 All right, thanks for staying with us. Now, storytelling through animation is an art form that has been around for centuries. It involves using visual sounds and music to create a narrative that can be understood by the viewers. Now, animation allows telling stories in ways that would otherwise be impossible and is an excellent method to associate with the audience in a fun and innovative manner. In recent times, animation has been employed in various fields to enhance knowledge, marketing, advertisement, and age group from infant to adult. So today we're asking, what is the future of animation in storytelling? And, of course, how will it impact our children? Now, please just hear what you have to say. Remember, if you enjoy the conversation, send us an SMS over at 701-803-4663. You can also thread us at Wayshow Africa, or these people that refuse to enter. You will thread it by force. You see pain? Yeah, it's a pain. No, no, no, no. No, no, no, no. No, no, no, no. No, no, no, no. Okay, so, I mean, what's your memory about cartoons and animation, you know, because I remember that everything that I know about maybe animals and so many things, right? It's childhood growing up, watching, you know, watching all those classics, right? Tom and Jerry, Powerpuff Girls, Voltron, has it, Defender of the Universe, there's nothing, you know? And I see the evolution of animation. It is, I mean, when I watched The Lion King, the 3D, I've been on a 5D, I've been on a 7D, that one. It's like, you'll be seeing the hair of the lion. Like, the evolution of the animation industry has grown so much. And, for some strange reason, I actually am more captivated in stories that involve animation than just real life acting. I don't know how it is. I mean, my son recently came back home, right? And he just said, Mom, can we watch this movie? I bought it for him. I mean, we bought it for him as a baby. Joseph the Dreamer, right? We bought that thing. I remember that CD. We watch him, watch him, watch him. So, we're just scrolling through Netflix and he saw Joseph, you know? He said, Mom, can you watch it again? I said, well, you watch it, they say, yeah, I just want to watch it. And trust me, it felt like I was watching the game. Like, we were watching the game for the first time. So, just imagine how, you know, especially when you say, oh, children are having difficulty and all of that, just doing it the right way. And I'm so thankful for the guests that we have today because I've always wondered when will we get it right? But we're complaining about how they're infusing a lot of things that are not our culture into animation. Who are the better options? Because now, if you look at some animations, you just want to, please, just go back to where I'm coming from. But now you're seeing that, especially in the Nigerian space, we are taking animation to the next level, which is really exciting for me. I wish I had babies, but I'm not going to talk last again, but do something for us. Well, let me hear your thoughts with you. It's for everybody, right? Yeah. It's a very powerful video. I think it started off, for me, animation is the original green screen. It was the first place where Escapes Inn was really, really real. When we were watching the equivalent of fantasy movies back then, if you remember, what's the name of that movie now? The one with the flying dragon that looked like a stuffed dog. Was it not Fantasia? What was it called? The city was called Fantasia, but I can't remember the name of the movie. We could find a princess. Some of us are really English. I was pretty sure she wouldn't like it. She wouldn't say that, so we would look for it. It was literally the fantasy movie for kids in the 80s. 80s, yeah. But the thing for me with animation is, like you said, it's very emotive. We all have these memories of the particular movie of your childhood. And when you are talking about the stories that are being told, animation was also a very powerful medium for teaching kids. So we don't have it in a lot of the cartoons they show today, but in the 80s, most of the cartoons, when you get to the end, the characters would literally stop and talk about the morals of the story. And you would learn even things like, you know how to cross the street, how not to tell lies, and talk about the consequences in the story. So it was a way in which we learned. And then when you started to talk about representation as well, what was it now? It was a couple of months, not a few months ago, not too long ago, when they launched the Little Mermaid, the movie. And I remember, I think it was probably last year, or even the year before that, when the trailer came out the first time, do you remember that video that was training all the little black girls were going, oh, she looks like me, she looks like me. So the importance of cultural representation, contextually for us in animation, is so important because the world has gone lower. So we need to protect and we need to tell our stories. So that our children can connect. We already have a problem with preserving our history. So for me, to have local content in that medium that is so powerful and so easy for people to connect to, and it's not just about kids, it's for all ages. Like, I still love watching cartoons. The entire Disney collection of old movies for me, sometimes