“What Annecy Taught Collins Momodu About Animation That No Nigerian Festival Ever Could”
Attending Annecy 2025 wasn’t just another milestone for Collins Momodu it was a defining chapter in his decade-long journey as a storyboard artist and storyteller. For the first time, he stepped into France, immersing himself in the world’s biggest celebration of animation. What he found there wasn’t only dazzling films and high-level panels, but a deep sense of community, quality, and possibility. Through his eyes, we get to experience both the wonder of Annecy and the cultural shocks of France, while uncovering lessons Nigerian creatives can draw from the global stage. In this conversation, Collins reflects on his personal growth, the gaps he sees in the Nigerian industry, and the powerful future that lies ahead for African storytelling.
Can we Meet you?
My name is Collins Kelvin Momodu. I’m a Nigerian storyboard artist, animator, and storyteller passionate about breathing life into powerful stories through animation. Over the years, I’ve worked on client projects, original concepts, and collaborations, but 2025 was special. Attending the world’s biggest animation gathering the Annecy International Animation Film Festival became a turning point. It wasn’t just another industry event; it was an experience that reshaped how I view creativity, collaboration, and the future of African storytelling.
1. Annecy is one of the world’s biggest stages for animation. What was your first impression stepping into the festival, and how did it compare to industry events in Nigeria?
Collins:
Honestly, I was overwhelmed at first. Stepping into Annecy felt like entering an entirely new universe thousands of people from all over the world, all living and breathing animation. As an introvert, it was intimidating. But as the days went by, I eased into it. The energy was electric; everyone was open, curious, and eager to connect. Compared to most industry events in Nigeria, Annecy felt like the beating heart of global animation. It showed me how vast this industry really is and how much potential Nigeria still has to unlock.
2. Could you share one or two standout moments from Annecy 2025 that left a lasting mark on you?
Collins:
There are moments I’ll never forget. One morning, I bumped into Chris Copeland, someone I’ve admired for years. To my surprise, he was so humble and approachable. Inside, I was fanboying hard, but outside I tried to play it cool. Then came another surreal moment meeting Aaron Blaise, one of animation’s legends. That encounter alone could’ve made my trip.
But it didn’t stop there. I attended the Nigeria Pitch Panel, and honestly, it blew me away. The stories were so rich that if I had billions in my account, I’d have funded every single one. That day, I realized just how much creative fire Nigeria holds. I also met the team behind Procreate, who gave me a preview of Procreate Dreams. Let’s just say it’s a game-changer for creators. Those experiences left me inspired beyond words.
3. What global industry trends did you observe at Annecy that Nigerian animators and comic creators should pay attention to?
Collins:
One big trend is the family culture of the global animation industry. It’s not cutthroat people genuinely celebrate each other’s wins, share feedback, and encourage one another. That spirit of community is something we need more of back home.
Another key takeaway was the obsession with quality. And I don’t just mean visuals. It was in everything storytelling clarity, presentation, networking, even feedback. Every layer was intentional and excellent. Nigerian creatives must embrace that mindset if we want to play on the global stage.
4. How has your creative perspective shifted after Annecy, especially in storytelling, design, or production values?
Collins:
Annecy changed how I see creativity. It drove home the importance of quality and community. Creativity isn’t just about making something great in isolation; it grows in collaboration. I want to focus not only on producing strong work, but also on building bridges nurturing relationships, creating connections, and being part of something bigger than myself.
I know it sounds like something out of a Dominic Toretto Fast & Furious speech, but truly it’s all about family.
5. Did Annecy 2025 change the way you see the global demand for African stories?
Collins:
Absolutely. The demand is there. The challenge is supply. We have incredible ideas rich with culture, but too often, we stop at concepts. At Annecy, distributors were eager for African stories but there weren’t enough completed projects for them to acquire.
Finishing is the hardest part. It takes time, resources, and commitment. But those who bring their ideas to completion will find endless opportunities. The global stage is waiting. We just need to show up with finished work.
6. How do you plan to apply what you learned in France to your projects back in Nigeria?
Collins:
I was deeply inspired by how the Japanese studios presented themselves. Their work wasn’t just technically brilliant; it was soaked in culture and identity. That’s something I want to carry into my projects. Nigerian stories are just as rich if we pair them with strong production values, we’ll stand out globally.
I also plan to nurture the connections I made keeping in touch, learning, and exchanging ideas. It won’t happen overnight, but growth is a marathon, not a sprint. And I’m ready for that.
7. What must the Nigerian animation and comics industry do to attract the same level of attention and professionalism seen at Annecy?
Collins:
Two things: Quality and Character. Our work must meet international standards — not just “good enough,” but excellent. And just as important is our professionalism: humility, respect, and the way we engage with others. It’s not enough to be a good artist; we must also be good people. That’s what earns respect globally.”
8. What practical steps would you recommend for Nigerian creatives aiming for festivals like Annecy?
Collins:
Start with a strong portfolio that’s your passport. And don’t let shyness hold you back. I struggled with it myself, but the real magic happens when you step forward, introduce yourself, and connect.
Also, be patient. Many expect instant deals, but festivals are about planting seeds building relationships, sharing your work, joining the community. Deals come later. Play the long game. Think family. When you support others, they’ll support you in return.
9. Finally, if you had to share one big lesson Nigerian creatives can imitate from your Annecy trip, what would it be?
Collins:
The biggest lesson is simple: Care. Care about your craft. Care about your audience. Care about your peers. Growth takes time, and it’s not just about you. If we support each other, stay patient, and truly invest in community, our industry will grow in ways we can’t imagine.
Walking through Annecy reminded me that animation isn’t just about art it’s about people, community, and shared vision. Nigeria has the talent, the stories, and the spirit. Now, what we need is patience, collaboration, and the courage to finish what we start.
I left France not just inspired, but determined. Determined to pour what I’ve learned into my projects, support fellow creatives, and help push the industry forward. Because at the end of the day, it’s not about me. It’s about us. And if we rise together, the world won’t just watch Nigerian stories they’ll celebrate them.