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ANIMATION WORLD MAGAZINE - ISSUE 5.6 - SEPTEMBER 2000
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Drawing Attention -- How to Get Your Work Noticed
Claudia Katz, producer and Senior Vice President at Rough Draft, concurs that an agent isn't an absolute must for a new talent who's seeking work. "Our hiring process is open to everyone. People drop off portfolios, and based on these portfolios, they are invited to take a test...[We] hire people based on the results of these In fact, having an agent tests. The application process is so open, an agent isn't providing you any entry you couldn't seek on your own." In fact, having an agent can occasionally work against a new artist's best interests. "During our first season [working on Futurama], an agent for a layout artist who was fresh out of school called to demand a two year contract with salary and promotion guarantees. This artist's test was borderline, but we were willing to take a chance on him until these demands were made. In this case, his agent cost him the opportunity to find out whether he would have worked out." The Next Level Greg Emison has worked as a storyboard artist on shows including Rugrats, Hey Arnold! and Cow and Chicken. He is currently producing two of his own original ideas on the web at stickyflicks.com. "I had a show optioned by a major network, and needed someone to broker the deal for me," explains Emison. "Getting an agent has allowed me time to concentrate on the creative aspects of my creations and stop worrying about the business end. To get an agent you have to open a few doors of your own at first, but it's worth the ones that are open for you later."
Randy Myers agrees that there are definite benefits to obtaining representation. "Having someone represent me not only opened some new doors for me, but also made it more attractive financially to walk through those doors. I've found that the larger studios tend to give an artist more credibility if they have someone representing them." When you are ready to seek representation, there are smart and not-so-smart ways to do it. "Sound out people in the business, and get their recommendations," suggests Adam Lane, a creator/producer currently developing a project at Fox Kids. Lane is represented by Aaron Berger at Animanagement. "[Aaron] is an invaluable source for professional advice, and a great sounding board for ideas. Make sure your agent has good personal relationships in the business -- deals get done that way." Ultimately, the benefits of seeking representation at the early stages of one's career vary from artist to artist. It's a highly personal choice, and one should take many factors into consideration when making the decision -- but for many inexperienced artists, it can be a bit like putting the cart before the horse. Agents want to represent talented, experienced individuals with solid reputations and work histories. At that point in one's career, representation is naturally easier to find, and generally a lot more useful. "When a company is signing you to a multi-year contract, I can see an agent or at least a lawyer being quite helpful," says Claudia Katz. "However, at Rough Draft, our budgets are set, and an agent isn't going to get [you] any more money [than] someone else...you're getting the same salary as the person next to you, only you're handing over 10%." "In animation," Katz continues, "good people find good jobs, with or without agents. We are in an industry and a market in which if you are talented and work hard, you will have no trouble finding work." Janet Ginsburg is a writer and producer based in Los Angeles. Her work has appeared in VIBE, LA Weekly and on the E! Entertainment Television Network. She fraternizes freely with talented animation types, occasionally collaborates with them, and has several animated projects in the works.
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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