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EMPLOYMENT
WARNER BROTHERS FEATURE ANIMATION ran an ad in the SF Chronicle recently. They seek experienced artists in all areas of animation production (character animation, background, clean-up, layout, effects animation, storyboards and CGI animators). If interested call and mail or fax resumes to Tom Knott, Recruiting Manager, Warner Brothers Feature Animation, 500 North Brand Blvd. Suite 1800, Glendale, CA 91203 (818) 977-7555 or fax 977-7111.
SEVERAL COMPANIES have recently called to discuss their needs, but have not places notices in this column. If you are looking for work PDI is expanding quickly (see local news) and Midland in Richmond, CA has switched from doing motion control work to CGI. Midland will soon be adding CGI artists to their staff.
WHY STUDY THE ALEXANDER TECHNIQUE?
ASIFA was recently sent a flyer that said "Inside: Focus on Animators." It turns out that Dan McLaughlin head of the animation workshop at UCLA, not only studied this hundred year old movement technique, but also sponsors introductory seminars for his students. He days"...the Alexander Technique, with its potential for increasing endurance and energy, can give animators with a knowledge of this technique an edge in the marketplace that is flooded with talent... it is a powerful and effective way to relieve tension, pain and fatigue, and to increase productivity..."
I asked a couple of former UCLA animation students if they knew anything about this technique and if McLaughlin was into some sort of new age fad. They assured me the technique is quite valid and knowledge of it has helped them in their work.
For further information write Alexander Technique, Performance Workshop, PO Box 3194, Beverly Hills, CA 90212 or phone or fax (310) 277-0009
A REMEMBRANCE OF SHAMUS CULHANE
by Maria Elena Rodriquez
Shamus Culhane an I "met" in 1989, when I reviewed his book, Animation From Script to Screen, for Animation Magazine. I gave his book a mixed review, saying something like: "It feels like the has editor come and gone." Months later, the magazine forwarded a letter to me from Shamus himself, saying: "Tough review...but you were right."
So started our life as pen pals.
Cranky. Opinionated. Gifted. Flawed. Widely Read. Infuriating. Supportive. Endlessly Critical. Forever Curious. Shamus was all of the above and more. Like several of my closest friends in animation, he's a Scorpio. They're all brilliant, passionate people.
I think I would call him one of my mentors. I learn best from people who talk more about their failures that their successes. What I appreciate most about his books was the excruciating study of his own mistakes. I admired the account of slowly emerging from the bankruptcy of his own studio to mere survival, working on "crap" for TV. To ease his misery, his wife Juana read aloud to him while he drew. I found out that his wasn't just a nice story. Shamus loved the sound of good writing as much as he loved good music...
Most of us won't have animation careers as long as Shamus's. There are too many other choices for animators today. More and more are crossing into live action and the new media. Some of us will just leave the craft when the current boom tapers off. There will be fewer wisemen for the next generation. Given the cynical nature of the business, mentors become contacts, colleagues, and ironically, competitors for jobs. The chance to counsel and inspire is rare.
I know how lucky I was to meet Shamus the way I did. Had I simply been a fan singing his praises, I'd have missed the lessons in friendship, humility and resiliency. Those were his gifts to me.
If there are ghosts, I won't mind if this one comes to haunt me.
Special thanks to Maria Elena Rodriquez and the editor of Animation Magazine for permission to publish this expert from a longer remembrance written for the magazine.