While the many studios of Burbank have attended the Creative Talent Network (CTN) Expo in the past, offering portfolio reviews and such on site with recruiters, this year the event was a bit lacking in that department. However, several recruiters from the Walt Disney Company, namely at Pixar Animation Studios, Lucasfilm, Walt Disney Animation Studios (WDAS), and Disney Television Animation (DTVA), showed up for a special session that focused on what recruiters look for from candidates.
It was a sold out crowd with each seat in the main theater at the expo filled with those interested in launching their career at one of these large studios, high-profile, studios looking for whatever advice they can get their hands on. It’s something that this event specializes in. Though it was a large setting, this event gives those students, young professionals, and even enthusiasts the chance to get up close and personal with established pros and recruiters to learn more about the artform and how to advance their career in it if they so choose.
During the panel, the recruiters gave some advice and “busted some myths” when it comes to breaking into that first big studio role, and some ever-precious tips in the realm of networking etiquette. Let’s dive into some big takeaways from the panel, and we don’t mean the cool studio swag that attendees were given as they exited. That said, this is just a recap of some helpful advice, and by no means is meant to guarantee getting a position at any of these studios.
Let’s start by busting some of those myths. While it may seem logical to apply for every open position just to get your foot in the door at a large studio like Disney or Pixar, it is actually better to apply only for specific positions that follow your focus. Animation in particular has a lot of niche talents and skills, especially at larger studios, and job postings look for those skills. Sending your portfolio that showcases a general set of skills to apply for a role in rigging or lighting will immediately get pushed aside and taken less seriously as a candidate. While applying for everything might be beneficial at smaller studios that look for generalists and those who can do multiple things, when it comes to the larger studios, to stand out you don’t need to focus on getting your foot in the door, but getting your foot in the RIGHT door instead.
Bluntly, the current state of the animation industry is not fantastic. Yes, there are plenty of animated movies and projects in active development, but there are far more applicants than there are open positions at the studios. Not to mention, the animation studio system of late has seemingly embraced the gig economy, with steady and regular full-time employment proving harder to come by.
For newcomers in the industry, the hard truth is that there are far more seasoned professionals looking for work at the studios than there is new talent. So it can be discouraging to even try to apply for the same position as someone who has decades of experience. However (and this will be touched upon a bit later), there are a number of reasons why that seasoned candidate might not be chosen, and for you as the newcomer looking for that next step, this is good news as you might be chosen instead. Don’t be discouraged. All it takes is that one “yes” even if you’ve heard “no” countless times.
That said, if you have heard “no” a number of times, be resilient. If you’ve gotten any advice from recruiters at the studio, listen to it. They are your allies, not your enemies. While yes, they are looking for someone qualified who will excel in the position, they aren’t actively trying to prevent you from getting in. On that same note, don’t keep your portfolio or reel locked as it is. It should always be updated, even if you’re not selected.
One piece of advice: show your reel or portfolio to friends or family members, especially if they know nothing about animation. The feedback they provide may help you realize how your art needs improvement or adjustment by seeing things untrained eyes don’t pick up on. Perhaps you’re a character animator and they say something like “oh she looks so happy” when you’ve attempted to make this character read as angry. If that’s how they perceive it, it’s likely that a recruiter will read it the same way.
Networking is a big key in searching for a career in any industry, and that includes in animation as well. That said, not everyone knows how to do it well. There is a lot of nuance and it can especially be challenging in an industry that a lot of introverted artists are trying to break into. Fortunately, the team of recruiters shared some great tips, not necessarily about HOW to network, but rather speaking some of those unspoken rules about networking etiquette.
First and foremost, building relationships (like personal ones) should be based on a continuous existence, not just for a one-off reason. If you meet with a recruiter and they say to keep in touch….KEEP IN TOUCH! It’s that easy. A great example as we approach the winter season is something as simple as an email or text that just wishes a happy holiday to maintain that networking relationship. And, while it may seem logical to do this with recruiters, for students and newcomers to the industry, look to your peers. The people surrounding you will be rising up with you. Despite what it may look like from the outside, the world of animation is very, very small. You will come across these same people again and again.
However, there is a balance to this whole keeping in touch thing, isn’t there? As one recruiter said, “Don’t be stalkery.” You don’t have to message or call every day or constantly email to just check-in. While every recruiter is different, the gang generally agreed that about once a month is good to check in and maintain those contacts. More simply and more specifically, just simply ask the recruiter you’ve connected with what they are most comfortable with. Plus, it’s always better to have more face to face or peer to peer contact than email or phone calls when possible.
