Karaté Mouton is presented in Competition in the "TV Films" selection of the Annecy International Animation Film Festival and will continue its sales trajectory in the main markets in 2023.
This colourful and highly graphic 3D animation series has already been broadcast on Super RTL in Germany, and the first episodes have also been available on Netflix since March. Marc Du Pontavice, founder and CEO of Xilam Animation, and Morgann Favennec, Distribution Manager, talk to us about the origins and strengths of this highly effective and original comedy, and about their ambitions for its international release.
Unifrance: How did the Karaté Mouton animated series come about at Xilam?
Marc Du Pontavice: In 2019, I asked Hugo Gittard, one of the leading creators and directors in Xilam's 25-year history, to come up with a new concept for a slapstick comedy, in other words a highly visual comedy with no dialogue along the lines of Zig & Sharko or Oggy et les Cafards. But with a new constraint: the use of 3D. I knew that Netflix favored this type of technology, and I wanted us to come to them with a visual innovation that would set us apart from previous series.
The original idea involves the classic diabolical trio: Trico, a sheep who has traveled a lot and wants to explain the attractions of modernity to his fellow sheep; Wanda, the flock leader and incidentally an ace martial artist; and the Wolf, who covets the flock to satisfy his hunger. Wacky ideas disrupt the security of the flock, which the Wolf intends to take advantage of, but Wanda keeps an eye on things and the would-be executioner becomes a victim: a tried-and-true slapstick comedy set-up.
The project appealed to Netflix, which has committed to worldwide distribution. How did you convince them?
MdP: Quite early on, during development. We quickly did a test of what the project could look like visually with a 2-minute pilot, which quickly convinced them. So much so, in fact, that they immediately ordered a first season without further development.
As Xilam has high expectations in terms of long-term catalog for this type of program, we asked to retain ownership of the IP while limiting the duration of exclusivity. This was very well accepted by Netflix, and will enable us to start marketing the series to other broadcasters from the end of 2023.
Morgann Favennec: In parallel with Netflix's commitment, another of Xilam's long-standing partners quickly positioned itself: Super RTL, which is the first German broadcaster of the series, and the only broadcaster to have benefited from this linear exclusivity on an international scale.
Karaté Mouton will hence have a second life after Netflix. How do you picture it?
MF: Marketing of the series began last October at MIPCOM Junior, and we'll be rolling it out throughout the year, from MIFA to ATF and beyond, without forgetting the Unifrance Rendez-Vous in Biarritz and MIPCOM. As far as MIPCOM is concerned, as the series is an official selection in the "TV Films" category, we are present at both the festival and the trades fair, which is both an asset and a selling point.
The series will be released on Netflix in two stages: the first group of episodes has been available since March, and the second salvo will arrive shortly. We're supporting these launches as closely as possible, since we're in charge of promoting the brand on YouTube and social networks, and are also developing a game for this summer.
A slapstick comedy with no dialogue, Karaté Mouton has developed the perfect formula for telling a universal story. What makes the series unique, and what are its international strengths?
MdP: Slapstick is an extremely well-proven narrative grammar with a universal vocation, for which Xilam's expertise is unanimously recognized worldwide. This type of program appeals to a wide range of audiences, not just children. In fact, the writing is developed with two sets of viewers in mind: six to nine year olds and adults. Strangely enough, this type of work also attracts very young children, who are hooked from the age of three of four, thanks to its extremely visual, colorful, and easy-to-follow nature. The absence of dialogue is also a big advantage for the international market, not only because it eliminates the question of dubbing, but also and above all because it forces us to work on the staging and acting of the characters in a way that everyone can understand. The soundtrack itself becomes a central element of rhythm and comedy, with particular attention paid to sound design, which has its own autonomous language. Finally, the music is developed conjointly with the images, with varied and extraordinarily precise compositions.
The number of episodes (78 episodes available) is another undeniable advantage, providing a strong structure for TV channels. The relatively short format not only multiplies the number of entry points for viewers in linear broadcasting, but also integrates well with VOD catalogs, giving us the means to compete effectively with players like TikTok for the consumption of short audiovisual productions.
For the production, we called on Xilam's 3D Hub in Angoulême, which since Oggy Oggy has developed considerable expertise in hybrid images and highly graphic rendering. In general, 3D makes working with light very restrictive. And it's often difficult to find strong visual renderings in TV series. However, we managed to maintain a high level of pictorial and graphic standards, so as to create a visual proposition with a strong identity. For the choice of title, we broke with previous programs, since instead of the names of the characters, we put forward both a promise of action and aligned with comedy by juxtaposing the terms "sheep" and "karate". Karaté Mouton is therefore unlike any other slapstick, and we're proud of our ability to bring a fresh and innovative approach.
MF: To this clear promise, I would add that the series opts for a very modern graphic look, in tune with our times, and with characters that children can easily identify with. Wanda, the "badass" of the group, perfectly embodies the girl power/empowerment that many broadcasters are currently seeking.
Karaté Mouton is the first animated series for Netflix to receive funding support from the CNC. Can you tell us more about the financing of this ambitious project?
MdP: Until 2021, series financed by platforms could not access CNC funding if they didn't have a French linear broadcaster. At the end of 2021, a special fund was launched, and Karaté Mouton was the first animated series to benefit from it.
Thanks to the support of Netflix and Super RTL, as well as public funding, we were able to put together a record budget of 11 million euros for this series, enabling us to go all the way with our ambitions.
The characters created by Xilam in the past have already traveled around the world. What are your ambitions for Karaté Mouton? Are there any particular territories you'd like to reach?
MF: Naturally, Italy and India, two countries where our IPs have outperformed for many years, were the first to express interest. We are also negotiating with partners in the Middle East and China, another key territory, as well as in Europe. We have a clear aim to create Xilam's new slapstick hit, like Oggy & les Cafards and Where's Chicky?. The pre-existing reputation of a series like Zig & Sharko makes us very optimistic about the success of Karaté Mouton in the USA.
In connection with this news
Events(2)
Annecy International Animation Film Festival - 2023
Feature film and short film festival
France
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