Magic Light Pictures
Muriel Thomas, international distribution director at Magic Light Pictures (MLP), outlines how the audience for the company’s holiday specials is evolving, the digital strategy for this content and her slate for Mipcom.
What new animated holiday specials has MLP got lined up for Mipcom?
We are excited to be attending Mipcom with our latest adaptation from the best-selling picture books of Julia Donaldson and Axel Scheffler, The Scarecrows’ Wedding. This enchanting story is about two devoted scarecrows, Betty O’Barley and Harry O’Hay, as they plan the perfect wedding, until unexpected twists begin to unfold. In true Magic Light Pictures style, it’s full of heart, humour and adventure and it has a wonderful voice cast including Rob Brydon (Gavin & Stacey, The Trip) voicing Reginald Rake, Jessie Buckley (Wicked Little Letters, Wild Rose) as Betty O’Barley, Domhnall Gleeson (About Time, Alice & Jack) as Harry O’Hay, all led by Sophie Okonedo (Slow Horses, Hotel Rwanda) as the Narrator.
You’re now on the 13th Donaldson/Scheffler adaptation. How do you keep them fresh while retaining their signature style?
The Scarecrows’ Wedding has all the hallmarks of a classic Donaldson/Scheffler adaptation in that it’s heart-warming, timeless and joyful, but it’s a completely fresh take on the story, featuring characters that we haven’t seen on screen before. What we do at Magic Light Pictures is look at a project on its own merits, focus on strong storytelling and select the most fitting technique to bring that story to life. This approach ensures our films remain fresh and distinctive, while still carrying the signature qualities our audiences know and love.
What did the huge BBC audience for Tiddler last Christmas tell you about the demographic watching these films?
Our little fish Tiddler made a big splash last Christmas, drawing an impressive 7.3 million viewers on BBC One and iPlayer, the highest audience for one of our films since The Gruffalo in 2009. With children increasingly discovering content on non-linear platforms, Christmas remains a rare moment when families gather around the television together. We’re truly honoured that our films have become a cherished part of many families’ festive traditions.
What can you reveal about how the audience for these specials changes over time?
While Christmas remains a special time for us, we’re seeing audiences enjoy our films throughout the year. The full Donaldson/Scheffler Magic Light animation catalogue was repeated on BBC One over the holiday period and continues to be available on BBC iPlayer all year round. They performed 20% up year on year, with every special attracting over a million viewers. Though these films are premiered each Christmas, they remain hugely popular all year round and our aim is to build on this success year on year. Because these stories are so timeless, they speak to generations and have the ability to feel fresh no matter how many times they’re seen.
Is the trend for animated specials at Christmas, or other holidays, spreading beyond the UK?
Our specials have broad global appeal and resonate across cultures. For example, Room on the Broom consistently performs well around Halloween in the US. The strength of our specials is that, apart from Stick Man, they are not set at Christmas, which means they can be transmitted all year round. We’ve placed all our previous specials in more than 180 countries, and we are taking the same approach with The Scarecrows’ Wedding. International pre-sales are already underway and we’re feeling really optimistic about its global reception.
Aside from traditional TV, how are you exploiting these specials in the digital on-demand space?
We are always looking for new ways and platforms for audience to access our content. Our dual digital strategy combines partnership with broadcasters and streamers while also building brand presence on platforms like YouTube. We believe we’ve found a great balance of between traditional linear television and the evolving digital landscape, helping us reach the widest possible family audience. As mentioned before, in the UK our specials are on BBC iPlayer all year round and are consistently in the top 30 most watched programmes on the platform, across all genres.
What are you plans regarding FAST for these shows?
In the summer, Sensical, the leading US FAST, AVoD and SVoD streaming service from Cricket Media, launched Pip & Posy to American audiences. As we continue to expand our global reach, we’re actively exploring opportunities in the FAST space and are currently looking for the right partner to bring our beloved specials to new audiences through this growing format.
What is your strategy for theatrical exploitation of these films?
