Listen in as we talk to Allison Sribnick on breaking into the animation industry and succeeding! As a production coordinator at Titmouse animation (Adult Swim & Netflix), she has massive insight into the state of the animation industry.

This is Film Center, your number one show for real entertainment industry news.

No fluff, all facts.

Here are your anchors, Derrick Johnson II and Nicholas Killian.

Film Center news.

My name is Derrick Johnson II.

I'm Nicholas Killian.

And what are we getting today, Nicholas?

Today, we are talking to a very special person.

Could you please introduce yourself?

Hi, I'm Allison Srebnick.

I'm a production manager at Titmouse Animation Studios.

What's up?

How you doing?

I'm good.

Thank you for having me.

How was the drive?

Was it a bit of a drive?

Oh my gosh.

You guys are out here.

Yeah.

Hey, but at least we introduced you to the coffee, though.

We did introduce her.

We introduced her to some coffee.

before the show.

I think it's pretty.

I don't know.

Do you like it?

Oh, my God.

I love it.

Not worth the drive.

Exactly.

Because I wouldn't be able to make it without a French press.

But thank you so much.

As you guys know, Film Center News is mobile.

We're here today in Westlake.

Yeah, yes.

So Allison, do you want to tell the audience a little

bit about where you're from?

Sure.

I'm from Columbia, South Carolina.

Shout out to Columbia.

Yeah.

Shout out.

I went to Savannah College of Art and Design back in, and graduated in 2012.

Majored in animation and realized I didn't want to be an animator.

I wanted to work in production.

What but what initially drew you to animation?

Was there anything you saw when you were young that was like,

Oh, I need to be a part of this.

I'm about to date myself, but I was born in 1988 and Who Framed

Roger Rudd came out in 1988.

And the rest is history.

That is such a classic, it's awesome!

Oh yeah, the combination of WB and Disney?

Saw that when I was in diapers, before I could even talk.

My parents couldn't turn the TV off.

I was bound to work in animation.

That's awesome.

There's so much technical aspects that went into that movie, the

mixture of live action and animation, and on top of the fact that I think

it's the only time you get to see Donald Duck and Daffy Duck together?

On the same screen.

I'm pretty sure.

I could be wrong about that, but I'm pretty sure.

No, you are absolutely correct, and if you want any history, thanks to Savannah

College of Art and Design's history of animation, turns out the reason why Roger

Rabbit looks the way he does is because it's a combination of Mickey Mouse's

design and a rabbit for Bugs Bunny.

And when Bugs Bunny and Mickey show up on the screen, they have the same number

of consonants and vowels in what they are saying, as well as the same amount

of time in which they are on the screen.

Same for Daffy and Donald Duck.

Really?

Wow, I didn't know that at all, actually.

When did you, is there a reason for that?

Why do you think they did that?

You think Disney and WB were gonna actually go, Oh, no, Mickey

should be the main character.

I didn't know if it was like a petty thing.

I knew it was a legal thing.

I was like, it's probably legal.

It's probably hey, I heard that they were gonna try to make a sequel.

I'm actually glad they didn't.

I like the, I like, I think it's good the way it is.

No, it's perfect, because it's a combination of the old school Disney

black and white Steamboat Willie kind of stuff that they're doing there, and

they're playing all these animation jokes.

For example, if you look at Dip, which is the thing that kills all of the cartoons.

Yes, the slime.

That's Cell Cleaner.

It's what?

It's cell cleaner.

Oh!

I didn't know that was cell cleaner.

Really?

Exactly.

For those who are listening who might not know what that is,

can you explain a little bit?

Before we had the computer.

We did all of the animation on these cellophane like sheets.

And so they would do the inking and the painting and everything on these, and

that was how they would do the animation.

But what's interesting is it's very hard to find some of these cells

because cellophane was so expensive that they were just kept cleaning

off these beautiful pieces of artwork that were the frames of animation.

So it was, yeah.

