FSTVS - The Executive Sessions

“Handcuffs are off... if we take our handcuffs off.” Carl Reed’s career began with a mix of curiosity, creativity and practical problem-solving. Although he expected to become a scientist, comics and animation became a way to earn money after his father died. At 15, he put together an art portfolio and found comic-book work. He later helped build a small creative agency, then moved to Los Angeles to gain broadcast animation experience. He learned across disciplines, from character design and background painting to game development, often teaching himself new tools to meet a project’s needs. Carl went on to co-found Lion Forge, which grew into a major Black-owned comics publisher and animation studio. A defining part of its work was bringing underrepresented voices to the screen. He points to Hair Love as an example of a story that connected with audiences and earned major awards, while also describing the repeated challenge of having to prove that projects centred on Black characters could succeed. That experience helped shape his next venture, Composition Media. Carl wants the studio to create and bring its own work to audiences, with more control over the ideas, production process and intellectual property. He sees efficient production pipelines as essential, especially as the media business changes and development funding becomes harder to secure. Reed views AI as another major shift in animation, comparable to the industry’s move from paper to digital tools. He acknowledges job concerns and legal questions, but argues that new technology can give creators more ways to experiment and make ambitious work while stressing that better tools do not automatically produce better films: craft and professional experience still matter. The larger challenge is figuring out how audiences will discover new work and how creators can earn a sustainable living from it. Amazingly, given his work ethic, Carl makes sure he has time for his family, including basketball tournaments with his son and origami with his daughter. Looking ahead, he expects animation technology to keep improving, while the industry’s harder problems will be distribution, discoverability and the economics that allow creative work to continue.

“I had some very, very unglamorous jobs. Like, I was animating carrots.” Jean-Philippe “J.P.” Vine joins the Julian to trace a career he describes as “completely haphazard and just kind of following my nose.” JP studied theatre design at Central Saint Martins, drawn in by a GCSE drama project — a model First World War trench with working practical lights — and a childhood of model railways and French comics. Theatre proved hard to make a living from, and after work for the RSC and the Bristol Old Vic he was rejected by Aardman as a model maker for “not being technical enough,” finally getting in as a set dresser on Wallace & Gromit: The Curse of the Were-Rabbit. Watching the animators, he realised they were “having the most fun,” took a training puppet home and taught himself to animate from Richard Williams’ book — enough to earn shots in the film. A storyboard test for Shaun the Sheep changed everything. Its non-verbal, hundred-shot economy became, he says, his film school, and boarding — “writing and directing and acting and drawing and designing all together” — became his craft. After four years at Aardman, spells in Jerusalem and one Pixar rejection, he was invited to reapply, threw a portfolio together in four days while teaching in Florence, and joined Pixar in 2012 on Inside Out, The Good Dinosaur and Cars 3. He left Pixar to co-direct Locksmith Animation’s first feature, Ron’s Gone Wrong, uprooting three children from California to do it — and learned on that film the limits of pretending to know everything. His short Cardboard, about pigs in a Nevada trailer park, grew out of a family road trip and years of idle doodles; it was BAFTA-nominated and Oscar-shortlisted. Now Creative Director at Dream Games Animation, building a London studio from zero, he insists specificity of voice — Bluey, Pingu, Nick Park — is what reaches an audience.

"I learned most of my leadership skills from Kermit the Frog." Emmet O'Neil, CEO of StoryToys, is living proof that the most chaotic CVs often hide the most deliberate and creative minds. Uprooted from Dublin to rural Cork at age six, he channelled that childhood trauma straight into creativity — a habit that's never left him. A career as an illustrator was derailed by a rare degenerative eye condition, which, combined with a newborn on the way, pushed him reluctantly into management. What followed was a decade of digital transformation work across film, advertising and publishing before landing at StoryToys, where he took over from his own brother as CEO. His leadership philosophy? Largely borrowed from Kermit the Frog. His stance on AI? Cautiously optimistic — he's waiting for the hype bubble to burst before the genuinely useful tools emerge. His biggest bugbear? The myth that creatives can't do business, which he believes has enabled the exploitation of creative talent for centuries. Oh, and he's an award-winning pumpkin carver. LinkedIn will confirm.

Today's guest, Olexa Hewryk, is Vice President and Head of Animation at Sesame Workshop. Starting his career as an animator, he has since directed, produced, and now oversees a broad portfolio of animated content — from Sesame Street itself to YouTube originals and Roblox activations. A graduate of Rhode Island School of Design, he's the recipient of four Daytime Emmy Awards and has shaped shows including Esme & Roy and Little Einsteins. Olexa's journey is rooted in a childhood love of cartoons at his grandparents' house and children's books (Curious George being his first obsession). At RISD he switched from illustration to animation after a winter session course revealed that animation combined everything he loved — children's books, theatre, and set design. A formative post-grad year in Kraków, Poland immersed him in Eastern European animation, whose slower storytelling pacing and dark absurdist humour has quietly influenced his work ever since. He speaks passionately about why preschool content matters and about Sesame Workshop's non-negotiable commitment to curriculum-driven content: "our goal is to create content that helps children become smarter, stronger and kinder." He's candid about AI, describing himself as personally curious but emphatic that it plays no part in current Workshop productions. "If kids are not enjoying the content, the curriculum is ineffectual."

“One minute you’re making cartoons in Kilkenny, the next you’re chatting with Quentin Tarantino over champagne.” This week on the podcast, we’re joined by Paul Young of Cartoon Saloon — producer, director, co-founder, accidental salesman, and possibly the only man in animation whose career began with Greek beach caricatures and illegal late-night sandwich sales. Paul chats to Julian about building Cartoon Saloon from a scrappy Kilkenny startup into one of the most admired studios in the world, why some of the best industry deals happen after midnight, and how a studio can still make world-class animation while letting people go home at 5pm. It’s a funny, honest and quietly inspiring conversation about creativity, persistence, and making beautiful 2D films in a 3D world. Perfect listening for anyone recovering from Animation Dingle this weekend — or anyone who’s ever wondered how sandwiches, cartoons, Oscar nominations and beatboxing somehow end up in the same career. With immense thanks to Paul for his time and candidness and, as always, to the fantastic Julian Scott for hosting and the rock that is Janet Balmforth at Liberi Consulting.