I just binge watch and I want to watch them and they're just beautiful stories, right? So I'm so excited for the topic today because animation storytelling, the future for our children, what they get to interact with, a lot of questions there. Absolutely. How will you pitch it a little quickly? Yeah, so for me, I'm going to, well, as a person, I actually love animations, except the animes, those Asian and Korean ones, I don't like those ones, right? But then when we talk about the ones and lines of Disney, what's the popular one? The Moana. Oh, Moana, yes, yes, yes. I love, love, love. And I'm talking from being a teacher, right? I love the fact that animation helps with interactive storytelling, right? And it also encourages critical thinking in children, increases your problem solving skills as well and things like that. And also, I have just realized that when the children watch these things, they're able to then immerse themselves. Unfortunately, these days, like you said, we now have stories or characters that are portrayed in lines that we don't want our children to tour, you know? But it's not taking away the experience and what it is that animation actually does for the kids. So I'm actually very excited and I can't wait to hear from Damla last day. Absolutely. And Damla is called Never Ending Story. Okay, give her a name, she'll remember it. I will go and look for it. And no watcher, you see, no vest. Damla, let's see. Is an accomplished animation director and producer currently serving as the CEO and creative director of Smith's Animation Studios, which she founded in 2010. Under her leadership, Smith has become one of the leading animation companies in Africa, earning recognition as one of the top two animation companies in Nigeria according to the EY Industry Report 2019. With a focus on 3D animation, Smith has successfully completed numerous projects for various clients and is currently working on creating children's content. Hallelujah for television and web. And we are super excited to be having our host, Dame Lola, but she's joining us by herself. Unfortunately, she couldn't come into the studio. We'll bring her for a part two. We know that we want for sure. But thank you so much, Dame Lola, for joining us this evening. Thank you so much for having me. I mean, this is an interesting conversation. I was just telling my co-anchors here. I said, see, when Dame Lola, when I met Dame Lola many years ago and she was telling me about the dream of animation and all that, I said, if I had known, she would have been able to bought shares in the company. You know? So imagine if I had bought shares in the company by now, I would have been very, very, very wealthy. I'll be sitting in the bank and just counting off my dollars. But thank you so much for joining us, Dame. Thanks so much for having me. And now we'll have to meet the president first. I'm telling you, I think we need to revisit that conversation. Let's find a way to invest. But Dame, you are one person that, like it was strange to me that somebody that was just coming out of school and was saying, this is what I want from day one. You wanted to do animation, right? And it's almost looking like, you know, truly, truly there is, we're seeing a trajectory of, you know, growth in the animation industry, especially in Nigeria. Because I've been used to like all those pencil things that they would draw and they say it's animation. You can't compete with the kind of technology that is being used globally for storytelling and what we were doing then. It was almost like caricature and mediocre. But people like you decided, you know, what we're going to put in everything, bring out excellent quality contents for children. And I love your direction. Because I've always said it that we're complaining about what our children are being fed. What are we doing to ensure that we start to control the narrative that is being exposed to our children? You know, so for that, I say thank you because it's not an easy venture. I know that I do a lot of kids' events and they will tell you that there's no ROI when it comes to children's events. So even getting funding for those kinds of projects, you know, it's a tough thing. But you know what? Generally, in your assessment, from when you started in animation, so now, you know, what has been the journey like and what is, you know, what is it currently looking at? Where are we right now? Before we talk about the future. Thank you. So thank you so much again for having me. Animation has been very interesting over the last few years. We started to compete 13 years ago and when we started the Wilsonite Industry our people didn't understand what we were trying to do. But over the last few years, we've seen a lot of good, you know, within the space here in Nigeria and also by a lot of interest in African animation now, particularly in Nigerian animation has really picked up over the years. I'm really grateful for that. I think people want to hear that we're pretty much here. You know, stories from all spirits from Nigeria which is very important. I think we have a lot of stories that have come and we've always, stories telling is so kind. That comes to us naturally from our grandparents. You know, telling stories back in the day, you know, on the trees and all that. So where we are now, we're