It’s also important when reaching out to these contacts, especially if they are recruiters, to HAVE A PLAN. Know what you’re going to lead with and definitely have done your research in advance. An audible groan was released when it was suggested that one does their homework before contacting as the group cited an example of a prospective hire networking and asking “are you guys hiring?” Open positions are readily accessible via listings on official websites, easily accessed by anyone. If you’re using that as an excuse just to make conversation and connect with your recruiter, it only makes you look bad.
Let’s say you’ve applied for a role. Now, you’ve decided to follow up with your recruiter and opt to invite them to coffee to discuss. It is highly unlikely that this will occur, as most recruiters will not meet in person regarding any open roles until that person is officially considered for the role. Don’t take it personally.
Now, what if you have questions about a role? Be thoughtful and purposeful with your questioning. This lands in the same vein as having a plan and doing your homework. That job posting you might have questions about has also been thoughtfully and carefully written and all of your answers should already be in there. As an example, DTVA is frequently looking for positions on unannounced projects. As such, the postings are intentionally vague yet still very specific in what they are looking for in a candidate. Do not reach out to the recruiter and ask what the project is, or any other questions in the same realm. Again, the posting will have exactly what you need to know in it. Just remember, if it’s vague, it’s vague for a reason. It’s important to be careful with your wording regarding questions with a project like this, as any desire to have more information can be read wrong.
Another example comes from an event similar to the CTN Expo, wherein someone had their portfolio/reel reviewed by a studio recruiter and was given several pieces of advice on how to improve it. This individual turned around, got back in line, and met with a different recruiter from the same studio. As before, they showed them their portfolio/reel, and said (pointing at the other recruiter) “that person said I should change these things, do you agree?” Not only is the second recruiter from the same studio going to give identical advice regarding what they are looking for to fill a role at that studio, but they would never say “no, my colleague is wrong” and contradict what they are saying, especially if only ten feet away.
Some of these examples prove that it is easy to be remembered by recruiters, so it’s especially important to be remembered for the right reasons.
Interestingly, the popular networking and career based app LinkedIn has kind of thrown a wrench into some of these more traditional methods. One recruiter says that they are on it constantly throughout the day, responding to messages and using it to connect with candidates. Another suggests that it’s more personal for her, as that is her own network and doesn’t want to mix up potential recruits with her already established colleagues – suggesting it is more akin to her personal Facebook or Instagram, but on a professional level. Regardless of how these recruiters use it, they suggest it's still a new tool in the virtual world and should be treated by candidates in a similar fashion to messaging and emails when using it for networking. And maybe don’t be surprised if no replies come from your LinkedIn contact attempts – as one recruiter noted, “(using LinkedIn) is not a requirement of my job and goes far above and beyond my normal workflow.”
So you got the job. Now what? You’re not done. Especially if this is your first entry into the animation profession, you get to do this again and again. Remember what I said about maintaining connections? Most television and film productions have an end date, so your first big job hunt will definitely not be your last. Just because you got the job doesn’t mean you go radio silent for two years (or however the project lasts). Maintain those relationships and those contacts. Like I said earlier, the world of Animation is smaller than it looks, and everyone knows everyone. Like I hinted at earlier, how you behave on a project will also follow you too. You may be a seasoned pro, but let’s say there was one project that you worked on previously where your reputation was less than stellar. Perhaps you had a lot of creative arguments and didn’t take notes well. Flash forward five years and now a story artist who worked with you is now a director. Are they going to want to work with you again or will they go to the recruiters to find some fresh talent? Your reputation could be the chance some new talent gets to shine through. To quote Woody from Toy Story, “So play nice.” It might not even be that extreme of a circumstance, your unique artistic style might not also fit with the demands of a certain project, especially in the world of TV animation, where each project has its own distinct look, which could also cause a search for some fresh talent.
How do you stand out amongst the other new talent when compared to others on the project? One recruiter from Pixar suggested something she called “plussing it.” In the realm of Disney, this is a broad catchall term for adding value or enhancing an experience. In this instance, she spoke of hires who not only took task A and completed it to B, but looked for a C. Example: Animator X has been tasked (A) with notes to enhance the performance of a character in their arms. They have now completed the goal (B), and are awaiting further instruction from their director. This director is quite busy, so the animator sits and checks social media on their phone while they wait. In the instance of the recruiter, this animator has now realized the performance in the character’s arms has been improved so now it looks like the character’s face is kind of lifeless and knows that the director might suggest more changes to this as well. As such, the animator takes on additional tasks and keeps working on enhancing the performance in the face (C) while waiting for approval.
While this is far from a definitive guide on how to get a job at the various animation studios under The Walt Disney Company umbrella, as someone who would have loved to have gotten this advice substantially earlier in my career, these tips are sure to be of assistance in looking for work at WDAS, Pixar, Lucasfilm, or DTVA. If you’re interested in any of these divisions, be sure to check out the official job sites at: