Jorge Vigara – Sony Pictures Imageworks

1. Tell us brief fly about your professional background up to this day.

Professionally I started to 21, after a couple of years in CICE, Madrid. I've been enjoying a lot of movement between 7 cities and 3 countries working for TV series, Shorts, commercials and several feature films. I have also been fortunate to be taught at one time or another, since I love teaching and learning in dynamic student / mentor and give several talks and lectures in schools, universities and trade fairs. I have also been able to monitor some projects, he has taught me a lot about myself and about the industry itself.

Although I must confess that the only way that satisfies me recall my experience is revisiting the people that have walked these years. Esta industria me ha dado mucho, but today, what I am left with are life experiences. And it's all thanks to them for what apologizing to readers who are not interested like to take this opportunity to mention and show my respect and deep appreciation to those who have made my professional tour an authentic experience:

The Cuevas brothers, Jaime Maestro, Jonathan Catalan, David Lacruz and Alex Mateo I got my first Keytoon work and helped relaunch my life outside my family home. Great people, great mentors and big laughs that we threw us every day. Daniel Fish, a good friend of great heart who taught us a lot of animation during its passage through Valencia. How lucky we had. Ernesto Extended, Manu Bover, Juanmi Vadell and Tomas Gutierrez, animators who were my first colleagues inside and outside the school and I've been finding in Valencia, Granada and Vancouver. Same with Jose Gonzalez Mas and Tote , animators and very good friends and companions. Kenny Ruiz – story boarder and comic artist- , Laura Rodriguez – production -, Juan de Dios – storyboarder wise man -, Tony Reyna -artista – and Carlos Carvajal – animator, with whom I spent my last stay in Madrid to work in preproduction on what would be the next production after Ilion Planet 51 . Great friends we made in those days an incredible time . The nature of this profession has the quality to introduce you to people and have a brief professional relationship but end up being equally motivating for their enthusiasm and their way of seeing this work, they are Veronica Alvarez, Laura M. Yanguas, Daniel M. de Leiva, Ruben L. Candel, Juan García, Quique Oliva, Guillermo Arambulo, Antonio Carrasco, Ander Murillo Gutierrez and Leyre.

I do not want to eat Rodrigo Blaas, Yuri Lementi, Cory Rogers, Jeff Bailey, Mathieu Menard, Half Rabar, Oscar Jimenez, Javier Recio, Christian and, Fernando Moro, Lionel Galle, Julio Lorenzo …

There are many, but it is thanks to all these and many more people, My experience has been that it has been. From them I learned, I have been motivated and have lived the experiences that have profoundly influenced my work. And naming them is, at least for me, It is much more than the names of the productions and studies that have worked.

2. Did you work in any other field before animation? Did it help you in anyway in your professional career?

Professionally I have to say no. But I grew up in the middle of a family of musicians and actors so this will have influenced me in some way. Small did some role other in operettas, plays and occasional television commercial and I guess that's where I got the taste for acting ( something that is very much related to character animation ) . También fui saltinbanqui durante mi adolescencia, in some juggling street performances and street theater . Something I guess also greatly pushed my career has been drawing, luckily, I never stopped doing since I started in kindergarten and my family was also driven.

3. Before working as animator . what drew your attention to this field?

As many who are dedicated to this I will say that I grew up with Disney movies. The magic of those worn VHS: Marline, Mufasa, Sebastian, The Genie… I think our generation knows what I mean. Although I would love to draw not entered the animation fandom drawing, I must confess. There have been stories and the special character of animated films, would. It was The Incredibles which made me decide to get into it I think, since that aftertaste of more mature film with touches of magic as a child is something that I planted a seed in my.

4. How did you first land a job in the industry? What was the key to make it inside?

My first job I got emailing with many ( but many ) forward. I did nothing special but really want this post, and even I have to say that I had a strong intuition that happen. Needless to say, I have always relied heavily on visualizing what I want. My demo were all school work, so I would say that if something they liked about me was my desire. Or maybe it was worth! I remember when I went to Valencia to meet with Keytoon Animation Studio forgot to tell me that they had recently moved to know where. No phone anyone or smart phones with internet, I had to find an internet cafe and wait for David Cuevas, respond to email me for help. It was a little stressful, but in the end I got the job

This is simply a story, but what I mean is that I really do not know which was the key addition to my desire and perseverance. Quizás fué eso mezclado con suerte y buen timing.

