Freelance Art Tips and How I Failed with a Hollywood Director – Art Industry Talk

Freelance Art Tips and How I Failed with a Hollywood Director - Art Industry Talk



hello one happy Halloween folks I've got this little sketch of a couple of trick-or-treaters so I'm gonna go ahead and start painting right over this and while I do that I want to continue the discussion that we started in part one about the art industry and what it's like to work in the art industry and you know pieces of advice and whatnot and I want to talk specifically this time about being a freelancer now I am NOT a good business person my nature is more of an artist obviously and most of the time most of the time artists are not good business people there are exceptions but I am NOT one of those exceptions so you can imagine that freelancing has been a real journey for me and as the old cliche goes you learn more from your failures than from your successes and I've definitely had a few of those so this is a story of probably my biggest failure and what I've learned from it the story begins with a random email one day popped up in my inbox I didn't recognize the sender's address but I did recognize the subject line the subject line was simply the name of a famous Hollywood director now for the sake of disclosure and privacy I'm going to redact that person's name from this story so let's just call this famous Hollywood director name redacted so I get this email the subject line is name redacted and I read the email it's just one line the email says hey I bought your book are you in Toronto so you know but that's a nice email it's fairly anonymous but nice so I reply I said with one mine of my own and I said thanks for thanks for the support I'm glad you liked the book yes I'm in Toronto I live in the West End so I hit Send and got back to my work then I got an email back from that person with another just one-liner saying great then let's set up a meeting which kind of put me off a bit because you know as a freelancer you have clients reach out to you via email all the time and most of the time they first of all introduce themselves like hi my name is mr. Smith and I'd like you to work on my children's book or you know I'm the director at a film studio and we're working on this project we need concept art or whatever it is you have something in the way of introduction I know this person gave me nothing I didn't even know the person's name and of course the subject line was the famous Hollywood directors name name redacted but I didn't clue I didn't read into that that was just something I thought may he was there to entice me like to grab my attention so I ignored that thought it was like a cheap little trick and I just didn't reply so a few days go by and nothing happens and I completely forget about it and then there comes an email from the same person but this time I'm copied in with someone else there's a third party in the email and that the sender says talking to both of us hey Marco is gonna set up a meeting with us for the project so at this point I remember my wife was nearby and I told my wife I'm like am I out of line and thinking this is really rude like someone just presuming that I'm gonna go meet them without any introduction using the line of a famous Hollywood director to get my attention and my wife's like no that seems pretty presumptuous I mean you should just tell them politely that you have to eat you need to know something about their project first so that's what I did I wrote back to both of them and I just said something like hi you know thank you for including me in your project but I might have a busy schedule and I need to know at least something about the project to make sure that on a preliminary stage that I'm a good fit for it before we can agree to a meeting and I sent that email I thought it was a pretty politically correct way of telling someone off basically not a minute goes by my phone rings I get my phone number was listed on my website at the time so I guess they saw that my phone rings I pick it up and the guy on the other end says hey Marco my name is blah blah blah hey you know that email you got a few days ago with the subject line of name redacted and I said yes and the person says well I'm that person's manager and that was actually an email from this famous Hollywood director at which point I immediately realized that this is no longer a joke and I had just unwittingly told off a famous Hollywood director so there's a moment of stunned silence as I lift my jaw off the floor and I think I apologize to the guy saying oh man I never would have done that if I knew it was it was this person there was no introduction and and you know the person says yes yes name redacted likes to be a little mysterious which is still kind of funny um anyway this person really likes your work and wants to set up a meeting with you are you willing to meet but tomorrow night and of course me being now a little star-struck to be honest saying I say yeah I'll move heaven and earth to meet you now let's let's set it up where are you and you know we set up a meeting in Toronto where I live and that was that so I first thing I did was I told my wife Mike hey you remember that email we wrote a few days ago yeah it turns out we were missing some critical information anyway we had a laugh over that so fast forward to meeting I walk in there and sure enough in the flesh there is name redacted famous Hollywood director sitting there whose work you definitely know and whose work I personally enjoy so I was like I said I was a little starstruck and that's kind of embarrassing to admit but there it is so we shook hands everyone's all smiles the person who had called me the business manager was also in the room so there was three of us and we just started talking about art name redacted did half my books actually had to two of my books which was super flattering and the start of the meeting was cool we talked about art we talked about you know the mindsets of artists and you know