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14.12.2013
Paramount was set to release the film domestically in March of this year before suddenly dropping the picture. Cartoon Brew spoke to Osborne about how this very personal feature got off the ground, how he nearly didn’t make it, and the creative difference of working in stop-motion versus computer animation.
Osborne hit it big early in his animation career with an Oscar nomination for his short film More and another nom for DreamWorks Animation’s Kung Fu Panda.
The director went back to his independent filmmaking roots, finding the process of financing a tough one. He says he said no to making a film of the book, partly because of how deeply he knew the material. Luckily, Antoine de Saint-Exupery’s estate saw merit in Osborne’s general approach, and gave their blessing to a film that was more a tribute to the book than a re-telling. In order to create both worlds, while remaining an independent production, Osborne began production in Paris before overseeing two different studios in Montreal. The stop-motion side, which dealt directly with the well-known characters of The Aviator, The Fox, and The Little Prince, provided more immediacy, since the scenes were there in front of the camera.
Osborne was conscious that his version of the Little Prince character had to evoke the memory of the book in the minds of his audience. That meant that even items such as grass and The Little Prince’s scarf and the fox’s tail would be paper—all of which would need to blow in the wind.
Meanwhile, Osborne cast The Little Prince with several notable actors, among them Jeff Bridges, Marion Cotillard, James Franco, Rachel McAdams, and Mackenzie Foy. Ian Failes is a former lawyer, and now, writer with a focus on visual effects and animation, writing at VFX Blog and FX Guide.He is the author of Masters of FX.


We welcome thoughtful comments on articles, but please read our community guidelines before participating. Is an Oscar qualifying run the only theatrical release that Netflix is giving “The Little Prince”? I went to go see this film at the newly-opened Alamo Drafthouse in San Francisco on Sunday. In order to post comments, please make sure JavaScript and Cookies are enabled, and reload the page. If you’ve been following the career of Mark Osborne over the last few years, you’ll know the director put his heart and soul into his version of The Little Prince. Now Netflix has the distribution rights and will stream The Little Prince to its 47 million U.S.
The director left DreamWorks after Panda with what he says was “a naive hope that I could get projects up and running very easily and push the boundaries of animation. Then a group of French producers approached Osborne for help in crafting an animated adaption of Antoine de Saint-Exupery’s beloved classic, The Little Prince.
In fact, Osborne felt the book, which is about a young prince who has fallen to Earth from an asteroid and offers philosophical advice to a pilot stranded in the desert, was almost too close to him personally. There had been illustrations and cartoon versions of the The Little Prince for many years and the director felt that everyone already had an idea in their minds of what the film would be.
It still took Osborne about nine months to crack the pitch and work out the core ideas, especially convincing people how he was going to represent and distinguish between reality and the world of imagination. One was a CG studio (formed via a partnership between Mikros Image Canada and TouTenKartoon) and the other a stop-motion studio (headed by Dragonframe co-creator Jamie Caliri).


But, he says, the character has in fact been represented many times in differing ways in various book illustrations and in animation.
The animators devised a way to put a tiny piece of wire in the edges of the scarf, for example, so that they could keep the scarf paper without having something plastered underneath it.
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I don’t have any previous knowledge of the book or story so we saw it with completely fresh eyes. All I can say is that it is a damn shame this movie didn’t get a wider theatrical release (and congratulations Mark Osborne on two excellent films in a row).
Backed by a consortium of French production partners, including ON Animation Studios, Onyx Films, and Orange Studio, Osborne’s film grossed nearly $100 million globally and won the 2015 Cesar (France’s equivalent of the Oscar) for best animated feature.
I would be working in CG and then sometimes I’d go over to the stop-motion crew just to be reminded of what we were actually doing. It was so much fun to watch it as an artist and filmmaker, but to also watch it through my daughters eyes. Additionally, in Los Angeles and New York, Netflix is giving The Little Prince a theatrical run starting today, in part so that the film can complete its qualification process for the Academy Awards. When our creative work in CG feels more and more like business everyday, this film and message was refreshing to remember the awe we can get from a beautifully crafted well told story.



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