Cartoon Saloon’s Brian Tyrrell discusses the animation studio’s work in licensed IP

Brian, thanks for making time. Cartoon Saloon is a five-time-Oscar- and two-time-Golden-Globe-nominated animation studio. Tell me about some of your IP!
Thanks for having me, Deej. Along with our co-producers, we create a mix of content including feature films, TV shows, and short films. Primarily, we create our own stories and films such as The Secret of Kells, Song of the Sea and WolfWalkers – collectively known as the Irish Folklore Trilogy. These are all what you might call Irish-themed adventure stories. They all have themes of friendship and empowerment…

Sometimes we also create an existing story if it resonates strongly with one of our producers or directors, as was the case with The Breadwinner. That was based on a book of the same name. our TV shows primarily focus around preschool properties such as the multi-award-winning series Puffin Rock. That’s a low stimulus show ideal for preschoolers focusing on topics such as friendship, family values, nature, and biodiversity.

Indeed. Another of the licenses you worked on is Screecher’s Reach… Part of Star Wars Visions: Volume 2. How would you describe that?
Ah! This was unusual for us – to be approached about working on someone else’s IP – and especially one that’s so well known, and with such a cult following. But for Paul Young, the co-founder of Cartoon Saloon – and producer of Screecher’s Reach – that was like Christmas coming early and then lasting for the whole 18 months of production! He’s a big sci-fi fan – and thrilled to be the director of Screecher’s Reach.

How did it come about?
We got a call from Lucasfilm and were invited to pitch an idea for a film as part of the Visions: Volume 2 anthology series… And that was it.

Amazing! I didn’t realise they approached you. That’s quite an accolade. Let me ask you this… What special considerations are there when you license animated properties?
We take the same approach to product licensing as we do to creating content in the first place… To make the most beautiful and complete product we can. For example, when we receive designs from a licensee, be it for product or packaging, on some occasions we’re not entirely happy with the result…

However, rather than having endless emails back and forth with tweaks, we’re more proactive. We find it better to allocate one of our artists from that film or show to bring the design more on brand for both product and packaging, and up to the level we’d expect… A level we feel best complements the film or show. The product or packaging must emulate the IP.

In terms of licensing your own IP, what kind of products do you license?
In general, we’re open to all products if they fit with the IP, especially products that encourage creativity, arts, drawing, family play and so on. That said, we stay away from the unnecessary use of plastics.

Oh, is that right?
Yes, we’re very conscious of the environment and our impact on it. In the past, for example, we made our plush with organic cotton which we felt held true to our values – and it does to an extent. We later changed to rPET as we feel helping to clean up the environment should be a priority for all of us, be it plastic in our waters or landfill. This is a quest worth pursuing. I appreciate rPET in itself doesn’t get rid of waste plastics, but it does extend the life of plastic until such time as there may be better solutions available for its disposal.

Interesting. And what do you look for in a partner?
The short answer is a shared passion… A partner who truly believes in your IP, your values, your storytelling. Obviously, we also need a partner who can monetise the IP in whatever category they operate. Without money, we can’t create and produce our content! But if you find a partner who shares your vision, then – in most cases – the money will follow.

In that respect, a shared passion and being profitable aren’t necessarily mutually exclusive ideologies. An example would be a recent partnership with a leading, premium stationery company that produced a range based on art from our Irish Folklore Trilogy. The level of detail and understanding they put into every single millimetre of the covers is mind-blowing. The result is a range of stunning journals, sketchbooks and bookmarks.

Great answer. Thank you, Brian. How did you come to doing this?
In one form or other, I’ve been involved in toys for most of my life – primarily as a distributor. My wife and I were the original distributors of Teletubbies for Ireland back in the late ’90s. We also licensed some IP from popular TV Shows on Irish television, such as Dustin the Turkey and Podge & Rodge. I stayed in touch with the guy in charge of licensing those two properties 25 years ago… He now works with Animation Ireland. It was a recommendation from him to my current boss that started my Cartoon Saloon journey.

Fantastic! Great answers. Thank you, Brian. Tell me, what’s the one thing I could’ve asked you today but didn’t?
What’s it like to work for an independent five-time Oscar nominated animation studio – and what makes it special?

That’s perfect! And what’s the answer?
It’s great – and I’m very lucky! You’d imagine that a successful animation studio would be full of egos, but it’s not. The company is very flat when it comes to management. The directors and founders are accessible every day, to everyone. They sit side by side, same desk, same tech, same chairs as everyone else. It’s very humbling to see and should be a life lesson to all.

Brilliant. Thanks, Brian. I’ve enjoyed chatting and I’m looking forward to seeing what’s next.