Last week, while visiting a largish animation facility, I asked an artist bent over his computer screen where Ned Standish*, normally two cubicles over, happened to be. The artist said:
Ned? They let him go. He was the only one around here who didn't edit himself, who said what he thought. Everybody else watches what comes out of his pie hole. When we work unpaid overtime, we keep our mouths shut. When something pisses us off, we keep our mouths shut. We like to keep being employed, so we go along with the program, whether it's shitty or not. And lots of times it's shitty."
"But Ned never edited himself. He always pushed back. And we all liked that he did that, that he said what we were thinking, that he was kind of our mouth piece.
But we didn't do what he did. We censored ourselves. Censor ourselves. And Ned's been laid off, and we're still working.
Ned S.'s fate isn't startlingly new. I watched Brad Bird get drop-kicked out of Disney Feature Animation thirty-plus years ago because he was loud in his complaints about how the animation department was run. (Brad wasn't wrong, either. But the old farts in Disney management weren't about to listen to the toxic criticisms of a twenty-four-year-old punk kid, talented or not.)
Designer and background artist Walt Peregoy, always free and easy with an unvarnished opinion, was separated from service in the Disney background department after sterling service on a number of classic features. (You squawk and kick too much, they hold it against you. No matter who you are.)
So I wasn't super surprised to discover that Ned had gotten it in the neck, especially because he worked for a studio that specializes in intimidation and mind f*cking. Standish had been to the union office multiple times, bitching about tight schedules and management ineptitude. Apparently I wasn't the only one he's complained to because he'd been reprimanded by his producer, written up, and told to watch his step. He'd even been laid off briefly.
And now after a "probationary period" back at work, he was gone again. But he's a talented guy, despite his vocalizations, and I've no doubt he'll be at another studio soon. Because animation is like the other parts of Hollywood, and Jack Warner's diatribe still rings true:
"Never let that son of a bitch back in here ever again!
"Unless we need him."
If you have talent and skill sets that they require (remember Peregoy and Bird, people), then sooner or later they need you.
* Ned Standish is not the artist's real name. Like you wondered.
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27 comments:
I wonder what would happen if we all had Ned's balls and stood up for what's right?.
The studio owner, in charge of hiring and firing, just purchased a new glass top desk with the word "Love" written all over it in five or six different languages. Now, if they would only fix the ladies room toilet....
Har, har, har....Anonymous strikes again.
Um... great story, except I thought it was going to end with something about what the union is doing to help Ned.
Ok Anon, I'll bite. What would you have the union do to help Ned?
"worked for a studio that specializes in intimidation and mind f*cking. "
Oh, just say it: Disney.
(but really I suppose that could describe almost all of them)
I'd feel a bit sorrier for Walt Peregoy's plight if he didn't go around spreading lies about the boss.
We've all worked with people like Ned, and sometimes people like Ned deserve to get fired. Sometimes theres a group of know-it-alls at a studio who get all riled up over fighting the power, when in reality, they arent very good themselves, and if their ideas were implemented, the studio would really suck.
This isnt always the case, and I have no idea who Ned is. But there are two sides to every story.
Also, I dont think it's Disney. Disney's "owner" isnt in charge of hiring and firing. Sounds like a smaller studio.
"worked for a studio that specializes in intimidation and mind f*cking. "
Oh, just say it: Disney.
(but really I suppose that could describe almost all of them)
Not Disney.
I'd feel a bit sorrier for Walt Peregoy's plight if he didn't go around spreading lies about the boss.
Nobody needs to feel sorry for Walt Peregoy. Walt's fine.
Why is the name of the offending studio being protected?
To protect the anonymity of the person fired, I'm sure.
Yes, I the "owner" does own a much smaller studio.....much, much smaller studio.
I do believe that this blog was referring to very talented people who stirred the pot with justification. Then, were fired for standing up for what they believed in. All the while, people stood back in fear and with complacency (also justified. No one wants to be homeless).
I read no mention of any untalented people raising hell.
Fair enough
Ok Anon, I'll bite. What would you have the union do to help Ned?
I'm not that poster, but here's an idea:
How about putting some pressure on the "big" studios to get called on the BS practice3 of one-person "layoffs" that are obviously and provably "firings" that are simply a way to get around the UNION'S "two write ups plus final notice" rule?
I am confused by this story as well.
