Former Axis Studios Execs Launch Animation Prod Co. Zaratan With Support From Aniventure
UK animation industry veterans Andrew Pearce and Paula Bird have launched Glasgow-based production company Zaratan specializing in animation for older audiences.
The co-founders were previously long-time executives at Axis Studios, which created shows such as Eyes of Wakanda, Love Death & Robots and Secret Level. They will both be at the Annecy International Film Festival's MIFA market next week with the new company.
More from Deadline
Folivari International Takes Global Rights To 'Pil's Adventures' Spin-Off Series
Spain's The Frank Barton Company Unveils Plans To Expand Animated Preschool YouTube Hit 'Pim Pam Pino'
DeAPlaneta Teams With China's Alpha Group To Relaunch Animated Polar Bear Character 'Bernard'
Their new venture has the support of Paws of Fury, Hit Pig and Animal Farm animation studio Aniventure, which is providing support by completing financing for Zaratan's growth strategy. The company will also be in Annecy for the world premiere of Animal Farm in the presence of director and producer Andy Serkis.
The partnership with Aniventure leverages its animation infrastructure, built over 10 years of operations. It will also see Zaratan included in the group's first-look service deal with major animation & VFX company Cinesite.
Zaratan will be both a production partner and an IP developer.
In its first project, it is in pre-production with India-based pioneer Arka Mediaworks on an unannounced film project.
The company has also partnered with French giant Fédération Studios, Guillaume Lemans (Mayhem!), Antoine Charreyron (The Prodigies, Batwheels), Florent Auguy (Spider-Man: Into the Spider-Verse) and Dorian Marchesin (Legends of Runeterra) of Alcyde on a new series IP.
Details on both projects will be unveiled at later dates.
'The genesis came from our love of animation and genre storytelling,' said Pearce, who was an executive producer for Axis Studios between L.A. and the UK for more than 10 years.
'Older-skewing animation is a constant discovery. We were searching for an icon that encapsulated that sense of adventure and exploration, and we found it in the cryptid Zaratan – the stuff of stories.'
Bird – who spent close to two decades at Axis Studios, rising to the role of Head of Production, Film & TV – said Zaratan's approach would balance creative flexibility and stability.
Flexibility means assembling bespoke, world-class creative teams for each project – artists and storytellers who are not only masters of their craft but are also genuine fans of the content we're creating. Stability comes from rigorous production methodology, and our strategic partnership with Aniventure,' she said.
Aniventure CEO Adam Nagle said Zaratan's creation came at a time of growth in animation aimed at older audiences.
'The future of older-skewing animation is extremely exciting, we want to work with the most talented people in the space,' he said. 'Zaratan was a perfect opportunity for us.'
Best of Deadline
2025 TV Cancellations: Photo Gallery
2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More
2025 TV Series Renewals: Photo Gallery
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Geek Vibes Nation
an hour ago
- Geek Vibes Nation
‘How To Train Your Dragon' (2025) Review - A Live-Action Remake Done Right
An unsung curse that has plagued the cinematic landscape for years now is that of the dreaded 'live-action remake'. Despite coming on strong with Jon Favreau's Jungle Book reimagining in 2016, just about every genre entry since has suffered from a lack of color and inspiration in favor of a bland, play-by-play remake of whatever animated classic is being castrated. That is, until Dean DeBlois decided to tackle his own How to Train Your Dragon franchise, sculpting the live-action reformation with the same hands that created the original. The result is, in a rarity for the type, almost as magical as the original animated release was in 2010. DeBlois and Dreamworks didn't just get this one right — they set a new standard. While the live-action makeover's narrative is almost a one-to-one retelling of the first movie, it sets itself apart with strong casting and unique visuals. In an age of much more expensive movies looking unrealistic and unconvincing, the remake of a children's dragon movie coming onto the scene with some of the best visual effects in the last half-decade was certainly unexpected; yet, here we are. How to Train Your Dragon simply looks fantastic. The franchise's cartoonish sensibilities are not lost in live-action, like many feared they would be; instead, they're adapted in style, lending themselves to the realistic look of the titular creatures without losing the whimsy that makes them feel so unbelievably special. Toothless, especially, is flawlessly executed here. His characterization (which, of course, relies entirely on expressions) strongly translates to the film's relatively grounded visual palette. If anything, he stands out more in this one than he did in the original. Just fantastic work across the board in that regard here. Mason Thames as Hiccup, situated aside Toothless for most of the runtime, is nothing short of a stroke of genius in this adaptation. His interactions with the computer-generated dragon are terribly convincing and wonderfully spirited, and his bouts of emotion with the rest of the village, especially Gerard Butler's Stoick, his father, are staunch standouts. Butler voiced the character in the animated trilogy, but his role reprisal here isn't as simple as it seems. Seeing him in costume and working alongside the rest of the cast in physical form adds a new layer to his delivery as the character. He and Thames create the perfect sort of jagged, confused, painfully loving father/son relationship that the narrative necessitates at the center of the movie. Each of them plays a huge role in the third act's emotional weight, elevating every scene they're in and then some. On that final act, it too is brilliantly done here. While the original film still stands a little taller in most regards, if not only for the reason that it was the first to tell this story on the big screen, the last thirty minutes of the new retelling may actually be a tad stronger. How to Train Your Dragon's scale, from the moment the characters meet at the dragons' lair, is that of a true, proper blockbuster. It's clear that much of the money went to the last few scenes, but the result is a truly dazzling sequence of stakes taking physicality in the form of fire, beating wings, and lone teardrops. If anyone, by that point, is still asking the question: 'Why did this need to be made?' That scene answers it. Was this movie necessary? On the whole, perhaps not. But is it welcome? Absolutely. Prior to this release, it had been more than a decade since audiences were able to see this classic story told at the cinema. For the first movie's director to return to retell it in this form, and to this degree, is a true delight. How to Train Your Dragon is the best live-action remake of an animated movie ever. Point, blank, period. Here's to hoping they tackle the sequels next. How To Train Your Dragon will debut exclusively in theaters on June 13, 2025, courtesy of Universal.
