TALK to your friends, your hairdresser and even your grandmother if you're trying to break into the animation industry.
Because they might just be the ones who can help you get that job.
At least that was the case for a few of Pamela Thompson's friends, one of whom got an interview with American Zoetrope - the studio founded by Francis Ford Coppola and George Lucas - through his grandmother.
The career coach and recruiter, who specialises in the entertainment industry, got her first job with an animation studio through a friend's tip-off.
She then went on to work on projects like Family Dog and The Simpsons, before switching to recruiting full-time in 1995.
Now, the 51-year-old has set up her own career consultancy, Ideas To Go, and travels the world to find candidates for top jobs in companies such as Technicolor in China and Lucasfilms in Singapore. She also gives talks to students at events such as the Media Development Authority's Animation Portfolio workshop held last month, and writes a monthly column for the Animation World Network.
How did you get your big break?
I had a friend from college who called me about a job on Family Dog. I went for the interview and got hired. My friend doesn't take credit for it, but I give him credit because he told me they were hiring.
So do people really stand a better chance if they are referred by friends?
They definitely do, because it's a hidden job market. Here in Singapore, there are a couple of companies that are actively recruiting, but it's a rare thing.
When I first started out, I had this attitude that I could do everything on my own and nobody could give me any referrals. I don't recommend that method to anybody.
My whole career now is based on who I know and I would advice anybody to network - get the word out that you're looking for a job.
Do you use online social networks for recruitment purposes?
I do, both to read up about candidates and to find them. It's a great resource.
What made you switch from production to recruiting?
I was in production management, so I would be the person to make sure that everything is met on deadline.
In the long run, I didn't like that I did not have control over the budget or time. I was handed a schedule to meet, but I felt the artists should've been consulted on how long something would take.
My favourite part of the job was calling someone up and saying 'we're hiring you', and hearing the excitement on the other end of the line. So recruiting was sort of a natural fit for me.
For the animation industry, what kind of talent is the hardest to find?
Probably the hardest thing to find is really great character animators.
Technical stuff can be taught, but to be able to put your heart and soul into a performance and make it believable, that is a special gift.
Is there any way people can acquire this talent?
Acting classes help. I also know animators who have taken dance classes to help them with timing. Also, observe people and watch movies - animated films, live action films, old ones as well as new ones - to see how actors portray certain emotions or execute certain moves.
Talent or hardwork - which counts more in the animation industry?
There are a million different ways to get into the industry, and a lot of it depends on how persistent you are. So it may not necessarily be the talent, it may be how hardworking you are too.
I coached a guy who was as an art director in advertising and wanted to get into animation. He had no experience at all in the animation industry, but he took classes in character design.
He applied for a job at Nickelodeon and had to take a test. They could see that he worked really hard on the test and put a lot of hours into it.
And eventually, even though he was up against several other people who had five to 10 years' experience as character designers, he was hired.
Do you have any advice for people interested in the animaiton industry?
You should do something that you really love doing, because you'll be working really long hours for most of these companies.
For most of your life, you're going to be working on some project, so you want to be really enjoying it.
If you're just taking a job in animation for the heck of it, it's not a good idea. You won't be able to stay with it either.
This article was first published in Digital Life, The Straits Times on Apr 8, 2008.
