On April 19, 1986, Spanish television aired the final episode of the series David the Dwarf, a poignant moment tied to the so‑called Mountain of Beyond. The episode marked a symbolic farewell for David and his wife Lisa, as they disappear from the world in a dreamlike transformation into cherry blossoms. For many viewers born in 1986, and for those who grew up in the late 70s and early 80s, the scene remains heartbreakingly memorable. The moment stirred tears, confusion, and a mix of emotional responses that echoed the impact of other famous on‑screen deaths. The show’s creator and producer Claudio Biern Boyd later admitted that the ending might have struck too close to some audiences.
Biern Boyd, who passed away in Barcelona at the age of 81, left a lasting imprint on animation beyond the series about the gnome. His company BRB Internacional helped define a generation’s animated landscape, producing programs such as Willy Fog’s World and D’Artacán and the Three Musketeers. Those who remember the era can still hum the tunes from that time—the catchy lines and melodies that accompanied the adventures of these timeless characters.
Born in Palma in 1940, Biern Boyd grew up in Barcelona, the son of a Catalan with French and Scottish roots. Often called the Spanish Walt Disney, he freely acknowledged that drawing did not come easily to him. He studied law at Deusto and Barcelona before diving into the marketing world. His early career included promoting North American cartoons through toys, and he made a splash in 1972 with Tito Basto and José Rodríguez. BRB Internacional began as a sales and rights management agency for Hanna-Barbera properties and for series like Marco, Maya the Bee, and Vickie the Viking. Over time, he discovered the power of storytelling through animation, and by 1980 he was producing and distributing his own animated series.
Co-productions with Japan
One of the early pioneers, Ruy, little Cid, drew on a collaboration with Nippon Animation, a partnership that provided technical and artistic development for many of Biern Boyd’s projects. The interview with Ara a year earlier highlighted the era’s industry reality: a small animation scene in Spain relied on Japanese studios for high‑quality craft and long hours of hand‑drawn animation. This collaboration helped give rise to notable projects and enriched the D’Artacán legacy.
Nippon Animation, at the time, was known for adapting Western scripts and novels into anime, producing beloved titles such as Heidi, Marco, and Tallac Forest. The formula blended strong storytelling with hand-crafted animation, a reminder that great scripts and careful artistry can elevate children’s television. Biern Boyd often emphasized that the script is central, a sentiment echoed in discussions about Serielizados and the craft of screenwriting. The work of literary giants like Alexandre Dumas, Emilio Salgari, and Jules Verne found new life through these adaptations.
Biern Boyd co‑produced with Nippon Animation D’Artachan and the Three Musketeers and Around the World with Willy Fog. Both projects achieved significant success on Spanish television in 1982 and 1984. In 1986 BRB premiered David el gnomo, a co‑production with Canadian Sycamore and Taiwanese Wang Film Productions. The show resonated with audiences across multiple countries, including the United States, while also prompting some editing choices to align with local sensitivities. The production continued to influence international animation in the following years.
Non‑violent values
The aim of many BRB series was to convey positive messages to young viewers. David the Gnome emphasized ecological awareness, respect for nature, and values such as loyalty and friendship, themes Biern Boyd often highlighted in interviews. In conversations marking anniversaries of the gnome’s adventures, he stressed a preference for stories without graphic violence, prioritizing imaginative scenarios over physical confrontations. He noted that the best fantasy can teach without causing harm, a principle that has shaped how many creators approach children’s programming today.
Beyond animation, Biern Boyd pursued other passions and remained a distinctive figure in Spanish cultural life. Known for his courteous and thoughtful demeanor, he carried a calm, refined air that left a lasting impression on colleagues and fans alike. As a creative leader, he often spoke about the challenges and joys of building a lasting legacy in animation, a field where ideas must connect with audiences across generations and borders.