Samurai Jack and Primal creator Gennady Tartakovsky on the state of the animation industry [SCAD]

Gennady Tartakovsky is one of the most acclaimed animators of all time, with him being the mind behind Dexter’s Laboratory, Samurai Jack, PrimalAnd more. Many of Tartakovsky’s most acclaimed projects can be found on Cartoon Network and Adult Swim, but his Warner Bros. projects are far from all he’s done. On top of his critically acclaimed shows, Gennady Tartakovsky is also the mind behind these Hotel Transylvania movie series, highlighting his range and animation prowess.

Although Gennady Tartakovsky may have made a name for himself with his popular Cartoon Network shows, he is still making projects to this day on a variety of different networks. on top of Primal, Tartakovsky was also behind Max Unicorn: Warriors EternalAs well as the upcoming movie Fixed. Tartakovsky is one of the most accomplished animators still working today, having learned a lot during his career.

Genndy Tartakovsky was at SCAD Animation Fest 2024, where he received the SCAD Award of Excellence before giving a keynote speech that acted as a retrospective on his career. Screen Rant Then he sat down with Gennady Tartakovsky to delve into his careerHis creative process, and where he thinks the animation industry is headed.

Gennady Tartakovsky knows that the animation industry has changed in some big ways

“It’s all about IP-driven shows now. Very few originals are being made.”

Screen Rant: Your panel at SCAD AnimationFest talked about your entire career during your time in the animation industry. What are some of the most significant changes you’ve seen since you started working in the industry? And has it changed for the better or for the worse?

Gennady Tartakovsky: This is an interesting question. When I entered the industry, it was kind of the golden age. When Cartoon Network started, it was like a once in a lifetime situation where everybody was young, and we were able to do our own shows—which was really unheard of before—with all the support of the network. And the network was young and wanted to take risks and try new things. So it’s hard to compete with. So I would say the industry has changed.

I mean, we’re in a rough patch right now, from COVID to the strikes, to the decline in TV audiences, to how streaming works. They are trying to figure it out. So we are in this transitional period. And so it’s hard, and now it’s all about IP-driven shows. Very few originals were made. So it’s definitely different than when Nickelodeon wanted to do originals, or Cartoon Network wanted to do originals, or Disney TV wanted to do originals. It was all about who could get the best original show. Then you have something like SpongeBob come out, and it became a pop culture phenomenon. So I think it’s quite different.

Of course, the first days were the big days. It’s hard for me to complain, because I’m still doing my own thing. So for me, the industry is still supportive. I still do whatever I want to do, you know what I mean? But I know outside of my small orbit, it’s not big.

Screen Rant: It seems like animation, especially original animated programs, have been disproportionately impacted by the streaming service model, with a lot of animated shows being canceled after just one season. Do you have any advice for people who are trying to get original animated shows off the ground about how they can protect themselves from this and things like projects being shelved for tax write-offs?

Gennady Tartakovsky: No [laughs]. No advice. It is unpredictable. You don’t know where it will come from. Netflix is ​​starting a huge, huge studio. They hire almost everyone. And then very quickly they decide, “You know what? This isn’t working for us. We’re going in a different direction.” And then they close it. And there is no advice I can give from this. I would never see that coming.

If I was young right now, I’d be making my own shows and putting them on YouTube or Instagram or wherever and trying to get an audience that way. The Amazing Digital Circus Or Hazbin HotelAnd all these shows are great stories like someone just doing it independently. I think even the guys from Smiling friends Would only make short films independently, and then they came up with a show together. I think that’s a healthier way to do your own things right now. And maybe have a full-time job that you do too. And then after that, do your own stuff. I would do that. I have done this throughout my career. When I’m in a place where I’m unhappy, in my own time, I develop my next thing. You have to be aggressive in this way and make your own destiny, I guess, without sounding too cheesy.

Why Tartakovsky succeeded with adult animation when other Western projects did not

“It seems like it’s obvious that there’s an audience for this. But in the feature space, it’s still a no.”

