I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less traveled by,
And that has made all the difference
There are moments in life that turn out to be clear turning points only on reflection. Then there are others that you knew at the time would chart completely different paths for the future. Choosing to drop out of Economics and instead pursue web development and animation was one from the former camp. Moving to Canada was in the latter.
I look set to wrap up on yet another job in the next four weeks in order to head home to Australia. Not only is this a clear turning point, but it’s one I’ve been craving. The last two and a half years have been rewarding for many reasons – sights, people, and let’s be honest, finances – but my personality has suffocated in this culture. Beautiful and easy as it is, it’s difficult to imagine a future in a place where you can’t be yourself. Also, aside from the first year here, I’ve felt as though I’ve had a lot more to offer at work than I had opportunity to contribute. I need to feel success and creative satisfaction in order to feel nourished. It doesn’t have to be at work – but I’ve always found work goals to be easier to achieve than others, so I tend to gravitate toward those.
With three large companies in Sydney now producing animated features, and Weta set to move into that space in the future, it feels ripe for opportunity back home (pandemic notwithstanding). I do approach a return to Sydney with the same hesitation one might have with trying to recreate an awesome party they once had – where the people are different and the memories too fond to compete with the present. But there’s a real momentum there for career development and at this it stage feels like the logical step – and if not my final destination, perhaps a stepping stone back to Wellington.
Looking back can often inform what to chase in the future. I’ve listed below the six most satisfying shows on which I’ve worked. Job satisfaction is always a balance – a lower paying job is fine if you have more time to pursue other goals and hobbies; a horrible product can be handled if you’re surrounded by a great bunch of people; a brutal schedule of overtime can be accepted more easily by engagement in a new role. Sometimes you strike gold and come away a whole bunch of positives. Mostly, the best jobs scratch these itches:
- Creatively satisfying / unique
- Intellectually stimulating
- Being surrounded by a great team
- Feeling valued and valuable
Rogue
My first job in the industry. I was lucky enough that I went straight into the world of film. I didn’t have to serve any time as a runner, nor in TVC or camera tracking – all common paths into small and mid size companies back in the day. I was modelling, texturing, doing lookdev, animating and lighting on an actual film that was destined for theatres. I was hyped and constantly surprised that I was capable of what was requested.
As if that wasn’t enough, afterwards I was invited to Melbourne to work directly with the director developing a pitch for a follow up feature. It never happened, but I wish it had. The concept was nuts.
Prometheus
My first official lead role, an incredibly exciting science fiction film, visually unique concepts, a great team – and I loved the end product. This one had it all. I’d also just bought an apartment and felt like I was kicking arse with life at a level I hadn’t since I was doing my Masters.
The company went out of business shortly after delivery, which was unfortunate. It pulled the rug out from under my life months out from my 30th birthday. Ultimately it forced me to spread my wings and proved beneficial, but it was a rough ride.
The Lego Movie
This was fun. A team of thirty lit and composited an entire film with very little overtime in six months. It was the most efficient operation I’d been a part of to that point – and nothing satisfies my soul quite like efficiency. There wasn’t a single dead link in the chain. The team was switched on, and every day was full of laughs. I felt at home. Still my favourite place to work to this day.
It looked beautiful, and was a technological feat.
Mad Max: Fury Road
This was the most unassuming job that became one of the most spectacular. At the interview I was told “it’s not that exciting, you probably won’t walk away with any shots for your reel or anything like that”. Obviously I joined just as things went up a notch cause, as everyone knows, this film is spectacular.
I worked with a small team of five. Everyone was a vital link in the chain. George Miller was in our cosy dailies sessions. We made jokes, sang sea shanties, and dodged the junkies on our coffee runs. It wasn’t perfect by any stretch (I remember being happy when it ended), but this was like working with a bunch of mates. There was no micromanagement. There was trust, and the work got done, and I would go home each day sore from laughter.
Alien: Covenant
My second official lead role, and the sequel to the film I was lead on previously. Another small, yet highly skilled and talented team (this seems to be a winning combination for shows I enjoy). If I could choose the kind of job I’m craving next, it would be everything this show offered, but for an animated feature.
I was given enough space to create the pipeline and workflow I desired, and so wasn’t left frustrated by one that didn’t work. I also usurped my way up the chain to plug inefficiencies there, and everyone on the team was an all-star with personality and good humour.
Spiderman: Into The Spider-Verse
This was brutal, but we knew we were making something special. It followed on from one of the easiest and most predictable (and boring) shows I’d ever done. Those have their place, but Spider-Verse was just what I needed to remind me that I still love what I do.
What’s more, I was able to contribute to the look and develop tools to be used by the team, as well as fill in as lead for a short while. I did not expect any of these opportunities to come at such a large company I had only just joined.