KIDS FIRST! News

Author Martin Baynton and animator Richard Taylor take us behind the scene’s in qubo’s hit series “Jane and the Dragon.”

Watching “Jane and the Dragon” on qubo with my kids has been one of my favorite Saturday morning activities for the last year or two. Not only is the storyline captivating, but I love the breaking of stereotypes as Jane trains to become a knight in her medieval world. She and her comrades deal with issues kids today relate to such as honesty and friendship. And, to my mothering heart’s delight, negative behaviors in the show are discussed at the end of the show with suggestions of how one should have acted in that situation.

“Jane and the Dragon” is a CGI animated series based on the much-loved books by Martin Baynton. In addition to the fabulous storyline, viewers are treated to stunning animation filled with rich color and texture. The visuals are so breath-taking that it isn’t much of a shock to discover that it was done by Weta, the company that also worked on the “Lord of the Rings” trilogy and “The Chronicles of Narnia.”

CP: Martin, please give a brief summary of your background, including how you went from Electroencephalography to writing children’s books.

MB: My parents always encouraged me to write and to draw from an early age. I remember that all my best marks at school were for my story writing and anything to do with art. At secondary school I also discovered the joy of science, and so I had a very balanced education, but in the end my love of storytelling won out, and I left my job at Barts Hospital in London only a year after qualifying. I have never regretted the decision as it meant I could work from home and be a full time writer and a full time dad with the privilege of being able to spend every day with my two children as they grew up.

CP: Where did you get the idea for “Jane and the Dragon” and how did it evolve into a TV  show?

MB: The idea for the original books was because I wanted to write a story about a girl who wanted to follow her dreams despite the expectations of her family and friends. And then a young girl told me how she hated fairy stories because the girls were wimps; they waited around for a prince to come to their rescue with a wedding ring. So the idea for Jane sprang from those two themes originally. And to my great delight the books have remained in print for twenty years so I would talk about Jane to two generations of readers, mums and their daughter. Often that talk would be about making Jane as a cool TV show. I have to be honest and say I’m not a big fan of much of kids TV, like many parents I had to search to find things I would want my own children to see, so when I finally decided to bite the bullet and step into the role of TV producer and adapt Jane, I wanted to make a show that would meet all my own aspirations for what great drama could and should be for children. That’s when I went down to visit Richard at weta after being blown away by the extraordinary work he had done making the first of the “Lord Of The Rings” trilogy. We both had exactly the same ideas about making children’s TV, it was a wonderful experience from the first day to be surrounded by a team with so much commitment to quality and to storytelling.

CP: Richard, please give a brief summary of your background including how you got into animation.

RT: I come from a small rural community in New Zealand. I always wanted to make things with my hands, creating and inventing fantasy worlds. My wife Tania and I established a film and TV effects facility in New Zealand with two friends and we began servicing the creative industries with our technical and creative services. We have established a company called Weta, in Wellington, New Zealand and we have been integrally involved in a number of major feature films including – “The Lord of the Rings,” “King Kong”, and “The Chronicles of Narnia.” For our work Weta has received 6 Oscars and 5 Baftas.

I have always had a great passion for children’s television, probably stemming from my childhood days watching shows such as the “Thunderbirds,” “Captain Scarlet” and “Space 1999.” Therefore, when we finished creating LOTR we felt the time was right to realize this dream and begin building our own Children’s Television Production facility at Weta. Our fortuitous meeting with Martin, the skills of our producer Andrew Smith and our creative partnership have further reinforced our desire to make the best animated children’s television we can.

CP: One aspect that really stands out in your show is the deep colors and beautiful, rich texture in the animation. Please talk a bit about the animation and how you do it.

