JOSH: Hello, Andy.  May I call you Andy?

ANDREW: Well, actually I’m not a big fan of Andy - I’ll answer to most things but Andy’s always sent shivers up my spine even though my mum still insists on calling me that…hmm, maybe that’s the reason!

JOSH: I apologize.  And I don’t want you to confuse me with your mum.  So, Andrew, for our international readers, what exactly is Sprout?

ANDREW: Sprout’s the first 24/7 preschool linear TV network in the US and is a partnership between Comcast, HiT Entertainment, Sesame Workshop and PBS.  We also have an unbelievably successful VOD platform (over 600 million orders since launch), companion online site (sproutonline.com), iPhone applications, podcasts, facebook pages, etc., etc…

JOSH: That’s an amazing number of VOD orders. (Just to put it in context, that’s two VOD orders for every man, woman and child in the US!)  And what exactly is your job at Sprout?

ANDREW: Official title is SVP Programming, which means I look after the programming strategy, creative services, original production, on-air branding and scheduling, acquisitions and network services.

JOSH: After spending an afternoon with you, it became very clear to me that you’re a very happy person and you love your job.  What do you love most about it?

ANDREW: There’s something very special about Sprout, I think it’s a combination of the brand, the staff, the can-do attitude and not being afraid to take risks.  I have a tremendous boss in Sandy (Wax) who’s supported me through what may have seemed like crazy ideas at the time…like creating the first live preschool show, deconstructing the half-hour formats and scheduling off the clock.  We also don’t have to pass ideas through endless committees before making it to air which means fresher content and way less time to see the fruits of your labor.

JOSH: And just to be fair, what do you like the least about it?

ANDREW: Well, budgets are always an issue, however I’m a firm believer in character and storytelling; we’ve embraced cardboard like no other network and Sprout’s Preschool Musical on a Stick! was low-budget in the extreme but one of our most successful stunts.

JOSH: After visiting Sprout’s beautiful offices in Philadelphia, I was most impressed by the positive energy and enthusiasm of your staff.  Everyone seemed to be on the same creative mission.  What’s your secret?

ANDREW: I think everyone understands and embraces our unique programming strategy, they hear from our viewers that what we do makes a big difference in family lives and we’re all passionate about delivering a service that kids love and parents can turn to whatever time of the day or night they need us.  There’s also something special about being like the little engine that could and I hope this is obvious from the creative work that appears on screen every day.  Finally, we try very hard to understand our audience…we have kids’ art work, birthday cards and pictures all over the walls and we’ve recently introduced what we call “Inspiration Outings” where we offer staff the chance to visit preschools, daycare centers, museums and any other places where kids and families spend time together.

JOSH: I love the idea of “Inspiration Outings.”  I may just borrow it for Little Airplane.  I was also amazed by the fact that you have a studio on site and produce original content for Sprout right in your building.  Tell us about your studio and what goes on there?

ANDREW: I absolutely love our studio…it’s the size of a postage stamp (12 ft. square) but every Monday-Friday we’re broadcasting live from 9 a.m. to 12 p.m. with a host and Chica the Chicken.  We create around 40 minutes of unique content every day and I’m incredibly proud of the quality of the material we generate.  The show’s called The Sunny Side Up Show and we’ve designed it to be a really interactive experience; we celebrate birthdays by showing homemade cards and we actively involve kids in our weekly themes.  Our most popular activity is a game we play called Dress Chica where we send kids and their parents to the website (sproutonline.com) where they dress Chica in outfits to match our weekly theme.  Then, live in the studio, Chica picks one outfit and dresses up in it…very simple, yet very effective - in fact we receive around 10,000 cards, uploads and Dress Chicas every week.  The way we create the show is also pretty special:  We have three hosts and three Assistant Producers all working a three-week pattern.  Week one, host and AP develop ideas, props and costumes for their on-air week, they also pitch their ideas to our Curriculum Consultant and Producer.  Week two, the host is on-air and the AP is the puppeteer for Chica (One of the reasons that she squeaks and doesn’t talk!).  Week three, the host takes the week off and the AP directs the next team’s on-air week.

JOSH: I can imagine that kind of ensemble approach would be very inspiring for your staff.  (I may borrow that, too.)  I know that Sprout has been growing faster than Jack’s beanstalk.  What are the numbers, and don’t be modest.  You’ve earned it.

ANDREW: How about to the tune of “The 12 Days of Christmas” then…

JOSH: Okay, I’ll hum along.

ANDREW:

Oh the numbers for Sprout have been really quite good,

And I’m pleased to share them with you.

VOD’s off the chart, every single month we grow

Half a billion views

18 million a month

47 million US homes! (That’s the five gold rings bit)

No. 1 in Q Scores

30% jump in linear this year alone

And a chicken called Chica to boot!

JOSH: Very catchy!  It’s clear to me that you’re succeeding in building a direct relationship between your hosts/presenters and the families who watch Sprout.  Tell us about this philosophy. Where did it come from?

ANDREW: When I moved from the UK it struck me that although there was great and compelling preschool content available, no channel was really providing a real destination for kids and families.  Combine that with the challenge of a programming library that, at the time, had no exclusive content, led us to come up with the solution of a programming strategy that follows the day in the life of a preschooler.  We divide the schedule into 3-hour blocks which mirror the energy and routines that preschoolers follow at home.  I’m really excited at the moment since on August 24^th we’ll be launching a brand new breakfast block hosted by our good friends The Wiggles which will feature lots of energetic music and movement, just right for kids when they wake up.  From 9am-12pm we have our live Sunny Side Up Show, then from 3 p.m. to 6 p.m. it’s time for The Sharing Show where we encourage families to share simple moments that their kids have achieved, like tying their first shoelace, swimming or riding a bike.  From 6pm-9pm it’s time to help parents wind down their kids with The Good Night Show, our signature block, where Nina and her puppet friend, Star, sing songs, tell stories and do simple crafts.  One of my favorite things about The Good Night Show is how we’ve created a half hour sequence of all our characters just sleeping, nothing else - we run this on VOD and encourage parents to switch from The Good Night Show to VOD and show that.

