Robot Playground Media's The Violinist is a historical drama and co-production with Taiwan, Japan and Spain. It is set to release in 2026.The global animation industry is experiencing a “bloodbath” of layoffs and cutbacks, and Singapore’s nascent animation sector has not been spared, according to animators who spoke to The Straits Times.
The Covid-19 pandemic accelerated a shift already under way – from traditional cinema to streaming platforms and short video creators. The 48-year-old adds that a storm of bad circumstances has clouded the sector. “Studios had made too much content, shareholders wanted to see more value, subscriber numbers were down and the Hollywood strikes meant that you couldn’t get any projects greenlit.”
He notes that many animators in Singapore, especially new graduates, are transitioning to the video game industry or to design, cyber security and IT services. Part of this difficulty stems from the nature of animation jobs, which are often temporary or freelance. “I wish I were born earlier, during the golden age of animation,” he says. “The animation style I fell in love with was that of Disney’s 2D animated films. I wish I could’ve experienced that era.”
“People had to keep their ears to the ground for their next job because we were bouncing around from contract to contract,” he says. “There was a lot of doom and gloom because there was no long-term sense of security.” He is now an animator at Japanese video game developer Bandai Namco Studios, and appreciates the sense of security the company offers.
Film-maker Yeo says: “It’s very sad because we have hundreds of locals who spend decades of their lives learning and mastering the craft of animation and visual effects. And in order to make a living, they have to get out of the country.”Singapore’s animation talent is experiencing a brain drain, warns Mr Pham of Island City Solutions.
“It’s not your birthright that the Government supports you. If it comes, it’s great. But I always try to make sure that our fundamentals are sound so that we are not reliant on government support to exist.” While big companies like American entertainment giant Lucasfilm may set up shop in Singapore and employ many technical workers, creating worlds like Star Wars is an enterprise that appears to take place elsewhere.Tiny Island Productions’ Mr Kwok says: “Singapore is between many worlds. We are not a cheap country, and we can’t compete with our neighbours. Their skill levels actually surpass ours and they cost less.
Film-maker Hillary Yeo is developing a short-form animated series titled Kaiju Nursery. PHOTO: COURTESY OF HILLARY YEO Film-maker Ang says: “Singapore cinema works like that. You can’t find anything locally, but when you go overseas and win something, that’s when people pay attention at home.”One of his short films, Lah Bok Ki , had a limited reception in Singapore until it won two awards in Japan.
And a rising tide lifts all boats. Japan’s thriving comics and publishing industries provide ample material for animated adaptations. Combined with partnerships in the toy industry and theme parks, animators have numerous opportunities to monetise their works. “If a project comes in with heavy production needs, we typically work with another partner in the region to handle the labour-intensive part. It’s very common for animation to be parcelled out to different parts of the world.”
Animated historical drama The Violinist is a Singapore co-production with Taiwan, Japan and Spain. PHOTO: ROBOT PLAYGROUND MEDIA “I went to every single possible place to source for funding,” he says, adding that this approach is feasible because these funds come without the expectation of being paid back and require only that a project be completed, unlike with funding sources such as investors or loans.
“Companies take advantage of the fact that people do this for passion. I heard horror stories of people working till 6am, and they would have to go back to work at 9am the next day,” says Mr Yoon.