Isabel Langguth
10 Feb 2025
British animation has a rich history, from the groundbreaking Animal Farm (1954) to the iconic Wallace & Gromit series, but the industry faces challenges in the modern landscape. With the end of the Animation Tax Relief scheme and ongoing funding issues, independent animators are grappling with career uncertainty.
As UK animation festivals like Cardiff and Sunrise bring new energy to the scene this May, the industry's future remains in question. This article explores the past and present of British animation, from its iconic works to the growing concerns over the stability and sustainability of the industry.
The Legacy of British Animation
Last year ended with the release of Wallace & Gromit: A Vengeance Most Fowl, the latest instalment in the iconic series by the Bristol-based Aardman Studios. But the excitement felt across the UK was also a reminder of just how rare the release of a major British Animation is today, despite the industry having such a long history.
Speaking with Blimey, Jez Stewart, animation curator at the British Film Institute and author of The Story of British Animation (2021), reminisced on some of the best British animations.
“I think you could say it was the production and release of Animal Farm (1954) that really first turned heads towards animation in Britain and what it could achieve, as it was a feature film with marketing.”
While initially considered a box office failure, Animal Farm eventually climbed its way into popularity, placing Britain on the map for animated films.
However, there are also some more recent classics that Stewart argues have played a significant role in placing the capabilities of British animators and filmmakers at the forefront of the global animation industry.
“You could say that as the highest-grossing stop motion film to date that Chicken Run (2000) was a landmark work for British animation.
“But I would argue that it was really The Wrong Trousers that brought Nick Park, Wallace & Gromit, Since the 90s, Aardman Studios have been at the head of animated film and TV, so when discussions of Aardman moving offshore started to hit the news, it was a sign that the British Industry may be struggling more than initially thought.
Tax Relief and Funding Challenges: A Struggling Industry
In an interview with The Guardian, Sean Clarke, Aardman’s managing director, argued that with less tax relief for animation companies in Britain than in other European countries, along with restricted post Brexit movement of creatives in the industry, staying in Britain as an independent company was becoming increasingly burdensome.
Statistics from The UK Screen Alliance show that around 52% of the UK animation workforce are freelance, and around 25% are from outside the EU, making freedom of movement a central driving force in the British Animation industry.
Jordan Buckner is an animator, filmmaker and professor who teaches art direction for animation at the University of Portsmouth and the University for the Creative Arts.
Despite growing concern for the industry’s stability, Buckner is teaching a “really big cohort and there is a really big sense of personality and creativity,” he says.
While Buckner has been successful, he revealed that animation has not always been an easy career path and might not be for his students either. “When I was straight out of uni, I wanted to be a freelancer, and I think I romanticised it a bit, but it is actually really stressful.
“It appealed to young and old and had this flavour of ‘Britishness’ that was recognisable and marketable”
“It feels like the industry has settled a bit, but is not particularly growing right now… It’s weird in that we are not sure what the future looks like for our students or for us right now.”
The Role of Freelancing and Creative Freedom
A survey undertaken by Blimey found that out of 174 UK animators and animation students, 101 (58%) think that the British animation industry was ‘not stable’. 46 people (26.4%) believed the sector was ‘mostly stable,’ while 27 people (15.5%) thought the British animation industry was ‘stable.’
Ninety-one participants (52.3%) said they would prefer to work full-time for an animation company, and 83 participants (47.7%) said they would rather be freelance.
“I think the high levels of freelancing in the industry are a mix of animators wanting creative freedom and a lack of permanent job opportunities,” said Buckner.
“I do think there is often a disparity between what commercial animation companies want and the creativity of animators.”
What’s Next for Aspiring Animators?
Mike Meister is an animator specialising in 3D animation. Since completing an animation degree, he has moved to London to search for work. We spoke to Mike about his experience of finding work in the UK.
“Right now, since the industry tanked after the Hollywood strikes and companies shutting down and having so many layoffs, there has been very little,” he said. “I think I’ve only been able to apply to like five jobs since then.”
Despite difficulty finding a job, Meister is not deterred from breaking into the industry, “The industry goes in cycles, so this isn’t new. I do think the layoffs have been more than usual, but COVID also lead to more hiring than usual. Hopefully, it will pick back up again.”
However, Meister has concerns about how he will make a living while waiting for opportunities in the industry to grow; while he wants to stay in The UK, he may have to look for opportunities back in the US or Canada in a few months.
The big question that animators like Meister are now asking themselves is, “Can I afford to wait for things to turn around?”