“Nina’s asleep, Elmo’s asleep, Barney’s asleep…isn’t it time you went to bed, too!”

Incidentally, we also run this on Christmas Eve as an uninterrupted 12-hour Snoozathon on the linear channel, it’s our preschool version of the famous Yule Log!

JOSH: I can see the appeal.  Barney has been putting me to sleep for years.  Now, many people are confused about the relationship between Sprout and its owners:  PBS, Sesame Workshop, HiT Entertainment and Comcast.  Can you tell us a bit about how this relationship works?  

ANDREW: We’re extremely lucky to have strong owners, each of whom bring different things to the table.  In Comcast we have a great technology and distribution partner and HiT, Sesame and PBS provide us with the majority of our content.

JOSH: Do you pick shows independently of Sprout’s owners or is there some type of committee?

ANDREW: Sprout’s responsible for program acquisitions, however, there’s a certain amount of each partner’s programming that makes up our schedule.

JOSH: Quite a few companies have tried and failed to create new preschool blocks or channels in the past few years.  You are clearly succeeding.  Besides your winning smile, what are some of the key factors that you feel have led to your success?

ANDREW: I think our strength is our strategy of harnessing the power of incredible series like Sesame Street, Barney and Caillou combined with creating strong branded blocks and a real and direct relationship between linear, VOD and online.  The power of the block means that shows may come and go but the consistency that comes with hosts and an overarching brand helps us manage the switches and eases kids into different programming.  Most channels offer VOD content that is a direct pull from their linear service, I believe we’re the only channel that offers an alternative strategy that works in tandem with the linear schedule.

JOSH: You mentioned over lunch that in the coming years Sprout will be commissioning original programs.  Can you tell us more about that?

ANDREW: Of course, we already create short-form originals with our blocks and interstitials but it’s no secret that we have big ambitions.  We’ve come in to a crowded marketplace and made an impact in a very short amount of time.  I’ve a lot of ideas that I’d love to pursue but the timing has to be right.  At the moment we’re concentrating on distribution and building our brand.

JOSH: Do you encourage independent producers to bring you show ideas?  If so, what is the way you prefer that they approach Sprout?

ANDREW: I’m always happy to look at show ideas and take pitches initially through email (maria_weglarz@sproutonline.com), however, don’t come to us yet if you’re expecting us to fund or co-produce shows.  What we lack in budget we absolutely make up for in terms of visibility on the network and the love we show to all our characters.  Our stunt strategy is the best in the business and we work hard and well with our content providers.

JOSH: In Sting’s song, “An Englishman in New York,” he sings about how he prefers “his toast done on one side.” What are the biggest challenges for you as an Englishman in Philadelphia?

ANDREW: My biggest challenge is trying to persuade my eldest daughter to maintain her British accent, I think the line that she’ll be the cutest one in high school is doing the trick at the moment but I’m not sure for how much longer.  Philadelphia’s a really interesting city and I’m happy and grateful to make it my home, also, if you haven’t seen the new Comcast tower where Sprout’s based you’re missing something pretty unique.  I’m now also able to give tourists directions to Pat and Tony’s Cheesesteaks and that bell with the crack in it.

JOSH: Yes, I know the one.  It’s called Taco Bell.

Thank you, Andrew, you’re an executive and a gentleman.

Dear Readers,

I encourage you to share your thoughts and observations on Sprout and its unique approach to programming and VOD.

Josh

Banff is beautiful.  In fact, I think it may be too beautiful for a TV conference.  I, for one, had trouble focusing on doing business during my 36-hour whirlwind Banff visit.  I mean, what would you rather look at, the Canadian Rockies or four singing potatoes on an iPhone?

I felt moderately guilty for not getting more accomplished at Banff but every time I inhaled the cool Canadian air and looked up at the snow capped mountains, God spoke to me and said, “Go get a drink with J.J. Johnson.”  So I did.

Below is just a short list of the events I did not attend at Banff:

The Biz - The How to Guide to Survive the Recession

Beyond Broadcast:  Engaging your Audience Online

Bowling with a Decision Maker

The Evolution of Television Distribution

Mows and Mini-Series:  A New Dawn

I heard that all these panels were fascinating but so were the three elk that Heather and I saw while running on the trails behind the hotel.

But I actually learned quite a bit at Banff.  For example, I learned that if I see a bear in the wild I should stand up really tall and wave my arms and say, “I’m with the CBC.”

But if that doesn’t work and the bear attacks you, I was told (by Heather Tilert who watches the Discovery Channel) that the thing to do is to crouch down on the ground and cover the back of your neck with both hands.  I was dubious about this approach at first but then I recalled that I have used this technique during several of my negotiations with broadcasters and it did, in fact, save my life.

I should mention here that Brown Johnson, Steven DeNure and Beth Stevenson saw three grizzly bears while walking on a trail at Banff.  As legend has it, the three bears realized whom they had stumbled upon and immediately began pitching a show about their lives with their pesky little girl neighbor, Goldilocks.  Apparently the three bears were stunned to learn that their story was already in the public domain.

Though details are murky, the three bears were later seen in the Banff Springs Hotel bar having a drink with David Levine from Disney International, owners of Winnie The Pooh.

I should mention that the best line of the conference came from Frank Saperstein of E1 Entertainment on a panel I did attend when he was asked what the worst pitch he ever heard was and he responded, “The Cheeses of Nazareth.”

