Interview by Brenda Do and Haram Kim Edited by Benjamin Arnold, Brenda Do, Haram Kim “All of us experience life in our own way, and we all have something we want to share. For me, animation just happened to be the medium that allows me to express myself. Beyond that, I simply love making films.” — Mike Nguyen, Director of My Little World Meet Mike Nguyen, an accomplished 2D animator whose credits include The Little Mermaid and The Iron Giant. While many would consider his past studio work the pinnacle of success, Mike’s true passion has taken shape in an entirely different realm. For the past 25 years, he’s devoted himself to My Little World, an independent film that aims to capture the purity of childhood in a way that only hand-drawn animation can. Currently teaching in Korea at Chungkang College of Cultural Industries, Mike’s journey exemplifies the courage it takes to leave the big studio life behind and follow a dream that might span decades. Yet, to hear him tell it, this long road was never part of a grand plan. It “just… happened.” And once you discover how his personal memories, creative process, and unbreakable spirit all weave together, you’ll understand why My Little World is worth every frame of its quarter-century creation. The Kickoff Moment: How My Little World BeganSurprisingly, this long-term labor of love began almost by accident. Initially envisioned as a short film about kids playing soccer, My Little World soon grew beyond a playful sports reel and morphed into a heartfelt exploration of childhood itself. Mike: “I never sat there during my time in the industry dreaming of making this project. It just… happened. I kind of fell into it. It all started very innocently—as a little short film about children playing soccer. But then, it evolved into a feature. And at that point, I realized, well, it’s not really a sports film. Soccer is fun for 30 minutes, but it’s not going to hold up for an hour and a half. So, I started thinking about my childhood. Soccer was part of it, but really, it was about childhood itself.” Capturing Innocence on Screen: Why Our Childhood MattersAt its core, My Little World seeks to capture the kind of innocence that, once lost, many spend their whole lives trying to reclaim. For Mike, these memories are rooted in a peaceful childhood in Vietnam. The film became a way to preserve and honor that sense of unbreakable wonder. Mike: “I have such wonderful memories of growing up in Vietnam—the friendships I had were warm… Pure. So I thought, 'What if I could put the innocence I felt into a film?' Innocence is something granted to all of us—it’s beautiful when we’re little, but we don’t realize it. And because we don’t know how precious it is, it’s easily broken. Then we spend our whole lives trying to find it again. So I thought, ‘Well if I haven’t lost it yet—or at least, I don’t think I have—maybe I can capture it in this film.’ If I can put pure innocence into a film, then nothing can break it. Because once it’s in the film, it’s there forever.” [ Left: “My Little World” Promotional Art, Right: Photograph of ‘Little Mike’ ] A World For Everyone: Crafting A Universal SettingAlthough My Little World draws inspiration from Mike’s upbringing in Vietnam, he chose to set the story in a fictional Southeast Asian town. The reason is simple: universality. He wanted to make the film resonate with anyone who has ever experienced childhood bonds and the pangs of growing up. Mike: “The film is set in a make-believe town in Southeast Asia. I didn’t want to set it specifically in Vietnam because I wanted it to feel universal—something that could speak to everyone. But everything in my life has found its way into the film. Growing up in America, adapting to new places—that feeling, too, became part of it. Everything I’ve experienced has shaped the film—not just the events but the emotions.” [ Color exploration by Dagyeong Lee ] 25 Years and Counting: The Indie Animation OdysseyWhen Mike first started My Little World in 2000, he had no idea it would become a 25-year (and counting endeavor). Working without the backing of a major studio, he embraced the slow, painstaking process of self-funding the project. Mike: “Oh yeah… When I first started [in 2000], I never imagined I’d be working on it for more than 25 years. If I had worried about whether I could finish in three years or five years, maybe I wouldn’t have done it at all. Because if you start out focusing on all the obstacles, it can feel impossible. But for me, I just happened to fall into it. And because the subject matter is timeless, I knew I could take my time—and that it would still be okay.” The timeless subject matter—childhood innocence—gave Mike the freedom to let the film evolve naturally without rushing to meet the usual commercial deadlines. [ The first July Films crew! Year 2000 ] Fresh Eyes on a Timeless Vision: Building the Right TeamWhile many independent filmmakers might chase industry veterans, Mike took a different path. He surrounded himself with newly graduated animators—“my young friends,” as he calls them—whose fresh ideas and unspoiled creativity matched perfectly with the film’s spirit. Mike: “Everyone who worked on the film had already graduated. My young friends—that’s what I call them. The reason I chose young friends instead of professional animators is because there’s a kind of freshness in them. Their innocence is still intact. Their way of doing things is new, not locked into a system. A professional might approach a scene [in] a certain way that is in line with the industry’s taste, but that approach didn’t fit the film. The film needed something more intuitive.” The production started with a team of about 15 young animators who helped build the core of My Little World. But as funding ran dry, the team’s size inevitably shrank. The project continued off and on through the years, supported in part by any extra income Mike could earn. Despite the challenges, his passion never waned. Mike: “No matter how much contract work we took on, it wasn’t enough. Eventually, it just became me carrying it on my own. Now, whenever I have extra income, I bring in young friends to help. That’s how we’ve made it this far.” Yet, passion alone couldn’t foot the bill for a feature-length animation. Faced with financial realities in the United States, Mike made a life-altering decision—one that would allow him