Teach your chil­dren well

ImagineFX - - Imaginenation Artist Q&A -

Bal­ance isn’t just about creative and busi­ness ra­tios, it’s about read­ing the room and keep­ing that joy alive. “At any given mo­ment,” says Bran­don, “you could ac­ci­den­tally blow out the creative spark. You have to keep that spark fu­elled.”

Un­der­stand­ing how a creative mind works is a key part of Moon­bot’s suc­cess, giv­ing ideas time to breathe and em­brac­ing the me­an­der­ing steps to­wards per­fec­tion. Bran­don likens it to teach­ing his daugh­ter how to ride a bike, telling her “the im­por­tant thing to un­der­stand is we’re go­ing to fall down at least 45 times. Just em­brace that and say ‘ Yes, I fell down once! Now I’m go­ing to fall down 44 times!’ But know that ev­ery time you fall you are go­ing to get closer to this thing called rid­ing a bike.” Bran­don Olden­burg and Joe Bluhm sought to cre­ate a con­flicted char­ac­ter in Chipo­tle’s The Scare­crow through story, body lan­guage, light­ing and colour.

They need to be sat­is­fied – we don’t want any­one to feel like this is a job

It takes an equally bal­anced in­di­vid­ual to fit into a team that cre­ates such play­ful per­fec­tions. “An in­cred­i­ble port­fo­lio is one box to check,” says Bran­don, “but they need to have a love for sto­ry­telling, cin­ema, games and books. They also have to have good peo­ple skills. And it’s im­por­tant they’re do­ing what they love; that means we will get in­cred­i­ble work and they will be happy. They need to be sat­is­fied – we don’t want any­one to feel like this is a job.”

While a well-de­vel­oped skill set is im­por­tant, Moon­bot also looks for artists who want to em­brace a va­ri­ety of things. Many stu­dios try to com­part­men­talise, find­ing the one step where an artist ex­cels and avoid­ing the risk of let­ting them step out­side that ex­per­tise. “What’s unique about this place are the dif­fer­ent dis­ci­plines,” says art lead Joe Bluhm. “But we all care about the same things: the qual­ity of art, sto­ry­telling and the game or film we’re putting out there. Every­one wants to sup­port that. I like the idea that you can speak up and some­one will lis­ten rather than say­ing it’s not your turn to talk.”

No beans about it

Kenny Cal­li­cutt was a free­lance il­lus­tra­tor be­fore com­ing to Moon­bot. “I was more tra­di­tional; never free­lanced for any stu­dio, it was all mag­a­zines, book cov­ers and kids books.” He never got to see what the fi­nal prod­uct looked like. “I was largely ig­no­rant of what work­ing at a stu­dio en­tailed. Be­fore, I’d get a call from some­body I’d never met, they’d send over a writ­ten pitch, I would do some thumb­nails and make a pic­ture.

Kenny Cal­li­cutt’s Beanstalk project al­lowed more free­dom than his free­lance projects where “all the art was dic­tated and I was just ex­e­cut­ing the image.”

our adult selves in check. We just want to tell sto­ries ev­ery­body likes, from sixto 96-year-olds, but we have to en­joy it first.”

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