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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
 Meet our friend, Joy Ngiaw, a Chinese-Malaysian film composer who is best known for her work on Disney Animation’s Jing Hua and Skydance Animation’s Blush. She also is the composer for the upcoming series on Apple TV+, The Search for WondLa. Check out her creative process and be sure to listen to her film/short scores and personal work! Can you walk us through your early creative process from when you are first given a story prompt by the director?
My approach to film scoring is that the story always comes first. I think about what inspired the director to create this film, and how the music can support the story and vision. I then establish a musical theme for the character. One that represents their personality, emotions, and inner journey. I usually play around with ideas on the piano. After establishing a musical idea, I go back to my work station and start composing in my music software, using virtual instruments and tools to create a computer generated musical mock up. How do you usually begin with recording the music for your scores? I love recording live musicians for my scores. It adds a human touch, and increases the emotion and realism of the piece. I will transcribe the music to a score format so the players could perform it. Recording sessions are where the magic happens, where the players will bring the music to life. I enjoy conducting the players, and working with the music team in the studio. What is your favorite part of composing for film? Composing for a film is such a fun and collaborative process, and sharing a connection and getting to know another human being is the most meaningful part of my job. I feel so grateful to be able to connect and be inspired by so many talented storytellers. Thanks for reading and stay up to date with Joy’s work at @joyngiaw on Instagram or on her website www.joyngiaw.com! Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team MEET GEORGE SHAW: COMPOSER FOR THE DREAMWORKS ANIMATED SERIES, ABOMINABLE AND THE INVISIBLE CITY2/21/2024
 George Shaw is a Taiwanese-American composer who worked most recently on the DreamWorks animated series Abominable and the Invisible City, as well as Riot Games’ Lunar Revel cinematic trailer, Hop On. In our conversation with the film and games composer, George relays his musical journey scoring for these projects, how he gathers inspiration from doing research on traditional Chinese folk instruments and exploring his personal connection with Chinese culture. What was the most challenging part of scoring Abominable and the Invisible City? What was the most rewarding?
The biggest challenge was when I started scoring early episodes while simultaneously doing pre-production on later episodes. That meant having to crank out nearly 20 minutes of fully orchestrated music in an episode while also composing and producing all of Yi and Everest’s violin and humming performances to be animated too. The most rewarding was working with Stephanie Yu, the violinist who brings Yi’s violin playing to life. She is such a virtuoso on her instrument and also such a warm and joyful person to be around. The score in this show feels very authentic to Chinese music in comparison to many stereotypical sounds we are used to hearing. How do you bring authenticity into the scores of this show and what's your process like for determining instrumentation? With the story set in China and centering on mythical Chinese creatures, I used a variety of traditional Chinese folk instruments such as Yangqin (Chinese dulcimer), Erhu (Chinese violin), Pipa (Chinese lute), Guzheng (Chinese zither), Dizi (Chinese flute), Chinese drums, and even Chinese winds (Bawu and Hulusi that I performed myself), to give the creatures a sense of history and to highlight their fantastical and magical nature. We love the sound of traditional Chinese instruments such as Bawu (巴乌) and Hulusi (葫芦丝). When did you begin to explore Chinese instruments? Are there any traditional instruments that you haven't had the opportunity to write into your music, but that you'd like to? I started with a very western classical music background, starting with piano lessons and going on to play clarinet in orchestras. In college, I discovered traditional Chinese music through the soundtrack to Crouching Tiger, Hidden Dragon. There was a hauntingly beautiful sound in it that I didn’t recognize, and it inspired me to order a bawu off eBay, which is a Chinese wind instrument that sounds like a cross between a clarinet and a duduk. After college, I took two semesters of a Chinese music ensemble class. I think my love of Kung Fu movies is what drove me to learn about Chinese music because I always imagined I would one day compose for an epic martial arts fantasy movie. Fenghuang’s theme is very special and heartfelt to Abominable and the Invisible City. How did you come up with this score and what inspirations did you have? Fenghuang’s theme is heard in the first episode when we are introduced to the magical phoenix, with Yi trying to coax the shy creature out into the open. It’s a very sweet and timid moment, scored for solo