That makes me so sad.

There's probably a whole bunch of images out there that are really great that

I guess we'll never be able to see.

We'll never be able to see.

So you graduated college in 2012.

How long did it take before you made your way out to Los Angeles?

When I graduated in 2012, SCAT had left me with the feeling of I'm

the worst artist in the world, and why did I go out to art school?

Which is usually what most students have.

Yeah, that's how I felt when I went to film school.

I was like, why am I here?

It's because after these art schools get your money, they then

go Just drop you on your head.

Thank you so much, it was wonderful.

Contact us if you become a famous alumni, or maybe we'll contact you,

or maybe no one will contact you at all, and that'll be the end of it.

No offense to SCAD, this is just a universal thing across the

board with almost every college.

But the thing is what SCAD offered me was the training that I needed

as well as a wonderful relationship with some amazing students.

There, I met Zachary Rich, who turned out to become my business partner

when, in 2013, when we created Skynamic Studios, made an IP called

Truetail, made an animated flash video with a bunch of our friends.

And Oh, pause, pause.

All right.

We're speed running this.

We are speed running this.

Back up a little bit.

There's so much we have to unpack here.

You're being too modest right now.

You're right.

Exactly.

Okay.

Let's back up to where.

What you say you met him at college.

I did.

So first of all, they're just going into business You can't just go

into business with just anybody.

What about this person stuck out to you?

His name's Ben, right?

Zach.

Zach.

I said Ben.

Where's Ben gone?

Shout out to Zach.

Zach, if you're listening, shout out to you.

You're doing a great job, Ben.

You've earned her respect.

To go into business with her.

I would say that honestly, what happened was desperation.

I had graduated.

I come from a family of doctors and pharmacists.

and lawyers and that kind of thing.

So I was that black sheep of the family.

I was creative and they're like, what side of the brain is that?

We don't know how that operates.

When you had told your parents that you wanted to pursue this career

path, what was their reaction?

Good one, Alison.

Yeah.

Yep.

Facts.

I remember when I told I remember I told my dad I wanted to go into

entertainment and he was like, yeah.

Okay.

So that's your hobby, but what do you want to do?

What are you gonna do to pay the bills, right?

Yeah, my cousin who at the time was going off to Medical school to

become a neurosurgeon and now he's a pediatric neurosurgeon in Ohio.

Yeah, this is what I have to deal with He pulls me aside during 4th of July of My

senior year in high school or my junior year into high school and he says I have

a friend Who went out to Los Angeles because he wanted to be a director.

Do you know what he does now, Allison?

He's a pizza delivery man.

Do you want that for your life?

What kind of pizzas?

Might be some really great pizzas.

So I went pre med.

So my very first year of college, I was pre med and went to a school that

had no art and after about a semester of doing that, I realized, God, I'm

lonely and sad and depressed and this is what it feels like to become a doctor.

I don't think so.

They say nothing makes an artist want to create more when you

deprive them of their paint.

Yep.

And then what was the breaking point of okay I have to do this.

I'm changing.

I don't care.

I started taking botany and I went.

God, I really don't want to study plants.

I don't mind drawing them, but I really don't want to do this.

So I called mom and dad and I said please let me go to Savannah

College of Art and Design.

Save me from these punnett squares.

And they said, no, you can go do graphic design.

We think we'll at least stomach that.

We'll compromise.

Yes, we'll compromise.

All your life.

They're going to compromise.

Yes, so you can go to the University of South Carolina, and

you can major in graphic design.

First day at USC, not here on the west coast, on the east coast, people.

East side?

Yeah.

I got in the car, cause my mother would not let me drive, so she

had to drive me to college.

It's just lovely.

Really?

Really embarrassing.

Why did she not allow you to drive to college?

I don't even know.

Honestly, she's It's dangerous.

There's no parking.

You're gonna hurt yourself.

There's no parking at the college?

Of course there's parking at the college.

She just didn't want me to have a car.