But Heather and I did do some actual business at Banff.  The reason we were there is that we’ve been talking with a Canadian network about a new UK preschool show and we need to find a Canadian production company to partner with.

I have to confess, the prospect of partnering is difficult for a company like Little Airplane.  We have always done everything ourselves in-house, from creating the shows to writing, design, animation, voice-overs and music.  So the idea of surrendering a certain level of control scares us.

But while in Banff we went on a few first (and some second) dates with Canadian production companies and, I’m happy to report, we did feel some real chemistry with a few.  And by the time the famous Banff Barbecue rolled around, I had come to believe that Little Airplane could, in fact, find love north of the border.  After all, if a great show like The Backyardigans can do it, then so can we.

So, thank you, Banff.  I had a great time.  Thanks, Ira, I love what you’ve done with the place.  And thank you, Peter Vamos, for hosting such a wonderful conference.  I hope that you will continue with your Kids Day program every year.

And I look forward to seeing all of you next year at the St. James’s Gate Pub (if not at any of the actual panels).  The first round is on Little Airplane.  Sinking Ship will get the rest.

What were your impressions of Banff?  And if you didn’t go this year, why not?  I welcome any and all comments!

Josh

A few weeks ago I was on a radio show called “Absolutely Mindy” on Sirius XM KIDS PLACE LIVE in Washington, D.C. The show’s host, Mindy Thomas, was extraordinary.

Mindy did everything. She took calls from kids, she interviewed me about Little Airplane and she played requests from her listeners, all on live radio. But what impressed me most about Mindy was how natural she was when speaking with her young listeners.

Mindy is funny, honest and she knows how to talk to kids. Some of her callers were so young they could barely put together a sentence but Mindy waited patiently for them to finish and helped them along when necessary. One little boy just called to tell Mindy that he had a baby sister. Mindy said, “Be careful, don’t break her.” The boy laughed.

I left the interview wishing that I had a radio station and that Mindy was running it. But since I don’t have a radio station, I figured the next best thing I could do was to introduce Mindy to all of you. I asked Mindy to write about whatever she wanted to and here it is! Enjoy!

Mindy and Kenny Curtis

I play, pretend, imagine, scheme and dream like it’s my job. I never stop. I can’t stop. I don’t try to stop. I find it impossible to take anything for face value and am always turning everything inside out and upside down in my mind to make it appear more interesting. I do the same to find funny where it seems to be missing. I conjure up wild stories about the lives of strangers I pass on the street and, if I met you, an entire life you probably didn’t lead would flash before my eyes as I shook your hand. I am never bored.

None of this is new. I’ve been doing it ever since I can remember and I can remember back to being three and four years old during my preschool days. It’s not necessarily specific events that I can remember but the feelings are still as vivid to me as the words on this page. I remember thinking that I was smarter than adults realized. Not book smart, but life smart. I can remember wanting to act like a grownup. I can remember not wanting to be a grownup. I can remember feeling scammed, gypped and misunderstood by toy manufacturers who created mini versions of vacuum cleaners, shopping carts and play kitchens in primary colors with rounded plastic edges. I didn’t want that crap. I made my own out of stuff I could find and let my mind fill in the blanks. I can remember how everything I did felt like I was doing something much more spectacular because I lived in my own imagination. My bike became a seven-passenger van with a built-in frosty machine. A paper clip became a teeth retainer like my babysitter wore. My closet became a dry cleaning business. My bookshelf became a bunk bed for my babies or a five-story mansion for my Barbies. My Barbies were the stars of my own serial drama in which every episode ended with Skipper going to a school dance that was also a sleepover. Oh man, I could go on forever.

I am still exactly the same person that I was when I was three, four and five years old. Twenty-five years have gone by and no event in my life has been strong enough to disconnect me from the little person I once was. Twenty-five years have gone by and I have a real husband and a real baby and a real mortgage and a real 401K plan (though the current stock market may disagree) and yet I’m still surprised by the moments and the things that make me feel like a grownup: having my own garage door opener, buying laundry detergent, Josh Selig asking me to contribute to this column…It’s about authenticity. It’s about feeling legit.

I’d like to say that these are things I keep in mind when programming a radio channel dedicated to kids, but I don’t. While I’d love to wax poetic about my philosophical approach to children’s programming, I can’t. I don’t think that hard about it. When I’m hosting my show, I still feel like I’m playing radio and I truly believe that my listeners feel like they’re playing with me.

We have fun together, we make stuff up, we’re raw, we’re spur of the moment, we’re familiar and silly and making sense of the nonsensical. We think hard and hardly think. We don’t talk about using our imaginations, we just do. We don’t script, we make rules up as we go, we don’t have a curriculum and we still manage to learn. A lot. I don’t believe in telling kids that they’re special or smart or funny. I believe in treating them that way. I believe that I’m able to empower kids and, in return, they are able to empower the kid that is still so alive in me, too. I believe in childhood.

I play, pretend, imagine, scheme and dream like it’s my job. And I’m thankful every single day that it is.

*Mindy Thomas

To learn more about Mindy’s program, just go to http://www.sirius.com/kidsplacelive.

As always, I welcome your comments!

Josh

Dear Readers,

I have decided that I do not like having a “blog” nor do I like “blogging.”  I don’t mind the writing so much, it’s just the word “blog” I hate.  It has the “bl” sound that I associate with “blah” and the “og” sound from “smog.”  The combination is just too, too much.  “Blog” is a bad word. 

I will blog no more forever.

Instead, I have decided to promote myself to Columnist.  After all, if Jocelyn and Lana can get promotions, why can’t I?

Welcome to today’s Column. 

