The "No A-hole" Policy*

 

 

 

I got a call from Mona Gurgley, a recruiter from Upstart Studios, feeling out my interest in working for The Next Really Big Deal in animation.  They have big plans, BIG plans.  So big, they're secret.  But she could tell me this much -  all they needed to pull off their big plans was a crew full of top tier talent.  

Sounds like a big plan!   

She dropped a few reputable names already onboard at Upstart, then sweetened the pot.  First, how's a $400/week pay cut grab ya?

Ooh!  Go on!

Though a non-union shop, they offer their own, watered-down benefits.  And a swag bag.

Benefits, schmenefits! But an Upstart Studios mug and mouse pad?  Yes, please!

And like she was saving the best for last, Ms Gurgley proudly revealed their radically progressive  "No A-Hole Policy*". 

Revolutionary!

But doesn't that foster a club-house mentality where only sycophants survive?  In my younger days, I would have expressed that thought and been deemed an a-hole on the spot.  Instead, I laughed because it seemed like that's what she wanted.  Pathetic.  

A few days later, at the appointed time, I logged on for a Zoom meeting with a half dozen Reputable Names at Upstart Studios.  One of them joined in and we had a very nice chat while we waited for the others.  And waited.  And.....waited.   Thirty minutes later, the Reputable Name apologized for the others and signed off, clearly surprised by the no-shows.  Some Really Big Deal must have kept them away.      

A day went by....two....three....no word from the no-shows.  No apology.  Not even "we actually wanted one of the other Steve Moore's in animation".  So I reached out to Ms Gurgley.  She was surprised to hear of the no-shows, and surmised a Really Big Deal must have kept them away (called it!).

But what of their lack of follow-up?

*The No A-Hole policy does not apply to management.  

-Steve

All Aboard The Harry Potter Studio Tour

Harry Potter Tour

I recently took the Harry Potter Studio Tour at Leavesden, visiting the 80-hectare studio complex which was used for filming the Harry Potter series of films. The tour might sound like a three hour trivia odyssey for Potter fans, but in fact it turned out to be as good an introduction to the art, craft and science of visual effects film-making as almost any amount of classroom instruction - and far more fun.

Producer Carolyn Bates Talks Shop

Carolyn: "Here's a pic of me and BG painter, Cathy Patrick, 1973. on Emergency+4.
 Don Jurwich had taped a xerox of 'The Yellow Kid' over my desk - typical 70's un-PC.
The extreme right side pencil sharpener and phone are Walt Peregoy's."

FLIP: How did you get your start in animation?

Carolyn: Walt Peregoy hired me as an apprentice BG painter At Fred Calvert Productions on Emergency +4 the day I graduated high school. He regaled the BG team with expletive laced stories of his days at Disney and Hanna-Barbera. He admired creative passion and spoke ardently of the beauty in nature. I learned a ton and made friends with a number of folk, many of whom I'd get to work with later: Corny Cole, Libby Simon, Paul Shively, Freddie Hellmich and Amby Paliwoda.

Opening titles to Fred Calvert's Emergency +4, Carolyn's first gig.  

You can almost hear Walt Peregoy bitching.

The Cheapest Animation Studio in the World Will Make You an Animated Film for £25

www.peopleperhour.com - insert your logo here

Ten years ago, when I was working on Robots at Blue Sky Studios, animation boss and all-round Fox Studio supremo Chris Melandandri let us animators in on a secret - a new wave of indie animated features would soon be coming our way. Animation would, he predicted, not for long remain the sole preserve of well-financed animation studios. Soon we would see the rise of the independents - small, nimble production houses with great scripts and great ideas that would muscle in on the market.

More on The Ideal Workspace

Yesterday's post on studio space seemed to resonate with readers.  FLIP heard from a couple of art department veterans.  

Fred Cline's credits include The Little Mermaid, Bebe's Kids. Space Jam, and Robot Chicken.  Fred told FLIP:

"For me, there is a distraction issue any time there is shared space, and there is an isolation issue every time there is individual space. As for me, if I am storyboarding, I like to share space because it's easy to get a sort of tunnel vision where you are focusing on your own section of the film and not considering the whole picture. Sharing space as a storyboard artist gives a constant reminder of progress on other sections of the film. If I am designing or doing art direction, I need lack of distraction (or isolation) in order to accomplish the most in a limited amount of time. Apart from that, all I really need is an ergonomic chair, and a cintiq. I've found that a central seating area with coffee table and sofa/upholstered chair seating group adds to the collaborative process."

