How to not get screwed working on a ''cool'' animated project
?With the latest Across the Spider-Verse drama about though conditions of work I think it’s a good time to remind everyone -and especially juniors- that we all have a say in this. First, by really taking the time to understand what a project/team/company you’re about to apply for/to is all about and second, by remembering that deciding to work somewhere is essentially a vote for that place and their way of doing things.
You can always change things from the inside, but making sure you know what you’re signing for from the get go will always be the best way to set yourself for success.
For those of you that aren’t familiar with the beef going on, the TLDR version goes like this: production of the film was quite chaotic, some artists left during the movie and/or are anonymously flagged that it was unsustainable and when confronted with it, production basically laugh it off saying ‘’Welcome to making movies’’.
This was a classic pulling the curtains moment that revealed the industry for what it sometimes is: a big mess.
Not a bad or evil one but just the type of mess that if you knew about would probably prefer to do without.
So?here's a couple things to keep in mind:
1- Coolness of an IP/ project DOESN’T mean that said project will be managed properly or fun to work on.
Lots of studios are banking on the projects they advertise working on, but this is just the tip of the iceberg. Even though Across the Spider-Verse is a masterpiece, the production wasn’t smooth sailing for everyone. That doesn’t mean that Sony Animation is a bad studio, but it’s worth using this example as a reminder that you should be aware that cool project doesn’t necessarily means cool working experience.
2- Past projects don’t necessarily define a studio
People come and go. Studios are entities that federate people for a time during which they’ll do their best to accomplish great things and after which many will move on. When interviewing for a job, if you want to get a clear picture of the studio, it is really important to ask questions that relate to the PRESENT and to the PEOPLE working there. Whatever happened there in the past, great or bad, won’t necessarily be what’s to come for you, you’ll more often than not be playing with new players and a new environment. Keep that in mind as you put your foot in the door somewhere.
3- The journey matters more than the goal
While it’s great to have a chance to work on a top level project you have to ask yourself if it’s the right fit for you. You’ll spend more time in the trenches doing the work than at the top of a mountain boasting you’re chest about having worked on it. And so it might be worth taking the time to double check some things:
Will you be treated/compensated fairly??
Do you feel like you’ll be learning from this experience??
Are working conditions favorable to you creating great work??
Will you be mentored or led in a positive way (for you)??
Etc.
These are all great questions worth asking as you ponder starting on a new project or not. The answers might be different to all of us but the simple action of thinking these things through will go a long way in making understand the next point:
4- YOU play a part in this too!
Yes YOU, good old YOU. You can be a first time artist of a director on a project, you still have a part to play. You can do it while smiling or frowning, but ultimately you can’t extirpate yourself from being part of the project.
You can choose to work somewhere or not.
You can decide to speak up or leave when it gets too muddy.
You can be part of the solution, if you think there’s one.
You can frame an experience as positive and grow from it rather than seeing it as an injustice.
Ultimately you can always be the master of your destiny by choosing to act in alignment with your beliefs whatever they may be.
Until next time,
Hubert