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Shaffer Creative: Conversations with Creatives
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Shaffer Creative: Conversations with Creatives

Author: Shaffer Creative

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Conversations with artists, animators, filmmakers, writers and other creatives about their careers, their craft and their creative convictions. This podcast is born out of the conviction that those in one field of arts can learn much from those in a different creative discipline. Our goal is not aspirational, it's grounded in creatives who work in their craft professionally. There are no starving artists here.
29 Episodes
Bazin. Truffault. Godard. Varda.  What do they all have in common? They were part of the French New Wave. What are they doing on this podcast? Plenty. All creatives can learn from the the audacity of their convictions that created a movement that changed cinematic history. The French New Wave was a revolutionary force that should never have happened. When the movement started, it was unwanted, it was resisted, it was criticized, it was in French, it had every reason to fail on the world stage. Yet it changed the cinema, and it’s impact is still being felt today. My guest in this episode has written one of the most lively, insightful and readable books on the French New Wave, titled A History of the French New Wave. He’s the Wheatly Professor of the Arts at the Univerity of Georgia, teaching film history and theory. His name is Professor Richard Neupert. FOLLOW SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
Chris Wieme is an incredibly capable and efficient animator, and he has carved out a lifelong career in 2D animation in central and western Canada. In this episode Chris talks about some of the key lessons he's learned as an animator. For anyone embarking on a career in animation Chris' wisdom will take you far. FOLLOW SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
Canadian animator Chris Wieme trained in animation and fashioned an early career in the most unlikely of places: the prairie provinces of Canada. Yet his work is as strong as any who have trained at the more prestigious animation schools or worked at the bigger studios. Chris demonstrates that having a grasp of the basics, with determination and hard work you can develop the skills to compete with the best. FOLLOW SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
Phil Lockerby has managed to carve out a long and successful career as a character animation outside of Hollywood. And though he has long distinquished himself in animation, he still works hard to grow in his craft, and can find child-like joy in the little things of his work. Phil is also one of the rare animators I know who has made an effort to learn about acting, and I can tell you from working with him, it shows. FOLLOW SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
Animator Phil Lockerby is a highly talented animator who has survived some of the roughest years for 2D character animation. From humble beginnings training at Michael Mills Studio, Phil is among the best animators working today.  He was an animator on The Triplets of Belleville, The Little Prince, and directed a number of the animated episodes for Steven Colbert's Colbert Report. FOLLOW SHAFFER CREATIVEWEBSITE: www.shaffercreative.studioINSTAGRAM:
 I've always admired people who do one thing in life and they do that one thing well. It's even more admirable when they still have that same spark of passion in their twilight years. Maritime painter John Stobart is just such a man.In this episode John talks about the development of his career from that first painting sale he made as a student at the Royal Academy. John gives us a window into the meticulous research process he goes through in the creation of his historic maritime port scenes. He also talks about his Worldscape video series he produced for PBS.One of John most admirable achievements is the established The Stobart Foundation, which is a non-profit organization whose purpose is to help support emerging artists who paint from life. You can find more information about the Stobart Foundation, and apply for a grant, at US AT PATREONPATREON: SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
My guest is John Stobart. John studied painting at the Royal Academy of Art in London, and has enjoyed a long and successful career painting pictures of ships, focusing period harbor scenes during the age of sail. He is meticulous with the historical accuracy and detail of his work, and his final paintings are stunning.John also created two seasons of Instructional painting shows for PBS called Worldscape. These shows are available on DVD and they are great inspiration for outdoor painting. As a young animator early in my career, I was terrified of paint. But John's work and his Worldscape series encouraged me to "get out and paint," as he said. And I did. In this episode, John talks about what he's doing now, and tells us a wonderful story about his schooling at the Royal Academy, and the circumstances of his first sale as a painter.  John is 89 years old and he's still going strong.SUPPORT US AT PATREONPATREON: SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
Mike Surrey lived through one of the most unthinkable moments in animation history -- the day that Walt Disney Feature Animation would close it's door to an 86 year lineage of hand drawn animation. The Princess and the Frog was the 49th, and final, 2D animated feature to be produced at Disney. In part 5 of my conversation with Mike Surrey, Mike chronicles his career from Huntchback, working on Tarzan, Atlantis, and Home on the Range, while he was a witness to the monumental changes in the animation industry, the departure of Katzenberg from Disney, the formation of Dreamworks Animation, Disney's purchase of Pixar, and the end of the traditional animation era.SUPPORT US AT PATREONPATREON: SHAFFER CREATIVEWEBSITE: www.shaffercreative.studioINSTAGRAM:
 After the huge success of The Lion King, Mike's involvement with Disney began a slow decline, beginning with his next role of Clopin on Huntchback which took him to Paris. From there the roles and shows became a tiring grind that eventually led him to Dreamworks which had a completely different approach to animation that frustrated him and drove him into the story department. In part 4 of my conversation with Mike continues to chronicle his career, provide interesting tidbits about the departure of Katzenburg, and the arrival of Pixar. SUPPORT US AT PATREONPATREON: SHAFFER CREATIVEWEBSITE:  INSTAGRAM:  FACEBOOK:  TWITTER:
Mike's big break came on Disney's animated production of The Lion King, but it wasn't smooth sailing for Mike to land the role. The Lion King wasn't expected to perform well at the box-office, the big film was Pocahontas where all the heavy hitters were. And to everyone's surprise, The Lion King saved the studio and it changed Mike's life. SUPPORT US AT PATREONPATREON: SHAFFER CREATIVEWEBSITE: INSTAGRAM: FACEBOOK: TWITTER:
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