Austin Madison is an animator who worked on Pixar's Brave. He emphasizes the importance of enthusiasm, drawing from observation, and collaboration. He advises aspiring animators to develop their drawing and storytelling skills through practice and internships to build industry connections. Research, like visiting Scotland for Brave, is also crucial to authentically depicting settings from scratch in animation.

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3. I have some question for top animator
who work in Pixar studio
1 About your self ? about you life journey ?about your animator life journey ?
2 What all quality they have and how they achieve those task in there life ?
3 What all challenges they face to get to this industry and this position
4 what all common quality they have ?
5 There first show reel while entering in this industry ?
6 What all movie they worked in Pixar animation company ?
7 There achievements, there Pixar journey ?
7 from where they inspire to became a animator ?
8 what all skill Pixar studio see while taking them as a top animator?
9 With all your animation experience, did you ever think being a Writer/Director for
Animated Films?
10 How necessary are internships in the animation field?
11 What kind of research did you do for “animation movie “?

4. Bobby Beck
Bobby Beck is the CEO and
cofounder
of the online animation
school,
Animation Mentor, which
was started
in March, 2005. It was the
first
post-secondary school that
helped
students to pursue a career
in animation and he working
in Pixar company also .

5. What is the best motivation to do everything you do?
The belief that life is a one
time journey motivates me to
no end
and I don’t want to “waste it
away.” So, with this in mind,
I try my very best to embrace
every day and push myself to
look
for and pursue the things that
inspire me. I always want to
be a kid
and I never EVER want to
lose that. There are too many
jaded people
in life. I’ll keep my kid
goggles on, thank you very
much. I just want to “let go”
and have fun. Anything else
is a waste

6. I read a great book recently called
“The Power of Now.”
It really helped a lot of things “click” for me.
Bobby beck
That story hit me hard. It’s all about how we
build stories in our head. We tell ourselves things
that don’t even exist; i.e. this guy did this to me
because of XYZ, etc. When in reality… who cares?
The more I “let go” the more I feel my life is so much
more rich and full to accept the beauty and all that it has
to offer. One day I will pass on and life will still carry on.
We are like a leaf blowing in the wind and our lives are
so amazing and we have the power to be, do, or have anything
we desire. THIS is the biggest motivator in everything I do.

7. In a career as successful as yours,
does it feel as if things are challenging
to accomplish?
Everything in life worth doing is a challenge. If it was easy it would be no
fun, or, if it was easy that would mean I wasn’t dreaming BIG enough.
To me there are two parts to a goal or dream. The first part is the “end in mind;”
i.e. what you want to achieve. The second part is the journey; i.e.
the steps you take to get there. After you get into the pattern of making
things happen you realize the journey is actually the best part! I’m a big
believer in not re-inventing the wheel. What that means is there is a model
for achievement and success. The big “secret” is to model after someone
who has already achieved what you want to achieve and tap into them,
learn from their mistakes and successes, read books that help you get this
information, too. There’s no need to re-invent the wheel. Life is too short and
I’ve embraced the mentor model in all aspects of my life. It’s so powerful and
you make some crazy friends along the way!

8. With all your animation experience, did you
ever think being a Writer/Director for
Animated Films?
1 No. It’s never been a desire of mine.
2 I think what I like best is the creation of things; the inspiration, the idea,
the passion of “what could be.”
3 I think this is why I like being an entrepreneur. I have a ton of ideas
the whole time and it’s great to have talented people around me who
care and LOVE the details of things help bring them to life. It really is a
different mind-set to have and as I get older I get to know what my
strengths are and what they are not. There’s a quote I love that says,

9. Shawn Kelly
Shawn Kelly is an
animator of
movies and was a
co-founder of
the company
Animation Mentor,
an online animation
school with
student/mentor
relationships at its
core

10. Inspiring to become a animator
Bugs
bunny

11. Did you always want to be an animator?
I grew up drawing cartoons and watching Bugs Bunny
on Saturday mornings.
Growing up in the 70s and 80s, the movies that inspired
me were the mythic
fairy tales, like “Star Wars.”
I went to Rhode Island School of Design, where I
studied illustration and
animation. I learned about drawing and painting,
design and cartooning—
I was trying to figure it all out. When I graduated in
1996, computer animation
wasn’t as big as it is today, but then “Toy Story” came
out.
Through luck, I ended up at Pixar as the first intern
hired while “Toy Story”
was still in the theatre's. I completed my senior year
knowing I had a job to
come back to in California, which is really rare for an
art student.