I was like, whoa, really?

But my mother picked me up from my first day of my sophomore year of college.

And I got in the car and I said I've decided.

I'm going to Savannah College of Art and Design, and you're paying for it,

and that's the end of story, okay?

So I'll go for the rest of this year, but I'm taking art

classes, and we're transferring.

And she goes ooh, you've never been so angry before.

I'm like, whoa.

Okay, Allison.

Get an art scholarship and an academic scholarship and you can go.

Bang, done.

Went to Savannah in 2010.

That's so interesting to hear how You know, we have had a lot of

people on this show and parts of it, the part of it that always

impresses me is That breaking point.

There's a lot of you know, there's never like a breaking point that

you hear in other industries.

No one's like that's it I'm becoming a doctor.

That's it.

I just have to be an engineer.

You're right.

That's done.

I'm doing, I'm going to be a biologist.

Roads and bridges, that's just my lifeblood.

Dad, I want to be an engineer.

Why won't you let me do it?

No son, you're going to do the pizza company.

You're going to work at the bar.

So it's so interesting to hear, The that part of people's lives

and so then, but you said that you were like, Oh, I don't think I, I

want to do animation me personally.

Now, when you sit now, I do know that you, for a fact, you still

want to be that part, right?

You work at Tidmouth, obviously you do like still like animation.

Of course.

So then what happened where you were like, I'm not going to be an animator?

Drawing the same thing over and over again is a.

a special skill.

You have to understand volume and shape and the physics of motion, the

illusion of life within the 2D form.

It's a lot.

Drawing on the twos, drawing on the, yeah, Yeah, all those frames, all those

panels, everything that you're doing.

And I just got tired and got carpal tunnel and drove myself into like craziness.

Until one day I looked over at a senior's Cintiq and he had

all of these spreadsheets open.

Because he was the producer for four senior films.

Wow.

And I went, what?

, what is that?

And it was like all of a sudden, oh, the Angels sang.

And there it was Cloud, the Cloud thing.

The clouds parted,

It was it Like that was it.

It was Love it.

First spreadsheet.

I love it.

First spreadsheet I knew Was it?

It was Google Docs.

Google.

I've never seen Doc.

The, this is the.

Beginning of Google Docs.

So this is in 2010 that like, I graduated high school in 2000.

But I quickly realized that.

But what I loved was the story and the creativity that people brought

to the table with each IP and each show and episode and short.

I didn't want to be the artistic hand.

I wanted to be the voice of reason that gave them comfort and support so that they

could be the best they possibly could be.

And that was it.

I knew from then on, so I tanked my classes and only worked in

producing as many senior and graduate films as I possibly could.

How many did you end up doing?

About around five or so.

Six if I count my own.

That's still a lot of projects.

But I loved it.

I loved it.

I loved everything.

And every single one of them was different and brought different challenges.

So when I graduated in 2012 and my parents said, You can't go out to

Los Angeles until you have a job.

Desperation kicked in, and I found out that my friend Zachary Rich at the time

was creating his own online studio.

And I went, yo, dude!

Hey, remember me?

We took that one Digicel class together?

Where we learned Flash?

Wasn't that fun?

Fun please let me in.

And from there, I kicked out every single person that he had that

was production and took over.

Wow.

And became his business partner.

That's awesome.

What was the what was the conversation like with your parents whenever you

were an animator and then you were like, actually, I don't want to be an

animator, I now want to be a producer?

So Oh, Many years later, after I'd moved out to Los Angeles and become

a production manager, my parents told me a very depressing thing that I

hope they never hear this radio for.

We never thought you were gonna make it.

We just knew we were throwing money away to let you have a dream for a minute,

and then you'd come back to reality.

Wow.

Wow.

Wow.

That's pretty heavy.

That is pretty, expect that they'd be like, eh.

And this is your parents?

Yes.

Was there any hints that they thought that previously?

