Economy Minister Dr Caoimhe Archibald has toured Paper Owl Films’ newly expanded studio in Belfast, applauding the company’s latest productions and its contribution to Northern Ireland’s fast-growing screen sector. The visit included a live voice-recording session for Lí Ban—a Celtic-inspired anime in both Irish and Welsh—and a first look at Pablo: Next Level, a sequel that continues the award-winning series’ on-screen representation of autism.
Animation is one of seven priority growth areas in the Minister’s economic plan. With Northern Ireland Screen estimating the wider film, TV and animation industry delivered around £330 million in gross value added in 2023 (source: NI Screen, 2024 Economic Impact Report), today’s showcase signals fresh momentum—and raises new questions—about how the region can turn creative success into long-term, inclusive jobs.
Belfast studio adds 5,000 sq ft for new productions
Founded in 2012, Paper Owl Films has moved into a 5,000 sq ft space in the city’s Titanic Quarter. During her tour, Dr Archibald recorded a cameo line for Pablo: Next Level, due to air on BBC Children’s and RTÉ Jr in March 2026 in partnership with Cake Entertainment and Crayola.
Speaking afterwards, the Minister said: “The north has established itself as a leading global location for film and TV production and its fast-growing interactive sector. One of my Department’s seven priority areas, it is an exciting and thriving sector critical to delivering my economic plan.”
Paper Owl’s Co-founder and Creative Director Gráinne McGuinness added: “We’re proud to be growing our studio here in Belfast, nurturing diverse creative talent, and telling stories that travel far beyond these shores. To compete globally, it’s essential to attract and retain world-class talent and create an inclusive, inspiring workplace.”
Inclusive storytelling and neurodivergent talent pathways
The company’s pipeline is supported by Northern Ireland Screen’s Stories, Skills and Sustainability strategy. Its in-house Pablo’s Academy offers neurodivergent people paid work experience and ongoing workplace support—an approach often highlighted as good practice within the UK children’s-media sector.
Economic measures and public support: what we know—and what we don’t
The Department for the Economy did not specify how much public funding, if any, Paper Owl has received for the current expansion, nor how many new jobs are expected to result. Similarly, the NI Screen strategy is mentioned but no figures are given on grant levels or training bursaries attached to the new projects.
More broadly, the announcement omits:
- Details of long-term plans to retain skilled animators, who often leave for higher-paying work in England or the Republic of Ireland.
- Any reference to tax-credit changes announced by the UK Government in April 2025, which some studios fear could disadvantage smaller independents.
- Information on how Paper Owl’s bilingual content might feed into wider language-revitalisation goals for Irish and Welsh speakers.
- Measures to support freelance animators and VFX artists, a group that makes up an estimated 55 % of the region’s screen workforce (source: Northern Ireland Screen Skills Audit 2024).
Questions worth asking
- How will the Department measure the local economic impact of Paper Owl’s expansion—job numbers, salary levels or export revenue?
- What safeguards exist to ensure that neurodivergent trainees entering Pablo’s Academy move into sustained careers rather than short placements?
- Will coming UK tax-credit changes affect the budget or staffing of Pablo: Next Level and future bilingual projects?
- How is the Department supporting rural creative hubs so that screen-sector growth is not confined to Greater Belfast?
- Could a shared funding model with language bodies enhance the reach of Irish- and Welsh-language animation across schools and community broadcasters?
Broader significance and what to watch next
Paper Owl Films’ growing slate underlines Northern Ireland’s reputation for high-quality children’s content with a social purpose. Yet continued success will likely depend on transparent funding streams, competitive pay for specialists, and clear career pathways for under-represented groups. Stakeholders may therefore look for upcoming budget statements, NI Screen grant allocations, and detailed workforce data to gauge whether today’s positive headlines translate into durable industry growth.
Readers can explore the studio’s work at the Paper Owl Films website, and may wish to follow future Department announcements for clearer information on skills programmes, tax incentives and regional job creation.