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For questions, don’t hesitate to reach out at [email protected]. Graphics: Phoebe Pang (@phoebepang321) | Point Person: Gaby de la Cruz (@gabmaybe), Ashley Whang (@whangashley) | Communications: Benjamin Arnold (@benarnoldart), Sarah Liu (@a.zuii) This interview was conducted in March 2021.  Meet our friend, Catherine Chen! She is a Chinese-American filmmaker, writer, and board artist. Learn about her Student Academy Award Semi-Finalist of a film, “Yuan Yuan and the Hollow Dragon”, and how she writes a TV pilot. Thanks for walking us through your work, Catherine! Visit her at @catherinechen.tv and say hello! And if you’re looking for the full video for her script outline walkthrough, head over to Catherine’s Instagram! First off, tell us about yourself! My name is Catherine Chen, and I’m a filmmaker from Florida. I just finished directing “Yuan Yuan and the Hollow Monster”, a film about a girl, her pet turtle, and the hurricane. It recently became a Student Academy Award Semi-finalist and won awards at major film festivals. I’m going to walk you through the making of our film! What were the most difficult parts of making “Yuan Yuan and the Hollow Monster”? Storyboarding and writing this film were most difficult! My editor was very patient and stayed with me through so many revisions.
Now that you’ve wrapped on “Yuan Yuan and the Hollow Monster”, what’s your next project? I’m still searching! Right now, I’ve written some original pilots, and made some storyboards. Brainstorming that next film, and hope to make it soon!  To stay up to date and check out my other work, follow me on Instagram at @catherinechen.tv.
Watch the award-winning “Yuan Yuan and the Hollow Monster” on YouTube. And, take a listen to the brilliant work of her composers, Aki Cao and Emiliano Mazzenga, whose score made this film come alive! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team   WORKSHOP REGISTRATION: bit.ly/AIA-Workshops
For questions, don’t hesitate to reach out at [email protected]. Graphics: Phoebe Pang (@phoebepang321) | Point Person: Gaby de la Cruz (@gabmaybe), Ashley Whang (@whangashley) This interview was conducted in April 2021.  Meet our friend, Princess Bizares! She’s a background artist by day and a book illustrator by night! Keep reading to go behind the scenes of Bahay Kubo, a Filipino folk song and, now, an illustrated bilingual children’s book! Thank you Princess for walking us through your work! We’re so excited for your book. 💗 Say hi to Princess over at @ambitiousfish on Instagram! First off, tell us about yourself! Kamusta! My name is Princess Bizares and I’m a painter/illustrator born in the Philippines and raised in SoCal. I work in TV animation and most recently finished illustrating a children’s book featuring “Bahay Kubo”, a Filipino folk song written by Felipe Padilla de Leon, about a nipa hut and the vegetables that grow around it. What did the process of creating your book Bahay Kubo look like? Shift through the slides for all steps to Princess's process: Check out her finished book at: tinyurl.com/BahayKuboBook! And, stay updated with the rest of her work via her website: ambitiousfish.com! Writers: Jordan (@deadswampsofsadness)  We sat down with Arthur Fong, the Production Designer of Sony Animation’s Wish Dragon, on Netflix! We got an inside look into the crew’s research and design process, including peeks at concept art and philosophies that brought Din, Long, and their world to life. The crew worked incredibly hard in depicting a detailed Shanghai across multiple class groups, and the meticulous craft definitely shows. A big thank you to @ahsuh and our other friends at Sony for helping us with this post — we couldn’t have done it without you!! 🐉❤️ What is the role of a production designer? As a production designer, Arthur is in charge of all the visual aspects of the film and works as the director’s second in command. A large part of his job is translating the director’s vision into 2D visuals. This involves:
How do you use production design to evoke emotion? Wish Dragon centers on Din, a working class boy in Shanghai, trying to reconnect with his old friend, Li na. Knowing there would be themes of wealth, status, and humanity, Arthur knew distinctive visuals, such as Din riding his moped near a glamorous billboard, would need to comprise the film. The shikumen, for example, are almost always overshadowed by Shanghai’s towering skyscrapers that are always visible but too far off in the distance to reach. What was it like building a modern Asian world? “It was incredible.” In other animated features, we;ve seen cities like San Francisco, LA, and New York portrayed in animated format, but for Arthurm, this was a cool opportunity to explore and design a modern Shanghai. When filmmakers think of China, they often think of temples or emperors’ fortresses. There’s a history in these things, but people forget that there is history in modern day China as well. How did the team research Shanghai? The initial team , including Arthur, director Chris Appelhans, producer Aron Warner, executive producer Sophie Xiao, and head of story Rad Sechrist, visited Shanghai for a quick research trip. As the city is rapidly growing, they wanted to capture things, like the shikumen, that would disappear from the urban landscape. “It’s crazy to think in five years the places that existed in movies will be gone,” Arthur reminisces. “There are people living there and they relocate them, but you don’t know if your neighbor will still be your neighbor. You and your best friend might be separated in different locations.” How does Wish Dragon appeal to a global audience? Arthur and Chris were able to trust that the Chinese creatives would put their own experiences and details they cared about into this film. By allowing the leadership to be Asian, it was not necessary to do extensive research, because to them, it’s all intuitive. “They grew up with all this stuff,” says Arthur. What was your favorite scene to work on? “The demolished shikumen,” Arthur answered almost immediately. The setting allowed the artists to capture a changing Shanghai while also serving an important turning point in the story.
How do you take a project from script to screen? To capture a lively world with characters, Wish Dragon’s creative process was a collaborative effort among all the departments. According to Arthur, the director, Chris, asked everyone about their opinion on the authenticity of all the designs. For Wish Dragon, Arthur feels it’s important that you see a lot of yourself in a project you’re working on. The team referenced their favorite characters or sets in pieces of media they’re fond of. What does it mean to bring authenticity to Asian projects? For Arthur, Wish Dragon came as a surprise; this wasn’t a mythological hero fighting demons or another incarnation of Monkey King, but rather a modern teenager with modern problems. On writing a good culturally specific story, he advises that creatives listen and avoid gimmicky premises: “Don’t make a movie because you see what sells. You need a space to let your characters be real; as a director or writer, can you see yourself in this film and in these characters?”
Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
This interview was conducted in October 2021.  We are so excited to peek into the world of Sabine Belofsky and her journey from the Philippines to Pixar. Keep reading about her career path, thoughts on representation, where she plans on taking our industry, and some tips for you as you traverse through animation. A BIG thank you to @sabinebelofsky for chatting with us and for providing all the beautiful art! We are so lucky to have gotten the chance to speak with you and can’t wait to see what you do. So, first off, tell us about yourself!
