Stockholm Syndrome for animators

Cartoon Brew reported on a piece in the New York Times about unpaid internships. Specifically, that they may be illegal. The piece called out Little Airplane, makers of Wonder Pets -

"At Little Airplane, a Manhattan children’s film company, an N.Y.U. student who hoped to work in animation during her unpaid internship said she was instead assigned to the facilities department and ordered to wipe the door handles each day to minimize the spread of swine flu."

In the comments in the Cartoon Brew piece, many came on anonymously not only backing it up but making out that things are far, far worse. Unpaid interns being completely mistreated, psychologically abused. Workers being treated like children. If there's any truth to the stories there, it sounds like people are expected to work in hideous and demoralising conditions. For little or no pay.

I actually hope the stories aren't true. I rather like Wonder Pets. It would be terrible to think something so pleasant comes from a place like that.

Little Airplane aren't alone. Other companies are brought up in the comments of the Brew piece, some not paying people for years. Not paying for the work they are getting. Like whole departments of slave labour.

But that wasn't the most horrifying thing of all.


No, there is something much worse buried in the comments of that Brew piece - Stockholm Syndrome for animators.



Many people are taken on as unpaid interns, put to work on productions and not compensated in any way, if any of them are like the allegations aimed at Little Airplane, they are taken advantage of.


And the victims not only accept it. They are grateful.


Grateful for being exploited.

From some Brew comments -

"As the work experience I gain allows me to be hired there or elsewhere", "don’t write off the value of the experience", "the unpaid intern spot got me a foot in the door", "couldn’t an internship just be viewed as a training session or a really long interview process?" and more.


Yes, it's hard to get your foot in the door. Harder still to make a steady living in this industry.

And, if you work for free or very little, you are part of the problem.


You are sabotaging your own craft, your own end of the industry, your peers and your co-workers both old and new. You are setting the value of your work at zero. You are setting the value of your co-worker's work at zero. Those new kids who are having a hard time getting a foot in the door, you can be damn sure you're setting the value of their work at zero.


You are part of the problem.


It's hard enough in this business. The power and the money is in all the wrong places. Most people accept the situation as normal but many of these people being exploited or working for very little are more talented than the people doing the exploiting. But those people at the top have the money and the control, creative and otherwise.

Why?

Because they won't do a damn thing for free. They don't allow themselves to become victims. And, in cases like these, you can be sure the people at the top, the slave drivers, are laughing their asses off and are getting paid damn well for it. They're getting what they want. Don't kid yourselves that they wouldn't take anyone on if they weren't getting them for free. Anyone who has had anyone hanging around for work experience knows that having a new kid around is often far more trouble than it's worth.

Which means only one thing - to retain these people for any length of time, they need the positions filled. They need the work done as part of their production. The Brew comments point to whole departments in some places being filled with interns.

The people at the top get what they want and make damn sure they are paid for it.


Creative talent, on the other hand, can be discarded and moved aside with no problem because the creative people will work for free, will work for almost nothing. They are willing victims.

And that's why it's so god damned hard to get your foot in the door.

Don't accept that.

Don't set the value of your work at zero. Stop making it harder for every single other person in your end of the business. Stop being part of the problem. Stop accepting the exploitation.

Stop working for free.


And please, stop being grateful to your captors. It's not right when it comes from a sex slave who has been kept in a box for years and it's not right from creative talent.

Finding blog subjects...

I currently live a very sheltered life. By choice.


It's something I mentioned here before but I have a huge interest in what goes on in the world. I think we're capable of so much and yet we're kind of shitting on each other in a big way. Wars, conflicts, killing, maiming, torture are commonplace and almost always for the wrong reasons. And much of that is supported by people like us working for particular people, owned by particular corporations. We're part of it. Just doing our jobs.

Very little of that is reported by mainstream media. But it's all out there. It's not really hidden. And the more you look, the more things you'll find that will haunt you.

That was a major issue for me when I was in advertising. Trace who your clients are and who owns them and what they've done and, well, it's only a matter of time before you find out that you're a Stormtrooper working on the Death Star. I had to get out of advertising and I did but that doesn't mean things stop happening.

I had to go on a media blackout because these things haunted me and prevented me from living my life. I'm not completely happy with that choice because it's only by knowing about these things we can do something about them. Although, personally, I think the only real way things will change is by tearing down the whole current system and starting again. And that wouldn't be pretty.

I suspect it will happen some day in the not too distant future though. There's only so long this society's charade can continue. But that's a whole other subject.

Most of what is happening, I can't change. Not in my own little life. But I can contribute positively and choose carefully what I do and who I do it for. And I do that.

But I'm still on a media blackout.

And that sometimes means I don't have a huge amount to talk about.

It's not always easy to tell...

Buzzzzzzzzzzzzzzzzzzzzzzzzzzzz...

That's the sound of the real world around me. Actually, I'm drowning it out with some Judas Priest right now.

I've been having dreams about death for the last month or so. Not my death and never anything particularly gruesome or depressing. Well, one dream was a bit nasty where I had to watch people die from some poison and, for whatever reason, I was meant to observe. Wasn't pleasant and stayed with me a while.

But generally, they seem fairly benign. Just an element in a larger dream. I think it just comes down to the subject of my last post, which got some great replies in the comments. While I like the idea of things we create being immortal, I'd far prefer me being immortal. Well, I guess I'll work on that once I get my current project out of the way.

Things to do -
1) Finish cartoon show.
2) Find key to immortality.

