If you can dream it, you can do it. -Walt Disney
Quality is a great business plan. -John Lasseter
Let's make some funny pictures. -Tex Avery
I never considered a difference of opinion in politics, in religion, in philosophy, as cause for withdrawing from a friend. -Howard Zinn
When critics sit in judgment it is hard to tell where justice leaves off and vengeance begins. -Chuck Jones
And what do you benefit if you gain the whole world but lose your own soul? -Jesus
A man should never neglect his family for business. -Walt Disney
What's most important in animation is the emotions and the ideas being portrayed. -Ralph Bakshi
Once you have heard a strange audience burst into laughter at a film you directed, you realize what the word joy is all about. -Chuck Jones
Before enlightenment: chop wood, carry water. After enlightenment: chop wood, carry water. -Buddhist Proverb
Share your views on the state of the Animation Industry.
I would say if you know ANYTHING about taxes one would spend all the money they make on Kickstarter on their campaign and deal with taxes last.Why? because deductions are worth more then penalties.
Any big time business man will tell you to worry about your taxes last. Invest in yourself first.
Also, the foundation of AN and its many events have been about exposing people to this knowledge, progressive people/creators and insight into aspects of business no other organizations in animation covers as vastly as we do.
Thats what Charles suggestions were all about. Talking about things no one else wants to talk about. And if you go into the history of this site. google the videos of past events you will see a small portion of the information shared and revealed here.
We've address the business and personal sustainable lifestyles. Exposing viewers and sharing with participators information about how to live independently and how to create independent economies.
Taxes is a small thing to be concerned about. In my opinion and experience. I'm not saying not to take it seriously. I'm not saying don't be aware of it. I'm just saying, if thats your biggest concern about productions succeeding or not then you got the wrong cpa and/or business advisor...or backwards plan. No disrespect intended but your opening speach was pretty impressive to follow up with the what about taxes concern...
I mean, I agree, money management is key, and the idea is to not let the government manage it. Pay them what they need. Nothing more. Spend as much as Kickstarter revenue on the production and things that are consider deductions..in the black big time?? invest in the next thing. All deductions and non of it has to be claimed until after you spend it. Any penalties you might get as a result of waiting till the end of the year will shy in comparison the deductions you spend that money on.
Its not about cheating or getting out of paying taxes either. It's how most successful business play with their money. You can't get the deductions unless you have the money to spend to get them. ya know?
Well, I have more to say but I just officially got sick of hearing me type.
I think you both answered my question and misunderstood what I was asking.
I could have chosen any example about incomplete business and money management knowledge. I just happened to choose taxes because of something I saw happen.
I was merely asking if this sort of thing was addresses here or if it was all about being creative and making stuff without dealing with the realities of running an actual profitable business.
You answered it. Thanks.
Luis, you've been working on The Simpsons crew for 19 years according to your videos.
Have you ever been in business for yourself? Aside from your regular job and something beyond freelance. I'm curious as to what your level of experience is in business and related matters.
Have you formed your own company, either a sole proprietorship or an LLC or anything like that? Have you operated in animation business through a business entity you created? Have you sold books or t-shirts or anything like that or developed projects through a business you formed? Dealt with investors or investment bankers or venture capitalists?
That would be another good subject for the Corner Booth. Business basics along with marketing. Also intellectual property issues would be a topic of interest. Things that could really help with educating artists.
Your singing my song Charles!
I have NOT formed a company yet. I'm going to be doing it this year though. The Drawing Website I link to in my signature is my first business.
I did spend a year away from the show and drew freelance comics. It was life changing. Especially since the reason I didn't work on the show that year was because I got laid off. I didn't make it a business though.
Only reason I returned was because I got married and needed the money.
My wife has an LLC though. She's an author and also creates and sells her own beauty products:
I have experience helping her sell stuff.
Besides that, I have no experience operating in animation business through a business entity I created. I have not sold books or t-shirts or anything like that or developed projects through a business I formed (I've sold my wife's books though). Nor have I dealt with investors or investment bankers or venture capitalists.
ALL those things I WANT to do and learn to do.
I am currently taking actions that will make ALL these thing happen.
By the end of the month, if not the end of NEXT month, my first book will be out. It ALREADY has people asking me when they can buy it.
Unfortunately this first book took me four months to write. I'm taking steps to make sure I write the next one in a month.
Drawing courses from me are also in the works as well as a membership site.