Hello, I’m Sabine Belofsky, I’m an illustrator and concept artist born and raised in the Philippines and now based in Oakland, California. Currently I work at Steel Wool Studios making fun video games, in the past I have also briefly worked in film and freelance illustration. I enjoy chasing fun projects and am always excited to see what’s next! What did your journey starting out in the industry look like? I always loved to draw and was always on YouTube looking for art tutorials and often caught drawing in class. As soon as I found out that there were jobs where you could draw for a living making games and movies, I knew that’s exactly what I wanted to do! Luckily, my parents were supportive in my decision to become an artist and I’m incredibly grateful for their support. In 2016, I moved to the US to attend art school in California and chased every opportunity possible while I was there— I took classes outside of my college courses, volunteered at events just to get experience, and applied to anything that interested me despite many rejections. One of the opportunities I was lucky enough to be a part of was the Women in Animation Mentorship program— it helped me grow both as an artist and as a person learning from all these amazing women. It opened doors to future opportunities like my internship at Pixar in 2019 and other freelance jobs. Towards the end of my time in college, I got the opportunity to work at Steel Wool Studios as a concept artist where I work today alongside some amazing people, quite literally living my childhood dream! What obstacles did you experience in moving from the Philippines to the US? One of the challenges for me, especially when I first moved to the US, was establishing a sense of home. I’m very white passing— so growing up in the Philippines I was always assumed to be a tourist/foreigner by others. I had a hard time feeling at home because of it, especially as a kid that didn’t look like the rest of my family— it’s a strange feeling to have always been seen as a foreigner in your home country. However, in the US I was automatically assumed to be American. I “blended in'' yet I was experiencing culture shock and struggling trying to live on my own for the first time in a new country. Despite not feeling the most at home in the Philippines, it was my only source of familiarity in a new place— I only realized and appreciated that after I moved and now I wish I had stood up for myself and my identity while I was still there. Though I’m still refining that sense of home for myself today, I now consider both places to be home for me. Why do you think BIPOC representation should be prioritized in media today? People who are mixed are often caught in between worlds and even sometimes questioned when sharing their heritage. Representation in the media often validates a feeling and identity, so seeing yourself in media gives you a sense of belonging like you or anyone like you could be part of any story without feeling out of place. People with mixed heritage and ethnicity are often invalidated and questioned about their experiences, representation can not only help normalize the experiences of mixed people but can also teach others about them too. Entertainment is meant for everyone, and so everyone should be able to see themselves represented in the things they watch and play. How do you feel about the current state of BIPOC representation in the industry? I’m very happy to see inclusivity playing a more important part in animation. It’s not perfect by any means, but progress takes time and it’s great to see the effort being put into making it better. I feel that we need more POC in leadership roles and more original stories written for POC instead of recasting old stories that weren’t originally written for POC in mind. Despite slow progress, the change is already exciting to see and I’m hopeful for the future of animation. Any parting words of advice for our readers? If I could do anything differently, I would have been a lot kinder to myself. I struggled a lot mentally because of how much pressure I placed on myself throughout this journey. Especially during school, I used my anxiety as a motivator and it led to a lot of harmful habits that I’m still unlearning today. Be kind to yourself and take care of your body, that way you can keep making art for a long time! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team This interview was conducted in December 2021.  Meet Justin Bruce Lee, an Associate Story Artist at Lucasfilm, who just finished and released his short film “First Born”. Keep scrolling for martial arts action, the story behind the story, and meet the incredible crew! The team had a MASSIVELY successful festival run (and not to forget, plenty of awards and recognitions!) and we are so excited that the short is finally available to watch online! CONGRATULATIONS to the team and thanks to Justin for the incredible behind the scenes look. To watch the full short, head over to JAeD House Production on YouTube 💥🥋 First off, tell us about yourself! Hi! I’m Justin Bruce Lee (he/him) and I’m an Associate Story Artist at Lucasfilm Animation. Through school, I recently finished directing an animated short film called “First Born.” What inspired you to make your short film “First Born”? I grew up loving kung fu because of my dad. In the beginning, my dad was training me in the basics of kung fu. Then, he introduced me to his old kung fu school called Yau Kung Moon that is located in San Francisco Chinatown. From that day forward, I was training since I was 13 with my instructor, Richard Ow, and participated in kung fu tournaments, which led to the inspiration of “First Born” from my side of the story. I’m excited and proud that “First Born” has been getting accepted and received awards from over 50 film festivals. I’m going to walk you through the making of our film!  That’s Justin and his dad, who is also a story artist/director! What is the story of “First Born”? The story revolves around Arthur, a young boy with a passion for kung fu. However, his younger sister, Aurora, has a natural talent for the sport. As a result, she received most, if not all the praise from their father. In an attempt to prove his worthiness, Arthur must put on a near perfect performance at the upcoming competition. What did the early process of writing the story look like? It all started with me and my co-writer, Aerik Bertulfo, creating a screenplay inspired by both of our life experiences. Aerik: As the first born child, I felt that there were a lot of expectations placed on me to be the most successful in school or academics. But growing up, I was never the top student in any field. When my younger sister told our grandparents that she was the top of her math class and her dance team was winning a lot of competitions, they were very impressed and excited. Hearing them congratulate her hurt, but I didn’t really mind. My mom saw my disheartened expression and, in an attempt to cheer me up, said, “Oh Aerik, it’s okay if you’re not first place.” I know she meant goodwill, but that phrase really sunk my heart a bit. I felt that I didn’t live up to those expectations since I didn’t rise to the level my sister was at. After telling Justin this story, he felt that we could use the emotions of that moment for our short film. So by combining his kung fu background and my family story, it ultimately led to the creation of “First Born”! Who was responsible for the art direction for your film? David Diba, our art director, collaborated with our vis dev team and created all the backgrounds for our film. David had to make 3D sets for our film to execute the 3D camera moving shots and to lower the cost of time for backgrounds! He also did all the compositing!  Then it went to Aerik, who oversaw the animation, cleanup, and color phase!  Lastly, who took care of the film’s soundtrack?
