The Animac Incubator Through Its Protagonists
If there is one part of Animac that defines us and fills us with pride year after year, it is Incubator—a unique space where emerging talents present their projects under the critical (but always constructive) eye of the industry. It’s not just about receiving feedback; it’s the moment when an idea is strengthened, redefined, or even begins its journey toward production.
We spoke with four creators who experienced this process firsthand. Their stories reflect the essence of what it means to take part in Incubator. If you’re considering submitting your project, don’t miss this.
Eva Pérez Misa: “The Incubator Restored My Confidence in Storytelling”
Eva Pérez Misa is a Galician screenwriter who recently premiered her series The Wavies on Clan TV (RTVE). However, she recalls her first pitch as a traumatic experience. In 2016, fresh out of ECAM film school, she presented Inseparables—her final project—to a national network. “It was horrible. I felt like I was talking to people who didn’t care about what I was saying,” she confesses. The result, although technically positive, led her to shelve the project for two years.
Everything changed when the director of her school unexpectedly asked her about Inseparables at an event. “For someone with his experience to remember my project was a wake-up call. I thought: What if I try again?” That’s how she arrived at the Animac Incubator in 2018.
“It was like a reconciliation with myself,” Eva admits. “The panel of experts wasn’t just approachable; they asked deep questions: Why this story? What do you want to convey? They helped me see that my emotional connection to the project was its greatest strength.”
After the feedback, Eva presented Inseparables at the Non Stop Festival, where it won first prize. That led her to Annecy and, although the project was never produced, it opened unexpected doors: today, she is the co-creator of The Wawies and is developing three new series.
“Don’t underestimate the power of storytelling in your pitch. The industry needs to know why only you can tell this story. When you manage to combine logic and emotion, that’s when magic happens.”
Choche Hurtado: “Facing My Fear Was the Best Decision”
Illustrator and animator Choche Hurtado arrived at the Incubator with Kokuruga, a project of ten animated pieces he had been developing for three years alongside Elías Fraguas and Sabina Urraca. “We started purely on instinct, without knowing how to structure something so ambitious,” he admits. When some friends told him about the Incubator, he saw it as an opportunity to “bring dignity to the chaos.”
Choche was afraid of public speaking. “The thought of people seeing me sweat under the spotlight terrified me, but I also knew it was a barrier I had to overcome,” he says. He prepared a pitch that, despite his nerves, managed to convey Kokuruga’s essence. “I spent several sessions preparing the pitch with Juan Concha. Without his help, comments, and enthusiasm, I would never have dared to do it. So, by the time the presentation came, I was quite sure of what I needed to communicate. Even though the auditorium was intimidating and I spoke too fast, I think it turned out quite well,” he explains.
Without a doubt, pitching is essential for the growth of a project: “Without the Incubator’s help, we wouldn’t have the confidence we have now. We’re much more aware of our direction, and with a project this big, that’s vital.”
“Practice your pitch with friends who know nothing about the project. When you explain your idea to someone unfamiliar, you discover unexpected gaps and ways to improve your storytelling.”
Glàfira Smith: “Animac Showed Us That We Are Not Alone”
For Glàfira Smith, illustrator and author of the comic Secrets de Mare, the Incubator was uncharted territory. “I had never thought about animation; I came from documentary filmmaking and non-fiction,” she admits. It was her producer, Rose Kowalski, who saw the potential for her story to become a series. “Rose told me: This is Animac. This is where we need to be.”
Although she couldn’t attend the pitch, her team successfully presented the project. “The feedback was eye-opening,” she says. “We connected with a Portuguese production company that is now key to our funding, and Juan Carlos Concha joined as an advisor.”
Glàfira highlights the importance of networking: “In animation, everything moves slowly, but at Animac, you meet people who share your obsessive patience. That makes you feel like part of something bigger.”
She has now fully dedicated herself to storytelling, leaving behind a well-established career in documentary production, and her project is currently in production.
At Animac 2025, she presented her new comic, Trufa (Pagès Editors), at the Animacrea space.
“If you have a project, bring it without fear. Animac is not a competition; it’s a community. Here, your work is not just evaluated—it is embraced.”
Pablo del Río: “Our Incubator Premiere Was Pure Magic”
Pablo del Río, director of the short film La gran cita de Conej, chose the Incubator for the world premiere of his work. “No one had seen a single frame before,” he explains. The gamble paid off: on February 24, 2023, the audience erupted in laughter. “Seeing Joaquín Reyes and Juan Pablo Zaramella cracking up was surreal. We knew we were on the right path.”
The short film, produced by his studio Chuminadas Animadas, went on to screen at major animation festivals worldwide, including Annecy and the Marché du Film in Cannes. But for Pablo, the Incubator remains an unforgettable moment: “We were humming The Rainbow Connection by Jim Henson before stepping onto the stage. That song is about believing in the impossible, and that’s exactly what we experienced there.”
“If you apply to the Incubator, do it to change the audience’s lives. Animation isn’t just technique; it’s pure emotion. And this is the place to prove it.”