Interview With Writer Producer Brian Neil Hoff for "Canine Royal"

Writer Producer Brian N. Hoff is known for "Canine Royale" (2026), Keeping Up with the Car Chasers (2022) and "Automation" (2008). In an interview with Brian shortly after his Cannes market premiere, here is what he had to say: 

Can you speak about your background and how you got into film?

BRIAN: I began working in the film industry in 1994 at HBO, where I quickly fell in love with filmmaking and the world of movies. In 2004, I began writing and producing my own screenplays and independent films.

Can you tell us about why you love animation above all other genres?

BRIAN: My love for animation began with Saturday morning cartoons in the early 1980s, and I was especially inspired by shows like Rocky & Bullwinkle. What I love most about animation is that there are almost no limits to what you can create or the stories you can tell through its many different styles and techniques.

What has been the most important lesson you have learned on the journey of filmmaking so far? And what has been the biggest challenge?

BRIAN: My journey through independent filmmaking taught me the importance of staying true to my creative vision and never letting obstacles stand in the way of what I hoped to achieve. The greatest challenge was bringing the film to life itself—finding my way through the animation industry while shaping it with the exact look, tone, and spirit I had imagined from the very beginning.

You have been working on Canine Royale for years. Can you tell us about what inspired you to write it?

BRIAN: My dog, Cosmo, was the original inspiration for the anthropomorphic spy dog character in CANINE ROYALE. In 2001, I first nicknamed him 00K9—pronounced “Double-Oh-K nine.” In 2006, I began developing the project as an animated feature film, starting with a rough script and original character and production artwork created in a traditional 2D style by former Disney and DreamWorks animator Alfie Vann (The Prince of Egypt, The Road to El Dorado, Spirit: Stallion of the Cimarron). In 2007, the anthropomorphic spy adventure was presented to major Hollywood studios, which responded positively to the concept but expressed concerns about the number of locations required and the overall production cost. Even then, I believed that, in time, technology would evolve to make the film possible. What ultimately worked in my favor was my commitment to the idea and my determination not to give up on it, even during the most challenging stages of development.

How did you get the film off the ground?

BRIAN: After years of pitching the film to studios and production companies, and attending major industry events such as Annecy, Kidscreen, and AFM, I continued to build the project piece by piece—refining the script, strengthening the action, and adding more humor. One of the greatest challenges was finding the financial support needed to launch the film. In 2018, I discovered emerging AI tools that offered new hope, although the technology still required further refinement. Even so, I remained committed to the project and continued moving it forward. By March 2026, I completed the 95-minute film and began seeking distribution. I was honored to sign a deal with House of Film, a company I had first met approximately nine years earlier at AFM. Following the agreement, the film made its debut at the world-renowned Cannes Film Market.

Do you find it easier to make an animation film today with AI?

BRIAN: I believe AI is making animation more achievable, although it still remains a challenging medium to work with. The technology is evolving rapidly, driven by the growing interest of artists and creative professionals around the world, and I believe wider acceptance of these techniques is only a matter of time. In my view, the strongest results come from working with your own copyrighted material, as the integration of traditional artwork and original illustrations can greatly enhance the quality and distinctiveness of a film. While AI gives directors an extraordinary level of creative control, the cost of using these tools can still be significant. Even so, it represents a fast-growing new artistic frontier, and I believe we will see remarkable work emerging from independent and garage studios around the world.

Do you have an anecdote or experience while filming that is unique that you would like to share?

BRIAN: While working on the film, I came to realize how deeply I identified with my own parody character, 00K9. I believe that those who know me personally will recognize a great deal of my own personality in the dog detective. When a film carries a deeper purpose, the long hours and creative demands become part of the journey rather than the burden. It was especially meaningful for me to dedicate the film to my dog, Cosmo, whose spirit and personality inspired both the character and the adventure itself.

House of Film was selling your movie. How was that experience? 

BRIAN: Since first encountering the exceptional team at House of Film nearly nine years ago, I have cultivated an enduring professional relationship with them, reconnecting regularly at prestigious film markets throughout the years. Each interaction reinforced the boutique company's genuine enthusiasm for the project and their commitment to facilitating its distribution. Upon completing the film in March 2026, House of Film was my immediate and instinctive first call—a decision that has proven remarkably rewarding. Our collaboration has been exceptional, and the film is now positioned for presentation at premier industry events including the European Film Market (EFM), MIPCOM, Ventana Sur, and the American Film Market (AFM).

Why is it so important for filmmakers to attend Cannes and other international film festivals like Cannes?

BRIAN: The Cannes Film Market stands as one of the world's most prestigious and influential film events, offering unparalleled opportunities for cinematic presentation. It serves as a vital platform for independent films to gain significant international exposure. Each year, distributors and buyers from across the globe converge to discover emerging talent and innovative storytelling, making it an ideal launching ground for bold new voices and compelling cinematic visions.

How can people see the film? And what will you be working on next?

BRIAN: The trailer is now live on our official website at www.CanineRoyale.com, and we're thrilled to share that the film has been submitted to international festivals worldwide—keep an eye out for a screening near you! Meanwhile, I'm deep into writing the sequel screenplay for CANINE ROYALE 2, embracing the exciting challenge of raising the stakes and crafting an even more thrilling adventure than the first film. The journey continues, and I couldn't be more passionate about what's ahead.

Watch the great animated music video!

Watch the trailer

Interview by Vanessa McMahon