Our composer, Arnie Sainz Co, was able to make our film complete by composing the whole music score. To finish off the film, I had my friends Samantha & Ezekiel aka Just Two create an original song to end our film! I’m so grateful for all the hard work from the “First Born” team and the short that we produced! Everyone was so fundamental to make the film what it is now! Thank you so much for reading and hope you can help support our film when it releases to the public this year! YouTube: JAeD House Production Facebook: @firstborn.jaedhouse Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team  Congratulations graduating seniors!! Whether you're feeling relieved, lost, or excited about your next steps, don't fret because our friend Thalia Nalapraya (Production Coordinator, Netflix Animation Studios, @cosmo.compass) has got some advice for you. Big thank you to Thalia for sharing her thoughts in this Q&A! Read on for insights about graduation, dealing with rejection, and networking. What was your inspiration to enter the animation industry? I’ve always loved animation since I was little. When we had cable, I would spend my days watching Cartoon Network, Nickelodeon, and AXN (the Asian action channel that had any sort of anime). Oh, and re-watching all my Disney VHS tapes too. When I got older I thought I would be making comics, but in college I discovered there are career opportunities in animation studios— since then, I couldn’t stand the idea of not working in animation. Is there anything that you wish you knew before you graduated? Don’t give up on your dreams. It’s ok to get rejected. You just have to keep trying. And don’t be afraid to bother people for coffee. What kept you motivated during your job hunting phase, and how did you deal with rejections? I actually did give up for a little while, when I got rejected by several interviews as a Nicktern. I took on other jobs that were still somewhat with the industry. It was really fun and fulfilling, but after a while talking to production and creatives I decided to give it another try— so I put it out there to my circle that I was looking for a PA gig. I started reaching out to friends for visits and studio tours, ran into more old friends and chatted to see what it was like to work on a show. Eventually someone remembered I was looking and asked if I would be interested in applying. Did you ever have doubts about your career choice? If so, how did you deal with it? All the time! But I always told myself there’s a reason why I’m here in this spot now. Everyone is on their own journey and we must never be hard on ourselves for taking our time with things and that it’s ok to feel like you failed, because everyone goes through it. Don’t give up, stay motivated, what matters now is what you’re going to do about it next. What would you advise someone who’s unsure which career path to pursue when they’re passionate about several roles? Try talking to people in those roles and ask them what it’s like, what are the prerequisite skills if any. If you’re still stuck, try picking one and give it your absolute best! You’ll find out if it’s for you or not. If you get hired, ask your company if they’re open to you switching roles in the future. I’ve met a lot of people who talked about how they found out later they were passionate for another role. Talk to editors, technical directors, artist managers, previs or layout, etc. How do you keep yourself motivated in such a tough and competitive industry? And, do you have any tips for keeping self esteem high? Have more fun! A lot of time we get worried about how tough and competitive the industry is and it’s going to get you down. When I was a newcomer I always made sure to stay professional (which yes, do that!) but if you loosen up a little and have fun with it, I think you’ll find it keeps you happy and motivated. I spent a lot of years being hard on myself and worried a lot — it lowered my confidence. It wasn’t until I changed my mindset I felt like I could talk to people, pursue opportunities, and have new ideas. Most importantly, surround yourself with people who will lift you up and cheer you on. Those are great friends to have! Do you have any tips on networking and making solid connections in the industry? For most people, networking can be a gross word. I totally get it. When I talk to people with the idea of needing something from them, I feel guilty and awful. So instead I try to see it as making new friends. I always do my best to get to know the other person and more often that person is really open to sharing their knowledge about their role. By the end of it, if you feel like they’re vibing with you, you can ask if they’re ok with you contacting them for any questions about their role. And don’t forget to check in or follow up (I’m really bad at that!) Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
 CALL FOR MENTOR APPLICATIONS! We’re seeking experienced and enthusiastic mentors to guide emerging talent in our AIA 2024 Animation Industry Immersive Lab!
This inaugural production program is an intensive week designed to equip emerging Asian animation talent with the skills and experience needed to thrive in the professional animation industry. Share your expertise, provide hands-on production experience, and collaborate with fellow professionals while helping produce a polished 2D animated short film. Expand your network and make a significant impact on the next generation of animators! Production Program runs July 13th-21st App Deadline: May 27th by 11:59pm PT Please submit apps to [email protected] Special thanks to the volunteers who worked on this post: Katrina Aruta, Gaby de la Cruz, Ashley Whang, Domi Watkins, Sarah Liu Special thanks to the volunteers who worked on this post: Artists: May (kutitapdesign) | Graphics: Katrina | Point Person: Gaby, Ashley  The team at AnimAsians was heartbroken to hear the news that the South Asian fantasy series Boons and Curses wouldn't be moving forward at Netflix Animation Studios. We sat down with some of the writers and artists on the show for an inside look at what made this project so special, especially for South Asians in the industry. Tell us about the show and its original concept. Set in the South Asian inspired land of Maya, Boons and Curses follows a young girl, Rani, and cursed warrior-made-of-ghee, Baan, who must work together against the villainous Raj. This was a purely authentic South Asian animated series, not only on screen, but behind the scenes— cast, crew, and writers. It also was giving a first chance at joining industries for a lot of new voices. It had South Asian characters not just for the comedic relief, but as heroes! Unfortunately the show was canceled by Netflix Animation in April of 2022. Who were the crew involved in developing Boons and Curses?
What about this project made it stand out even from its early stages? Meena: We got the opportunity to show our culture has its own deep history and lore. With the model minority stereotype, you don’t often see South Asians as loud, impulsive, and adventurous. Our protagonist Rani was just that— she was grappling with growing up, but also bold enough to fail every episode. Shaina: I didn’t ever feel like we had to “play it safe” with our characters or storylines. We were given space to tell stories about dealing with your period as a South Asian girl who’s also trying to save the world, and even weaving in intergenerational trauma from a South Asian perspective. Nabi: I grew up watching and adoring Avatar: The Last Airbender but wanted something distinctively South Asian like it— Boons fulfilled my expectations and went above and beyond. I think it would be very special for South Asian kids to see themselves represented on screen like I wanted to see myself authentically represented in the shows I adored as a kid. How has being South Asian affected your work and how you navigate the industry? Nabi: People would hire me to freelance for a couple of weeks on their South Asian-themed projects (staffed largely by…well… white artists) and then let me go after I was done giving them the visuals they needed. I’ve walked into offices with my art pinned up on their walls as inspiration—yet they were hesitant to offer me a full-time job, or they’d be a little upset at how my designs didn’t fit into their version of what South Asians should look like. I particularly get asked a lot to lighten characters’ skin tones without any explanation as to why. I’m from Tamil Nadu and I can tell you, folks there do not look like the Bollywood models that exist in peoples’ fantasies! After a while of yearning for it and seeing it nowhere, I honestly just tried to find it on my own by burying myself in research about local folklore, particularly from southern India, and I made (and still make) a LOTTTT of original characters. What’s a highlight you can recall from the writer’s room on Boons and Curses? Shaina: We were breaking an episode where our protagonist Rani meets a “cooler older sister” persona, and Meena was like “What if Rani is on her period?” It added a whole new dimension, and I was fortunate enough to be able to write it. In order to make sure we were doing this topic justice, I led a Period Power Hour anyone in the crew could attend, and those who had experience dealing with periods were encouraged to share. It was a really powerful session, and so many people helped shape the episode. Meena: It was just liberating to have a dedicated time to talk about this in a room full of those who had similar experiences. It was something I wished I had when I got my first period. Whether we were hashing out plot or punching up dialogue, there was a sense that we were all there to protect our characters and make sure the representation felt authentic. More than that— telling inclusive stories can often mean putting a lot of yourself onto the page. What do you hope will happen next in this industry, and how can we work towards more and better representation? Shaina: We have to be unafraid of taking risks, and we need to be bold and strive for creating work that broadcasts perspectives that haven’t been seen before. Meena: We have to acknowledge that this isn’t a one show battle. Just because our show didn’t reach the next stage, we need to keep making space for other inclusive shows to have this opportunity. Successful representation requires Hollywood and our communities to invest in our stories for the long term. In what ways did Boons bring authenticity for South Asian culture? They hired as many South Asians in the industry as they could. Jay’s experience as an Indian-American also shone through in the way he led the project, and he and Jake were also committed to keep showcasing more authenticity by encouraging all of us to bring our own experiences to the table if we wanted to. South Asia isn’t made up of one group of people or culture— so the more perspectives, the merrier! It felt true to how we mix and mingle as the diaspora here. From a work environment standpoint, what was the culture of the project & crew like? We all exchanged helpful advice in a healthy environment, so I never felt too anxious to make friendly suggestions. Our more experienced crew members weren’t afraid to actually train us— Drake, our art director, and Tapan, our lead character designer, pushed our art to new levels and helped us keep our unique touches while still aligning with the show style. Most importantly, it felt like I was working with a bunch of friends. What does the project, and loss mean to you personally? It was like losing something precious I had helped make with this big, vibrant family. I think what I miss the most is being around my friends who creatively inspired me every single day. And it felt as if we as South Asians were being told our ideas won’t do well or are too big of a risk. How does Boons and Curses appeal to a wide audience? South Asia is the second-most populous region of the world, and besides that, we made sure the central themes of the story were things anyone could relate to, and we had characters of all ages and body types; there were hairy characters, disabled characters, characters of various complexions, queer characters, etc. We wanted to make sure anyone could see themselves in the Boons world.
Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
This interview was conducted in September 2022.  Alex Myung (@alexmyung) walks us through the production of his award-winning short film, “Arrival”! Alex, we're so glad you got to share this story with the world! So, first off, tell us little about yourself and what you do! Hi! I’m Alex Myung (he/him), a filmmaker working in the animation industry in LA! I directed “Arrival”; a short film about a young man struggling to come out to his mother and how it affects his relationship. “Arrival” has been shown in 20+ international festivals and viewed by over 4 million people on YouTube since it debuted in 2016! The film took over 3 years to complete and I’ve had a lot of time to reflect on it. What were some of the first steps you took in the process of making “Arrival”? I first set out to make sure that the story was given the most care and attention and that meant having someone to bounce ideas off of. My producer, Amy Benaroya, was incredibly important to that process. When a project is this personal, it’s easy to want to micromanage everything but she challenged story flaws and it’s better because of her. She kept me organized while also opening me up to new ideas. After we locked the writing/storyboards, I worked on backgrounds and the animation while we had the music composed. On larger productions, it’s hard to change things after you hit specific milestones, but we were able to keep it a very organic process since we weren’t beholden to a specific schedule. What did the process of working with a composer look like? Upright T-Rex of ‘Two Dots’ fame created the 13-piece sweeping original score essential to giving the characters voices in a dialogue-less movie. They started with rough compositions based on the animatic. We met near-weekly at the height of the production to identify areas where we could finesse timing and emotion. I also made sure I was flexible, letting them explore moods/sounds I couldn’t have imagined on my own. Now, at the final stretch of production, what were those last few steps you had to take? The final stages were a lot of tweaking and rewatching. I’ve probably seen this film hundreds of times and could re-board it shot by shot from memory. (Thanks to Shelley Low (@sheliloquy) for helping me ink this scene!)  After wrapping the film, what were you hoping your key takeaways would be from the experience?
I went into the process hoping for growth; I had experienced a particularly devastating breakup at the time, so this was my version of dying my hair blonde (haha). I wanted to heal and find closure in something that felt unresolved. I wanted to transcend that moment in my life. I like to think I achieved that goal. I learned where I excel and where there’s still room for improvement. That’s what makes filmmaking really exciting to me; knowing I’ll come out a different person on the other side. Animation takes time and can be really frustrating. My skills developed as I was working— I kept wanting to redo things because I was getting better. But when I think about it, that’s what makes it so beautiful. I get to watch “Arrival” and literally see how I improved over three years. It’s such a gift and I feel honored to have experienced making this film. Stay up to date with me at www.alexmyung.com and @alexmyung on IG! Check out the finished film “Arrival” on YouTube. Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team This interview was conducted in October 2022.  Meet Akshay Ravi, who has previously worked as a VFX Production Coordinator at Industrial Light & Magic and, as of 2024, currently works as a production coordinator at Blur Studios! Read on to learn about Akshay’s journey into the industry, the exciting (and difficult) parts of a production role, and some helpful advice for the future! So, first off, tell us a little bit about you and what you do!
My name is Akshay! I graduated from USC’s School of Cinematic Arts in 2020, where I got to double major in Media Arts and Practice, and Film and TV Production. I primarily focused on directing, producing, and editing in school, and while there, I fell in love with the act of helping foster the visions of people around me. Can you share with us a little about your journey starting out? In all honesty, I ended up in VFX by chance. I grew up in Illinois convinced, like every other Indian boy in my little suburb, that I wanted to go into engineering, law, or business— despite having spent my whole schooling excitedly pursuing roles in theater. It was a natural transition to pursue my real passion: storytelling. Production can be seen as a tedious role, dealing with all the logistics, but I found a lot of joy in building up the incredibly talented people around me, and when it came time to find a job, I not only found a lot of meaning in this, but I also felt that it was the best place for me to learn and grow as a storyteller. What makes a role in production unique from other roles in the pipeline? Production is amazing because you really get a deep insight into everything that goes into making a film or show. I work in VFX, and having been both a Production Assistant and a Production Coordinator, I’ve gotten the chance across both roles to interact with incredibly talented artists in various steps of the VFX pipeline. I also get a lot of high-level insight by working very closely with the Producers and VFX Supervisors on the shows I’ve been on. As someone whose first goal is to learn and grow as a storyteller, getting this kind of access is invaluable in understanding how to make content in an increasingly technology-oriented industry. What does a typical day as a production coordinator look like? Lots of meetings. JK. But seriously. As a Production Coordinator, I spend a lot of time chatting directly with my discipline supervisor, production, and the artists, and making sure that my department will be able to complete the work that we’ve been tasked. We have to be in accordance with the overall show schedule and with respect to client and internal priorities, as well as respond to client and internal needs as they arise. That might sound easy on paper (I thought so, at first), but the more you get into the show, the busier it gets. It’s like playing a game of Tetris, but instead of building blocks, it’s all the work needed to make sure my department delivers successfully on time, and that everything we need to do has been done. What are the most fun parts of your job? The best part of working in a VFX team is the camaraderie. In any creative space, you get very close with the people that you are in the trenches with, and it’s no different with VFX. Not only is the team that you work with just the most amazing people around, but you also just learn so much by being around people who are such experts in what they do. Some of the people I work with have been at this for decades, and getting to be in the same room as those people, learning what they have to offer, is just incredible. What is the most challenging part of your job? The most challenging part is definitely balancing out all the priorities that come our way. Coordinators are very hands-on with the department they work with and have to field questions from other departments, all sorts of meetings and correspondences, and everything to help keep the project on track, and it can definitely be challenging to find the balance and make sure that everything is being handled in the best way. What is an important lesson you learned early on in your career? I’m still early on in my career, and the lesson that I keep learning over and over again is that there’s always more to learn. First, I had to learn that when I’m overwhelmed, it’s okay to need to take a breath or slow down. Second, I learned just how important it is to just make sure to listen and pay attention— both for the sake of doing the job right (lol) and for the sake of just pure learning. This has lent itself to some of my biggest lessons on storytelling and the VFX process in my career. What advice would you give to someone aspiring to work in production? Be prepared to rise to the demands of the job, but remember that it’s a whole lot of fun. In production, you get to be in the epicenter of the whole process as an observer, and that’s not something you should take lightly; but the side effect of being in the epicenter is that people always ask you for things, and you have to brace yourself to be overwhelmed, and to not know things, and to accept growth— all of which are so okay. Most importantly: enjoy the ride! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team  by Ashley Wang