Yahoo
an hour ago
- Yahoo
On Tonys night, Broadway divided over Patti LuPone's remarks about Audra McDonald
More than a few years ago now, my mom asked me why the UK's royal family seemed to be all over the news all the time. That's all I see when I turn on my computer, she said. I think that might be because you've been clicking on some stories about Meghan and Harry, I told her, leading to lots more stories about Meghan and Harry. Similarly, I've lately been treated to many variations on basically the same recycled story about the great offstage Broadway drama featuring Patti LuPone and Audra McDonald. Stop, I cry, though if they weren't my Meghan and Harry, I wouldn't keep seeing this stuff. In case they're not your Meghan and Harry, here's the deal: A recent New Yorker profile of LuPone made news, none of it good for her. In the piece, she's quoted saying disparaging things about two Black actresses, her fellow Tony winners Kecia Lewis and McDonald, Broadway's most decorated star. Some 700 Broadway performers signed a petition saying LuPone should be disinvited from Sunday night's Tony Awards for her bullying and racially insensitive remarks. She then profusely apologized, falling on her own knife like Liù in Puccini's 'Turandot,' and various stage actors have been weighing in on whether or not she should be forgiven. Now, Patti LuPone has always been unfiltered, in that one way like the Donald Trump she's said she hates; you do not want to be caught with your cell phone ringing when she's on stage. Only she comes off in this profile as generous and gigantic and human and hurt and self-sabotaging but also finally going too far in letting loose on others, and in general. Is she for real or putting on a show when shouting at New York Rangers, 'Take your clothes off, boys! Naked hockey! No cups — I want full frontal! HA!' She is in let-'em-have-it mode throughout, referring to Glenn Close, the actress who replaced her in 'Sunset Boulevard' 100 years ago as a 'bitch,' and telling the New Yorker writer Michael Schulman more than once that the now Trump-run Kennedy Center 'should get blown up.' Which, hello, is not in any way OK. Serious or not, and people who say these things always insist that they were not, it's wrong to complain about Trump's violent rhetoric and then go around talking like this. So LuPone should also walk those remarks way the heck back. And I do not love to see women tearing down women; are things really not hard enough? Kevin Kline got off easy in the profile; all LuPone said about him is that he was a terrible boyfriend back in the day. Despite all of the many posts I have read about the explosions that followed the publication of the profile, I would never have understood the genesis of the contretemps without the guidance of New York Times theater reporter Michael Paulson. He reported on what happened after LuPone complained last year that noise from the Black-led Alicia Keys musical 'Hell's Kitchen' could be heard in the theater next door, where LuPone and Mia Farrow were performing in 'The Roommate.' LuPone took her gripe to the Shubert Organization, which runs both theaters. So far, perfectly normal, and something that happens all the time. Shubert fixed the problem. But then, Paulson wrote, after LuPone sent flowers to the 'Hell's Kitchen' sound crew, she was videotaped describing the musical as 'loud,' and refusing to sign a 'Hell's Kitchen' playbill. That's when Kecia Lewis, who is in 'Hell's Kitchen,' responded with a video calling LuPone's behavior 'racially microaggressive' by reinforcing stereotypes. McDonald weighed in by posting some supportive emojis on the video. In the New Yorker interview, LuPone said of Lewis, 'Don't call yourself a vet, bitch.' Which was way over the line. She said McDonald was 'not a friend,' and then declared that she needed a nap. Of course she did; setting yourself on fire can be very draining. McDonald wisely said she didn't know about any rift between herself and LuPone. Lewis has wisely not made any public statement. 'For as long as I have worked in the theater,' LuPone said in her own statement, 'I have spoken my mind and never apologized. That is changing today. … From middle school drama clubs to professional stages, theater has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, I take full responsibility for it, and I am committed to making this right.' Both McDonald and LuPone have given me so much joy, not just over the years but this year, that this is drama I could have done without. McDonald ripped my heart out and then handed it back to me with her 'this-isn't-your-Momma's-Momma-Rose' performance in 'Gypsy.' I spent a lot more than I could afford to be on the front row with our Aunt Mimi Turque, who was cast by composer Jule Styne to play June in an early national touring company of the show. LuPone also showed me a wonderful time recently with her show at the Kauffman Center, where she received five standing ovations, one before