Cinema releases continue to be a highly successful avenue for us. As our films are beautifully crafted and visually stunning, the big screen offers a unique way to experience them, allowing audience to find details that they wouldn’t necessarily see on the small screen. In countries like the UK and Australia, we’ve partnered directly with cinema chains to ensure regular screenings and in other territories like France we work with local distribution partners. We like to position our films as special events for a dedicated audience at key times of the year, such as school holidays, as we know children and families love to turn a simple screening into a memorable outing or even a first cinema experience for younger audience.
With Pip & Posy returning as specials on Sky Kids, how is MLP’s series strategy evolving?
It’s of no surprise to anyone in the industry that there are massive challenges to overcome in terms of getting new content commissioned at the moment. However, we remain hopeful and are particularly excited about our upcoming 52×11’ animated series Zog, which is set to make its debut on CBBC in 2026.
What other programmes do you have in the MLP development pipeline?
While it’s too early to share full details, we’re actively developing a promising slate of new projects, including both one-off specials and animated series. As always, we’re focused on high-quality storytelling, compelling characters and imaginative worlds that resonate with children and families. We look forward to sharing more in due course as these exciting projects take shape.
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Muriel Thomas, international distribution director at The Gruffalo prodco Magic Light Pictures, discusses the evolving market for holiday specials, the London-based company’s YouTube strategy and its continuing move into TV series production.
Have you observed any changes in audience demand for holiday content?
We have seen some shifts over the past few years. Streaming has become a strong driver for repeat viewing, which is perfect for our specials. Families increasingly value the flexibility to watch again and again, on demand and across different devices.
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Magic Light Pictures’ Marc Ollington and Muriel Thomas describe how the animation house has built a business creating specials based on Julia Donaldson and Axel Scheffler’s beloved picture books, along with an ancillary licensing programme.
Magic Light Pictures has carved out a unique position in the global animation business. Co-founded by Michael Rose and Martin Pope, the award-winning studio has built its reputation around the production of sumptuous high-end specials based on Julia Donaldson and Axel Scheffler’s much-loved picture books.
The relationship with Donaldson and Scheffler goes back to 2009 when Magic Light produced a heart-warming version of bestseller The Gruffalo. Despite all the upheaval in the kids and family market since then, Magic Light’s steady stream of specials continue to attract huge audiences both at launch and later via on-demand platforms.
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As Magic Light Pictures prepares to launch its latest animated Christmas special, titled Tiddler, international distribution director Muriel Thomas and marketing director Marc Ollington discuss what makes Julia Donaldson and Axel Scheffler’s stories so successful and give their thoughts on the industry’s changing landscape.
“This time of year is always the highlight for us as the production of our latest special is coming to an end and all the pieces come together,” says Muriel Thomas, international distribution director of Magic Light Pictures. The company is about to launch Tiddler, its 12th adaptation of the children’s books written by Julia Donaldson and illustrated by Axel Scheffler.
“Tiddler has long resonated with readers because at its heart, it’s a tale about imagination, adventure and the joy of storytelling, which appeals to both children and adults alike. Parents love it for the positive messages around creativity and perseverance, while kids are drawn to such a lively character as Tiddler and the imaginative scenarios that surround him.
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Magic Light Pictures’ latest holiday special debuted last month and here the company’s marketing director, Marc Ollington, and distribution director, Muriel Thomas, outline how its specials are a year-round business.
As each new year rolls around, UK prodco Magic Light Pictures celebrates the success of its latest animated Christmas special, which has become a much-anticipated staple of BBC One’s festive line-up.
Last year was no different, following the Christmas Day premiere of Tabby McTat, an adaptation of celebrated author/illustrator duo Julia Donaldson and Axel Scheffler’s picture book about a busker and his pet cat. The film earned itself a spot in the top 10 programmes watched on Christmas Day, according to Magic Light marketing director Marc Ollington, with around 3.4 million live viewers for its premiere TX, and up to seven million in total after one week consolidated.
Michael Rose and Martin Pope, the duo behind Magic Light Pictures, look back at their 11 adaptations of Julia Donaldson and Axel Scheffler’s much-loved picture books and reveal how they plan to take the brands into the future.
It is widely acknowledged that reading books to children delivers profound emotional and learning benefits. But there’s also evidence that it is a source of inspiration to the readers too. How many times over the years, for example, have film and TV producers said their creative ‘eureka’ moment came via the time-honoured ritual of a bedtime story?