to keep creative while also helping the next generation of animators. The Journey East: Finding New Roots in KoreaAfter years of teaching at CalArts, Mike saw that producing an independent film in the United States was increasingly cost-prohibitive. Rather than return to the mainstream industry full-time, he chose to move to Korea, where he could balance teaching and keeping My Little World alive. Mike: “Around 2010-2012, I realized I couldn’t continue making films in the U.S. because it was too expensive. My only other option was to return to the industry full-time, but I didn’t want that. In Korea, Mike found a promising environment to teach budding animators and continue piecing together his film, frame by painstaking frame. Drawing from Memory: Directing Through Personal StoriesDespite the new surroundings, Mike’s core creative philosophy remained the same: empowering the animators to draw from real life. By encouraging each artist to mine their own memories, he brings authenticity to every scene. Mike: “As a director, I give direction. And sometimes, that direction can be very straightforward. For example, I assigned a sequence to one of my young friends (but actually near my age)—his name is Kompin, a wonderful animator and director from Thailand. Mike loves these spontaneous additions because they infuse the film with authenticity and individual flair: Mike: “Everyone brings their own personal experiences into the film. And they do it beautifully but with a need for adjustments. That’s where I come in. Like an assistant animator, I go in, refine their rough animation, and unify everyone into one cohesive look. And that’s what makes it special.” [ Sketches of ‘Dog’ by Mike Nguyen ] Keeping the Spark: Advice for Aspiring FilmmakersFor those inspired by Mike’s journey, he has simple but profound advice: choose your passion wisely and cherish the right collaborators. Mike: “I think it starts with love—your love for wanting to do it. You have something meaningful to say, and that should come first. There’s an idea you think about, and you get excited, thinking, Oh, this is great! But then, three days later, you lose interest. That’s a sign it wasn’t the right idea. Mike also believes in what he calls “chemistry,” comparing creative teams to the perfect alchemy of The Beatles. Mike: “Think of people as elements—chemical elements. We interact, and that changes the chemistry of whatever we’re creating. The Beatles were four guys. But four guys with just the right chemistry. Take one away, and it’s no longer The Beatles. They said that themselves. And I truly believe that. So, make sure the chemistry is right. Or else? Trouble.” [ Left: Clean-up process with pencil, Right: Caricatures of Korean production crew 2017-2020 by Hanhee Lee ] No End In Sight? The Road Ahead for My Little WorldA question that burns in the minds of anyone following Mike’s story is: how much longer before My Little World is complete? Mike remains both candid and optimistic. Mike: “Oh, well. I’d like to know that as well. Right now, the film is about 30 minutes long, cleaned up. Cleanup animation is the most time-consuming part of production. So yeah... maybe 10 more years.” It’s a daunting timeline, but Mike’s sense of purpose remains unshaken despite the challenges. A Love Letter to Childhood: Wrapping Up the StoryMike Nguyen continues to inch closer toward his goal of completing My Little World. His personal and professional journey is a testament to the power of unwavering passion. From his beginnings on high-profile studio productions to his current life teaching in Korea and crafting My Little World frame by frame, he has remained true to the essence of what animation can be—a vessel for storytelling, emotion, and, above all, innocence. Mike: “If I can put pure innocence into a film, then nothing can break it. Because once it’s in the film, it’s there forever.” As we revisit these words, they resonate like a promise—one that assures us My Little World is more than just a movie. It’s a love letter to the magic of youth and a tribute to all who dare to hold on to their dreams, no matter how long it takes to make them real.
A heartfelt thank you to Mike Nguyen for sharing your story and the journey behind My Little World. From Thailand to Disney TVA: Storyboard Artist Patradol ‘Dodo’ Kitcharoen’s Animation Journey4/5/2025
Written and interviewed by Pavida “Patty” Changkaew | Edited by Ben Arnold
Taking the Leap from The Monk Studio to Disney Dodo’s animation journey began at The Monk Studio in Thailand, where he was introduced to the fundamentals of storyboarding and learned to adapt quickly. It was his first professional experience and a crash course in juggling multiple projects. Dodo: “The Monk Studio was my first job, so I was mostly trained by people there, and it was a lot of learning. Most of the projects were 3D, so I did a lot of storyboards for 3D animation back then, but now I mostly work for 2D TV shows, so the pipeline is a lot different. As part of a studio’s small storyboarding team of fewer than ten artists, Dodo often worked on several shows simultaneously—a stark contrast to his current work at Disney TV Animation, where artists typically focus on one show at a time. Dodo: “The other main difference would be the scale of work, because at The Monk, as a storyboard artist, you might have to pick up a lot of shows and work on multiple projects…On the other hand with most studios here in the US, you usually are responsible for one particular show or project until you roll off to another. A Childhood Dream That Led to Storyboarding From the start, Dodo’s passion for animation grew from the cartoons he adored as a child. For him, it’s about giving back the same joy he once experienced. Dodo: “Cartoons were a big part that made childhood fun and happy, so now that I am in the industry, I want to do something similar and create something that gives children what I had when I was their age... They don't have to grow up doing animation, but they can grow up with something that they can look back at, like, “I watched this as a kid, and it makes me happy every time I think about it. While Dodo enjoys drawing, it’s the act of visual storytelling that truly captivates him. Storyboarding allows him to focus on the filmic aspects—directing, composition, and editing—rather than perfect, polished drawings. Dodo: “Storyboarding