Screen Rant: Shows like these Samurai Jack continuity and Primal have shown that you can make animated projects for adults that are serious, but that are not just sitcoms like many other animation for adults. Why do you think that tonally similar shows and movies are so rare in western animation when they are very popular in anime?

Gennady Tartakovsky: I tried to answer the question. It was really hard. With the success of PrimalAnd Samurai JackAnd other shows, it seems like it’s obvious that there’s an audience for that. But in the feature space, it’s still a no. Unless it’s an IP.

I think that culturally, anime is just respected. Maybe it’s just a matter of them having had more time doing grown-up stuff. For us, as far as just drama, it’s maybe five or eight years old. Comedy has obviously been around ever since The SimpsonsBut as far as action for an adult audience, this is very new. I think culturally in America, a larger percentage of people think of animation as just for kids. And I don’t know if they can take something seriously in a mainstream way.

It will only take one project, one show, one movie to break the mold. Then, suddenly, there will be the gold rush for mature animation. Netflix has an entire adult drama action division, so that’s a good sign. I mean, that feels like something is growing. Adult swimming was very supportive Primal And doing something more. I haven’t done enough research to give you a really smart, accurate answer to that question. I think it’s just we’re out of the culture.

Gennady Tartakovsky on his creative process and developing characters

“For whatever reason, it took 20 years to get there Unicorn: Warriors Eternal Made.”

Screen Rant: As a creative, I’m sure you’re constantly coming up with ideas that work for a story or a TV show. How long do you tend to sit on these ideas before you realize that an idea has the potential to actually be developed into something?

Gennady Tartakovsky: Not long. Usually the seat comes when I can’t sell it. So usually, I have an idea, and if I get really excited about the idea, I’ll stick to it. And then, if it’s organic, and if it goes smoothly, I’ll develop it fully into a series bible with drawings and all that stuff. And then the longer, harder part comes to selling it.

For whatever reason, it took 20 years to get there Unicorn: Warriors Eternal Made. I tried it in three different places, and it just wouldn’t click. Each project has its own gestation period. Primal was an organically mature show from this one basic idea of ​​this little kid and a creature that evolved through my involvement in Primal. And as soon as I came up with it after Samurai JackThere was no yeshiva. It all came together like, “Oh, he has trauma. The dinosaurs got trauma. It bonds him together, and then they have adventures.” And I pitched it to my boss at Adult Swim. And he was like, “Yeah, that’s great.” Even Samurai Jack Wasn’t long. I didn’t sit on it for long. I kind of wanted to do an action show. I complained about action points there, and I decided to do it myself. I have a script, and then I sell it.

Screen Rant: You’ve done wildly different shows like Dexter’s Laboratory And Samurai JackShows that take place in the past, in the future, and in a galaxy far, far away. What about the ideas that you found drew you to a story? Is it the world or the characters or the potential for a unique premise?

Genndy Tartakovsky: It’s definitely a character thing first. I tend not to think of history, in a strange way. I think in letters. Like, “Oh, that’s a great character. What can they do?” And if I can come up with 10 ideas for the character, I know I’ve got something juicy. for PrimalIt was like “boom, boom, boom.” I think from the first 10 ideas that I jotted down when I was developing it, we made eight of them in the first season.

And so take “Rage of the Ape-Men.” I think I had a title, and I was like, “Oh my God, this is going to be such a great episode.” Do not even know what it will be, but he will only be fighting some big ape people. There are things like that where the excitement of the inception is great. What drives it.

Usually if I come up with an idea, and it doesn’t go anywhere, I say, “Oh well, that needs more thinking.” It’s not bad. So I tend to think of character first, then situations, then story, and then I circle back to what’s at the heart of it, what’s beneath the surface of it.

Screen Rant: Since character is the thing that attracts you when you’re developing these projects, do you already have a very strong idea of ​​who the characters are before you get the voice actor signed on? Or do you and the voice actor together kind of find the character and make them more than you originally intended?