What is an Ideal Work Space?

On today's CBS Sunday Morning, Richard Schlesinger did a segment on the Herman Miller Company, where the office cubicle was created decades ago. Today, they're at it again, with a new design for the workspace; a large open space with no division among the ranks.

This may be a swell idea in certain companies, where constant communication among workers is more productive.  But what about in, say, an animation studio, a place where films are made one frame at a time by a crew of artists while another crew of non-artists concurrently keeps track of schedules, budgets, and work flow? How does that big open space work there?  FLIP asked some veteran animation folks about their ideal work environment.

Leticia Lichtwardt's work space.  Some TCM for the thick and thin.

Does Size Matter in Animation?

I got an e-mail from a student, asking me if there was any way to be seen as successful without working at a big studio.

My answer: no.

For you industry people out there - when people find out you work in animation, what's The Big Question they ask?

A) Do you work for Disney?
B) Do you work for Disney?
C) Do you work for Disney?
or
D) Do you work for Disney?

I'm 50 years old, been working in animation for more than half of my life, and STILL get asked this question.  For all the corporate crap that goes on at big studios, working at one means you have made it to the big leagues.  And Disney is still the New York Yankees of animation studios.  And like the Yankees, fans have high expectations and like to boo management.

From DreamWorks to Greece and back again - Nassos Vakalis tells the story of an animation startup

Who wants to live in Greece?

Nassos Vakalis is an animator, director and storyboard artist who has had a long and varied career in the animation industry at studios such as Warner Bros Feature Animation and DreamWorks.

In 2001 Nassos left DreamWorks to set up his own company, TimeLapse Pictures, in his home town of Athens. He is now back at DreamWorks, most recently storyboarding on Puss in Boots and Madagascar 3. FLIP asked him what it was like running an independent studio.

Pixar's 22 Rules of Story Telling

These rules were originally tweeted by Pixar Story Artist Emma Coats.

It's Official - 2D Animation at Disney is Dead

The Princess and the Frog - Disney's last 2D feature

According to an article in yesterday's Guardian, 2D animation is officially dead at Disney, the studio which took the medium to its greatest-ever heights. At the annual shareholder meeting in Phoenix Arizona, CEO Bob Iger said:

Rhythm & Hues Wins a BAFTA, gets an Oscar nom - and Goes Bust

It seems that Rhythm and Hues is going under. The pioneering VFX studio, responsible for some of the most ground-breaking visual effects work ever done, has filed for Chapter 11 bankruptcy. It hardly seems credible that the studio that did such extraordinary work on Life of Pi (you can see FLIP's review of the movie here), has gone bust, even as they collect a sack full of awards, and their Oscar nomination looms.

How a Danish Animation Company Was Born

In 2010 Magnus Moller and Peter smith set up their own animation company, Tumblehead Animation, in Viborg, Denmark. Neither had much experience of working at professional studios, or much money. Two years on their company is not just alive, but growing and thriving. FLIP asked them the secret of their success.

Erik Schmidt introduces the Danish independent film Otto is a Rhino

Otto the Rhino breaks into the animated film market

Erik Schmidt is an animator with a vast experience of working in Los Angeles for studios such as Disney, DreamWorks and ILM. Recently he traded Hollywood for Copenhagen, working as animation director on the upcoming independent film Otto is a Rhino.

Scott Petersen talks about founding Golden Street Animation

Golden Street Productions was founded by Scott Petersen in 2009

Scott Petersen, founder of Golden Street Animation, talks to FLIP about the perils and pitfalls of setting up his own independent animation company.

Sandy and Me

Hurricane Sandy landed on my town last night.  Port Norris, New Jersey sits at the Delaware Bay, on the southern edge of the state.  It was a once prosperous town due to the robust oyster industry.   But since the mid 1950's, it has been known mostly for "the good ol' days".  I grew up here and credit this town for my blunt manner.  "What the hell do you want?" is just our way of saying "Hello." in good ol' Port Norris.

