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News that the BFI film festival in London this autumn will open with the world premiere of Wes Anderson's first animated film, The Fantastic Mr Fox, is yet another indication of the extent to which serious film festivals are embracing animation.

Cannes opened with an animation for the first time in its history this year and in early September, in Venice, John Lasseter of Pixar will be honoured with a lifetime achievement award. Lasseter has become a symbol for all that is inventive in this medium, but I was amused to read recently that he admits that when the boys and girls at Pixar run out of ideas, they re-charge their imaginations by watching Japanese animation and in particular, the work of the legendary Hayao Miyazaki.

Worth noting also that Wes Anderson has opted for the very slow, classic handmade stop motion or frame by frame technique to tell the story of the best-selling children's book by Roald Dahl.

And he has a stellar cast list for the voices. George Clooney is Mr Fox and Meryl Streep is Mrs Fox; and he has Bill Murray, Michael Gambon, Willem Dafoe, Owen Wilson, Jarvis Cocker and Helen McCrory. Despite having one of the greatest of Dahl's children's tales to play with, Anderson tampers with the story, (only slightly though) and while purists might mind, it will no doubt be a big Autumn draw.

Animation has gone way beyond being children's entertainment only; it is big business and not just at the box office. It is a major employer in the creative industry. And endorsements on the serious film circuit add to its kudos, continued popularity and investment.