RT: We wanted to help raise the bar, that’s the honest truth of it. Children should be able to watch a world that is every bit as rich, and colorful and beautiful as the best that is on offer in adult TV. Our designers started by analyzing the way Martin had illustrated his original books. We wanted a picture book style and aesthetic that would feel as if the book had opened and the characters had come to like. It meant creating a whole new way of producing CGI animation, which tends to have a rather flat and plastic look much of the time. The result is a tribute to our CG supervisor Trevor Brymer and the wonderful design and modeling team we have here who approached this with the same delight and enthusiasm as they would for a major feature film.

CP: Please share an amusing/interesting anecdote from the filmmaking process.

RT: We had a wonderful group of designers working on Jane, many of them being the same exceptionally talented people that had designed “Lord of the Rings.” In fact these people ultimately completed more pieces of design for “Jane and the Dragon” than we did for the whole of the three film trilogy of LOTR. Regardless though, we were struggling with some of the subtle design sensibilities of the Jane world and especially the female characters. That was, until we had the great fortune of hiring an immensely talented woman called Rebecca Tisch who at the age of 17 joined our team and became instrumental in capturing the unique and quirky characters that inhabit Jane’s world. We where so enamored by Rebecca’s contribution that we dedicated a character to her, and Pepper the cook is modeled after this wonderfully talented young New Zealander.

CP: What is one of the greatest lessons you have learned in story writing and filmmaking that you would like to pass along to other producers and writers?

RT/MB: The heart of it all is story. You can’t save a bad story with pretty pictures or clever effects. Audiences young or old want to engage with the characters and the journey those characters are on. If the characters aren’t engaging or sympathetic everything else is just empty packaging.

CP: What, in your opinion, is the unique edge that makes “Jane and the Dragon” a series that kids and their parents should watch over others?

RT/MB: I think it’s the fact that there is a full half hour of real storytelling with layers of complexity that mirror the real world. Jane and her friends face the same real challenges that all young people face, and there are no simple right or wrong answers. Jane always does her best with the best of intentions and sometimes her enthusiasm lacks mature judgment and she gets herself and others into hot water. But she always learns and she always does her best. I think that is the key to Jane and the reason that we get such wonderful emails from teachers, grandparent and the kids themselves – it’s because Jane is a true “warts and all” heroine with a big heart.

CP: Is there anything you would like to add that hasn’t been addressed about “Jane and the Dragon?”
RT/MB: One of the things we set out to do and are very proud to have achieved is that whole families chose to watch Jane together. With so many TVs in some homes, and so much choice there is a trend away from sharing time as a whole family. We are thrilled at the number of emails from families who tell us that Jane is a show they all look forward to watching together. It’s like sharing a book with your children, they love to know that something they enjoy is not just approved of, but is enjoyed by Mum and Dad, and that they can talk about it together as a family with the same common references. Do you remember when Jane did such and such? Sharing time and sharing stories is a way of sharing common truths and common values across the whole family. We are all immensely proud of how Jane is achieving that.

CANVAS, the narrative psa directed by Arlene Bogna, will be screening at two upcoming indie film festivals which celebrate independent films and women filmmakers.
Indie Spirit Film Festival

The Indie Spirit Film Festival is an annual event for filmmakers
and film lovers alike, with a superb program of feature films, shorts, docs, animation and many other films from around the world.

SCREENING : Saturday, April 26, 2008
The Independent Film Society of Colorado, Colorado Springs, CO

Show Me Something Real

A film festival honoring single mothers and women filmmakers,
the Show Me Something Real Film Festival is designed to inspire
and empower other women to be creative and expressive in their
lives and for everyone to recognize the voices of women filmmakers.
Proceeds from the screening will benefit the National Partnership
for Women and Families.

SCREENING : Monday, March 24, 2008 - 7:00 PM
Regal Arbor Cinema @ 9828 Great Hills Trail, Austin, TX 78759

The KIDS FIRST! Award winner for screenplays is hitting the Beverly Hills Film Festival on Sunday April 13 then run in the finals in his old stomping ground the Deep South in the Charleston International Film Festival the first weekend in May. Screenplay writer Christopher Canole tells more about his film here.

