Let’s learn a bit more about our Kerri shall we…?

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Q1.           How did you get started in animation?

“Am ashamed to say it was a fluke. I studied theatre, went on to do post grad in screen production, then landed a job here at Red Kite. I worked my way up though.”

Q2.           What’s your favourite part of the production process?

“Each stage is exciting, but I think most important is scripting. It’s all about the stories. If you don’t have a good script, you don’t have a good episode/ series.”

Q3.           What’s you least favourite part of the production process?

“Honestly, it’s all the post stuff that needs me to think about anything technical. I’m a creative darling. ”

Q4.           What do you wish you had been told before starting out as a Production Manager?

“I don’t know if words would have been more useful than my experiences, but a lot of time is spent mediating and problem solving.”

Q5.           What advice would you give to someone trying to become a Production Manager?

“You have to love what you do. There are bad days, horrible days and some good days. And hopefully at the end, you’re proud of what you’ve achieved.”

Q6.           If you could have worked on any animated series in the whole wide world, which series would it be?

“X-Men or Spider-Man. Loved watching those shows when I was younger. Love that they have a series story arc.”

Q7.           Is that your favourite animated show?

“At the moment, has to be Family Guy. It’s so wrong but so very funny.”

Q8.           What’s your personal motto to live by? 

“I don’t know if I have a motto, but I need to have 8 hours sleep. A grumpy Kerri is no fun. ”

And finally, here’s a transcript of the Twitter results for #askkerri….

@Kerri_bee:  @RedKiteAnimatn are asking me questions about my role & what i do. Join in & ask me anything! Within reason….

Who is you favourite writer you’ve worked with to date? And why?

@Kerri_bee: hmm. Tough. Not sure I want to name them but they def get the show & so has scripts signed off before D3!

What was your most unforgettable moment (good or bad) whilst working in D&G Series 3?

@Kerri_bee: hmm. The writers workshop! 20 writers & the producers tucked away in a haunted hotel for 3 days. The stories I could tell

How does a writer go about getting invited to one of your workshops?

@Kerri_bee: we usually source writers through agents & create a long list. Those short-listed will be able to attend & submit ideas.

What kind of ideas impress you the most?

@Kerri_bee: ideas that are original & in line with the unique ‘world’ of the series. And when it comes to it, clever dialogue.

@Neil_Rolland: @Kerri_bee How do you cope keep a work/life balance? You must have an amazing husband at home?

@Kerri_bee: Work life balance is important. As well as a supportive family, RK made it easier coming back from mat leave

@RedKiteAnimatn: Last set of questions for @Kerri_bee #askkerri before we finish: ‘Who would win in a fight (for your affections, obviously) Lara or Wendy?’

@lucythelamb: @RedKiteAnimatn @Kerri_bee Looking forward to hearing the answer to that one : )

@Kerri_bee: haha! How can I choose?! I’m really proud of Wendy because it’s such a big show & looks so pretty…

@Kerri_bee: …but Ask Lara was so different to everything else out there and nominated for an Emmy. Proud of both!

In an argument do you a) state your case and hold your ground b) back down straight away c) look for a compromise?

@Kerri_bee: Ha! There are times when you’re faced with difficult situations but tact and compromise are your best friends at all times.

good answer Kerri, what do you think about playing by the rules?

@Kerri_bee: THEY’RE HIGLY OVERRATED!

Kerri, why is your desk so much tidier than everyone elses?

@Kerri_bee: OCD

Super big thank you for Kerri who coped very well under todays interogation. Next up… well, just watch this space

The participating writers for our mini survey are: Dan Berlinka (DB), Andrew Jones and Ciaran Murtagh AKA Black Sheep Comedy (BS), Sophie Hetherington (SH), Mark Robertson (MR) and Stuart Beale (SB).

 1. The most important lesson I have learned about writing for animation is…

DB: …think visually.  How can you tell your story in pictures?  (And to be honest, that’s not a bad thing to be asking yourself in live action either.)

BS: …ideas are ten a penny and anyone can have them, but your craft and diligence are your own. Your merit on an episode is about how you deliver it, not where the ideas have come from.

SH: ….keep up an energetic pace and lose any unnecessary exposition, it creates a drag factor!

MR: …keep your story clear and logical at all times, even when it’s completely insane.

SB: …that I can do it (not a useful answer, but as I’m relatively new it’s nice to get the validation).

2. If you are a newbie writer and want to get your foot in the door as a writer for a TV Series do…

DB: …try to write to work with an animator and get something made – a short, a student film, anything.  You will learn so much from the translation of your script into pictures.

BS: …write something!  It’s easy to say you’re a writer, but writing – and completing! – a script automatically puts you in the top 10% of that group.  Writing something coherent, well-formatted, and suitable to be broadcast by the people you’re showing it to puts you in the top 5%. Don’t get me wrong, there’s still a lot of competition in that 5%, but the sooner you leave the other 95% behind the sooner you’ll know whether you’re in the right career.