This interview was conducted in July 2023. Introduce yourself and tell us what you do, in AIA and your job! I am an artistic supervisor for the Creative Team in AIA. I’m responsible for reviewing work, designing mood boards, and organizing the color palettes for illustration. As a supervisor, I’ve also created the background style guide for our team. I’ve also continued my passion for mentorship from college through organized mentorship events with AIA. Outside of AIA, I work as a Game Artist at a small game studio specializing in illustration slicing. I also do a little bit of marketing, advertising, video editing, animation using a program called Spine 2D, background art, and some character and weapon concepts. I have a minor in computer science, which also helped my current responsibilities. Share a little bit about your journey. How did you get to where you are? I applied to the University of Michigan to learn 3D animation because I was inspired by Raj Brueggemann, an alumnus who’s now at Disney! However, I realized that more than 3D animation, I enjoyed painting backgrounds and designing character concepts. As I was preparing to break into animation, the pandemic hit. It was rough, but then a friend told me about an opportunity at a small game studio. He knew that I could paint and draw, so he told me those skills would easily translate to game art. Since I joined a smaller studio, there were many opportunities to explore skills I was interested in. You could say that breaking into the games industry was a complete accident! Can you tell us more about working in games and grappling with changing your ambitions, working on things you didn't expect to? I stayed away from the video game industry throughout college because I didn’t feel like I was represented or belonged. However, I realized that you have the power to make space for yourself—your work is as valid and valuable as anyone else's regardless of background. As for changing ambitions, it's disheartening when you pin all your hopes and worth into one thing, but my journey has made me realize you are so much more than just one type of product or idea. I stay motivated by imagining what my future could look like because I have limitless possibilities in both fields. Combining experiences that are unique to you is a great opportunity to develop your own identity as an artist. What advice would you give to your past self?
What are you looking forward to in the future? I think it would be great to develop my skills in my gaming-animation niche and a unique voice and style as an artist. And, it’s kind of a pipe dream, but I think it would be so fun to work on a production at a different company outside of the USA—like in Japan, for example. Artists I follow on Twitter have worked outside of the USA, and they inspire me to one day be a part of different productions across countries. To learn more about Deeya’s work, visit www.deeyachaturvedi.com! Writers: Gaby (@gabmaybe) | Point Person: Gaby, AIA Team  🎉ANNOUNCING: The AIA 2024 Animation Industry Immersive Lab! 🎉 We’re excited to reveal our first-ever Production Program, an intensive and immersive week designed to equip emerging Asian animation talent with the skills and experience needed to thrive in the professional animation industry. Through a combination of hands-on workshops and industry production exposure, participants will gain a comprehensive understanding of the latest topics in the animation industry and how to sustain a creative career in an ever-evolving landscape. During this week-long intensive program, you will: 🎬 Produce a polished 2D animated short film from concept to completion 🎨 Gain hands-on animation production experience 💻 Collaborate virtually with industry experts and mentors 🤝 Expand your connections within the animation community This program is perfect for you if: ✅ You're an AIA member ✅ You have some experience making animated films ✅ You're excited to challenge yourself creatively with a team of collaborators 📅 SAVE THE DATE: Applications open May 6. Visit bit.ly/aia-immersivelab to learn more! Mark your calendars, spread the word, and level up your animation career with the AIA Immersive Lab! 🚀✨ Interested in learning more? See here for more information: https://www.asiansinanimation.org/production.html Special thanks to the volunteers who worked on this post: Katrina Aruta, Bianca Bancolita, Clair Huang, Kaitlyn Chen, Gaby de la Cruz, Ashley Whang, Saira Umar, Benjamin Arnold, Sarah Liu   Olivia Stark is one of the founders of Asians in Animation and the Current Series coordinator at Skydance Animation. Step into the world of Current Series to demystify this department, Olivia’s journey to animation, and some tips for YOU to hone your creative skills and break into the Current Series space. First off, tell us a little about what you do. Over here in Current Series, we oversee all series projects at the studio as they get greenlit and through production. Current Series is all about helping creators bring their projects to life and advocating for their creative vision. The beauty of working in Current Series is that it's different every day! Whether I am reading writing samples, reviewing episodic director portfolios, or planning table reads; there is never a dull moment! Current Series is a great department for those who would like an extensive overview of the entire animated series pipeline from development through production. You get to work with creatives across many different shows and departments! Similar to folks who work in Development, a large part of my job consists of reading scripts. However, unlike our amazing Development team, I am not reading to search for new potential projects, I'm reading to assess the writing skills of potential candidates to staff our writer's rooms for existing series projects. This requires me to know our projects very well and be able to read with our projects in mind. Some questions I ask myself when reading are: "Does the tone of this writer match the tone of our series?" "Does the theme of this writer's sample resonate with the theme of our project's story?" "Will this writer fulfill an aspect of the writer's room we are currently missing? (e.g. comedy, strong dialogue, heart)" If I really like someone, I can pass them along to my supervisor and our Executive Producers or Showrunners for the project. And if they like them too... we might hire them to write for us! Can you share with us a little about your journey entering the animation industry? It may surprise some to know, I did not study anything related to animation in school. In fact, my college degree is in Asian American Studies! I knew I wanted to work in animation since 2016, when I was a freshman at UCLA and saw the movie Moana. I was so moved by the film that I decided I wanted to be a part of making something like that! BUT... since I was in the College of Letters & Sciences, I was unable to declare a major in animation. It all worked out nonetheless! Fun fact: you can major in ANYTHING and have a career in animation! So just study whatever interests YOU! Being from a background outside of animation, how were you able to break into the industry? When I was searching for internships and PA roles in animation. I did my best to find people at the studios I wanted to work at and sent them cringey cold emails! A lot of these people I found through amazing events and panels put on by studio's outreach teams or organizations like WIA, Rise Up, LatinX in Animation, or our unbiased favorite: AnimAsians! It is important of course to not be rude or pushy, but you will find that there are a lot of friendly faces in this industry willing to give advice, lend a hand, or pass along a resume. What advice would you give to your younger self? 1) This is going to sound stupid but… watch a lot of TV! You've probably been scolded your whole life for watching too much TV. Well, if you want to work in a department like Current Series, it is important to have a good pulse on the industry. That means watching all the great animated shows and knowing the creators behind them. Who knows, maybe you'll wanna hire them someday! (or keep an eye on them for competition hehe) Goals is for your boss to be able to say, "This show is supposed to be Steven Universe meets Invincible meets Bob's Burgers meets Ted Lasso" and you're like "yup, got it! I know exactly the vibe!" 2) Be able to talk about the things you like! This may be self-explanatory, but it doesn't matter how much TV you've watched if you can't eloquently explain why you like it. Next time you're watching your favorite animated series or movie ask yourself these questions: What do I like about this? Why is it working? What changes might I suggest if I could give notes to the creator? Being able to put into words why you enjoy something is an important skill, and one you can practice whenever you want! 3) Take a chill pill. Now this is the advice I needed. I know you are all anxious to break into animation and we've all been there. The industry is not going anywhere and chances are if you follow this account and you're reading this, you're already doing everything right. Trust in the process you guys :) your time will come! And in the meantime...Keep watching those cartoons!! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
 Meet our friend, Joy Ngiaw, a Chinese-Malaysian film composer who is best known for her work on Disney Animation’s Jing Hua and Skydance Animation’s Blush. She also is the composer for the upcoming series on Apple TV+, The Search for WondLa. Check out her creative process and be sure to listen to her film/short scores and personal work! Can you walk us through your early creative process from when you are first given a story prompt by the director?
