How Carl Reed is Using New Technology, including: AI, Unreal Engine, and a Direct-to-Fan Approach to Disrupt the Industry
I’ve been circling around Carl Reed’s orbit for a while now—mutual connections, overlapping conversations, the occasional comment on LinkedIn. But this was our first real sit-down, and I was eager to get into it. Carl isn’t just another animation executive. He’s a producer who’s helped reshape the industry, co-founding Lion Forge Animation, playing a key role in Hair Love’s Oscar win, and now running Composition Media, a studio built for the future.
If you think Hollywood still holds all the power in animation, Carl has news for you. With AI, Unreal Engine, and direct-to-audience strategies, he’s bypassing gatekeepers entirely—and showing others how to do it, too.
In our conversation, Carl breaks down why the animation industry is shifting, why creators should stop waiting for permission, and how technology isn’t something to fear—it’s something to embrace.
For those unfamiliar with you and Composition Media, can you walk us through your journey?
Sure. I started off as an artist, illustrator, and comic book artist, then moved into marketing, and from there, into broadcast animation. I worked in animation for years before co-founding Lion Forge Comics, which later spun off into Lion Forge Animation.
Then I launched Composition Media, where we focus on animation for film and TV, working with Disney, Nickelodeon, and international partners. We do everything from kids’ cartoons to adult animation, but always with a focus on underrepresented voices and untapped audiences.
You’re being modest—you’re also an Oscar-winning producer. Tell me about your role in Hair Love.
Yeah, we won an Academy Award for Hair Love and a couple of Emmys for other projects. As a producer, it’s always an honor when a project you pour your heart into gets recognized. But for me, the real win was seeing how Hair Love proved there was a massive demand for Black stories—something the industry had ignored for too long.
So what makes Composition Media different from other studios? What’s your mission?
We’re not waiting for permission. That’s the big difference.
Most studios still rely on Hollywood’s outdated systems—pitching, waiting, hoping a buyer greenlights their idea. We don’t do that. We create content for audiences who are already demanding it.
There are Black audiences, gaming communities, niche fandoms—millions of people begging for content that reflects them. And Hollywood still trots out the same excuse: “It won’t work internationally.”
That’s nonsense. Black Panther did a billion dollars. And they didn’t even have toys on shelves in time to meet demand.
The old gatekeepers still don’t get it. But creators don’t need them anymore. We can go direct-to-fan and build success without their approval.
Let’s talk about technology. You openly embrace AI, while a lot of studios use it in secret. Why?
Because it’s inevitable.
This happens every time there’s a major shift in animation. When I started in broadcast animation, everything was paper-based. Then came digital tools, and people freaked out—“It’ll never be as good!” Then Flash arrived, and suddenly, every show was made in Flash.
Now it’s happening again with AI and Unreal Engine.
Some studios are using AI behind closed doors but won’t admit it. We’re transparent because we understand the power of these tools. AI won’t replace talent, but it will save time, cut costs, and let us produce more content faster.
If AI saves us 10%… 20%… 60% of our production time? Why wouldn’t we use it? It means we can make more content, hire more creators, and keep our team working year-round instead of letting them go after every project.
But a lot of creatives fear AI will replace them. What’s your take on that?
AI isn’t replacing storytellers. It’s replacing bottlenecks.
I see pitches all the time from industry veterans—animators, writers, artists—who have been sitting on ideas for 20 years because executives keep saying no. These are professionals at the top of their game, and Hollywood is still blocking them.
Now, they don’t have to wait.
The people who understand story, character, emotion—those skills will always be valuable. AI can’t replace that. But if you refuse to learn new tools, someone else will.
The big question is: How do creators actually make money without Hollywood?
There’s never been more ways to monetize content than right now.
- Direct-to-Fan: Build an audience on YouTube, Patreon, TikTok, or Kickstarter. People will pay for the content they love.
- Ads & Sponsorships: Even if you have a small audience, brands will pay to reach them.
- Merch & Licensing: If you create a character people love, they’ll buy shirts, mugs, toys—whatever you make.
- Fast Channels & Streaming: You can get your content on ad-supported platforms like Tubi, Roku, or Amazon Freevee and make money from views.
It’s not about waiting for a Netflix deal. It’s about testing what resonates, engaging your fans, and turning that into revenue.
Are creators finally warming up to AI and new tools, or is there still resistance?
They’re coming around. Because they have no choice.
Right now, studios are already putting AI skills on job requirements. In a few years, if you don’t know AI, you won’t even get the interview.
This isn’t a creative issue—it’s a corporate one. The big studios are laying people off by the thousands to cut costs. But if you’re an independent creator, AI levels the playing field.
Where do you see Composition Media in two years?
We’re scaling up—producing faster, smarter, and at higher quality than ever before.
- More original content.
- More direct-to-fan distribution.
- More opportunities for underrepresented voices.
We’re also shaping the future of media. People don’t realize how much film and TV influence reality.
Obama didn’t just appear out of nowhere—TV had already conditioned audiences to see Black presidents in shows like 24 and Idiocracy.
We shape what comes next. And we take that responsibility seriously.
And where do you see the industry as a whole in three years?
The big guys will finally figure out their place—as platforms, not creators.
Studios will stop gatekeeping and start partnering. More indie production companies will emerge. More creators will own their IP.
And the next golden age of animation?
It’s not coming from Hollywood.
It’s coming from people like us—who stop waiting and just create.