There are two elements to this... complaints by "Ned" about the studio being run poorly - that is indeed stuff where you either quit or put up with it. Whining about it won't change anything and will only make work more miserable for you. As you say, if you're good, they'll hire you right back.
However there is also the issue of unpaid overtime, which is a huge deal. I thought enforcement of the labor contract and state laws is one of the main reasons for having a union. They don't seem to keep their mouths shut about it if they tell you on walkthroughs, so how come there can't be any action?
On a regular basis, I receive complaints re uncomped overtime. On a regular basis, I get told the individuals involved don't want to "rock the boat," and so they don't want grievances filed.
Just a couple of weeks ago, an employee who resigned after a write-up wanted to file a grievance for unpaid o.t. (Nothing to lose, right?)
Problem was, he performed the o.t. at home and had no way of proving the overtime -- or amount thereof -- in an arbitration. (We filed a Step One grievance anyway, but ultimately withdrew it. No evidence, no remedy.)
Damn, that's as aggravating as 80% of folks not sending in the wage survey.
March to the Bottom indeed.
Please dont read this as snarky-- an honest question: How would one prove unpaid overtime done in house, if it is after hours and most people have - theoretically - gone home? There's not a time card to punch at any of the studios...
I'm just throwing this out there, and I assume most artists would balk at the notion, but could a punch-style time clock actually help with the out-of-control unpaid overtime problem?
Many studios have an electronic pass-card system for their parking. This has been used in some cases to show when someone was entering and leaving the studio property. If you ever send emails after hours from the company internet connection, these are always saved and could be used to show a pattern of late nights and/or weekend work.
And if you're working unpaid and anyone else is there, you have witnesses.
I don't think the pass-card system will be 100 percent perfect. What happens when you forgot your pass at home when you get to work? What about when you leave it at your desk over night when you go home?
Also, if a company is using the pass-card method of keeping track of people's clock in times, I think a whole lot of people are going to be late to normal work hours.
Unless the company officially states that it doesn't matter when you show up, just do your 8 hours a day.
However, I'd take the pass-card set up over punching in a time clock any day. ;-)
Also, if a company is using the pass-card method of keeping track of people's clock in times, I think a whole lot of people are going to be late to normal work hours.
I think the abouve commenter is exactly right in this statement... but:
Unless the company officially states that it doesn't matter when you show up, just do your 8 hours a day.
I think, in a perfect world, this would be the ideal situation, (artists aren't customarily early risers) and a pass-card system used in this manner would cut down significantly on unpaid overtime.
Steve? Thoughts?
The last two comments misunderstood my point about electronic card key systems. My point was that someone who wants to establish that they've been putting in long, unpaid hours at their studio might be able to use the electronic card key data to prove their point. This has been done before. If you work at a studio where you have to use a card key to get into the parking structure or the building, you have documentation of when you're coming and going. It's an option in making a case.
It's a separate issue about whether we want to make this part of the union contract. I think the studios would refuse to do it, for exactly the reason that it would take away their fig leaf excuse that they can't pay overtime that they don't officially know about.
It's a separate issue about whether we want to make this part of the union contract. I think the studios would refuse to do it, for exactly the reason that it would take away their fig leaf excuse that they can't pay overtime that they don't officially know about.
I think that's the perfect reason to pursue it, even if it doesn't ultimately pan out.
It's called a JOB. And your thanks is a paycheck at the end of the week. Employers don't pay jerkoffs like "ned standish" to complain about how they run THEIR BUSINESS. He should shut up and do his job, and it he's not happy, quit (looks like they helped him with the latter).
It's not about "censoring" yourself or anyone.
It's called a JOB.
I've been in situations where I knew that the production manager was incompetent, and I kept my mouth shut because it was a JOB (thanks for the all-caps, obvious-man). The result was the project was a mess, the results were bad, and the crew got laid off. Not the production manager, just the crew. Other production people were angry at the crew for not keeping the production manager from screwing things up, but while it was happening, their doors were closed.
Animation is a collaborative business, and it requires openness and communication. Often, the people who are running things don't have the first clue what they're doing. It's tough doing a good job while the bosses are constantly fucking things up, and then being angry at you because they've created impossible schedules. And it's tough trying to teach incompetent production people how to do their jobs while also not threatening their fragile egos and sense of authority.
Many studios have an electronic pass-card system for their parking. This has been used in some cases to show when someone was entering and leaving the studio property. If you ever send emails after hours from the company internet connection, these are always saved and could be used to show a pattern of late nights and/or weekend work.
