Shilam’s ‘Losing Lucy’ Taps BAFTA-winning author Helen Blackman – Variety

Following the milestone success of the Academy Award-nominated “I Lost My Body,” a drive has been made to develop animated features and series that reach more sophisticated global families and young people aged 18-34. Baby and “Hetty Feather” screenwriter Helen Blackman to write “Lucy Lost”.

Participating in this year’s online ANCI Festival and MFA market, Du Pontavis also nominated “Ann Wolf,” the next feature film of Zeelam, directed by Julian Bissaro, nominated for Annie for her storyboard artist work, “I Lost My Body,” whose half-hour Odyssey “One of Annecy’s busiest headlines in her TV film section.

Starring BFTA and International Emmy Award winners Juliet Stevenson, David Hye and Dakota Blue Richards for the screenplay adaptation of BBATA / Kindle Entertainment’s ‘Dustbin Baby’ TV screenplay, Blackman is also a BFTA-nominated producer and lead author. “Now it’s in the sixth and final series. He has also served as chairman of the BAFTA Children’s Committee.

Blackman will bring the idea and edge of his narrative structure to the eight-and-a-half-hour miniseries in Jill in “Lucy Lost.” Jean-Christophe Descent (“Crow’s Day”) is paired with the final 2D rendering to manage the CGI show. An animated drama period piece, it is based on the best-selling mystery novel by British children’s winner Michael Murpurgo, author of “Wars Horse”.

After WWI’s wrath began in 1915 on the Scilly Islands of the Cornwall Islands, the novel began when Alfie and her prison father rescued a wounded girl from a deserted island who could only say one word – “Lucy.” When he was listening to music on a gramophone, a glimpse of the girl who was with him was revealed at once.

Inspired by true events such as the sinking of Lusitania, an event that helped bring the United States to the WWI, Morpugo remarked, “Listen to the lunar adaptation of the moon.” .

“” Lucy Lost “goes back to the ideas we preached when” I lost my body, “I repeated over and over again while preaching,” Du Ponatvis said. Diversity. The story is “usually treated in live action but can be told through animation, which really makes something very different”

Global streamers have broadened the field of animation and opened up two new animation audiences for Europe, Pontavis argued: “more sophisticated storytelling for families around the world”; Young adults 18-34s.

In Jillam, “Lucy Lost” joins two Y titles: “The Wolf” and “Monkey Business”.

Transformed from the graphic novel by Jean-Marc Rochett, author of “Snow Pierce”, “The Wolf” begins to chase after a vengeful shepherd chasing wolves in the mountains, when the storm blows.

“Julian has a very unique talent, an incredible artistry that immerses viewers in a vibrant nature beyond the screen,” says Du Pontavis. The time was set which framed a daughter’s rebellion against her paternal father.

“The Wolf,” du Pontavis predicts, will remain “quite dramatic, nature as the third character”.

Dill Pontavis describes the ten-and-a-half-hour “Tracy Offbeat Prank Series” as a duo pontavis, a culture called “Monkey Business” written by co-directors, including “Diablo and Pozla, a brilliant pair of writers.” “Les Laskars.”

“A kind of satire of‘ Planet of the Apes ’, the comedy series is set in a chaotic post-apocalyptic city known as Los Animals where people have repented and ruled the animals. Baboon Jack Mandrill and Gorilla Hammerfist Gorilla, two bonding-on-acquirers, a corrupt and chaotic criminal navigate the underworld.

Du Pontavis argued that platforms allow creators to target niche audiences worldwide, so they access a larger budget than trying to finance a series outside of a single market niche.

“There is no reserved area for direct activity. Any story can be told in animation, ”he said.