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Written and interviewed by Pavida “Patty” Changkaew | Edited by Anna Folsom and Sherry Liang  Meet Jay Asavabenya and Jin Jindawitchu, a dynamic duo of Thai animation directors whose backgrounds in architecture and passion for visual storytelling have led them from Bangkok to Los Angeles. Working across commercials, music videos, and mixed media installations, Jay and Jin are carving a unique path in animation through delicately crafted worldbuilding, cultural memory, and collaboration across borders.  From Classmates to Creative Partner Jin: “We’ve known each other since forever! At the time, we didn’t know much about animation as a career path...” Jin and Jay studied together in the International Program in Design and Architecture (INDA) at Chulalongkorn University in Thailand, where they only used 3D modeling and animation tools for architectural visualization. However, after graduation, they started taking on commercial projects and gradually moved into directing their personal animated films. That was when they began exploring animation more intentionally as a storytelling tool.  Bringing Fictional Thailand to Life Some of their personal films include Himmapan and A Place to Call Home, which explore fictional versions of Thailand. Both are grounded in their desire to cherish the quiet, beautiful moments of everyday life in Bangkok that are often overlooked. Himmapan, created by Jay, is set in a futuristic Bangkok where spirit creatures live among humans in digitized form. It was inspired by the mythical Himmapan Forest in Thai literature. Jay creatively brought the fantastical element into an urban, tech-driven setting. The story is told through the lens of a motorcycle delivery driver, whose unique journey through the city captures the chaotic, surreal rhythm of Bangkok life—from floods and traffic to spiritual beliefs. Jay: “I want to play around with the fantastical yet futuristic look of the environment, and the focus was to use the environment to tell the story.” A Place to Call Home, created by Jin, takes a different angle, looking back instead of forward. She wanted to portray Thailand from the past, not the tourist version, but the spaces where her parents and grandparents actually lived. The film is rooted in her own family’s stories—specifically of, Chinese immigrants living in the Bangkok slums during the 1970s. Jin used actual voice recordings from her family to bring authenticity and nostalgia to the film. Jin: “My aim was to capture the essence of home from a childlike perspective…Moments that might seem unfortunate are transformed through the eyes of a child, where simple joys and empathy teach us to appreciate small moments and connect deeply with the place.”
Storytelling Through Space Jay: “With our background as architects from Thailand, our work is very textural and heavy on environmental design.” Beyond their foundational modeling experiences from the university, which were transferred later on into the 3D animation pipeline, the architectural background heavily influences how they think about space and storytelling. Environments become a powerful narrative tool, including objects, textures, sound, and even silence, that can carry emotion. They design the worlds with an eye for detail, thinking about how people or creatures live and interact with them. Every item has meaning, and every layout tells a story. Jin: “Most of our world designs are very user-centric. Who are the creatures or people living in this world? How do they live, and what do they do? When we think of design, we consider it from human, architectural, and urban scales. That’s how we add richness to the films and projects we work on.”
Lessons from Collaboration Jin: “When we transitioned from working independently to leading a team, we focused on understanding each member's strengths and interests. This approach allowed us to unlock their full potential...” From their experience, Jay and Jin have learned the importance of teamwork and the value of working with people who bring their own specialties and vision to the table. A good team not only lightens the workload but also opens up more creative possibilities. Each collaborator adds a new perspective, and that diversity of thought makes the work stronger. On top of that, as freelance directors, it is crucial to learn how to juggle multiple projects at once. They’ve found that it’s important to shift the mindset depending on the task, while one project can act as a break from the other. It helps if projects are in different phases of production. Jay: “...For example, I can work on project A brainstorming pre-production ideas during the day, which requires a lot of creative energy, and then animate for project B at night. Most of the time, our work gets collaborated with remote artists, so we will have to be mindful of the time differences as well.”  Growing as Leaders & Advice for Aspiring Directors Transitioning from independent artists to animation directors was a significant shift. They had to learn how to identify each collaborator’s strengths and support their growth. By fostering close collaboration, they saw a significant boost in both morale and overall effectiveness. Jay: “We have learnt along the way that there is such beauty in collaborating with other talents that share the same vision and passion as you.” For anyone who wants to become a director, it is important to find their unique voice by staying true to their interests and passions. There's no one right way to direct, and your perspective is your strength. Jin: “...As directors, who are also designers and animators, it's essential to carve out your own path and direct in a way that reflects your personal style and vision.” We’ve talked about their creative process and philosophy—now it’s time to see it in motion. Watch the trailers for Jay and Jin’s films below and discover why their work resonates so deeply with audiences worldwide. "A Place to Call Home" "Himmapan" Want to see more of their work? Follow Jay @j_asava and Jin @ploysjin on Instagram and stay tuned to Asians in Animation for more insightful stories.