I LOVE the idea of talking about:
...on The Corner Booth podcast. But honestly, I'm not sure the podcast is right for this. In our next podcast we DO talk only about marketing yourself as artists. BUT I think we're losing focus as to who the podcast is for (this is bad marketing).
The point of The Corner Booth podcast is to attract animation fans. To what end? To attract them to our intellectual properties. The podcast, is in fact, marketing. We talk about animation to fans of animation. We become authorities, "celebrities",...and, OH, what do you know, I happen to have this cartoon over here you might be interested in that I happen to have made. It's content marketing.
Do you understand now why we don't want to be too critical?
I think in order to do the "how to become an independent artist" discussions, I'd need a different podcast that focuses on those exact needs.
Then, from THAT podcast, I can sell courses on how to do it based on what is spoken about in the podcast.
BUT in order to do that, I first need to know what I'm doing, make money off my intellectual properties, and then show people how I did it.
My wife and I are doing some of that already. We just need to step it up, so she can replace my income with her current i.p.
Just from what I've learned selling my wife's novels, as well as seeing the mistakes my friends have made, I can tell artists a thing or two about what NOT to do and how NOT to go about creating an i.p.
For example, DO NOT create an i.p. just because you THINK it's a good idea and you THINK people will like it because YOU do. Then put it out there and HOPE they will.
Instead, create an i.p. you KNOW there's a market for already. Stack the deck in your favor. Do the market research. You're not trying to make "art", you're trying to make money.
I'm not going to clarify this statement. I'm going to leave it as is. What I've just written is the exact OPPOSITE of what artists think when they create their stuff. It's the very thing they think is the problem with the industry. It is anathema.
If you understand what I'm saying then there isn't much more to say. BUT if you disagree, it would be a great topic for the "Business" section of this forum.
Seriously Charles, I'm really REALLY into the business and marketing stuff. It's really fun and creative. I love it, and I think market research is CRITICAL to success.
I never got the business side of the forum cuz everything we talk about relates to the business..and to continue with the theme of this thread as to not to derail the initial intent, I want to focus on what your advice is for creators as to what not to do.
I have 20 years experience. Most of which is independent publishing and starting small businesses that think large sprinkled with high end positions for studios working on preproduction in animation. Been apart of jewelry companies and my last venture was an art gallery, social club, tattoo studio. I've been published from both mainstream and indie dynamics, sold basic tshirts to 3 thousand dollar wallet chains. I sell lifestyle. I worked with mentors who were top of their game. I can pull from many experiences.
I would never say to any creator to not do something just because you like it. I mean. That IS the basis of all successful businesses. I look at successful creative people and they mostly did what they wanted...I mean, I can't recall any of them saying, "I weighed what the market would take"...Maybe I'm misunderstanding your point.
Building confidence comes with so much. If you're just going for the fans then why bother with talking about being confident in your art? And if you are gonna focus on telling artists to be confident I would suggest addressing other aspects of confidence. You need to be aware of so SO much more about the big picture in order to find that confidence.
I have always enjoyed addressing the BIG issues because that directly has to do with confidence, vision and direction!
AND if it is just about the fans, crowdfunding campaigns have shown me that people want to hear about your plight and why you do what you do and how much you have to do IN ORDER to do what you do. Fans like the critical and they like being apart of problem solving. The fans want new content and they want to connect with the struggle.
I come from a huge music background. I still live with musicians. It's lifestyle and fans are everything...and the bands who had the most fans shared the most about their journey.
I think thats what I believe Charles refers to the fanboy mentality. Historically, and I started in comics, Image comics back in 1992, Fanboy is someone who just cares about the small anal details of the stories and the drawings...they're cool, but the fans who keep it rounded care about the big picture. Their tastes are varied and their sensibilities are sophisticated.
So if you define anything maybe it should be how you define a "fan"...ya know? cuz I'm a fan and I want to hear about the real. Even if it about physics, Im a fan, but I don't know the math so I'm not a physicist..but I want to hear about what physics has to go through in order to be shared to us. Cuz I'm a fan, I want the REAL deal...and that means, real physics, not filter physics...not uncritical physics...I want hyper critical physics.
Money is not the goal. I totally disagree. Art is the goal. True art. Thats why the fans love us. They don't love us cuz we go for the money...you make money from the art. If its true it reaches through.
If marketing leads more artists to think market before art, then...well, I'm ready to die. My light body will get more from me if I'm shining. This is not to say marketing isn't important. Of course it is..but in the new frontier, marketing involves ...well, its the new frontier for a reason.It's evolving in our favor... But I don't think what you're saying is the answer. Dare I say, not even close...or my 20 years experience mostly carving my own path while still making big companies money, would be totally wrong...and I just can't except that.