telling new stories to young people through the entertainment industry and through the music. I think now is not the time for animation. We're at 20 people. I say they have been here 13 years. They haven't been in a better time to be in animation than right now because right now there's so much going on. And I really want to go fast and diverse. Yes, you know, we are a personal kid's content but only every single hospital, you know, we're determined to use touch for animation. We have so many movies that are coming out this year. All these movies are, you know, animated movies. Even though they don't perceive that way, they are DFX movies, their content and all that. But at the same time, it's still in the same animation process. So again, animation is here to stay in education. Now we've seen quite a number of applications for that for kids. Because again, kids have different ways of learning, some are visual learners. And being able to have content for them is also very crucial as well too. So it's really an exciting time right now for animation. Pointing in how the industry is going and we're excited that, you know, we stay because... Absolutely. 13 years, that's no joke. Go ahead. Okay, so I would ask, right, I'd like that you said when you're now exploring animation using African content, and we know that in Africa, well up until recently, we do not necessarily explore sensitive topics and also topics like mental health issues and, you know, things like that. So I would like to ask, how do you think animation can actually break down these barriers? And what role do you think animation can play in resilience and mental health issues for children? I think that's an important topic, particularly because of the stigma that has been around in mental health, especially in this part, I think, animation has a very light-heartedness when it comes to how the story is perceived visually and all that can actually break through those barriers. So I think that's a really engaging topic that people can stone, again, if you make a pick-up and say, I want to tell the story, you know, about mental health, recent animation, directed at kids. I don't think it's anyone I know who is focused in that area and say, okay, this is the story I want to tell the champion. And I feel like I have something to say. I have a voice, and animation would be a great visual medium to do that. I think when it comes to those kind of heavy topics, that's why I have anything. Just thinking about the idea, having a short film around that is very visual and at the same time, it gives the point that needs to be very push-out. It needs to pass down to its children. It's important that you understand what it is. And again, we know that stigma, because I think that's really the problem around here, part of the stigma around mental health issues, which is what we need to hope so that that will really require the help and get it, access to help the required and then it can also get better. So for me, when I think animation, so education is a huge problem here in Nigeria. And I remember during COVID, they had like, I think it was like radio shows to help children learn. Storytelling is also another big thing. So everybody now today is talking about storytelling. The other day, I'm sorry, I was talking about doing a presentation, I said storytelling. You know, it's becoming buzzword, storytelling. But when I think animation and I think the ability to tell stories, it's a unique way to teach, right? It offers a unique opportunity to teach people. So given the realities of our own education sector and what we're facing in Nigeria today, what are your thoughts around how animation can impact the future of learning in the reality of what our education system is like today and the reality of the poverty line and children that don't have direct access to education? How can animation help? Animation can reduce the gap in education. After even thinking about it, kids learn differently. Some kids are kinetic, some kids are auditory, some kids are visual. And for a long time, I think now with the new schools, they're trying to bridge their gap with visual learners. But for a long time, I think me growing up as a visual learner, I struggled through in school. In fact, it was very auditory, the way we were taught. So I think it's important that animation can pay great people in education because it can help break down topics, complex topics. And kids are already watching cartoons already. Every single day, you can't even, you know, pry the devices out of their hands currently. So imagine using that as a medium, as a tool. Do you need to teach complex subjects like mass, you know, like biology and things like that? I think it's a great bridge that needs to happen. If you companies are already going to play in that space, but if I even go deeper to ensure that this knowledge is able to spread around and of course, like even kids in low-income areas, providing that access for them, I know some of the, some government organizations are doing some work in that area to ensure that they have, I think because the government is doing something to provide jobs for teachers and the like. I think it's important that we can do it out even deeper because animation does play a key role and can actually break down those barriers. I think we talk about the