Perhaps it’s the fact that I’m on yet another long flight, or perhaps it’s because I’m on my third rum and diet coke, but I have a strong desire to tell you all (truthfully) what I absolutely hate about preschool television. 

I hate when people ask me if I have children.  I don’t have children.  I don’t need to have children.  I am a child.

I hate the word “Edutainment.”

I hate reading my own deals.  (But I like having deals.)

I hate when people don’t respond to my e-mails.  I would rather have them write, “I got your e-mail and I hate you.”

I hate that the public is not tougher on our industry when we clearly make shows that are designed to sell toys.

I hate that I am not making more money off of toys.

I hate that unions have the misconception that production companies are making a profit on preschool television.

I hate 99% of CG animation.

I hate 99% of children’s music.

I hate when people say, “Don’t you want to make shows for grown-ups one day?”  (I say, “Yes, I wish I had the talent to make ‘The Real Housewives of New Jersey.’”)

I hate budgets.

I hate schedules.

I hate when adults talk like children to children.

I hate when people complain about Ming-Ming’s speech. They should be complaining about the lack of money for preschools.

 

I hate that ice cream is fattening.

I hate when people sit on a yacht in Cannes and say they have no money for an educational curriculum for their show.

I hate that Amy Friedman isn’t doing preschool anymore.

I hate that “Sesame Street” makes a giant Big Bird Pez dispenser.

I hate that Australia is so far away. I would like to be able to go there every day and work for Deirdre Brennan.

I hate that the deals are better in publishing than they are in preschool TV. (”We must insist that you keep your rights.”)

I hate that I didn’t come up with the baby-in-the-sun on “Teletubbies.”

I hate that there are so many things I hate.

However…

I love that you read my blog - I mean, Column.

What do you love and hate about preschool TV?  Let me know.  Really.

Your Columnist,

Josh

Ten years ago I worked for Sesame Street International. My job was to help set up co-productions and train teams of writers in South Africa, Shanghai, Israel, Palestine, Finland, Egypt and Poland. I loved this work and it was during this period that I first realized that quality preschool television, regardless of where it is produced, belongs to the whole world. The really good stuff travels as well as good music, good paintings or good chocolate.

Yes, there may be some language and cultural issues to overcome but the essentials of character development, storytelling and educational content are the same for preschoolers everywhere. For this reason, I have tried to support and encourage the creation and production of quality preschool TV everywhere. This is why we offer the Little Airplane Academy. This is why I flew economy to Uruguay last month. And this is why I write this blog.

Some folks have religion. I have preschool TV.

Which brings me to the Showcomotion Children’s Media Conference. Much of the best talent in preschool television resides in the UK. They have a legacy of great puppetry, great animation, great writing and great acting. And there are so many global success stories: “Teletubbies,” “Bob the Builder,” “Thomas and Friends,” “Charlie and Lola,” “Peppa Pig,” and “In the Night Garden.” Simply put, these guys (and girls) know how to make amazing preschool television.

So it’s no surprise that every year I drop whatever I’m doing to find my way to the city of Sheffield to attend Showcomotion. In many ways, Showcomotion is the epicenter of children’s television in the UK and therefore, for me, a must-attend event. The panels are lively and intelligent. There is great passion for British content. There is a willingness to look outside of the UK for new ideas and new approaches. And there are great parties after sundown.

For all these reasons and more, I asked Greg Childs, the Conference Executive Producer, to allow me to interview him about this year’s upcoming conference. For those of you who have not yet met Greg, he is incredibly bright, very funny and probably the most well-connected person in all of kids’ media in the UK. Greg runs his own business, Childseye Consulting (www.childseye.tv) and is on the Executive Committee of Save Kids’ TV (www.savekidstv.org.uk). So, without further ado, here is my interview with Greg Childs.

JOSH: For those who don’t yet know, what exactly is Showcomotion?

GREG: Showco is the UK’s premiere conference for professionals in kids’ media and entertainment. (It’s premiere because it’s the only one!) It’s a two-to-three day gabfest in ex-steel city Sheffield, the shining heart of South Yorkshire! We used to be mainly a gathering of TV people - broadcasters, distributors and producers, with some interactive folks attached - but now we welcome delegates from every sector with an interest in kids - so TV, radio, film, interactive media, games, licensing, toy manufacture and publishing all show up. We believe the time is ripe for all these people and companies to spend at least a couple of days a year in each other’s company, networking around shared learning and looking out for where new synergies and partnerships can be built.

JOSH: I have been to three or four Showcomotions over the years and what I love most is the relaxed atmosphere and the chance to see old friends and meet new ones. I also feel like there is no better place on earth for taking the pulse of the UK children’s television industry. What do you love most about Showcomotion?

GREG: I think I love the fact that we can still - even with 400 delegates - manage to mix it up. It’s great to see the Shadow Minister for Broadcasting chatting to some guys from the games industry over a pizza. (We don’t do a formal dinner, as you know Josh, we just get as many people as possible to the Pizza Express for a sort of grab-a-slice experience - a bit like a children’s party.) At the same time, last year, there were some runners on another table listening to tales of TV when it still had money and meaning from an ex-head of BBC Children’s programmes. Meanwhile the lady from S4C is starving because she’s too polite to steal Gary Pope’s pizza. And Richard Deverell from the BBC had to leave and form a break-away party because he couldn’t get a seat! It’s chaos but it sort of works. I love it.

JOSH: What are you most excited about for this upcoming Showcomotion?