Over 100 Creatives Unite to Forge a New Future for Animation in the Middle of a Hollywood Recession6/1/2025
 As the entertainment industry faces uncertainty, one groundbreaking project proves that the next generation of storytellers isn’t waiting to be discovered. They’re building the future themselves.
While many waited for the next move, over 100 emerging Asian talents united to create a future worth watching. At a time when the entertainment industry is navigating unprecedented challenges, an all-volunteer team of artists, writers, producers, and animators came together to create something extraordinary: Tea Leaves Last, an original animatic pilot developed through Asians in Animation’s Pilot Pre-Production Program. The project is not just a triumph of artistry, it’s a quiet revolution showing that the next generation of animation talent is here, ready to shape the industry on their own terms. ▶️ Watch the trailer here: https://m.youtube.com/watch?v=BkKvTD4AMdg&pp=0gcJCdgAo7VqN5tD While many early-career professionals are being laid off, overlooked, or left in limbo, this collective of emerging and established talent decided to create their own opportunities. Spanning multiple countries, time zones, and specialties, the team collaborated for almost a year– all volunteer-based, and without traditional studio backing or resources – to bring a heartfelt, magic-infused story to life. Their mission? To gain work experience and train for their next step in a professional-level production pipeline grounded in mentorship, creative equity, and cultural authenticity. Tea Leaves Last follows a young girl who’s determined to prove the existence of forgotten tea magic and recruit allies to save her homeland from a colonizing threat. But behind the fantasy lies something just as powerful: the real-world story of what’s possible when creators take the reins of their own careers. At the heart of this visionary project is Saira Umar, the showrunner and creator of Tea Leaves Last. An accomplished writer with credits at PBS Kids, Umar has refined her craft through apprenticeships with the Writers Guild Foundation and mentorships with showrunners and executives across the industry, contributing to critically acclaimed series across streamers such as Jentry Chau vs. The Underworld (Netflix), Digman! (Comedy Central), and at Marvel Animation (Disney+). She describes the project as the result of a program that “provides a safe-space for emerging creatives to learn and grow. We noticed a large gap in applicable education and training of not just the skills needed to succeed in animation, but the knowledge of the pipeline and practices employed in modern television. The primary goal was for those involved to have a positive experience increasing their knowledge about the reality of creating an episode of TV in a western, pre-production studio. “We wanted a place for people to do the jobs they want to have, but just haven’t yet had the opportunity to do so, in order for them to gain experience by doing.” For Umar, Tea Leaves Last is about planting seeds for a future where diverse voices shape the narrative. “It was a lot of hard work and over 15,000 combined hours from our volunteers, but hearing from members of our crew about how impactful the experience was makes it all worth it.” Leading the production is Alice Jiang, whose experience includes credits at Titmouse and her current role on Amazon Originals’ hit series The Legend of Vox Machina. Jiang orchestrated the sprawling volunteer collaboration with a keen focus on building trust and systems that empower early-career professionals. She explains, “When the industry isn’t always set up to support new talent, we have to build those support networks ourselves,” highlighting how collaboration can unlock new possibilities when people unite around a shared vision. Adding vital creative expertise is Topher Ngo, a voice actor/director and singer best known for his role in Grammy-nominated boy band 4*TOWN in Disney Pixar’s Turning Red. Ngo has stepped into casting and voice directing to champion emerging talent. He remarks, “It was incredible bringing this specific project to life with an all-Asian cast who could identify so deeply with the characters on screen. There’s a level of nuance to their performances that can only come from engaging with their lived experiences, and it was such a pleasure to help them tap into that vulnerability in the booth. For me, it’s about who gets a chance to be heard,” underscoring his commitment to fostering inclusion and bringing fresh, authentic voices to the screen. First-time Director, Hye Lynn Park is no stranger to the industry, previously working on Sony’s upcoming highly anticipated K-Pop Demon Hunters, cinematics for World of Warcraft and Diablo IV at Blizzard, and at Cartoon Network as a storyboard artist. She worked to help mentor and train the story and edit teams, while also honing into her leadership and directing skills. Another core creative team member is Stephanie Sim, who has worked on high-profile franchises at Nickelodeon and Marvel Animation and has writing credits on the fan-favorite series Monster High. Sim worked closely with Umar to deepen the project’s storytelling with an emphasis on world-building and collaboration. She reflects, “I can’t overstate how much teamwork and communication goes into an animated project, and I’m really proud that we were able to weave together ideas from such a talented