different artists that we both like through the ages anyway then the project at hand comes up name redacted thinks that based on what's in my two books then I would be a good fit for illustrating some key story moments from this script and it was interesting because name redacted did not really want concept art like in the traditional sense rather they wanted finished illustrations like illustrations that could be published in like a hardcover book or framed or something which is different usually people want more sketchy concepts no this is very finished work and because of that they didn't want a team of artists working on it like you would in a concept art environment they wanted one artist to get one artists hand so all the finished work would look consistent so they weren't hiring a studio they were just looking for one artist and that one artist was me and that was super super flattering like I couldn't believe it which leads to the next wrinkle of this whole thing name redacted would like all the work done traditionally and okay that's no problem I mean I'm trained traditionally I can do that but traditional media does take a lot longer than digital media so this is shaping a to be a pretty big job so the first question I ask is how many illustrations do you need name redacted says 12 okay so I do a quick little bit of mental math twelve traditional illustrations you know I'd have to get the sketch approved first then do the actual painting and then make any revisions which always takes longer with traditional so I thought maybe at least it would take a week for painting probably two weeks per painting now that all happened in my head then I asked out loud when would you like these by two which name redacted answers thirty days and I remember sitting right there in the meeting at that moment thinking to myself for the first time oh maybe I can't do that not that I was incapable of doing the work itself but twelve traditional paintings finished paintings in 30 days while juggling all the other clients I had on the go at that moment just seemed like an awful lot and I felt a pang in my stomach that was telling me that but because of who the client was I thought this is that like fairytale big break moment that everyone is always waiting for so i suppress all of my very real and very logical concerns and replaced those with the words yeah I can do it and of course everyone was happy and I got in the car and drove home I still hadn't courted them a price but they said just come up with a price and email us so I remember driving home that nervousness that started in the meeting when I found out the details of the project that nervousness had not gone away and I remember kind of justifying it as like this is just how it feels when a huge opportunity comes and you know you you have a bit of self-doubt you're not sure if you can do it but but you'll step up to the plate you've always done that in the past and this will be no exception and because the client is so big it'll be even more of a reason to step up to the plate so I got home I told my wife all the stuff that happened and and you know she I think I remember her asking me like so you can do it right you can do this and I said yeah I can do it I just you know I'll have to pull all-nighters for 30 days it's gonna be hell but I can do it and together we somehow concocted a fee a quote that I could email them it was very high partly because of the high-profile nature of the job but also that fast turnaround is going to demand a higher fee so I emailed that figure to name or deck it's business manager they wrote me back instantly accepting it no problems they wrote up a contract for me and we agreed I would be paid in three installments the first of which would happen immediately and sure enough within hours of signing the contract I had a wire transfer sitting in my account and this job was official and I was scared and again not scared that I couldn't do the work but scared that I had just entered into an agreement whose parameters I could not fulfill however I reminded myself that name redacted had hand-picked me for this project I mean it wasn't random and that counts for a lot I mean name redacted has probably worked with thousands of artists in past films and projects so the fact that I was chosen probably meant that on an art direction level that I was a right natural fit and things would flow fairly smoothly as a result that thought was kind of like my saving grace it was the one thing that set my mind more or less at ease so the next thing I did was I went on a shopping spree I went to the local art store and just stocked up on all the tools and materials I would need for this job and that was a lot of fun and I stayed up late that night reading through the script again and again doing little sketches of characters and environments and then over the next couple days I developed those sketches into just something a little more refined that I could show name redacted and maybe get approval into going into the first of 12 paintings I mean that process there was no time to waste we needed to start now but I had a good selection of art to show and I felt pretty good about it so I fired up an email sent my art and it was late so I went to bed and the next morning I woke up to a reply sitting in my inbox and you remember at the beginning of this story how short name redacted emails were they were like they were just one lines well this was another one-line email and to quickly paraphrase it it basically said the art is too cartoony and not the right style it looks like the characters aren't reflective of the characters in the story and I need something more realistic and that was it that was the email let me take a quick aside here and say that one of the main differences between being a freelancer and being hired you know full-time in a studio is that Studios usually have in-house art directors you know somebody sitting you're you that you can show your work to and that person can say you know steer it