can give me the big-picture ideas while also touching on directing, staging, composing shots, writing, and editing.” A Day in the Life of a Disney TV Storyboard Artist Working at Disney TVA is both creative and consistent. Dodo splits his day between thumbnailings and clean-up, two distinct stages of storyboard production. Dodo: “Thumbnail days are a lot of thinking. I usually make “quick-thumbs” where I throw my ideas out quickly. I like doing that in the morning because I feel the most bright and productive. After lunch, I will do tie-downs of the thumbnails, so they are clearer and more ready to be looked at. Clean-up days are pretty much the same, which is lots of drawing and making the approved thumbnails look presentable.” This daily routine repeats with each new episode, ensuring a steady stream of creative challenges keep him engaged. Overcoming Imposter Syndrome Despite his accomplishments, Dodo has wrestled with the imposter syndrome many artists face. When surrounded by talent, it’s easy to question your own skills. Dodo: “One of the biggest challenges…is we usually compare ourselves to other artists, especially when we are new to the industry,... sometimes it can make you doubt whether you meet an expectation or if you are at the level you are supposed to be at your job and that can make you overstressed and eventually leads to… getting burned out.” His approach? Enjoying the process and nurturing a life outside of work—whether through passion projects or simply spending time with friends. Dodo: “Having a life outside of work is crucial. If your hobby is still drawing and making art, I would recommend balancing a full-time job and the time you work on your passion project…” Advice for Breaking Into the Animation Industry Dodo is candid about how tough it can be to land a job in animation. Skill, networking, and timing all play major roles, but he urges newcomers to focus on what they can control—developing their craft and showcasing it. Dodo: “Breaking in is one of the toughest parts of the job. It requires not only skills but also knowing the right people and being in the right place at the right time… but what we can do is be ready for when the time comes." He reminds aspiring artists to know who you are—understand your unique style, your strengths, and the art that speaks to you. Dodo: “To stand out, get to know yourself: know what kind of artist you are, know what kind of art you like, and know your strengths and weaknesses...when you start to know more about yourself, you will know your niche, and the clearer your path is going to be…” Reflecting on Thai vs. U.S. Animation Industries While he appreciates the robust entertainment culture in the U.S., Dodo holds Thailand close to his heart. He sees tremendous potential in the Thai animation scene, even if it faces budget and audience challenges. Dodo: “I personally want to see more great animated content for Thai audiences. [Not just] purely entertaining or… to sell a lot of toys, but… actual great content… that makes their day better, even just a little or make them feel related [and seen] when they see certain characters in [a] show. [That is what] I am rooting for and aspiring to be a part of creating.” For Dodo, the dream is to stay open to collaborations anywhere in the world—especially if it means creating stories that bring genuine joy to audiences. In the End, It’s All About Telling Stories and Spreading Joy From his beginnings in Thailand to his current role at Disney TV Animation, Patradol “Dodo” Kitcharoen embodies what it means to follow your passion across borders. With adaptability, a strong sense of self, and a love for storytelling, he’s realized a childhood dream—one drawing at a time. Dodo: “At the end of the day, we are making something fun for people and I think we, as the creator, might as well be having fun doing it.” It’s a reminder that thriving in animation isn’t just about honing your craft; it’s about living your life so that you have stories worth telling. Want more inspiration? Follow Dodo at @dododrawing to see his latest storyboards, and stay tuned to AIA for more interviews, career tips, and upcoming community events.
Celebrating a Year of Growth, Creativity, & Community: Asians in Animations 2024 Year-End Round-Up12/20/2024
As we close out another remarkable year at Asians in Animation (AIA), we extend our deepest gratitude to every member, volunteer, partner, and mentor who helped us continue our mission of amplifying Asian voices in the global animation industry. In 2024, our fourth year as an organization, our non-profit is proud to solidify ourselves as a high-impact platform that provides unparalleled professional development and production experience for next-generation Asian animation talent. Nurturing New Voices Through Production Programs
Building on this success, we introduced the Asians in Animation Pilot Pre-Production Program (4P) in September 2024. From October 2024 to May 2025, a growing crew of 36 creatives will take an original AIA-produced series concept through the entire pre-production pipeline. Writing, visual development, and casting will be completed by January, with storyboarding following in the spring. The 4P is on track to deliver a production-ready animatic that will exemplify the innovation and cultural richness at the core of AIA’s values. Expanding Opportunities for Professional Growth
A Thriving Global Community
Warm Holiday Wishes & Gratitude From the Immersive Lab to the 4P and beyond, the year's accomplishments would not have been possible without your support. Thank you for believing in our vision, investing your time and talents, and sharing in the joy of creative collaboration. As we gather with loved ones and celebrate the holidays, let’s also celebrate the creative spark that brings us together. We are energizing the industry with our collective spirit, cultural vibrancy, and unwavering dedication to shaping a more inclusive future in animation. Happy Holidays, everyone! With warm regards, The Asians in Animation Team REGISTER HERE: 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) | 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
We're delighted to introduce the talented team behind our inaugural production program, designed to equip emerging Asian animation talent with the skills and experience needed to thrive in the professional animation industry.