GREG: I’m hoping we’re going to broaden the mix of attendees yet again, with a lot more people from the licensing sector and interactive media. Also we’re running two very practical workshops - one on the basics of international co-production and the other a “Crossover Lab” which is a really clever system of bringing a completely diverse group together and then getting them rapidly working on ideas generation, despite (or maybe because of) their divergent skills and experience. So, for example, you might get games people with a TV old hand and someone who makes stuff for mobiles, all working together on an idea to be pitched to museums for kids to get virtual learning experiences on their Nintendo DS. It’s great fun and really mind stretching! It’s also a fantastic practical representation of what Showcomotion is about - getting the industry sectors to learn from each other and partner in innovative ways.

JOSH: I have noticed a bigger international presence each year I’ve been to Showcomotion. Last year I met broadcasters from Germany to Qatar. Should we expect more international visitors this year?

GREG: Yes - we like to remind everyone that we are UK-focused but we hugely value the expertise and perspective that our international contributors and delegates bring - and of course with times so hard we need to develop more partnerships across borders, too - hence our focus on co-production this year. We’re expecting guests from Germany again, Holland, Denmark, Sweden, France and Ireland - we get a great contingent every year from Eire - and then further afield: the Middle East, Australia, Canada, Brazil and Colombia and a small but growing contingent from the States.

JOSH: I’ve always thought Showcomotion would be great for up-and-coming writers, designers, directors, animators and puppeteers. How might these kinds of talented individuals benefit from three days at Showcomotion?

GREG: A high proportion of our delegates are freelance producers and writers. I think they come because a) we offer something for everyone. We have writers and smaller company producers on our Advisory Committee - not just the big broadcasters - so they make sure we always do something that talks directly to that community. Then b) we make the bigger strategic and business stuff accessible to all. I think everyone who comes benefits from a quick dose of “big picture thinking” and we have some of the best minds in UK kids and beyond on our panels or giving presentations which really stretch and challenge our audience. And there is so much encouragement to join in, that getting clarification or putting out your own perspective is easy. So everyone feels included and everyone comes away with something new.

JOSH: Have you added any new panels this year?

GREG: The two workshops I mentioned previously are a new departure and the number of sessions has increased yet again. In two days and one evening we have 30 separate conference events - and yet still lots of time for networking. We’re going to be debating the commercialisation of childhood with some of the campaigners who are concerned about it but we’ll also be doing new sessions on trend watching for the licensing community. Three separate sessions with all the major UK commissioners, plus some international ones, PLUS of course some of the new entrants commissioning content online. There’ll be three specially commissioned research projects: one on kids’ spending, one on 11-14’s online habits and their relation to TV and one on the future of family gaming. And there’ll be three other research sessions featuring new data on kids online. We’ll run sessions on keeping small media businesses afloat in difficult times, on the ethics of putting kids in reality shows, on what has happened to drama for the over 10’s, on new sources of funding for projects - looking at how online drama is financed and at advertiser funded shows on TV - and there’ll be a range of more creative sessions looking at interactive and cross media case studies, at what makes fantastic short animation…I could go on about this forever. Did you say 500 words? You’lljust have to come!

JOSH: When and where is the next Showcomotion and how do people sign up?

GREG: It’s in Sheffield, South Yorkshire (2 hours from London and 45 minutes from Manchester). It’s from the 1^st to the 3^rd of July. And you can buy a ridiculously low-priced delegate registration at: www.showcomotionconference.com.

JOSH: Is it true that Sheffield is where the film “The Full Monty” was shot?

GREG: It is true! And every frame of the film is also true. I was the short fat one.

JOSH: What exactly is inside a Cornish pasty?

GREG: Corn - what else? Or something very like it, hence “Corn…ish,” I should have thought that was obvious. Have you ever eaten one cold? Fabulous. I’m an expert. How do you think I got the part of the fat guy? The full Cornish!

Bye, Josh - and by the way - I like you.

JOSH: I am blushing.

I met quite a few amazing people on my trip to Uruguay two weeks ago.  Jose Alonso, a cool economist who explained to me the way animation businesses “cluster” and grow around the globe.  Pablo Arriola who is the President of Camara Audiovisual del Uruguay (CADU), the trade group that invited me down to Uruguay.  And Robin Matthewman and Robert Zimmerman from the U.S. Embassy who expressed real passion and enthusiasm for helping the animation industry in Uruguay to grow and flourish.

But nobody I met in Uruguay made a bigger impression on me than the animator and director, Walter Tournier.  I was introduced to Walter by Beth Carmona via e-mail just a day before Iarrived in Uruguay.  The way Beth spoke about Walter, I knew he must be very special.  And he was.  And he is.

When I returned to New York, I continued to think about Walter and the tour that he gave me of his stop motion studio in Montevideo.  It wasn’t only the extraordinary quality of the work Walter was producing that impressed me.  It was his unwavering attention to detail, his generosity in mentoring new animators and the boyish enthusiasm he has for his work.  “This is a master,” I thought, “and I would like the world to know more about him.”

So I asked Walter if he would consent to an interview this week for Planet Preschool and he very graciously agreed.

 

JOSH:  What impressed me most about my visit to your studio in Uruguay was the fact that you personally touch every aspect of your productions, from writing the scripts to building the armatures to animating each shot.  Can you describe your creative process and tell us why you choose to work in the way that you do?

WALTER:  The way in which I work is related to how I approached animation.  Mine was a country without any cinema production and since I was interested in fiction films I considered animation as an alternative way of getting there (I had some skills at drawing, and arts and crafts).  Since there were no film schools, I started studying and doing some research on language and narration, making some mistakes and learning in the process.  At the same time I developed the technique that allowed me to make the puppets’ structures and characters and thus start working in stop motion.  I never got to make a fiction movie and devoted more and more of my time to stop motion.  

This is the reason why I am involved in the whole process of a project; it’s the point where my creative ideas and manual skills get together.  In reference to the creative process, it all starts as a need, an idea or topic, either ordered by someone else or as an inner call.  Depending on the topic, it may or may not imply some previous research before moving on towards the idea. 

