achieved 1 million viewers. Undaunted by the knowingly discouraging prognoses from industry insiders, Leafie went on to rake in more than 2.2 million tickets, while recouping its production budget in just four weeks. It has become South Korea's most successful animated film since the country's first feature-length cartoon, A Story of Hong Gildong (1967). Awards Leafie won Best Sitges Family Film Diploma at the 2011 Sitges Film Festival in Spain as well as the award for Best Animated Feature Film at the 2011 Asia Pacific Screen Awards held in Australia. For her contribution to the popularization of Korean animation, producer Shim Jae-myung (a.k.a. Jaime Shim) CEO of Myung Films won a Special Mention at the 2011 Korean Association of Film Critics Awards. Localization English version Racking up numerous sales at the American Film Market, the film was picked up by Toronto-based 108 Media Group for distribution in English-speaking countries including Canada, U.S., Australia, Ireland, U.K. and New Zealand and was retitled Daisy: A Hen Into the Wild. It was released direct-to-DVD in the United States by Olive Films and in the United Kingdom by Signature Entertainment in 2014, and had also been broadcast on television on Starz Kids and Family. The English version was partly re-edited from the original version, with six minutes (such as a bit with the hens laying their eggs and One-Eye tearing up as she lunges at Leafie) being removed, the character names being changed (Leafie's name was changed to Daisy, Greenie was changed to Willie, Wanderer was changed to Wilson and Red Head was changed to Ace), and a new score composed by Patrick Cannell replacing the original score. Other territories Leafie also sold to German-speaking territories via Ascot Elit and Brazil's Conquest Filmes. It has so far secured deals for 46 countries around Asia, Europe and the Middle East after going on sale at Busan's Asian Film Market, Cannes's MIPCOM and Rome's Business Street. It became the first Korean animated film to play at Chinese theaters, opening at 3,000 screens, which is over one-third of the country's total. Clearly elated at the film's warm reception by the Chinese media, director Oh said he hoped this breaks new ground as investors traditionally judge projects based on their appeal to viewers in English-speaking countries. "It's time to change the standard," he said. "In the future, I'll focus more on the cultural values of the animation rather