Today we’d like to introduce you to Lila Martinez.
Lila, please share your story with us. How did you get to where you are today?
I was born and raised in Mexico City, growing up like many children I adored watching animated movies and TV shows. Particularly, the Loony Tunes shorts and classic Disney features. One day on a Sunday morning, while browsing the TV channels, my siblings and I stopped to watch a documentary on Tex Avery; who directed the most imaginative and funniest Loony Tunes and MGM cartoons in the 1940’s. The filmmakers were revealing his creative process using live-action reference of a dancer, to study the physicality and dance choreography for an animated character. My older sister exclaimed, “animation is really an art form”, the comment stayed with me and deep inside, I knew this was what I wanted to do in my livelihood.
Yet this path was full of obstacles as I began reaching adulthood. Living in Mexico City at the time, there were no formal education about the animation craft. Nor online courses like today. All I had were animation books, whenever I stopped by at an upscale Mexican bookstore in a posh neighborhood or visiting the States on a family vacation at a Disney theme park. At the time, DisneyWorld sold a handful of behind-the-scenes animation books, through their shops. I piled up as many books to soak in the knowledge and lugging them back to Mexico! To the detriment of my parents concerned about the luggage weight at the airport.
As a middle-class household, my parents couldn’t afford a college education aboard to an animation school in the States. Especially with the currency exchange and higher tuition for foreign students. I ended up majoring for my Bachelor degree in Graphic Design at a Mexican university, but in my heart, my love for animation never faded. During those years, I kept researching various animation departments in different countries. Until I ran into Vancouver Film School who offered a one-year intensive animation program. The concept of paying for one year seemed more pragmatic than four years. Realistically, I didn’t have the financial resources to pay for VFS. Until I overheard a university student in my class bragging about how lucrative modeling were to her. I considered myself shy, but this was one way to consider saving up to attend an animation school up north. Thus began my brief period being a model for various sports event, product endorsement and fashion.
When I had sufficient funds a year after I graduated in my university, the financial freedom to finally study classical animation felt liberating! I arrived to VFS and hit the ground running, the training was intense and I loved every moment.
I returned to Mexico City after completing the program, with tail between legs, how to survive as an animator in this niche industry; particularly in my own country. I’ve knocked on as many doors and hustled for a freelance opportunity. Eventually, I landed my first assignment, an animated webisodes based on a prolific stand-up comedian, Polo Polo. I was a one man (or woman) shop! Taking care of all the preproduction and production needs. After nearly two years, we were running out of gag materials and the all-nighters was taking a toll on my health. It was time to move on.
My next gig, I was assigned as an in-house traditional character animator on a studio feature, Guardians of the Lost Code. After animating two more movies, I decided to open my own boutique animation studio with a partner, Phenomena. Servicing the Latin America commercial market, providing concept art, storyboards, and animation, among the ad agencies.
Then VFS came calling again five years later, offering a scholarship to study in their six months computer animation program. I accepted and returned to the intensive academia environment, learning how to use Maya (3D animation software) to create a short film and entering at film festivals. But even in 2012, the climate still hasn’t changed much for foreigners to obtain a work permit in Canada. I returned to Mexico again and continued working on advertising spots.
Although I was earning a living in animation, deep down I wasn’t very happy working on my umpteenth toothbrush commercial. As a storyteller, I had a desire to create and tell emotional stories for a wider audience, and advertising didn’t quite fulfill that need. I was determined to find an opportunity in the entertainment mecca, Hollywood. Strategically, I decided to specialize my animation skill sets in one area to sell myself… storyboarding.
After building a portfolio, I nearly maxed out my credit cards to attend an animation conference in Burbank. Where I met a high profile executive producer, Sandra Rabins, who at first didn’t find my storyboard samples very cinematic; she found them too “TV-ish”. Through valuable feedback from an animation professional at the conference and doing my due diligence. I reconnected with Sandra two months later and asked for a storyboard test off-site. Using the last remaining credit line in my credit card for a plane ticket to L.A., I pitched in person, making a good impression to the director and the producers. An interview followed and I was offered a five months contract as a Story Artist; on a new start-up feature animation studio, Original Force. To be part of the storyboarding team on Duck Duck Goose!