Invite more people with independent experience as an artist on your show and watch your topics evolve.
I started my first company in 1983 and kept that happening for a couple of years. Got my second one a corporation going in 1987 and that lasted until around 1998. Started a third business The Animation Academy in late 1997 and it's still happening 15 years later. Turned AnimationNation into a business in 2003. That's my fourth one. In 2008 I got an LLC up and running and still maintain a bank account and line of credit through it. That's five.
I've sold stock through a private offering for my corporation in 1992.
I filed a lawsuit myself and represented myself in municipal court in 1994 against a software developer that tried to cheat me out of a refund and forced them into a settlement.
I sued Great Western Bank (which became Washington Mutual and is now Chase) in 1993 because of their involvement in an embezzlement related to my stock offering the year before.
Went after the embezzlers and got both the IRS and the California Franchise Tax Board after them. I made them my hobby and busted their asses good. They learned a big lesson about screwing with an artist. At least with this artist.
I worked with activist groups and helped the US Government in the late 1980s to get the Children's Television Act of 1990 passed which opened the floodgates for the animation boom in TV during that decade that's still going on today.
I've had thousands of individual students in my career as a teacher in animation. At least 3000 and probably close to 4000 from my estimates. Many of them are some of the animation industry's leading talents working at the highest levels of the biz.
I've published my own 136 page hardcover book.
I've produced my own full color fully animated 6 1/2 minute pilot for my project independently. I was an early pioneer in digital animation production starting in 1993.
I initiated the first real attempt at modern industry reform in February 1999 with the launch of the AnimationNation Movement.
I'll be launching my own character based franchise online very soon.
What I've learned can't be taught in school. You gotta get out there and do it yerself.
Talk is cheap and there's always plenty of it flying around. The key is in doing it.
Artists are trained to be employees. With today's environment and the landscape that's forming up it's a good idea to position oneself independently as a business in some way so you can maneuver in the new era. Jobs are good of course but there's other ways to go now more than ever before. Lots of ways to think about things besides a job or work for hire employment alone.
Also guys in regards to the Corner Booth or anything you may do with podcasts or video, my feeling is that you will get a bigger and more appreciative audience if you say it like it is. Safe, cautious and non-challenging subjects will not get you as big a following in comparison to pushing the envelope.
There is indeed chronic dysfunction in many aspects of our community and things won't improve for the greater good if you ignore these issues or try and package the message in a way that doesn't genuinely address what's going on and how things can be made better.
Case in point, Stephen Silver's latest video about working for free which I featured in another topic. This is a strong commentary that's gone viral and the views he's getting are substantial.
You can watch his video on YouTube here...
http://www.youtube.com/watch?feature=pl ... WXYoD7wfOs
I disagree with the idea that you'll chase people away if you have a strong and firm message. You'll attract far more people than the ones you'll supposedly lose. Silver's video proves this.
Artists are hungry for leadership. Especially from other artists who are successful in the biz. You can tip toe around things and be okay or you can say it like it is and do others a greater service with your honesty and frankness. Use your platform to get a positive pro-active message across even if you think it will make some people out there uncomfortable.
If you're going to encourage others to be confident in themselves and their art than do it by example.
Hmmm, SNAKEBITE you have a tendency of reading what I write and finding the worst way to see it.
Oh course, it's not like I left my comments all that clear and I'll explain myself in a later post.
There's a few different ways to read the term business here:
1.an occupation, profession, or trade: His business is poultry farming.
2.the purchase and sale of goods in an attempt to make a profit.
3.a person, partnership, or corporation engaged in commerce, manufacturing, or a service; profit-seeking enterprise or concern.
If by business you mean the number 1, then yes, these forums are about business. But I meant the other two definitions, and it would be nice to have topics like that in that section of the forums.
Besides, this thread is suppose to be about the podcast topic right?
Neither would I. And in fact, I didn't say that.
What I wrote was:
Just because you have an idea, doesn't mean it's a good one. It MIGHT be. It's best to test it and see. If you test in a quick small way and it proves to be good THEN move forward. Otherwise adjustments need to be made. Best to fail fast and move on than invest TONS of time and effort on something that was a bad idea to begin with. It's good business.