My approach to film scoring is that the story always comes first. I think about what inspired the director to create this film, and how the music can support the story and vision. I then establish a musical theme for the character. One that represents their personality, emotions, and inner journey. I usually play around with ideas on the piano. After establishing a musical idea, I go back to my work station and start composing in my music software, using virtual instruments and tools to create a computer generated musical mock up. How do you usually begin with recording the music for your scores? I love recording live musicians for my scores. It adds a human touch, and increases the emotion and realism of the piece. I will transcribe the music to a score format so the players could perform it. Recording sessions are where the magic happens, where the players will bring the music to life. I enjoy conducting the players, and working with the music team in the studio. What is your favorite part of composing for film? Composing for a film is such a fun and collaborative process, and sharing a connection and getting to know another human being is the most meaningful part of my job. I feel so grateful to be able to connect and be inspired by so many talented storytellers. Thanks for reading and stay up to date with Joy’s work at @joyngiaw on Instagram or on her website www.joyngiaw.com! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team MEET GEORGE SHAW: COMPOSER FOR THE DREAMWORKS ANIMATED SERIES, ABOMINABLE AND THE INVISIBLE CITY2/21/2024
 George Shaw is a Taiwanese-American composer who worked most recently on the DreamWorks animated series Abominable and the Invisible City, as well as Riot Games’ Lunar Revel cinematic trailer, Hop On. In our conversation with the film and games composer, George relays his musical journey scoring for these projects, how he gathers inspiration from doing research on traditional Chinese folk instruments and exploring his personal connection with Chinese culture. What was the most challenging part of scoring Abominable and the Invisible City? What was the most rewarding?
The biggest challenge was when I started scoring early episodes while simultaneously doing pre-production on later episodes. That meant having to crank out nearly 20 minutes of fully orchestrated music in an episode while also composing and producing all of Yi and Everest’s violin and humming performances to be animated too. The most rewarding was working with Stephanie Yu, the violinist who brings Yi’s violin playing to life. She is such a virtuoso on her instrument and also such a warm and joyful person to be around. The score in this show feels very authentic to Chinese music in comparison to many stereotypical sounds we are used to hearing. How do you bring authenticity into the scores of this show and what's your process like for determining instrumentation? With the story set in China and centering on mythical Chinese creatures, I used a variety of traditional Chinese folk instruments such as Yangqin (Chinese dulcimer), Erhu (Chinese violin), Pipa (Chinese lute), Guzheng (Chinese zither), Dizi (Chinese flute), Chinese drums, and even Chinese winds (Bawu and Hulusi that I performed myself), to give the creatures a sense of history and to highlight their fantastical and magical nature. We love the sound of traditional Chinese instruments such as Bawu (巴乌) and Hulusi (葫芦丝). When did you begin to explore Chinese instruments? Are there any traditional instruments that you haven't had the opportunity to write into your music, but that you'd like to? I started with a very western classical music background, starting with piano lessons and going on to play clarinet in orchestras. In college, I discovered traditional Chinese music through the soundtrack to Crouching Tiger, Hidden Dragon. There was a hauntingly beautiful sound in it that I didn’t recognize, and it inspired me to order a bawu off eBay, which is a Chinese wind instrument that sounds like a cross between a clarinet and a duduk. After college, I took two semesters of a Chinese music ensemble class. I think my love of Kung Fu movies is what drove me to learn about Chinese music because I always imagined I would one day compose for an epic martial arts fantasy movie. Fenghuang’s theme is very special and heartfelt to Abominable and the Invisible City. How did you come up with this score and what inspirations did you have? Fenghuang’s theme is heard in the first episode when we are introduced to the magical phoenix, with Yi trying to coax the shy creature out into the open. It’s a very sweet and timid moment, scored for solo violin, fragile strings, and delicate yangqin (Chinese dulcimer). It was one of the earliest scenes that I worked on and came out of the pentatonic scale, a simple 5-note scale that is often found in traditional Chinese music. When we reach the climax of the episode and Fenghuang springs into heroic action, I broadened the rhythm into soaring strings and horns, with swirling winds punctuated by heroic trumpet chords, and suddenly this delicate theme is transformed into a glorious moment. When growing up, how did you begin to embrace Asian-American culture? I honestly don’t think I truly embraced Asian-American culture until my twenties. I grew up in Houston, in a mostly white suburb, though there was still a small Asian American population. I often felt like I didn’t fit in, and most of what I experienced of Asian culture came from my parents and their friends, who were older and had immigrated from Taiwan. When I came across the Crouching Tiger, Hidden Dragon, that’s when I began to take an interest in the musical side of the culture. In addition to the Chinese music ensemble classes I took in my 20s. In my 30s, I had the opportunity to do some drumming gigs for Chinese lion and dragon dances during the Lunar New Year season. On the filmmaking side, I started going to Asian American film festivals soon after college, and I was finally able to find and relate to others who had grown up in a similar culture to me and were pursuing careers in entertainment. From your album “Mythical China”, we get to know that you are inspired by many Chinese mythology, legends, and fantasies. Any specific legend/movie/music that influences you the most? The legend of the Monkey King, Sun Wukong, is pretty well known. That was a fun track to write, and I even downloaded a trailer of an animated Monkey King film to help inspire my writing. For the rest of the tracks, I did a lot of research and reading to make a list of different legends. I then whittled that down to what I wanted to use as inspiration for each track. It was amazing to watch you performing with the team after the Abominable screening. Could you introduce us to your team and talk about how you collaborate with these talented people? It all begins with Stephanie Yu, who I wrote all the solo violin parts for and shot reference footage of to send to the animators. Alvin Wee did brilliant mixes of my score and also was the scoring mixer for Encanto. I had three additional music composers who helped out: Shaun Chen, Brandon Lau, and Scott Tang. There were many other musicians who contributed in smaller ways, bringing life to various moments of the score, but they were my main team that worked on the majority of the episodes. We are so excited for your work with Riot Games to commemorate the Lunar New Year! Could you share one fun or memorable experience you had while composing the scores for this trailer? It was interesting how Riot Games hired three composers for different aspects of their Lunar New Year campaign, and we were able to all give feedback on each other’s music as we progressed. I was assigned the cinematic trailer, and my buddy Nikhil Koparkar wrote