Gennady Tartakovsky: No, it was already meat. And I hear a voice to a degree, and then the voice actor kind of finishes them off. I tried a movie a few years ago, where I wanted a more organic, like what you say, I wanted a great actor, a great comedian, so I can work with them, and together we can find something very original. Because I’m obviously not a comedian or a comedian, or an actor. And the process was great. I would write some dialogue, and then in the booth, I had this guy and girl, and they were playing a mom and dad. And we would do the lines as I wrote them once, and they would just improve a few times after that. And that’s when it really came alive. It’s really workshop and letters. I did that, but other things are really baked in, and when the actor comes, they certainly bring something to him with their voice. But a lot of it is already there.

Will Gennady Tartakovsky ever direct a live action film?

“For me, animation is not a stepping stone. This is where I want to be.”

Screen Rant: Throughout your career, you’ve mostly focused on animation, but there have been a few times you’ve branched out into live action, such as your work on Iron Man 2 And also the unrealized Astro Boy project. Have you ever considered fully directing a live action film, or are you planning to stick with animation for the foreseeable future?

Genndy Tartakovsky: Animation is my number one love. But I love films, and I think it should be the right project for live action. But yes, I think I would. But it’s nothing that I’m constantly trying to get up to. For now, if something falls into my lap it’s exciting, great! But I still have so much to do in animation that I don’t necessarily have to.

For me, animation is not a stepping stone. This is where I want to be. I’m not trying to use this to get anything else. I am trying to use this to get more of this. So that’s the difference. But yeah, I’m into it if something cool comes around.

Screen Rant: Is there anything that you feel like live action filmmakers can specifically get from learning the art of animation that they can’t get from just watching live action films?

A lot of great directors have always cited Chuck Jones for his timing, and Miyazaki, of course, for his storytelling and the mood he sets. So I think it’s stuff to look into for sure. And I think they have in the past. Steven Spielberg, George Lucas, they always talk about Warner Bros. cartoons, and I see some of that in it.

Gennady Tartakovsky is inspired by a variety of animated and live action projects

“You start to learn how to find the way animators have little signatures and the way they animate.”

Screen Rant: In your panel at SCAD AnimationFest, you specifically mentioned Well, just wait!A Russian cartoon that really inspired you. Are there any other unique inspirations that many other animators wouldn’t cite behind your work?

Gennady Tartakovsky: I don’t think the show inspired me. It’s just something I watched as a kid. It was the only show in Russia that I watched. I mean, I think nowadays the UPA cartoons are not as well cited as when we were getting into animation. UPA was a huge deal for us. Even Hannah-Barbara. I think people don’t realize how well-designed and well-crafted these shows were for the price and the time they were done in. There is some great art in these. So I think these are normal inspirations back when we were in school or coming up. Nowadays, I don’t think anyone looks at these things. I mean, I don’t think they even look at Warner Bros. cartoons.

There are a lot of random UPA productions. One of my favorite animators, the guy Boba Cannon, went to UPA, and he became one of their main directors. So I looked for his stuff for animation because the way he animated was very appealing to me. And he animated a lot for Tex Avery, and he’s just great, very unique. And so I would get a lot of inspiration from animators really trying to figure out, “Oh, who animated that scene? It’s so much better than the other scenes.” And you begin to learn how to find the way animators have small signatures and the way they animate. Once you start to really learn those, it’s really fun to go “Oh, wow, that’s another Ward Kimball scene.”

And random – not how popular Disney stuff in the 50s was a huge inspiration. And then, of course, anime. When I was introduced to anime, I didn’t even know it was anime. It was just some funny cartoons that were on the secondary channels when I was a kid. And it was Speed ​​Racer, Battle of the Planets, GochmanAnd Star Blazer. I think if you analyze my style, it’s like Tex Avery and Warner Bros. meets 60s anime. Plus you throw in Sergio Leone and Kurosawa, the Coen brothers, Blake Edwards and some other craziness, then you have this pot of stuff that I like.

