Well that didn't last long. The director seems to have 'spoken to' the producer and things are a little more realistic today. That's nice.I picture it to be something like when Kirk and Spock had to fight each other to the death. That image defines the director/producer relationship.
There should be some kind of public register for animation companies that provides a sample of the style they currently work with and a seconds-per-day figure, so that animators can know if they're just slow, or having the piss pulled out of them.
Are people paid per second any more? We're on salary but, back in the day, I was paid on footage (does anyone use the term 'footage' any more?). I was a really fast 2D animator back in the day - I spent quite a while figuring out what I wanted to do with the scene, then I bailed it down as quick as I possibly could. It's how I got things to flow. I flipped like crazy and pretty much tried to animate in real time. My pages were a mess by the end and clean-up people hated me but animation directors and clients were usually happy with the results.
So one particular job, a feature in Europe that nobody will have ever heard of, was being paid on footage. Really, really well paid. So, not doing the clever thing and trying to amass as much cash as possible, I worked out that I could work from 10am to 4pm, with a big chunk off for lunch, and still make a really good wage. So I did.
Those were good days.
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4 comments:
Man, you where lucky you lived in such a time! Working with paper!
But I knew a guy that worked slower then the rest, but he made the nicest things. So he made the important things and some faster people made the things around it. That's a nice balance, right? To a certain level.
Absolutley, Mitch. That was one of the really nice things - finding scenes that played on peoples strengths. Some people were great with character and dialogue, others were good with action scenes. And, yes, some were slower than others and some were better than others. It all balanced out.
At the time, I took scenes I knew nobody else would want. I always took the unpopular characters. Firstly, I was pretty new to it and nobody liked the new guy pinching the good scenes but also, if you take a character nobody else is interested in, you can make them your own. I found myself completely being able to define certain characters and I loved that.
So in your analogy the Director fakes his own death to remove quotas?
It was supposed to be that the director killed the producer. Gah! Doodle failed.
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