Mark Simon hunts for creative jobs. © Mark Simon. All rights reserved.

A long time ago, before the days of talent agents, artists were often seen wandering aimlessly through the forests, sketching on tree bark. It’s not that they didn’t want to look for work, they just didn’t know how and they didn’t like doing it.

One day, a talent hunter spotted a green-crested pencil-finger and cautiously approached him. She told this creative being that she was not like other people. She cared about artists and had a talent for looking into the future.

That day brought about a great celebration in the land as artists could ignore the trappings of a job search, but still land good jobs. These agents could track a job through any landscape and foresee new trends.

This partnership continues today, but is not without some problems. Some of the artists have forgotten that the agents can’t do all the work. The artists have to help them set the job traps.

I’ve pulled together some of the greatest agents and managers known to man and have asked for them to share of their gifts. What is the future they see for creatives and artists in animation? And how can artists help the agents and managers in their quest?

Matthew Ellis from the Metropolis Talent Agency warns that a bad attitude ensures that a potential employer has reason not to hire you. Also, he is optimistic that the industry will improve profit sharing with the artist.

My hunting party includes Shawn Walker from Natural Talent, Lisa Kaye from GreenLightJobs.com, Ellen Goldsmith-Vein from The Gotham Group, Matthew Ellis from the Metropolis Talent Agency and Garrett Hicks from Will Entertainment. They have taken me along on a trip to hunt both creative jobs and good artist clients.

No agent, manager or agency can survive a cold winter without talented and qualified artists, writers, producers and directors. We start with a decoy and by sounding an irresistible call for creatives, “Work for artists and creatives. Work for artists and creatives.” Our hunting stand is soon rushed by more creatives than could be represented.

I asked the members of my party how they thin the herd. Besides talent, what makes some people more hirable, and thus better clients, than others?

They all agreed that talent is the main thing they look for, but quickly added the need for professionalism and personality. Creatives need to be able to interview well. Not only in order to make a great impression in interviews, but as Shawn says, “You need to show that if we send you out into the world and we’re attaching our name to you that you will be a good representation of our company.”

“Experience,” shouts out Garrett. “I’m looking for someone with experience. If they have experience they will be more appealing to a broadcaster. There’s no learning curve. They should also have a great comic sensibility. It’s not just about writing it out, it’s about being able to be in a room and shoot great, funny ideas around.”

The Gotham Group’s Ellen Goldsmith-Vein believes that cool, innovative and interesting art styles will continue to emerge and become key ingredients to successful shows and movies.

Attitude will often make one artist more preferable over someone who is more talent but more difficult to work with. As Matthew adds, “A bad attitude is a great way to never get a call back from me, or from a possible employer. You don’t want to give someone a reason not to hire you.”

My hunting party also brought up the fact that they can’t do it alone. They need help. They need their clients, the artists, help. Your help.

Agents do not clean or load hunting portfolios. That is up to the artist. Writers have to pull their own samples. Directors and producers have to build their own reels. These are the weapons agents need to do their job.

Managers, however will often work closely with creatives in development of their samples. However, the entire hunting party agrees when Garrett says, “I let them know what people are looking for.”

Reels and portfolios need to be professional and organized. Lisa explains, “A diverse portfolio of creative work that includes samples of all areas of expertise, from animation, rendering, lighting, scripting, modeling, editing, etc. Desired formats for recruiters include a ‘shot sheet’ and a breakdown of work so that it is easily identifiable.” Any number of artists may have worked on any scene in a project. These shot sheets need to detail exactly what the artist did in each scene represented on a reel.

Hunting in the forests of representation, these agents are the first to come across trails of new trends. Experience also helps them forecast what may happen in the years to come.