PRODUCTION PROGRAM PRODUCER: KATIE DIZON is a Managing Director at AIA and oversees the team creating the program. Katie brings her expertise as a Nickelodeon Production Assistant, fueled by a passion for heartfelt, relatable stories, along with a commitment to highlighting diverse representation in animation. PRODUCTION PROGRAM COORDINATORS: PRAJAKTA MORE is a Community Events Assistant at AIA, as well as a CG Artist specializing in Environment Look Development and Lighting. Originally from India, Prajakta draws inspiration from its diverse history, culture, films, and mythological stories to fuel her creativity. THERESA KAO currently works as an Indie Game Development Artist and takes lead on character design and concept art for a few projects in development. Theresa aspires to be a storyboard artist who tells horror stories with a grown up target audience one day. KYLE POWELL is a Bay Area artist who is interested in working in animation as a Character Designer and Storyboard Artist. Together, the team collaborates with various AIA teams to bring the production program to life. Their tasks include creating program materials, recruiting the crew, and handling communications with both internal and external partners. Production Program runs July 13th-21st. Read their full bios: bit.ly/aia-immersivelab Special thanks to the volunteers who worked on this post: Katrina Aruta, Gaby de la Cruz, Ashley Whang, Benjamin Arnold, Sarah Liu #AIAProductions #asiansinanimation #animasians #animation 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 March 2023. Michelle Cheng is a flourishing artist who delves into her passion for animation and environmental topics! During her studies at CalArts, Michelle took her time to find ideas and philosophies that resonated with her - from podcasts on climate change to manuscripts by field biologists and writings on Hawaiian ecology - and gradually discovered her own artistic voice through the production of her short film, Birdsong. Michelle, thanks so much for sharing your intriguing experiences with us! 1. This story feels specific and inspired. What compelled you to create a film based on late field biologist John Sincock’s experiences in Kauai? Were you sparked by a random interest in his story? Or have you always been interested in biology and conservationism? I first heard the last Kauaʻi ʻōʻō’s story via John Green’s podcast The Anthropocene Reviewed, a podcast I used to love putting on when drawing. The episode’s emotional resonance caught me completely by surprise, especially since its central subject was a very small bird from a place I’ve never been. At the time, I was thinking a lot about my role as an animator and what I could do to contribute to the discourse about climate change, especially about climate education. I’ve always been somewhat frustrated by the lack of overlap between the animation industry and the environmental movement, and became attached to the idea of exploring a film that would combine my studies with the causes that mattered to me. While Birdsong’s scope isn’t very large, I was particularly touched by how the narrative examined extinction through an extremely personal lens. It reminded me of the value and beauty of even the smallest of creatures, and it was a sentiment I wanted to share. 2. From the musical notation of the Kauaʻi ʻōʻō’s birdsong to the ominous usage of mosquito buzzing at the end, it's clear that this story required a lot of research. How long did the research and development process take? Did you go into the film knowing a lot about this topic, or did you learn most of it as you went? I learned most of it as I went! The development process (pre-production) took about 4 months, working on and off. A solid month was dedicated to pouring over books. Even as production began, I occasionally read relevant articles that would revitalize interest in this film. In retrospect, research was my favorite stage throughout the entire process. This film became my way of learning more about extinction, loss of biodiversity, and Hawaii’s extremely unique ecological history. While most of the research conducted never made it into my film (in explicit ways), it was crucial in helping me grasp the full significance of the Kauaʻi ʻōʻō’s extinction, and how its death fell in line with the larger epidemic plaguing Hawaiian wildlife. 3. The film's design language includes collages, scans, and a gorgeous phenakistoscope, not to mention bold lighting and a clear color script. Who and what were your visual inspirations? In general, during the visdev process, I love pulling from visuals that can line up thematically or symbolically with the film’s story. For Birdsong, I got in touch with a researcher who was able to lend me access to John Sincock’s manuscripts, notes, and photographs from his time in Kauai. It was so special being able to see details like his handwriting, typewriter mistakes, or the yellowing of paper. More than taking inspiration from an existing artist, I hoped to incorporate the textures of these historical documents. The question I kept coming back to was: how would a field biologist see the world? Hence, the text and number details in my film, and the paper textures. A lot of my visuals were also inspired by what I’ve read about Hawaiian ecology. Despite the academic subject, its writers wrote vividly. They conjured images in my head, more than what photographs could describe. Here’s one such passage from Robert Wallace’s Hawaii (The American Wilderness): “Silverswords and quivering lapalapa trees, six-foot violets and birds with curved bills that draw nectar from curved flowers. These things are not only rare but delicate—otherworldly and fragile as dreams. They are the plants and birds one imagines in the background of Shakespeare’s Tempest. Touch them and they vanish.” 