Obviously they wanted you to do something else, but were they

ever What are you doing out there?

No, I was simple and stupid and believed that Mommy and Daddy would

never, ever think poorly of me.

And, nope, that was 100 percent wrong.

It's a flex now.

It's a good flex now.

Yeah, so now looking back on it, now I talk at panels, and this,

and everything, And I'm mentoring people to get into the industry.

I look back on that and I go, this is something I can

actually use to tell people.

It's okay if your parents don't support your idea.

And even like at a panel that I did a number of years ago, I said,

your children are not going into this field to just be artists.

They are going into this field to find their people.

You are not their people.

You're not their person.

They want to find a community that loves animation, and video games, and anime,

and comics, and all of these things.

Being in South Carolina, I'd go in to see a Disney movie,

they'd think I was a pedophile!

Cause it's whoa, she's too old!

What is she doing in here?

There's no child with her!

Is she a mother?

What is this?

Where's the kid who's supposed to be accompanying her?

to the movies.

Exactly.

So I'm from so me and Nicholas are both from the south.

He's from Louisiana and we're, and I'm from Tennessee.

That's definitely the case.

It's yeah, it's the same.

What are you some kind of weirdo or something?

Yeah.

Like animation and then You know what, the same people who will say that,

you'll be like, Oh, I liked Avatar Last Ember, or some animated show.

And they'll be like, Oh, I love that show.

Oh, but, okay.

But I'm the weirdo.

I'm the weirdo, cause I'll publicly say I like it.

I feel like a lot more people like animation than they like to let on.

At the time I think that it was getting ready to reach that point

of where anime and things were going to start to come over to the country

of South Carolina and its little country vision, like little setting.

But at the time it was not accepted.

And when I would explain what I did in animation or.

Even today, when I go home and people are like, Oh, what do you do, Allison?

I said, Oh I'm a production manager.

And they go, And what, so you draw the cartoons?

I was like no.

I manage the team that creates the content.

And they're like, Oh, I said logistics.

Does that.

Oh, you do look like, Oh, I'm going to say yes, but I don't.

So you're the supply demand chain thing.

Okay.

All right.

Go out in Hollywood and make those talkies.

We haven't even gotten colored yet back here.

As recently Mickey Mouse went into the Steamboat Willie version.

To be clear.

Went into public domain.

Yes.

Yes.

And first of all, we never thought that Disney would stop blabbering,

lobbying Congress to extend it's not for lack of trying, right?

That's true.

And there's already been a whole bunch of movies that are about

to come out of a horror version.

I saw there's like a whole bunch of, a whole bunch of I would say cash

grabby items media wise, because obviously it's Mickey Mouse, right?

Steamboat Willie Mickey Mouse.

How do you, as a production manager?

View this possibility for some things that you work on because eventually

everything will enter the public domain to be completely honest I

think the government is full of crap.

As a creator if my project ever got put up for like auction basically

Why don't you just take somebody's child and put them up for sale?

That's all you're doing.

To a creator, our IPs, our projects, our characters, they're

not just a vision on the screen.

They're our life.

They're something that we gave birth to.

You put blood, sweat, tears, so many hours into it.

I just, I can't agree.

I know that Mickey Mouse should have never become something like that.

If Walt Disney was here, no, absolutely not.

And that's how we have to think about it.

If I hate to go into this explanation, but let's take the

Declaration of Independence.

Who's gonna go and buy, that right out of D.

C.?

Is that up for sale?

No.

Like why is it that something that was worked on, beloved like that, with our

founding fathers with Disney's Mickey Mouse and all of the characters, that

has the ability to be put up for sale?

That's so interesting, because they, Disney's argument is that one of the

current arguments is that, It's the oldest version, the old version of

Mickey Mouse, which is not technically the newer Mickey Mouse or any of the

newer versions besides that first one that are still under that copyright.

And there's a lot of fear.

We have spoken with some people working at Disney.

