When you’re in the midst of a production, or probably life in general, things come at you all the time. There is a never-ending stream of things to do. We might need to get something important done, like this little doodle illustrates below. Easy, right? We go over and we do it.
But in reality, all these other tasks pop up along the way. Looking a little like this…
And there can be a temptation to handle them like this…
This is not the way to do it. Why? Because tasks are like fractals. I’m showing those big tasks that pop up to get in the way of achieving your main goal. But if I went deeper and zoomed into that image, you would see a whole bunch more little tasks and, each time you go to tackle one, you’ll likely see more things that need doing. And your original goal gets further and further and further away. The person tackling things in this order is a very busy person but they aren’t always making the best use of their time.
The thing is, not all of these tasks are equal. They may all need doing but they don’t all need doing NOW. You have to focus. You have to prioritise and use your time as best you can. Instead of being busy, you have to be productive in a very clean way. You go for your core task and you do that knowing that, if it is truly important, other tasks will either depend on it or be made easier by its achievement.
So really how you should approach the task is like this…
Focus on your core task. Get it done. Then evaluate those other tasks, prioritising them, delegating what you can and even making a conscious decision to ignore some – not everything is crucial and some schedules simply don’t allow for every little thing to get done. Focus on what will count when the end product is delivered and do so in a very clear order of importance. Go straight to your main task. That’s how to get stuff done.
When you’re making a series, you have to think long term. Are you making 26 episodes? 52? Double that? Where are all those stories coming from?
When the stories come in, there is one consideration often missed: is this going to affect other stories? Does it blow an idea without making real use of it?
Sometimes small details can have an effect on a later story and we usually encounter these after it has happened. A writer might have a great story idea about the main character not wanting to eat vegetables and then coming to love them. Until you realise that the last four episodes showed that character munching into vegetables. You might plan an episode about the first experience on a skateboard only to remember that there was a skateboard scene in a montage in a previous episode. A story might have your character bitterly disappointed that the boating trip they have been looking forward to all year has been cancelled but kids know that your character goes boating every second episode and it is no big deal to wait for the next trip.
Stories affect other stories. So when stories come in, or you’re the one writing them, you have to consider the series as a whole and you’re better looking for these things in advance. It is important to ask yourself: does this rule out anything in a future episode or use up a great idea that could be a whole story in itself?
Sometimes that will be hard to spot. No reason generally to avoid a character eating vegetables, for example. So you just deal with that new story suggestion when it comes in. But you can definitely look for a story point that might be blowing an entire future episode. If you see a beach story coming in that has a brief throwaway surfing moment, for example, it would be worth considering saving that idea for a whole story around surfing. Or you might suggest an amendment – if the surfing moment has everyone surfing really well, maybe it would be an idea to restrict it to just a couple of characters so you can do a story later about how one of the other characters has trouble learning to surf. If you show everyone surfing well in one shot, you’re establishing a default that is hard to go back on.
When making a whole series, you need stories. You’re going to need lots of them. So keep a lookout for the needs of stories yet to come and avoid breaking them or blowing them too early. Your future self will thank you.
Ah, notes. We all love notes, right? I know the first reaction to notes is usually negative (that’s normal) but it’s important once we get past that to see how they can help and how best to tackle them. Different people give different notes. Some are consistently great and helpful and others might not always seem useful initially. You have to get to know the notes you’re dealing with and the person you are getting them from and so each project often requires a different approach when it comes to notes.
But here’s something that is useful no matter what kind of notes you’re getting: look beyond the notes themselves. Look for the intention behind the notes.
Almost every note has a problem to solve or a question to answer. But sometimes the problem listed in the notes is not actually the real problem. It might be a symptom of something else that has been missed or has become unclear. It might even be about something outside of the work that you’ve made so far – a request that has come in from someone else that is now being applied in the form of a note passed on to you. Sometimes acting on a note immediately as described can actually cause more problems than it solves if you don’t know the intention behind it.
This will be especially relevant if specific suggestions are given. When people give notes, I love when they give suggestions on how to fix things. Firstly, it shows they really want to contribute positively and, secondly, it gives a really great starting point for the fix. But it is just a starting point. The solution offered may not be the fix. And your reaction to it might be “that won’t work” and you might even be right. But look for the intention behind it. What is it trying to solve?
Look beyond the note itself and try to find the intention behind it and you’ll then understand what you need to achieve and, more often than not, the real solution will become clear.
And if you’re reading this and you’re someone who gives notes, here’s a tip: you can help people get to the best fix by making clear why something is a problem or why you’re asking for something. No matter what side of the notes you’re on, knowing the intention always helps.