The Cyberchase gang takes young viewers out to play with their new math and sports initiative, premiering this month on PBS KIDS GO!

Multi-Faceted Project Features New Episodes, A New Web Game And Outreach Events.

“For Real” Segments Include Appearance By New York Mets Pitcher John Maine

When’s the last time you looked at a baseball diamond…and saw a geometric pattern? Watched a replay…and realized how that play was diagrammed? Or checked out the score…and considered the math inherent to a game? Sports are rich with opportunities to use numbers, spot patterns, and develop strategies, and kids love sports. With this exciting connection in mind, CYBERCHASE’s new initiative challenges kids to get active with math!

CYBERCHASE’s Math & Sports, a multi-faceted project that will engage children on air, online and on the playing field in communities nationwide, kicks off April 7 on PBS KIDS GO!sm (check local listings). The Math & Sports initiative features five shows, including four new episodes, as well as an interactive Web game that gives kids the chance to challenge Hacker in the “CyberOlympics” at pbskidsgo.org/cyberchase.

“Sports are a perfect way to show kids that math is a useful tool to develop winning strategies,” says Sandra Sheppard, Thirteen/WNET New York’s director of Children’s and Educational Programming. “This new initiative aims to show kids how athletics incorporate math in ways they might not realize, while also reinforcing the power of teamwork in problem-solving. These concepts are as applicable on the field as they are in the classroom.”

CYBERCHASE For Real, a live-action segment found at the end of each animated episode, will include Harry learning from the New York Mets’ pitcher John Maine how he uses math in every game. Harry will also try to figure out the best order for him and his teammates to swim in a relay race to increase their chances of winning.

“Sports are very popular with kids and rich in opportunities to engage them in math concepts such as problem solving, geometry and data-analysis,” says executive producer Frances Nankin. “One of our goals with Math & Sports is to empower kids who might otherwise want to sit on the sidelines, and encourage them to get out there and participate, just to try out the concepts. They’re fun and easy to grasp, and guaranteed to make everyone want to play!”

To engage children while reinforcing and extending the messages of the broadcasts, CYBERCHASE Math & Sports is supported with free educational materials, including a digital activity toolkit that combines a DVD containing the five episodes and short segments and a CD-Rom containing hands-on activities. A CYBERCHASE comic book and poster are also available. These resources will be available to educational and community partners through the series’ companion Web site and Outreach Portal.

Parents and teachers can find tips for ways to combine math with sports, plus activities at pbskidsgo.org/cyberchase. For Math & Sports, an all-new interactive game will encourage players to try out math skills from the episodes and experience the results on a virtual playing field.

We hope you already know about the new Raggs public TV series…and its magical stories, music and educational underpinning, BUT did you know that Raggs is now available in widescreen? Since standard def is still the most common, they’ll continue to deliver episodes in SD, but starting on March 31, with episode 141, Raggs will be delivered in both formats.

“Raggs” stars five colorful canines and their wisecracking pet cat, Dumpster, who hang together in their own cool clubhouse.

Each program is based on one main theme that promotes social and academic readiness while also addressing specific preschool curriculum topics:
• Emergent literacy
• Visual arts
• Science and discovery
• Mathematics
• Social studies
• Movement, music and dance

More information on Raggs can be found at http://www.raggs.com.

BoogieBubble Productions, Inc. produces a series of children’s dvd’s, titled “Adventures with Connor & Jaden.” The series is designed to send positive messages to children and show how toddlers interact with each other and leave one another feeling happy and content by instilling strong moral and social values.

Cinema Werx is a film & video production company based out of Salt Lake City, UT. They strive to offer top quality products that educate and entertain children.

Live Wire Media produces and distributes educational media for character education, youth guidance, and life skills. Our materials are designed to help young people become caring, respectful, responsible people who think critically, solve problems non-violently, and make choices based on knowing and doing what’s right.