Moore Studios building, before and after renovations

Not an animation mecca by any stretch, I found myself moving back here in 2004 to help care for my aging father.  I bought a commercial building for studio space and renovated the 1890 structure with modern conveniences like central air conditioning, heat, and plumbing.  Yes, plumbing.  And because it is in an area with no municipal water or sewer,  I had to pony up for a well for water and a septic system for you-know-what.

During the renovation process, an old timer - a very old timer - stopped me in the post office to ask, "Are they going to make you put a toilet in it?"

"Yes."  I said.

The old timer shook his head incredulously.  Back in his day, the local septic system was a stream called "Dickey's Ditch" that snaked through the town.  It runs directly behind many of the old commercial buildings along Main Street, including my studio.  What was then a place to pee is now protected wetlands.

After a complete overhaul, I set up shop and have worked on features such as Coraline, Despicable Me,  and The Lorax with a half-mile commute from my house.  I cannot underscore how great it is to work without daily visits from an art co-ordinator, throwing me out of my drawing zone to ask me how my drawing is coming along.

Sandy, last night, a little past high tide.

Yesterday, Sandy came to visit.  At about 10:30 last night, an 18 foot wave came charging up the bay and over  into Port Norris, flooding Main Street.  There had not been a flood like this since the '50's, with water cresting about a foot high on the ground floor of the studio.  My house was on higher ground, undamaged (whew!).  Water had receded by morning, and I found Sandy had curiously rearranged things inside the studio.  I had a large plastic storage bin full of animation papers dating back to The Nightmare Before Christmas - all personal stuff saved from these productions.  The bin was tilted against the wall, perilously close to tipping.  Had that happened, everything in the bin would have been wrecked.  I immediately move the bin upstairs (duh!).  Had I stored this stuff in a cardboard box....ugh.

Let that be a lesson for youse!

Evidence of Sandy's visit.  A very dirty girl. 

All in all, it could have been much worse.  A half-mile south of the studio is a clam processing plant under eight feet of water.  Holy Clamato!  My first floor is a soggy mess right now, and Moore Studios has temporarily relocated to a corner of my bedroom.  Stealing a nap at work has never been so easy.

-Steve

My Dickey's Ditch over-floweth.

Double Negative lays off Bond Workers

"You're fired"

According to the London Evening Standard, Double Negative, which did a lot of work for the latest Bond film SkyFall, is laying off staff. These days the word in London seems to "Vancouver", as projects and jobs get exported to Canada, which offers a Producer tax credit of 40% to film-makers who carry out their work there. Add in some regional subsidies and you can finance over 50% of the value of your film courtesy of the Canadian tax-payer.

According to Double Negative: “The number of people we will be making redundant is not significant. From time to time we need to grow and contract to reflect the needs of the films we are working on. Our policy has always been — and will continue to be — to hold onto people where possible."

And there is a lot of truth in this. Big projects come and go, companies expand and contract. DNeg took on hundreds of people a year and a half ago to crew up the epic John Carter, a film that - for reasons I don't fully understand - no-one wanted to see.

Meanwhile Soho visual effects artists wait for the next big project, wondering if they should be applying for a Canadian visa.

----Alex

Chuck and Aaron fight to save "The Legend of Tembo"

Chuck Williams and Aaron Blaise, fresh from the recent closure of Digital Domain, are fighting to save the feature film "The Legend of Tembo" which they spent two years developing. According to yesterday's Wall Street Journal, they still have a fighting chance to save their picture.

The Beijing company Galloping Horse has bought out the remains of Digital Domain for $32m at a bankruptcy auction. Chuck and Aaron are now hoping that the Chinese investors will also have the stomach to finish "Tembo", the story of an African elephant taken from his home and forced to go to war.

All power to Chuck and Aaron - and what a triumph if they can pull it off.

---Alex

Digital Domain in Florida closes its doors after 3 years

Digital Domain at Port St. Lucie in Florida, founded in 2009, has closed its doors after a three year effort to produce a 3D animated film to compete with the likes of Disney and DreamWorks.

Here is the text from today's Facebook post by Chuck Williams, who was co-directing, and who I worked with many years ago on "RollerCoaster Rabbit" at Disney-MGM Studios, another Florida Studio which would eventually be closed down, despite many great successes and a wealthy sponsor.