12. What do you most enjoy about being an animator?
I really enjoy my
co-workers. They
have the same
interests I do,
and they’re at least
as talented, if not
more talented, than
I am.
As animators, we
have to be
collaborative. It’s
hard for an artist’s
ego
to get in the way
when you’re
collaborating like
that.

13. The bulk of my career as an artist is producing footage.
I get a scene and it’s my job to animate the scene, to bring it to life,
to convince the audience that the character exists as a living, breathing entity.
It’s kind of an invisible craft.
At Pixar, we caricature these things with 3D models. It’s like being an actor
or puppeteer. In my department we animate humans; we don’t animate the
wrinkles on the shirt, or the hair on the monster, or what water does. We’re
all animating the same character, and we have to collaborate to ensure the
acting remains consistent.
As a supervising animator, my job is to help the director and work with the
other departments: story, layout, set direction, lighting. There are all these
pieces of the production pipeline
How does the collaboration
work?

14. What’s most challenging about being an animator?
Entertaining the audience, while giving them something new or surprising
instead
of an easy solution. We have to do something new—to make the characters
more
believable by giving them human flaws. You want to come up with something
real,
something truthful.
The best art is not predictable. It has surprises in it. When you get into the
performance you’ve got to layer in subtext and complexities that communicate
to the audience, like when the character is smiling, but they’re actually sad.
We’re working in slow motion, 24 frames a second, beat by beat, pose by pose,
to
create this performance that’s very considered, but it goes by in seconds. It
should
feel like it’s happening for the first time. It’s the same thing an improve actor
does.
It’s an introverted form of acting; we’re hiding behind the bug or monster.
Which is why I like animation. I’m interested in caricaturing things, because
caricature often shows more truth than if you’re trying to be realistic.

15. Austin madison
Austin graduated from the
character animation program
at California Institute of the
Arts before getting hired as an
animator at Pixar. Since he is a
friend of Dick Figures creators
Zack Keller and Ed Shudder,
he was the voice of the minor
villain Earl Grey of the series
in only 2 episodes.
He also served as an special
effects animator for the short
traditionally-animated film Adam and Dog.

16. His credits include animating on
Austin madison

18. Pixar’s ‘Brave': An interview with lead animator,
Austin Madison

19. What do you think is the most important
quality to have as an animator?
You can’t make stuff without enthusiasm,
and you also can’t generate it on your
own all the time. You have to look out to
the world, and study and research
different aspects of life.

20. When did you realize that
animation was something you
wanted to pursue professionally?
:I knew since I was very young. I used to draw
with my father while watching TV. We would
set a theme and pass a paper back and forth.
If it was a saloon theme, then I would draw a cowboy
and he would draw a bartender. Or he would draw
someone playing a piano, and I would draw the guy that’s
sneaking behind him with a gun. So for me, drawing has
always been a collaborative thing — all about telling a story
together one drawing at a time.

21. For someone who doesn’t have a similar background as
you but has recently decided animation is something
they would like to get into, what would your advice be?
As Frank Thomas — that famous Disney animator — said, “Communicate well.
Draw, draw, draw.”‘ Work on your collaborative skills, the social aspects of
making a film, and look to how well you work with other people.
Then draw from what you observe in your life. You’ll find that there’s a
story in everything. It’s also not just about craftsmanship and being technically
good at drawing. If I were to draw you, for instance, I wouldn’t just focus on
what kind of nose or chin you have. I would look to your phone, and the fact
that you’re recording and always looking for a story. I would put film noir
shadows across your face and caricature you as, “The Story Catcher.” So my
advice is to always try to catch the spirit of something, rather than the form of
it. And get a sketchbook.

22. How necessary are internships in the animation field?
Internships are fantastic because you create
contacts. That’s extremely important in the
entertainment industry.
If someone knows you, they are way more
willing to hire you.
Unless you’re an asshole. And internships are
basically an asshole test.
Because if you get the internship, we’re already
impressed. We just want to find out if you can
play well and if you have the patience.

23. What kind of research did you do for
“Brave?
Brave is set in the 10th century in the highlands
of Scotland. So since we were making a movie
about Scotland, we went to Scotland
In animation, you have to create everything from scratch.
You don’t have the luxury of shooting on location or making a set.
So you have to look for every opportunity to tell a story.
When we were designing the hills in “Brave,” we didn’t just draw grass.
We went to Scotland, researched the geography there and studied the thistle roads.
The moss on all the trees in “Brave” have a celtic pattern with a different meaning
for each design. Even the barks of the trees that barely make the screen have
something that help set the mood.