When I started my career as an animation writer in 1983, it was a very different time. Studios were smaller, more accessible places, often run by people who themselves had climbed up through the ranks as artists and directors. That year, at the tender age of twenty-three, I literally got my foot through the door of Hanna-Barbera by… well, literally getting my foot through the door. I waltzed into HB with a spec script in hand and asked the receptionist (their only gatekeeper) if I could meet somebody who was in charge. She smiled… and actually introduced me to one of their top development execs. Who then introduced me to a Story Editor. Who then let me pitch and taught me how to write my first show.
I like to think that talent gave me longevity in this business, but let’s face it; this kind of break would almost never happen in today’s corporate world. When I was asked to write this article, I really had to sit down and think: If I were starting out and trying to sell a show, or land my first job in the animation industry, how would I go about it today?
The good news is, the more things have changed, the more they’ve stayed the same. Knowing how to professionally conduct yourself and take advantage of an opportunity (no matter how slim) plus genuine talent and passion for your craft can still be your ticket in. You just have to understand how to use the skills I mentioned to your advantage – an art in itself that is as important as whatever schooling you will receive.
Most studios have established cultures that are as unique as their names. Like a desperate person at midnight in a singles bar, they are always on the lookout for somebody who is their type. That old cliché about the entertainment business still holds true – it really is all about relationships. So, and I can not stress this enough, study as much about the studio of your choice and the people who work there as you can find out, first, before you start looking for work. And then network, network, network!
What do I mean by ‘network’? Establish relationships and then be able to deliver. If you have trouble dealing with people, you will need to find a way to perfect your skills. Maybe a public speaking or acting class for the shy, shrink visits for those with issues (de rigueur for creative types), and Suck-Up 101(usually acquired by taking a politically successful pal out to lunch and begging for pointers) for the politically stunted. Networking will have that much of an impact on your career.
Also, always have an answer to: “What do I bring to the table that others do not?” And don’t wait for that question to be asked. Your first assignment for creating a successful networking moment will be to strategize and figure out a way to artfully bring this topic up during the course of a conversation. While the art of networking also includes self-promotion, nothing turns people off faster than someone who is inept at it or who is a blatant user.
Throughout my career I was friendly to everyone I met, not just those whom I thought could do something for me. You never know who can help you, or when. I’ve seen P.A.s rise to own their own studios, -- so never overlook or backstab anybody. Plus, you can never have too many friends, right?
I also developed a willingness to learn. Mentors are everything in this business and I was lucky to have my share, not only in what they did for me, but even more, for how generous they were with their time and talent. Don’t overlook the old guy in the room. Just because he /she isn’t your age doesn’t mean they are out of touch. In fact, many older people have ‘been there done that’ so much; they no longer feel the threat of competition. They are often very gracious about introducing you around.
Always act like a confident ‘already-working’ professional when presenting yourself. This is key, because the opportunity to network may crop up anywhere, at any time. I’ve literally seen some people network at funerals – and pull it off! If you meet a potential connection at a social occasion, never press yourself on them for work. Mention what you do and then let them lead the conversation. You’d be surprised how much people are attracted to a mystery. If you make an effort to have a truly sincere conversation, it may not lead to immediate employment, but you are still sure to impress and get a second chance later. You will also be surprised by what you can learn and file away for later use.
Follow up on every lead, no matter how remote it seems. I’ve gotten work from a man I met in line at a bank, a phone call to a new studio after reading an article about them in an obscure magazine, and yet another successful lead after spending time with the wife of a head honcho at a party, rather than trying to suck up to her husband.
Pitching at a network or studio? These days, most people are not allowed to take a development meeting without representation for legal reasons but there is a way around that, too. Ask if you can submit through your entertainment attorney, and then run out and hire one.
Going to industry film festivals, conventions, conferences, lectures and classes are classic ways to network. Watching credits or getting a producer’s name from the trades, and making a phone call will at least get you a conversation with his/her assistant. Try to get to know them (something few people bother to do) and you’ll have a great “in”.
If you do get an opening to pitch and your idea is well received, let the person in charge know you are willing to take their suggestions and make changes. Execs often want a person they can work with and mentor more than the concept itself.
Most important of all, when your big break arrives, please look me up and give me a call. See? Twenty-five years later and I’m using this article as an opportunity to shamelessly promote myself, because… well, you just never know…