industry seeker, you know, pointing in Nigeria. I believe very strongly that having videos, you know, some of the videos that some kids are already watching, that have that like, student degree seeker, student numbers and things like that, you can also have this kind of video station, they're going to take part in your concept, using animation that they can easily grab, they can remember and you can actually learn whatever ideas that they're required to learn and think animation can truly play a role in that. Absolutely, okay, so let's quickly go run off on the break, right? When we come back from that break, we'll continue this conversation. Stay with us, we'll be right back. All right, thanks for staying with us now. If you just tuned in, we're having an interesting conversation around the future of animation in storytelling and the impact on our children and we have them in Lola, sure, let's see. Now remember, you can join the conversation, send us an SMS or WhatsApp to 081-803-84663, you can also tweet at us at Weissho, Afqa One with the hashtag Weissho. So that, me, I like to discuss finance, right? When it comes to issues around children, because I know how a lot of brands, they're looking at me from side-eye, you know? You know, just very few brands are very supportive when it comes to children. How expensive, first of all, if we say, for instance, let's just say that we want to do a movie like Little Mermaid, but tell our Nigerian story and make it our own, that is not still like a foreign story and all of that, but it's going to have that same standard of production, everything and all of that. How affordable is it, or what are we looking at in terms of figures and numbers? Because, you know, I've heard people say that, see, this tiny friend of mine, I think I connected her to you, that does the Kiliway, Timebender, something, something. She, when she tells me how much they do the, I say, ah, you know, so tell me, you know, because we are complaining that we don't have quality content, right? We are, our children are constantly flooded or bombarded with these high quality productions. So if we really want to, right, change the face of animation, especially for the African continent, for children, we also also have to match that level of production. How easy will it be for animators and producers and content creators to do that? So animation is expensive, like he said, so that's one of the major challenges and I think that's one of the challenges we look at here in Nigeria because the investors are already used to the non-lubable model and animation costs almost four times the budget and takes even way longer. So in non-lubable, we are looking at maybe two months there about ramp up production and animation, you're looking at two years. So it's like, the numbers, it doesn't add up for them because they're like, I can't turn out how many couple of movies, you know, we did that in the same period of time. So that's one of the major challenges that we have in industry, in fact, that local investors are not readily interested in animation currently because of the cost of it and also how long it takes. But again, as a company, we've tried to be very innovative around how we've approached that over the years and very creative for time. There was a time when we focused very soon on content for brands and agencies and we did ads for a long time. Now we're moving to content and we're finding many creative ways to fund our budget. One of the things we're doing is actually looking international to bring to the market as one of the things that we've done very consistently in the last three years, we've been doing to international markets. We've used to seek partners, co-producers, co-financers to come together and make the projects that we want to make happen. So I think that's one of the major challenges is actually the finance and reasonable finance. You mentioned the Tumami, I don't have the exact goal for the Tumami goal. And it's called Disney, you know, pixel movie and it's a movie there about it's costing you close to $200 million. So that's a lot of money. So... Yeah, well, it's a lot of money. And I mean, you've sort of hit the nail on the head in terms of the challenges. So for me, the question then becomes, how do we sell it, right? Because anybody who's going to put their money behind that kind of animation that's telling an African story, the ROI I imagine is a very important conversation and the ability to distribute that then becomes another conversation because if you sort of think about it where in that phase where it's not Nigeria to the world, right, our music is going places, our food, our fashion is going places. So how can we take, what are the possibilities for distributing these stories? And given that you've started to do a lot of work outside of Nigeria, what is the appetite like to say, I want, you know, African or Nigerian animated stories? If I give you that money today, is there a market for it outside of Nigeria? Yes, actually, this is actually one of the reasons why I say that this is the best time to be in animation because now the world is looking and saying, we want to hear from you as African creators, we want to hear stories. I think this month, you know, there are about three different big productions, one on Netflix, one on Disney Plus and