SH: …be genuinely enthusiastic about the project you’re pitching for and keep producing script samples to showcase your range.

MH: …watch loads of TV, copy the writers you love, then add your own twist.

SB: …have a compulsion to write that is tantamount to a mental disorder.

3. If you are a newbie writer and want to get your foot in the door as a writer for a TV Series don’t…

DB: …think that animation is simply a matter of putting in quick cutaway gags.  In theory animation allows you to do anything, but in practice (on a series) each new set or character is extra design work that eats up the budget.

BS: …try to start by reinventing the wheel.  Prove you can make wheels that roll properly first.  Keep it short, simple, straightforward, age appropriate, full of character, dialogue, action and plot.  Hit the basics but do them very well.

SH: …baulk at taking notes. It’s your job to deliver what the producer wants. And you’re more likely to be asked back!

MH: … don’t try to please everyone, or second guess what people are looking for.  Write the kind of stuff that excites you.

SB: … spend your time trying to write for shows you don’t like, because you don’t know what the audience for those shows want.

4. And finally, which Dennis the Menace and Gnasher Script did you enjoy writing most?

DB: I had great fun writing all my episodes of D&G but I think I have a special soft spot for ‘Menace’s 7’ – I love heist movies and sworn enemies teaming up to defeat a bigger threat…

BS: ‘I’ll Teach You‘ because it gives a chance for both of Dennis’ parents to shine in different ways – and you can really see how they managed to produce a kid like Dennis between them!

SH:  ‘In the Way of the Tiger’. A wild animal on the rampage around Beanotown (No, not you, Dennis)…  This could be the best day ever. And I had a lot of fun with the ‘Bea plot’.

MH: ‘Piranharama’

SB: ‘Prom Mean’ because writing for powerful female characters (in this case, Angel Face) tends to be fun.

Production on Dennis the Menace and Gnasher Series 4 continues full steam ahead, the end of the pre-production is in sight, and we’re all geared up for the next stage of production: bring on the animation!!!

Inspired by artist Qian Shi’s award-winning animated short film about a toy shoe, the ‘Hidden Stories’ animation competition is designed to celebrate Edinburgh’s rich heritage and the art of animation.

Budding animators have until 19 April to submit short films based upon either a real or imagined back story of an object of their choice, housed in one of Edinburgh’s Museums & Galleries.

The winners will be showcased in a red carpet screening ahead of next year’s Edinburgh International Film Festival, on the Red Kite Animation and Scottish
Animation Network websites and in an exhibition in the City Art Centre.

SHOE was inspired by a visit to the Museum of Childhood in 2006 by the Chinese artist, Qian Shi, while she was studying for a bachelor degree in animation. She was so inspired by the Shoe Doll, which has been on display in the museum since the 1920s, that she made it the subject of her degree film. It went on to win the Best Student Film in the 2008 Bradford Animation Festival and a MX Award at the Tokyo Anime Fair in 2010.

Qian Shi will talk about her inspiration for SHOE at this evening’s launch in the City Art Centre.

She said: “The shoe-doll really impressed me; it was so different compared with any other doll I have ever seen in my life. There was a caption saying it was found in a London slum in 1905, and it really made me imagine the story behind it and the life of its owner.

“What I wanted to express through my film is what I felt when I saw the doll in the museum. It’s about us as human beings seeking happiness, loving each other in any living condition and, most of all, about hope.”

Cllr Richard Lewis, Convener of Culture & Leisure, said: “What a remarkable and moving film SHOE is – and what a pleasure to meet its creator, Qian Shi. I am sure the film, and the story behind it, will provide inspiration for young people to get involved and, of course, to pay a visit to one or more of our marvellous museums and galleries across the city.

“For the older aspiring animators, the competition is a fantastic opportunity to have their work seen by some of Scotland’s most esteemed animation professionals and, for younger animators, an opportunity to enjoy being creative and have fun with their classmates.”

Ken Anderson, Founder of Red Kite Animation and Chief Creative Officer of August Media, added: “We are thrilled to be presenting this exciting competition in partnership with Edinburgh Museums and Galleries. Red Kite are deeply committed to developing Scotland’s already thriving animation network. This competition provides an opportunity for our talented youngsters and illustrates the connection between Edinburgh’s creative industries and its history and culture.”

After three judging rounds over a six-month period, a jury of experts from 67 countries has picked four shows from the highest quality children’s programmes around the world, Ask Lara being one of them.

Ask Lara (26 x 11 min.) was co-produced by Red Kite Animation (Scotland), Tomavistas (Spain), Televisió de Catalunya (Spain) and Submarine (Holland), and co-financed by BBC (UK) and VPRO (Holland). The series has been acquired and broadcast in countries across Europe and Latin America, on channels such as Canal+ (France), NRK (Norway), and PopTV (Slovenia).