Phil Bransom Productions has been producing award winning media projects since 1988. From the days of 1″ Quad Tape and Linear Editing to the current technologies of digital video and Non-Linear Editing, Phil has worked with major corporations and non-profits to produce communication tools that get results.

Raggs LLC is a children’s entertainment company with TV and touring elements.

Razzle Bam Boom Productions writes and produces various children music CDs and edu-tainment DVDs. Their newest series of DVDs (and mobile device content) is entitled “The Word Wits.”

Filming is a different sort of ride for race-car champion Norman Hunter. Inspired by his three children, Hunter stepped behind the camera. It’s paying off, too. Hunter’s film, “Her Best Move,” made its debut on screens such as the KIDS FIRST! film festival, and now is picked up for distribution by some major companies and will soon be seen around the world.

He shares some of his ride with us below. For more information, check out the film’s website.

CP: Could you please give me an idea of why you chose to write a story like this and tell me how it came about?

NH: I was shopping my “racing” script in Hollywood (I was a racing driver out of college) and the head of a studio told me that the film was too ambitious for a first-time director and that I should write something I could direct. I was coaching my kids in soccer and a story came to me as the seasons progressed. I always find myself drifting off into the imaginary world – probably because of all the books I read as a kid.

CP: Why did you have soccer as a focal sport as opposed to other sports or interests?

NH: I played soccer in high school – and I think there is a reason it is know as “the beautiful game.” Although you might not know it by how it is sometimes played today - just you-tube Maradona to see some terrific soccer. And it seems to be the universal family sport as kids grow up, equally accessible to both genders. With 2 daughters and a son, I am way into equal opportunities for girls/women.

CP: We are starting to see more intact families in film, while in the past, they tended to be more split. Your film merges the past and present by having a split and reconciliation. Why did you decided to approach it that way?

NH: Having been married for almost 25 years, I know enough about the pressures of life to realize that the “perfect” marriage isn’t necessarily the “Leave It To Beaver” model – that people need space and that a relationship can have a natural ebb and flow that doesn’t threaten to destroy it. I actually failed to communicate properly why Gil was spending so much time at work – he had a major fear of failing in his job and resorted to living at his office, but, as is often the case in low-budget (and first-time) films, it got a little lost in the shuffle.

CP: Please give me an anecdote from filming that inspired you or made you laugh.

NH: Daryl Sabara is enormously talented – like the rest of our cast – and while filming the Cold Stone scenes, his spontaneous ad-libbed lines cracked me up so much I actually fell out of my director’s chair. Unfortunately, most of the stuff was too out-of-character to make the final cut, but it stayed in a long time, it was so good.

Another time, Scott Patterson’s character “Gil” was watching a little kids’ soccer game and reflecting on his history with his daughter. You might not know if from watching Gilmore Girls, but Scott has some really deep acting chops. After a particular take, brilliantly nuanced by Scott, I asked for another to really get the character’s state of mind. Scott happily complied, but by his look I know he thought we had already nailed it. Looking at the dailies, my second take was much too obvious – Scott’s original take brought all the emotion you could want from that scene. He is such a talented guy – I learned a lot about acting & performance from him.

CP: What projects are you working on now?

NH: I have a slate of 8 films – I am just finishing a re-write of my script “In A Heartbeat” , a romance/drama/sports/comedy about a racing driver, a widow and her 10 year old daughter. I also have a girls volleyball movie, a couple of music-themed stories – more sports and flying!

CP: Why did you send your film in to the KIDS FIRST! film festival?

CP: I long for the days when movies were funny-clever, not funny-raunchy. I also like stories that have heart and some sort of message, particularly those that can be enjoyed by all age groups. Think of Remember The Titans, Mr. Holland’s Opus, Sleepless In Seattle, Mrs. Doubtfire, A League of Their Own, etc, not to mention the classics of the forties. Kids First seems to recognize that films can be entertaining and meaningful while not relying on vulgarity or violence – it just takes imagination!

