15 January 2013
Rachel Murrell on the opportunities for children's animation writers overseas
Photo: What's The Big Idea? by Planet Nemo Animation
It happened again this morning. The postman delivered a DVD of a new pre-school animation I’ve written. I ripped open the envelope, put the disc in the DVD player, hit ‘play’ – and couldn’t understand a word anybody was saying.
It’s not the result of early-onset senility – not yet, anyway – but of a sustained campaign of pitching producers outside the UK. And while I’ve been able to get work from France, Spain, Belgium, Norway and Germany, sadly, I don’t have the language skills to match.
It all started in 2006 when I was un-agented and short of work, and I emailed dozens of companies in the UK and abroad offering my services as a scriptwriter. Most ignored me, but one or two of the Europeans wrote back politely asking for a CV. Producer Frederic Puech of Planet Nemo Animation in Paris was one, and he suggested we meet when he was next in London.
We met for tea in the British Library – I like to set the right tone! – and soon afterwards, he hired me to write 10 episodes of his new show Silly Bitty Bunny. My schoolgirl French, while embarrassing, turned out to be no barrier to me working with Fred, or his then script editor Diane Morel. Both speak excellent English, and got every joke.
As time went on, I found more doors open to me than I’d expected. Of course I wasn’t the first to knock on them: several of my fellow British animation writers work for producers in France, Germany and elsewhere in Northern Europe. The reason is simple. Many European territories have subsidies available that see a lot of shows go into development. But that’s not enough to make them work internationally. Animation is a global business. Shows have to sell. And many European producers are open to hiring British writers because we’re seen as good at the character, tone and humour that will make a show a global success.