You are right, this is why I'm not sure our first topic should have been addressed to artists. If we're trying to attract animation fans, confidence in your art is not going to attract them. The podcast attracts artists who MIGHT be animation fans too. But there isn't even anything about the title of the podcast indicating it's about animation.
VOLUMES of books have literally been written about confidence. There's NO WAY we could cover it all in the fifteen minutes we gave ourselves.
Did you listen to our second podcast? THAT was for animation fans. And we know, because they were sitting next to us and we spoke with them. One was even afraid that she didn't belong because she wasn't an artist. We told her, not to worry, was exactly who our podcast was for. It wasn't just for artists. And yes, there were SOME artists there. And some people who had read a lot of animation history.
And there were fans of Pinky and the Brain. A show I hate. And fans of Space Jam, a movie I don't like. But I wasn't going to tell them they suck for liking Space Jam because of whatever money grubbing reason executives decided to make the movie. They LIKE the final product. LET them like it. Why take that away from them?
It's not exactly about "crowdfunding," as it is about building a community, a tribe, a herd, relationships. Whatever you want to call it.
And yes, fans like the critical and the struggle, because people like good stories and good stories are full of conflict and stories are entertaining and life changing.
There's a place for that, but not if it's going to make them feel like a loser for liking Space Jam.
I have a friend who LOVES the He-Man cartoons. He knows they were commercials but he still LOVES them. I'm not going to make it my life purpose to take that away from him because toy companies were being jerks to artists.
Although, now that I think about it, if we were to make a satire out of the situation, THAT I can get behind.
I write about "the real" further down. You're not saying that unless it's negative, it isn't real right?
I don't think your saying that we should ignore the good in the animation industry right? Because, that's "real" too.
Whether you like it or not, that He-Man cartoon taught kids good morals. And those teachings really stuck with some kids. In spite of the circumstances by which they were created. That's real too.
DUDE! Your whole post was awesome! You're my hero. I agree 100%!!
I want to create five business too. That's why I'm doing what I'm doing.
It wasn't until this point that I realized why we're talking past each other.
I saw Stephen Silver's post earlier. He wasn't the first to say it publicly. He is the first one with a large enough tribe to get it passed around (I include myself in his tribe).
But surprisingly, that's beside the point.
Here's the actual issue:
You're like a superstar rapper who, came from the ghetto. Fought against racism, and class mentality. Who's parents told him he was loser. Who's friend where gunned down by police officers. He fought against the system and the large Labels. Fought and fought to get where he is and raps about it. He tells the world that the system is broken through his rapping because of what he went through.
He's hyper aware of the flaws. He's experienced them first hand. He KNOWS it inside and out and he raps about it. That's his THING. It's where he LIVES. He can't rap about anything else because he HAS to rap about what is real. What is REAL is what he lived through. What is REAL is the FIGHT.
I'm like a rapper, who grew up in the middle class. Worked hard to get where he is, but no one really bothered him about race, and people where cool to him. His family supported him. He struggled and fought with the middle class mentality. But mostly, fought with himself and his skill level. His producers were actually cool. The label who he signed up with, treated him right.
He raps about girls and friends. He raps about family and God. He raps about struggling for what you want out of life. To fight for it. In other words, he raps about the REAL. What is REAL is the PERSEVERANCE
If those two rappers meet, the superstar rapper turn to the other rapper,
"You don't rap about the REAL. You try to hide it. Why don't you rap about the FIGHT? Rap about the REAL. Don't walk away from that. The jerks, the backstabbing, the people putting you down because of your race. That stuff is there, that stuff exists. You only want to talk about how nice everything is and ignore the bad stuff. Say what's REAL. "
The other is shocked,
"I AM rapping about the real. Everything I rap about is about the real. PERSEVERANCE is REAL. All you talk about is how everything sucks. Why don't you talk about what's real? Family and friends, loved ones and children. All of those things are REAL. Why do you ONLY focus on the worst?
The superstar frowns,
"I can't rap about that crap! That's never happened to me. That's not what the world is like. That's not REAL. You ignore what's real. Why don't you talk about all the crap you need to put with in this life? In this industry?"
The other rapper shakes his head,
"I can't rap about that! I don't have to put up with ANY crap. I'm doing fine. I understand that there's bad stuff, but I can't rap about anything I don't have first hand knowledge about. It's insincere. Life is good. That's REAL.
Charles, for the last 19 years, I've worked in one of the best studios in the animation industry. The only one that rivals it is Rough Draft. The producers, Tom Klein FIGHTS for us. And Andrea Romero does too. WE LOVE her at this studio. They're incredible people. My co-workers are my family.