4. What was the production experience like? Did you work primarily alone, or was there a lot of collaboration? How did you manage your time? For the most part, I worked on Birdsong by myself, but it’d be inaccurate to say that it was made in complete isolation. For instance, my film would not have been half as good without my composer Roy Berardo, who whipped out an incredible score that elevated the film’s emotional resonance. Each week, I would also have my work critiqued during “Film Workshop” (a class at CalArts dedicated to making films). It’s fairly easy to grow numb towards your work during long-term projects like these, so I’m always very grateful for a fresh pair of eyes. In terms of time management, it wasn’t great. I had to work on my film almost everyday from December to April to get the project done, and was often slowed down by my perfectionistic tendencies. By the end of the whole thing, I felt thoroughly burnt out. Looking back, my goals for the visuals were too ambitious for the production time I had. Moving forwards, I’m trying to be a lot more mindful about my expectations and prioritize personal enjoyment over perfection. 5. Voice actor James Cheek's performance is moving and haunted. How did you find your voice actors, and how did you direct them? At CalArts, a lot of opportunities are communicated to students via posters. The tradition is to put up “LOOKING FOR VOICE ACTOR” flyers with pull-away tabs on campus. This was how I found my cast. What came as a surprise to me during the casting process was how difficult it was to find voice actors who could deliver subtle performances or read prose in a way that felt genuine, fluid, and lyrical. A lot of voice acting roles in animation require comedic exaggeration, and my film did not lean in that direction. James’ audition immediately stood out because he understood this. In terms of how I gave direction, first, I gotta say that my job was made so much easier because I had a great cast to work with. James and Maddie took instructions beautifully. I got them to read the passages in different ways; one attempt would be more calm, the other more anxious. I think it takes trying several different things to discover what you want. Apart from that, directing involved making sure everybody understood the emotional arc of the film, which I did by setting up meetings beforehand to explain my vision through the help of visuals and music samples. 6. How did you feel when you learned your short film was nominated for an Annie Award? I remember feeling very excited and very, very confused, because they did not send me an email about it before it was announced online. 7. What was your experience attending the awards show in person? The event itself was overwhelming. Picture tides of well-dressed strangers, loud voices competing against even louder music, and the occasional vaguely familiar face who you think might be X famous person. Occasionally, I would see a CalArtian in the crowd and we would chat for a bit, but outside of those moments, I felt somewhat displaced. My anchor for the night was my crew whom I had brought along, and they were by far the biggest reason why my experience was a joyful one. Some of us flew in from far off places, and this was our first time together, in-person, in the same room. Whatever doubts I had about my film dissipated when I was with them; knowing that I had people who were rooting for me made me feel stronger. GENERAL QUESTIONS 1. How has CalArts been for your development as an artist and person? I saw you also went on exchange to Gobelins, so how did that contribute to your perspective? It’s jarring to think that before going to CalArts, I didn’t know how to animate, barely knew my way around Photoshop, wasn’t very familiar with the industry, and had no inkling as to what kinds of stories I wanted to tell. Looking at it this way, CalArts has played an invaluable role in my development. If I had to summarize, the biggest thing CalArts has offered me is the time and space to develop my artistic voice. Having worked some jobs where it’s all about supporting a client’s vision, I’ve realized how rare and special it is to be given the resources to make films about whatever you want. When I graduate, it’s this freedom that I’ll miss the most. On the other hand, Gobelins has been great — I really miss my time abroad. This might sound strange, but despite having lived in Toronto for most of my life and near LA for a couple years, Paris is the first city that I feel like I’ve really gotten to know. Due to the way the Gobelins curriculum is structured, I had a lot more time to myself, which I would use to enjoy weekends in the city, or work on some personal art. This change in lifestyle helped with my burnout. It was a genuine period of self-discovery and getting out of my comfort zone, having to communicate with locals in a non-native tongue and all. I felt homesick when I landed back at Toronto Pearson. 2. Outside of Birdsong, you have developed a variety of stories, including Asian-inspired ones like "then/now" and "Tales of Mosumori." How are you inspired by your Asian heritage? To start, I don’t speak my parent’s native tongue (Chinese) very well, and as a result, I find it difficult to connect with my heritage. Something I’ve realized once I started living on my own is that I can’t really take my own heritage for granted. (The thought struck me while I was at an Asian grocery market and realized I couldn’t remember what brand of soy sauce my grandmother uses to cook). Preserving traditions requires active effort, and being in touch with a language requires consistent practice. After my high school graduation, I decided to spend 2 months in Shanghai to learn more about the city my parents grew up in. Having spent most of my life in a quiet Canadian suburb, being in Shanghai was both overstimulating and enthralling. There, I took some Guo Hua (国画) lessons, where I learned some painting techniques, as well as its underlying philosophy. Worldbuilding projects inspired by my travel experiences in East Asia are some of my ways of “keeping in touch”. My portfolio project “then/now” is a reflection on my Shanghai trip — a city that stuck out to me for the lifetimes of change it’s been through within the span of a few short decades. 3. It seems you're drawn to history, nature, and textures. Can you talk more about your biggest inspirations as an artist? Do you have any favorite artists or filmmakers?
