Dandelooo’s Emmanuèle Pétry on European support for the animation industry
Emmanuèle Pétry, producer and head of international at French animation company Dandelooo, discusses the importance of strengthening European alliances in an uncertain world.
The animation industry is going through a difficult period as it deals with changing viewing habits among kids and the rise of AI. How can animation companies in Europe band together to weather the storm?
Historically it is in tough times that Europe is the strongest. We are now up for a new challenge which will strengthen our bonds. Animation companies have been coproducing with each other (and with our friends in Canada) since the 1980s but even more now that the bilateral treaty support system has matured. For example, we have just completed the coproduction of The Upside Down River with two European partners, Vivifilms in Belgium and Sparkle Animation in Portugal.
Despite the fact copros are never easy, we are quite pleased by our shared achievement as the series has just been selected for the Annecy Festival, where we will raise our glass to our constructive European coproduction. For now, AI, is not threatening the balance – not in the studios, nor in the dubbing arena – at least not until anything truly convincing appears. Creativity and talent remain the seal of success. Animation companies have joined hands in the European Union’s Animation in Europe [alliance], which is very active on the political side of the picture thanks to [producer and CEO of Watch Next Media] Philippe Alessandri’s leadership.
How important are the public service broadcasters and other networks to animation in France and Europe?
The public service broadcasters have been key for the animation industry and remain as such. One of the main reasons is how pubcasters hold up against the private sector thanks to their loyal mission of serving children in the best way, fighting cheap YouTube consumption. To do so they have also re-created an EBU network with 27 countries, which selects two series per year at Cartoon Forum for full European financial and creative support. Essentially, pubcasters are adapting to the viewing habit changes by creating their own digital service (Okoo, child of France TV) to retain the young viewers. Slowly the eyeballs are shifting but strangely enough we can still witness a solid consolidation with France 5 for its preschool slots.
The Upside Down River was a coproduction with Vivifilms and Sparkle Animation
What subsidies are available in France and the wider European animation market?
In France, first we have the CNC (national support financed by the cinema industry) via the Centre National du Cinéma et de l’image Animée. Second, we have regional subsidies, such as Region Auvergne/Rhones Alpes for the south, or Region Hauts de France. Third, there are department subsidies which have different budgets, for example La Drome where we have our studio Ooolala. And, of course, there is a national tax credit system.
In Europe, it is mainly Creative Europe which supports development, production and distribution. It is a challenging application which favours mostly smaller countries. As for the cinema sector, there is great financial (although selective) support called Eurimages, via the European Cinema Support Fund.
How does the Creative Europe Media (CEM) programme aid and boost Europe’s animation industry?
I don’t know the overall financial budget of Creative Europe Media, but given the number of programmes which have received support it must be quite significant. Having said that, the number of tangible criteria is quite high as well, mostly aimed at future successful shows, with many signed licences. The applications are thorough and insightful, based on real interests from European broadcasters who wish to acquire the given programme. It is a virtuous non-refundable system which complements each country’s own support, with a demanding selection, based on an anonymous committee composed of savvy professionals from each sector, with a ‘no bullshit’ analysis of its value.
Latvian film Born in the Jungle, producted by Atomart
What are the most helpful animation events in Europe and how do they benefit the sector?
Creative Europe Media is an amazing support for the animation industry as it has been organising many events for all creatives and business people to meet. Of course, there’s Cartoon Forum in Toulouse every September which allows Euro producers to pitch their new series projects in front of professionals, including broadcasters. Cartoon Movie in
Bordeaux every March shows up to 55 feature film projects in different stages and there are other smaller events such as Cartoon Business and Cartoon Next. Last but not least, there is Cartoon Springboard in Madrid which allows young professionals, including students, to pitch for the first time.
CEM also offers booths in the various markets, including Mipcom in Cannes, Berlinale, Mifa in Annecy etc. Beyond the CEM events there are many festivals which now offer panels and host programmes, such as ACE Producers for professionals and students, CEE Animation workshops for Eastern and Central Europe, Dingle Animation in Ireland, APD in Germany, and Euro coproduction conference Animart in Barcelona, to name a few. Unifrance is also a great actor by supporting the industry in markets and organising the Rendez Vous de Paris in January.
As an established animation producer, what do you see as being the biggest challenges for the industry in France/Europe?
Our European system has now reached a mature and fruitful ecosystem based on decades of growing quality studios. The overall worldwide economic crisis sees pubcasters’ budgets decreasing while FVoD, AVoD and games (aka Roblox) audiences are increasing, which is a cruel temptation for free cheap eyeball-capturing and monetisation.
Another challenge comes from the threat of deconstruction of the platforms and US major’s obligations to invest in original fresh animation because of American politics. Our unions, such as Anime France, have been able to build this healthy industry step by step, but dark clouds are swiftly progressing through the Atlantic. We need to keep up the energy.
Where do the best opportunities for animation in France and Europe lie?
Currently one of the best opportunities in Europe is the creation and implementation of the carbon calculator, which helps studios minimise the ecological impact of our productions. In France, the CNC will now require this tool to be systematically used in the studios in order to be eligible for grants. This is a virtuous and concrete way for the animation production sector to remain competitive and mindful of the planet.
There is also another opportunity in extending to the European countries, the ‘l’Education à l’Image,’ based on the strong French system of ‘L’ecole au cinema,’ supported by the CNC, whereby films are selected to be shown and studied in all schools, such as our TV special Mum is Pouring Rain. This vision is to help children understand, analyse and grow with smart meaningful films in order to blossom into responsible adults. This is not new but in France (like the UK), we have a wonderful children’s book heritage for possible adaptations, thus creating the future brands.
What are Dandelooo’s core aims and objectives for the next year?
Our first goal is to consolidate our cinema department which has proven successful in terms of films selected and international sales, mainly supporting European projects. For example, the Latvian film Born in the Jungle, currently in production by Atomart, is raising strong interest in other European countries, with several deals in the works. We are also aiming to pitch our own first feature film at Cartoon Movie next March.
Secondly, our goal is to deliver the best stories, on time, on budget and to make our broadcasters proud of their commissions. We now have three preschool series in production; Hold on Gaston for TF1, Max & Bunny for Canal+ and Billy the Cowboy Hamster season two for France TV. This is more than we ever had, so our studio Ooolala in Valence is growing day by day.
Thirdly, we are developing two great original comedy series and are working hard to tap into the best professionals to make these programmes happen and hopefully become international successes. So, the door is wide open for great European animation talent.
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