This is the most difficult part, a part that can sometimes take too long.  I sometimes work in a team or together with Lala, my partner, in order to brainstorm and find a suitable idea.  The development is already contained in the idea, so from this point, the plot is only one step away.  Backgrounds and character designs are carried out at the same time and when this is over we start with production.

 

JOSH:  For those readers who might not know your wonderful work, can you please share some of the highlights of your career in animation?

WALTER:   The word “hits” contains a relative value, a “hit” in one country can be completely ignored in another. One of my series, “Los Tatitos,” for example, is very popular in Uruguay (12 years in prime time) but we couldn’t sell it to any other country.  I’ve had some international recognition, however, like the selection of one of my movies in “Le Tour De L´Animation,” “Joyaux dùn siècle,” in Annecy in 2000 or the Achievement Award by the Prince Claus Foundation in Holland in 2002.  Still, the greatest success always comes when one of my productions is accepted by the children.

JOSH:  And what projects are you currently working on?

WALTER:   I’m currently making the sequel of “Tonky,” a 26-episode series for preschoolers co-produced with Argentina and Holland.  I’m also working in the pre-production of a short film for TV and two spots on the topic of water conservation.  I’m developing a creative workshop focused on ideas, plots, animation, structures, puppets and maquettes with 11 students.  Last but not least, I’m in the final funding stage for my first feature film.

JOSH:  What is the hardest part about working in Uruguay?

WALTER:   There are many aspects, there is a lack of support both private and public, there are no opportunities for national productions, people don’t take risks, there are no cultural or communication policies or resources, there is no technology.  A few examples, our first Cinema Act was passed only a year ago; every time I need 2.5 mm screws I have to travel to Argentina.

JOSH:   Of all your films and your shows, do you have a favorite project?  If so, where can we see it?

WALTER:   Every time I finish a movie it becomes my favorite but a little time after that I don’t like it anymore.  What I can tell you, though, is that right now, “Tonky” is my favorite.  “Where to watch it?”  You can watch it on TV Brazil or in a few months in Canal Encuentro in Argentina, KRO in Holland, Canal 11 in Mexico and TNU in Uruguay.  For the last three years I’ve been trying to produce a DVD with all my work but until now it has been impossible, I hope it doesn’t come out as a posthumous recognition!

JOSH:   Does your studio ever partner with other companies?

WALTER:  No, we have made all our productions so far.

JOSH:  How do you feel about the fact that so many classic stop-motion shows such as “Bob the Builder” or “Thomas and Friends” are now being animated in CG?

WALTER:   I don’t know the technique you mention.  Since I don’t have cable TV, I’m not very familiar with recent productions.  I’m not against those technical advances that may allow cheaper or faster ways of producing but they should promote certain values and messages that make us better human beings, that should be their reason and not the commercial aspects.

JOSH:  You seem like a very happy man to me and you have a wonderful, supportive family. What is your advice for balancing your work life with your personal life?

WALTER: I never did well economically, in fact, I still owe money and have no savings; all these aspects, although useful, are not the “key” thing. Being able to work and develop all the things I like and at the same time producing pieces that entertain and communicate ideas to young kids is enough. To all that we add the creative and sensible contribution of Lala, my wife, who works with me, Joaquín our son, from whom we have sometimes stolen some ideas, Tomy the dog and Tito the cat, we have something that looks quite a lot like happiness. I say “quite a lot” because no complete happiness is possible in a world with so much inequity and injustice that makes us suffer.  We actually make a team both affectively and professionally, leaving aside those “empanadas” that Tomy ate a few days ago leaving us with no lunch.

JOSH:  What do you love most about the work that you do?

WALTER:  I enjoy the creative part a lot, that moment when I get to an idea I’m happy with or a plot that works.  I also enjoy it when the animation makes our creation come to life but I especially enjoy it when I have the opportunity of being in the theatre during the projection of one of my movies and see the kids thrilled and excited.

If you’d like to see more of Walter’s work, please visit his website at:  www.tournieranimation.com. 

Special thanks to Federico Brum, a wonderful translator, for assisting me in Montevideo, Uruguay and, again, with the translation of this interview.

As always, I welcome any thoughts or reactions from my readers and I invite you all to leave comments.

This week I have the distinct pleasure of introducing a guest blogger whom most of you already know and love:  Michael Carrington.  My favorite story about Michael is the one that Mellie Buse and Jan Page tell about how, after pitching “Grandpa In My Pocket,” he looked at them and said, “I suppose you want to produce this yourselves, do you?”  Their company, Adastra Creative, had never taken on such an ambitious project before, certainly not as producers. 

Mellie responded with a hopeful, “Yes, please?”  Michael gave a boyish smile, slammed their pitch bible and said, “Well, that’s fine by me!”  And thus Adastra Creative was able to grow and flourish, and “Grandpa In My Pocket,” has become one of the top-rated shows on CBeebies and is now in its second series.

Anyone who knows Michael knows that he cares deeply about our industry and the creative people who work in it.  He has given so many of us the chance to make the shows that previously existed only in our hearts.  In short, Michael believes in us so we believe in Michael. 

So, without further ado, Michael Carrington.

 

 

This morning I tried to use my BBC ID card to get through the turnstile at the White City tube station - it didn’t work - and as I glanced back at the queue of irritated people behind me, I felt sorry for them, because they had no idea that my mind was floating happily off in CBeebies-land. I’m in the throes of planning out my 2011 schedule, so that’s where my brain is focussed at the moment. I’ve been doing the usual exploring of the market stuff - reading scripts, watching DVDs, talking to producers and keeping my eye on the competition! But this morning, in the chaos of the rush hour, my mind wandered back to my own childhood television experiences.