This question is a bit difficult for me to answer, because I don’t have an extremely focused set of inspirations. They fluctuate depending on the projects I work on, and come from all sorts of places. For some reason, many of my favorite movies don’t reflect the kinds of films I want to make. Kung Fu Hustle, for instance, runs in direct opposition to my current artistic sensibilities. The reason why I love it is because it challenged what I thought the boundaries of comedic storytelling were. Many of my biggest inspirations also don’t come from within animation — I love Madeline Miller’s writing, John Galliano’s runways, Chiron Duong’s photography, the way the series Fleabag is written and edited — I could go on. Maybe this goes without saying, but I find that it’s much easier to tackle filmmaking with a fresh perspective when you’re pulling reference from outside of the industry itself. Most recently, I’ve really enjoyed watching Tonko House’s Oni: Thunder God’s Tale. It’s a show where you can viscerally feel the amount of care put into every shot. The visuals break new ground, and the story has something to say in earnest. 4. Growing up, how did you find your passion in animation and storytelling? Do you have a first memory about your love of this craft? I have two distinct memories: Having grown up with a speech impediment, I felt extremely uncomfortable with speaking for most of my childhood. What came much more naturally to me was art. I started drawing when I was fairly young and have always felt a magnetic pull towards the medium. I believe that the reason I grew so attached to it was because it became my source of confidence and my means of self-expression when my voice would fail me. The second instance was when I was about 16 and on a whim, auditioned for the school play. At the time, I was looking for opportunities to get better at public speaking and it quickly became my favorite part about highschool. Once a week, for a couple hours, I could unwind and be someone different. I loved the escapism, the rush of performance adrenaline, as well as the built-in community. Animation is a medium that combines a lot of elements from theater with drawing, and it felt like a really good way to continue developing my passion for both. On a more sentimental note, I think the medium is just beautiful. In animation, everything you see on the screen has come from someone’s imagination. It’s touching to think about how many people have dedicated their lives to observing the intricacies of color, movement, and emotion to a point where they’re able to recreate it on screen in such intimate ways. It’s just beautiful. 5. Do you have any advice for other Asian animation students or aspiring story artists? Not really, no — I’ve still got so much to figure out for myself! Something I wish I could have told my younger self, however, is that it’s okay to take your time. I remember being especially doubtful of my abilities and prone to comparison when starting out at CalArts, constantly feeling behind because I didn’t have a strong style, and wasn’t quite sure what I wanted to do. I wish I could have told myself that artistic voice comes with time. It’s hard to know what you want and what you like and who you’d like to be without living a lot of life. It’s a process that’s ongoing, and one that can’t be rushed. 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 Meet Young Park, a distinguished Korean-American storyteller and the visionary founder of Park Star Media, a multi-faceted production company with dual bases in Los Angeles and Seoul! Young and his team prioritize authenticity in representation with unique stories often about underdogs confronting insurmountable odds. Drawing inspiration from his favorite cartoons and animated series, Young is now producing two exciting projects featuring comical, noteworthy characters, ANCHO V and UNCLE MERMAID, so be sure to check those out! Big thanks to Young for sharing his inspiring journey with us! 🎉 Young Park is the creator of Park Star Media, a creative production company based in Los Angeles and Seoul. The company has several divisions that produces animation, toys, comics, digital stickers, licensing, and loveable kids’ content for multiple platforms. Super Binks Super Binks is an action packed, fun-filled kid’s show streamed on Youtube with over 300,000 combined views. It is also available on Apple TV and certain locations on Amazon. Around 10 to 20 minutes per episode, the show details the adventures of seven baby heroes who use their mystical pacifiers (binkies) to travel far and wide to keep their world safe. Each episode features inclusivity and a range of diversity and fun. Ancho V Gusscott is helping develop Ancho-V into a 26 x 22-minute action-comedy about a trio of cybernetic fish kids who use their emotions to transform into kaiju (Japanese for giant monsters) and mecha (large armored robots in anime) hybrids. The show’s main message is that it’s okay if you can’t always control everything, including your feelings. Hey Yenny Yan: In Development Based on Park’s childhood in LA’s Koreatown where his mother ran a clothing shop, the show is set in the fictional Gem Plaza, a melting pot of small businesses run by first- and second-generation immigrants from all over the world. The Creation of Park Star Media Growing up, the absence of Asian-American characters in popular kids' cartoons made it challenging for me to connect with them. I made it my goal to create a show that reflects the unique experiences of Koreans and Korean-Americans. I embarked on this journey with no prior experience or connections in the animation industry. Originally, my academic background was in political science from UCLA, with a plan to pursue law. However, my passion was always for storytelling, so I left everything behind and relocated to Korea for a year to work at a colleague’s animation studio and learn everything about IP development and production. Like any endeavor in life, success lies in persistent self-belief and daily commitment to your goals. Influences and Inspiration Like many Asian immigrants, my parents have been a significant source of inspiration in my work. They endured strenuous circumstances and worked tirelessly to provide for my sister and me. Witnessing their commitment instilled a sense of determination in me and equipped me with the resilience to overcome any hurdles I faced. This ethos is reflected in my work, where most of my IPs feature an underdog confronting insurmountable odds. One such project, currently in development, is the Hey Yenny Yan series. Drawing inspiration from my own upbringing in LA's Koreatown, where my mother managed a clothing store, the show is situated in the fictional Gem Plaza. This multicultural setting houses a variety of small businesses run by first- and second-generation immigrants from diverse backgrounds worldwide. Although these characters may not always attain their desires, they experience extraordinary outcomes by trusting their instincts. Additionally, as a child of the 90s, I was an ardent fan of both cartoons and anime, particularly the Powerpuff Girls on Cartoon Network. The charm of these adorable yet formidable superheroes resonated with me deeply, and some of my favorite characters from my own shows always showcase unexpected heroism. My work, especially evident in the action-packed and enjoyable children's show, Super Binks, is a testament to this reflection.The series, which has garnered over 300,000 views on YouTube and is accessible on platforms such as Apple TV and select Amazon locations, encapsulates the spirit of heroism. Each episode, running for 10 to 20 minutes, details the adventures of seven baby heroes who use their mystical pacifiers (binkies) to travel far and wide to keep their world safe. Notably, every episode of Super Binks embraces inclusivity, diversity, and joy, offering young audiences a rich and entertaining experience. Authenticity We maintain authenticity in representation by promoting an open exchange of ideas and experiences within the team. We also converse with friends, families, and colleagues to identify universally relatable core concepts. It's an exciting challenge to explore the various ways our unique backgrounds and narratives interconnect, and how to integrate these values into every new IP development. As a personal example, fatherhood has opened a whole new source of inspiration and values for me to explore. As a father to two little girls, I’m drawn towards preschool content that conveys strong morals and values that showcases characters to which my own children can relate. Pathway to Success Having the best idea for a show or IP is never a guarantee to success. It's the creative team backing it that truly matters. A cohesive team that fosters creativity and respect for each other's unique creative journeys is crucial. Collaboration is key in this industry; a successful IP cannot be launched single-handedly. Park Star Media Watchlist AIA has compiled some Park Star Media projects to look out for! Ancho V Gusscott is helping develop Ancho-V into a 26 x 22-minute action-comedy about a trio of cybernetic fish kids who use their emotions to transform into kaiju (Japanese for giant monsters) and mecha (large armored robots in anime) hybrids. The show’s main message is that it’s okay if you can’t always control everything, including your feelings.