An animated ‘tween’ sitcom created for 9-13 year olds; Ask Lara follows the humorous adventures of Lara and her friends Gabriel, Monica, Akira and Tony as they embark upon the rocky road of puberty. Everything is new, exciting, always fun, and often embarrassing, as they learn how to deal with crushes, first dates, spots and B.O.

Ask Lara was developed with BBC Learning as an online resource and is available to view in the UK via www.bbc.co.uk with an additional range of learning material aimed at both teachers and pupils.

Ken Anderson, Co-Founder and Managing Director of Red Kite Animation said: “It is a wonderful honour for us to be nominated for this award and it is a testament to the hard work and creativity of all those involved. It goes to show that creative excellence is still valued highly within our industry.”

Sarah Proctor, Executive Producer at BBC added: “Ask Lara is a funny and beautiful series that deserves to be recognised internationally for its originality of look, voices and approach. We are very proud to be a part of it.”

– ENDS –

About The International Academy of Television Arts & Sciences:

The International Academy of Television Arts & Sciences is a membership based organization comprised of leading media and entertainment figures from over 50 countries and 500 companies from all sectors of television including internet, mobile and technology. The Academy’s yearly schedule of events includes the prestigious International Emmy® Awards Ceremony held in New York, The International Digital Emmy® Awards at MIPTV and a series of industry events such as Academy Day, The International Emmy® World Television Festival and Panels on substantive industry topics. The Academy was chartered with a mission to recognize excellence in television produced outside of the United States and it presents The International Emmy® Awards in the following fifteen categories: Arts Programming; Best Performance by an Actress; Best Performance by an Actor; Current Affairs; Children & Young People; Comedy; Digital Program: Children & Young People; Digital Program: Fiction; Digital Program: Non-Fiction; Documentary; Drama Series; News; Non-Scripted Entertainment; Telenovela; TV Movie/Mini-Series.  For more information go to  www.iemmys.tv

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Press contact:

Lucy Lamb

lucylamb@outlook.com

There was no end of hard-work and dedication from everyone involved in the production of Ask Lara and we are incredibly proud of the series. The awards take place on February 8^th in New York, and we’ll all be keeping our fingers crossed that Lara does well.

My panel, hosted by Miles Bullough (Exec Producer and formerly of Aardman), had some great speakers: Michael Rose (The Gruffalo), Victor Glynn (prolific TV and film producer) and Agnieszka Moody (Media Desk UK). Each of us provided a different perspective on co-production across Film and TV, creative, relationship building and knowing where to find the financing. The information seemed to be very well received as the audience in the Arnolfini were presented with a range of case studies across a variety of mediums and genres and some helpful tips and insights to always keep in mind for any co-production.

My focus was largely on the aspects of relationship building, managing expectations and dealing with difference of opinion across the creative. Having worked on a number of shows with international co-production partners and co-development projects, for me, outside of the finances, these are some of the key things to consider in any co-production – are these the best people to work with on this particular show? Do we get along? Do they have a similar creative vision for the show? What can each of the parties offer?

Having shown a clip from Ask Lara – a recent co-production for Red Kite Animation – and explained a bit about the project, I focused more generally on the need to be informed when entering into any co-production – knowing your partners, their reputation in the business and their experience, as well as the need to be able to trust them, as any co-production is similar to a marriage!

Victor Glynn discussed his many co-productions, spanning across his current ‘Fusball’ movie with Argentinian partners to the likes of ‘Home and Away’ (yes that was also a co-production!) and beyond.

Michael Rose gave a very interesting account of his experience on the Gruffalo and also described how he was able to secure finding for the Gruffalo’s Child.

Finally, Agnieszka Moody discussed the opportunities for producers in Europe eligible to apply for Media funding to support their projects and how the application process, although lengthy, can be very rewarding with non-repayable funds offered.

We rounded off the session with some Q&A and some very interesting questions from the audience who were all very keen to chat further about their experiences and potential collaboration opportunities following the session.

The event also proved very useful for catching up with a number of creative and industry colleagues and was all round a very worthwhile and rewarding event.

Posted by Leanne Preston
With thanks to Encounters Film Festival for use of the images/ All rights reserved by EncountersSFF

Paperman is showing in cinemas before Wreck-It Ralph from November. A behind the scenes look at the film and the techniques used to produce it can be viewed in the video below.

Posted by Martin McElroy

Producer(s): Red Kite Animation, Wendy Promotions Ltd.
Episodes: 26 x 24’
Medium: 3D CGI Animated
Target audience: 6-11 years
Genre: Drama
Status: In Production – available January 2013
Pre-Sale Broadcasters: ZDF Germany, France Televisions.

Producer(s): Red Kite Animation, Tomavistas S.L., Televisio de Catalunya, Submarine BV
Episodes: 26 x 11’
Medium: 2D Animated
Target audience: 8-12 years
Genre: Sitcom
Status: Delivered 2011
Pre-sale broadcasters: BBC Learning, TV Catalunya, VPRO Holland