CP: How has KIDS FIRST! helped you?

NH: We’ve played in over 30 film festivals, with Kids First instrumental in placing a number of those. It’s nice having the Kids First! “seal of approval” – it’s a way for people to understand what kind of film it is.

CP: Is there anything you would like to add?

NH: Thanks for providing both the opportunity and the sensibilities that the American public wants. While NOTHING substitutes for good parenting, I think movies can provide role models for kids that we can applaud, so that is my goal.

In Pucca’s wacky wacky world, anything is possible! “Pucca: Kung Fu Kisses” & “Pucca: Ninjas Love Noodles,” from the award-winning international animation sensation finally hit shelves in the U.S. on DVD March 18, 2008, from Shout! Factory.

The popular family programming is currently seen on Toon Disney. Serving up fun Kung Fu kicks and loads of laugh-out-loud antics, Pucca and her group of pals including Garu, Tobe, Ring Ring, Abyo, Ching, Uncle Dumpling, Ho, Linguini venture onto two DVD releases with Pucca: Kung Fu Kisses and Pucca: Ninjas Love Noodles this spring!  Shout! Factory, in association with Jetix, will release these first two titles on DVD in stores March 18, 2008. Featuring colorful animation and humorous action adventures, each DVD contains English and Spanish language tracks, special features and a limited edition col! lectible item inside - Ninja license or Pucca sticker! These two U.S. releases are the first of a series of DVDs forthcoming from the award-winning animated series. Geared toward kids 7–12, Pucca follows the adventures of Pucca, the daughter of a Chinese restaurant owner, and her comical and single-minded pursuit of her one true love, Garu. Unfortunately for Pucca, Garu is mmore interested in becoming a ninja than in Pucca and her sole mission is to win the heart of her intended either by her knowledge and expertise of martial arts or by her girlish charms. The recipient of two Leo Awards, celebrating excellence in British Columbian film and television (for Best Screenwriting in Animation Program or Series and for Best Overall Sound in an Animation Program or Series), Pucca is based on the internationally ! renown Pucca merchandise brand and internet short, spawning over 3000 different products in over 150 countries.

Shout! Factory is a diversified entertainment company devoted to producing, uncovering and revitalizing the very best of pop culture. Founders Richard Foos, Bob Emmer and Garson Foos have spent their careers sharing their music, television and film faves with discerning consumers the world over. Shout! Factory’s DVD offerings serve up classic, contemporary and cult TV series, riveting sports programs, live music, animation and documentaries in lavish packages crammed ! with extras. The company’s audio catalogue boasts GRAMMY®-nominated boxed sets, new releases from storied artists, lovingly assembled album reissues and indispensable “best of” compilations. These riches are the result of a creative acquisitions mandate that has established the company as a hotbed of cultural preservation and commercial reinvention.  Shout! Factory is based in Santa Monica, Calif.  Its fine products are distributed by Vivendi Visual Entertainment. For more on Shout! Factory, visit http://www.shoutfactory.com/.

Rann and Gina Watumull knew there was a lot of talent where they lived in Hawaii so back in 2002, they co-founded Hawaii Film Partners. Together, with Discovery Kids and a stellar cast and crew, they brought the world into the world of “Flight 29 Down.”

Starring Corbin Bleu, Hallee Hirsh, Johnny Pacar and Lauren Storm, “Flight 29 Down” is full of adventure and ingenuity as students on a school trip are stranded on a deserted island when their plane crashes in a storm. Personalities clash, physical endurance levels reach their limit, and friendships form as teenage plane crash survivors learn how to survive on an island – physically, mentally, and socially. The series delivers crisp cinematography, engaging characters, and realistic survival tips keeping viewers of all ages captivated and wanting to watch more.