This interview was conducted in August 2023. Shreya Devarakonda reveals her exciting journey as a Character Designer at Walt Disney Animation Studios, emphasizing the importance of developing personal art styles and crafting meaningful stories! Shreya, thank you for sharing your passion and valuable experiences with us! So, first off, tell us a little about yourself! I’m a character designer at Walt Disney Animation Studios and have worked on projects including Wish and Elio. I graduated from Ringling College of Art and Design in 2021 and previously interned/worked at Pixar Animation Studios, Netflix, Blue Sky Studios, and Disney Television Animation. What inspires you to design characters? When I first saw Tangled growing up, I was obsessed with how beautiful the characters were and wanted to draw characters that looked like that. What types of characters are you the most excited to design? People— human characters with a lot of personality, and a lot of specific personality— the more you know about their personality, the more informed the design can be. That’s what I get the most excited about. How do you choose the personal projects that you work on? For personal projects, I like to pick films with fun characters. For example, when I asked myself, “What is a live action film that I like and know well that has a fun cast?” The Goonies came to mind. It was a film that I haven’t seen much in portfolios, and the film had a great cast of kids that all have specific personalities. What does a typical day as a character designer at Disney look like? Every day I will work on assignments given to me by the team, depending on production. Maybe it will be exploring a certain character, doing research, or putting together a slide of reference images to work off it, mostly all at my own pace. What is your favorite aspect of the job? Being able to work on a project that I am passionate about. I’ve been on a wide variety of projects, and you can really tell when the team really cares about the project or when the message really means something to the director. We as artists also feel passionately about it when the team does, and it makes me enjoy my work more. How do you feel about the current representation of Asian characters today? I have seen it change. It’s slight, but we are seeing some more representation in films. We’re trying to push for that, and it’s getting better. But I have not seen much South Asian representation, and there still needs to be more Indian representation in animation. Are there any dream projects you’ve been wanting to work on? It would be fun to work on a culturally accurate South Asian film. There’s so much color and culture to play with, but we haven't seen much of that on a big scale within animation yet. What do you wish you knew before starting your art journey? Finding your style and voice can be really difficult, but it takes time. The way you draw is the way you draw, and you just have to embrace it. A lot of people fight that and try to copy the way other great artists draw, and even I found myself doing that along my journey. But the more pressure you put on trying to be like others, the harder it is to find your own voice. Find the things that truly inspire you and just have fun. With time and practice, you’ll get there! But even when you think you’ve nailed it, you’ll realize that you still have so much more to learn, and that’s what’s great about being an artist. What advice would you give to aspiring animation workers? Story is the most important thing in an animation, regardless of your specific role within the industry. Story is going to drive all your decisions in your design and that’s what gives it meaning and depth. I used to draw just pretty things, but I learned the hard way that that’s not going to be what gives me a job. Really keeping that in mind will help. Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
This interview was conducted in June 2021. Meet Kalos, one of our former team members who has interned at Nickelodeon, Dreamworks, and Lucasfilm! Dive into creative development with him and find out how Kalos went from English major to Nickelodeon. Keep reading for his advice on breaking into animation and what it’s like to be a Nicktern! First off, tell us a little about what you do! I’m currently working at Nickelodeon Animation as a Development Intern. The Development team is responsible for sourcing ideas for new animated shows and working with writers/artists to develop the visual and narrative world of the show before it gets greenlit! Most of my work consists of reading incoming submissions, writing up coverage reports (a summary of and my comments on the script/book), and submitting them to my boss. Being a NICKtern is especially great, because my supervisors are always super welcoming and let me sit in on various meetings to learn more about the development process. What do your day to day tasks as an intern look like? I don’t really have any art skills, so my creative outlet is reading and writing! I spend most of my day looking at written creative documents, though unfortunately I can’t talk about most of the projects I’m working on. When I read the script, I pay attention to and give notes on story, writing, characters, structure, dialogue, and— especially at Nickelodeon—comedy! Can you share with us a little about your journey? In high school, I was always really interested in creative writing. And when I got to college, I declared English as my major. I wasn’t entirely sure what I wanted to pursue as a career, but I had this vague notion that I wanted to go into journalism or education or something. And then, the pandemic hit! And in the middle of the quarantine, I watched “Into the Unknown: Making Frozen 2” docuseries and had a huge epiphany. I was so captivated by the process, by the people, by the conversations, and decided that “I want to work in animation.” When the next semester came around, I scoured through websites like entertainmentcareers.net and Handshake and applied to as many internships as I possibly could! I did a few development internships for some live action production companies, which gave me tons of experience doing script coverage, even though it wasn’t related to animation, specifically. Then, when the time came, I applied to the Nickelodeon Development Internship, and the rest, as they say, is history! What advice would you give to your younger self? I’m not sure how applicable “advice to my younger self” is, given that I literally just turned 20, but I’ll try my best! 1) Talk to as many people as possible! I distinctly remember scrolling through the credits for “Frozen 2,” finding all of the roles that sounded interesting, looking up the people in those roles on LinkedIn, and sending them all cold emails asking to chat. Sure, plenty of folks won’t respond (and you shouldn’t always expect them to— people are busy!), but there are always some who do, and listening to them share their background, journey, insight, and advice is absolutely invaluable! 