Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1512296
46 KEYFRAME F I N A L N O T E YOU'RE INVITED AMONG THIS YEAR'S INDUCTEES TO THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES, THREE TAG MEMBERS REFLECT ON WHAT THE HONOR MEANS TO THEM. To become a member of the "Academy," the foundational criterion is excellence. Membership consists of filmmakers, artistic craftspeople, and others who have made notable contributions in the area of theatrically released movies. Prospective members are reviewed by committees and considered by the Academy's Board of Governors who decide which individuals will receive a prestigious invitation. For Layout Artist Nathan Warner, who got his start in animation in 1994 and has worked on films such as Moana and Encanto, "I was at home, and I kept getting calls and texts congratulating me, but I didn't know what for," he says. "It wasn't until my mother called saying she saw my name in Variety that I knew what was happening." Puss in Boots: The Last Wish Director Joel Crawford, who's been in the industry for nearly two decades, was equally surprised. He was on vacation, about to go surfing with his kids. "I received a flurry of texts from friends and co-workers, and then I spotted the email from the Academy informing me of my acceptance," he says. "I just took in the moment on the beach with my family. It was a great day." Recognition by the Academy is obviously rewarding, but there's an element that makes membership particularly meaningful. Candidates must be sponsored by two Academy members from the branch in which they seek admission. In this case: Short Films and Feature Animation. With 40 years in the industry, on films ranging from The Little Mermaid to Paws of Fury: The Legend of Hank, Animation Artist Dan Jeup says the most rewarding aspect of this experience was that his longtime friends and colleagues, Kathy Zielinski and Dave Pruiksma, who he highly respects, "sponsored me on the basis of their knowledge, skill, and expertise. It made me feel great that they valued my contribution to the animation industry." Crawford calls his sponsors " two incredibly talented individuals … Their endorsement was not only significant, but also held a very personal meaning for me." And Warner says of his sponsors, Kyle Odermatt and Scott Kersavage: "I credit Kyle with giving a 20-year-old kid a chance and welcoming me into Disney Animation which really propelled my career, experience, and education. Scott gave me the chance to be Director of Cinematography on Zootopia, which will likely be the highlight of my career. My admiration and gratitude to these two are as high as it comes, and to see such praise in their recommendation letters to the Academy will be a highlight in my life." Warner also notes the significance of the Academy recognizing those who work in the animation industry. "Often animation is only thought of as children's entertainment," he says. "The category is simply not fully understood. I've had the opportunity to work with several amazing Directors of Photography in live action, including the great Roger Deakins— who was surprised to learn how much care, complication, and precision we put into every single frame in animation." "Filmmaking has always been a beautiful art form that connects people," Crawford says, while Jeup adds, "I think it's important that people … who truly love great cinema and have studied and understand it deeply, carry on the tradition of making films at their highest level and support the best films and people who make them." NATHAN WARNER layout artist JOEL CRAWFORD director DAN JEUP animation artist