a gorgeous main theme that I incorporated into the climax of the trailer. It was a joy to be given a broad and exciting canvas to write epic orchestral music combined with a wide palette of Asian instrumentation, to accompany the gorgeous animated visuals and the ever-expanding world that Riot Games has created. As the new year is approaching, we are all very excited. What is your favorite thing about the Lunar New Year? It used to be getting cash in red envelopes, until I became an adult and my relatives cut me off. Nowadays, it’s the excuse to get together with friends or family for a big feast of good Chinese food! What are your future plans and wishes for future Asian-American representation? I hope to see Asian Americans represented in all areas of society, as well as being supportive of each other. I’ve often made it a point to give opportunities to other Asian Americans on my team simply because no one did it for me when I was young. It was such a struggle because, back then, there was hardly any Asian representation in the film-scoring industry. Do you have any advice for Asian-Americans who are aspiring film composers? First, learn everything you can about the craft and the industry, there’s certainly no excuse given the vast number of resources available to everyone on the internet. Second, build a community of collaborators, from filmmakers, to musicians, to other creatives. No one becomes successful on their own, so it’s important to foster connections with others that you are starting out with. Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team  Joshua Kwan shared with us their experience breaking into animation and what they got to learn in their last role as Production Coordinator at Lucasfilm Animation Ltd. Congratulations to Joshua as they transition into their new role as a Coordinator on the Content Advisement team at the Walt Disney Studios with the RISE division (Representation, Inclusion Strategies, & Engagement). First off, can you tell us a bit about your past role at Lucasfilm, Animation, Ltd.?
I was most recently a Production Coordinator at Lucasfilm, Animation, Ltd. (LAL) in a galaxy far, far away. LAL is built to support multiple projects at once: for example, I worked on The Bad Batch series and Tales of the Jedi shorts simultaneously. You can catch both on Disney Plus as of October 2022! While I started as the assets production assistant, I was asked to step into the production coordinator role a year in, where I provided administrative and production support to two executive producers: the Vice President of Animation Production and the Supervising Director. My position was multifaceted and I wore many hats daily. The role allowed me to be involved in all stages of the production pipeline, with tasks like setting up our writer's conferences, helping take notes in script discussions, and supporting the Emmys submission process to name a few. Additionally, I got to shadow and learn in a variety of production meetings like record sessions, music reviews, full colors with our Executive Creative Director, and QC sessions in our review theater. I helped track all milestones and prepared a weekly update to our President in partnership with physical production. This dynamic role taught me how a show is made from a producer's, executive's, and creative's perspective. Can you share with us a little about your journey? In senior year of high school, I took an English course titled "Construction of the Self'' - and one of the units examined the origin of fairytales. I'll never forget reading different versions of Cinderella around the globe, and coming to recognize that the one most folks think of is Disney's 1950 animated classic. As I moved through college analyzing media and the power of storytelling, I realized that I did not want to just be a viewer or consumer- I wanted to be in the room with the folks making these creative decisions on stories that globally impact our culture and society. I graduated from a small liberal arts college (woo SLACs!) with a major in psychology & a minor in educational studies and women's & gender studies. After college, I did the Disney College Program in Anaheim and was assigned the Star Wars gift shop! In some ways it definitely felt like the Force guided me to Lucasfilm… What was your early career starting out in the industry like? It was difficult for me to find my start and pivot into the industry, but I stayed resilient in the journey. That's partly why I wanted to help create AIA, so others could have the community I wish I had at the start of my journey. I am forever grateful to the Universal Animation team who took a chance on me and gave me my first role. I was the sole PA supporting all departments on two Curious George feature films. Even though I knew I was ultimately interested in creative development, I started in production management to learn more about how our favorite animated content is made - I've learned from execs how important it is to understand how creative notes can affect morale and impact the production pipeline. You can have ideas but if you can't get it made, then what's the point? What advice would you give your younger self? #1 - Animation is for everyone! Everyone will have their own unique story and journey - do not compare yourself to others, it is the thief of joy! Your own unique skill set and perspective will set you apart (It was actually a pleasant surprise how many executives valued my psychology background! Producers can be like therapists at times for sure...) There are many niches within the industry that could be the perfect fit for you! #2 - Make friends! (even remotely) I met the 3 other AIA founders, Lexie, Olivia, and Brandon during shelter in place and we became friends remotely! My desire to connect with folks + bring people together helped create this community, organically! People in animation don't bite - and are very down to earth, fun, and helpful - Please pay it forward when you can too! It is so inspiring to see the Rise Up Animation community for example have such a great mentorship program and it was very rewarding for us founders to lead an incredible WIA mentorship circle of 10 mentees on breaking into production management last year <3 #3 - Don’t be shy! Reach out to folks you admire or want to learn from for a 30 min "Meet and Greet" (check out our resources on how to handle these professionally). Some of my personal creative role models are Jenn Lee, Pete Docter, and Domee Shi! I would also love to collaborate with Stefani Germanotta aka Lady Gaga lol on an animated feature musical someday. Manifesting and speaking into existence! Thank you for reading a bit about my journey so far in animation! I'm currently in the Content Advisement team at the Walt Disney Studios with the RISE division (Representation, Inclusion Strategies, & Engagement), where we give creative notes on all studio projects with a focus on telling stories authentically and inclusively. Writers: Jordan (@deadlyswampsofsadness) | Point Person: Gaby, AIA Team  Wei Li is a Chinese Canadian comic artist, filmmaker, and storyboard artist. For his work on Netflix’s Carmen Sandiego, Li received a Daytime Emmy Award for Individual Achievement in Storyboarding. He has also contributed to shows for Dreamworks Animation, PBS, and Netflix. We are so thrilled to have spoken to him regarding his debut film Tehura, which challenges the pervasive orientalist objectification of Tahitian women through the lens of its protagonist, a Tahitian dancer trying to reclaim her body and identity in front of a tourist audience. Your website mentions how the people of Tahiti encouraged you to make this film. Why is it important to have representation in media and how can we further advocate that in the spaces we share?
