Gang of Seven Animation wants to distinguish itself as a haven from the impersonal world of big studio animation.

With 20 Emmys, more than 1,000 hours of television and 50 feature films between them, the partners of Gang of Seven Animation have found a haven from the hustle and bustle and often impersonal world of big studio animation.

Originator Tom Tataranowicz decided to take a leap and brought in fellow animators and artisans Tom Sito, Rich Arons, Dennis Venizelos, Mark Zoeller, and business development manager David Armstrong (an anonymous associate makes seven) to form this unique collaborative production studio. Tataranowicz who was the studio head, creative executive producer and head of development and production at Marvel Films/New World Animation combined the feature skills of animator/director Sito (The Little Mermaid, Beauty and the Beast, Osmosis Jones) and art director/background supervisor Venizelos (Iron Giant, Osmosis Jones and Fern Gully) with television gurus, Arons (Animaniacs, Tiny Toon Adventures) and Zoeller, Emmy-winning storyboard artist for Warner Bros, DreamWorks, Film Roman and Disney. Armstrong brings his background in distribution, management, marketing and programming, most recently serving as svp of international television distribution for MGM’s worldwide television group.

Not long ago, I sat down with five of the gang to discuss how the company got started and what makes this type of creative cooperation work in today’s competitive animation industry.

Tom Tataranowicz (left) took a leap and recruited an accomplished group of animators and artisans to form Gang of Seven Animation. Veteran Tom Sito (right) remembered the isolating experience as an animator with Disney and wanted to avoid that feeling with the Gang of Seven. Camaraderie and the joy of their art bond the group together.

“I originally created Tom T. Animation five years ago,” Tataranowicz said, “but saw the unique opportunity to bring together some of the industry’s top talents in order to provide the highest quality for the best price anywhere-hence the birth of G7 animation.”

Clearly, that was the attraction for all of these artists to combine their forces — the collaboration. Self-admittedly, they don’t need more credits and it’s not just about the money. They simply wanted to find a place where they could do quality work, work with people they liked and have fun.

Their compact work space in North Hollywood, California, brought back a feeling of “old school” animation with nooks and crannies of cubicles, animation stands, drawing tables, sketches, maquettes from previous projects and there is even a retro-style bar with an assortment of candy, snacks and beverages.

The partners and their crew pitch in with their own equipment or hand-me-downs picked up here and there. The feeling is truly creative with no elegant lobbies, cheeky receptionist or high paid “suit” in a fancy, ergonomic chair with a view of the ocean. This is the type of overhead that G7 prefers to avoid in order to stick with the mission of concentrating on the work.

Regardless of this bohemian vibe, they admit in order to start a venture like this, you must have a clear business plan in mind and the ability to work within the system. Make no mistake, this is no renegade outfit. In fact, the reason for their consistent work is attributed directly to their connections from their many years in that very system. They claim that it is not their goal to knock the system, but simply to get back to the basics of what made it fun to be an animator in the first place.