in this direction steer it in this direction usually projects have like a style guide as a freelancer we really rely on our clients to be that critical part of the communication process I mean the main job of a freelancer is to like go inside the clients mind and pull out the pictures that they see and I thought that because name redacted is a famous Hollywood director that just by nature very clear art direction would come with that actually I thought that my work would naturally be a good fit and then from there there would be art directions you know to really hone in on the final but this email indicated the complete opposite of that name redacted had essentially only told me that what I had done was wrong essentially and I had no direction from there I mean I don't mind being told that I'm wrong but I need some very clear guidance to know where to go from there visuals if possible this email didn't really give me much other than the word realistic name redacted wanted something more realistic and I kind of froze there in my chair in front of my computer monitor reading that because now I had just first of all lost two days of work name redacted had dismissed to my work wholesale did not even make one comment on one picture just dismissed all of it and left me with this nebulous idea of things needing to be more realistic but what was even more devastating the whole notion of my work being a natural good fit for this project that was gone because all of my work had been dismissed so now I'm staring in the face of gargantuan deadlines not being sure of the art direction of the whole project and calling into question whether or not what name redacted sees in my art is the same thing that I see in my art and that last thought was something very unsettling and new and I didn't quite know how to grapple with that feeling so I simply replied to the email but I did not ask any questions I just said thanks for the direction I will reply with a new batch of drawings in a day or so and that's what I did I member talk to my wife and you know just kind of agreeing that okay gone off on the wrong foot but obviously there's something in my portfolio that name redacted sees as a good fit so I'll just try again so I spend another day drawing more stuff from scratch revisiting all the characters kind of with a new aesthetic that makes sense to me as being more realistic less cartoony and once that batch was done I sent off another email and essentially got the same reply it was another one-liner that said still too cartoony need to go more realistic and this time name redacted had given me some actors names to like model the characters after so at this point about four days had gone by and we're still sitting at a stage of figuring out you know how to draw this thing creatively all of my momentum had been stalled my client wasn't exactly spending a lot of time to communicate with me and all these hard realities came crashing down like I had signed a contract they had paid the first installment I promised a delivery for such-and-such a day you know obviously this is a high-profile project my name would be on this like this is not to mention building a reputation with some big-name people this is just not good and I remember talking to my wife then with with the idea that maybe I had bitten off more than I can chew like maybe this is maybe I had made a mistake here now my wife is incredibly supportive and she had not lost an inch of faith in me for this project so she was building me up saying like no no no you you you can do it just take the time you need I'll take care of everything else I know you can nail it just just go ahead and give it one more try so I spent another day or maybe even two days just really trying to search for whatever style I thought was what was being asked for because again I didn't have clear I didn't have a single visual that was all just text and like like you know wasn't much text just a few lines of email and now I didn't even trust my instincts anymore because they had proven to be incorrect so far so I did some sketches this part is actually kind of a blur because just underlying all of my work for that day or so was the feeling of inadequacy basically that anything I did was kind of to fail and honestly I think the third batch of sketches was probably my worst batch because I no longer believed in it not the story I didn't believe in my own work essentially and that is a horrible place to be as an artist that is a death sentence it's creative poison it's like in stranger things season 2 when the vines are running underneath all those fields killing all the pumpkins and killing all the trees that's what it felt my art was like that's like my art was was those pumpkins getting killed by something running underneath this the whole thing anyway yeah shout out to stranger things I love that show so I submitted the art via email and this time I did not get a reply from name redacted I got a reply from the business manager and the business manager attached a revised contract essentially saying we've added a stipulation that there is a trial period and should the trial period not be met successfully essentially you know we can terminate the contract obviously it doesn't take a genius to to understand that they are legally setting themselves up to let me go so I spy was okay with it obviously I've signed whatever I had to sign and I promised I promised one another batch of sketches you know I'd try like a cover sketch or something like that and I remember sitting down with my wife at that point saying like you know this gut feeling I have is not only overwhelming but it's proven to be you know reflected on both sides and I promised them another delivery of art so I'm gonna be true to my word but if it doesn't work I guess maybe it's the honest thing to do to just ask for my own termination here but I didn't even know if that was the correct business move now my wife is a business person she's amazing and I asked her I'm like is that acceptable