How Australian animated animals garnered the attention of millions across the world

Meet the two faces behind the internationally acclaimed children’s animation studio, Like A Photon Creative, whose award-winning content has been viewed in 179 global territories and is produced straight out of Queensland.

Nadine Bates, left, and Kristen Souvlis at their studio, Like A Photon Creative, in Brisbane. Picture: Lyndon Mechielsen

Conquering the world of children’s animation is no easy feat, but the women behind a Brisbane studio have shown that tenacity and a little Aussie know-how can pave the way to international ­success.

The studio, Like A Photon Creative, has produced films from the Tales From Sanctuary City franchise, including The Wishmas Tree, Combat Wombat and Daisy Quokka.

Scarygirl and The Wishmas Tree grossed more than $1.1m and $1.7m respectively at the inter­national box office, with the former nominated for best animated film at the 2023 Asia-Pacific Film Awards.

The studio, which counts Disney and Sesame Street among its clients, has produced $52m worth of films in the past seven years.

Co-founders Nadine Bates and Kristen Souvlis would never have thought as the only female-led production studio in the country that they would be rubbing shoulders with Dreamworks Animation and Disney.

But instead of Mickey Mouse or Shrek in the starring roles, ­rebellious possums, a wombat turned wonder-woman and other Australian animals take charge.

Yet the challenges should not be underestimated. “We were still the outliers in any room we were in,” Bates said. “Not only were we women, but we were then in the animation space, and we were in Brisbane, Australia. We had hopes, but we were not sure if they were going to come to fruition.”

The studio has been on an ­upward trajectory since its foundation in 2014, including a 10-film franchise deal with Universal Content Group worth $30m – a first for the Australian animation industry. Prior to that it was only the second Australian company to produce content for Sesame Street USA, an achievement Bates says catapulted it into overseas markets.

She and Souvlis say at the heart of what they do is creating content that promotes a fairer, more equitable space and are committed to presenting opportunities for those under-represented both on and off screen.

“We are making sure that we are promoting female directors, female writers, we’re making sure that we have Indigenous creatives … on every single project that we have,” Bates said.

Belinda Burns, chief creative officer at Screen Queensland, said it was vital to support and nurture producers and create uniquely Queensland content. “They (Bates and Souvlis) are unstoppable. Not only are they a creative power, but they’re also very astute and focused on creating a successful business,” she said.

The studio is working on a project called the Pout Pout Fish, based on the best-selling picture book and starring Australian comedian Celeste Barber.

“We’ve got three films going through the studio at the ­moment, and we have four in ­active development. So it’s a full slate,” Bates said, adding that the future for the Australian industry was bright. “As long as the Australian industry continues to maintain or continue to improve on the quality of the story that is not just locally flavoured, but globally focused, that’s the ticket.”