Congratulations, one of your characters made a cameo appearance in my midlife crisis!
This takes a little time to explain, but on the art web site FurAffinity, living users are represented with a tilde, while living impaired users get an infinity symbol in front of their names. I was at a low point in my life when I drew this, and thought about what would happen when the Grim Reaper eventually closed the loop.
Anyway. This was supposed to be for questions, so I'll ask one. The career of an animator seems to be nomadic... they'll spend some time developing a series for Cartoon Network, then move to Disney, then migrate to Nickelodeon, only to return where they started (cough cough CH Greenblatt cough).
Any reason, or reasons, why this happens? Honestly, I have a difficult time understanding why anyone would go to Nickelodeon to start a show, given the way so many artists have been treated by the network in the past. Do all the networks act like this?
Just curious. Thanks for your time, and for the years of entertainment.
You guys look great together, but no loop closings please!
Gotta bilde the tilde, if you know what I mean.
Anyway, yeah... Animators all know that Other Studios have Other Problems. It's not at all uncommon to hear someone say, "I'm about ready for new problems".
I spent most of my career (until the wonders of the recent mega-merger) at WB, so I've really only known WB problems (with a light sprinkling of Disney Troubles). I've asked friends like C.H. Greenblatt and Jessica Borutski about the long-haul at Nick, so I have a basic idea what the culture is like. But if I land at Nick in five years, it could be a completely different set of circumstances and maybe even a completely different set of employers.
I know maybe three studio execs with solid careers who've spent the majority of their time at one studio. Most of the time, the low level executive track is even more of a meat grinder than the creative track. In fact, I'd go as far as to say that the middle-management meat grinder is the cause of the creative meat grinder.
The job of an executive is to make impressive decisions that dazzle their superiors and shareholders. If you've just been hired to replace someone and have inherited a stack of 32 animation bibles in various stages of development with assorted creators, are you really going to just continue going through that pile? I mean, you're replacing someone for a reason, right? So probably better just to toss that whole pile of animation bibles in the trash and start again. Because you're going to look like an idiot if even a single one of those fails. And if it succeeds, it just makes your predecessor look smart, which steals some of your shine. So you axe those creators and all of their support goes away and the cycle begins anew.
During my career, these executive turnovers (and the following creative turnovers) happen about every four or five years. With a little luck, it takes (in my experience) about two years to get a show through development to pilot, and then another year to decide if it's going to be a series. In short, there is precious little time where a creator/EP can interface with and rely on a competent executive to champion them. If you don't have that, you're not going anywhere.
I'm not sure how anything gets made. From the inside, development is always trickle-down sweaty desperation. I guess somehow, every now and then, a neurodivergent 23 year old slips through the cracks and makes a kid's show about The Grim Reaper. It could all be luck.
There are definitely execs who love animation and have made it their life's work. But there are also people who just got into the business as, say, a personal assistant and hasn't watched an animated cartoon since they were six, but suddenly find themselves in control of many millions of dollars worth of IP. There are execs who think of entertainment only as a commodity and who literally don't understand why creatives feel so passionate about "just cartoons" but will remind you "how lucky you are to work in entertainment" if you ask for a raise.
In short, the problems are usually management related. And those problems are mostly the same across studios, with the occasional Infamous Despot you want to avoid at all costs. The good news is that said Despot probably won't last five years.
There are perks at the different studios too. Proximity to decent food. Occasional amusement park passes. Friday morning bagels. The sort of stuff that hopefully nobody is taking a job specifically for.
At the end of the day, there are three or four big studios we can work for. There are also a smattering of smaller indie studios which... make content for those three or four other studios anyway.
The long and short of it is that there's just not a lot of choice where we can work or who we work for. We definitely talk to each other and the studio culture does weigh heavily when you're deciding where to go. Assuming you have the luxury of choice. It all kind of sucks, and it all kind of sucks in the same way. But sometimes you get bagels.
Stay Frisky!
103 notes
·
View notes
If you sleep with people who have troubles, you will certainly catch them. -- Michael Lipsey.
Inspired by Nelson Algren's, "Never play cards with a man called Doc, and never sleep with a woman whose troubles are worse than your own." But I never gambled, at least with cards...
26 notes
·
View notes