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In my teens, I became very focused on film and began to discover the work of cinematographers like Emmanuel Lubezki, Roger Deakins and Conrad Hall, who are all still major influences. I saw all the Disney movies of the ’90s as they dropped in, but it was The Nightmare Before Christmas that taught me that animation could be weird.Īnimation heroes: My earliest influences were my older brother and all the art that was left by my grandmother, who was a painter and life drawing instructor. Henry Moore, Titian, Dalí and the Dutch Masters were some of my first exposures to the world of art. I was raised by The Simpsons: Sunday nights at 8 p.m. I did not originally set out to work in animation, but it is where my path has led me.įave cartoons: I grew up with Looney Tunes and ’90s Saturday morning cartoons like X-Men and Batman. School: Studied illustration at Sheridan College film design at Emily Carr Institute.įirst time I knew I wanted to work in animation: My interest has always been to tell stories, and visuals are my strongest form of communication. Production Designer, Spider-Man: Across the Spider-Verse (Part 1), Sony Pictures Animation So, I am definitely looking to make more content like that - and help other Black and brown creators tell their stories as well. Working on both Rise Up, Sing Out and The Proud Family showed me what it’s like to tell stories that challenge the usual narrative and that celebrate BIPOC experiences in a deeply personal way. I thought many times, “Maybe the fact that I haven’t managed to get a studio job like they did means I am not cut out for this.” But I was very fortunate to have a former teacher tell me this advice then - and I am so grateful I listened to her.įuture plans: I want to continue to make shows that push the needle forward.
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I must have forced my parents to watch it with me easily 20-plus times!īest career advice: It was, “Your timeline and your path do not have to look like anybody else’s.” Right out of grad school, I was drowning in student debt, working in the electronics section of a Target and feeling like a failure because all of my classmates were getting studio art jobs. I remember being utterly mesmerized by all the magic in it and till this day, there are certain shots I can imagine as clearly as if I were watching it.
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#Animations stars movie
Gutierrez, Glen Keane, Hayao Miyazaki, Shinichiro Watanabe, Brad Bird, Genndy Tartakovsky … Haha, I will stop here because I could go on for a while!įave movie growing up: I think Kiki’s Delivery Service was kind of a life-changing experience for me as a child. I almost feel like it forces you to make decisions more confidently and to really become an efficient artist and director.Īnimation idols: Bruce Smith of course - it’s still super surreal that I am working with him! But I also adore the work of Mamoru Hosoda, Jorge R. But actually, though it’s such a big challenge, I kind of enjoy the limitations of time constraints.
#Animations stars tv
When I get to see the audience responding and connecting with the stories I got to tell, that is the best feeling in the world.īiggest challenge: Time! TV animation is such a fast-paced medium and I always feel like the White Rabbit from Alice in Wonderland, just constantly kind of running late. But hands down, my favorite part of this job is seeing what I create resonate with people. When we are able to create a storyboard sequence that really achieves the emotion, nuance or humor my team and I were going for, it is such an awesome feeling. I especially love working with the storyboard artists and helping them craft impactful shots. Directing feels a lot like one giant puzzle game and I love the challenge of it. What I love about my job: I love that as a director and a showrunner, I am able to coordinate all these different moving parts and help get a project over the finish line. My first art job was as a revisionist on the Puppy Dog Pals. on the Disney Junior show Sheriff Callie’s Wild West. School: UCLA įirst job in animation: P.A.