what can I do that I mean it was just five or six days ago that I signed the contract saying I could do it and now I'm saying that I can't like is that even something that people can do would that drag my name through the mud or or should I just let them terminate me and my wife I think understood where I was coming from and it was a tough decision to be sure so I think what we ended on is I should just you know do what I said I would do which is deliver more art and if they saw fit to end the contract then it should be very call to end it so that's what I went ahead with so I do a whole new drawing I send it in and sure enough I get an email a few hours later from name redacted and it was actually a very nice email essentially it said dear Marco you are a very good artist it's just that I simply feel I need to move in another direction with this project I hope we can collaborate in the future but I believe at this stage we should part ways for now I apologize for this but I'm very happy to have met you and you are now in my roster of artists to collaborate with in the future signed name redacted so I had been fired and actually it's kind of funny because the email firing me was not only name redacted longest email but also by far the one with the clearest and most eloquent communication and then that was followed up by a termination agreement from the business manager actually you know my reaction when I got these two emails I was actually in the process of drawing something for that project I was so relieved to have been let go from this project that I just chucked the pencil across the room and just just breathed a honest sigh of relief the feeling of being released from a project that fundamentally was not working for neither party just felt so much better than the idea of pulling all-nighters for 30 days on something that would be a struggle every minute of every day I'm being honest about that you know this it's I'm years removed from this story and to this day I feel like the right decision was reached and I have never been so happy to have been fired well that's actually the only time I've ever been fired but it was a very high-profile firing and I learned a few things from this now let's do a little reflection here the first thing that I would never do to myself now is put myself in a position where I could not deliver quality art and there's a few factors that go into that number one the most important thing is being the right fit for the job yes as a freelance artist I certainly can straddle different styles but I've learned that it's best when someone hires you for what your specialty is I'm not I have not directed my career and this is a personal choice but I have not directed my career to be a jack-of-all-trades I can do a few different things but I have guided most of my attention into funneled it into one thing and if you go to my website it'll be very clear what that thing is I mean I can paint different subjects it's not what I'm talking about but the voice that my art has I have spent years refining it editing it and directing it so it it all kind of has a unified voice and if a client is not looking for that and yet still reaches out to me I will turn that job down because it's not worth either of our time to try for something that doesn't have the right fit now this is something that I've been accused of being very artsy about and I imagine that actually a lot of my friends are businesspeople and I remember talking to my friend about this this very story and he he kind of jokingly said Marco you messed up man you should have just sold your soul and did it and I had to and it was it's funny I mean that's kind of funny and I get where that kind of sentiment comes from but I think that anyone who makes the decision to make their living off of their own creativity is entering into a fundamentally different kind of arrangement than say a business person and I'm not trying to disparage business people at all but creativity demands that you be true to who you are and I know the more it's actually kind of ironic the more experience I get as an artist the more growth I have as an artist the less I'm able to stretch too far I remember the beginning of my career I tried to be kind of a jack-of-all-trades and I would try and like be able to do this style then jump to that sound and jump to that style and while I still am able to do that to a degree I've kind of put a cap on how far I'm willing to stretch because past a certain point it's just not me anymore and if I am building my reputation and trading off of my name and my own creativity then a big part of your career planning is choosing the right jobs that are going to build you in the right way and while name redacted certainly had a high profile job which completely got me all excited it had the unfortunate effect of blinding me to the other side of that equation and that's completely my fault I hope that no one hears this story and thinks that I'm blaming name redacted know everything that happened in this in this story is my own doing I did everything to myself and it was mostly the result of me making some very inexperienced and let's say amateurish decisions I allowed myself to get over enamored by the client and the project and as a result ignored some of my own basic artistic needs in fact the moment I got that very first email back from name redacted the one that dismissed all of my first efforts what I would have done now is asked name redacted to please provide any visuals either from my portfolio or artwork that they liked it's just something to give me an example of something that resonates with them because artists are in the business of capturing feelings and when it comes to feelings examples of art that already does that is invaluable now Wow yes name redacted did own two of my books and like the work that isn't specific enough I need now to have a conversation about specifically what it is about certain pieces of art that resonate with the person and the project and I've been