Showing posts with label ILM. Show all posts
Showing posts with label ILM. Show all posts

Sunday, September 14, 2014

Women, Wine and Animation ILM President Lynwyn Brennan Shares her Story at the Walt Disney Family Museum

Animation professionals, students and fans were in high spirits on Thursday August 28th at the Walt Disney Family Museum to hear President of Industrial Light and Magic Lynwen Brennan share her tales of entering the animation and VFX industry. Having served as President for the past 15 years, Ms. Brennan shared her wealth of knowledge with warmth and humor to the crowd of over 100.



Early Beginnings

“I have been extraordinarily lucky,” Ms. Brennan stated. Her Welsh heritage instilled in her the belief that women could do anything. Her grandmother worked as a scullery maid, and was smart and self-assured and taught her daughter the same life lessons. Her Grandmother’s efforts and hard work enabled her mother to attend excellent grammar schools and become the first person, male or female, in her family to attend college. Her mother taught for 40 years and later became a principal of the school. Her mother had ““nothing but the highest degree of effort and kindness and respect for everyone,” said Ms. Brennan. And she taught her that “there is nothing you cannot do.”

The Fall That Changed Her Life

Her mother’s faith and courage in her abilities enable her to overcome one of the most difficult periods in Ms. Brennan’s life. During her early adulthood, while visiting an amusement park with friends Ms. Brennan fell off a rollercoaster. The accident fractured her leg so severely that it resembled jelly on the inside according to doctors.

The doctors informed her mother that her foot would need to be amputated, but the Ms. Brennan’s mother would have none of that. Her mother massaged her foot and leg for hours, then commanded the doctor to bring in a different ultrasound machine when the first did not show a positive result “Because the first was obviously not working,” said Ms. Brennan. Finally a tiny pulse appeared in her foot, and after her first surgery, Ms. Brennan awoke to see her mother grinning ear to ear and her foot securely intact.

“I told you if you want something enough nothing is impossible,” her mother stated.

Turning Point

As her leg healed that year Ms. Brennan was forced to reevaluate her goals. She spent the year in and out of the hospital, eventually receiving six surgeries and physical therapy to regain the ability to walk. She spent the year bored, laying on the sofa, watching movies with her brother to pass the time. That time spent would serve as another turning point. She and her brother began to discuss movies and storytelling, what made films work and not work. Her brother had started a small VFX company, and seeing Ms. Brennan’s interest, appointed her as head of marketing. 


“I was the only one so I was head of myself,” Ms. Brennan said. In order to get excellent bids they had to give the appearance of being a large corporation. They did this by working diligently, seven days a week, and their work paid off whenILM became one of their clients. They worked on such films as Death Becomes Her and Jurassic Park. And they were able to secure the bid by listening to everything ILM wanted and coming through, said Ms. Brennan.



Even though Ms. Brennan greatly enjoyed working for the company and their clients, a part of her wondered when she would return to her original path. She had gone to school for science, not film, and in the back of her mind she still planned to return to that original goal. In 1995 they sold the company to AVID, but not without a little sadness mixed with the pride of selling the company.

“It was hard to see the company you put your heart and soul into go into a large corporation,” said Ms. Brennan.

Later she worked at Autodesk, which she enjoyed, but with no intention of staying. She rented everything, including furniture, believing that she would soon return to her original goal. Her brother’s advice enabled her to realize that her goals had changed, and that VFX and film was a great fit for her.
“It is better to regret doing something than to regret not doing it,” she recalled him saying.

Industrial Light and Magic

It was this advice, coupled with her courage that she could do anything, and that anything was possible, that led her to ILM. She was mentored by many strong and smart women, including Gail Curry, and learned one of the best pieces of advice that she implements daily.

“If there’s a tough choice make the one that’s the best for the artists Gail told her,” said Ms. Brennan. In order to do this, one must know the artists, who they are, what they stand for and what is important in their lives. “Know every artists names, their kids names, their spouses name and where applicable their pets,” said Ms. Brennan.

Inspiration All Around

Unbeknownst to her, she was being groomed to become the next President of ILM. She agreed to do the job on two conditions, that the previous president would stay for six months and that they could reevaluate how she was doing.

At ILM the majority of executive leadership are women, stated Ms. Brennan, and they inspire, challenge, argue and keep the right side of sane. Her boss, Kathleen Kennedy, is one of those inspirations. “The word ‘can’t’ is not in her vocabulary,” said Ms. Brennan.

Life At The Company

Being one of the top-tiered VFX and animation studios in the world is a heavy undertaking that Ms. Brennan enjoys each day.

“There isn’t a typical day,” said Ms. Brennan. ILM, because of its offices around the world, is a 24 hour operation. However there are a few things that do occur each day. She starts the day off with a conference all in London, followed by watching the dailies for every project in production,  bidding on what’s coming in, calling clients,  checking the finances for each show and projecting how many people will be needed for a project.


When asked what the hardest film is that they’ve worked on, Ms. Brennan responded with a laugh, “Whatever we’re doing right now is the hardest. Whatever we’re doing right now is the one that’s not going to get made.”