Chuck wrote as follows:

"Digital Domain - Florida, my employer, shut down today. Ran out of money. Aaron [Blaise] and I knew this start up was a risk, but we has such great momentum -- a big, emotional, funny story, appealing characters, a really unique world and mind blowing, beautiful artwork. And maybe best of all -- a super-talented crew 110% committed to bring it on screening. We were on our 3rd screening, 1 month from production. This closure was a total shot in gut, complete surprise. 

To over 300 employees, 120 on our film. I thank you all for the great effort. I hope we can work together in the future. Lots of dreams were dashed today. Lets all find new ones."

I can well imagine how they must be feeling, having poured their hearts into the project for so long. It is little consolation to know that this sort of thing is almost commonplace in our business, where the stakes are so high and the price of failure so huge.

---- Alex

Animated for the Olympics

The problem with the Olympics is, if you look, you will be sucked in.  There's no escape.   

You'll find youself watching sporting events you would otherwise pay no mind. Volley ball. Water polo.  Synchronized diving.  Fast walking.  The Olympics are a sports black hole from which, once in its pull, there is no escape.    

   

If you have found yourself in this position, you may want to get sucked into these twelve animated shorts commissioned by the U.S. Olympic Committee and produced at Duck Studios in West Los Angeles.

  

Executive Producer Mark Medernach explains:

The concept behind the spots was pretty simple.  They wanted the athletes to freely tell viewers who their inspiration was to get to where they were today, their mother, father, coach, sister etc.   As a way to make the stories come alive more they wanted a simple animation style to illustrate each of the stories.  They wanted each spot to have a different look and technique.  But dealing with a limited budget eliminated a lot of the techniques right away, as they would have just been too expensive to produce.

Our first approach to creating them was to find out who would be interested in working on the projects.  There was very little money, so the animators had to do these more as a labor of love.  There were 12 spots in all, so finding the people that had the time and inclination was a bit tricky. 

Once we had 4 or 5 commit and started seeing their work come in, it was a lot easier to get others to commit.  In all, we used 10 different animation directors to do the work.  The next step was in casting the right artist for the right project. 

They are all really great pieces, but one of my favorite is the Henry Cejudo piece  by Hsinping Pan.  Henry is a wrestler and his inspiration was his mother.  His mother immigrated to the US along with her 7 kids. She found ways to provide for them and care for them.  Initially we were not sure if Hsinping style would be an appropriate fit for 
a wrestler.  But once we heard his charming story it just seemed like a natural fit. 

As each story was presented to us, we chatted with the advertising agency (Y&R/NY) and choose who we felt would be the best fit for each story.  I think the agency had a really good feel for the stories and what would fit most of the time.  Other times, we also let the filmmakers have some input into the stories they wanted.  Chris Harding is a big boxing fan and it was a natural fit to have him produce the Queen Underwood boxing spot.

The spots live on the USOC's site.  They are being used to help raise more money for future olympians.  So, if you want to be a part of the team behind the team, go to USOC's site and donate a bit!

Read lots more about the spots and the artists behind them on Duck Studios' site.

Watch all twelve videos on this U.S.O.C. page under "From Our Athletes".  

-Steve

Cinesite sold...but for how much?

Ever since Kodak filed for bankruptcy in the US, a question mark has hung over its UK subsidiary Cinesite. Cinesite is an excellent visual effects house in London's Soho, one of the "Big Four" (including Frame Store, Double Negative, and MPC) which I worked at for many years. We animated hundreds of shots on Underdog, Beverly Hills Chihuahua and Marmaduke. Talking animals is not the most glamorous end of the VFX business but we took pride in building a highly efficient pipeline that could produce a huge amount of high-quality work in a very short time.

Some of the most fun I had there included working on the Harry Potter films - who wouldn't want to work on the series that has transformed the visual effects business in London? We did the magical tweeting birds from Harry Potter and the Half-Blood Prince - all beautifully rendered and suitable for an extreme close-up (though in the end we never got closer than a wide shot).

Working at Cinesite is fun in part because it still has the intimate feel of a small company - but with big, rich parents overseas, it was always protected from the short-term chill winds of the market. Now, with Kodak gone, it is having to fend for itself. Still, it was a surprise to see that a company which (according to yesterday's Sunday Times) made a profit of £2.7m on a turnover of £25.8m in 2010, has been sold to the private equity firm Endless for "around £2m".

Now, as every Londoner knows, £2m will barely buy you a house in the metropolis these days. Surely one of London's leading VFX houses is worth more than that?

- Alex