Rann Watumull, one of the Executive Producers for this series, gives us some background information on the series, demonstrating in part why it is so successful:

CP: As a parent I really appreciated the way you took lessons the kids are learning, and putting it on their level (like the democratic process and relationships). What were your goals for the viewers beyond pure entertainment?

RM: One of the goals for the show was in addition to providing great entertainment was also to provide a show that included valuable life lessons that the kids would teach themselves. That is why the scripts were written to include the video diaries so we could see what the kids were thinking and feeling and learning as the events unfolded. The writer took extra precautions to ensure that the lessons never came across as preachy or contrived. The kids figured out the right and wrong attitudes and behaviors in a way that seemed real and plausible and often funny. Humor is a great way to reach kids and we have lots of humor in the show.

CP: What were some of the more difficult elements in making this series, and how did you overcome them?

RM: Perhaps one of the most difficult elements in making the series was the fact that this show was filmed entirely on location, outside, exposed to the elements, without the benefit of a sound stage. When it rained, we got rained on. When it was windy, we had lots of extra noise. We even had a tree crash down on the set right near to us when we experienced near hurricane conditions. In order to work around the weather challenges, the entire cast and crew had to be flexible and creative. For example. We had one very rainy day. Due to scheduling, we could not postpone the shooting. So our writer/director D.J. MacHale rewrote the script at lunch, we copied the scripts, got them to the actors and the afternoon scenes were changed to take place inside the plane that day. We also had a severe storm and a flood hit the set. If you remember the tent scene from the second episode of the first season, that was actually shot in a tent under a tent due to the rain. We also used canopies and other covers to provide some shelter to the actors during filming.

CP: Please give me an amusing/interesting anecdote from the filmmaking process that readers can relate to and make them feel like they have a connection and inside scoop to the film.

RM: The airplane for which the show is named, was a real plane. I purchased it from a company that had it at the Honolulu International Airport in storage for 10 years. In order to get the plane to the beach, we had to drain all the fluid so it would pose no environmental threat. We then had to cut the wings and tail off in order to transport it to the beach at 2am in the morning so there would be no traffic. We then had to re-assemble the aircraft on the beach in the morning. We had several funny incidents as planes would circle overhead that first day, thinking a real plane had actually crashed on the beach. That old plane has lots of character and we all love it.

CP: Why did you choose to have Lex’s father be a widower rather than a divorcee as in the book?

RM: My guess would be that it was a little more dramatic for Lex to deal the having lost his mother and being stuck on the island.

CP: Can fans expect to see a reunion episode of this cast in this series or was that really the end?

RM: Who knows what might happen. I always thought that a reunion showing how the kids would relate to each other and the real world would be a great new show. We will just have to see how it goes.

CP: Is there anything you would like to add?

RM: Yes, Thank you so much for your interest in the show. You will be pleased to know that all the actors on the set were wonderful people. Everyone developed such close relationships that at the last shot, there were many tears shed by the cast. It was like a high school graduation. Poor Allen Alvarado (Lex) was crying so hard that he made some of our hardened union workers cry also, Allen had spent three years in row filming this show and knew he was going to miss the cast and crew. I am already missing seeing all their smiling faces on the set this year. The kids, including Corbin, were all such great actors and people. They welcomed many visitors to the set including school children, other families, press etc. They would all spend time with the visitors and made everyone feel welcome.

Also, you may have heard that about 6 months ago Allen Alvarado and his father were struck by a hit and run car while crossing the street in Los Angeles. Allen was thrown 30 feet in the air and nearly died. He was in a coma for a short time. Thanks to the doctors and prayers, Allen has now made just about a complete recovery. We are so grateful that this amazing little boy is fine and doing great.

The Joan Ganz Cooney Center takes children’s programming very seriously. Whether it’s going back to its roots where Sesame Street paved the way in children’s programming, or whether it’s in the research showing how to best educate our children, the people at the Joan Ganz Cooney Center show that they not only have smarts, they really care. The Center’s Executive Director, Michael Levine, PhD, took a few minutes to share with us the impact of media in this digital age, especially in regards to their research in “D is for Digital.”