and enthusiastic crew. I hope all of our team members learned something valuable from this experience that they can take into their next project.” The animatic pilot is the culmination of the TV Pilot Pre-Production Program, a flagship initiative by Asians in Animation, a 501(c)3 non-profit dedicated to advancing Asian talent across all disciplines in the animation industry. With over 6,000 members across 92 countries, Asians in Animation is the world’s largest collective of Asian animation professionals, a powerful platform for visibility, opportunity, and community. The organization is led by the visionary trio of Lexie Chu, Katie Dizon, and Dani Yuan, whose leadership is shaping a new, inclusive future for animation worldwide. “Hollywood is not providing the kind of access and education that aspiring professionals need right now. So we created the space ourselves,” said Lexie Chu, Founder and CEO of Asians in Animation and executive overseeing Tea Leaves Last. Chu adds: “This project is about radical generosity, sharing studio knowledge, mentorship, and best practices with people who might not get that chance otherwise. The future isn’t something we’re waiting for; it’s happening right now. The next generation of leaders is us, and this program was designed to prepare them as much as possible. Asians in Animation’s members are Hollywood’s next leaders in animation, and it’s our job to make sure they have the tools to succeed.” The Tea Leaves Last team consisted of artists working internationally — from across the United States to China, Korea, the Philippines, London, Iran, India, Australia, Japan, Indonesia, and more — reflecting the program’s commitment to elevating global voices and fostering collaboration across borders. This rich tapestry of cultural perspectives not only brought authenticity and depth to the project, but also underscored Asians in Animation’s mission to empower creatives worldwide and build a truly inclusive creative community. Tea Leaves Last is more than an animatic pilot, it’s a declaration that the future of animation belongs to those who refuse to wait for permission to create. This project stands as a beacon of hope and a call to action: industry professionals, especially those from underrepresented backgrounds, are no longer waiting for Hollywood’s slow wheels to turn. They are taking destiny into their own hands, rewriting what success looks like, and proving that resilience and collaboration can overcome even the toughest industry storms.  Benar Animation Studio’s film, Scotty, made its debut at Cannes Film Market , the culmination of 6 years’ work by more than 300 concept artists, art designers, animators, and CGI engineers from all over the world. Directed by Mohammad Pirzadi, Scotty represents a heartfelt exploration of resilience, trust, and the meaning of home.  After losing his mother in a house fire, Scotty, a frightened kitten, is left alone on the unforgiving city streets. With nowhere safe to go, he finds refuge in the ruins of his old home - the only place where he feels secure. Years later, Scotty has grown into a solitary cat, guarding his small, quiet territory, but when a lively pet cat named Katie wanders in, his world is turned upside down. Forced out of his safe zone, Scotty reluctantly joins her on her dangerous journey, hoping that she will finally help him find his way back. Though Katie claims to know the way, it turns out she is just as lost. Along the way, they face risks, save each other, and slowly grow close until a misunderstanding separates them. Near the end of their quest, Katie is captured by a villain. Scotty returns home alone, but he is changed. Realising he no longer wants a lonely life, he sets out to rescue Katie so they can share a new life together.  Before embarking on the journey of creating this film, the director immersed himself in the fascinating world of cats. He watched every movie and documentary about them, studying their behaviour, quirks, and particularly their body language. Growing up surrounded by street cats, he felt a deep connection to their untamed spirit and resilient nature. The producer set the office next to an animal shelter so animators could go there to watch and learn from rescued cats every day.  Street cats carry an incredible aura of doubt and mistrust, their wary eyes reflecting untold stories of survival. For Scotty, the main character, Pirzadi imagined an emotional journey where Scotty learns to trust again, make friends, and ultimately find happiness. Alongside this, the theme of "home" plays a pivotal role. To him, home is not just a physical place but a sense of belonging. Through Scotty’s journey, he wanted to explore how sharing happiness with others transforms a space into a true home.  Ali Noori Oskouei, a renowned Iranian producer, director, and Grand Prize winner at SICAF, sees Scotty as more than a film. As a consulting producer, he believes that in a world where countless children and adults face trauma and depression, the movie takes an uncommon path; it's an animated feature that both delights the heart and gently reassures the viewer. Negotiations are currently underway to design the best global release for the film, with final decisions to be announced soon after Cannes 2025. Note: The copy and images in this post were provided by Benar Animation Studio.    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.
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