From time to time I'm asked: "How does somebody get into animation?" And I always say that there are around a jillion different goat paths, many of them changing week to week. Here's one:
A friend suggested that [Bonnie Arnold] meet with then-Disney studio executive Peter Schneider to talk about working in animation. Arnold was skeptical because she knew nothing about that world. But she followed her mother's advice: "She always told me to 'meet everybody and don't ever refuse a meeting.' "
... [T]hat meeting proved pivotal. Schneider eventually tapped Arnold as producer on "Toy Story" ...
The elements everybody needs to enter and succeed in the biz were in place for Arnold. She had a work ethic and track record on some other, live-action movies, which got her the meeting with Schneider.
And she impressed Mr. Schneider enough to get tapped for a position on a small, upstart feature in Northern California that wasn't on anybody's radar. (At the time, Pixar was paying experienced L.A. artists premium wages to go up to the Bay area and work on their project. Lucre was the only way to lure them out of Los Angeles.)
Lastly, Bonnie Arnold had the good fortune to be attached to a movie that turned out to be not only a hit, but a trend-setter and career rocket ship. (The norm is being on board a picture that doesn't make its costs back.)
But no matter how much luck a person might have, it's useful to be able to deliver when opportunity bangs on the door. Based on the evidence, Ms. Arnold has certainly done that.
Posts
16 comments:
Hi Steve -
What are your thoughts on unpaid internships for students looking to get into animation?
If you want to exchange your labour for no money voluntarily for the perspective of an eventual future gain ,exposure and experience, go for it, It is a good way to start a career.
Bonnie Arnold and a handful of Pixar guys turned up at the San Diego ComicCon back in 1994. The presentation room was only half full, and the comic geeks had little interest in the dumb little movie called, "Toy Story."
Few people in animation bothered to show up, and I was one of the few veterans from the Southland who agreed to relocate up north.
Today, artists are begging to work for Pixar.
I HAD to have an unpaid internship somewhere to graduate from my college & it ended up being the best thing for me. I got hired 3 days after graduation (I've known some interns who got hired prior to graduation) & have been working ever since. Granted some interns are never seen again but I've heard many either decide in another industry or intern at another studio & find work there.
Personally I wouldn't be in animation if not for the internship. I say go for it! As long as you're polite & work hard it can only help you. Making contacts can be one of the hardest things when you're just starting out.
I don't believe you "relocated north," Floyd. And the Comicon room was filled to standing room only.
People aren't begging to work at still Pixar anymore. Low wages, sequelitis, and a glass ceiling keep seasoned artists away. Plus there's better place to work now...
Don't know where that random "still" came from...
"I don't believe you "relocated north," Floyd. And the Comicon room was filled to standing room only."
Thanks for setting me straight. I guess I only imagined all this stuff.
What are your thoughts on unpaid internships for students looking to get into animation?
A legitimate internship, which is part of a legitimate educational program, is potentially valuable. They last a few months, tops, and are part of a degree program, and can give valuable exposure to the industry.
On the other hand, a lot of bottom-feeding producers label free production work as 'internships,' and recruit people who are finished with school to fill these slots. It's exploitation, pure and simple, and you're a fool to take part in those shenanigans.
Internships that are actual internships, they're fine.
When internships are non-paying production-work slots, that's not fine.
I love when you guys rag on Floyd. It's like when dumbass kids roll their eyes when someone older, smarter and more experienced than them starts talking.
"Shut up, old man, 'Jersey Shore' is on!"
Luckily, I think he can handle it.
Would anyone have any suggestions in how to get into the desk work at animation studios? I'm a communication student who has been following the animation field worldwide. I personally cannot draw well but I've always wanted to work in the animation industry as a desk assistant or secretary. My thoughts on it there must be people there to help and support animators and that is what I wish to do. Hopefully I would like to work up the ladder but until then how can I get my foot in the door?
Are there any entry level positions anymore? Seems like most of the open jobs want people with years of experience.
Amber, you're best bet in getting a job in production is move to a city where there are lots of studios, and apply to those studios for PA positions. It also helps if you have personal connections who work there -- that is definitely much more important than your experience/education/skill set (sadly).
The entry level production position is the lowly PA. They'll never consider you if you're not living there. Those entry level jobs usually pay very little, and you have to be willing to put up with a lot of garbage for a while.
Amber:
My suggestions, amplifying the above. It's about getting inside a community. Be where the work is. Apply for jobs that open up.
Network. (This means getting involved with animation support groups like "Women in Animation," ASIFA, anyplace you can MEET people who are working in the biz.
There is no one way. I've known men and women who got into animation via temp agencies. It's all about being in the right place at the right time with the right skill set. And having a cheerful, full-bore work ethic.
"But no matter how much luck a person might have, it's useful to be able to deliver when opportunity bangs on the door."
Great advice. Thank you for posting!
Post a Comment