There's a lot of fear of the, people associating the actual Disney products

when they're not actually Disney products.

You know what I'm saying?

So like you said, protecting the IP is important.

There's not really a solution to that right now, is there?

I just think that you have to look at the overall IP in general.

Mickey Mouse is the definition of Disney.

Is it appropriate to put the actual president of Disney up for sale?

No.

It's so weird it makes me think of Things like the Michelin Man has

been around for like how long but you don't ever see any Michelin Man

commercials You can't do that, right?

Because he's trademarked and yet Mickey Mouse It's like what that's again.

It's the Steamboat Willie version.

Yeah, but yet it's still the same any version of Mickey Mouse is a Mickey Mouse

like our The project True Tale that I've been working on for, come March 11 years,

those characters have been redesigned and edited and updated over and over again.

If somebody took the very initial drawings that we did, our Steamboat

Willie style kind of thing, and went, hey, I'm gonna buy that.

And own it.

And own it.

I'd be horrified.

I'm like, how dare you?

How do you have any right to it?

I don't understand it.

I don't know why this is even a conversation, to be completely honest.

It's just government not respecting the lifeblood of a creator.

Speaking of not respecting IPs Avatar The Last Airbender is going

to be on Netflix pretty soon.

There's what's interesting about the team is that They've been, I think the

world's been very adamant about the M.

Night Shyamalan live action.

Yeah, oh, how horrible it was.

How long will it take me to live this rock?

Oh!

That's the secret that people don't like it.

But it's interesting to see people's interpretation of different animations.

Animation style and a whole bunch of other stuff.

Are you, as someone who works in animation, are you Excited about it?

No, I think it's a terrible idea.

Because I think after, they also did One Piece as well.

There's been, what, a billion and a half different attempts to redo

animation in a live action form.

Why do you think that people want to make that medium?

Let's first ask the question of this, which any, if you ever are pitching

a project to development, they will ask you, why did you pick animation

as your medium to tell your story?

The reason they picked animation to tell their story, or honestly,

anyone does, is that the human face cannot emote like that.

It's true.

Animation has Big eyes, big expressions, zany, wacky, slapstick

humor that if I do, I will kill you.

I do not think that it is a good idea to take an animated property and

turn it into a live action property.

It doesn't translate, because that was not the initial take on it.

They chose animation because that medium would lend itself best.

To the storytelling that they needed, which is why most of the time when you

watch a Sorry Disney, but you watch any of say the Lion King that they did.

No, the live action version It is not going to work Those eyes and that

face and everything does not emote Like Simba, Zazu, and all of them.

It's also specifically Favreau's fault.

Because Favreau said, and how many different interviews, he was like, Oh

in the live action version, we want to make it look like a documentary, and

lions don't they don't make faces like they do in animation, so we make then

go watch Big Cat Diaries if you want to if you want an animal documentary.

Not only that, lions do have emotions.

I don't know why they have all these steel faces in the movie.

Animals do have feelings.

I don't think he's ever Seen real animals possibly maybe that was the issue.

He's never i'm sure they were brought in just like how jeffrey katzenberg

brought in lions for the artist when they needed to Draw out simba and all

of them, but I do feel very strongly that animation is a medium that is used

Specifically because of the ability that the human face cannot emote like that.

So if you're going to do a live action, you better have the biggest over dramatic,

crazy acting, or you're going to put everybody to sleep because they're

going to be like, wait, that doesn't.

That's not working.

I just can't wait to be king is such a favorite sequence of mine and a

lot of animators love that sequence.

A lot of people love the Lion King in general.

Someone's Oh, I don't like the Lion King.

I'm like, Oh, so you're not human.

That's cool.

You're a sociopath or psychopath.

You're not a person.

That's insane.

I wish you actually wish you didn't say that to me.

I actually don't want to be around you right now.

And then obviously they try to, it didn't even look like

they really retried to make it.

With this upcoming Avatar The Last Airbender live action, how do you

suppose some of the, what do you think is going to fall under the wayside,

outside of just the facial expressions?

