Disney Television Animation‘s recently appointed Vice President of Development, Lisa Fragner has a passion for creator-driven stories that bring viewers together, and a deft hand at steering successful animated projects to the screen. Fragner joined Disney Branded Television in November from Blue Sky Studios (a division of Walt Disney Studios), where she shepherded hit films like Rio, Horton Hears a Who! and Ice Age: Dawn of the Dinosaurs, and sought new voices with diversity initiatives and the studio’s Pitch Fest.
We recently lobbed a few questions Fragner’s way to find out how she is tackling her new role, what fans can expect from the Disney pipeline and her expert opinion on the state of the industry:
Lisa Fragner: It has been an incredibly exciting few months. With a new focus toward developing family “event” animated content, I’ve been busy identifying talent and IP that I believe will resonate with a four quadrant audience on Disney+. We are really getting to help define what the four quadrant animated event series space looks like for Disney Branded and D+, and that in and of itself is thrilling to do at a company as pivotal in the family space as the Disney brand is!
What do you love about your new job at the studio?
I love the people and the stories. For me, it really all comes down to doing what you love, working on projects that you love with people that you love. From the development team to every single human I have had the pleasure of interacting with here at Disney, everyone has been not only wholly welcoming, but most significantly, I have been blown away by the level of intelligence, invention, passion, strategic thinking and commitment to telling stories authentically with diverse and underrepresented creators and crews here.
And the projects… Oh, the projects! I fall a little bit in love every day diving into the stories I am lucky enough to develop alongside creators who not only inspire me with their vision, but also push me to be at the top of my own “story” and development game. Building our slate has been a whirlwind of fun and joy. And yes, there is such joy for me here in finding stories that move me and aligning with those creators who inspire me.
How is it different from spearheading projects at Blue Sky?
Well, I have lived through about four or five different lifetimes of development processes, and roles alongside those processes, while at Blue Sky. I think I will answer this based on the past four years at Blue Sky, when we adopted a more traditional creator-driven model inspired directly by WDAS and Pixar. We created a development “production” model based entirely on internal director-creators pitching three original ideas and putting one of those into an active development.
At Disney Branded, we are also entirely creator-driven, focusing not only on existing legacy and heritage properties, but the team and I are seeking entirely original “event-ized” stories with compelling characters at the center featuring worlds we haven’t yet fully explored in animation and with a lush theatrical scope. I am once again externally-facing, scouring the town (both East coast and West) for compelling animated pitches/IP and talent that answer that white space demand for Disney.
What pushes and stretches this beloved brand without breaking it? What content or ideas feel like they should live at Disney and will demand that a family enjoy this show together on their couches on a Friday night? What feels both “urgent” and “spectacle”? That is what “event” animation means for me — finding a way to crack content that is, at once, “urgent/spectacle.”
Our readers are dying to know more about The Witchverse … Can you give us some details?
The Witchverse! This is the perfect example of what we mean by event — Disney and a witch mythology that upends our understanding of witches. This one is based on Baobab’s award-winning short Baba Yaga, which we see as a launching off point for a much bigger world of character and story. Unfortunately, there is not much more to share right now as this is very early days in development with the amazing creative team at Baobab Studios but we see this as a priority for us.
How are things moving along with Rhona Who Lives by the River? Can you share some news about the musical with us?
We are thrilled that we have the opportunity to collaborate with our partners at 20th and Emily Kapnek. Emily has a strong creative vision for this show with a fantastic team attached — and we see this one resonating with the whole family. It’s that perfect Disney recipe: four quadrant comedy, heart and that touch of Disney magic.
What kind of projects spark your interest?
All-audience short and long-form animated stories and ideas that promise authenticity, diversity, emotional resonance, compelling thematic, sophisticated & unexpected characterizations, and comedy-driven stories by passionate global creator talent. Not much to ask for, right?
What are your thoughts about the broader animation landscape in 2022 and beyond?
I believe we are about to see tremendous growth and the first offerings of the animated all audience “event” series across several platforms. I am quite certain that every major streamer and producer is contemplating a way into this same all-audience animated event space. This is partially driven by the massive breadth and binge-ability of global series options available on competitive platforms, but also from an increased demand by family audiences for quality family content. Certainly this demand started coalescing before the pandemic but it was given a tremendous boost by the pandemic and parents’ desires to find ways to gather together again as a family at home, as an “event” to be enjoyed communally and equally by all members and not necessitate leaving the house to experience as a theatrical event.
I think families want the equally attractive option to be sucked into character-driven, urgent/spectacle quality content together on their big screen in their living rooms, and have each family member enjoy the content equally and feel like it speaks to them! Listen, I personally love the theatrical experience — and I always will, it is my first love. But, I just don’t see theatrical as a growth industry as much as I do the concept of finding ways to pull the family back together in their own living rooms, enjoying shows that feel like they must be seen weekly and together on Friday or Saturday nights.
I have two kids and I see how the trajectory has been for each of us in my family to watch content on our own individual screens that appeals to each of us, but what I really crave as a parent is something that feels sticky and exciting enough to bring us all together again for a family viewing event, when we don’t want to or can’t leave our houses for whatever reason. And what better way to do that for families than by creating animated events that have us all laughing, crying and heart-warmed together!
Do you have any tips for animation newbies who dream of pitching their projects to you?
It’s certainly hard to get in the door to pitch, so I always tell folks to enter those pitch contests, workshops and animation-specific events and definitely submit to festivals (both as a writer and as a filmmaker) because you just never know who is scouting for new talent and that could be your ticket to entry! Also, when preparing to pitch, please bring your own personal connection to the table and make sure you know what your themes are.
I love pitches from creators who let me into their strong personal connection to the story they are pitching… their “why.” Also, four quadrant animation always works best when it has strong thematic content running through it. Definitely make sure you are able to speak to what it is you want to say and what that “walk to the kitchen” or “dinner table” conversation is after the show is over! Also, I love it when new creators have researched the studio they are pitching to and have watched some recent content. It sounds obvious, but you would be surprised. Take the time to get to know the types of shows we have made, are making and have announced. It can really help inform not only how you pitch your material, but sends a message of passion and engagement that is hard to resist and makes for a very friendly room!
