Month: August 2018

CMC 2018 | Tips and Hits from Animated Women

CMC 2018 | Tips and Hits from Animated Women

The CMC panel TIPS AND HITS FROM ANIMATED WOMEN was set up to tackle the fact that gender parity in the entertainment industry is far from a given. Examples such as the recent report on the gender pay gap, and the #MeToo movement, have made that very clear.

But instead of pointing fingers, our aim was to address bad practice by demonstrating good practice. We wanted to celebrate the many women who have succeeded in the animation business, by getting them to describe their journeys and talk about obstacles that may have had to overcome.

Positivity was key. The session was kicked off with a short speech by Changemaker Anna Hollinrake, a games artist just starting out in the business. Anna was keen to stress the importance of balance and self-care, in an industry that can sometimes entail long and stressful hours and not a whole heap of gratitude. It was therefore important for the rest of the session to show positive examples of how we can look after ourselves by celebrating our achievements and successes and in doing so address questions about equality and confidence.

The role models we chose to help us do that came with a range of experience and backgrounds:

Sarah Fell, Executive Producer at Turner Broadcasting talked about her journey from art school into production. Sarah achieves balance by allowing herself to be inspired by others, while maintaining her own creative vision. Sarah was asked whether she thought animation is a level playing field. She admitted that in the early days of her career, the industry was heavily weighted towards men, but over time, Sarah has been able to champion more and more women in the business and can easily claim gender parity on the shows she produces now, such as THE AMAZING WORLD OF GUMBALL.

Rebecca Hobbs embarked on a successful screenwriting career via a law degree and a short stint in acting. Her most recent credit is as Head Writer on SADIE SPARKS, a co-production between Brown Bag Films, Cybergroup Studios and Disney EMEA. Rebecca spoke a lot about taking risks and about how fear was sometimes a good motivator! She was also asked about mentors and she was keen to stress importance of finding someone to trust – sometimes we all need the reassurance from someone with experience, that the risks we’re taking are worth taking. Her most poignant piece of advice was some she has once been given – not to climb a ladder too far, only to find it was leaning against the wrong wall.

Up next was Georgina Hurcombe, Producer and Managing Director at LoveLove Films. Georgina was a participant in this year’s Helen North Achieve Programme and talked about the importance of organisations such as Animation Women UK for both networking and support. We know that centuries of conditioning mean we may not change things overnight, but channeling positive examples of where it does work, goes a long way to help nudge progress in the right direction.

Finally, and also from LoveLove Films, was JoAnne Salmon, who as an animator has seen more and more women come through the technical side of the business. She cited the importance of building confidence in those trying to break into the industry, as well as the importance of the role the rest of us play in being role models to those still in the early stages of their careers.

The whole panel was asked what tips they had to share with the rest of the industry to support equality and diversity:

  • Building confidence was high on the agenda; so many of us still feel the ‘imposter syndrome’ and battle against the stereotypical idea that women do best in more nurturing, production management roles rather than the more ‘creative’ and ‘technical’ roles. So, we need more role models to speak up, while we also need to rediscover women whom history has over-looked.
  • We also need to remember that we make content for a global and diverse audience; both our content and those making it need to be just a global and diverse if we are to paint a true picture of the world we live in to our children.

And speaking of children, the one and only question we had time for from the floor, came from a man, who inevitably asked the ‘how-do-we-deal-with-women-going-off-to-have-babies’ question. I threw this back, to a round of applause, as I truly feel it’s time we stopped making this a women-only issue, it’s an issue for parents, whatever gender. First of all, we shouldn’t assume all women want, or can, have children. It is not a question we ever ask men. Secondly, as technology now enables us all to work flexibly, this is a conversation men should be having amongst themselves too – it should not be up to us to tell them what equality looks like all the time.

Overall it was a session full of energy and it remained thoroughly positive throughout. Although the number of women in the industry has increased significantly over the last few years, we still need to support and champion and celebrate one another, as we do deserve to be here!

Posted by Lucy Cooper in Events, 0 comments
Member profile | Heather Colbert | Illustrator and Animator

Member profile | Heather Colbert | Illustrator and Animator

What inspired you to start Stop-motion Animation?
I came to animation through my illustration degree; we had a puppet making project in our 1st year that ignited my interest in stop motion and puppet making. The character I made was a Frankenstein’s monster-style slave, doomed to an eternity of stirring a vat of fudge! It was a great project. I had always been fascinated by the unique charm that comes from the real light and textures in stop motion, growing up on all the programmes made by Small Films. But through university and since graduating, it has been a gradual realisation that I could be someone who makes films this way too.

