Sep 17, 2024

Poland's “Mechozaurs” series is a transatlantic collaboration between a veteran American artist and a European producer.

The European animated television industry will gather again this year at the Cartoon Forum in Toulouse, France, which is celebrating its 35th anniversary this year. 2024 will be the year of the event, and this year, more than ever before, there will be an attractive international series program and features to find co-production partners, broadcasters and distributors. The festival is packed with attractive international series projects and features to find co-production partners, broadcasters, and distributors.

However, it is interesting to note that despite the fact that Cartoon Forum has welcomed more than 1,000 guests from Europe and around the world, American participants can be counted on the fingers of both hands: three broadcasters, one producer, and several others.

While large companies like Warner Bros. and Disney may rely on their EMEA branches to find European projects, one might wonder if the Atlantic is too big to cross for American producers and investors. But can distance really be such a barrier in the post-pandemic era of digitalization of co-production tools and pipelines? This ambitious young adult/adult 8 x 45 minute 2D animated series aims to “push the boundaries of adult animation by combining mature, complex storytelling with the high production values typically found in live-action series,” according to Laniakea Mateusz Kowalczyk, CEO of Laniakea, told Cartoon Brew that the goal is to “push the boundaries of adult animation by combining mature, complex storytelling with the high production values typically found in live-action series.

“Our goal is not just to make a show about dinosaurs, but to make an action drama that defies genre conventions,” Kowalczyk added. Inspired by RPGs, computer games, and Asian animation, “Mechozaurs” is driven by a deep love of pop culture and geeky enthusiasm are the driving forces behind the project. We aim to dive into themes of grief, revenge, and redemption to create something visually beautiful and emotionally resonant. Our ambition is to challenge stereotypes and redefine adult animation, especially in Western markets. With a strong cross-media approach, we are not just creating a series, but an expansive and immersive universe that spans games, comics, and more.” [While not the first time Doug and Candy Langdale have metaphorically crossed the Atlantic, “Mechozaurs” is also a rare event: a European television series by an American screenwriter. Doug Langdale first got involved in a European production in 2006 when he co-wrote the famous German-American co-production “Happily Never After.” But it was not until he and his co-writer and wife, Candy Langdale, began working with fellow screenwriter and animation director Jorge R. Gutierrez on the project that they realized how easy it was to work with international productions.

“Of course, we have a lot of early morning meetings,” they joked. But since “Covid,” much of our work has been done remotely, even with people right next door. Not a lot has gone back to being completely face-to-face, and we regularly participate in Zoom calls, Google meets, and the like. Other than that, our way of working has not changed. If a project looks interesting, we think nothing of it. We are just excited to be working on exciting projects, no matter where they are based.”

The Langdales were approached by Laniakea through their agent and were overwhelmed by what Kowalczyk and his team presented to them. They already had a lot of material,” Kowalczyk said. 'It was more like an open-world game than a bible for a TV series. Our job was primarily to figure out how much story we could include and what the best approach would be to present this world to the world as a compelling and moving story. 0]

For Kowalczyk, who has assembled an impressive roster of talent to expand IP into the transmedia universe, calling on this American duo was a bold yet carefully considered decision. Their work on projects such as “Samurai Rabbit,” “The Book of Life,” and “Maya and the Three” perfectly matched what Mechozaurs was looking for, as they are adept at balancing adventure, emotion, and complex themes. Doug and Candy have extensive experience in animation and an excellent sense of narrative balance. They know when to keep the story grounded or explode, thanks to their exceptional sense of storytelling and humor.

Doug and Candy Langdale say, “One of the advantages of working with a European team is the different perspectives. It's fun and refreshing to see things from a different angle. The Europeans draw on a variety of folk tales when writing their stories. And it's interesting to understand what else we might need to offer our audiences in order to meet their expectations of our stories.”

As for shortcomings, the only thing the Langdales can think of is the fact that European studios sometimes do not work under Animation Guild conditions, which may be a drawback for some fellow writers. She said, “In terms of budgets, I understand that they are often low, but I don't feel that we've run into any problems because of that. European productions usually have more flexibility in the pipeline, which allows us to find clever ways to make things work. Occasionally, there is a language barrier that gets in the way, but since everyone speaks English, it has never been much of a problem."

During the interview, Doug also offered an honest and interesting observation: to put it simply, when he worked on the project in Spain, “Dog Night” aka “Dogtanian and the Three Muskhounds” was quietly released in the US in 2021, but was a success in the EU market The film was a success in the EU market. I think there is a perception that Europeans are smarter, or at least more educated, than we are: ...... I was surprised that there seems to be a sense in Europe that we Americans, and Canadian artists in particular, are on the cutting edge, especially when it comes to animation artists. I think everyone would benefit from more communication and collaboration between the industries.”

Incidentally, that is exactly what drove Kowalczyk to seek them out. Kowalczyk said, “Their extensive experience with large projects, writers' rooms, and coordinating with multiple storyboard artists and directors is especially beneficial on a project of this complexity. In addition, Doug and Candy are widely respected in the industry for their collaborative spirit, reliability, and willingness to share their expertise. Their insight helped us navigate complex tone and storytelling choices. I've always enjoyed collaborating with American teams because they bring fresh perspectives and a wealth of experience that makes projects better. The different approaches to storytelling and production, as well as talent, complement our European sensibilities.”

“It's also about broadening horizons,” Candy Langdale concluded. She continued, “American studios are a little afraid that kids won't relate to or understand this content, but the popularity of Japanese animation in the U.S. already tells us that's not the case. To me, it proves that kids want to see other stories and are interested in new ones. “Mechozaurs is one of the most exciting projects we've worked on and a unique show. But more than that, I think our industry is poised to get an influx of European animation.”

And that may be exactly what “Mechozaurs” will bring to the American and international market. For Kowalczyk, who presented the project today at the Cartoon Forum, the project has global potential with the right partners.

“We are at a pivotal point where strategic partnerships can take the project to the next level. We are looking for collaborators who not only see the potential for cross-media storytelling, but also bring expertise in executing new IP, marketing, and PR.” We have the resources and investor backing to support this vision, but we recognize that international support is essential to make a real impact”