On
Tuesday November 11th the Brooklyn Theater at Pixar Animation
Studios was filled to capacity with professionals, students and animation fans
as they eagerly anticipated the arrival of one of Pixar’s most well-known
members, Producer Darla K. Anderson. Ms. Anderson, who joined the studio in
1993, has the illustrious distinction of working on some of the animation
industry’s most beloved films. Her accolades include winning the BAFTA award for Monsters,
Inc. and Producer of the Year in Animated Theatrical Motion Pictures
from the Producers Guild of America for Cars. She spoke to the entranced crowd with her
signature humor and drive about her story from growing up in Glendale,
California to becoming one of the film industry’s most respected Producers.
Hollywood Calling
Darla
Anderson grew up with stars in her eyes.
Born
and raised in Glendale, California, she dreamed of starring in commercials and
TV, and being a part of the Hollywood scene. Her mother did not want her to be
part of the industry, believing it was not a great environment for children.
However young Ms. Anderson dreamed of being part of the film production world.
Her hero at the time, Jodie Foster, was the same age, and she envisioned
starring alongside Jodie in films and becoming fast friends.
Life Takes A Turn
Her
childhood dreams were cut short when at 13 her mother died tragically in a car
accident. Through a series of events young Ms. Anderson found herself homeless at
age 14. Knowing that the foster care system would not be a good alternative for
her, she slept on the couches of friends.
During
this dark time she believed that life was not worth living and wondered if she
should simply give up. However she made a huge life decision to be in the game
and go for it. The loss of her mother,
she said, “makes you super confident and incredibly insecure.”
She
decided to stay in high school in Glendale and then moved on to community
college, where she earned a $500 scholarship. Most of her professors were
retired from UCLA and USC so she received an excellent education at a fraction
of the cost.
She
then went on to San Diego State where she earned a degree in environmental
design. “I’ve always thought with a Z axis,” she said. “I always thought in
3D.”
She
credits her determination and the mother of a close friend from college for
helping to keep her afloat.
“I’m
not sure where I would be in my life without these people,” she said, referring
to her friend’s family, particularly her friend’s mother. “She has
unconditionally loved me.”
I Wanna Be A Producer
Upon
graduation all of her friends were getting jobs in sales and making lots of
money immediately out of school. By contrast Ms. Anderson’s path proved to be
far from linear. She traveled from odd job to odd job, from running an ice
cream store to even serving as a truant officer. This was in the 80s, where
yuppie-dom and earning as much as humanely possible was considered the standard
way to live. Ms. Anderson’s seemingly unconventional lifestyle baffled her
friends to no end.
But
her life path would take another unexpected turn when at age 25 she met a guy
at a party and discovered that he was a producer for Primavera Video
Productions. It was at that moment that Ms. Anderson found her calling in life
– she would become a producer.
She
promptly called Primavera and announced that she was a producer and would love
to work for their company. “They said thank you for your confidence we will
hire you as a PA go make that coffee over there. And that is how [I] started as
a PA,” she said.
Primavera
specialized in B movies, corporate videos and commercials, and Ms. Anderson
volunteered for every shoot. One day she saw a flying logo in the editing room,
the very early stages of 3D animation. And at that moment, she knew where she
wanted her film career to take her. “I was in love. Completely, utterly in love
with 3D animation,” she recalled.
She
left Primavara and got a job at a small company called Angel Studios where she
served as executive producer of the four-person company. While at Angel she
often traveled to LA to sell ad agencies computer animation. “Back then nobody
liked computer animation. It was really a hard sell,” she said.
The SIGGRAPH Moment
However,
this proved to be the right course of action. She attended SIGGRAPH, now a
stalwart gathering of the best and brightest in the animation and VFX industry,
but at the time a fledging gathering of a handful of people. “[There was] maybe 200 people employed in the
industry at that time, “ she said. “SIGGRAPH had one party in a hotel room held
by the guys at ILM.”
It
was at SIGGRAPH that Ms. Anderson first heard of the company that would make
her career: Pixar. At that time only three minutes of computer animation
existed, and the people at Pixar wanted to make a full-length movie. “No one
thought Pixar could do it,” she said. No
one, she recalled, but Pixar and her.