5. If you had to start froms cratch in this profession how would you go about it?

Ask trap, I think it would not start again 😉 . But if I did I would make sure to approach my work from a position more play and enjoy. This is something that has taken me years to get, and of course the experience is something that lets you get to have fun while you cheer. But I remember I started with animation with pressure to do things that impress colleagues and leaders of other homes. With the ambition to reach a Pixar or Disney. With ego. And these are things I've learned are not only unnecessary , if not also against producers - at least for me – . There are things I've done well and I would stay with them, clear . But these other trade them for more focused work from my heart and my love of art, rather than my desire for success and fame. Even so, I understand that having gone through that process is what I have brought me to this point today, so that nothing would change and why not start again. I am very grateful for all.

6. What’s the most important thing your work has contributed to your personal life?

Work creating is something to give you the opportunity to be very in touch with yourself. Look inward and understand your tastes, what excites you and how excited you is very useful in a job that is able to communicate emotions and ways of behaving. I also believe that knowing look inward and listen to yourself is very important in personal life, and that is something that I could further develop through my work. As I mentioned earlier I very much believe in the power of visualization and like my intuition both have been an important tool in my work and in my life . Over time these tools has been developed in both staff and professionally, intermingling day and today I think work and personal life are not necessarily separated. So let's say that they have developed internal tools to improve in my profession as an animator helped me to improve as a person ( or so I think 😉 ) and vice versa . And finally this has helped me to see that my personal life greatly affects my profession and backward, which gives much more meaning to my life in general. In short : animation has allowed me to keep in touch with myself and keep developing as a person and that is very valuable.

7. What would you change in the animation industry if you had the ability to?

Change all that do not provide for a system of fair work and to promote equality, love and respect for people and everything around us. That would allow peer pursue this without the need to move every year with their families, develop free creativity and learn from itself. That promote transparency and to expand the vision of benefits beyond the monetary exchange. Make it free from fads and tell stories that come from different eras, mentalities, cultures …
So many things, I would say that would change everything.

8. What’s the project you’re the most proud of to have worked on?

I like all much, each has its one with which I would. Given the choice I would say the short Rodrigo and Hotel Transylvania. "Alma" that laid the foundations of today understand how animation and “Hotel Transylvania” that has been the project where I played more and less I have worried curiously complacent and that has given me great recognition.

9. What was the most discouraging moment in your professional career? What helped you overcome it?

Interestingly today I am leaving this time. 🙂 . And if something is helping me through meditation and is a decision that will leave the industry in the years. No well as, perhaps some films interleaved with other projects that have nothing to do with animation until you can finally leave or perhaps by "a sudden" . It's funny how precisely the animation has helped me a lot to see and live life, as I said before, and as herself in part has led me to see that working in this profession is not the best to have a nice and healthy life.

10. What part of the working process do you enjoy the most? What part do you enjoy the less?

Which most certainly the planning and early stages when the plane is taking shape. It's where I feel more free and more game where, explore and I have a great time because it is the time where the moment of creation is all out. As the plane will evolve and you have to polish the process becomes more mechanical, clear, although I enjoy, not as much as at the beginning. I also really enjoy the teamwork and giving feedback . I love the conversations around the monitor with some colleagues and all acting, throwing ideas and enjoying.

The part that less is all politics and all that corporately liable to a supervisory position ( Or even when you're just encouraging ) . I love being in touch with people, help and teach, part of the heart of the creative process… but unfortunately sometimes you have to look outside what your conscience and moral says to efficiently develop such a position.

11. Do you have any personal projects? Could you tell us about any?

I have several personal projects, but at the moment are all on stand by and not be revisited when. A couple of them are shorts that are not left alone in the fact of producing a story, if the project also works education, alternative systems of production and distribution. And above them I have a nice dream that encompasses art and nature, but this is a long history.

12. What advice would you give to someone who wishes to get in to this industry?

Before a council , start remembering that first of all the animation industry is a business, as you said the question. And I do not intend to steal the magic to all this, just pretend to encourage future colleagues ( and perhaps to those already we carry this ) to wonder whether the industry are in love or animation itself. Not the same fall in love Disney movies, Pixar and Dreamworks and work on achieving certain goals this fall for the art that entails encouraging, create and give life to the characters. In recent years I was very surprised to see how confused ( and I was one of them ) the animation industry with the animation itself. No es lo mismo. And is not the same look and feel great animated to live and work in animation production.

Today , with midfoot out , I do not see giving me advice on this. I think the expectations of everyone in this industry are very different and enter many subjective factors . That if, My doors are always open for those who need a chat and always offer my email for those who want to use : jorgevigara@gmail.com

So the only advice I would give would be one that goes beyond this business. And is that , either way, seek to be happy and live a full life. Creativity, art, imagination… everything is born of our experience and how our body, mind and emotions are manifested in the paths of life. No sense pursue something if we spent locked in cubicles. Or at least that's how I see it.

Good luck to all and be happy.