violin, fragile strings, and delicate yangqin (Chinese dulcimer). It was one of the earliest scenes that I worked on and came out of the pentatonic scale, a simple 5-note scale that is often found in traditional Chinese music. When we reach the climax of the episode and Fenghuang springs into heroic action, I broadened the rhythm into soaring strings and horns, with swirling winds punctuated by heroic trumpet chords, and suddenly this delicate theme is transformed into a glorious moment. When growing up, how did you begin to embrace Asian-American culture? I honestly don’t think I truly embraced Asian-American culture until my twenties. I grew up in Houston, in a mostly white suburb, though there was still a small Asian American population. I often felt like I didn’t fit in, and most of what I experienced of Asian culture came from my parents and their friends, who were older and had immigrated from Taiwan. When I came across the Crouching Tiger, Hidden Dragon, that’s when I began to take an interest in the musical side of the culture. In addition to the Chinese music ensemble classes I took in my 20s. In my 30s, I had the opportunity to do some drumming gigs for Chinese lion and dragon dances during the Lunar New Year season. On the filmmaking side, I started going to Asian American film festivals soon after college, and I was finally able to find and relate to others who had grown up in a similar culture to me and were pursuing careers in entertainment. From your album “Mythical China”, we get to know that you are inspired by many Chinese mythology, legends, and fantasies. Any specific legend/movie/music that influences you the most? The legend of the Monkey King, Sun Wukong, is pretty well known. That was a fun track to write, and I even downloaded a trailer of an animated Monkey King film to help inspire my writing. For the rest of the tracks, I did a lot of research and reading to make a list of different legends. I then whittled that down to what I wanted to use as inspiration for each track. It was amazing to watch you performing with the team after the Abominable screening. Could you introduce us to your team and talk about how you collaborate with these talented people? It all begins with Stephanie Yu, who I wrote all the solo violin parts for and shot reference footage of to send to the animators. Alvin Wee did brilliant mixes of my score and also was the scoring mixer for Encanto. I had three additional music composers who helped out: Shaun Chen, Brandon Lau, and Scott Tang. There were many other musicians who contributed in smaller ways, bringing life to various moments of the score, but they were my main team that worked on the majority of the episodes. We are so excited for your work with Riot Games to commemorate the Lunar New Year! Could you share one fun or memorable experience you had while composing the scores for this trailer? It was interesting how Riot Games hired three composers for different aspects of their Lunar New Year campaign, and we were able to all give feedback on each other’s music as we progressed. I was assigned the cinematic trailer, and my buddy Nikhil Koparkar wrote a gorgeous main theme that I incorporated into the climax of the trailer. It was a joy to be given a broad and exciting canvas to write epic orchestral music combined with a wide palette of Asian instrumentation, to accompany the gorgeous animated visuals and the ever-expanding world that Riot Games has created. As the new year is approaching, we are all very excited. What is your favorite thing about the Lunar New Year? It used to be getting cash in red envelopes, until I became an adult and my relatives cut me off. Nowadays, it’s the excuse to get together with friends or family for a big feast of good Chinese food! What are your future plans and wishes for future Asian-American representation? I hope to see Asian Americans represented in all areas of society, as well as being supportive of each other. I’ve often made it a point to give opportunities to other Asian Americans on my team simply because no one did it for me when I was young. It was such a struggle because, back then, there was hardly any Asian representation in the film-scoring industry. Do you have any advice for Asian-Americans who are aspiring film composers? First, learn everything you can about the craft and the industry, there’s certainly no excuse given the vast number of resources available to everyone on the internet. Second, build a community of collaborators, from filmmakers, to musicians, to other creatives. No one becomes successful on their own, so it’s important to foster connections with others that you are starting out with. Writers: Jordan (@deadswampsofsadness) | Point Person: Gaby, AIA Team  Joshua Kwan shared with us their experience breaking into animation and what they got to learn in their last role as Production Coordinator at Lucasfilm Animation Ltd. Congratulations to Joshua as they transition into their new role as a Coordinator on the Content Advisement team at the Walt Disney Studios with the RISE division (Representation, Inclusion Strategies, & Engagement). First off, can you tell us a bit about your past role at Lucasfilm, Animation, Ltd.?