CP: According to the press release, a major part of the Joan Ganz Cooney Center will be to see how interactive technologies can be utilized to help accelerate children’s learning. In your opinion, are we going to hit a point soon where children who do not have access to the technology in their pre-school years will be at a disadvantage. Please explain why this is an issue or not.

ML: Children in the pre-school years will, over time, like their older peers, be influenced deeply by the ubiquity of interactive technologies in their homes and communities. Whether it is how they will learn their first letters, or math concepts, or be introduced to relatives living in remote places around the globe, most children will begin to listen, talk, and learn in a new media environment beginning shortly after they are born. That does not mean, however, that pre-school youngsters who have limited access to technology will be disadvantaged in any fundamental way, so long as they have the basic elements to grow and develop the affinity for learning all that the world will one day offer. Young children today need the loving support of their parents and caregivers, consistent relationships of intense love and practical support, and the ability to explore diverse types of safe experiences with regularity and purpose.

CP: In your opinion, and based on your studies, what should producers be focusing on in order to best help our children viewers?

ML: Producers should encourage interactive – and particularly intergenerational – play through their products. The bulk of digital media products currently on the market follow the model of one child per screen, however human relationships and parental involvement are key to a child’s healthy development and success in a global age. The recent success of products such as the Wii indicates that the market is seeking products that they can play together in groups and as a family. Additionally, given that children spend nearly as much time interacting with media as they do in school, producers have not only an opportunity but a responsibility to produce digital media that furthers children’s learning. In the production of media with specific learning objectives, producers should base their products on pedagogy and research, and capitalize on the wealth of knowledge in the academic community, analogous to the model used in developing Sesame Street.

CP: What can parents do to provide the best learning atmosphere for children in the multi-media world?

ML: Parental involvement is absolutely key in mediating children’s experiences, and this is especially true for children’s digital media interactions. We encourage parents to use digital media with their children, as all of the positive potential of digital media is significantly amplified if a parent or teacher is present to guide the child’s learning experience. In terms of selecting digital media products for their children to consume, parents should look for products that encourage thinking, creativity, problem-solving and interactive play. In judging a product’s educational value they should seek out products based on pedagogy and research. There are a number of public interest groups – such as Common Sense Media and Parent’s Choice – that help guide parents in making decisions about the media that their children consume.

CP: In your opinion, is there a time and place for media that is strictly for entertaining purposes or is it better for people to just break from the electronics?

ML: There is certainly a time and place for media that is strictly entertaining; there is a time and place for media with specific educational value; and there is a time and place where people should take a break from electronics altogether. The overall message is a balanced diet of fun and engaging media that should not take up too much time in any given day.

CP: What is one of the most surprising things you have discovered in your studies regarding children and media?

ML: All of the stress and strain that parents feel over what types and how much media content should be the right amount for children in the pre-school years is a surprising debate, given the reality of children’s lives today, that we believe can be addressed by academic research. There is no doubt that we know too little about just what very young children (under age 3) can learn from interactive media, but we believe that there are giant leaps forward that may be possible in the future with interactive media that are mediated through parent and caregiver interactions

Our early research study D is For Digital also found a surprising lack of video games with educational value. We think that the market can be given incentives to change the learning equation for young children over time

CP: If you were not limited by funds or politics, what is one of the biggest changes you would like to see incorporated in upcoming media?

ML: Although digital media is ubiquitous in the world children are growing up in today, finding the positive potential of new media to accelerate children’s learning is not yet part of our national conversation. As Joan Ganz Cooney - creator of Sesame Street and namesake of our center - says: “If we can harness media as a powerful teaching tool, we can help children grow-up as literate, responsible global citizens. Now is the time to turn the new media that children have a natural attraction to into learning tools that will build their knowledge and broaden their perspectives.”