Animation ace Max Howard speaks on his journey so far

And how do you think we should tackle recruitments with talent strewn everywhere in the country? Good solid training is the key to their success. They should be clear on their ambition, Read More">whether its character animation or VFX. I think the one challenge here appears to be animation doesn’t seem to be an inherent partRead More

And how do you think we should tackle recruitments with talent strewn everywhere in the country?

Good solid training is the key to their success. They should be clear on their ambition, whether its character animation or VFX. I think the one challenge here appears to be animation doesn't seem to be an inherent part of the public psychic when we get into movies. Despite the population, the market isn't big - everybody here likes Bollywood movies and animation tends to be dismissed as only for children. But there are movies being made for the local market, Delhi Safari (Krayon Animation) and Toonpur Ka Superhero (2nz Animation Co) - these films could help start a real local audience base, however, the long term goal for Indian animation filmmakers should be to develop local stories created to entertain a global audience and there is no reason why that mission cannot be accomplished - the foundation is in place, now the great storytellers must be found to utilize the Indian animation talent pool.

Are you mostly into classical animation? What makes for a successful animated film? Not at all, Read More">for me it’s all about story. The technique to bring animated characters to life must always follow the dictates of the story. I’ve just been blessed to have been able to work with many of the animation world’s classicRead More

Are you mostly into classical animation? What makes for a successful animated film?

Not at all, for me it's all about story. The technique to bring animated characters to life must always follow the dictates of the story. I've just been blessed to have been able to work with many of the animation world's classic characters.

I have been working in recent years with Exodus Film Group to create high quality independent animated feature films. With the advent of relatively low cost computer hardware and the availability of high quality animation software, there is a real opportunity to see small studios, from around the world, capable of delivering very fine films. But here's the challenge - developing a great story, full of loveable characters in a believable world. That's the challenge.

In addition to my work at Exodus, I have recently partnered with Bill Dennis and Frank Lunn to create International Animation Consulting Group. The group is an unparalleled team of executives assembled to provide first-hand knowledge of how to develop, produce and distribute animated content for feature films and television. From building curricula for training, recruiting, studio design, through all aspects of the production process, development, budgeting, producing, directing, marketing and distribution.

I think I've been fortunate enough to work in different studios and now in an independent space since I have a multi-faceted animation background. My passion is great storytelling and putting great teams together to bring those stories to life. I think that's always a challenge in animation. I don't think it's about the quality of animation as much as it is finding great stories to tell first - that's the challenge. Find a great story and the rest will fall into place. If you don't have a great story I think it's hard for everything else to work.

It's simple - we love a film because we love the story. There needs to be a believable world and a great story with loveable characters. If you get these three ingredients right you will make a successful film.

Do you think the industry in India levels up to the work whipped out from the western countries?

I think it's growing, and it's growing rapidly, but what I was really encouraged to see was the number of animation institutes. I've visited and taught in a few of them across India. This proves there is an industry and a need for high quality animation. To top this, there are very high-end U.S. studios such as DreamWorks, Technicolor and Rhythm & Hues all with facilities here. This compliments the local studios such as Toonz, Prana, Tata Elxsi, Crest, Krayon and many others. Then there are emerging new studios such as Laughing Lion, Xentrix and Snipple. All positive signs of a flourishing animation industry.

You’ve worked with the likes of legendary animator Richard Williams on Who Framed Roger Rabbit, Read More">so how did you land this project? I come from a theatre background as a director and producer so I had been used to working with creative people. Somebody I had known while working in theatre earlier had moved onRead More

You've worked with the likes of legendary animator Richard Williams on Who Framed Roger Rabbit, so how did you land this project?

I come from a theatre background as a director and producer so I had been used to working with creative people. Somebody I had known while working in theatre earlier had moved on to become head of Disney's Feature Animation division. In making the decision to produce the animation for Roger Rabbit in London, Disney needed somebody to manage that studio and I was fortunate enough to be chosen for that role. This was the time when I worked with Richard, which was a great experience, and I've been in touch with him over the years. As a matter of fact, two years ago, we did a retrospective on the film. It was great for us to sit back and talk about our memories of those years working together to bring Who Framed Roger Rabbit to the screen. It was a pretty intense experience bringing Roger to the screen - it was groundbreaking in every way.

