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Meet Erica Hayes of Rick and Morty in Burbank

Today we’d like to introduce you to Erica Hayes.

Thanks for sharing your story with us Erica. So, let’s start at the beginning and we can move on from there.
I was born on the south side of Chicago in 1987. I always had an interest in drawing– my childhood took place during the Disney Renaissance which heavily influenced the course of my life. My grandmother likes to tell people that while watching, I’d run and grab a few pieces of paper and try drawing the characters, then drawing my own in similar styles. If I wasn’t watching animation, I was drawing or writing my own stories.

Being a shy and withdrawn child, art was my solace, my greatest source of joy. It wasn’t until 8th grade that I realized art could be more than just a hobby. I learned about animation as a major and knew in that moment that working in animation was my fate. I enrolled at Columbia College Chicago in the fall of 2005, where I began my studies as an animator. However, I was disappointed to learn that in most cases, animators are working from storyboards, and not making many of the creative decisions themselves. I wanted to work faster and have more creative control.

Due to this wake-up call, and the expenses of an art school, I decided to spend the next two years at a community college where I completed my gen. ed. classes while figuring out my next move. The following year was the worst of my life. I spiraled into depression and took a year off from school. I felt directionless, like my sense of purpose was suddenly lost. But during that time, I was drawing more than ever. It once again became my escape and only source of joy. That’s when I realized that an artist was still who I was, at my core, even during my darkest time. I looked into art schools again. I discovered a very unique field of study at The Savannah College of Art and Design: Sequential Art. This involved focusing on the art of storytelling over the art of animating. It covered storyboarding for animation, comic art and writing, and children’s book illustration. It focused on the rules like staging and cinematography–the pre-production processes that interested me most. I was accepted into the program and instantly knew I was in the right place.

In my Junior year, I secured an internship at Nickelodeon, where I made many friends and connections that I still have today. One completed, I finished up school, graduated in the fall of 2012, and made the move to Los Angeles. Having very little money to my name, I slept on a friend’s couch while applying day and night for storyboarding work. I worked odd jobs at Starbucks and Forever 21, as well as some freelance advertising work while waiting for my big break. Finally it came–my roommate sent me a link to a job posting for a production house called Starburns and a new show called Rick and Morty. I applied, took a storyboarding test, and was hired as a storyboard revisionist in the spring of 2013. I worked hard, and by the end of the first season, I had been promoted to storyboard artist. Since then, I’ve worked on shows like Future Worm, Little Big Awesome, and Big Mouth, but I’ve found a way to return for every season of Rick and Morty. In 2018, I was promoted to Director for season 4, which I am still working on now!

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
It was definitely not always smooth. As described, my college years were confusing and it took a while to find my footing. Even after breaking in professionally, there’s no guarantee that you’ll always have a job! Once a season of any production wraps up, that usually means it’s time to pack up and start looking for a new gig. Long hiatuses between seasons are not uncommon. If you’re lucky, someone you’ve worked with will put in a good word for you and you’ll be called in for an interview somewhere. But there are also times where no one seems to be hiring, or if they are, they don’t know much about you and require you take a test. These tests are unpaid can often be quite laborious. And sometimes they work out, sometimes they don’t. Basically what I’m saying is that there is no guarantee of consistent work in this industry. It keeps you on your toes, that’s for sure!

Please tell us about Rick and Morty.
We make an adult animated comedy called Rick and Morty. This show has become a critically acclaimed worldwide phenomenon. It’s even gone on to win an Emmy. I personally believe it created a sort of revival in the world of adult animated comedy, and I’m so proud of the success this show has achieved.

Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
So many! First of all, my grandparents. My grandmother has always been one of my biggest cheerleaders and supporters in my creative endeavors. I truly would not be here without her. And my parents, of course! They never tried to change who I was, and even took it easy on me when I’d get in trouble for doodling in the margins of all my assignments. All of my art teachers especially Rhonda Levy, my high school art teacher, who was one of the kindest, most nurturing teachers I’ve ever had. My college professors Tom Lyle, Ray Goto, Michael Jantze–they all provided me with such invaluable tools and advice that I still adhere to today.

Josilin Torrano who gave an amazing Nickelodeon presentation at SCAD, and not only obliged my questions after but remembered me when I applied for the internship program. Sifu Kisu of Avatar who knew me as an avid fan-artist, and threw in a word for me. My old roommate and friend Alexis Block, for sending me the original Rick and Morty job posting, and Nick Mimides who worked in IT, and told them I was a nice kid. Justin Roiland and Mike Mendel for continually giving me the chance to prove myself and offering me bigger and better challenges throughout my career. My best friend and biggest hype woman, Lauren Aptekar, who told me I absolutely COULD do it, even when I doubted myself. And my boyfriend Spencer McCurnin, who provides endless love and support.

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