Tahiti is often reduced to a ‘paradise’ where ‘ beautiful noble savages’ dance for the enjoyment of outsiders. This is the orientalist lens we have imposed upon it globally. Tehura is my attempt at understanding the beauty that Tahitian dancers see in their own dance, rather than the one we’ve imposed. My attempt is only a flawed peak into that beauty. Only through more diverse representation of experiences and perspectives, would we have the privilege of glimpsing into the profound richness of what we humans call ‘beauty’. Before I consider advocating for representation, in any kind of discussion, I try to direct questions that hopefully open the floor to less heard voices. Then I just try to listen. And sometimes I fail at this. I also try to remind myself that to advocate for someone is a gift. An honor bestowed with great trust. A trust that we have to earn first. What kind of message did you want to share by having your titular character share a name with the painting of Paul Gaugin’s adolescent wife? It was my way of turning Gauguin’s orientalist work on its head. The submissive wife now becomes the subversive and powerful dancer, defiant against the centuries of subsequent objectification of Tahiti that followed Gauguin’s wake. How did your perception of the “male gaze” and “invasive tourism” change after having gone to Tahiti and creating this film? In what ways did those themes influence Tehura? Having grown up in very patriarchal societies, I too was ingrained with the male gaze that fantasized and objectified women. Working on this story gifted me with the imperative to interrogate and challenge all of that within myself. It’s not easy and the work is never finished but I think my ‘gaze’ is much healthier today. Prior to creating the film, the thought of going to Tahiti never occurred to me as I was never drawn to the typical ‘invasive’ tourist experiences. However, my experience of Tahiti was anything but typical. It was one of the most enriching experiences in my life. I received the warmest embrace by a culture in which art is embedded in the community, and inspiration flows from a spirit of generosity. I learned from them what it truly means to be in community. Since then, I have taken on community building as an art form in my personal life. Ultimately, these experiences didn’t just influence Tehura, they became the core themes of the film. To someone attempting to create something representing or inspired by another culture, how would you define the line between appreciation and appropriation? Firstly, we must recognize that the line between appreciation and appropriation is most of the time a very blurry one. No matter how well-intended you are, how respectful you think you are, there is always a chance someone thinks you are appropriating. And they might be right. Face this blurriness and accept that any work we create may be flawed. However, flaws can be invaluable if we can humble ourselves enough to engage in the potentially meaningful conversations that the flaws may create. I hope I can do this for the flaws in Tehura. Secondly, approach a project with the willingness to relinquish it if you do not feel like you have the support of the people of the culture. Did any themes from Tehura relate to your journey as an artist? Like many, my passion for art began with the deep drive to express something meaningful. But the path to being an artist is often clouded with the perceived requirements of honing one’s skills or pursuing validation from the industry. On this path, we often lose touch with what ignited our passion in the first place. In this sense, the themes in Tehura of returning to our roots, of reconnecting with our authentic voice to express what truly matters to us, is something I try to remind myself of everyday. Could you explain your filmmaking process? Each project ideally deserves its own process but for me, there are two essential questions that I ask before embarking on any project. The first is “Is this project worth my commitment?” It’s a yes only if the project is overflowing with questions that challenge my understanding of life. The second question is “What does this project need?” I would design the process to answer this question. In the case of Tehura, the filmmaking process did not truly begin until I traveled to Tahiti. At which point, I built my process around what was being shared by the Tahitian dance community. What were some emotional and physical challenges that you faced and how did you overcome them? Is there anything from this process that you will take into future film projects? Animating a whole short film while working full-time can be exhausting, both physically and mentally. At one point, I learned to draw with my non-dominant hand because I developed tendonitis in my dominant hand. Eventually I had a burnout and realized I had to take better care of myself. I began practicing yoga and taking dance classes. I came to realize that having joy in life is paramount to any challenging pursuits. Instead of dedicating every moment to completing my next project, I now allow myself to find joy in my daily life. How do you hope this film will influence the current generation? I don’t have such high hopes to be honest. It’s not because I am pessimistic or humble. It is because I find no use in having hopes for something outside of my control. Besides, what the current generation will create will likely be a lot more surprising and interesting than what we can predictably hope for. Any advice you’d like to give to those who are trying to get into animation? Getting into the industry is all about demonstrating a certain level of proficiency in artistic skills. Achieving that proficiency level simply requires time and persistence. There’s no way around it. It might feel grueling at times, but I’ve seen persistence transform the slowest learners into professionals. If your younger self saw your work now, what do you think he’d say? I often forget to take the time to cherish how far I’ve come, so I very much appreciate the moment this question is asking me to take. He would say, “You did it. You’ve become the artist I want to be.” But of course, the artist I want to become now feels as grand as ever. Writers: Jordan (@deadlyswampsofsadness) | Point Person: Gaby, AIA Team  Looking for feedback on your work and portfolio? Join us for Warrior Art Camp’s Portfolio Review Session! Warrior Art Camp Founders Kayleigh Ma and Angela Sung will lead an intro and Q&A session before we open to portfolio reviews. Get feedback on your work from industry professionals as they share their combined experience! This portfolio review will be focused on BG design/paint as well as VisDev. Saturday, Dec 2th @10:00AM PT RSVP by November 29th at bit.ly/AIACareerSummit2023 to ensure we receive your portfolio! About the Hosts
Everything you need to know about breaking into story and getting in the Writers Room! Join Catherine Chen, a Showrunner's Assistant at Nickelodeon, to discuss the ins and outs of writing for animation, including pitching tips, detailed story structure, addressing notes and feedback, and more! Open to all, and highly recommended for new students or early grads who are interested in pursing a career in writing for animation! Saturday, December 2nd @11AM PT RSVP at bit.ly/AIACareerSummit2023 About the Speaker
Looking to get feedback on your pitching skills? Join us for a pitching-focused workshop where you'll have the chance to practice pitching in front of an audience and receive feedback! Open to everyone of all levels of experience, and highly recommended for those interested in being a Director or Storyboarder! Saturday, December 2nd @6 PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostsKaitlin is a Chinese-American 3D animator and the Events Assistant at here at AIA. They graduated from the School of Visual Arts in 3D Animation and Visual Effects and have worked for studios such as Framestore, Hornet, HOPR, PDA.NYC, Jabimation and Free Range VFX.
Josh Alvarez is a self-taught visual development artist from New York currently working on his portfolio and developing his skills as an artist with the hope to breaking in next year! He works with AIA to volunteer with online and offline community events like this year's career summit or even more recently the AIA meet-up in New York City! Join Storyboard Artist Vivian Le and Director Leslie Park to learn how to navigate teamwork in the world of animation. We'll cover topics such as how to give and ask for feedback, how to manage assignment loads and work, how to improve communication with your fellow artists, peers and even superiors, and how to be the best teammate possible! Highly recommended for recent grads and those new to the industry, but everyone is welcome! Sunday, December 3rd @4PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speakers
Let's get stuff done, together! Join us for a virtual co-working session to work on whatever you'd like - need to update your portfolio? Want to finish a story outline? Just need some space to plan the rest of your week? Come hang out and we'll work together! Monday, Dec 4th @4 PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostSophia is an External Relations Events Assistant with AIA. She helps coordinate AIA's virtual events and is working on breaking into production management!
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