Going
on gut instinct, she packed up her two cats, quit her job before she was fired,
“rather be a bandit than be abandoned,” she remembered, and made it her goal to
move to San Francisco, work for Pixar, make 50 thousand a year and come out of
the closet. Once again, everyone thought she was nuts risking it all on a small
company that no one had heard of to work in computer animation, a medium that
at the time few had any faith in. “When I first came to Pixar nobody thought it
was a good idea. You’re doing what? You’re working in San Francisco?” she said.
Ms.
Anderson, however, would not be deterred.
Journey to Pixar
When
she wanted a job, Ms. Anderson said, she would always call the president of the
company. She felt that, after losing her mom at such a young age, she had
nothing to lose, which enabled her to be “fearless with authority,” she said.
That
fearlessness enabled her to pick up the phone and call then Vice President of
Pixar Animation Studios Ralph Guggenheim and invite him to lunch.
She
had no money and “emptied out the change in my drawer to pay for lunch,” she
recalled. The experience proved to be invaluable, and she and Mr. Guggenheim
formed an excellent professional relationship. At the time however, there were
no jobs to be had, since the Disney deal with Pixar had not yet been
struck.
This
information only stoked the fire in Ms. Anderson, and every six months she
would call Mr. Guggenheim to see what jobs were available. She even received a
thanks but no thanks letter from his assistant basically asking her to stop
applying. “But Ralph kept taking my phone calls so I ignored those letters,”
she said, figuring that if the boss keeps picking up the phone she was in great
shape.
The Digital Angel Throws Her
Hat In The Ring
Two
years later her persistence paid off, and she joined Pixar in 1993 as producer
of the commercial group. Her hope was that she would be a producer for Toy Story, but she realized that she
would need to cut her teeth in commercials in order to prove that she was the
right person for the job.
Her
determination and the hard work of her group enabled Pixar to earn the funds
necessary to finance Toy Story. “Our
group of 25 people ended up getting Toy
Story out the door,” said Ms. Anderson. Mr. Guggenheim even honored her
work by bestowing her the title “Digital Angel” in the Toy Story credits, which she had often been called at her previous
job.
Toy Story proved to be a smash hit,
and enabled Pixar to move forward with their sophomore project, A Bug’s Life. For that film, Ms.
Anderson didn’t bother to throw her hat in the ring for the producer job
because she had only done commercials and knew nothing about marketing or
licensing.
But
when she saw the applicants coming through the door, she experienced her second
epiphany.
“I don’t know what I’m doing but neither do they,” she thought. She
wrote to then Pixar CEO Steve Jobs and then Chief Technical Officer and now Walt
Disney and Pixar Animation Studios President Ed Catmull an email entitled “Deep
Thoughts” – a letter that basically pitched Ms. Anderson for the role of producer
at Pixar.
During
the interview process she met with the top brass at Disney in order to prove
her mettle, since “Disney owned all of Pixar’s stuff at that time,” she said.
Her
enthusiasm impressed the executives at Disney, but she still needed more time
to learn the ends and outs of producing.
“Disney
loves charts and graphs and analysis – I love looking at that too but I cannot
produce it,” she said. She ended up getting an associate producer job rather
than a producer job when the process was complete.
The
day she didn’t get the gig Mr. Jobs personally apologized to her. When she told
him she would accept the job he promptly asked, “Why would I say yes?”
“Because
A,” she said, “I have no leverage, and B, I have a lot to learn.” This was the
answer that Mr. Jobs wanted to hear. “Steve said they told him that if you were
the right person for the job I’d take it.”
From Assistant Producer to
Producer
A Bug’s Life had to prove that Pixar was
not a one hit wonder, said Ms. Anderson.
Steve
Jobs had warned her that after you have the big hit you quite often have the
sophomore slump. “Then Antz came out
and there was a lot of pressure,” she remarked. “Every time I turned the
corner, [Steve] would say – hi Darla, is the film great yet? We all felt the
pressure. We have to make it great.”
