This is the first time we’ve interviewed a company rather than an individual. In lieu of a person, it’s felt like we’re writing to your mascot – the cheeky little monster in your logo.

This leads to the first question, who is that character? What’s their story? They don’t seem to appear in your productions. 

This is a very good question. We’ve always wanted to further develop our Cheeky Little monster but in truth we don’t know much about him/her. Just that they are cheeky and fun. Stay tuned because we will be exploring who this character is in much more detail in 2025.
 

In a previous interview, you were described as a ‘social impact business’ (Sky News, Sep 2023), with the works you produce skilfully combining fun stories with life-lessons.

For example, in an interview with Tawny Frogmouth, Patrick Egerton said “Under the bonnet of the shows, we have some strong social capital. You can’t preach to kids, but in Kangaroo Beach, there’s a rescue in every episode, helping teach kids about surf safety. While in Ginger and the Vegesaurs, it’s not explicit in any way but we are endearing kids towards fruit and vegetables.”

What’s your approach to balancing education and entertainment? How does CLM consider their social impact in producing content? 

In all honesty we start the journey of each show setting out to make something entertaining first. It takes a very long time to develop and finance a show and along the way there is a conversation about what the 'brand’ stands for. The sorts of questions we ask ourselves are ‘What does it mean to the audience?’ and ‘How will the show reflect the lives of the audience and how will they relate to it’. Once we’ve answered those questions it makes it much easier to build the show around those core values. 

Each of your shows has a uniquely different look and feel. From the detailed 3D world of Vegesaurs to the stretchy 2D limbs of Spongo, Fuzz & Jalapeña.

What unites your projects - do you apply the same creative process, or approach to characterisation? What makes a CLM project a CLM project? 

Each show has its own unique characteristics that draws us to them in the first place. Each one comes from somewhere or someone and that origin will dictate some of the look and feel of the show. What binds them all together is our commitment to making everything relatable. I think audiences love our shows because the characters in them are fun and funny, but flawed too, as we all are. 

There are some vibrantly imaginative minds behind the worlds and stories you create. At the same time, David Webster has said, “as producers of kids’ TV, we have to be very entrepreneurial … for the shows to be financially viable”.

How do you make sure the playfulness isn’t lost in the commercial process? 

We try to never lose the perspective of the audience who will be watching the show. If no one is interested in your show then you can’t establish a brand behind it. So it’s the idea behind something which initiates the journey, rather than a commercial outlook.
 

Creating a cartoon of the quality and scale CLM does takes a lot of creatives and technicians across a range of disciplines.

In both practical and cultural senses, how do you keep all those collaborators working cohesively? 

Our team are all creative people who enjoy what they do. They are truly inspired by those around them and they are constantly sharing their work in order to get better themselves. In an age where ‘work from home’ seems normal you still can’t beat that sense of camaraderie when working together in the same room, riffing off everyone’s ideas.
 

You’ve translated several stories and characters across forms. For example, Bottersnikes & Gumbles and Zac Power started as books, and you recently announced that Vegesaurs is coming to Luna Park as an immersive experience.

What do you learn about the stories or characters when shifting from one form of media to another? Do they grow and change, or do you keep true to the source material as much as possible? 

When translating books its really important to take the audience to somewhere new rather than just a straight imagining of the source material. Zac Power is a great example of this. There are so many Zac Power books when we approached the film we wanted to give the audience something more than what they were getting from the books. I can’t say anymore until the film comes out but it’s going to be great and very much an extension of the books.

You’re an advocate for local Australian-made content, having met with local MPs and visiting Parliament House.

Why do you think local content is so important? 

In today’s interconnected world, we have access to content from every corner of the globe. On one hand, this is fantastic—we can enjoy a rich, diverse mix of stories, ideas, and perspectives. But there’s a downside too: the risk of our own culture fading into the background.

Australian content isn’t just entertainment; it’s a reflection of who we are—our landscapes, our humor, our unique way of life. Yet, in a world where streaming giants are headquartered in a single city, Australian stories risk being drowned out unless we make a conscious effort to keep them alive.

If we don’t champion our own voices, who will? A steady flow of well-told Australian stories is essential to preserving our cultural identity in the global mix.
 

As well as building a local fan base, your projects have broad international appeal. For example, Bottersnikes and Gumbles was adapted into 20 languages, and you partner with distributors like CBBC, Disney, and Netflix worldwide.

What do you consider when crafting local stories that aim to connect with international audiences? 

Our stories must connect with their audience in a meaningful way. Kangaroo Beach is a perfect example of this—while it’s set on an Australian beach and infused with local culture, its core themes remain universal. The show follows young cadets as they train to become lifeguards, facing challenges and learning valuable skills along the way. These experiences are not just about the beach; they reflect the excitement and struggles of growing up, making mistakes, and gaining confidence.

Even for children in parts of the world where beaches aren’t a big part of life, the show remains relatable. Learning new skills, overcoming fears, and working as a team are experiences that resonate with all kids, no matter where they’re from. By balancing a strong Australian identity with universally appealing themes, Kangaroo Beach demonstrates how local stories can have a global impact.
 

With your office in Manly, does the Northern Beaches landscape and culture influence your work? Is Kangaroo Beach based on a local surf spot, or the world of the Vegesaurs inspired by the Ku-ring-gai National Park?

Further, why choose Manly to base your studio? 

Kangaroo Beach was created by Tim Bain, who grew up in Victoria and experienced Australia’s rich surf culture around Torquay. While Torquay and Manly are in different parts of the country, they both represent the classic Australian beach lifestyle. Before we wrote a single episode, we took the writers to Manly Beach, where they experienced a rip firsthand to understand how it works. Being immersed in a beachside environment gave us a unique advantage in making the show feel real and true to Australian coastal life.

Manly is an incredible place to work, and even those who travel from across Sydney love being here. Its relaxed, beachside atmosphere makes it an inspiring location, and there’s nothing quite like stepping outside the studio to enjoy lunch with a breathtaking view of the ocean.
 

Your website hints that a new project pitched at adults is in development, Spaced AZ - evolving from the wildly popular Beached Az online series.

What does this project mean for CLM, and what do you say to adults curious about cartoons made for them?

Beached Az was created by Nick Boshier, a longtime friend of the studio. We love the way that show originally appealed to a very broad audience even though it was a series of very short episodes. We’re convinced the central characters, who are hilarious, will work in a longer format and we’re developing it with a family audience in mind. We think Cheeky Little is ready to broaden the offering to include different audiences and we’re excited by the challenge.