Production has to keep moving. That’s how it works. Scripts lead to boards which lead to animatics which lead to everything else. Every element in a production depends on the previous elements. And so a single jam in the system can cause no end of delays and put everyone in a situation in which they have no idea when there might actually be a show.
That’s why we have schedules. That’s why we have deadlines.
One of the hardest things new people coming into animation from college have to face is the pace of a fast moving production. Meeting deadlines is hard. And so, so crucial. If you’re new, meet your deadlines!
But it may not surprise everyone to know that this advice has to be given to people at all ends of the business and at all ranges of experience. Those of us in the midst of production, running shows and delivering shows must keep moving. That’s how it works. It is an age-old analogy but it applies: in each part of production, the train is leaving and you just have to get on.
I learned this very early on as a director. I have worked on many parts of production and I think the director has more decisions to make every day than anyone else. Every minute involves a decision that will affect the show. Many small, some huge. And you just have to make the decision. Hold something up and it will bite you in the rear end. Hold it up for long and it may bite so hard you might never quite recover. Production has to (say it with me)… keep moving.
So yes, this is advice to new people but it’s also a reminder to every other person involved in productions at all ends. The train is leaving the station. So get on!
Some of us give feedback regularly as part of our jobs. I’ve done this as a director and, more recently, a script editor and I also consult on projects quite regularly and much of that involves highlighting problems or flaws in a concept.
Or, as I prefer to think of it, identifying the areas where we can make that project even stronger and build on the best ideas contained within it.
I’m effectively saying the same thing there but one comes with a positivity that the other doesn’t have. Because I have also been on the other side of feedback, I can tell you with certainty that the positivity matters. When you’re reviewing somebody’s scene, when you’re reading through their script or trying to break down their concept, you’ve been given a piece of work that comes from within that person. It’s personal. It is as personal as it gets.
Feedback needs to be useful and constructive. It needs to be honest but there is a very fine line between honesty and cruelty and I actually haven’t seen an instance in my entire career where that cruelty is warranted, as much as some people might think it’s fine on X-Factor or whatever. Honest feedback can be delivered positively and sensitively. It’s not really about sugar coating or just saying nice things for the sake of it. It’s actually about seeing those good things, which is just as important to the process as seeing problems or negatives. If you don’t have a good sense of the strengths, how can you make it even stronger?
So look for the strengths. That will help guide your feedback and, more than that, it will allow you to deliver that feedback in a positive way. Because as much as you may think it’s just your job or it’s business or whatever, when you are in a creative field and looking at works from creative people, it IS personal.
Last year, I started running. Yep. Running. Who would have thought it, right? It was HARD. It’s still hard but I’m getting better. What I’m finding now is that I don’t treat running all that differently to the way I treat work. The same basic ideas get it done, like I would write a script or make a show.
The first thing is obvious: do it.
It doesn’t matter if my run is hard or if I feel like I’m not making progress the way I want to or if I never want to run again when I get back. What matters is that I do it. Once my run is done, that’s the achievement. That’s an important thing knocked off my to-do list and, as long as I keep doing that, I will keep on running and I will get better. That in itself is progress.
But from there, I find a lot of it is about checkpoints – marking that progress. At the start, the goals were things like “run for five minutes straight without needing to call the emergency services”. Now, I really just have three checkpoints in any run. The first is starting (the “do it”). I’ll give myself a little pat on the back even for setting off. The last is the home straight – I’m almost done.
The middle checkpoint, however, is the one that I find needs the most acknowledgement. In my 7km runs, it is the 4th kilometre. On my regular route, the 4th kilometre is when my energy starts to flag. To make matters worse, it is uphill all the way. Those two factors combined make it the hardest kilometre. That’s when I need to really push myself. It’s when I sometimes express inner regret at having started at all. It’s when I want to stop for a pint and burger.
So when I hear on my little app “Distance: four kilometres”, I allow myself a little inner cheer. I made it. I faced that 4th km and won. A major checkpoint has been reached. It’s a victory. If it were a game, I’d save my progress.
Now here’s the thing: on the 5th km, I have even less energy and, actually, most of that is uphill too although not to the extent of the 4th. But I’m so busy allowing myself to bask in my own personal victory that I barely notice the 5th km and, before I know it, I’m hitting the home straight. And no matter how tired I am, I can always do the home straight. So celebrating that 4th km is what gets me all the way there. If I didn’t, 7km just might beat me.
Every production and every task has its own equivalent of my 4th km. On a whole animated TV show, I find it’s getting the first batch of episodes out while everyone is still finding their feet and the systems haven’t settled. When you get a certain number of good episodes delivered, you know the rest is going to be just fine. For a scene, it might be some really good key poses – hard to get right but they set the template for the rest of the shot. For writing, I find it’s when I get down a really strong outline. The rest is just work and refinement and improvement. Each task will have its own version. It’s that point when you have achieved something important and you know you can make it the rest of the way.
