I’m so excited about my latest project for an Italian-British musician, Tiberio Ventura, who is launching his latest album. This film is combining the styles of Dear Jesse and Detour thru Your Mind and is a lot of fun to work on. The only schedule challenge in this film are the multiple characters in scene 9. To keep costs low a filmmaker should never agree to multiple characters, especially if they are turning around. Extra characters are extra work and the latter propels the animation out of Flash puppeteering and into hand drawn territory which is expensive and time consuming. Fun, but not cost effective. Lesson learned on both client and artisan side, I hope. Thankfully, my deadline has been extended, so I’ll have another 45 days to lavish more love onto this piece.
With luck, I’ll be able to meet Emmy guidelines as a producer with this film. I hired the great Aaron Clark to draw the BG layouts for the industrial scenes, and I may employ an animator to help me meet my deadline. Emmy statuettes go to producers while the crew gets certificates. So, finding venues for this piece and managing a crew should qualify me. I sure hope so. Learning that only producers get a statue while working on Sesame Street, who granted me my first film, was a hard, hard lesson and an incentive that I should never turn down an art administration offer again like I did at Warner Bros. Age brings confidence in communication skills. I’m not afraid to manage anymore, however, I still insist on also being an artist on any project I oversee. A colleague has assured me that the position described is called a creative producer. So be it. Bring it on.
For my next project, I am going to use a different style entirely. I’ve mastered specter of clean up and have learned to place my ego aside and collaborate with other artists to compensate my short comings in industrial backgrounds and storyboarding. I would like to do a project for the Cure and I know just the artist to collaborate with on the piece’s production design.
More on her later…