Take Michael Rose and Martin Pope, the co-founders of award-winning London animation studio Magic Light Pictures. Back in the mid-2000s, they were both reading Julia Donaldson and Axel Scheffler’s much-loved picture book The Gruffalo to their respective children. Determined to adapt the book into an animation film, they spent the next four years convincing publishers, agents and the authors that they could be trusted with this cherished property.
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Magic Light Pictures is best known for its animated Christmas specials on BBC One and now it’s diversifying, execs from the company reveal.
As Magic Light Pictures celebrates its 20th birthday, 2023 is shaping up to be a big year for the UK prodco, which has made TV specials loved by many millions of kids around the world.
The award-winning London company, founded by joint MDs Martin Pope and Michael Rose, has produced 12 of the BBC’s Christmas animated specials, including 10 films based on the story books by Britain’s best-selling author and illustrator, Julia Donaldson and Axel Scheffler.
Its most recent, The Smeds & The Smoos, had more than 8.5 million linear viewers last December, with many more streaming this beautiful film on BBC iPlayer. This success is the culmination of two decades of hard work, creativity and smart stewardship from Pope and Rose.
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Michael Rose, joint MD at UK animation studio Magic Light Pictures, talks about the company’s strategy for turning shows into brands, and offers a glimpse of the company’s MipJunior slate via C21’s Digital Screenings.
Magic Light Pictures is probably best known as the Oscar-nominated production house behind many of the BBC’s recent animated Christmas specials, such as The Gruffalo, Zog and Superworm.
Last year the company launched its first animated series, Pip and Posy, on Paramount-owned Channel 5’s Milkshake! children’s block and on Sky Kids, with the show achieving fantastic ratings and international success.
The series is about two best friends whose lives revolve around a wonderful world of play. Based on the picture books illustrated by Axel Scheffler, the illustrator of The Gruffalo, it aims to show preschoolers how to build lasting friendships with kindness, resilience and flexibility.
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With its holiday hit Superworm wriggling its way into millions of festive front rooms last Christmas, UK animation house Magic Light Pictures is lining up new content for 2022 and beyond.
UK-based Magic Light Pictures, founded in 2003 by joint MDs Martin Pope and Michael Rose, has built up a strong reputation in the kids’ and family space, particularly for its animated Christmas specials for the BBC. With classics like The Gruffalo and The Gruffalo’s Child under its belt, the prodco has won three international Emmys and two Baftas and has been nominated for four Oscars.
“We formed the company because we wanted to make high-quality programmes with a focus on the family audience,” Rose says.
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After a bumper year for the animation industry in general, Muriel Thomas of Magic Light Pictures reveals the UK company’s slate for this year and discusses plans for international expansion, as part of its C21 Digital Screenings showcase.
While the events of last year sent many TV production houses into meltdown, the animation industry overall was less affected. Rather than shooting on location, CGI animators were able to keep working from their homes. Despite many challenges, productions could continue.
The UK’s Magic Light Pictures – best known for producing Oscar-nominated animated specials based on Julia Donaldson and Axel Schleffer’s books, such as The Gruffalo and Room on the Broom – benefitted from this along with other animation houses and was also able to keep ahead of the gradually flattening curve through its position as both a producer and distributor.
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Magic Light Pictures’ joint MDs Michael Rose and Martin Pope and head of international distribution Muriel Thomas showcase their C21 Digital Screenings playlist, discussing why young audiences deserve quality content and reveal details of their new project.
Launched in 2003, Magic Light Pictures (MLP) originated from joint MDs Michael Rose and Martin Pope’s mutual desire “to produce imaginative, thought-provoking and exciting entertainment for children and families worldwide,” says Pope.
Previously, Rose had set up the feature film division at Aardman Animations and Pope was a live-action producer, working with industry heavyweights including Alan Bennett and John Schlesinger at the BBC. “We shared an interest in focusing increasingly on the family market, as we realised it’s an incredibly important audience who deserve to be well served by the best there is,” says Pope.
“What’s wonderful about this audience is they are so clear-sighted; they can sniff out anything that feels inauthentic. It’s important to work with writers and directors who have a clear sense of what they’re trying to say and deliver it in a congruent way.”
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