I was most recently a Production Coordinator at Lucasfilm, Animation, Ltd. (LAL) in a galaxy far, far away. LAL is built to support multiple projects at once: for example, I worked on The Bad Batch series and Tales of the Jedi shorts simultaneously. You can catch both on Disney Plus as of October 2022! While I started as the assets production assistant, I was asked to step into the production coordinator role a year in, where I provided administrative and production support to two executive producers: the Vice President of Animation Production and the Supervising Director. My position was multifaceted and I wore many hats daily. The role allowed me to be involved in all stages of the production pipeline, with tasks like setting up our writer's conferences, helping take notes in script discussions, and supporting the Emmys submission process to name a few. Additionally, I got to shadow and learn in a variety of production meetings like record sessions, music reviews, full colors with our Executive Creative Director, and QC sessions in our review theater. I helped track all milestones and prepared a weekly update to our President in partnership with physical production. This dynamic role taught me how a show is made from a producer's, executive's, and creative's perspective. Can you share with us a little about your journey? In senior year of high school, I took an English course titled "Construction of the Self'' - and one of the units examined the origin of fairytales. I'll never forget reading different versions of Cinderella around the globe, and coming to recognize that the one most folks think of is Disney's 1950 animated classic. As I moved through college analyzing media and the power of storytelling, I realized that I did not want to just be a viewer or consumer- I wanted to be in the room with the folks making these creative decisions on stories that globally impact our culture and society. I graduated from a small liberal arts college (woo SLACs!) with a major in psychology & a minor in educational studies and women's & gender studies. After college, I did the Disney College Program in Anaheim and was assigned the Star Wars gift shop! In some ways it definitely felt like the Force guided me to Lucasfilm… What was your early career starting out in the industry like? It was difficult for me to find my start and pivot into the industry, but I stayed resilient in the journey. That's partly why I wanted to help create AIA, so others could have the community I wish I had at the start of my journey. I am forever grateful to the Universal Animation team who took a chance on me and gave me my first role. I was the sole PA supporting all departments on two Curious George feature films. Even though I knew I was ultimately interested in creative development, I started in production management to learn more about how our favorite animated content is made - I've learned from execs how important it is to understand how creative notes can affect morale and impact the production pipeline. You can have ideas but if you can't get it made, then what's the point? What advice would you give your younger self? #1 - Animation is for everyone! Everyone will have their own unique story and journey - do not compare yourself to others, it is the thief of joy! Your own unique skill set and perspective will set you apart (It was actually a pleasant surprise how many executives valued my psychology background! Producers can be like therapists at times for sure...) There are many niches within the industry that could be the perfect fit for you! #2 - Make friends! (even remotely) I met the 3 other AIA founders, Lexie, Olivia, and Brandon during shelter in place and we became friends remotely! My desire to connect with folks + bring people together helped create this community, organically! People in animation don't bite - and are very down to earth, fun, and helpful - Please pay it forward when you can too! It is so inspiring to see the Rise Up Animation community for example have such a great mentorship program and it was very rewarding for us founders to lead an incredible WIA mentorship circle of 10 mentees on breaking into production management last year <3 #3 - Don’t be shy! Reach out to folks you admire or want to learn from for a 30 min "Meet and Greet" (check out our resources on how to handle these professionally). Some of my personal creative role models are Jenn Lee, Pete Docter, and Domee Shi! I would also love to collaborate with Stefani Germanotta aka Lady Gaga lol on an animated feature musical someday. Manifesting and speaking into existence! Thank you for reading a bit about my journey so far in animation! I'm currently in the Content Advisement team at the Walt Disney Studios with the RISE division (Representation, Inclusion Strategies, & Engagement), where we give creative notes on all studio projects with a focus on telling stories authentically and inclusively. Writers: Jordan (@deadlyswampsofsadness) | Point Person: Gaby, AIA Team  Wei Li is a Chinese Canadian comic artist, filmmaker, and storyboard artist. For his work on Netflix’s Carmen Sandiego, Li received a Daytime Emmy Award for Individual Achievement in Storyboarding. He has also contributed to shows for Dreamworks Animation, PBS, and Netflix. We are so thrilled to have spoken to him regarding his debut film Tehura, which challenges the pervasive orientalist objectification of Tahitian women through the lens of its protagonist, a Tahitian dancer trying to reclaim her body and identity in front of a tourist audience. Your website mentions how the people of Tahiti encouraged you to make this film. Why is it important to have representation in media and how can we further advocate that in the spaces we share?
