Titmouse, the Animation Studio Behind ‘Big Mouth,’ Celebrates 25 Years of Cartooning

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Upon stepping into Titmouse’s Burbank headquarters, you instantly sense the vibrant atmosphere that nurtures their unique mix of humor, emotion, and daring spirit. Two repurposed van doors adorn the lobby walls, leading respectively to a covert bar reminiscent of a 1920s speakeasy and an elegantly designed game room where team members often gather for games of Dungeons & Dragons. This is merely one example of how the company has infused its character into the premises.

Titmouse, affectionately named after a popular eastern North American bird species, took flight when its founder and president, Chris Prynoski (a seasoned MTV professional and Emmy-nominated creator of “Downtown”), along with his vice president wife Shannon Prynoski, transitioned from New York to Los Angeles. They started the company as a side project in T-shirt design while still engaging in animation work for various series and commercials. However, in 2004, Shannon persuaded Chris that it was time to fully commit to Titmouse, and since then, they’ve never looked back.

This studio has been around for 25 years now and over this time, its portfolio has expanded to include shows like “Metalocalypse” and “The Venture Bros.” on Adult Swim, “Star Trek: Lower Decks” on Paramount+, “The Legend of Vox Machina” on Prime Video, “Turbo FAST” for Netflix, “Motorcity,” created by Chris Prynoski with Disney Television Animation, and “Big Mouth,” one of the longest-running series on Netflix. In 2022, Chris even returned to his roots, taking up an executive producer role on Paramount+’s “Beavis and Butt-Head Do the Universe.” Previously, he had directed a sequence for the franchise’s 1996 film during his time at MTV.

Chris appreciates the Emmy-winning projects his company produces and strives to maintain a sense of novelty. He feels that the studio’s visual style isn’t clearly defined. “We aim to tackle each project uniquely, adapting to the creator of the show,” he clarifies, noting however, that he senses a certain ‘in-house feel’ at Titmouse. “It’s difficult to pinpoint. It’s more of an abstract concept. Yet, if you ask animation enthusiasts, they often recognize a Titmouse production when they see one.

As a film enthusiast, I can’t help but emphasize the significance of selecting projects that resonate with us. Whether it’s a CG preschool series, an action-packed adult drama, or a humor-filled adult comedy, what matters most is discovering that unique spark within each project. Some might find this obvious, but it holds true – authenticity lies in uncovering the genuine essence of each production and delving deeper into it.

He references “Metalocalypse,” an Adult Swim animated series depicting a heavy metal band, as an illustration. He explains that the creators aimed for it not to be just a superficial parody, but rather a program deeply connected with the metal community. This philosophy is applied across all their productions.

In essence, it’s considered crucial for that kind of authenticity in the show “Big Mouth.” This adult comedy is crafted by Andrew Goldberg, Nick Kroll, Mark Levin, and Jennifer Flackett, and follows the lives of students portrayed by these creators. The principal voice cast includes Nick Kroll, John Mulaney, Jenni Klein, Jason Mantzoukas, Fred Armisen, Ayo Edebiri, Jordan Peele, and Maya Rudolph. Notable recurring characters and guests through the years have ranged from Jeff Goldblum to Lupita Nyong’o and Lin-Manuel Miranda. Titmouse is currently working on the eighth and final season of the series, which should be released sometime this spring or summer.

Reflecting on the past, Chris acknowledges that initially, he perceived “Big Mouth” as a show similar to a crude joke series, much like “Family Guy,” with the added leeway of being on Netflix allowing for even more outlandish humor. However, an unexpected factor that he hadn’t foreseen was the involvement of Jennifer Flackett and Mark Levin. Their contributions greatly enriched the show’s characters, providing a depth and emotional appeal that significantly elevated “Big Mouth.

He characterizes the animation style as humor-centric. “Our aim was to create a large, vivid appearance so that the humorous facial expressions would be clear. Each design decision was made with the intention of amplifying and reinforcing the comedy of the series.

Initially, the designers conducted pencil sketches for the Kroll, Goldberg, and Hormone Monster figures, as Chris explains. “That was a great starting point,” he says. “The appearance of Nick’s character, I believe, influenced the entire series visually – the pronounced overbite, full lips, oversized eyes, and large mouth. Of course!” He further notes that Otto Tang, the art director for the first three seasons at Titmouse, built upon these designs extensively. However, Chris believes it was Otto’s unique touch that truly defined the world of the show. According to him, the world feels realistic, while the houses were intricately designed to reveal more about these characters.

Titmouse boasts a workforce of approximately 1,000 individuals, comprising writers, producers, directors, storyboard artists, animators, compositors, and editors. Throughout its history, it has attracted similar-minded professionals like Chief Creative Officer Antonio Canobbio, who joined the team in 2005 as an art director; and Chief Operating Officer Ben Kalina, who started working in production with the company in 2007.

The main base for Titmouse’s animation production spans over 100,000 square feet in Burbank and houses editing suites and a sound studio as well. Besides this Burbank location, the company also operates in New York and Vancouver. Interestingly, the old Hollywood office of Titmouse has been transformed into a live experimental comedy theater known as the Titmouse Warehouse. The current shows they are working on include “Alien Encounter,” a horror series produced by Trepany Playhouse.

Beyond artistic avenues, you’ve got Titmouse’s online shop (titmousestuff.com), brimming with posters, stickers, and of course, T-shirts. Moreover, Titmouse is venturing into the gaming world. In July, they will debut “Drunkards, Druggies & Delinquents,” a table game that was initially conceived as a jest but garnered interest from clients and friends who encouraged its development. Chris admitted he didn’t anticipate anyone would play it, but then a group did, and they urged him to create it.

At this year’s SXSW, Titmouse unveiled Churp – a fresh subscription service offering tailored merchandise and unique cartoons straight to fans. Chris jokingly compares it to Sanrio for stoners, hinting at the Hello Kitty brand, while also mentioning its role as an IP (Intellectual Property) development platform. At launch, Churp offers “Bruddies,” a violent action-comedy about two close friends. This production is helmed by Ben Falcone, Chris Henchy and Steve Mallory, with Melissa McCarthy serving as the producer. The voice cast includes Melissa McCarthy, Brooke Shields, Elizabeth Banks, Joel McHale, Octavia Spencer, and George Takei.

The leaders at the studio show their deep love for animation and its community in various ways. In 2020, Shannon established the Titmouse Foundation, a non-profit organization dedicated to fostering the careers of underrepresented individuals in animation by providing scholarships and mentorship opportunities. Moreover, this studio lends its support to events such as Silver Lake Shorts (where Chris serves on the board) and the Annecy Animation Festival.

Chris thinks this period is crucial for independent animation, as he notes, “There’s animation funded by studios, streaming platforms, or networks, but there’s also an abundance of chances for indie animation.” When he first started, the only way to get noticed was by pitching a show, producing a film independently, and submitting it to a festival. Now, with enough effort, one can create their own animated project and share it on platforms like YouTube, TikTok, or Instagram to promote it. This self-made approach is fantastic for independent animators because it allows them to produce content easily. Chris works with many independent animators that he admires and supports.

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2025-03-19 18:47