Pikkukala unveils editorial strategy

For The European Animation Journal, Pablo Jordi elaborates on leading animation and digital entertainment studio Pikkukala’s distinctive creative approach involving transmedia tools and its business strategies.

Pikkukala is based in Helsinki and Barcelona. How does your editorial strategy put together the characteristics of these two cultural extremes?

Our identity is decidedly European and we believe that the cultural diversity of our continent is a unique richness we should explore. Nordic and Southern European audiences are different yet we’ve got a lot in common. Our productions always affirm the humanistic values of respect and curiosity for the world around us, which are shared by audiences across the continent. We’re also defined by our original and thoughtful aesthetics, aiming to deliver genuine and positive stories on screen.

The children and family audiences you’re targeting are broad but also demanding. Do you have a specific tactic to win them over?

We believe in genuine, unconventional stories that provide a positive view of the world. We try to find our audience wherever they are. That’s why we develop TV, film, mobile apps and Roblox experiences while using social media to keep in touch with our audience. I must highlight that the complicity of the broadcasters who have accompanied us and have believed in our projects has been key to the success of our latest series.

What are your main criteria when when it comes to choosing a project to work on?

At Pikkukala, we combine the production of series and films from our own IPs with co-productions with other companies with whom we share values concerning the way of understanding animation. When it comes to creating our own projects, we’re exploring the universes created by Veronica Lassenius – Royals Next Door, Saari, Taste Buddies, and Fungi. We’ve also kicked off an internal talent development programme to help emerging talent create and direct new projects.

What would you consider Pikkukala’s greatest strength, and what is the most challenging side of working in this industry?

Our strength lies in our approach, which prioritises creativity above all else while keeping an international and transmedia focus. On the other hand, the animation industry can be difficult for independent producers. When the economy shrinks, demand for original content gets reduced in favour of safer investments such as sequels and remakes. Financing animation projects is always tricky.

Your latest project, Samuel, is a coming-of-age, 2D minimalist production, which focuses on the emotional life of the characters. Somehow, it follows some sort of ‘back-tothe-basics’ philosophy while being innovative and targeting social media…

You’re right! Emilie Tronche’s Samuel has the rare quality of being deeply personal and genuine and, at the same time, it fits perfectly into social networks. The series was originally conceived for digital media including Instagram, TikTok and YouTube Shorts, and only later turned into a linear TV project. The basic imagery, its spontaneity, the funny stories inspired by the writer-director’s own childhood, and the role of music and dance touched the sensibility of many people. The secret of its success is that we managed to keep that authenticity and let the author express herself in a serial production environment. Arte, 3Cat, and Clan TV channels made a bold bet on the project, contributing to its remarkable online success: we achieved 25 million views on Arte networks in just two months.

What’s next?

We’re half way with the pre-production of Taste Buddies, the world’s first animated show dedicated to flavours starring five little characters who represent tastes and experience funny adventures. We’re also preparing the second season of Royals Next Door, and a feature film in which we will see Stella and her family returning to the palace! On top of that, we’re developing a Royals Next Door Roblox experience. Another project in development we’re very excited about is Saari & Friends, a 3D reboot of our first series. On the co-production side, I’d highlight Sébastien Laudenbach’s Love Is a Gypsy Child – A Carmen Story, co-produced with Folivari and an original spinoff of the titular Georges Bizet opera. As yo  u can see, we don’t get bored.

Read the full interview on the first issue of EAJ.