Against a backdrop of corporate consolidation, changing demographics and media’s ongoing digital evolution, movement in entertainment’s upper ranks has shifted into overdrive. 

In some cases, high-profile executives who have spent their careers at major media conglomerates are cashing in hard-won wisdom for gigs at smaller studios, driven by a longing to get closer to the action, return to their creative roots or dive into new out-of-the-box opportunities like NFTs.

Especially in the feature film space, the kids biz has seen a number of these changes play out through the pandemic and its aftermath. We caught up with three industry veterans—Mary Coleman, Saxton Moore and David Park—who made the move from majors to indies, and found that despite challenges like small crews and lower budgets, their ambitions have never been bigger. 

Coleman joined London-based prodco Locksmith Animation in June as chief creative officer after working for more than two decades at Pixar. During her time at Disney’s venerated animation studio, she participated in the creative process that birthed family classics such as Finding Nemo, The Incredibles and Monsters, Inc. 

Moore moved to Missouri-based Lion Forge Animation two years ago as VP of production. He previously worked at Nickelodeon and Silvergate Media, and his work as an illustrator has been featured in hit shows such as Hilda and Chico Bon Bon, both currently airing on Netflix.

Park started at UK-based Passion Pictures last year as head of long-form animation, with 15 years of experience at Pixar, where he served in a series of production roles on movies including WALL-E, Toy Story 3 and Coco.

Here’s what these three heavy-hitters had to say about jumping into a smaller pond. 

You moved from a major studio to an indie. What are some of the factors that influenced this decision?

Mary Coleman: I didn’t know I was ready for a new challenge until the Locksmith opportunity came my way. I loved my 23 years at Pixar and wouldn’t trade them for anything, but the chance to stretch and grow in a new role was too hard to pass up (and the London location didn’t hurt).

Saxton Moore: I was at a point in my career where I chose to have a full-time job with benefits at a company where I was given an opportunity to help grow the business and make impactful content for the culture.

David Park: I had been in feature animation for 17 years, and while it was an absolutely thrilling and rewarding ride, I felt that there were avenues in animation that I hadn’t had the chance to explore. Passion Pictures provided new opportunities to work on more eclectic projects in different styles, with a highly talented group of directors and artists from around the world.

What is it about this specific company’s approach or slate that intrigued you?

MC: When I started in 1999 at Pixar, it was relatively small. We all knew each other, and in every movie, there was a sense that we were all in it together. I’m excited to be part of a small studio again. The women’s leadership team was also a big draw for me.

SM: I joined Lion Forge because it is a Black-owned company with a focus on telling amazing stories featuring people of color and underrepresented communities. The company got o to a great start with an Oscar win for the animated short Hair Love. The opportunity for impact is so much greater working here, and I knew I had to be a part of the magic they are creating.

DP: Artists here are given the opportunity to tell character-driven stories that may not get the same oxygen in a larger studio. Several of the projects came directly from Passion’s roster of directors, which is very special—it is incredibly inspiring to see how a [smaller] studio supports and grows its in-house talent.

How would you describe the opportunities in kids & family animated features right now? 

SM: In the time that we are living in right now, kids need magical stories that teach them love, kindness and compassion, as well as films that awaken their imagination as a way of escaping from reality. That kind of storytelling can’t be found on TikTok.

DP: On one hand, streaming has allowed many smaller studios from different parts of the world to get their work in front of larger audiences. This is exciting from the standpoint of broadening the scope of styles, looks and types of stories in animation. On the other hand, animated features on the big screen are clawing their way back. It feels like the streaming/big-screen balance is still finding its way, and I’m hoping for the best of both worlds. Personally, I love watching movies at home, but I need to see some of them in theaters, with an audience. Audiences need both, and it seems that with the right stories, there are even more avenues and opportunities.

What challenges are you anticipating by moving from a major to an indie? What is made easier?

MC: The challenge is the flip side of what will be easier—it’s easier to turn a speedboat than a ship, but a ship is very stable.

SM: Some of the challenges are having to build out a new team of designers and artists, and picking the right content to produce that will position us. Also, working with a smaller team at Lion Forge means that I can directly contribute more, and see more of our content through to completion.

DP: Not having the scale of resources a larger studio is able to provide is certainly different, but the trade-off is having the option to work on so many different types of stories and styles. Passion is growing, but still able to be very nimble and adventurous.

What kinds of stories do you think kids are interested in these days? 

MC: It’s a cliché, but I’m finding that they want to see stories about kids older than them, to project themselves into the future. They also seem to crave a level of excitement that my generation didn’t expect all stories to have. They watch action movies at a much younger age.

DP: Kids want engaging stories that challenge them—which means that animation can address many complex issues, such as being heard and seen, finding identity and a unique place in the world, and growing up. Also, children want stories they can share and discuss with others.

Do you think the magic of the movies will prevail theatrically? Or are kids headed towards a time when streaming is all they know?

SM: There’s always magic in theatrical movies. It’s an escape from reality, if only for an hour or two. When the lights go off and that red curtain draws open, as you’re sitting there with a friend or family member, there’s a rush of excitement and anticipation that you can’t get from a streaming service.

DP: There will always be a place for the shared experience of going to the movies. Streaming has certainly democratized and revolutionized viewing, but the ritual of sitting in a theater can and will exist alongside home viewing. We have the best of both worlds right now—big, animated features that families can enjoy at the cinema, along with the variety of stories and styles from smaller global studios provided by the streaming expansion.

This story was originally published in Kidscreen‘s February/March 2023 issue.