One of the big things will be that you will see a lot of allusion.

Illusion stuff where you're gonna have a lot of green screen.

You're gonna have a lot of visual effects.

They think that if they Polish it up with all of the visual effects and

everything that will Sell it that will push it to where it needs to go.

But honestly I don't trust them on their casting.

I don't trust them on being able to give us those 2D effects that

honestly left us spellbound while we were watching them as kids.

The other big issue is, this IP is done.

I watched it Religiously, back when I was in high school, I would even put the kids

to sleep early when I was babysitting so that I could watch it at the house.

Such an amazing series.

It works phenomenally as animation, but I'm 35 now.

What 12 year old has any clue about this show?

They don't.

They don't.

So who's gonna watch this IP?

And if I was a parent, which I'm not, Would I want my child, who is 7

or 8 years old, watching this show?

No, probably You're just gonna show them the animation from before.

No, I would rather them watch the animation than watch actual people beating

themselves up with magical effects.

Yeah, you're gonna show them the original Comparative to just

showing them the newer versions.

Yeah, because I Because they'll say, Oh, I think this is cool.

I had a similar experience with one of my younger nephews.

When he likes Teen He was like, Oh, I like Teen Titans Go!

And I was like, What did you say to me?

Oh, I hate And he was like, Yeah, and I was like, Alright.

I First of all, I'm gonna have to talk with my aunt, your mother.

Se my sister, your mother.

Then We're just gonna go home, and I actually showed him, like, all the regular

Teen Titan, from when it was quality.

When Teen Titans was it.

They had the Japanese intro, they also had the English intro.

And then after I showed him after we like, binged it over I think three or four days.

And he was like, Why does Teen Titans Go exist?

I was like, thank you.

That's what everybody's been trying to find out.

Because it's cheaper to make.

That's true.

That's all it is.

It's cheaper to make.

Oh, it's that was the reason it was, because it was cheaper to make?

Those little chibi puppet things are much easier to animate and work with

than a 22 minute big, crazy, dynamic Avatar The Last Airbender fighting.

These are slapstick, easy stories for someone to digest

in little 11 minute chunks.

That's it.

That's not saying that the writing is bad or anything like that.

It's just they know what their audience wants and they are giving it to them.

Back then when Teen Titans came out, it was mixed up with Johnny Quest

and Scooby Doo and all of these things that had a darker undertone.

So they felt the need to compete?

That darker undertone doesn't exactly work.

In today's animation with SMP.

What, do you think it's actually Because a lot of people who watch those

older shows can still really enjoy it.

There was this, there's this sense where people used to make things, not for kids

specifically, but for general audiences, compared to just specifically kids.

And I heard this what was it, L.

A.

Comic Con where someone was saying this?

Yeah.

And I don't know, I think it's just a change of the times, but I think that,

still in today's age I think we don't give the kids enough, respect mentally.

I think usually they can handle stuff like that.

I think that's a hundred percent accurate.

The best way of putting it is S& P in the 90s was all about irreverency.

Be wild, be irreverent, create wacky zany stories.

How in the world did Hey Arnold get away with Helga's mother having a bloody Mary

in the morning every time you saw her?

Or, Edit and Eddie are literally slumlords teaching the children how to steal money

from everyone in the neighborhood so that you can get Candy and rot your teeth out.

Like it was.

The age of I reverence.

Push the envelope.

Push the envelope.

Which is why I believe chicken, oh, exactly.

Oh my god.

Cow.

Chicken, chickens.

Cat dog.

Yeah, cat dog.

Courage.

Courage.

A cowardly dog.

All of them, they all had the message of we are wacky, we are zany, we are

a reverent, and who cares if we really have plot devices in here or not.

We're just gonna let the joke is king.

Let's roll with it kind of thing.

S& P was a lot more lax.

Take Animaniacs.

They literally joke about this.