she sang a note. It's the only time in my experience — Can you say 'gay icon'? — that there hasn't been a line outside a ladies' room at the Kauffman at intermission, and I went home so energized from her performance, which these days in particular is worth a lot. So what I want to say is that with everything going on in the world that the arts stand squarely against, energy spent on fury at someone who has groveled from here to Argentina is energy wasted. I still love both of you 'Ladies Who Lunch,' the Sondheim anthem to female rage that I've seen both of you crush. I'd like to think that LuPone learned something from this whole episode — though again, those comments about the Kennedy Center still do need clearing up asap. We could all of us, of course, be less eager to pounce and readier to forgive. The many ageist comments about Patti, who is 76, by those Audra fans who aren't ready to let this go, and say they never will be, aren't OK, either. Unfortunately, art doesn't always bring even the relatively like-minded together. As always, that's up to us. UPDATE: I thought McDonald would win her 7th Tony tonight for the same role that LuPone won for in 2008, but no, the award for leading actress in a musical went to Nicole Scherzinger for her Broadway debut in a revival of 'Sunset Boulevard.' Pretty sure LuPone would not have wanted to be at the awards show, since it was Glenn Close who introduced Scherzinger singing, 'It's As If We Never Said Goodbye.' And Oprah Winfrey, who presented the award to Scherzinger, made some interesting faces as she made the show's only veiled reference to the controversy, but she did not mention LuPone by name.
Yahoo
an hour ago
- Yahoo
King Charles' Cancer Is Incurable, Bombshell Report Suggests
King Charles' will die 'with' but not 'of' cancer, a bombshell report claimed Saturday. The report essentially confirms long-standing rumors that the king's cancer is considered manageable but ultimately incurable, which is the case for many older individuals afflicted by the disease. Charles is 76. The report will be unwelcome in the palace, as it will reignite speculation that the king's health is in a delicate state, rumors that were rekindled when Prince Harry said in a recent BBC interview that he didn't know how long his father had left to live. Charles' aides have consistently briefed reporters that he is, broadly speaking, winning his battle against cancer, and the king himself recently said he was on 'the other side' of the health crisis. The king is back to essentially running a full diary after being diagnosed with cancer last year, albeit with some modifications. The report, by the respected royal writer and associate editor of the U.K. Daily Telegraph, Camilla Tominey, also claimed that Charles will never move into Buckingham Palace due to his health struggles. 'The talk now is that he may die 'with' cancer, but not 'of' cancer following a rigorous treatment program,' she wrote. A spokesperson for the king declined to comment. Tominey, who was the first to break the news about Prince Harry and Meghan dating and also about the latter's row with Kate Middleton, added that planning for Charles' 80th birthday in 2028, while 'very tentative,' is going ahead. Tominey also claimed that Charles and Harry could be publicly reunited at the Invictus Games, in Birmingham in 2027, with palace aides quietly investigating whether the event could provide a suitable backdrop for a long-awaited reconciliation. It is understood officials hope any reconciliation would include Prince Archie and Princess Lilibet. The king last saw the children in 2022. Harry has said he can't bring his family safely to the U.K. and hinted some powerful palace figures want him dead. Intriguingly, Tominey suggests that a reconciliation might be considered because of the negative impact the narrative of estrangement is having on the king's reputation. She writes: 'There is an awareness that the impasse cannot continue forever, not least if it starts to reflect badly on the king.' Prince Harry said, in a bitter interview with the BBC following a comprehensive legal defeat on his security arrangements, that he does not know how long his cancer-hit father has left to live because the king won't speak to him. Harry also said he won't bring his family to the U.K., blamed his father for his security being reduced after leaving the royal family, and said he had 'forgiven' those family members who had hurt him. He added, 'Some members of my family will never forgive me for writing a book but I would love reconciliation with my family.' The prince continued, 'There is a lot of control and ability in my father's hands. Ultimately, this whole thing could be resolved through him.' Appearing emotional, Harry said, 'There's no point in continuing to fight anymore. As I said, life is precious. I don't know how much longer my father has. He won't speak to me because of this security stuff, but it would be nice to reconcile.'