Johan Anton Klingler

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What is your name and your current occupation?
Allow me to introduce myself, my name is Johan (Jonathan) Anton Klingler and I am presently a FullTime Faculty Instructor with the Art Institute of Dallas. I also am a writer/illustrator in partnership with my wife, Norma Rivera-Klingler, for a series of 15 children’s books. We run our own very small freelance production business, Double Exposure Productions, from our home.

What are some of the crazier jobs you had before getting into animation?
I was a factory worker working for a company that built vender machines and in that job I saw some things one would think are only seen in war times. We used machines called break press machines which are simply machines that bend very large sheets of metal or punch holes in them. You would know them if you saw the movie “Terminator”. The machine that crushes the Terminator is a machine like the ones I’m describing. When you stand in front of it, it is massive. When you walk by others using one, the first thing that strikes you is the “tethering” lines from the machine to the wrists of the workers. It looks like some futuristic and yet dark ages contraption for torture. The purpose of the tethers is to keep people from getting their arms crushed under a ton of metal as the machine lowers its die-cut block and hydraulics press even further to cut through the plate of metal placed under the press by human hands. No hand or arm stands a change if your to slow so these lines are attached to a pulley system so that when the block comes down, your arms and hands are pulled out. To Forman this means the job can only be done at one speed, the speed of the machine. Often Forman will tell workers to not use the tethers so as to work faster that way as the press starts to come down a worker can already be getting the next sheet of metal ready for loading. If a worker is too slow pulling his or her arm out or is distracted then they lose a limb as it will be crushed or severed depending on the type of die-cut. I saw this happen a few times. I even had to pack a couple of some individuals fingers in an ice chest for reattachment so that when the paramedics came we could give them the parts to the individual. That wasn’t the craziest area there though. There was a room called the stripping room were metal sheets were lowered into a solution of cyanide based liquid formula of some kind. I was told that if a single drop of water got into it then it would produce enough gas to kill a quarter of the building’s occupants. I was a janitor on the night shift and it was my job to clean that room with water based cleanser. Now that job was crazy.

What are some of your favorite projects you’re proud to have been a part of?
All the productions I was given the privilege of working on at Disney were incredible but I think working on Continue reading

Lauren Carr

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What is your name and your current occupation?
Lauren Carr Assistant Professor 3D Animation Montclair State University.

What are some of the crazier jobs you had before getting into animation?
Telemarketing for chiropractors “More Balls Than Most” (juggling company) Splatter painting gift boxes.

What are some of your favorite projects you’re proud to have been a part of?
Spirit, Chubb Chubbs, XMen 2, Chicken Little, Bolt, Ice Age, 4 Rio.

Where are you from and how did you get into the animation business?
I grew up in New City, NY and studied graphic design at Buffalo State. After graduating college, I started working for a website firm in Buffalo doing HTML programming and website design. Website development software had not yet been created and the ability to Continue reading

Brian Hartley

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What is your name and your current occupation? 
My name is Brian Hartley and at the moment I’m a Senior Games Artist for Fish in a Bottle, a creative agency based in Leamington Spa. My job covers a wide range of areas from UI design through to character animation.
What are some of the crazier jobs you had before getting into animation? 
I’ve been lucky enough to have been involved in games development since leaving college, so there’s not really anything crazy to report.
What are some of your favorite projects you’re proud to have been a part of? 
I really enjoyed working on the point and click adventure we designed at Fish in a Bottle to support the recent Channel 4 animated series, The Full English. It was the first Flash project I’d work on, so there was a pretty steep learning curve, but I think everyone involved was happy with how it turned out. Other than that, I still have a soft spot for MicroMachines on the Sega MegaDrive. Even thought it’s 20 years since the game came out, I still get people telling me how much they loved it.

Where are you from and how did you get into the animation business? 

I’m from Stratford-on-Avon in Warwickshire, and my first job in games development was for Codemasters. I’d never really used a computer for anything creative, but Continue reading

Igor Stefanovic

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What is your name and your current occupation?
My name is Igor Stefanovic, I am Character Technical Director / Rigger at DreamWorks Animation. My job is to build internal skeletons, animation controls, face expressions and body deformations for digital characters. I create something like a digital marionette, which animators move around in shots. It is a job that is both artistic and technical. I have a good understanding of anatomy so I make sure that face and skin of character look good in every pose, just like real actor. I also work on hair and cloth, which are more on the technical side. Animators then take my work and breathe life into it. You could say, if animation department is the heart of animation process, then rigging is its brain.

