Q&A: Shelly Page, European Representative, DreamWorks Animation

F&V asked Shelly Page, European Representative, DreamWorks Animation, to talk about her experience recruiting animation talent in France and the rest of Europe.
F&V: Why is DreamWorks looking for new talent in Europe?
PAGE: We always look for the best talent everywhere, and we look all over the world! We’re looking for the artistic approach, and sometimes you find that in one place or the other. We have people looking all over the States, we go to Canada, where we spend a lot of time looking for candidates.

F&V: What is the “artistic approach” of French animators? Is there something consistent about what you see from French animators?
PAGE: I’m a European and I was a background artist, so I’m drawn to aesthetics. Especially the French work is often very beautiful in terms of aesthetics and quality of the animation. In the computer graphics world, there is an artistic quality in the work that is quite sophisticated. The quality of the draftsmanship and artistry is quite sophisticated.

I think possibly one can over-emphasize their background in art history. Good students from everywhere will have that awareness. But there is a strong cultural sensibility, which is encourage as soon as they enter the school, to find ways to drawn in these influences. They are very focused and support each other. The amount of research that goes into their final projects is extraordinary.

Originality is the key to the work I see from European students.

F&V: When did you first learn about Supinfocom Valenciennes?
PAGE: I’ve personally been aware of the school since 1998, when I first started seeing the student films appearing in the film festivals I attended. I was so impressed with the quality that I started researching the school. In 2000, I was invited to join the graduation jury, at the time the only non-French person. They invite professionals to sit alongside faculty members, and now there are representatives from all the leading companies.

F&V: What impressed you about Supinfocom Valenciennes?
PAGE: Bear in mind that it is a private school, not funded by the state although supported by the regional development council. It has a very selective entry process, so they have high quality graduates as a result.

When I first started researching Supinfocom, I was very interested to find out about the curriculum, because the technical quality was so high. They learn, in a detailed way, how to do character design, editing, sound, storyboards, and the result is that they are learning in a professional environment. I was very interested to find out that they work in groups: les Gobblelins and the Filmakademie in Stuttgart also produce group products as their final projects. Obviously one big advantage is that you get a very highly finished short film, especially with the French films. But for a recruiter it makes it difficult to tell between four or five people on a team which one will best suit your company. That’s why I go to E-Magiciens.

F&V: You must go to dozens of animation festivals every year. What’s special about E-Magiciens?

PAGE: I particularly like it because it is for students, set up specifically to support and celebrate student work. In Europe, it’s mostly for professionals or the public. And I get a chance to talk to the students. I don’t know if other studios recruit at E-Magiciens, but they do have speakers from Disney and ILM. Because it is associated with Supinfocom, E-Magiciens has often operated as a magnet for people looking to recruit students.

F&V: Have you successfully recruited students from Supinfocom Valenciennes?
PAGE: Yes. Last year we recruited Olivier Staphylas and Matthieu Cassagne. We also hired two other French animation graduates, from Les Golbelins.

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