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That’s when it shifted from me being an artist to me being an executive, a leader.
I had a philosophy on storytelling that I’d been developing over the years, through my experiences and my personal belief of how stories are made, and this became the foundation of the company. I decided we’d try to make it work, this new philosophy and these new techniques that we were developing. Somebody had to, or the community would be scattered to the breeze. So, really, at that point you felt like you just had to stand up. The company went out of business and if it wasn’t for somebody stepping up and saying “We’re going to make something new out of this”, there would be no Laika. How did you get to your position in this group? What was your break? But we thought that if we could find a way to blend our craft in a technique that went back to the dawn of cinema and blend it with new tools, new technology, disruptive technology and thinking, we could bring the medium to a new place.īy having one foot in tradition and one foot in the future I thought we could tell stories in an interesting way.Īt some point in that story it stopped being about you and started being about the whole group, Laika, a ‘we’.
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We knew that we loved stop motion, but with the ascendancy of the computer, stop motion was on its way out as a viable movie making medium. We got out of the work for hire business, focusing all of our attention on feature films to become the captains of our own destiny. I thought it was worth saving, and so out of the ashes of that community we formed what became Laika with a completely new perspective on filmmaking. What I believed is that this artistic community I met working at the shop, around the area, is that they were really special. Through a combination of circumstances, some mismanagement, a turbulent economy, the worst ad recession we’d seen in a generation, Will Vinton Studios went insolvent, it couldn’t make its payroll and it couldn’t pay its bills. At the end, I was animating full-time, then I started working on commercials in CG animation as well as stop-motion animation.
Coraline laika studios professional#
I got a ton of professional experience in a short time.
Coraline laika studios tv#
The best thing about working TV and commercials is that you have to crank through a lot of footage quickly. The producer I was working with saw I had talent and gave me a shot just doing a simple bit for the show. I got a job as an assistant, then I started co-ordinating, I started doing scheduling, working production management, but what I really wanted to do was animate on the show. It was called The PJs, it was a primetime stop motion show, the first of its kind in America.
I knew it could be something I could do alone, as a hobby, but not something I could devote my life to.īut once I graduated from college, I got a job as a production assistant at the studios on the TV show had just gotten going at the time. Growing up outside of Portland, Oregon, I didn’t know anybody who was a professional artist so the idea that I could make a career, a viable living from doing this, seemed outside of the realms of possibility. Like so many animators of my generation went down into their parents basements, completely self taught, as an artist, as an animator.
Coraline laika studios how to#
I think the thing that made me a little bit unusual is that I wanted to learn how to do it. I loved the Rankin Bass holiday specials, like Rudolph The Red-Nosed Reindeer, but above all, I loved the Ray Harryhausen creature features. When I was a kid, I adored it, specifically stop motion animation. It’s been quite the journey, much like the unlikely stories of our characters. How did you get from outside, step by step, to where you are now, steering the flagship and being in charge of the whole fleet all at once?
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