Sometimes, especially in animation, these "basics" are forgotten when audiences are dazzled by something new and exciting. Jurassic Park was a technically breathtaking film, but I wonder if a hundred years from now, people will still be watching it, the way they'll be watching King Kong. In the '70s, viewers couldn't get enough of the glitzy titling and effects work of R/Greenberg Associates, in their jewel-like 7-Up commercials and station identification trailers. But in time, the novelty wore off, and the public had become too familiar with the style to find it arresting anymore. As computer animation gets more and more lifelike, and moviegoers lose their awe of the seemingly magical images presented on a daily basis, the need for a solid story and involving characters will once again become paramount. Ice Age, for instance, made a connection with audiences because of its endearing characters and sharp humor, despite its sophisticated surface gloss. In many ways, the appeal of a film like Ice Age is rooted in the same elements of the popular Disney Classics of long ago — motherless children, the strength of unlikely friendships, and the adventure inherent in a quest.

Ice Age struck a chord in audiences with its traditional themes. ™ and © 2002 Twentieth Century Fox. All rights reserved.

As computer animation becomes more and more prevalent — and user friendly — we'll be seeing more and more of it. "It's a great time to be doing what we do," Schroder says. "There are tremendous opportunities to assist and develop intriguing projects. How much fun do we get to have?" she asks, laughing. But the road ahead, for animators and the folks at Creek & River, will always be winding. Is a place like Creek & River a good fit for all those animators out there wondering where the work is? The agency's policy of non-exclusivity should be a plus to those who've always favored working on their own terms, and the prospect of co-creating with another artist across the globe might be an enviable idea to those of us who may find ourselves stuck in an artistic and cultural rut.

Collaborating Talent
"Our talent is always on the lookout for more work," Schroder says. We're not feature specific, though we do sometimes work in the feature arena. While we don't necessarily build entire careers, we'd like to think we've been instrumental in nurturing the careers of some very worthwhile people."

Creek & River is nurturing the career of talented designer and illustrator Takada Akemi, as seen here in a self-portrait. Courtesy of Takada Akemi.

One such artist is Takada Akemi, the Japanese designer and illustrator, whose characters now are being used in a series of ads for mobile phones. In Tokyo, where Creek & River is based, often times projects are driven by business demands, just as they are here in the United States. Other times, an idea is pitched (for a series, for instance) and the talent is involved from the beginning. Naturally, this is the preferable scenario for animators and writers eager to have their work reflect their own sensibilities. Many animators I know would rather work this way, and remain private entities. Is ownership of your product a driving factor in your creative life? Ambitions to have a series like The Simpsons or SpongeBob SquarePants are common — but the kind of breakout talent and business-savvy required for such success are unfortunately harder to come by. For most animators and writers currently working, their art is a collaborative effort, and it's this spirit of collaboration that has been the primary force behind the expansion of Creek & River. Their New York office, which opened last October, is the company's first North American branch. In January, Creek & River aligned with Abandon Entertainment, whose Mythic Entertainment created the successful online game Dark Age of Camelot. There are now plans for a television series based on the game — and possible features as well.

"We're always looking for new evolutionary styles, a melding of storytelling traditions and graphic sensibilities compelling enough to stand out," Charlie Schroder says. "That moment when you can say, 'This is a great story! Let's tell it this way. I love what I do.'"

Lately, with the uncertainties facing the animation industry, I wonder how many of my fellow artists can say the same. It's always an inspiration to hear someone get excited about their field, and to share that excitement with others. For those interested in Creek & River, Co., Ltd., the company has a Website, of course, at www.cr-america.com. Though Creek & River does not accept unsolicited demo reels, they do have a submissions page on their Web address, and would welcome any serious queries.

Richard Gorey graduated with a degree in animation from the School of Visual Arts in Manhattan. He has written film comment for the ASIFA newsletter (east coast) and is the author of the book The Great Rabbit Rip-off, as well as several screenplays. During Gorey's career at Young & Rubicam, he was a creative director and animator for such clients as Johnson & Johnson, Citibank, Hallmark and Philip Morris.