Me with Santa

I grew up in a backwater of Sydney, Australia.  I believed in Santa Claus until I was 13 years old - my mother felt compelled to tell me the truth after I’d had an altercation with an older boy who didn’t believe.  That was the worst Christmas of my life.  But until that moment and looking back now, I feel I’d grown up in a time and a place which allowed me to live an uncomplicated, carefree childhood.  Isn’t that something all children should have - I thought?

I'm on the left with the Sno-Wite box

I remember turning boxes into high-powered racing cars, a ladder lent up against the garage would lead to an enormous space rocket, and when I climbed the tree in the back garden it became a great pirate ship.  However, as much as I loved playing outdoors, at every opportunity I would sneak in to the house to watch television.  “Where’s Michael?”, “Watching television!” - I was always getting in to trouble for watching too much television - “You’ll end up with square eyes,” my parents would exclaim! 

I loved television, but when I was 5 years old, apart from Adventure Island and our own version of Play School on the ABC, Romper Room and Humphrey Bear, and later Skippy the Bush Kangaroo on Channel 9, the programmes I was exposed to during Children’s time, were not made for children - they were mostly American sitcoms!  Shows like Gilligan’s Island, The Flying Nun, and My Favorite Martian simply delighted me.  Every week Gilligan and his friends would struggle to get off that island, Sister Bertrille would catch the breeze to solve a problem, and Uncle Martin would raise his antenna and disappear.  It was bliss - they made me giggle, stirred up my imagination, and motivated me to create my own stories.

So what was it about those programmes that entertained a 5-year-old as much as the adults they were aimed at?  Well the thing I spotted about these shows (I like to think, even back then), were that they all started with a great opening title sequence - mostly with a well-written catchy song.  They featured the same characters in every episode.  There was an overarching purpose, yet each episode was self-contained.  Stories were simple, full of gags and catchphrases (or actions), and light jeopardy.  And the setting was familiar, even though I’d rarely been further than the shops or grannies. 

So as I work towards identifying ideas for CBeebies in 2011, I’m thinking, there’s nothing wrong with innovation and pushing the boundaries, but maybe it’s the simple story, the recognisable characters, and the sense of humour that would cut through today as much as it did during my early years.  It seems to me that young children have such busy lives - so full of stuff and so many expectations from parents - that they deserve a moment or two to wonder and to fantasise.  That is, in essence, what I’m striving to inject into CBeebies (the UK’s #1 kids’ channel) to sit alongside our great shows like, Timmy Time, Grandpa In My Pocket, and the soon to launch comedy sketch, Gigglebiz.

PS My eyes are still round, even though televisions have turned from squares to triangles!

PPS Other programmes that kept me indoors (in alphabetical order):

Batman

Bewitched

Flipper

Gidget

Hogan’s Heroes

I Dream of Jeannie

Land of the Giants

Lassie

Lost In Space

My Three Sons

Petticoat Junction

Scooby-Doo

The Addams Family

The Beverly Hillbillies

The Brady Bunch

The Flintstones

The Flying Nun

The Monkees

The Munsters

The Time Tunnel

Thunderbirds

Voyage to the Bottom of the Sea

 

First off, thank you for all of your many comments on last week’s blog.  You made me very happy and we are friends once again.   

Today I’m on a flight from Sao Paulo to Montevideo, Uruguay on the second (and final) leg of my Latin American tour.  I feel not unlike a missionary these days spreading the gospel of creating preschool IP.  I even have bibles in my carry-on baggage to help me in the pulpit.

Regardless of where I go or who I meet on this trip, I always end up pounding a table in a restaurant, bar or conference room and saying basically the same thing:  “The best shows are creator-driven.  The broadcasters know this and therefore they will always need new creators.  It doesn’t matter what country you come from.  (Look at Magnus!)  Just make a great bible and pitch the show that’s in your heart and you, too, will one day be writing a blog for KidScreen Magazine.” 

Needless to say, it has been an exhausting week in Brazil.  Most of my time was spent with a small group of international kids’ TV consultants and a pre-selected group of 25 Brazilian production companies, each of whom had an original show they want to develop and, hopefully, take to the international markets.  I was there with my colleagues to comfort, cajole, edit, inspire and pound on tables.  We did all of that and we also managed to have a great time together.  

Tanya Kelen, Emmanuelle Petry, Jacques Bensimon, Cathy Chilco, Madeleine Levesque, Heather Kenyon

The quality of the creative work we saw in Brazil was extraordinary.  There were clever teen shows, cute preschool shows and everything in-between shows.  There were cool shows, creepy shows and shows that reflected the cultural mix of Brazil.

It became immediately clear to all of us that we were not there to teach the Brazilians about creativity, they are already brilliant.  Our role was simply to explain how best to craft their materials so they could pitch them internationally.

But I think what impressed me most this trip were the people:  Their warmth, their humor, their passion and their hospitality.  I leave Brazil feeling like I have a new branch on my family tree.  So here, in no particular order, are some of the highlights of my trip to Sao Paulo.

Meeting and getting to know our conference leader, Jacques Bensimon. If you don’t know him, he’s worth a Google. But beyond his credits, Jacques is a generous spirit, a wonderful speaker and a true diplomat.  

 

Cristiane Gomez Fariah, who told me (repeatedly) that I looked exactly like Buzz Lightyear.

 

The animator and director, Ceu D’Ellia, a man of great personal integrity, who left Dreamworks to pursue his own animated environmental projects.

 

Having dinner with Beth Carmona and her beautiful family.  In many ways, Beth is the founder of children’s television in Brazil and she is also a truly creative, warm and inspiring woman.

Running in the mornings in the beautiful Parque do Ibirapuera and seeing the ethereal black swans.

 

Pao de Queijo.  If you have not had these, they are basically cheese bread formed into balls.  They alone are worth the ten-hour flight from New York to Brazil. 

 

And, finally, the warm smile and strong hand of Eliana Russi, our fearless Brazilian host and organizer.  Eliana and her team treated us like family and made sure we had unlimited capirinhas.

Thank you Kiko, Celia, Andre, Marcel, Jean and Reynaldo for your friendship and your hospitality.  I will forever be rooting for you and your amazing work.

But I guess what I will remember most from Brazil is what Emmanuelle Petry from Millimages described so simply and eloquently as, “your eyes.”  Each day we, the consultants, would look out at an audience of young creators whose eyes were so full of hope, intelligence and creativity.  And when they spoke of their projects, their eyes shined like phosphorescence. 

This I will never forget.

And to answer my own question from last week’s blog, I think Mister Rogers would throw his shoe at us for what we, as an industry, have become.  But he would not throw a shoe at the Brazilians.  In fact, he would be very proud of them because they are creating shows with their hearts, not with their CP team.  And I believe that one day very soon many of the Brazilian shows we saw this week will be on the air all over the world, helping our kids become better human beings. 

And as far as I’m concerned, there is no other reason to make kids’ TV.

Thank you for reminding me, Brazil.  Obrigado.

Josh

To be honest, I am still recovering from your underwhelming response to last week’s photo blog.  When I last looked, there were just 4 comments, mostly from friends.  Let’s face it, that was a risky blog and I’m very lucky that some (though not all) of my colleagues have a good sense of humor.  My good friend David Kleeman had the decency to step up and guess (correctly) at the faces in the mash-ups and thereby save me from complete humiliation. 

Thank you, David.  The check is in the mail.

I did get a few responses to the blog in my personal e-mail from various colleagues this week.  Here’s an example and I have omitted the author’s name to protect my career from any further damage.  

“I may never speak to you again after that mash-up photo you did!!!!!  The very thought of it gave me nightmares last night.”

Well, all I can say is:  so much for games involving the faces of high-powered television executives.  Perhaps I should have known that this wasn’t the smartest thing for an independent producer to do during a global economic downturn.

Live and learn.

So this week I will return to my usual fare of sentimental ruminations on preschool TV and self-help pointers on nurturing one’s own creativity.  As Sam Walton said, “Give the people what they want.” 

Today I am heading to Brazil where I feel very honored to have been invited as a speaker at an International Training Program for Brazilian TV Producers.  I don’t know exactly what to expect from the conference but I do know that my best friend and mentor, Cathy Chilco, will also be there so I anticipate samba dancing and caparinhas between sessions.  And if Cathy spreads a little reiki around the hotel who knows what will happen.

 

As I write this, I am actually on a TAM Airlines flight from New York to Sao Paulo.  (I have been trying to figure out what TAM is short for.  “Total Airborne Madness?”  “Tomato And Mozzarella?”)  I will say that I have never been on an airplane with less space between the rows.  Every time the guy in front of me puts his seat back, I fart. 

And to take my mind off the global pandemic, I begin to ruminate on this week’s blog.  Usually I have a topic or two in mind before I start writing but today, dear readers, I have to confess, I got nothing. 

So, instead, to fill my 500-word quota (and to entice you to write your 4 measly comments), I will share with you a few of the unfiltered blog topics that are running through my mind as we speak.

Possible Blog Topics, w/o 5/4:

-  Greg Childs, does he like me or hate me?

-  My own proposed names for the recently announced Discovery/Hasbro children’s channel:

            Disco Bro

            Recovery

            The Toy Channel

-  Would Fred Rogers be proud of the state of children’s television or would he throw a shoe at us for selling our souls to the licensing business?

 

-  Why there are more children’s channels in Australia than there are children.

-  Can I use Skymiles to help me cover Little Airplane’s overhead?

-  Things to see and do in Salford.

-  My own proposed names for the recently announced partnership between Hulu and Disney:

            Hiney

            Desilu

            The Toy Channel

-  The rumor that Kidscreen Magazine will soon have a “personals” section.  (I just started that rumor.)

Well, that’s it!  500 words.  I’m done.  Next week I’ll give you the full report from Brazil.  I have spent some time with the Brazilians in New York and Cannes and I must say they are an amazingly talented and passionate group of producers.

So, what about you?  What are you thinking about these days? 

Write a comment.  Now.  Or I quit.

Lovingly,

Josh

Dear Readers, 

It’s time for something completely different.  Among the many talented artists we have at Little Airplane is a brilliant photographer named Carrie Leonard.  She usually photographs skunks and birds for “The Wonder Pets!” and “3rd & Bird!” but this week I have asked Carrie to replicate a game she created for one of our Friday staff meetings.  The game is called “Face To Face” and it involves guessing which two faces Carrie has combined to make an entirely new face.

Sound weird?  Just you wait.

Here’s how the game works.  If you saw this image:

 You might guess, perhaps, “Josh Selig and Ming-Ming Duckling.”  If you did, you would be right.  But they do get harder.

Below is a sequence of numbered images.  Each one combines two well-known faces from the preschool TV industry.  I have also included some simple clues in verse to help you along. 

Try to guess which two faces make up each photo and leave your guesses in the comments box below.  Those who guess correctly will receive a shout-out in next week’s blog!

Enjoy! 

#1
They wield the power in the house
That was built by Mickey Mouse.

#2
From online to your TV station
They’re the cutting edge of animation.

 

 

#3
They have a garden down in Philly
Where sprouts all grow up willy-nilly.

 

#4
You could say it is their destiny
To wave the wand of Sesame.

#5
They arrived just in the nick of time
To make their UK air sublime.

 Okay, readers!  Please leave your guesses below!

-Josh