The
Pixar team rose to the challenge, proving that Pixar had what it took to
sustain itself as a feature film company. And Ms. Anderson’s excellent work on A Bug’s Life led to her being named a producer
for many of Pixar’s future films, including Monsters,
Inc. Cars, and Toy Story 3. As a producer,
Ms. Anderson wears many hats and overseas all aspects production, but the key,
she says, is the story.
“My
central focus is story for obvious reasons,” she said. “Story is the most
important thing…Everything reports to story for me.”
Story
is also her favorite part of the process because it’s so difficult.
“You
don’t ever have it. If you’re really trying to tell some truth it’s just a
beast that will wrestle you to the ground.” She adds that being a little ADD
makes for a good producer. “I get to jump from thing to thing and get paid for
it and not get in trouble.”
“My
focus is this big creative bent,” she said. “Everyday is super hyper different.
Marketing. Casting. Music. Putting together the right team.”
Work/Life Balance: Reality
or Myth?
“I
don’t have a career mantra – be honest, put yourself out there, go for it,”
said Ms. Anderson on her career goals. This assuredness and ability to stay
true to herself enabled Ms. Anderson to come out of the closet, earn her
stripes at Pixar and in 2008 marry fellow Pixar Producer Kori Rae.
And
she admits that like many men and women, work/life balance can be a difficult
process.
“We
suck at it,” she said with a laugh. However both she and Ms. Rae have found
ways to encompass both their professional and personal lives. “We’re allowed to
talk about work until we get off the Bay Bridge.” She remarks that having a
spouse who also works in the film industry is helpful, as they understand what
it takes to get a film into production.
“We
compliment each other on advice. If you’re a producer you’re going to work a
lot of hours. We’re fortunate that we can work sane hours but it’s for four
years.”
On Being a Leader and a
Woman in the Industry
Having
someone else in your corner, whether that is a spouse, mentor or friend, can
help navigate the difficult waters of the industry, particularly when it comes
to women and their history in film and animation.
“You
don’t want to be conscious of it but if I look back I can see if I were a guy
things might have panned out differently,” she said. Fortunately, her life
experiences, professional sponsorship, mentoring and friendship from
individuals like Mr. Jobs and John Lasseter, Chief Creative Officer of Walt Disney
and Pixar Animation Studios, along with her character
and determination have enabled her to persevere through trying times.
“I
grew up as a tomboy and had friends who were boys. When Hilary [Clinton] ran I
woke up. The way the media was handling that bothered me. I rolled up my
sleeves and decided to start mentoring and speaking,” she said. Her mentorship
has included speaking and working with interns at Pixar, participating in
lectures across the country and helping women to make inroads in the industry.
She
finds that both women and men are hard on themselves on the job, and that women
in particular punish themselves more when they make mistakes or do not speak
up, especially in meetings.
Working
alongside Mr. Jobs enabled Ms. Anderson to see the power and trust that were
created from speaking honestly on the issues.
“He
was very direct and he appreciated direct feedback,” said Ms. Anderson. “I’m
not afraid to say I didn’t get that. If I don’t understand it then everybody
didn’t get it or I need to hear it again. I think that’s universal for all of
us. You have unlimited silver bullets to use.”
Also,
she has realized that the times she has received constructive criticism were
often a blessing in disguise. There have been times when colleagues have pulled
her to the side to address things she may have said, and Ms. Anderson
appreciates their candor.
“For
somebody like me, there’s a lot of great things I possess, but I need a friend
to tell me – maybe you shouldn’t say that,” she said. “When I get that
feedback, I think thank you, I want to become a better person.”
If
you fail she says, don’t apologize, just pick yourself back up.
“I’m
really hard on myself,” said Ms. Anderson. “I use that to drive myself. [So] I
would say lighten up and be kinder to yourself.”
No
matter a person’s gender, there is something that everyone can excel at,
concluded Ms. Anderson, whether that is working at Pixar or participating in
other creative endeavors.
“I
have this faith there’s a place for everybody. We’re all here for a reason. We
belong on a team,” she said.
“I
want everybody to be ambitious. There’s enough for everybody.”
Special
thanks to Darla Anderson and the staff at Pixar for helping us create this
excellent members only event!
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