I think we used to hunt and see everything, so there’s nothing we haven’t seen in animation. Now, I don’t think animation students coming up now are animation historians. We actually took animation history in school. I should have asked at SCAD if they had an animation history class. We would go back to the beginning of animation. Which is not that exciting, but you certainly learn a lot and you have a lot of respect for what came before us.

What Gennady Tartakovsky thinks about live-action remakes of animated projects (including his own)

“If someone is going to do a live action Samurai JackI would like to show it.”

Screen Rant: There have been a lot of live action remakes of animated projects. In general, how do you feel about this practice, and would you ever be open to someone doing a live action version of one of your shows or movies?

Gennady Tartakovsky: I don’t know [laughs]. It’s hard not to see it as just a cash grab. Is there really a creative reasoning behind doing it? I don’t know. You have to really find one, especially if they make it almost shot for shot. You can show the technology and stuff, but it’s not for me. Listen, I’m an animation nerd. This is my profession. This is my work, this is my art, this is my love. And I’m very critical of it, and I want it very specifically the way I like it. But this is my own subjective opinion. You know what I mean? It’s also a huge business, so if it makes money, who am I to argue against that? But yes, if someone will do a live action Samurai JackI would like to show it. And that was a few times through the mill.

I don’t think I would ever want to do a live action Dexter’s Laboratory. I was talked to about it, but it just feels too expensive. You know what I mean? It’s my first show. It did everything to me. It feels weird. It feels like it goes through the meat grinder when it gets remodeled. Unless Wes Anderson does it or something. Someone who artistically has such a strong artistic point of view, then you say, “Yeah, that would be exciting to see what they’re going to do.” Therefore they want to react. They will take the essence and make it their own. That I think I see working.

But just a straight up, “Hey, can we squeeze a few more dollars out of this?” I’m getting into trouble [laughs]. It’s not for me. Like I said, I’m very subjective about my industry, and so I’d rather have an artistic reason to do something and not just a commercial reason to do something.

What Unrealized Project Gennady Tartakovsky Would Revive (If He Could)

“I mean, I would have said FixedBut we made it. I simply did not publish it.”

Screen Rant: You’ve done a lot of really popular projects, but you’ve also had a lot that unfortunately went unreleased, like the Viking film, the Dinosaur film, Can you imagine?And some others that you talked about. If someone came up to you with a blank check and just said, “Here it is, make one of your unrealized projects“Which one would you choose?

Gennady Tartakovsky: Why are you torturing me? It won’t happen [laughs]. I really compartmentalized myself not to think like that. I’m not a big life in the past type of guy. I look forward to the future.

I’m trying to think of what was the most individual or the most risky thing that we ever developed. I guess the Viking project was pretty cool. I mean, I would say FixedBut we made it. Just haven’t released it. But yes, I guess the Viking project. i mean Popeye would be great. They all have the potential to be great.

Would Gennady Tartakovsky ever make another animated series in an already existing franchise?

“Sure, Conan I’m a huge fan of, and doing it like the books would be incredible.

Screen Rant: So you mentioned PopeyeAnd you’ve also worked on a few other preexisting franchises in the past, viz Star Wars. Are there any other publishing franchises that you’ve ever been like, “Oh, I’d like to do a show set in that universe?”

Gennady Tartakovsky: I usually don’t think so, but of course there are things I’m a fan of. of course, Conan I’m a huge fan of, and doing it like the books would be incredible. I grew up on comic books, so I always, it’s just like in me where I’m like, “Oh yeah, if I did an animated Wolverine or an animated Fantastic Four, that would be super fun to do. Or Daredevil. .” But otherwise, I’m still trying to get my stuff off the ground, so I don’t give that too much thought.

More about Gennady Tartakovsky’s shows

Gennady Tartakovsky is an acclaimed animator and filmmaker known for creating projects such as Dexter’s Laboratory, Samurai Jack, Hotel Transylvania and Primal.