Tahiti is often reduced to a ‘paradise’ where ‘ beautiful noble savages’ dance for the enjoyment of outsiders. This is the orientalist lens we have imposed upon it globally. Tehura is my attempt at understanding the beauty that Tahitian dancers see in their own dance, rather than the one we’ve imposed. My attempt is only a flawed peak into that beauty. Only through more diverse representation of experiences and perspectives, would we have the privilege of glimpsing into the profound richness of what we humans call ‘beauty’. Before I consider advocating for representation, in any kind of discussion, I try to direct questions that hopefully open the floor to less heard voices. Then I just try to listen. And sometimes I fail at this. I also try to remind myself that to advocate for someone is a gift. An honor bestowed with great trust. A trust that we have to earn first. What kind of message did you want to share by having your titular character share a name with the painting of Paul Gaugin’s adolescent wife? It was my way of turning Gauguin’s orientalist work on its head. The submissive wife now becomes the subversive and powerful dancer, defiant against the centuries of subsequent objectification of Tahiti that followed Gauguin’s wake. How did your perception of the “male gaze” and “invasive tourism” change after having gone to Tahiti and creating this film? In what ways did those themes influence Tehura? Having grown up in very patriarchal societies, I too was ingrained with the male gaze that fantasized and objectified women. Working on this story gifted me with the imperative to interrogate and challenge all of that within myself. It’s not easy and the work is never finished but I think my ‘gaze’ is much healthier today. Prior to creating the film, the thought of going to Tahiti never occurred to me as I was never drawn to the typical ‘invasive’ tourist experiences. However, my experience of Tahiti was anything but typical. It was one of the most enriching experiences in my life. I received the warmest embrace by a culture in which art is embedded in the community, and inspiration flows from a spirit of generosity. I learned from them what it truly means to be in community. Since then, I have taken on community building as an art form in my personal life. Ultimately, these experiences didn’t just influence Tehura, they became the core themes of the film. To someone attempting to create something representing or inspired by another culture, how would you define the line between appreciation and appropriation? Firstly, we must recognize that the line between appreciation and appropriation is most of the time a very blurry one. No matter how well-intended you are, how respectful you think you are, there is always a chance someone thinks you are appropriating. And they might be right. Face this blurriness and accept that any work we create may be flawed. However, flaws can be invaluable if we can humble ourselves enough to engage in the potentially meaningful conversations that the flaws may create. I hope I can do this for the flaws in Tehura. Secondly, approach a project with the willingness to relinquish it if you do not feel like you have the support of the people of the culture. Did any themes from Tehura relate to your journey as an artist? Like many, my passion for art began with the deep drive to express something meaningful. But the path to being an artist is often clouded with the perceived requirements of honing one’s skills or pursuing validation from the industry. On this path, we often lose touch with what ignited our passion in the first place. In this sense, the themes in Tehura of returning to our roots, of reconnecting with our authentic voice to express what truly matters to us, is something I try to remind myself of everyday. Could you explain your filmmaking process? Each project ideally deserves its own process but for me, there are two essential questions that I ask before embarking on any project. The first is “Is this project worth my commitment?” It’s a yes only if the project is overflowing with questions that challenge my understanding of life. The second question is “What does this project need?” I would design the process to answer this question. In the case of Tehura, the filmmaking process did not truly begin until I traveled to Tahiti. At which point, I built my process around what was being shared by the Tahitian dance community. What were some emotional and physical challenges that you faced and how did you overcome them? Is there anything from this process that you will take into future film projects? Animating a whole short film while working full-time can be exhausting, both physically and mentally. At one point, I learned to draw with my non-dominant hand because I developed tendonitis in my dominant hand. Eventually I had a burnout and realized I had to take better care of myself. I began practicing yoga and taking dance classes. I came to realize that having joy in life is paramount to any challenging pursuits. Instead of dedicating every moment to completing my next project, I now allow myself to find joy in my daily life. How do you hope this film will influence the current generation? I don’t have such high hopes to be honest. It’s not because I am pessimistic or humble. It is because I find no use in having hopes for something outside of my control. Besides, what the current generation will create will likely be a lot more surprising and interesting than what we can predictably hope for. Any advice you’d like to give to those who are trying to get into animation? Getting into the industry is all about demonstrating a certain level of proficiency in artistic skills. Achieving that proficiency level simply requires time and persistence. There’s no way around it. It might feel grueling at times, but I’ve seen persistence transform the slowest learners into professionals. If your younger