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Lindsey Adams

Lindsey Adams
Founder and producer
Daily Madness Productions
Republic of Ireland
Pitching: Big Tuna

What is the biggest issue facing the animation industry?
In Ireland and the UK, I’m finding that sourcing crew is becoming a big issue because there has been a big boom in demand in service work. It’s amazing because it shows that the animation industry is going from strength to strength, but it means that a lot of experienced talent are already committed to productions. It’s awesome that animators have all been employed, it just means we need more talent.

What is your company doing in response to this?
We are committed to moving the needles on a number of issues, among them being supporting, training and promoting female creators and leaders in the animation industry. We launched the First Credit initiative in 2018. That gives new female talent their first credit on TV project or existing talent their first leadership role, particularly director positions. We will also launch our Second Act internship next year. It’s a paid internship open to women aged 35 and over who are either returning to the TV industry or sidestepping from another one. We want to create an infrastructure of untapped talent and give them a living wage.

Are physical animation studios essential or is working from home the future of the industry?
It’s a choice between the studios. I don’t think working in a studio or office was ever really essential and I don’t think it will ever be essential again. We have a show in production that was designed to be remote, although staff are welcome to come in. On our other production, we’re trying to encourage people to come into the office, but we will have a no meetings rule on Wednesday and Thursday so that people can work from home without missing out on creative or key decisions. Our approach will be a hybrid for the next few months.

How do you feel about Disney’s decision to close many of its TV channels around the world?
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.

Tell us about the project you are pitching at Cartoon Forum.
Big Tuna (52×11′) is the story of a criminal kingpin cat who was forced to retire as a house cat. He goes into it thinking it will be an easy lifestyle, but it’s not quite so simple when he gets adopted by rambunctious tween twins. It’s aimed at kids aged six to 11 and it’s an absurdly cartoonish adventure series.


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