another one on Netflix. So they're all done by African creators and even Nigerian creators. So right now the world is listening and saying, we want to hear diverse stories. We want to hear stories from around the world. We don't just want to be in our box anymore and we believe that diversity of stories actually helps everyone, you know, having more robust entertainment, you know, pallets and the like. So this is actually one of the best that they want to hear these are stories. And as Africans has tapped, I think there's some other thing we're making a joke in the office that we saw on other production online that was about a remake. I'm sure it's like the fourth or fifth time that we're making that particular story. I'm like, oh hey, you're making this story four or five times when you can, when there's still a world of stories, you know, here on the continent of Africa that hasn't even been explored in any way, shape or form. We have our folk tales, one of our production is highly based on the Japa stories. We have so many, if you go to every tribe, there are over 250 plus tribes in Nigeria and every single one of them has stories, folk tales that have been passed down from generation to generation. And sometimes, like I'm looking at my kids now, no one is telling them, send them down by any fire please, telling them those stories. Those stories so that they do not die have to be animated so that the next set of generation, those stories need more in animation. We have so many of them. Of course, Nigeria, where we have and of course Africa there, I think in Ghana, they have, you know, Anansi in South Africa, there are just so many of these folk tales that need to be told through animation and animation can actually drive those lessons, those morals, you know, that our grandparents try to use these stories to teach us back in the day. We can actually use animation to tell our kids some of the stories. Okay, thank you Dami. So I know that with animation is becoming an increasingly realistic world, right? But then I would also want to ask, what's, what do I call it now? What ethical considerations are animators considering when it comes to creating these stories? Because we've said that, you know, we're beginning to see a lot of, I mean, the other day my daughter was watching something on Nickelodeon and then we saw two teenagers that said they were gay. And I saw the way she paused and, you know, looked at me like, okay, I mean, I was lost at that point myself. So what's ethical considerations are animators? You as an animator, what ethical considerations are you putting in place to ensure that children, I mean, contents like that are not publicized? Yeah, yeah, yeah. So I think every filmmaker, every animator lives within an ecosystem. So the ecosystem where you kind of show that your daughter was watching, you know, has in many ways normalized that kind of lifestyle. So definitely those kind of things, you know, go. But again, for us here in Nigeria, the laws are very clear as regards to where the government stands as regards to those issues and as law by these citizens will definitely follow. And I also have my own personal conditions as regards to those kinds of things. So I think it's important that, again, it's every filmmaker will have to make that decision, you know, won't be able to ask to what kind of stories you want to tell, what kind of stories you want to push. I think for me, I'm very, very focused on telling, you know, historical stories, telling folk tales. I think it's very important that we share some of those stories we have in this world and get to stories that needs to be explored, you know, as Africans are very passionate about telling, you know, about African history. But it's not because in the last few years, history has been taken out of our schools and without knowing your past, without knowing where you come from. It's very difficult to use to project into the future. So I think it's important that kids know this story. I think it's also important that you also reflect the values that you have as, you know, as an individual, whatever stories you tell. So I'm also passionate, you know, about telling and I'm also very passionate about the world, fantasies and the like. So just like in cartoons, I watch as a child, filming with folks and friends. If I want them to do the same thing for the next generation, we need to film them with folks for them to know that, yes, whatever it is they want to achieve in life, and they can do that. I'm going to touch it a little bit. Now, who did they pay money? Let me tell you a story on how people watch. No, but you know, I wanted to ask, because I like the fact that you said that you're concerned about history and about folklore and all. But in our days, right, Tales by Moonlight was a thing. But I want to know what your thoughts are around today's child as a consumer of content. How do we make those stories interesting for them? Thank you. Because it's old school, now you're competing with the likes of Paw Patrol. I mean, there's just so many things, right? And the quality and the standard, I mean, we're at the point of AR, VR, these kids are way ahead of us, right? So how are we going to tell these stories in a way that they actually want to sit still and watch? Because I've got it to the point now where I think that