self saw your work now, what do you think he’d say? I often forget to take the time to cherish how far I’ve come, so I very much appreciate the moment this question is asking me to take. He would say, “You did it. You’ve become the artist I want to be.” But of course, the artist I want to become now feels as grand as ever. Writers: Jordan (@deadlyswampsofsadness) | Point Person: Gaby, AIA Team  Looking for feedback on your work and portfolio? Join us for Warrior Art Camp’s Portfolio Review Session! Warrior Art Camp Founders Kayleigh Ma and Angela Sung will lead an intro and Q&A session before we open to portfolio reviews. Get feedback on your work from industry professionals as they share their combined experience! This portfolio review will be focused on BG design/paint as well as VisDev. Saturday, Dec 2th @10:00AM PT RSVP by November 29th at bit.ly/AIACareerSummit2023 to ensure we receive your portfolio! About the Hosts
Everything you need to know about breaking into story and getting in the Writers Room! Join Catherine Chen, a Showrunner's Assistant at Nickelodeon, to discuss the ins and outs of writing for animation, including pitching tips, detailed story structure, addressing notes and feedback, and more! Open to all, and highly recommended for new students or early grads who are interested in pursing a career in writing for animation! Saturday, December 2nd @11AM PT RSVP at bit.ly/AIACareerSummit2023 About the Speaker
Looking to get feedback on your pitching skills? Join us for a pitching-focused workshop where you'll have the chance to practice pitching in front of an audience and receive feedback! Open to everyone of all levels of experience, and highly recommended for those interested in being a Director or Storyboarder! Saturday, December 2nd @6 PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostsKaitlin is a Chinese-American 3D animator and the Events Assistant at here at AIA. They graduated from the School of Visual Arts in 3D Animation and Visual Effects and have worked for studios such as Framestore, Hornet, HOPR, PDA.NYC, Jabimation and Free Range VFX.
Josh Alvarez is a self-taught visual development artist from New York currently working on his portfolio and developing his skills as an artist with the hope to breaking in next year! He works with AIA to volunteer with online and offline community events like this year's career summit or even more recently the AIA meet-up in New York City! Join Storyboard Artist Vivian Le and Director Leslie Park to learn how to navigate teamwork in the world of animation. We'll cover topics such as how to give and ask for feedback, how to manage assignment loads and work, how to improve communication with your fellow artists, peers and even superiors, and how to be the best teammate possible! Highly recommended for recent grads and those new to the industry, but everyone is welcome! Sunday, December 3rd @4PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speakers
Let's get stuff done, together! Join us for a virtual co-working session to work on whatever you'd like - need to update your portfolio? Want to finish a story outline? Just need some space to plan the rest of your week? Come hang out and we'll work together! Monday, Dec 4th @4 PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostSophia is an External Relations Events Assistant with AIA. She helps coordinate AIA's virtual events and is working on breaking into production management!
Let's start our week right, together! This space is a working session to discuss your accomplishments and focus on your goals for the next week - everyone is welcome! Monday, December 4th @6:30PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostAmiel is a storyboard artist based out of Los Angeles, CA and serves as one of the Coordinators for the Membership Team at Asians in Animation. He currently works as a photo editor while breaking in to the industry.
 Join us for an exclusive behind the scenes look at the animated short, STARLING, winner of this year's Best Animated Short at the Tribeca Film Festival! Created by Director and Story Artist at Pixar Mitra Shahidi and Production Designer and former Pixar Character Designer Celine You as part of the Pixar Co-Op Film Program, this event will be an in depth look at the making of an indie animated short, followed by a Q&A opportunity. This event is highly recommended for anyone interested in creating their own indie films! Tuesday, December 5th @6PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speakers
Join Global Talent Acquisition Coordinator at Sony Pictures Entertainment Laura Bourne for an interactive workshop on recruiting tips and best practices, where you can get your burning questions answered about the application process and anything on your mind! This talk will be geared to current students, recent grads, and those looking to break in, but all are welcome to join. Tuesday, Dec 5th @7PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speaker
This is an in depth look at navigating early career roles for animation! Let's define success together and tackle common concerns like how to make a good first impression, how to cultivate professional relationships, and what to prep as you roll off and search for your next production. This will be a great overview on succeeding at a studio! Highly recommended for our early career members and recent grads, but all are welcome to come! Wednesday, December 6th @11 AM PT RSVP at bit.ly/AIACareerSummit2023 About the HostKim Quach is the ever-so-eager helping hand of the Creative Team. With recent experiences at Nickelodeon Animation as an Artist Management Intern and mentorship with Women in Animation, she’s had an exciting look into studio structures and production workflows. She continues to foster community throughout different corners of the industry, and lends support in creating safe spaces for learning and growth.
