A Quote by Ted Sarandos

A lot of our animation projects are co-productions with French production companies. — © Ted Sarandos
A lot of our animation projects are co-productions with French production companies.
Ironically India is the hub of animation outsourcing, but our own productions have been anything but fabulous.
Thankfully, I have a very full life. I'm married with kids, so I have a lot of things to focus on, other projects either in post-production or pre-production, so you just do the best you can.
I am trying my best to stay above the water. Right now ACID does not only offer animation. I offer real life productions as well and also compositing (animation composited into real life video)
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
In live-action, writing, production and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
Private companies have a lot of capital. They can run things efficiently and get projects built.
It's very important to say that French doesn't belong to France and to French people. Now you have very wonderful poets and writers in French who are not French or Algerian - who are from Senegal, from Haiti, from Canada, a lot of parts of the world.
The biggest problem in countries that don't have a tradition in animation or a film industry, is that precisely, that it's not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.
I think the compositional side of my productions have progressed and matured a lot more, and creating melodies is actually what I have always enjoyed the most, so my productions will always contain that strong musical element.
Approximately 400 cuts - that would make 25 percent of the total - use CGI. I worked on the Steamboy's animation production based on the usual handwriting method. Digital animation is just supplementary. I didn't do anything surprising, because the idea is to overcome the limitation of expressions done by handwriting with the help of CGI.
I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.
When we first started our internet company, 'China Pages', in 1995, and we were just making home pages for a lot of Chinese companies. We went to the big owners, the big companies, and they didn't want to do it. We go to state-owned companies, and they didn't want to do it. Only the small and medium companies really want to do it.
I usually have 10 different animation projects going at a time.
When I did Nicholas Nickelby originally, that was a co-production between the new Channel 4, Polygram in Europe and Mobil Oil in America, and I have been involved in working on co-productions for years on both sides of the Atlantic and that's very much at the core of what Playground is doing. So marrying, finding projects that can be co-produced and can be produced using the very best talent from both sides of the Atlantic that's absolutely right at the center of what Playground is doing.
I'll be starting two new production houses - Konidela Productions and White Horse Entertainments.
This site uses cookies to ensure you get the best experience. More info...
Got it!