Through a networking event, I met David Silverman, the veteran producer from The Simpsons who took a liking to my storyboard samples, at an industry party. I was given a test through the studio and met their very high standards. Landing my first TV storyboarding job at Fox Television Animation to work on The Simpsons! Another dream come true as a child!! Later I moved to another Fox animated show from Seth MacFarlane, American Dad!. Where I’m currently employed as a Storyboard Artist.
Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Most creatives I know including myself are our worst critics. Frequently, it’s a battle to crush our self-doubt and overcoming this fear, we’re not good enough. And this isn’t only relegated to your skillset that’s holding you back; economic hardships, gender bias placed from society, living in a country that doesn’t have the industry support system, including people who discourages you from pursuing an “intangible” aspiration. Can all be a struggle.
When I paid my own way to Vancouver Film School to study traditional animation, my father viewed this at the time, my biggest success. He passed away too soon and didn’t see how my career flourished in Los Angeles. I wonder at times if my father could see me now, my early struggles and persevering, to becoming a professional storyboard artist.
One of the negatives, working with a work permit visa in the States, is the obvious stress when you’re wrapping up on a project and need to move into a new gig. It’s simply not as easy as many think, particularly when the studios are either un-familiar with my visa or can’t commit. I’ve lost count how many job offers I received due to the visa “baggage”. Even when the producers made serious attempts to bring me in, there were obstacles internally, based on company policy. This is a struggle for anyone under a work permit.
Alright – so let’s talk business. Tell us about Fox Television Animation – what should we know?
Fox TV Animation is an animation studio producing American Dad!, Family Guy and The Simpsons. I’m a Storyboard Artist for American Dad! and earlier on The Simpsons. Usually, the work entails taking directions from the script and from the director, translating the written scene into a visual sequence that’s entertaining and funny. This involves brainstorming visually, paying special attention to the camera placement, framing and acting style. When I move into the rough drawing stage, they need to be precise with the character heights, background and interaction. Storyboards is used as an economical tool to conduct visualization before hitting the expensive animation production. There’s also a period where different passes are made based on the initial drawings; to numerous changes based on notes from the director, supervising director and lastly the showrunner. This job task isn’t for anyone who’s precious with their drawing, you have to avoid being too attached, and focus on the big picture. Plenty of adjustments are made during this process especially driven by comedy. It’s all about getting that laugh, we do table reads among the voice actors and rewrites occur all the time, to maximize the entertainment value. This approach is designed to avoid any costly production decision near the end.
Any shoutouts? Who else deserves credit in this story – who has played a meaningful role?
I met David J. Sung at an animation conference in Burbank. He was responsible for reviewing my portfolio and provided valuable advice on what the studios is seeking, in a feature animation storyboard. We kept in touch by email while I was in Mexico City and through his professional feedback. I managed to use that knowledge on the storyboard test and received an interest from a producer on a feature, Duck Duck Goose, at a start up studio. I don’t think I’ll be in L.A. without him. He’s not only my current boyfriend but my champion, mentor and supporter.
The same conference I met David I connected with Sandra Rabin a prolific producer, who gave me my first shot in L.A. and turned my life around. She saw my potential and offered an opportunity to storyboard on a new animated feature. Without her the move to the States wouldn’t have happen.
After wrapping up on a movie, I transitioned into The Simpsons, thanks to David Silverman a veteran producer on the show, who saw my samples at an industry event. He passed a contact at Fox TV Animation to receive a test for the show. I feel fortunate working under him as part of The Simpsons storyboard crew and learned so much.
Cecilia and Ian Hillway were two good friends who were gracious enough to share their home when I interviewed with Sandra Rabins and stayed with them for the first few months in L.A. It made the move a smooth experience with a familiar face.
Also the following animation veterans who I had the honor to work with who believed in me, sharing their knowledge and cheered me on. Lorna Cook, Susan Dieter, Mark Walton, Cody Cameron, and Chris Jenkins.
Contact Info:
- Website: http://www.lilastory.com
- Instagram: https://www.instagram.com/lilastory
- Twitter: https://twitter.com/lila_martinez
- Other: https://www.linkedin.com/in/lilamartinez
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