Or Tiny Toons, tiny Toons jokes about this.

It's we crack up all our sensors.

That's S& P they're talking about in that opening line.

So in the 90s, they just wanted to make content.

Cheap, fast, quick content.

And that's all it was.

Today.

It's not that way anymore.

Do you feel it's more like corporate now?

It's on brand.

Everything is about brand now.

Back then, I couldn't tell the difference between the cartoons

that came on Nickelodeon and the cartoons that came on Cartoon Network.

That is true.

And I knew Disney was more of a family, softer focus.

But today Nickelodeon has a specific brand.

A Cartoon Network and WB have a specific brand.

Disney has a specific brand.

Amazon has a specific brand.

Even Netflix, when they pick their projects, they're being fairly specific.

Everybody's now So scared of having a flop that they've actually branded themselves.

Why do you think that each company, besides being scared that it's going to

be a flop, why do you think that each, Disney, Nickelodeon, Cartoon Network,

why do you think they've all branded themselves so individualistically?

What do you think the reason for that is?

My opinion would be that they're scared.

SMP has become a lot more strict.

It's crazy how strict they are.

Like, we couldn't have a character pull a plug out of the wall, because

that was imitatable behavior.

Instead, we had to have them Turn the switch off on the power strip.

Isn't that also imitatable?

It is, but that's a lot safer than that.

They couldn't start fires, but you could snap your finger and

magically have fire in your hand.

Avatar had a huge problem with the fire bending aspect because they're like, oh

no, kids will light matches and run around with like little torches and whatever.

So I think what has happened is we've reached a point of SMP wants to protect.

It's honestly, it's very similar to what's happening in the medical field,

where doctors aren't really even allowed to touch you because they're

afraid you're going to sue them.

Yeah, I have heard Because the hospital is not going to back the doctor.

Exactly.

It's going to back itself from getting sued.

Precisely.

You know what's crazy is, especially with the we don't want to get talk too much

to medical field, but WMD has destroyed as not destroyed, but I said, really

made a lot of medical professionals upset because they have a whole bunch

of people come in and Oh yeah, I need this medicine because this website told

me that and they'll say I'm a doctor, so probably check your medical history first.

Nope.

If you don't give it to me, I'll give you a terrible review, and I'll

tank your business, and you can't say anything about it because of HIPAA.

But Allison, it's been really great having you on the show.

Yeah!

Thank you so much for coming.

Absolutely.

It's been a pleasure.

Is there anywhere where people can follow you or look up anything that you

might have coming out in the future?

Honestly, probably the best thing to do is just Google TrueTale.

It's true, as in like true or false, and tail as in an animal

tail, not T A L, but T A I L.

And it's about a young kitten named Caleb, who's 12 years old.

And along with all of his friends, they're going off to be heroes in a at

a school called TrueTale Academy, where they train the next generation of hero.

And it's set in a medieval fantasy world.

If you like D& D, you're going to love it.

And we hope you guys check it out.

Cool.

Excellent.

Thank you so much for being on the show.

Absolutely.

Thank you.

Guys, it's been Film Center News.

I'm Derek Johnson II.

I'm Nicholas Killian.

And we're here with Allison Srebnick.

And we'll see you next time.

See y'all.

This has been Film Center on Comic Con Radio.

Check out our previous episodes at comicconradio.

com You can follow the show at Film Center News on all major social media platforms.

Tune in next Wednesday for a fresh update.

Until next time, this has been Film Center.

Hey!

Do you like anime and manga?

Nick and I are big fans of the genre.

Yeah.

We recently discovered a manga named Tamashii.

It's written and created by Ryan McCarthy.

And it recently just came out with its 10th volume.

Now, Tamashii is an isekai about a girl who gets transported to another

world called the ancient lands.

She gains mysterious powers and must fight demons and monsters to find her way home.

Check it out on Amazon, Blurp, and get a physical copy at ryanmccarthyproductions.

com.