Animation Mentor:
What inspired you to learn character animation?

Mark Pudleiner:
Honestly, when I really think about this question it would have to start with my love of drawing. I spent huge amounts of time sitting at a desk as a kid, pencil in hand, being lost in my own internal world. Back then, with no worries of deadlines or feedback slowing me down, with nothing in the way of total creativity, it was an amazing freedom.

I drew all the time. In high school, I created various comic strips to try to get syndicated in the newspapers. I am still drawn at times to create another strip. Once you start, it really does take on a life of its own. The characters become real with their own personalities. This amazing feeling of actually bringing something to life, something that you create with a pencil on paper, was what led me to join the Sheridan College animation course in Oakville, Canada, back in 1980. I didn’t have any experience of actually moving something, but in my mind, as I drew my characters, they were moving.

Mark Pudleiner:
Not be so proud. I’m not sure if this is an ego thing or not, but it has taken me a long time in this business to not worry about how my rough tests are looking, to not worry if some other animator sees my drawings or poses are weak or if I am struggling with my work. This insecurity can have a huge effect on your learning curve as an artist. Never wanting to show something or letting anyone see anything until you think it’s perfect – or close to that.

When you start having relationships with other artists that you respect and can share your work from the beginning, middle and end of an assignment or scene, you will be amazed how much better your work will be.

I just think it’s such a healthier way to conduct yourself as an artist. I know it’s very easy to want to close the door and not come out or let anyone in until it’s all done, but it will only reduce your ability for growth. You’ll grow and you will learn, but at a slower pace.

Mark Pudleiner:
There are a few, but I think the one that stands out would be Mulan. I was one of the few animators that worked on the Florida feature here in Los Angeles. I loved what my supervisor Mark Henn had done with her character. I just found her to be so appealing at times. And I really do love animating females. I had just finished animating on Meg from Hercules and Esmeralda from The Hunchback of Notre Dame. There is a subtlety with their movements, usually with overlapping hair or outfits, that I love to use as accents with my animation. Some of these include the movement of a girl’s head with her hair following through and covering her eyes somewhat or the challenge of creating a pose that looks appealing or cute.

On Mulan, Mark Henn really let me do my own thing. It was a great experience as an animator. And the nice part is that I really enjoyed the finished film. I was proud to have worked on it.

Mark Pudleiner:
It was working at the Toronto-based company Nelvana on a TV special called Strawberry Shortcakes Meets the Berrykins. My first assignment was to in-between clouds – lots of clouds. Man, I worked hard making sure those clouds were the best clouds. Ahh, the skeletons in the closet that we have ;-)

Mark Pudleiner:
There have been a few. From my college friend Ken Duncan to Mark Henn on Mulan. Ken has always been amazing to just talk with in regards to story and acting. He has helped me learn how to simplify my animation so that things are not so busy and that the acting choices are well thought out for entertainment.

Mark Henn was so clear with any direction. He made things full of appeal. He wanted you, as the animator, to come up with the idea for the scene. Not the supervisor, but you the animator.

My friend John Pomeroy has had the most influence on my animating. The seven-plus years I spent at Bluth Studios were under his artistic leadership. He is an amazingly talented artist who just makes it seem so easy while watching him draw. He’s very strict and disciplined. He leads by example, has been a very good friend in my personal life, and has encouraged and helped me out in many different ways. He and his family moved away a year ago and I miss having our lunches together.

Mark Pudleiner:
I would say the best tool for teaching is the eCritique®. Being able to draw on the images while the student can see you and what you are talking about is an extremely valuable part of this whole course. I love how it can enable things to be cleared up or made certain so that both parties are on the same page.

Mark Pudleiner:
I really enjoy the Question & Answer time as well, but it’s more informal and I tend to go off on side stories or examples as the discussion takes place. (Sorry!) I love hooking up with all the different people that also have that creative drive and that passion. That’s what makes it interesting and worthwhile.

Mark Pudleiner:
Animation Mentor has been a great experience. One of the things in the back of my mind as I was going through my career was teaching – I thought maybe I’d teach at Sheridan College. After being with Animation Mentor for a while now, it has been so convenient to teach while still busy with production work. Every class has its own feeling, with all the different people coming together from all over the world. The internet truly has made the world so much smaller.

I love being able to help out with a student’s assignment and hopefully have them feel that they are glad I am able to work with them as well. I am serious about their time and mine.

I am very passionate about the art, this job, and basically this life. Why not go through it with passion? If you’re going to do it, do it well! Get emotional. Make a mistake. Ask for help. Get passionate about making that scene look just a little bit better. Make that object overlap so it feels real. If not quite right, stay until it is. Redo it. Get passionate about it. Feel good when things are working out. You work hard for those moments so be proud.

We are artists. We are geeks (deal with it!). We are animators.

And that is not a bad gig.