Your first experience at industry work was with Aardman studios working on ‘A Close Shave’, what advice would you give young graduates at gaining that essential first industry experience?
Be prepared to start at the bottom. Nobody goes straight into the industry as a director. It doesn’t matter what you studied, where or with whom, the first foot on the ladder is usually work experience, running, gophering etc. If that hurts your pride too much then you’re in the wrong business. I found it fascinating.
You’ve definitely worked on a variety of projects, from Model painting, to illustration, to directing, and now as an author. Would say it’s better to have general skills in this industry, than to pigeon hole yourself by specialising in one specific field?
Having numerous skills has always helped me – I wear a lot of hats – but that’s not to say that’d suit everyone. I’m lucky that I have a few strings to my bow and I can move between writing and designing, concepts and painting, but I know there are many who are more comfortable specialising. If you KNOW you want to be an animator then that’s what you need to focus on – having a little knowledge of other areas/disciplines can’t hurt either.
For a long time, you’ve worked with young people, giving them an insight as to what it is to be an animator. What are your thoughts on this early exposure? Would you say animation finding a place in today’s education system?
I’ve been very fortunate that – via what I said previously re: wearing lots of hats – I’ve been able to work with and inspire young people into working in animation. I’m always amazed when I meet 13 and 14 year old kids who know clearly that they want to work in the industry, so for that reason I think its terrific to see them get that early exposure. I wish I’d had that when I was at school but times do change – animation and creative industries are now recognised as being feasible career paths for young people today. Those paths were harder to find twenty years ago. Animation can be used cross-curriculum in the hands of the right teacher or mentor – with animation one can turn young learners onto any subject, from punctuation through algebra through soil erosion – I’ve seen it happen first hand!
Where in the UK does most of your work take you? Would you say there’s a future for the industry in the North of England? Or is the industry still pretty much based in and around the capital?
Being a freelance creative and developer of intellectual properties I’m fortunate that I get to do most of my animation development work from home. The studios and broadcasters I work with do tend to be in either Manchester (Chapman, Liddell, Mackinnon & Saunders) or London (HIT Entertainment, Disney). I don’t see a huge industry in the north sadly, but hopefully that’ll change when the BBC move up to Manchester in 2011.
After graduating from Cleveland College of Art and Design, you pretty much landed straight into work. What would you say you did differently to other graduates? That got you recognised and consequently, hired?
I had a hunger and a burning desire. I’d flunked my way through my A Levels and getting onto the illustration course at CCAD was my last roll of the dice. Two years on a HND left me with a sink or swim attitude. I briefly got onto a part time degree course in Wolverhampton but it wasn’t for me – I was stalling, putting off the inevitable. I needed to work in the industry. So I wrote a polite letter – letter, yes, written on paper, none of this e-nonsense! And sent the letter to Aardman with some photos of my models. That got my foot in the door and ever since it’s been a case of looking for the next foothold, going through model painting, then designing, then creating my own shows and now writing my own novels. It’s all about having a clear career path and having the dedication to put the hours in. I’ve always pushed myself, not just as a designer but also as someone who can think up ideas. And then you make sacrifices to see those things come to fruition.
What advice would you give any graduates out there, looking to make it in the freelance industry?
Always be working on the next thing. Don’t think for one minute that you’re in a job for life. Consider where you want to be in ten years time, think about what it’ll take to get you there, set up a plan of action and then get a wiggle on. It’s down to you to make it, nobody else. Nobody owes you a living when you’re freelance. There’s being in the right place at the right time – but you can PUT yourself in the right place at the right time by your actions and work ethic.
Finally, looking back at when you got that first job with Aardman, to where you are now, is there anything you would have done differently during your career?
Not a single thing! I count myself tremendously fortunate to do what I’m doing for a living – it’d be a hobby if I had a “regular” job. If anything different had happened down the way then who knows where I’d have ended up?
I think Curtis leaves us with some sound advice we could all learn from. Thanks Curtis Jobling.
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