Tell us about your work and what projects have been key to your career.
I experimented with felting and building a more realistic world in my degree film ‘Courage to make a Fool’, but since graduating I have directed three music videos where I have used my love of texture and character animation to create more of a personal style.

My last project, ‘Dolly Said No To Elvis’, was a chance to be more ambitious with the story I was telling, and to explore my style in the textured universe I wanted to create. ‘Dolly’ was the first time I consciously promoted a film too, which made it feel more like a career, especially when I was able to get some exposure from the Vimeo staff pick.

Dolly Said No to Elvis by Mark Nevin.

I had a place on a stop motion workshop in Budapest last autumn, which boosted my confidence in my ambition to be a filmmaker. I met a student, Abel Carbajal (from ESCAC), through this workshop, which led to a collaboration between us on his graduation stop motion film. I have worked solo on all of my professional projects so far, so the chance to work with a partner, developing the character together and then building the puppets, was really valuable for me.

Tell us a little bit more about your last project, ‘Dolly Said No To Elvis’.  
Joseph Wallace had been approached by Mark Nevin to make a video for the track, but was focusing on his other projects at the time so very kindly offered me the chance to pitch for the video. I’ve been so fortunate to have had these opportunities passed on to me by more experienced filmmakers; I hope one day I’ll get the chance do the same – animation feels like a very supportive community in this respect.

When I listened to Mark’s song, I felt how the power balance shifted between the two characters at points through the narrative, and saw an opportunity to heighten the drama of the true story by exaggerating the changes in size of the two adversaries.
This was only my second professional commission and it had a very tight budget.  I wasn’t able to rent a studio, so I turned my grandma’s dining room into a studio over Christmas! The deadline was also very tight, but I had learnt so much through the workshop that I was bursting to try out in front of the camera. Working on my own that intensely over Christmas got quite tricky.  It was a challenging to look after my mental health through the project, but I am very proud of both myself and Dolly for making it happen!

Dolly Said No to Elvis by Mark Nevin

Did you have any mentors support that helped you?
I have so many people to thank for my fortune so far: Virpi Kettu, an animator based in Skipton, gave me my first opportunity to pitch for a music video when it was not right for her production company; the incredible Mary Murphy at UWE generously gave me her time when I needed equipment advice for my first job and Joseph Wallace, who I admired greatly already, has been an amazing support in teaching me the self-promotion skills filmmakers need that you can’t really learn at university.
I am also so grateful for the support of my peers such as animator Roos Mattar, who helped me with practical and emotional advice for ‘Dolly’! and Becky Weston, a model maker who I met and connected with through an Animated Women networking event – I think we got on immediately because we were just as nervous as each other in that situation!

Have there ever been times when you’ve felt that being a woman may have impacted your career?
As I am still very new to the industry, I have not experienced what it is like to work as a woman in a large studio yet. I would hope that the issues many office environments have in this area would not be so prevalent in a creative field like animation, but I think the internal feelings that come from growing up as a female do have an impact on how challenging some aspects of a freelance career can be. Self-esteem and confidence in your abilities is, I think, quite a rare thing in many creative females, and I found the process of self-promotion with my film very daunting, so I needed a push in that direction. However, I think my sensitivity has been an asset too. Feeling strong emotions and connecting to stories very deeply is integral to my success.

BIBIMBAP byOri Dagan – Heather’s 1st music video

What changes would you like to see in the industry?
I have only been in the ‘real world’ for two years, so I have not had much experience of the bigger picture. But I do know that in my degree the class was about 90% female, whereas the number of names that ‘make it’ are mostly male. I know this happens in many industries; something happens in the hard process of climbing, that means that female makers either don’t pursue it or do not get the same recognition as their male peers.

My strongest wish is for there to be more opportunity for people from every kind of background to have the chance to tell their stories through animation. It is vital that there is a broader mix of voices in a position to share their experience.

The connections to lovely people I made at a networking event held by Animated Women have been very important to my development as a filmmaker, so I look forward to more chances for us to connect and support each other across the industry.

Find out more about Heather and her work at www.heather-colbert.com.

Posted by Lucy Cooper in Profiles, 0 comments