At the time each project has its own challenges. This past summer, Transformers 4, Teenage Mutant Ninja Turtles and Lucy were all coming down the pipeline and were completed within weeks of each other.

“All converged at one time and that was terrifying,” said Ms. Brennan. “But there were all so last month I have other worries now.”

Working Together: Mentoring and Beyond

Mentoring was one of the things that enabled Ms. Brennan to get to where she is today. She found mentors on purpose and some came to her, seeing in her an ability to work diligently to get things done. The two most important things she recommended, when seeking out a mentor, is to have both confidence and integrity.

Trust your gut and never question your integrity, said Ms. Brennan. It was this trusting in her gut that enabled her to change from her original science field after graduating from university to embarking on adventures in film.

“I definitely have an unusual path into it. My gut told me ‘go this path’ even though your plan was this way,” she said.

She also expounded on the idea of likeability, something that women often feel they must conform to in order to be successful in business.

“If by wanting to be liked means showing kindness and respect – there’s no downside to that,” said Ms. Brennan. Empathy doesn’t mean you want to be liked but that you want to treat your employees well, she continued.

“Just because you care about someone doesn’t make you weaker, you do it because it makes you human,” she stated.

And What About That Little Upcoming Film Star Wars?

No conversation with an ILM veteran would be complete without finding out a little about the upcoming Star Wars film.

“It’s set in space,” replied Ms. Brennan to the ecstatic crowd. “There’s a robot called R2D2 in it. And that’s all you’re getting from me.”


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Monday, April 14, 2014

WALT DISNEY FAMILY MUSEUM HOSTS WOMEN IN ANIMATION PANEL: Luminaries in the industry showcase how to succeed and thrive in the fun and challenging world of television and feature film animation

The ILM theatre was a buzz on Saturday March 15th as animation veterans Jenny Lerew, Brenda Chapman, Claire Keane and Lorelay Bove regaled the packed house with stories of their work on films like The Lion King, Frozen, The Prince of Egypt, Tangled and Peabody and Sherman.


Audience members at the Women in Animation panel.

Presented by the Walt Disney Family Museum in conjunction with their latest exhibit, MAGIC, COLOR, FLAIR: the world of Mary Blair, WDFM’s public programs manager Mary Beth Culler and exhibition curator, animation director, and author John Canemaker introduced the Women in Animation panel.

Jenny Lerew, director of the hit 90s television show Animaniacs, author of The Art of Brave and most recently, storyboard artist for Peabody and Sherman, moderated the event for the over 200 animators and animation fans in attendance.

DISCOVERING ANIMATION: CALARTS AND BEYOND

Lerew kicked off the talk by answering a question she is often asked, usually by men, “Why aren’t there more women in animation?”

“It's a good question,” said Lerew. “I can tell you why this woman is in animation. Like all of us, I loved cartoons and I also grew up as an artist, I loved to draw." However, animation was not on her radar, until she learned about California Institute of the Arts, or CalArts, in high school.

In fact, Lerew first learned about Brenda Chapman through CalArts in 1987 after seeing her student film A Birthday. The film, about an old woman remembering her birthday as a little girl, made quite an impression on Lerew, and helped encourage her to tell her own stories.

"Now there are hundreds of places you can go and it's on everyone's radar,” said Lerew.

Brenda Chapman learned about CalArts from a friend of a family friend who worked at Disney Feature Animation. At the time story was not even offered as a course, so students learned from the upperclassmen. In 1987 she earned a spot as a trainee at Disney, where she was frankly told  “they were happy to have you. We needed a woman that's why you're here. And you have six months to prove yourself.”
Brenda Chapman, Claire Keane, John Canemaker, Jenny Lerew and Lorelay Bove at the event.

Prove herself she did, working as a story artist on Beauty and the Beast and
The Lion King at Disney, and later becoming the first woman to direct an animated film for DreamWorks' The Prince of Egypt.

Lorelay Bove, another CalArts grad, recalled being enthralled by the film Fantasia at age eight, a film, she discovered, that was not as beloved by her fellow classmates.

“Everyone at school hated it, but I loved it,” recalled Bove. Along with Disney films, she also experience art by spending time in her father’s art studio, where he worked as an abstract painter.
From a young age she knew she wanted to work at Disney, something that most people she knew in her native Spain did not understand.  After moving to the states with her family, her father found out about CalArts. She applied, was not accepted, but did not let that deter her. She studied at another college for three years, reapplied to CalArts, was accepted, and later served as an intern at both Pixar and Disney.

Bove then took a job as a visual development (Viz Dev) artist at Disney, working on The Princess and the Frog, Wreck-It-Ralph and this fall’s upcoming super hero adventure Big Hero Six.

Claire Keane took a different path, attending graphic design school and creating a storybook as her thesis.

"What I loved the most was all the research,” said Keane.

She loved creating developmental drawings, but did not believe that there was a way for her to create what she wanted for film. That was, until a conversation with her father, animator Glen Keane, changed her mind.

“Claire, that exists,” said Keane, laughing as she recalled her father’s words. “We have visual development artists at Disney.”

His advice inspired Keane to apply to Disney, where she worked as a Viz Dev artist on both Tangled and Frozen before leaving to work on her children’s book that will be released in 2015.