BONELESS PORK CHOP RECIPES
I have nothing to lose, so I'll say I worked at this company in San Diego ::coughLegend3Dcough::.
They had a pass-card system. They have EVERYTHING in there tracked. The moment you walk in, take a break, or leave. Hell, even when you take a restroom break - NO JOKE!
When you get reviewed, they hand you a PRINT OUT of ALL your PC activity, as well as movement within the building. If ANYTHING seems suspicious, they will ask you what you were doing! Goodness forbid you have to take/make a cell call! Worse, they'll do it "panel style" with the CEO, VP, 2 Supervisors, or so -- to make it as freaking uncomfortable and intimidating as they possibly can. They're always telling everyone they are "on the verge" of being fired, but will get an "extra chance to buck up."
When you turn your PC on, if you attach ANYTHING to the PC (goodness forbid to charge your phone and/or listen to music), send mail, surf the web during a render, whatever -- EVERY keystroke is logged. The IT guy will personally come to your desk the MOMENT you're not rotoscoping every second, and ask you what the hell is going on. It's very Orwellian, in every sense of the book "1984."
We were ALWAYS asked to do overtime, and the pay was a miserable $18.26 per hour on summer tent-pole films (Alice in Wonderland, Pirates 4...)! They just siphon new hires from the Art Institute in San Diego, and those kids are all too happy to have a job. They just don't realize how badly they are being used.
Working from 8 am to midnight (or later), working on weekends, and being asked directly by management - VP Susan Olney (http://www.linkedin.com/pub/susan-olney/5/728/4b7) - NOT to put down overtime past a few hours per week, max. unless it was "previously authorized." Of course, they never did authorize it.
Eventually, I got tired, then exhausted, then felt genuinely sick; before my benefits had NOT kicked in at the time. Doctors are expensive, unless you have the time to drive into Mexico - which admittedly I did, as I could not afford an American doctor visit nor the Rx on a Legend3D peon wage. I started to place my full overtime hours on my TIME SHEET - not the pass-key!, and within the next pay cycle - I was let go. It was NOT because I wasn't doing good work, meeting quotas, etc., but because I complained about the abuse and the sh***y proprietary software throwing us behind schedule EVERY DAY.
Eventually, other people in the various groups stood up to this, and they were all let go too. So, now they just hire the undergraduates with no experience, and when they smarten up, they let them go. Some people remained, but they're willing to eat sh*t, smile, and then ask for more, please.
The churn is exceedingly high. The CEO Barry Sandrew is a total megalomaniac with a poor attitude, and even poorer social skills to boot. His ego will suck the air out of a building. He cannot take criticism, even when warranted - and simply fires those who rock the boat at all, stand up to him, or put down overtime.
We were working over 80+ hours doing demos for studio 3D conversions. High-end stuff on proprietary software, that was still being reconfigured on an hourly or daily basis from INDIA - which would ALWAYS screw up the work we had done up to that point. You were screwed if you tried to explain the software wasn't working, b/c it was Barry's baby - and he cannot take critique AT ALL. So, we'd work longer hours to FIX things screwed up by the software, but were never compensated. He's one of those slow-burn types that just explodes.
He possesses an inability to remember events as they happened, as most with big egos and bank accounts do, and any attempt to show a journal or backup - it doesn't matter. He's right, you're wrong.
Then Barry goes and hires his son, Jared: nepotism in Hollywood is far from dead(!), after he did a stint at SPI for the conversion on "G-Force"; no doubt bringing proprietary information for his father to use. SPI might want to look at that...
All those there during Legend3D's growth, gone...except for the CEO, CFO, VP, President, and one supervisor for the conversion artists whom worked just as hard as anyone else.
No doubt the money they have made has gone to better equipment, but I doubt the pay is much better, even overtime, and I further doubt the culture of fear-mongering in these desperate times is any better. If anything, I'm sure it's just as bad, if not worse.
Meanwhile, all those in the top positions, just surf the web like Barry (yes, we CAN see him doing it plainly through his glass office), go to mani/pedi like Susan, and the rest - feudal peons.
Before you think me a new graduate, (cont'd)
I walked into Legend3D with over 10 years' of experience, and accolades from NATAS, among others. Am I bitter? Absolutely. Will they care? No. Will they listen? No. Why do you think Barry chose San Diego? He may be a total jerk, but he's not stupid, even if he is as socially inept as someone with Asperger Syndrome.
Good luck at Legend3D!
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