So celebrate that point. It doesn’t mean the rest will be easy but acknowledging the achievement along the way will help make it easier. It will help you get to that home straight in a much more positive way. So that your own 7km (production, story, episode, scene, whatever) won’t beat you.
I spent a long time torturing over backgrounds for something we were making recently. Are they too basic? Too plain? Now too shaded? Overworked? Too fancy?
Backgrounds are really important. They are pieces of art in themselves. They can look wonderful in stills or posters and be all pretty and attractive and that can get people buying your work.
But here’s the hard truth: if a kid is looking at your backgrounds rather than what the characters are doing, you have a MAJOR problem.
Kids shouldn’t be looking at your backgrounds unless a character is pointing to something in one or something in that background is a plot point or an important setup piece. I know that sounds harsh to background artists but it’s actually the same for most areas of the process. If a child is lost in a writer’s wonderful prose rather than the action of the scene, the story will be lost. If they are whistling to the underscore rather than listening to what the characters are saying, the story will be lost. And so on.
Everything must serve the story. For backgrounds, that means giving context to the action, establishing the location. Framing it in pleasing ways, drawing the eyes to the characters and the important moments in the shots. Helping to tell the story. Like every other element.
We can all torture ourselves over individual elements, like I was doing about these backgrounds. But what is so important to remember is that it will never just be these backgrounds. It will be characters, dialogue, action, music, sound effects and more. And when it all comes together, what counts is this: does it tell the story in the best way possible?
A while back, someone tried to sell me some system for scoring our work with premade music pieces and some software to make it fit. I apologise if that was you but, from my perspective, that is a HORRENDOUS idea. Sure, library music has its place and I’m not suggesting we won’t all get replaced by software some day but that day is not today and, right now, what the creative process needs is people. Minds, experiences and, most of all, feelings.
We have just finished a pilot for something incredibly exciting. It’s short – just three minutes long – and it is driven by narration so there isn’t much room for playing with the music. Nevertheless, our composer Derek Cronin and I spent a long time talking influences, emotions, flow, beats and much more in order to find the heart of what this pilot needed musically.
We dug out little known bands, identifying instruments and tricks. We went back to the 70s and 80s and discussed the relevance of punk and how one can apply some of that raw spontaneity in an appropriate way for preschoolers. We stripped our instruments right down to create a coherent bed of sound, so that the music in this little pilot might feel like it was actually created by the characters.
It was a huge amount of work for Derek and he tried so many different things but you could hear the exploration in the pieces, the fun and the sense of discovery. And it was work for us too. I guess it would be much easier to just listen to a bunch of software-chosen pieces and select ‘more louder’ or however it works. But in no way could it ever have matched the soul that came from that exploration and what Derek uniquely brought to each moment.
Creation is not just what lies on the surface. Every wonderful piece of entertainment, art, every great story and every feeling we have with it is built on so much more than we can see or hear in that end product. And yet it’s there. That exploration is there. It’s the soul.
I can’t possibly say enough how important music is to any show or film but it’s not just music. Every piece of the whole needs that human attention, that love and that care. That experience and history and life that each individual person brings to it. Every person can contribute to make something wonderful…
…if you let them. If you invite them to. And don’t instead think of it as just a problem that you wish you could solve by pressing a button. Creativity is wonderful in every part of the process. It is to be enjoyed and cherished, not by-passed.
Let’s stay thankful for the amazing creative people we work with.
We’re well into January already but any time someone says that they are making a list, my brain follows with “checking it twice”. Thing is, that’s a REALLY good thing to do. Well done, Santa Claus. That’s how you stay on top of what must be an insanely difficult job, especially when it comes to pipelines and management.
For me, I find there are a couple of very different work situations in which this is crucial. One is in a production or fixed delivery work situation. We know what needs to get done, we know when it needs to get done and it is a case of making that happen on time while getting the absolute best quality. Making that list and checking it twice is key to avoiding pitfalls that will mess up your productivity. It allows you to keep a very clean chain of events, so you can know what needs to be done at every stage.
And while you check that list for the second time, remove the non-essentials. Take out the fluff or what is your equivalent of needless red tape. The fewer steps in a process, the fewer places there are for communication errors or blockages. You just need to be careful that the step you’re removing is not the one that ensures your quality control. Keep a simple, clean list and you’ll always know what you and everyone else needs to achieve.
