When Toper Taylor, President and COO of Cookie Jar, addressed the Cape Town animation industry a few months ago I couldn't gauge his actual impression of us. He seemed polite yet reserved. Was he hoping to do business with Cape Town companies or was he just scoping us out? He breakfasted with our government and corporate think tanks and certainly slid his eye for talent over Cape Town's coast. Now, months later, I hear some of his thoughts: A thumbs-up for our mixed labour pool, our passionate students and a pitching tip: Got any funny animation ideas that would tickle the fancy of young teenage girls? Call Toper, quick!

In which countries would we find Cookie Jar studios?
Cookie Jar is headquartered in Toronto which is where the majority of our shows are produced.

Under this large company umbrella, how many fulltime and freelance animators does Cookie Jar have in its employ?
Cookie Jar employs producers, directors and writers. We co-produce with animation studios all over the world including South Korea, South Africa and Singapore; however, we don't employ animators directly.

What have been your favorite Cookie Jar animation projects to see come into fruition so far?
Cookie Jar has an amazing animation library with a wide range of series: comedies, preschool, girls properties and action-adventure shows. Some of my favorites are “Arthur”, which has won four Daytime Emmys, girls’ favorite “Strawberry Shortcake” and the action-comedy “Johnny Test.”

Tell us about your first visit here, your first impressions of us. Do you have any funny stories about your experiences here?
I met so many people, particularly students, who are very enthusiastic about getting involved in the industry. They want to learn as much as they can about animation, upcoming projects and the industry’s continued growth. This interest bodes well for animation’s growth in South Africa.

How would you compare the countries with which you’ve worked and South Africa in terms of their animation potential?
South Africa is uniquely positioned to be a player in the animation business because there is an intelligent and culturally-aligned labor pool. For comedies and preschool shows that need to be ethnically diverse, the animation community in South Africa is far more aligned with Western Europe and North American than for example, Asia.

Are there any South African animation projects that have caught your eye? If so, what made them catch your eye?
I wasn’t pitched many projects while I was in South Africa, but we’re always looking for new opportunities. We are particularly interested in comedies for 9-14 year olds and girls properties.

What advice would you give South African animators who want the animation industry to reach its greatest potential?
Immerse yourself in animation. Watch the most popular shows and understand why they are popular and appeal to their audiences. Don’t think small. Shows need to appeal to a large audience and the heart of the business is kids ages 2 to 11.

Interview by Kerrin Kokot