The contraction of the animation business over the last few years has dramatically reduced the opportunities for a lot of very talented animators and writers. Vertical integration in the media has hit the animation business particularly hard, reducing the number of buyers and the number of outlets for animation properties. However, since I do not get very involved in selling their services and properties, I tend to see the impact more in terms of the pressure it places to reduce fees for services. The equation is simple: fewer jobs and more people looking for work means buyers are offering less money for the work that is available. In response to the changing economies, a number of my clients have begun to work not just in animation but also comic books, gaming, book publishing and other media.

Out of all the material I have seen in over 25 years in practice, I can only think of a handful of times when the material was so extraordinary that it knocked me out. But then, I don't consider picking the winning talent or properties to be my primary area of expertise. I tend to look more at the business realities. How is a potential client received in the marketplace? What kinds of deals has he or she been offered (either in the past or currently on the table)? Does he or she have potential for a long-term career in the animation business? What excites me is the prospect of working with someone to help them build that career.

Julie Kane-Ritsch of The Gotham Group uses a three-point criteria in assessing potential new clients.

Julie Kane-Ritsch, The Gotham Group
Since joining The Gotham Group in 1999, Julie Kane-Ritsch has been instrumental in developing animated and family entertainment related television series, shorts, features and Internet content, as well as strategic and business plans for the company. Her diverse list of clients include Piet Kroon, director of Osmosis Jones, Luisa Leschin, writer on The George Lopez Show, Stephen Fossati, director of Shrek 2, DKP Effects, a Canadian production and effects house, and Unbound Studios an innovative new media company. Kane-Ritsch began her career as a lawyer and has worked in business and legal affairs for Hanna-Barbera, Turner Feature Animation, Saban Entertainment and DreamWorks.

We look for three primary attributes: unique creativity, professionalism and an ability to get along with executives, producers and other creative talent. First and foremost, we always look for a unique creative vision. We look at the individual’s portfolio and/or writing samples to see if the material is fresh and compelling. The individual’s original ideas are always discussed as we have a strong desire to work with creators and/or potential creators. Second, the person must be professional and reliable. The studios and producers rely on us to represent talent that will get the job done on time and on budget. Finally, the person must have the interpersonal skills to work with studios, producers and other creative talent. Since the studio and networks finance the show, the client must be able to walk that fine line between adhering to their own creative vision and accommodating the studio’s desires.

After determining whether the potential client has the unique creative vision, professionalism and ability to interact with the studios, producers and other creative talent, we look at what the individual brings to our client roster as a whole. We do not want to represent too many people who excel in a particular style or voice. We also like to work with new clients who will get along well with current clients since they frequently work together in the industry.

The demands of the marketplace are always changing. But, our clients have a wealth of skills that translate into a number of different storytelling arenas. Not only do our clients work in television and features, but they also work in the arenas of book publishing and comic books as well.

Difficulty can arise if the client has a passion for only one type of storytelling, or if the client’s expectations are not realistic. For example, if a director will only direct pure action/adventure, and will not consider working on any other type of show, that person may find employment more difficult to obtain. Furthermore, if a client does not heed our advice and their expectations are not in synch with the realities of the marketplace, it makes the task of helping them achieve their goals more difficult. For example, if the client expects a large salary increase when salaries are being depressed in the marketplace, or wants to run their own show without the necessary background, the client may overlook good opportunities because they do not have a realistic assessment of the world around them or their skill set.

A potential client needs to show us material with a strong, original voice and either strong writing, design or directing skills. It can be a pilot script, sketch material, or a feature spec for a writer. For artists, it can be a unique design style displayed in a portfolio, the ability to create a unique visual style displayed in a test, reel or short, or a polished director’s reel reflecting a great body of work. We see so much material that the strong and unique voices do stand out.