Bond over your work
says she loves animating with sand and paints, and is a big fan of abstracts. These not only give free rein to her imagination away from commissions, they provide a welcome break from her day job. “I think the most important thing I’ve learned over the years is to have a healthy detachment from your job,” she says. “Be passionate and invested, try to make it as good as you can, but don’t take notes personally and just get on with it.
“On the other hand, it’s hard to find the time for your own work when you’re working on a film project – especially towards the last few months where it’s become somewhat the norm to work intense overtime, sometimes 12-14 hour days or longer, no weekends. It can be so draining that all you really want to do at the end of the day is have a very, very large glass of wine.”
Takin g a brea
With that in mind – and with her baby having now arrived – In-Ah has made the decision to leave film production for the time being. “My plans are – after regaining sleep and half a brain – to continue teaching,” she says, which is something she’s always tried to do when time allows. “I have courses lined up locally [Vancouver, where she now lives] and in Europe, and hope to continue doing my classes and seminars over the next years.
“I don’t think we want to uproot our little family every couple of years, just because the pool of jobs has dried up again,” she adds of the increasingly competitive and hectic animation business. “Maybe things will change, but until then I’m happy to teach and work remotely while being an active part in my child’s development.”
Maybe now she’ll also have time to work on more of her own personal illustrations? Animation’s loss is our gain.
The most important thing I’ve learned is: have a healthy detachment from your job
One of In-Ah’s earlier jobs, also completed at Framestore in London: Spike Jonze’s adaptation of Where The Wilds Things Are.