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Television, Technology, and Lack of Money Finnish animation film -scene has brightened during the last ten years. New makers are entering the contest. Just as with the films' foreign idols, computer technology is quickly emerging, but classical animation is still firmly entrenched. However, the everlasting lack of money and the demands of television shape the domestic, small-scale productions. Few Media The markets for animation films are limited: television channels want series and movie theatres no longer have room for short films, since commercials are now shown at the beginning of full-length feature films instead of short films. The main medium for animated films is television, where series are preferred. The episodes must fit within certain time limits in order to fill the slots. Finnish animation films are carefully-made high-quality productions from small companies. Series Wanted“We already have enough artistic and technical skills. The stories in the animation films are original. The downside is that the films are short individual productions,” says director and producer Liisa Helminen, from Lumifilm Ltd. “Finnish animation filmmakers are scattered in small independent firms. Many attempts to organise collective foreign marketing have failed.” “Global markets want long films or series designed for television. The fact that we can't produce large numbers of films also reflects in the lack of commercially successful films. A single animated film, even of high quality, is a sort of cultural act because the payment for a film is determined by its length.” Technique Is a Minor Matter In today's animation films two main styles can be distinguished. On the one hand, there are the glamorous computer animations, in which perfection, magnificent effects, and the liveliness of motion pictures are pursued. On the other hand, admiration has arisen for classical animation, in which different working methods and craftsmanship can be seen. “The most important thing in animation films is, however, a good story, which usually deals with basic questions of life. Technique alone is not the main point in any animation style,” says Liisa Helminen. Lumifilm Ltd almost exclusively produces animation films for children. Among others it has produced the 13 part puppet animation series Urpo & Turpo and Tootletubs & Jyro [Turilas & Jäärä]. The theatre version of Tootletubs & Jyro was the first Finnish children's animation screened in movie theatres in years. “A sequel will be made as soon as we get the financing for it,” Helminen says and adds, “movie producers working with small budgets scrape the money together from many small streams. The share of capital contributed by the producer can, for example, come from international advance bookings. In Finland, part of the budget of animations, as well as other films, comes as support from the Finnish Film Foundation or The Promotion Centre for Audiovisual Culture. In addition, some TV-channel almost always buys the rights to the film in advance. Where to Get the Money from? “Making animation movies is not economically profitable,” Liisa Helminen remarks. She's satisfied, however, that Lumifilm's productions have been warmly welcomed and there have been no financial disasters. The small company's staff consists of Helminen and business associate and producer, Hanna Hemilä. “The film-makers are employed separately for each production.” “Probably no movie in Finland can finance the next production; the financing must be organised again from the beginning. The routine is repeated: support, advance payments, and grants. Without financial support Finnish animation productions wouldn't work at all,” Helminen says. ”But despite all the difficulties, Lumifilm is determined to continue producing high-quality children's animations. Finnish Talents “Finland already has successful champions of animation films around the world: Katariina Lillqvist's puppet animations, Antonia Ringbom's cut-out animations, Christian Lindblad's Space Pigs, Jari Kuusonen's Pizza Passionata, and Milla Moilanen's animations being good examples. New computer animators are constantly emerging.” Helminen also commends The Mole's Treasure [Myyrän aarre] animation film, directed by Tini Sauvo, which she recently saw in Berlin on a large movie screen. “There was no reason at all to be ashamed of it, or to belittle its merits by saying that this was all that could be done with these resources. It was a unique and carefully-made animation film.”
TEXT: Tuija Lundelin |
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Festival News 2002 festnews@uta.fi |