The other possible work situation for me is both easier to manage and infinitely more difficult. It is when I am working on development or exploring ideas in order to find what might come next. Easier because it usually involves very few people to manage and sometimes it’s just me. More difficult because it doesn’t come with built-in deadlines or clear stages and, the truth is, results are not guaranteed.
Where production comes with a need for order to make it work, creating on your own with a small team can be like floating in a huge sea of chaos with many, many stops to make a cup of coffee. And more coffee. It is fluid by nature. And so some clear goals need to be set down so that you have something to aim for. Something to drive you. And something to acknowledge and celebrate when you get results. Make a list of the core steps. Check it twice. And as I’ve mentioned in previous posts, set or acquire deadlines.
When you check your list that second time, watch for the parts that don’t really contribute. Most of all, in this work scenario, watch for the grand sweeping barely-achievable goals that are just too big and vague to be any help. Strike off “make a hit show” or “write a series of novels” and instead stick to the individual steps that might get you there bit by bit.
I’m sure he is taking some well-deserved time off now but, when he gets back to work, Santa will be back to making those lists and checking them twice and we can all learn from what that man achieves each and every year.
Seems a post on toxic environments is more relevant this morning than I would have liked. I can’t quite help you on a world scale yet but, if you’re looking to get your mind off what’s going on, here’s a post that may help your work. Let’s start with a little Star Trek…
I finished reading the two volumes of 50 Year Mission, all about Star Trek. One thing that was interesting is that, on just about every Star Trek show, the environment for writers seemed pretty toxic for the first few years. It was adversarial and antagonistic with writers feeling they couldn’t do their job, professional lines crossed again and again and, from what I can gather, probably a large amount of time spent complaining about the situation which led to bitterness, low morale and plenty of firing and quitting.
None of that was good for the shows. In the early shows, they did well in spite of this toxic environment but the effects are there to see in the stories. With the later shows, this environment created problems that they never really recovered from, eventually leading to low ratings on DS9 and Voyager, the cancellation of Enterprise and the end of Star Trek until the 2009 reboot that left behind everyone involved in the previous decades of Star Trek.
A toxic creative environment is bad for everyone. Star Trek was so fortunate that it carried so much weight that it could overcome this problem many times. Most of us won’t ever be so lucky. If we’re working in a very negative space, our work probably won’t survive. It will be too apparent in the final product and we don’t have the big name or Patrick Stewart keeping us going. It can kill our projects.
So we have to avoid it. The difficulty is that it is something that can come from all ends of the creative chain. Problems and uncertainties at the top can make life very difficult for everyone having to work under that – lack of clarity in decisions or notes, decisions reversed too late, lack of trust in the people you hired to do the job. What much of this comes down to is that those at the top, the ones with the power to make the final calls, need to know that their role is to help everyone else do their best work. Help. Not force, demean into or any other more negative way.
I have been in this position as director of many shows. I have to trust my team to give me their best. I have to help them do that, giving them the right information, the clarity of direction (not just dictation) and, at the right times, the freedom to let them give me something they think might actually be better than what I’m asking for (my big rule for animators, for example, has always been ‘surprise me’). When I get that wrong, and I have at times especially early on, it makes their job more difficult. If it stays difficult, you can be sure that a toxic environment will be created. So you always have to look out for the problems and see where you can help your team do better.
But a toxic environment can also be created from the bottom up. This is often more difficult to deal with because what it usually comes down to is negativity from one or more people that spreads like a slow virus. Maybe someone isn’t suited to the job or has misunderstood the job. Or maybe (and I’ve seen this) they’re just a very negative person who moans out of habit. They complain and mumble and find fault and there is a danger that that viewpoint becomes accepted as normal. It spreads and soon you have a team that spends their time looking for fault, rolling their eyes and being generally unhappy. That’s a toxic environment and it’s no good for everyone, especially the unhappy team.
That can’t be allowed to continue because it will poison your production.
If you’re running a production or leading a creative team in any way, my advice would be to assume first that there are problems you can fix. Look at how you’re doing things and see what you can do to help your team do better. Think of it with that word: help. Actively encourage your team to come to you with suggestions on how to help – better they talk to you than complain to each other about things you never know about. But if after all that it turns out that there are just negative influences in your team, you can talk to them and try to encourage them to do better but it could be a case that you need to separate them from the group or get rid of them altogether.
If you’re on that team, understand that complaining to your colleagues won’t help. Go to whoever can actually change things and explain the situation and ask for help. If you have a very negative person on your team, don’t feed into it. Don’t laugh nervously and agree. If you’re working on something good or something that is giving you some satisfaction, say it. Try to counter that negativity.
Because no matter where you are in a creative process, a toxic creative environment is bad for everyone.