action and transfer them to independent animated films. And as you can see from our slate we have been pretty successful over a relatively short time.”
Since then, the studio has announced several high-profile animated features: Blazing Samurai, helmed by Rob Minkoff and Mark Koetsier with Cinesite and Aniventure; 10 Lives with L’Atelier Animation and directed by Chris Jenkins; A Greyhound of a Girl, based on the acclaimed Roddy Doyle book on the fact that if we were to be successful in the animation space, we would need to build a team with experience in animation production.”
A Wonderful Mix
and directed by Enzo D’Alò; Musketeers of the Tsar, from renowned directors Paul & Gaëtan Brizzi; and Humbugged! from Hardy Howl, the fantastic team behind the indie hit Hoodwinked. Collins says he and his team identified a growing space in the market for high-end independent animated movies. “At that time we had many hurdles to overcome on the film Blazing Samurai, not least the collapse of the animation studio we were working with in Toronto. We were focused
GFM’s head of production Sean Feeney says the company prides itself on its eclectic style and subject matter. He explains, “We are always mindful of asking ourselves the following questions: Is it a strong story that audiences will enjoy? Are we partnering with strong, creative filmmakers? Having an existing IP is always a positive, too. But ultimately we don’t want to pigeonhole ourselves. We see GFM Animation as an almost virtual studio, free to work with different partners. It’s all about working collaboratively to bring that story to life. We also work across an extensive range of budgets depending on the IP, director, cast, script, 2D or 3D techniques, etc.” The five-year-old company’s first feature, Blazing Samurai, is in the final stages of production and will be delivered this fall. “It’s not unfair to say this has been a labor of love,” says Collins. “We took a huge amount of financial risk to help the film in its early development stage and later to get it back on track. It has been a Blazing Samurai long process from which we have learnt a lot. Without Rob Minkoff’s unrelenting creative talent, commitment and all the experience he brings with him from directing films such as The Lion King and Mr. Peabody & Sherman, the film would never had made it. Watching the film now as it nears the end of production, we feel a huge level of pride and are so pleased to be working alongside Cinesite, Aniventure, Huayi Brothers and Align, as well as Mark, Rob and respective creative teams. This is a truly independent animated feature with Hollywood-level quality and we can’t
U.K.-based GFM Animation prepares Blazing Samurai for global audiences
wait for audiences to see it, too.”
In the coming years, the team at GFM Animation hopes to grow its feature film slate, increasing the number of films delivered each year to three or four, across a range of budgets and techniques. “We are also actively looking at animated series,” says head of marketing Amanda Kerridge. “This is an area we started exploring back in 2019, but then lockdown happened and our attention was diverted elsewhere, but this is an area of growth we’re very much interested in.”
So, what would they like the animation community to know about GFM? “That we’re an approachable and friendly lot, and that we are very active,” says Collins. “We’re all about building relationships and collaboration; bringing our skills and the right people together to get each film made. It’s been a tough year for our industry, particularly the independent sector. But we remain
hugely positive that there is a market for great family content, particularly for theatrical audiences. We think there’s space for everyone. And how great is it that the independent animation industry is growing and thriving, across both the feature film space and series content.” ◆