2) Don’t be afraid to add some flair to your resume/cover letter! I’m not saying go crazy with a billion different colors and fonts, but I think it’s good to deviate a little from the standard B&W/Times New Roman! Animation is, after all, ultimately a creative industry! 3) Be sure you have a demonstrated interest in animation! This is especially true for development, because (unlike storyboard artists or CG animators) you can work in development for live action, as well. That means recruiters want to know why you want to work, specifically, in animation. So, try to include indicators of your interest in animation on your resume. It can be anything: personal or school projects you’ve worked on, classes you’ve taken, or organizations that you’re a part of— whether it’s a school club, or an outside organization like AnimAsians! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
Joyce Lee (@jyckl) walks us through her journey as an Art Director and Visual Development Artist at Walt Disney Animation Studios, and shares her insight on the importance of Asian representation in the animation industry. Joyce, thank you for sharing your story with us! Tell us a little about your background and how it has influenced your perspective as an artist!
I’m from Korea and I came to the United States at a weird age. Immigrating and adjusting was difficult and I missed out on childhood cartoons. Now, I’m really grateful that I can bring both sides to the table today. A lot of stories being told right now expand upon immigration stories, and I am able to pitch in and help that story. What led you to specialize in visual development? I love painting and designing, but I also like working together with so many people. It’s very exciting seeing what ideas everyone pitches in since there are so many different ways to illustrate something. Creating worlds is fascinating, and in animation there’s no limit to its reality. Animation can be very specific in terms of how it looks, but I want to break that by being more experimental. Since you first started out in the animation industry, how have you noticed Asian representation evolving in the workplace? When I started, there wasn’t much diversity. There are more Asian women in the roles of Visual Development Artists and Art Directors. Victoria Ying was the first person where I was like, “Oh my gosh, she made it!” At the time, Helen Chen was also in talent development. They were both so inspiring and made me realize how important representation is. I want to be part of that and add to it. At school, there wasn’t much diversity either. It was Caucasian, male teachers who had a conservative way of looking at the industry and even a bit of a sexist tone. I actually teach at ArtCenter College of Design now, and there’s more people of color teaching. It’s nice to see Asian female students taking my class and saying to me, “You are an example of where I want to be.” Is there any advice you would give to your younger self? It was a bumpy ride to be at the place where I wanted to be. Starting is hard, and I want to be honest about that. But all the hardships and struggles I went through made me stronger and led me to where I am. I would tell my younger self not to be so hard on myself since there is a light at the end of the tunnel. How would you like to see Asian representation improved for future generations watching animation? It would have been really nice to see more characters of Asian descent when I was younger. I see potential in characters that are beginning to look like me, but there is still much work to be done in ensuring that Asian characters really do look Asian. It’s getting there, but I still think it could be pushed further. What role do you see animation playing in the improvement of Asian representation in TV shows and movies? Representation is so important, especially in entertainment. When kids watch a film about someone else’s culture, it brings so much awareness about different stories and backgrounds. I didn’t have that growing up, so people didn’t understand what it was like being an immigrant, being Asian, and having a certain type of culture and family dynamics. I like films like Turning Red since it answers some of those questions in a fun, inviting way. It is important to bring awareness to all the different types of stories, people, and cultures. Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team We were so honored to speak with our friend Elisha Wang, a Chinese-Canadian 2D/3D animation artist and graduate from Sheridan College. Read along as she goes behind the scenes of her 2021 thesis, Bipolar! Thanks for walking us through your work, Elisha! Say hi to her over at @orangesegments. What was some of your inspiration going into your thesis film Bipolar? Dance was something I grew up with from a very young age. I did six years of Chinese traditional dance in my earlier years and later discovered pole dance in college! When I was trying to decide what to do for my thesis film, it always came back to dance because it was something I was truly passionate about. How did you begin the process of developing your film? Being tasked with making a full film was very daunting, but with any project, you start with a plan! Especially for a dance film where there isn’t really a solid story. I had to figure out what exactly made choreography so appealing. How did you tackle the concept and design for your main character? I didn’t have too hard of a time coming up with designs as there was only one character. The real challenge was adapting her design to many different styles throughout the film. Thank you for reading! You can find her finished film on YouTube now! https://www.youtube.com/watch?v=3A1rEZdTcBY You can reach her at: [email protected] Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team
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
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