Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1434261
L E T T E R A FEW WEEKS AGO, AT A Q&A WITH A GROUP OF COLLEGE STUDENTS HOPING TO ENTER THE ANIMATION INDUSTRY, I WAS ASKED HOW MANY SHOWS I'VE WORKED ON. I REALIZED THAT I HAD NEVER COUNTED. AFTER REVIEWING MY RESUME AND THINKING BACK ON ALL THE PILOTS, SHORTS, AND EARLY CAREER FEATURES, I COUNTED AT LEAST 30. THIRTY! That's insane. How did I get here? How have I been so lucky to have had a hand in so many wonderful projects? They range from kids shows to very adult-targeted demographics. From educational to comedy to horror. The jobs that I got the most satisfaction from were the ones where I experienced a happy crew more than just enjoying the actual content of the show. Happy crews don't happen by accident. They start from the top, with the showrunner and the executive producers settin the tone or the hole tea pen lines o counication and clear, reasonable expectations and goals give workers the ability to plan their day. Allowing the artists to contribute creatively and problem solve gives a sense of ownership in the project. It's a fine line to tread between the artistic and business sides of this industry. This is very much a business, but for success, the artists need to be invested to do their best work. Throughout my career, with whatever show I'm working on, I try to find the sweet spot between the business side of giving the client what they want and the artistic side of why I pursued this career. Good leadership appreciates this balance. My advice to students trying to get into this industry is take a few business classes along with art classes. If they are offered, take production classes. Aim to understand the entire pipeline of making a show. It will inform your relationship with this thrilling, unpredictable career path. It can also make perfectly clear why being part of a union is so important. And it will give you a framework of how you should fit into any production. Not to mention leverage when negotiating your pay and benefits or help if workplace issues arise. My favorite jobs were the ones with clear communication and artistic satisfaction. Those two things made for a happy crew and an enjoyable work environment. If I liked the show, then it was the whole package! In Solidarity, Jeanette Moreno King | President The Animation Guild, IATSE Local 839 MY FAVORITE JOBS ON THE COVER ur irst interactie cover features the main character Mirabel from Disney's Encanto. When you slide the enclosed transparent overlay across the image, the butterflies will appear to animate.