my son actually watches TV, like he hasn't experienced TikTok before, but he doesn't have the patience to sit through a whole episode. So he's literally, I'm fast-forwarding halfway through, I've clicked over to something else. How do we make these stories captivating even via animation? Yes. I think when it comes to playing a history and a culture through animation, I think one of the key things is that, what this topic is hitting on which is storytelling. We have to ensure that we drive that home to the ground whereby you are able to tell stories that engage them. Yes, it's about the history and culture you want to pass. But how do I engage them? What are the things that engage kids now? Is it fantasy? Is it action? Is it comedy? You have to ensure that those ingredients are filled into the story you're trying to tell so that they are 100% engaged in whatever it is that you're telling them which is the key. So ensuring that you're taking them through that story and then they're able to see and appreciate your culture in the new light because of how you presented it to them. So I think the characters matter so much, the environment matters, the lines, the dialogue is so important to ensure that, and each of these touch points in the movie you're able to drive home in whatever it is you're pointing. And I think, again, we're still very, in the very early days of what we're doing and even some of our productions are not yet, they're still out, they're still in production currently so they're not out yet. But again, from some of the things I think we released a couple of books two months ago and we'll see response from people and these books are based on African history, like you, Kumori, Me, Queen, Amina, the great world of being in Kingdom. So people are seeing kids, you know, engaging with some of this content and I'm like, okay, this is exactly what we want. This is supposed to be a series. But we said, let's start out with the books and see how we engage market with that. And we're seeing kids responding to you as we approach that they will. And I think, again, it's just that story in the sense that whatever it is that we're telling them, we're captivating them, we practice that they can care and love and then we're also captivating them with words and new stories that can really pull them and really bring them in which is the most important thing. So, you know that this is our taste by moonlight story, where we see the ask you so. You know, those are the, say those teeth from your mother's bones. Don't do this. I want to just quickly mention that I saw in a video on TikTok today, the guy said, Kaimajie, that he, why did he put that? We say he's just, you know, almost like I dozed myself. That's me that they said, I should not see from my mother's bones. That the person that's whatever this off to, the person has, you know, you know, that, and that me, that is our reality, right? Some of our stories were stories to keep us grounded. So stories to keep us, you know, do the right thing, you know, and all of that. But now, you know, the way the world is lopsided, I was going to say to Chinelo that it is somebody that's also funding it, that would go in the direction of what the story would look like, right? So how do we start to get more, so people that have some level of, they're still at that level of moral standing, strong, whatever, and all of that to be able to then build? Because you see, one thing that I've always said, it's better I do not do it. But if I want to do it at all, I must match with Disney production. You understand? Because that is the competition that my children are, you know, that's what they're faced with. Do you understand? That's the standard they are used to. I mean, I saw a child. This child has never crossed the shores of this country. If this child opens their mouth to talk to you, you would think the child was bone bread buttered in the UK. Like the, I don't understand. So that is their reality. And because they shouldn't are locked in front of the screen and they're seeing all of these things. So they are mimicking, they are, you know, so they are taking on some of these things. And you know the thing about cartoon, it's you're soaking everything in. So how do we start to get funders? How do we pull? Because Uti asked a very important question about attracting it, you know. So what do we need to do? You know, to start bringing in, because what we need now? We already have the expertise. How do we pull in like funds that can match like the Little Mermaid kind of production? Yes. How do we pull those funds in? Definitely, the only thing kids don't know is their appetite is very high. And I think the standard for animation is also as well high, because they are so filled with, you know, bombarded every single day with content from every side. And that if you don't meet, you know, that particular secretor or secretor is impossible for you to get kids to their, they want new shoes that are so fantastic, you know, on some of the platforms like Netflix and that. I'm trying to get my kids to what I like. I know this creator, this show is really good and I like that because they are, you know, so used to, you know, whatever it is that they want to watch and like. So I think the bar and standard is very high for, you know, for creators like this and we