CREATING A FILM: ONE DRAWING AT A TIME

Each of the panelists along with moderator Lerew shared some of their favorite studio work, and a few of their personal projects, enabling the audience to glimpse a behind the scenes look at what goes into making a film.

“I can only work from what I know,” said Keane. “Anytime I start drawing something I don't have an emotional connection to I can't draw it. My hand just draws in circles.”

In order to create that emotional connection between herself and Rapunzel from Tangled, Keane stayed home one weekend documenting everything that she did, while at the same time imagining all of the activities Rapunzel would engage in if she were unable to leave her own home.

“Maybe she had an imaginative imagination,” said Keane. “What would her paintings look like in the dark. Happiness? Fear of the outside world? Chores? Make her bed, make candles, brush her hair. Fascination with birds -- they fly, they don't get eaten by monsters, they return.”
Claire Keane discusses her artistic process while at Disney.

The practice allowed her to get into Rapunzel’s head and see the world the way that the character would.

Lerew showed her boards and animatic from a scene of Peabody and Sherman, the first scene to be animated for the film. In the scene, Sherman reluctantly tells Mr. Peabody of an altercation he experienced at school. Lerew showed both the storyboards, as well as the final animation of the scene, to highlight the similarities

and differences between what goes into the boards and the final product.

Bove showed backgrounds from Sugar Rush, the racing game that serves as a turning point in last year’s hit film Wreck-It-Ralph. Her designs were inspired by Spanish homes that “looked like candy.” In fact, research is one of the best parts of the job.

“[We] went to a candy convention in Germany that was three stories tall. The Comic Con of candy,” said Bove.

Chapman showed boards from Beauty and the Beast where Belle nurses the Beast’s wounds, as well as the scene from Brave where Queen Elinore and Princess Merida clash and Merida slices through the family tapestry.

“This is the crux of the movie, it sets the scene,” explained Chapman of the scene from Brave.
Mom is trying to do her best, and the daughter is trying to exert her independence, according to Chapman, and both are right and wrong.

“Most fairytales involve moms or stepmoms that are either horrible or dead. I wanted to show a family,” said Chapman.

QUESTIONS FROM THE AUDIENCE

The panelists also took time to answer questions from the audience, ranging from what studios look for in a portfolio, and both Keane and Bove agreed that it was better to show your best work than a ton of everything.

 “Put in the best work that represents you,” said Keane. “Focus on the character or environment and make that image say what you want it to say.”

The panelists also addressed what it is like seeing your creation as merchandise.

“For the most part it’s very positive,” said Chapman. “If I can make one little kid forget their problems at home, then I’ve done my job.”

Chapman also addressed the darker side of merchandising, recalling the now famous incident of the change in Merida’s design from Pixar heroine to the more traditional Disney princess look.

“The ‘princessing’ of Merida was not good, I put up a stink about that,” said Chapman.

They also addressed the lack of female representation in film, and what creators can do to rectify the situation.

The key, said Keane, is to have “someone who is grounded in reality. No more clichés – that’s any character in animation, not just women.”

Chapman, and the other women on the panel, are living proof that animation will continue to inspire.  Now when she goes to lecture at CalArts, 52% of the women are students.

“Just do it,” said Chapman. “First, learn how to work in the studio system. Then, learn how to make your mark.”
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Special thanks to the Walt Disney Family Museum for planning the event and providing the photographs, ILM for hosting, Jenny Lerew, Brenda Chapman, Lorelay Bove and Claire Keane for discussing their work and life through animation and John Canemaker for curating the WDFM exhibit.

And you can see more of the artists’ works on their websites:


John Canemaker
http://www.johncanemaker.com/

Brenda Chapman
http://brenda-chapman.com/

Lorelay Bove
http://lorelaybove.blogspot.com/
 

Claire Keane
http://claireonacloud.com/


Jenny Lerew
http://blackwingdiaries.blogspot.com/


And visit the Walt Disney Family Museum to see their latest exhibit:
MAGIC, COLOR, FLAIR: the world of Mary Blair through September 7, 2014

For information on Women in Animation San Francisco and animation events happening around the San Francisco Bay Area:


Visit our Website:

www.womeninanimationsf.blogspot .com

Join our Facebook Group:
https://www.facebook.com/wiasf


And follow us on Twitter:
@WIASanFrancisco

Monday, November 11, 2013

Special Member Event: Meet Lauren MacMullan and see "Get A Horse!" on November 18th @ ILM

Greetings WIA-SF Members!

ILM has invited Women in Animation to a special screening of the new Disney animated short "Get A Horse!" featuring special guest -- Director Lauren MacMullan!

The screening will be held on Monday November 18th at noon. ILM has reserved 50 spots for WIA members. 

http://www.insidethemagic.net/wp-content/uploads/2013/08/Get_A_Horse-550x404.jpg

Ms. MacMullan's directorial credits include Avatar: The Last Airbender, The Simpsons and King of the Hill. 

If you're a member would like to attend please RSVP by Wednesday November 13th and put ILM RSVP in the subject line.

See you there!