Courtright’s is Driftwood, a feature-length space adventure starring a spacefaring mouse, while Gordon-Montgomery is working on Invincible Fight Girl, a half-hour comedy-adventure series about a girl who comes from an island where everyone is an accountant but wants to be a wrestler. The arrangement is already bearing fruit: Two WB Animation veterans - Aquaman: King of Atlantis co-showrunner Victor Courtwright and DC Super Hero Girls director Juston Gordon-Montgomery - recently brought their own ideas to CN Studios, where both are currently in production. Do you have your own original idea? Well, we have a studio for that, too.’” “Having a suite of studios allows us to have a different strategy when we talk to talent: ‘Do you love Scooby-Doo? Do you love Looney Tunes? You can do that. Register’s pitch is that the combined CN-WB stable will be a better place for creators to land than the two studios were individually. Since Register runs both CN Studios and WB Animation, the studios are now signing creators to “cross-studio overall deals” - meaning a showrunner on one of WB Animation’s series can jump to CN Studios to create something new, or vice versa. The big-picture play is for CN Studios to position itself as an appealing destination for creators of new work. Discovery machine to ensure people see it. Discovery animation portfolio, even a new studio tagline, “Everything Original.” And then Register’s going to pump it all into the giant Warner Bros. Instead, CN Studios is doubling down on innovation: new shows and movies ( Invincible Fight Girl and Driftwood headline the upcoming slate), new opportunities for creators across the Warner Bros. Yes, it rebooted The Powerpuff Girls, but this is also the studio that produced Over the Garden Wall and Steven Universe and Infinity Train. Marketing new ideas is harder than marketing IP, and audiences have so many more choices of what, and where, to watch.”ĭespite a rich (if niche) archive of its own, milking IP isn’t the backbone of CN Studios’ identity. “It’s become harder for original voices over the last few years, as streaming began to really ascend. “Back when broadcast linear content was so strong, Cartoon Network and Nickelodeon were the best,” Register says. and worldwide was spiking, and streamers were increasing their investment in the medium. When Register took over at CN Studios in the fall of 2020, a number of the outfit’s long-running hit series - OK K.O.! Let’s Be Heroes, We Bare Bears, and the Steven Universe coda series Steven Universe Future among them - were winding down, while the overall animation landscape was changing drastically: Pandemic delays in live-action filming prompted Hollywood to prioritize animated production, demand for adult animation and anime in the U.S. And as someone who, as he put it during a call earlier this year, “used to bleed checkerboard” - a nod to Cartoon Network’s iconic black-and-white logo - Register is an ardent believer in the shop’s ability to innovate, and elevate innovators, in a way that’s unmatched by other studios. He’s a veteran in the animation space, having run two shows, Hi Hi Puffy AmiYumi and The Looney Tunes Show, and executive-produced a passel of others. Discovery division, Cartoon Network Studios. Animation was also handed the keys to another Warner Bros. It’s been 18 months since the 52-year-old president of Warner Bros. New animated shows in the works at Cartoon Network Studios include Jessica’s Big Little World, Driftwood, Invincible Fight Girl, and Unicorn Warriors Eternal.
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