The writers I've met are great guys. We talk on Twitter. I even know the music editor. I'm friends with some of the editors. The politics around here are minimal.
People from other studio come with all kinds of horror stories. They sit around waiting to get beaten and whipped only to discover we don't do that here. I can't talk about the abuse, because there is no abuse here. I can't talk about the evil producers because the ones here are awesome.
I can only talk about the real. And the TRUTH is that the animation industry has been GREAT to me. It's been a joy and a privilege to be working in this studio, on this show, and in this industry.
I can't talk about what you want me to talk about because I don't know it. I haven't lived it. It would not be sincere.
So please stop asking me to talk about what YOU know and what YOU'VE experienced because I don't know it.
And just because I DON'T know it, doesn't mean that what I DO talk about, and what I do know, isn't REAL.
The worst thing this studio has done for me, is treat me right and make comfortable, because it's stopped me from going out there and creating my own business.
So I guess I should go rant about what a bunch of jerks the people in this studio are for being good to me.
Sorry man, it's not my thing.
BUT, believe me, when I DO rant, you'll hear about it.
Sorry if it seems like a derail but "Confidence In Yourself And Your Art!" is what I thought it was about. I am merely discussing the theme the video was about and expanded on it.Discussing and all.
I don't know why you conclude when I ask for the real, I'm talking negative. I think thats part of the problem. Addressing hardships, obstacles, mismanagement or even corruption is not negative to me...I mean, lots of stuff out there that just focuses on happy talk. Not to take away from happy talk, cuz I like that too, but why is it negative to address the issues I believe are real?
Seems like maybe you have the problem with reading my replies in a negative light. not to try to start s***, cuz I was enjoying your points and the fact we can have different views.
I'm just saying your views are one perspective like mine are. Since mine are based in a reality where I have experienced much of this business and in addition to what it takes to do it on your own I don't see it being any less valid. But like you said, your fans don't want to hear it.
I'm just sayin I know for a fact there are plenty of fans that do. And what I was saying about crowd funding is that dynamic proves they want to connect with the artists and their plight.
And the thing about Hip Hop is this. They rap about everything. Lots of artists with lots of opinions creating lifestyles. All valid.
In regards to your show, I thought it might be about guests and perspectives and questions/issues from other views..if I have mistaken then I apologize..but I will say this, I hope it becomes larger then you and what you know..and thats not a dig, thats a sincere wish. Everyone wins. Evolution rocks!
YES! This was my point. I don't know how to talk about what YOU know. I only know how to talk about what I know.
Yup yup yup!
I couldn't agree more. I don't WANT it to be about me. My world is too small. The whole point of having guests is to find out what they know.
That having been said, I've just been informed we've got a one in life time guest.
On the way to our last podcast Larry, Chance and I got to talking about the uncredited people in Looney Tune shorts. This made me curious as to who those people were and why they weren't credited. I suggested the topic for the podcast.
Well, Larry arranged an interview with an ink and paint girl who worked in some Disney shorts back in the day, who was never credited (she's 98). We're going to find out the story behind that. That will happen two podcasts from now.
The topic has branched off into different directions. One is the Corner Booth, the other about developing an independent aspect to your carer, the virtues of working long term for one employer in animation etc. Having confidence in your art and yourself and apologizing for your portfolio has kind of gotten lost.
Some follow up points from my perspective...
Since it was brought up, I worked on the He-Man series as part of the original development team. Although each episode had a moral to the story it was only a device to legitimize the fact that kids were actually watching a toy commercial. Maybe it was helpful to kids but the real motivation behind the series was for Mattel to sell their toys. That's why they funded the production. Not necessarily to make kids better people. If it happened great, but their motivation was not altruistic.
The forthcoming CB podcast of the 98 year old ink and paint artist from the old days at Disney is definitely something to look forward to. Along the lines of my suggestion for pertinent topics that push the envelope and address dysfunction and improving things. The subject of appropriate production credit is valuable of course.
Working at one studio for one's entire career over a two decade span is great and an artist should indeed be appreciative of such a positive thing. But it makes one an expert in how to work at one studio on one show for 19 years. When I was doing the studio thing I worked at a wide variety of places on a lot of different productions. This gave me a much more comprehensive view and understanding of our business. As an independent who's gone the route of an entrepreneur in animation and from the stand I've made in the industry I know from my own experience that there's a significant divide between studio artists who are entrenched in studio system and those that have branched out and done things outside of their ongoing job. I can really see it in the clumsy communication between the two sides of the same coin.