What other segments have you forayed into, apart from animation in the industry?

I was President of Warner Bros. Feature Animation and Senior Vice President of Disney Feature Animation. I've served Disney for about 10 years. The films included Who Framed Roger Rabbit, The Little Mermaid, The Rescuers Down Under, Prince and the Pauper, Aladdin, Beauty & the Beast and The Lion King. I was Co-Executive Producer at DreamWorks for Spirit, Stallion of the Cimarron.

As President of Warner Bros. Feature Animation, I oversaw Space Jam, The Quest for Camelot and The Iron Giant, which gave Brad Bird his first directing role. Later he went on to direct Ratatouille and The Incredibles for Pixar. That was a breakthrough movie and certainly a wonderful film. I've been lucky enough to have worked on two major live action / animation films, Space Jam and Who Framed Roger Rabbit. Not many people working in animation have been able to work with the 'classic characters from both Warner Bros. the Looney Tunes and Mickey Mouse. To work on multiple films and shorts was a rare honor.

Hi Max, how has your experience been so far in our colorfully diverse land? I’m British originally but am now a US citizen, having lived in the States for over twenty years. I grew up loving Indian food, Read More">and playing cricket (I still play cricket for Corinthians Cricket Club who play in the Southern CaliforniaRead More

Hi Max, how has your experience been so far in our colorfully diverse land?

I'm British originally but am now a US citizen, having lived in the States for over twenty years. I grew up loving Indian food, and playing cricket (I still play cricket for Corinthians Cricket Club who play in the Southern California Cricket Association). Coming to India for the first time, I immediately felt at home. I'm aware of many customs here and so many people speaking English makes my visit very comfortable. In other countries I have to work through interpreters so being able to communicate directly with my audience is a real luxury for me.

When was your first gig? How did you foray into animation filmmaking?

I started twenty-four years ago in the UK when I set up studio in London for Who Framed Roger Rabbit. With the success of that film, Disney decided to start making more animated films again but on a much more regular basis then they'd ever done before. I became a part of a team that tried to make that happen, as we expanded and built studios in Orlando, Florida and Paris. I was a part of that whole expansion; and so after Roger Rabbit, in 1988, I relocated to the US, where I've been based ever since.

Disney, through the decades, has whipped out several animation legends such as Milt Khal, Frank Thomas, Ollie Johnston and, in more recent times, Richard Williams. These men have pushed the envelope in pioneering animation techniques that is practiced in today’s generation of animation filmmaking. One such legend is Max Howard – an actor, Read More">an authorRead More

Disney, through the decades, has whipped out several animation legends such as Milt Khal, Frank Thomas, Ollie Johnston and, in more recent times, Richard Williams. These men have pushed the envelope in pioneering animation techniques that is practiced in today's generation of animation filmmaking.

One such legend is Max Howard - an actor, an author - he has worked in some of Disney's most memorable films, like Who Framed Roger Rabbit, The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King. As former President of Warner Bros Feature Animation he oversaw such hit movies as The Iron Giant and Space Jam. At DreamWorks, he was co-executive producer for Spirit, Stallion of the Cimarron.

By using animation as a means to bring social and health messages to developing countries in Africa, the Caribbean and South America, Max has worked with UNICEF throughout his sprawling animation career. At present, he is the President of Exodus Film Group which specializes in producing independent animated feature films - the animated feature Igor was their first film, and currently The Hero of Color City and Bunyan and Babe are in production.

Max is also an eminent speaker. Recently, he was invited to conduct seminars at various cities in India on pitching effective stories. In this exclusive series, Bollywood Hungama chats with him on life at Disney, working with Richard Williams and things that make animation films good.