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Recently, the LA Animation Examiner spoke with Arati Misro, West Coast-based film distribution and production consultant and producer, about progress in the Indian animation industry. In the spirit of new year’s predictions, portions of the conversation appear below. Misro shared facts, figures, and opinions supporting that 2012 might welcome the golden age of Indian animation.
LA ANIMATION EXAMINER: What qualifies you as an expert on Indian animation?
MISRO: My true passion for storytelling was born in India during a 6-month stay, where I documented and worked with East Indian women and their issues with violence. After receiving my Master of Fine Arts degree from the Amercian Film Institute (AFI) in producing, I worked in all capacities of production for independent feature films and network television, such as Fox and Discovery Channel in India, Europe, and the U.S.
In 2005, I transitioned into independent film distribution and marketing, and I have closed several key deals in domestic and foreign sales. I have attended all major world film markets. I have earned numerous awards and grants from the ASC, DGA, AFI and the Caucus Foundation for Producers. My films have traveled throughout the world via film festivals and student programs. Currently, I am the co-chair of Women in Film International, Los Angeles, where I have done extensive programming with various international film festivals, International Women's Day, American Film Market (AFM), and Women in Film International (WIFI) evening of shorts program. In addition, I am festival development director at the Tasveer Film Festival, a south Asian themed event, in Seattle.
Finally, I am involved with several educational pursuits for India regarding film financing and distribution. For example, I assisted in creating the networking initiative Prime Xchange India, based in Berlin, Germany.
LAAE: Is it possible for Indian animation and the expanding Indian visual effects industry to peacefully co-exist?
MISRO: There is a bit of neo-colonialism that exists in India today. Many large foreign producers of animation, such as Rhythm & Hues and Technicolor, have entered India and purchased native India animation studios, including the related intellectual properties. It is somewhat of a buyer’s market too, hence my labeling it “neo-colonialism!” However, the influx of Western influence on the Indian animation industry has infused a new level of professionalism into Indian animation and visual effects.
LAAE: What do you suggest for Western producers who are interested in exploring Indian animation prospects?
MISRO: Foreign producers have much more leverage in India with outside (non-Indian) financing. Also, studying the Indian market is important. I started an entertainment educational exchange program in which foreign filmmakers are able to learn about India’s industry, and Indian filmmakers are able to learn about foreign opportunities. This has been quite successful thus far, and I hope to bring the exchange to more countries.
LAAE: Do you recommend any current or future examples of Indian animation or visual effects that audiences should see?
MISRO: Back in 2008, Disney and Indian studio Yash Raj co-produced the animated family film Roadside Romeo, which is set in Mumbai. This movie carries the distinction of being the first Indian-made animated theatrical feature film. It is worthwhile viewing for animation fans of all ages!
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