I've noticed that independents see things differently and approach the business differently. Studio artists tend to be fearful of the outside world so to speak, no attack intended. They are not as confident as an independent who's familiar with risk and not averse to taking chances. I see it in my sometimes strained conversations with friends in the biz who've been in the studios for their entire careers and are used to and dependent upon a job as opposed to others who are conditioned to being out on their own. I see the gulf in the comments that Luis has been posting. You're getting fired up to do the thing we've been doing for years and years. It seems to me the videos you're making and the posts your publishing have as much to do with emboldening yourself as encouraging others.
The fear factor in the animation community is significant and played upon for example by your own union who makes their members believe that if they're not working as union studio employees for their union pension they'll be rummaging through trash bins and eating cat food in their golden years. Just ask Hulett he'll tell ya all about it. Well, I know some guys who are more successful as an independent than they would be at a studio job and don't need to work as a studio employee anymore. They developed an independent aspect to their careers and it paid off.
If you really want to communicate with individuals such as myself and Bite and others who've been on the front lines of taking chances and embracing entirely or in part an independent career then you gotta do it too. That's what it comes down to and in that regard I wish you luck.
Finally, I'd say have fun with the Corner Booth. It seems to be helping you get out and about. Whatever you guys do with it I'm sure it'll be fine.
Have confidence in yourself and in your art fellas!
Cool. I said my piece..and peace. I don't want it to come off like agro back and forth cuz thats not where I'm coming from. I'm a huge Chance Raspberry fan and anything that informs people about what we all do is good with me. I wish everyone great success!
SOOO awesome. This is what I find the most fascinating. The toys are practically dead now but the cartoon lives on and still has a big fan base.
My friend Jerzy even went so far as to create posts with what he would do if he got a chance to redesign a new version of the show.
http://www.strangekidsclub.com/2011/04/22/fan-art-friday-jerzy-drozds-masters-of-the-universe/ Not a link to his site but to a site that collected all his designs.
THIS is the fanbase we're trying to attract. They're a new breed and totally fascinating.
It's interesting you should write that and then write:
The reason studio artists tend to be "fearful of the outside world" is because they are told they are an "expert in how to work at one studio on one show," either by other people or to themselves and BELIEVE IT.
They say to themselves (or hear it from others),
"Who are YOU, to try anything on your own? You have no experience outside a studio. You're an expert in nothing. You've done nothing for anyone. You've wasted your life in a studio and without one you're worthless. Nothing you've learned in any studio has any value. Your expertise are worthless."
When a studio artist thinks or hears this and BELIEVES it, they stay afraid and stay a studio artist.
This is why, when I talk to my fellow studio artists I SHOW them their expertise. I try to give them the confidence to get out of that fearful place. I want to empower them to see the value they can provide, in spite of how long they've worked in any studio.
There is always SOMEONE who knows less than you of SOMETHING. As long as a studio artist can find that thing, THAT is their expertise. It doesn't matter how long they've worked in a studio. THAT is their way out. It's their leverage. The place where they can be confident in.
This is what I'm doing. This it my starting point. It also helps that I've spent 19 years, not in just any studio, but on The Simpsons. Huge fanbase. It's known by Billions. It gives us who work on the show, instant authority and leverage. I'd be a fool not to use it to my advantage.
Your right, an independent artist thinks different. They are more used to facing fear and taking risks. In order to become this way, a studio artist must also become good at facing fear, but in order to do so they need to know they have something to do this with.
It's best to show studio artists the gifts they possess and the expertise they CAN leverage. It gives them the confidence to take the risks. THAT truly builds REAL confidence in themselves and in their art.
Thanks for the encouragement, for your support, and words of wisdom Charles.
Reading through your post Luis confirms what I've known and experienced for a long time. The community of animation artists is dysfunctional and it's most chronic within the studio system.
In today's environment you're at a disadvantage if you're not developing an independent aspect to your career. You're on the right path and I think you're going to do well for yourself over time. The fact that you work on the Simpsons is indeed a very useful in building the Luis Escobar franchise. You are the franchise and what you do as a staff artist on the Simpsons provides a high degree of professional credibility. In that regard studio employment offers an additional benefit in that it's a part of who you are and what you do but it is not you. By breaking away and developing your franchise it becomes something that helps define you but does not confine you.
I'm excited for ya. It'll be fun to see where you take this. Wishing you good fortune fair winds and high tides on your adventure.