As to do lists go, that's pretty small so at least I know I'm not biting off more than I can chew.

By the way, I followed one person who commented back to his blog and found a real gem - http://www.prozacville.co.uk/ . Thanks for stopping by, Steve. I absolutely love your blog. Brilliant cartoons and they brightened my Monday morning.

I am...

That is all.

Giving credit where it's due

I was part of a contract negotiation a while back with a producer. One important part of a contract you get from a producer is the part that says they can boot you off the project any time they feel like it, even if it's something you created from scratch.

On this point, I had a lawyer explain to me - well, if they're putting up their money for development, they want to protect their investment. They're taking a risk.

This may well be relevant for you US folks. Over in Europe, however, 'their money' rarely ever means just that. More often than not, it means the public money they applied for. Development grants, non-repayable government loans and that sort of thing.

The only difference between them and you is whose name is at the end of a form.

So who is taking the risk? He who may end up signing his creative work away for damn all money (and you can take that as a certainty) or the one spending public money that was never his to begin with?

After years in this business, I'm left slightly baffled by the power of producers over here. Because their real power isn't in their money. It's in form filling. And yet filling out those forms is something rarely taken seriously unless you've got the word 'producer' on your business card. They do hold all the power.

And yet the real power is hidden. Unrewarded. Or at least barely rewarded. The creative talent.

Producers know this.

It scares the living crap out of many of them. Not all of them. But many of them.

Why? Because anyone can fill out a form. If a producer puts a creative talent out there in front, gives them the credit they have earned, that talent may well just walk across town to another form filler. Or decide to fill forms themselves.

Leaving the producer with nothing but a company name.

If you see an animation company or content production company's website and don't see the creative talent out there in front, or even listed, it's simply because the producers are terrified. They need to make it seem like the creative talent don't matter. Like the power is in a company name. On those where you do see the creative talent out in front, you'll find those people are company directors. Either as part of a formed partnership (a great way to do it) or brought in on some percentage to try to lock them into that company.

Even in those scenarios, however, the fear will come as soon as they use an external talent. And, invariably, they will at some point because producers are always looking for new talent. New talent is easier to mould, to control, to wrestle rights from. The industry keeps things moving this way and so producers retain their role.

It's odd how, at so many different times, we're told what we do is a team effort. And yet so many producers fear their own team.

But, to bring it back to the title of the thread, producers deserve credit where it's due. They do schmooze on boats at MIP or hang out in bars in New York at Kidscreen (they should be just back from that now) and, while many of us creative types are envious of how that sounds, we simply can't be arsed doing it. Producers deserve credit in this industry.

Just not quite as much power.

What broadcasters want

Ten years.

That's how long broadcasters have wasted time looking for another Spongebob. Of course, missing the fact that the big thing about Spongebob is that it wasn't another anything.

I've been flicking through a little section in Kidscreen magazine that outlines what current broadcasters are looking for. Yes, there's the usual requests for another Spongebob and more Dora, though they don't quite ask for it like that, but things are slightly different this year due to one thing -

The amount of requests for live-action.

It seems animation may well be falling out of favour. Cartoon Brew have had their own personal battle with Cartoon Network showing live-action shows but it looks like Cartoon Network aren't alone. The only mistake Cartoon Network made was putting the word 'cartoon' in their name.

ABC Australia - especially interested in live-action for preschoolers. Cartoon Network US - open to live-action. France Television - live-action for tweens. Nickelodeon UK - live-action sitcoms. There are more but my fingers are getting tired of typing 'live-action'. I really should just copy/paste it.

Not that there's anything wrong with live-action. There isn't at all. I just find the growing trend interesting and it certainly impacts on those of us in cartoon land.

I actually think it is at least better than chasing that elusive next Spongebob. Though it's entirely possible that the calls for live-action are chasing the next something that I don't know about. The next Hannah Montana? I don't know. I'm not well up on the live-action shows. Though I do enjoy Imagination Movers.

Sometimes (and I'm not speaking specifically about the live-action here), I think there is a huge gap between what broadcasters want and what children and parents want.

One quote, however, stood out to me in the Kidscreen pitch guide thing, one that as soon as I read it I thought, "Now these people, I like and would love to make a show for." It's from Jocelyn Hamilton from Corus Kids in Canada, who says she is looking for -

"Fun, character-driven preschool series with heart that make you giggle."

Now that's an aim I can support. That, as someone who works in children's television and, more importantly, a parent, is something I can get behind.

Jocelyn Hamilton, if you ever stumble across this, I hope you get exactly what you're looking for.

Eagerly awaiting my return

This blog was dormant for a while and all was quiet. But as soon as I started posting again, the spammers were drawn here. I like to think of them as spambots because it helps me to believe that actual human beings aren't spending their time spreading shit that nobody wants to read on places it should never be.


Real human beings with any sort of conscience or decency wouldn't do that, would they?


Of course not. But those dirty rotten spambots! Well, they aren't programmed to feel guilt. Their evil Ming the Merciless-like overlords know that even the slightest hint of a conscience chip in there would render them unable to carry out their evil tasks.


You know what I'd like? Loving spambots.

They'd clutter up your inbox and your blog comments with random crap that you haven't asked for, just as they do now. But, instead, the messages would be along the lines of - You're a very special person. We love you. We know how hard you're working and really appreciate the contribution you're making to humanity.


That sort of thing.

But no, I get some gobshite trying to sell boots.