British film producer Max Howard talks about the evolution of animation and its role in the digital age

Max Howard is a highly respected animation producer and studio executive with a career spanning over four decades. Having worked with major animation studios such as Walt Disney, Warner Bros and DreamWorks, Max has played a key role in the production of some of the most iconic animated films of our time. His credits include The Lion King, Aladdin, The Iron Giant and Spirit: Stallion of the Cimarron, among many others.

Throughout his career, Max has been instrumental in both the creative and business sides of animation, contributing to the global success of several major animated projects. He is also known for his dedication to mentoring the next generation of animators and artists, offering guidance and support to help them succeed in a rapidly evolving industry. Now a faculty at RV University, we ropped Max for a fun interaction.

Max, with your extensive experience in the animation industry and leadership roles at major studios, what inspired you to transition into an academic role at RV University?

It really started with Dr Piyush Roy, the Dean here. He and I served together on a student film festival jury in Hong Kong — probably before COVID. We realised we had similar tastes in film, which is always a joy when you're on a jury. During that festival, I also delivered a lecture, which he attended. I think that’s when he thought, “Wouldn’t it be great to bring Max here someday?” Years later, he reached out, and I leapt at the chance There were several reasons. First, I love India. I’ve worked here quite a bit — from Whistling Woods to Arena schools, Tunes in Trivandrum and Prana in Mumbai. I’ve taught across the country and really admire the culture. Second, the food. Being British by birth, I grew up with Indian food. Chicken Tikka Masala, after all, is the national dish of Britain now! I start my day with a dosa, actually — had a masala dosa this morning. And third — cricket. I’ve always played. In LA, where I live now, I play in a cricket league. We’ve got 45 teams in five divisions in Southern California. Cricket is growing in the US, especially with IPL franchises like the LA Knight Riders getting involved. So being here during IPL season is a treat — I spend my evenings watching matches. I'm still waiting on a call from Kohli for some batting tips, but it hasn't come yet! On a more serious note, what really appealed to me about RV University was the opportunity to shape a programme from the ground up. At established institutions, it’s often hard to make real curricular changes. But here, I’ve been able to make suggestions that are actually implemented. That’s incredibly rewarding. Also, I find it fascinating that actors, animators and filmmakers all study under the same umbrella here. That’s reflective of real-world collaboration, and I think it’s very visionary.

After taking several sessions at RV University, what have been your key takeaways or contributions?
The biggest thing I’ve tried to instil in the students is the importance of storytelling. I always say: the three most important elements in a film are story, story, and story. We’ve analysed films like Star Wars and Finding Nemo — both excellent examples of the hero’s journey and emotional resonance. It’s about understanding why the audience cares about a character. That’s the core. Even simple exercises, like asking students to describe a man crossing the road, can become powerful if they go beyond saying 'a man.' What kind of man? Where is he from? What language does he speak? Once they paint a more specific character, we start caring about his journey. I also emphasise that animators are actors. Their characters must physically match the voice and emotions. Subtext, timing, gesture — it’s all part of making the animation feel alive. So I try to bring that awareness into every session.

You’ve worked with Disney, Warner Bros and DreamWorks. How did their approaches to animation differ?
Disney was a revelation. I didn’t fully realise it until I left, but Disney is built on animation. Everything — the parks, the merchandise — stems from the animation division. It’s their DNA. At Warner Bros, animation wasn’t their core business. They were passionate and of course they had great characters like Bugs Bunny, but they were primarily a live-action studio. So animation was more of a venture for them, not their foundation. DreamWorks was different again. Jeffrey Katzenberg, my former boss at Disney, was leading the animation arm. He knew exactly what he wanted to build — a new kind of animation DNA for DreamWorks. So while all three studios were committed, their histories and motivations shaped very different cultures.

Having worked on The Lion King, The Iron Giant and Who Framed Roger Rabbit, what’s a behind-the-scenes story that’s stayed with you?

One that stands out — and made me feel genuinely at risk — happened during The Lion King. We were animating lions, so naturally, we brought real lions into the studio for the artistes to study. In Florida, where I was running the studio, we organised a session with a full-sized lioness. We had a platform, a trainer, safety protocols and animators all seated at drawing tables. Now, I come from a theatre background, so I like to make sure everything’s set up properly. So I’m walking around doing checks… and suddenly, the lion made eye contact with me. It was a moment where I thought, “If this lion decides to leap — well, I’m done for.” Thankfully, nothing happened. But it’s a vivid reminder of the lengths studios like Disney go to for authenticity. They take research incredibly seriously.

With AI and technology entering animation, how do you see the role of artists evolving?

The danger is, if AI replaces too many roles, who’s left earning enough to buy a ticket or pay for a subscription? Sure, for things like rigging, scheduling or budgeting, AI could be helpful and time-saving. But the real concern is the moral dilemma — what happens when AI starts writing scripts? If machines become super intelligent and self-sufficient, do we risk becoming obsolete? AI is advancing so quickly and while it offers convenience, it also threatens creative ownership. Look at the controversy around AI mimicking Miyazaki’s style—fans love it, but the artist is understandably upset. If AI learns by using copyrighted work, are we crossing ethical and legal lines? There’s also an economic cost. AI might streamline production, but it also eliminates jobs — translators, dub artistes, even journalists. If more people lose work, fewer will be able to consume content, and the whole system risks collapsing. Ultimately, the question is not just how we use AI, but how we control it. If it gets too advanced, it may begin to question our place in the world — and that’s a future we need to approach with caution.

Email: alwin@newindianexpress.com

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