Australian animation company Flying Bark Productions had a worldwide hit in 2020 with 100% Wolf, a fun family film about a boy who expects to become a werewolf like the rest of his family, but is turned instead into a ferocious … pink-haired poodle. The much anticipated follow up, 200% Wolf, is in cinemas now.
We caught up with the director of both films, Alexs Stadermann, whose other credits include Maya The Bee Movie (2014) and Maya The Bee: The Honey Games (2018), to ask seven quick questions about his career, what makes Flying Bark different as a studio, and some advice for newcomers. Read to the end for a bonus question for Flying Bark CEO Barbara Stephen about the impact of AI on the local animation industry.
1. Hi Alexs, how did you get your start in the Australian screen industry?
I was an established special effects animator at Amblimation in the UK when I got an offer to work for the Disney Studio here in Sydney, which I took up immediately. The passion and level of skills of the Australian animation industry is way up there on a world standard. Most people know Australia as a nation with an incredibly high amount of amazing sports people and baristas per capita, but don’t realise the same applies to the animation industry. Oi oi oi!!!
2. How does it feel to have a family feature film in cinemas right now, and what are you most proud of with 200% Wolf?
I love seeing movies in the cinema. To me it’s the ultimate way to experience a movie. So getting a wide cinema release is such a blessing. We worked tirelessly to make sure the movie is great on every level. Of course, foremost is the actual story, which we worked over and over until all the elements felt right and told a story that relates to all ages and is filled with characters who are all believable and entertaining. Meanwhile, the incredible team created a look for the world which feels like a big studio movie but was done at a fraction of the budget. It’s a testimony to the immense talent and dedication of the crew.
3. You’ve directed and co-directed a number of Australian animated features. Does it get any easier, and what are the parts of the job that you love most and find most difficult?
Some parts get a little easier, but I aim to push myself to do better and go further on each project, making stories more complex, entertaining and visually stimulating. So, previous experiences build a great bedrock of skill and knowledge, but challenges keep growing and evolving to reach higher and higher levels. I’d rather leave the industry than stand still.
ScreenHub: 200% Wolf shows Australian animators could lead on the world stage
4. Does Flying Bark differ significantly in approach or work culture from other animation studios in Australia, or globally?
Flying Bark is unique because on our own projects we are the leading creative force. In big studio movies there are a huge amount of executives with differing opinions which runs the risk of diluting and complicating the overall creative vision.
Flying Bark is a creator-driven studio, which is a dream come true for the directors and creative crew. This creative freedom and ownership enables artists to thrive and create truly amazing art such as in 200% Wolf. This successful scenario has earned us international recognition and major production offers and job applications are flooding in. We have grown from an original crew of about 50 to almost 500 with offices in Sydney, LA and Madrid.
ScreenHub: What If…? Studio Flying Bark opens Madrid facility
5. What are the key problems or policy issues making it difficult for animators working in Australia right now?
Financing is the hardest part of every production. Especially now when belts are tightening everywhere, it can be almost impossible to find the money to bring our amazing stories to life. That’s why government incentives are more important than ever to keep the amazing local industry afloat. If those incentives were to disappear, so would a lot of the talent that Australia is so well known for.
Another key issue is the lack of regulation requiring streaming services to invest in local content. We are facing the very real risk of our kids growing up watching purely overseas content, which is such a massive loss, not just to the industry, but to our kids who will miss out on seeing the authentic stories, voices and flavours of Australian culture on screen.
We love working with international clients – it’s a fantastic way for creative workers to hone their skills by working on huge global projects – but the industry as a whole also has the capacity to shape how the world sees Australia by producing original, authentic animated Australian stories.
6. What are you watching and loving right now on TV or streaming services?
I watch a wide variety of shows from fantasy to docos. Some favourites in no particular order: Fleabag, Hacks, Succession, Ted Lasso, Game of Thrones, Arcane …..
Generally, I don’t like watching trivial stuff unless I need a break for my brain. A show needs to emotionally connect with me to engage. There needs to be believable characters, even if the word is purely fictional, and it has to have heart.
7. Do you have any words of wisdom or counter-intuitive advice to a young up-and-coming animator?
Animation takes a lot of patience to get to a skill level you can be proud of. There were many many times I doubted myself and wanted to throw in the towel. Great skill takes time, but in the meantime don’t be shy to show your work. Invite criticism and learn from it. Don’t forget that every amazing artist has started out at roughly the same point.
Also, don’t let age stop you. I have seen artists who took up drawing later in life and became great at the craft.
Bonus question: In the credits 200% Wolf explicitly talks about being made by ‘real people’. Are there good ways to protect against AI taking the jobs?
Barbara Stephen, CEO, Flying Bark Productions: AI is having a huge impact on our industry – like many others right now. At Flying Bark we’re exploring the use of machine learning for uses such as automated workflows so that our artists can focus on what they do best, create amazing art, but it’s my firm belief that human creativity and ingenuity in the animation process cannot be replaced and they must remain the heart of the industry.
What we urgently need is for our government to work with the creative industry and AI tech companies to develop some clear regulatory framework on the use of AI to ensure the right balance is struck.
200% Wolf was released in Australian cinemas by StudioCanal on 8 August 2024.