What are some of the crazier jobs you had before getting into animation?
Well I grew up in Belgrade, in Serbia. I started drawing very young. So in my teen years I started doing some simple marketing designs. First it was business cards, then larger prints and billboards, and finally I started doing tv commercials. One freelance job always led to another, so I ended up working every summer break during high school. Those were fun days, I got in contact with various people and learned a lot about life. So most of the stuff about computer graphics I learned on the go, through work. This continued through my college years, and finally I decided to make my own animated short. I wanted to have very good characters, so I ended up making detailed face and body setups for two characters, an old fisherman and a raccoon. By that point I realized I could make demo reel just out of these setups, so I postponed my short for some better days, put together demo reel, and applied for rigging position in several companies. I was lucky to get a job at Framestore in London. First really big company, working on Hollywood projects. I stayed there for two years, then got a job at DreamWorks Animation in Los Angeles. I am here for three years now. I have worked on four animated movies for them so far, including Kung Fu Panda 2 and Puss In Boots. But still those early beginnings are great memories. Those were days when future seemed distant and anything seemed possible.

 

What are some of your favorite projects you’re proud to have been a part of?
There are two types of projects that can make someone in this business proud. There are big projects with famous names, that everybody has seen in cinemas or on tv. I guess for me, those are Kung Fu Panda 2 and Puss In Boots. And there are those, which don’t necessarily have to be famous, but where I had greater responsibility and got more personally invested. In London I was working for over a year on Universal Studios animation The Tale Of Despereaux. It was smaller team than on DreamWorks productions, plus my first Hollywood movie so I put a lot of effort in it. In the end it was ok movie, it did so so in the cinemas, but for me it opened doors to other things.
How did you become interested in animation? 
As I mentioned, I was drawing since I was a kid. At one point I realized that Continue reading

Andrew Chesworth

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What is your name and your current occupation?
My name is Andrew Chesworth, and I am an animator at Walt Disney Animations Studios.

What are some of the crazier jobs you had before getting into animation?
Guidebook illustrator, Subway sandwich artist, bookstore clerk, and phonathon caller for my college’s alumni office.

What are some of your favorite projects you’re proud to have been a part of?
My favorite project I’ve ever worked on was a traditionally animated film noir short entitled Palm Springs, which was used as a festival opener and promo for the Palm Springs International ShortFest in 2010 as well as 2011. It was a perfect storm of timing, directorial autonomy, an art style I thoroughly enjoyed, getting to write playful words for remarkably distinct voice actors to speak aloud, and working with a tight-knit team of artists and friends I’d known since college and developed a very familiar rapport with.  I would rank Disney’s Get a Horse! as another high point for me, getting to animate the iconic Ub Iwerks Mickey Mouse in classically mischievous and outlandish scenarios. Working with veterans of the industry like Lauren MacMullan, Eric Goldberg, Dale Baer, Alex Kupershmidt and Mark Henn was a really privileged and rewarding experience. Wreck-It Ralph will have a special place in my heart for being the first Disney feature I got to animate on. It was interesting how much that experience encapsulated my nostalgia not only for the video game characters of my childhood, but for Disney as well. A tremendous first film to work on, with a strong and clear voice from Rich Moore.  I’m proud of every project I’ve worked on at Disney, truly. Frozen, Big Hero 6, Feast. It’s such a healthy time to be at the Disney studio. The artists are young, hungry, and full of vitality. Something is in the air there these days.

How did you become interested in animation?
I was never not interested in it, to be honest. As soon as I was old enough to comprehend what I was watching, I was hooked and attempting to draw. I will say there were Continue reading

Thomas Estrada

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What is your name and your current occupation?
Thomas Estrada. I’m a senior animator at Disney Interactive.

What are some of the crazier jobs you had before getting into animation?
Not really crazy, but the most unusual was working as a pest control technician for several years. Covering Hollywood and Encino, I killed the bugs of Gene Kelly, George Carlin, and Jaclyn Smith, among others.
What are some of your favorite projects you’re proud to have been a part of?
The Prince of Egypt, The Emperor’s New Groove, Treasure Planet, and the Toy Story 3 video game.

How did you become interested in animation?
As far back as I can remember, I loved to draw. I have memories of early grade school, drawing pictures of “Giant Robot” for school friends. I knew then that I wanted to this for a living.

Where are you from and how did you get into the animation business?
I grew up in the San Fernando Valley in Southern California. After graduating high school in 1988, I had no idea about how to actually be a professional artist. I enrolled into art classes at the community college, but was soon discouraged after a couple semesters, thinking a career in art required going to schools like Cal Arts or Otis Parsons, places I could never afford. So I quit school, found a regular job and did whatever freelance art I could find such as airbrushing t-shirts, drawing brochure covers and painting murals. Finally in the summer of 1996 my wife and I attended her family reunion and discovered she had a cousin who was a Disney animator. He gave me an honest assessment of my drawing skills, then Continue reading