“How Titmouse Built an Animation Empire by Breaking All the Rules – And Having a Blast Doing It!”
If you ask Chris and Shannon Prynoski how Titmouse Studios has thrived for 25 years, they’ll likely give you a simple answer: “We just love making cartoons.” And honestly, isn’t that the best kind of business philosophy?
From its scrappy beginnings in a tiny storefront to becoming one of the most influential indie animation studios in the world, Titmouse has built its empire on passion, creativity, and a whole lot of hustle. With 700+ employees, multiple studios across North America, and an impressive list of hit shows, Titmouse is proof that chasing quality—not just profit—can be a winning business model.
From T-Shirts to TV Screens
Believe it or not, Titmouse wasn’t always an animation powerhouse. Back in 2000, Chris and Shannon started the company as a T-shirt business before Chris’ growing freelance animation gigs took center stage. The duo embraced every opportunity that came their way, whether it was title sequences for The Osbournes and Avatar: The Last Airbender or commercials and video games. Soon, they were in high demand, and Titmouse became a full-fledged animation studio.
“We never set out to have our own studio,” Chris admits. “But I was too dumb to turn down work.”
The Little Studio That Could
Despite its impressive early projects, Titmouse’s modest workspace almost cost them big opportunities. “Studios would see our tiny setup and think, ‘These guys can’t handle a full series,’” Chris recalls. That changed when they moved into a larger Hollywood space and landed their first major series, Metalocalypse. The Adult Swim heavy-metal comedy became a cult hit and solidified Titmouse’s reputation as a go-to studio for edgy, boundary-pushing animation.
Since then, Titmouse has expanded its reach, producing smash hits like Big Mouth, The Legend of Vox Machina, Star Trek: Lower Decks, and the trippy 2D sequence in Trolls Band Together.
Chaos Is the Secret Sauce
One thing that sets Titmouse apart? Flexibility. Unlike many studios that stick to a rigid pipeline, Titmouse customizes its approach for each project.
“When we start a new show, we don’t say, ‘Here’s the one way we do things.’ We ask, ‘What’s the best way to make this show?’” says COO Ben Kalina. “It makes life harder, but it’s why we’ve been successful.”
That mindset has helped Titmouse scale up in ways few indie studios have managed. Whether rapidly assembling a team in Vancouver to work on Breadwinners or opening a New York studio to accommodate top talent, the studio moves fast and adapts to new challenges with ease.
Work Hard, Smash Hard
Titmouse isn’t just known for great animation—it’s also a legendary place to work. The studio hosts a “Five-Second Day” where animators take a break from client projects to create five seconds of anything they want. These mini-projects have become a signature of the studio and even get theatrical screenings.
And let’s not forget the infamous “smash parties,” where employees could take sledgehammers to old electronics in a cathartic display of creative destruction. While the event has since been retired, it remains a cherished part of Titmouse lore.
Looking Ahead: Adapting to the Future
With 25 years under its belt, what’s next for Titmouse? The animation industry is evolving, with streaming platforms reshaping storytelling and AI knocking on the door. But Chris isn’t too worried.
“We’ve always been flexible,” he says. “The industry is always changing, and we’ll change with it. We just want to keep making cartoons that we love.”
And that, perhaps, is the real secret to Titmouse’s success. They’re not just making shows—they’re making the kind of shows they’d want to watch. And as long as they keep doing that, the future of Titmouse looks brighter than ever.