 Get an insider scoop and Q&A opportunity to ask everything you've ever wanted to know about being a filmmaker and showcasing within film festivals with Director Dan Snaddon! Dan's films have won the International Emmy Kids Award for Best Animation 2020 and been nominated for 3 BAFTA Young People and Children's award nominations. With his latest project for Magic Light Pictures and BBC One, THE SMEDS AND THE SMOOS, Daniel will discuss what it was like working on his most recent film project and what inspired him. Highly recommended for aspiring and current indie filmmakers, although everyone is welcome! Wednesday, December 6th @12PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speaker
 Don't miss this in-depth look at the incredible art of NIMONA featuring Production Designer and Character Art Director Aidan Sugano! We'll go behind the scenes to see how the unique techno-medieval world and style of NIMONA was developed and brought to life, followed by an exclusive Q&A opportunity afterwards. Highly recommended for those interested in design, art directing and visual development! Thursday, December 7 @5PM PT RSVP at bit.ly/AIACareerSummit2023 About the Speaker
This is an in-depth training course to prepare current and future Production Assistants for the ins and outs of 2D episodic production. Along with Nickelodeon Production Assistant Katie Dizon, we'll go over every step of the production pipeline, take a look at the typical tasks expected of a PA and discuss best practices for production management. Highly recommended for students and recent grads looking to break into Production, and for current PAs looking to switch from 3D episodic or feature to 2D! Thursday, December 7th @6PM PT RSVP @bit.ly/AIACareerSummit2023 About the HostKatie Dizon is the External Relations Director at Asians in Animation. An aspiring Producer, Katie currently works as a Production Assistant at Nickelodeon Animation on the upcoming series, TALES OF THE TEENAGE MUTANT NINJA TURTLES. She was previously on ROCK PAPER SCISSORS, the first short to be green-lit for series from Nickelodeon's Intergalactic Shorts Program.
Gobelins Short Film Screening and Networking with AIA India - Featuring Poornima Subramaniam11/30/2023
Together with the AIA India community, come enjoy an exclusive screening of Gobelins’ short film, RIOT DOLL, followed by a Q&A with Director Poornima Subramaniam about her filmmaking process behind the project. Be sure to bring all your questions about first-time filmmaking, and join the other attendees in a post-talk networking session! RIOT DOLL follows a young delivery girl navigating a society engulfed by war-induced hatred in Moscow. Friday, Dec 8th @4:30AM PT 6pm IST (India) 6:30pm BST (Bangladesh) 7:30pm WIB (W. Indonesia) 8:30pm CST (China) 9:30pm JST (Japan, Seoul) RSVP at bit.ly/AIACareerSummit2023 About the GuestPoornima Subramaniam is a story enthusiast, 2D animator and designer based in Paris. She loves to tell stories with a strong point of view but also do silly animations like a grandma being blown away. A recent graduate of Gobelins Paris, she has worked on the festival opener for the Annecy Film Festival 2022 and is ready to promote her Graduation short film, RIOT DOLL, as a director!
Join filmmaker Adnan Hussain and how to best highlight indigenous cultures and collaborate with indigenous artists! Adnan will share stories such as working with Sindhi Jogis on GUL, adapting Sufi poetry and Rajasthani puppetry, and working with Uyghur activists and musicians. This talk is intended for all storytellers seeking innovative approaches to incorporate culture, human rights, and traditional art forms into animation - all are welcome! Saturday, Dec 9th @11AM PT RSVP at bit.ly/AIACareerSummit2023 About the SpeakerAdnan Hussain is a filmmaker working in animation who blends technology, human rights, and culture in his animations. His varied projects range from Sufi poetry inspired puppet films to 8 bit-Bollywood mashups to VFX and animation for Marvel, Disney and Sony. Discover his work at http://www.madguru.com.
Come take some time to work on artwork, spruce up that portfolio and get started on your goals in an open, casual setting with other Asians in Animation members! Open to all who just want some dedicated space to work on a project - we hope to see you there! Saturday, Dec 9th @6PM PT RSVP at bit.ly/AIACareerSummit2023 About the HostMaggie Chen is a junior toy/collectibles designer who designs figures of licensed characters. Within AIA, she is the Portfolio and Art Working Session Coordinator and takes great pride in making spaces for people to work on their projects together.
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