just have to meet. But I think right now, where the industry is, where we are as a company right now, we are able to meet. The tools are out there, you know, available for us to be able to utilize. The training has been provided for over the last few years that we've been trying to engage in this, in this field. So I think we're, again, we haven't, we haven't practiced that in the grass, grass sitting yet, but we're very close and, you know, we write partnerships, we've tried to do some of the things that we are also employing in some of our productions to ensure that we're not, you know, this island, you know, but we're seeing how we can collaborate and even internationally to be able to make, you know, the kinds of productions, kinds of qualities that we want to make happen. I think for us, it's really finding all the right ingredients. So if you have the great story, you have the partners that you require, you have the people who are able to drop the phone so you can make this happen and having all that right mixed together to actually bring, you know, the production that you truly want. And I think we're really close. We're really close as I'm saying it. Yeah, talk quickly because I wanted to also ask career opportunities because this is also the season where a lot of people want to japa and all of that. And I know that most of the animators are tech driven careers, which is technically the future of work, right? So are there real career opportunities for someone that is watching that says, you know what, how can I go and train with Smith and how much can I, you know, maybe as a startup and all of that, how can I, what would be my take home at the end of the month, right? Are there real career opportunities for people and, you know, especially in that entire value chain of an animation in Nigeria? Yes, definitely. So again, as I said, there's been a growing, there are lots of productions that are currently, you know, ongoing in the industry and we are getting heavily. So I think for anyone who is creative, who is young, who is ready to get into the space, the best time for you to start to learn, there are a couple of studios who are over-trading. There are all courses you can take, you know, online or wherever to get the skills that you require for people to make this happen. Animation is people driven. It's one of the reasons why it's so expensive. You have a big sample video, about 200 people working on that particular production. The little man made that you mentioned, if you see the cast list, it's going on for, you know, for minutes and minutes. So it's, animation takes a lot of people to make it happen and we need those people in the current industry to make that happen. So if anyone who's out there, who has probably been thinking about animation, I say this is the best time for you to get in. So that means someone like me now, that, you know, do I have a chance? Oh, yes. Oh, yes, you do. Oh, yes, definitely. So again, it's about your own willingness to want to get into the space. Animation is hard and sometimes you can see, you know, the two or three minutes, you know, stuff that is on the TV and like, oh, I can do that. But animation is hard. But you have the willingness to say, okay, I want to get in. I want, I have the discipline and the drives maybe to make it happen. That's it. I mean, they are kind of but you, I just didn't kind of, what do you, with this your voice? Voice over. Voice over. Hey! Please come on and voice over. So I'm receiving this. There are other value chains, there are voice over artists, there are all kinds of people within the space. Please, their writers, you know, part of the number of people that are required to make the videos that happen. That's a lot of people on the production, yeah. And I was thinking that, you know, there's obviously so much that, you know, you see it and it looks so... Yes, but you don't know the amount of work that goes into it. So 200 people, if it's an epic Marvel movie, you can understand it. But you don't think about it from a cartoon. That means we are going to write our application and we'll send our CVs. But thank you so, so much for hanging out with us tonight. I would hope to have you live in the studio because this conversation is actually quite interesting. So there are so many opportunities in there that I can see for people. Thank you so much. Abiyo, next topic at this one. Carriers in animation. Carriers in animation. Daddy will give you the next topic. So plan for us. Thank you so much. Thank you so much. So before we go, thank you ladies. Now, follow us across all our social media handle. Follow us on Thread. You can tell us in the comments. Drop a comment or more importantly, follow all our great mess on social media likes and invite your families and friends to watch and follow. Ootito also wants to go to Thread. She wants open accounts. If you missed our quote for today, here it is again. If you're sitting in your minivan playing your computer animated films for your children in the backseat, is it the animation that's entertaining you as you drive and listen? No, it is a storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story. I hope my voice was nice enough because I'm practicing for voiceover. We'll see you guys live on Monday as we bring another great conversation to your screen. Ciao.