At this year’s Annecy Animation Festival, prominent creators from renowned animated TV series had an open and personal conversation with EbMaster, discussing their legacies, changes, and the evolving nature of the medium they significantly influenced.
These renowned animators, including Craig McCracken, Genndy Tartakovsky, Rebecca Sugar, Pendleton Ward, J.G. Quintel, and Adam Muto (an executive producer and showrunner for “Adventure Time”) shared insights into the beginnings of their creative journeys, the emergence of a fresh era in animation, and the continued importance of pushing boundaries even after many years in the industry.
The discussion spanned from fond recollections of Cartoon Network Studio’s golden age, marked by a commemorative 25th anniversary panel held at Annecy on Tuesday afternoon, to forward-thinking conjectures regarding animation’s future. Essentially, it emphasized that despite significant changes in technology, viewer trends, and corporate dynamics, the creative spark that ignited their legendary shows remains vital for today’s creators and is likely to inspire the up-and-coming generation as well.
McCracken stated that there are individuals who are producing their own animated shows, with examples like Vivienne Medrano’s widely acclaimed YouTube pilot-turned-Prime series “Hazbin Hotel” serving as proof that a new wave of independent animation is emerging. This trend may initially take shape on free online platforms such as YouTube, rather than television, and the strategy seems to be to gain visibility, build an audience, and then attract attention from channels and streaming services.”
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“According to McCracken, it’s becoming common for people to create their own animated shows. Projects like Vivienne Medrano’s hit YouTube series “Hazbin Hotel” demonstrate that a new wave of independent animation is on the rise. This movement often begins on free online platforms such as YouTube before moving to television, with the aim of gaining popularity and recognition, which can then attract interest from channels and streaming services.
Sugar and Muto highly commended Green Street Pictures’ productions, “Scavengers Reign” and “Common Side Effects,” citing them as additional instances of excellence. Notably, “Scavengers Reign” initially began as a short film that garnered considerable acclaim online, eventually leading to the commission of a series.
Tartakovsky expressed doubts about whether those models could sustain long-term commercial successes due to questions about their scalability and reliability. He suggested that “IP” (intellectual property) is the key focus now, as studios seem more preoccupied with rebooting existing franchises rather than creating new ones. This sentiment was echoed by Mudo during a panel discussion marking an anniversary, where he appealed to studios and broadcasters to start greenlighting fresh ideas instead.
Quintel offers a glimmer of hope: although short programs and incubators are temporarily halted, the mentoring spirit persists. “We’re bringing on board new hires fresh from school. They’ve never done it before, but they’re learning as they go, picking up skills related to storyboarding and animation directly from the show.” Many of the speakers highlighted that the animation industry has historically gone through cycles, suggesting that there could be a surge in original content in the future.
During the afternoon’s discussion, it became evident how outdated past limitations feel in the era of digital distribution when it comes to our shows. I found myself pondering, “Why are our shows structured at 11 minutes, as it’s a division of 22? Who set these rules that a show must be seven minutes or 11 minutes? Couldn’t it be two minutes, an hour, or any other length?
In the contemporary distribution landscape, opinions in the room varied concerning the influence on audience impact. McCracken suggested, “When you post content online, you get a sense of how it’s received and make adjustments based on responses… essentially, engaging with those watching.” Tartakovsky countered, “While this approach may seem outdated, following the crowd could lead to peril. I prefer to offer the audience what I believe is good and original, something that stands out uniquely.
The artists who have gathered together recognize the significant shift in global teamwork due to innovative tools and technologies, as well as the impact of social media networks and personal portfolio websites. Currently, McCracken manages his production, a preschool spinoff of “Foster’s” based in London, all while working from Los Angeles remotely. He explains, “It’s essentially the same role. The only difference is that I’m doing it from afar, and it’s just as if I were back at the studio.
Tartakovsky’s teams are just as diverse. He shared, “I maintain a list of Instagram creators I hope to collaborate with someday.” He went on to say, “That’s how I discovered the studio behind ‘Primal.’ This came as a shock to some at the table. They had produced a short film adapted from one of their comic books, and I was determined not to follow traditional methods, so I reached out to their tiny studio in Paris. Remarkably, they agreed to take on the project, and the result was truly amazing.
Many creators primarily seek inspiration and potential partners through social media and video platforms. However, Quintal and Sugar have found transformative connections at comic conventions, while Muto believes individual portfolio websites, which were popular in the past, are making a resurgence. Additionally, Ward emphasized that the Women in Animation website is an excellent resource for discovering artists.
Despite all the alterations, certain aspects have remained constant, most notably the bond of friendship that has tied this team together for numerous decades. “You gravitate towards talent you appreciate,” mentioned Tartakovsky. “My art director from ‘Samurai Jack’ has collaborated with me on practically every project. I have a background designer who worked with me way back on ‘Dexter’, whom I recently started working with again. You grow fond of these individuals.
McCracken concurred, expressing, “It requires a unique, somewhat madmind to perform this task… It’s absurd that we even do this,” he chuckled. “If any of us manage it, we’re like, ‘Well done,’ and we want to collaborate with them repeatedly.
Mudo acknowledged the struggle in assembling a team, “It’s tough,” he said. “Each time we need to let everyone go and start anew, which is more common in today’s streaming era, it seems like starting a new project altogether – even if it’s just another season of the same show. This likely explains why we often work with familiar faces.
Having diverse levels of background in projects geared towards older audiences, the creators relished the autonomy that comes with adult animation these days. Sugar reminisced about her time during “Steven Universe’s” airing, when she was frequently told that smaller fan bases of her show were inconsequential to the network, as they focused on garnering a broad television audience of all age groups and demographics. In contrast, with adult animation, she asserted, dedicated fan bases have never been more crucial, and their influence on a show’s prosperity can be far greater.
Apparently,” Sugar noted, “we’re at a point where what truly counts in today’s fandoms – their detail and enthusiasm – could be our primary focus.
Despite having blockbuster success with the “Hotel Transylvania” series worth billions under his direction, for Tartakovsky, convincing others to support original ideas is still a challenge. He expressed, “Three ‘Hotel Transylvania’ films, nearly $2 billion in earnings, and yet I continue to struggle getting an original concept approved. Every time I present my ideas, they seem to appreciate them, but also express reservations.
For more than three decades, these innovators haven’t merely managed to exist within a continually evolving field. Instead, they continue to explore new ideas, guide others, and crave the future developments that lie ahead.
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2025-06-10 19:47