quite pleased to find out that most clients actually probably all clients that I've had to deal with are very willing to have that conversation even if I'm the one who has to prompt it they're always kind of delighted to be part of that creative vision crafting and that's kind of a happy side-effect of that process it builds kind of a conversational rapport with a new client that is actually something that's valuable to carry out through the entire creative process and the more friendly you are with someone chances are they'll hire you again so it conversation like that works on so many different levels anyway getting back to specific art examples I always now ask a client before any contracts are signed or drawn up I always ask for if possible samples from my own portfolio from my website that are closest to the direction of the project that are closest to the vision and it can be anything it can be subject matter it can be the kind of broad strokes the kind of colors just something that resonates with them that they can send me then from there I have a critical piece of information that gives me insight as to what they respond to emotionally which again is what art is all about and I work from that thread so simply being hired to draw something because I happen to be an artist is not enough for me anymore I need more information to make sure that I'm actually the right artist for the job and that is a call that I reserve the right to make like a lot of clients will say oh you're so perfect for this job well I always ignore that it that's up to me to decide because the client has no idea how I feel about things how can they they might look at my art and say oh Marco has done X & Y therefore would be great for Z but again that's my decision so I will always reserve the right to make that call you know silently to myself and then act accordingly and of course the next thing that it was completely irresponsible of me to do is accept a high-profile job like that with such an unrealistic deadlines things are negotiable that's another point that's important and this relates to what I said at the beginning of the video were a lot of artists are not good business people business people one of the skills that I've noticed they have is they're very good at negotiating and they're good at separating like a personal emotional stake from the business side and for some reason I guess I'll just speak for myself but negotiating always feels like I'm arguing or like I'm being too personal about something I've learned now that that's not the case you should negotiate on any level you need to it could be a budgetary thing like a money thing or it could be a timeline thing and I actually find that the combination of a good timeline with a good project is actually more appealing to me than a good paycheck now obviously money is important too but I will I have taken jobs that don't pay as much but the art they want from me is just so up my alley or maybe challenging in a way that I think is really gonna be good for my growth with a deadline that is not gonna kill me that that is worth a lot to me because at the end of the day we got to be sane about this like we have to keep our sanity and nothing will stress you out more than crazy deadlines and one thing I've learned is that a paycheck doesn't alleviate that like a you know getting paid a lot of money for something is not going to erase any kind of stress that you have to go through and you know you have to weigh that in somewhere along the line I decided that being successful is not just a monetary thing but it's having some money while being happy and those two are not often from the same cause I guess and I'm always trying to balance that with the jobs that I take now with more experience you cultivate more clients and you cultivate more on-target kind of jobs so I'm not saying if you're someone who's just starting out as a freelancer you probably won't have the luxury of picking and choosing and there will be times when you have to do the old cutting your teeth thing and maybe doing some jobs that are too hard pressed in terms of deadlines and stuff like that like we've all been there and I think that is part of the process but it's also part of the process to actually get over that hump and build your name to a point and build your skills to a point where you can actually have some leverage in the matter because if you can get to a point where a client wants you for what you do that means that you are indispensable and not only does that give you leverage in terms of negotiating but it means you've really done something right in building your own image and presenting it to the world and my final point on this whole thing is remember earlier in the story I said I'd felt like this moment was like that fairy tale opportunity that comes knocking once in a lifetime kind of thing I don't really subscribe to that anymore I think fairy tale stories like that are a bit oversimplified let's say and I've found that like I said this this story happened to me years ago and since then I found that just the sheer act of being a professional and consistently outputting good work will build your reputation to a point where big projects like this come knocking all the time I get contacted by big studios all the time and that's not pleased that's not me trying to brag it's just me saying that professionalism breeds clients in this case and your work will be in demand from everyone from you know small little startup companies all the way up to the big household names the studios we all recognize I guess what I'm trying to say is there aren't really any dream jobs that that doesn't really exist there's no difference between one client and the next they both want you for your artistic ability and there is no difference in quality from a Disney project to a project from some publisher that's like a mom-and-pop shop if it's the right fit it's the right fit they both want your best and I guess I just want to say again that you shouldn't be in this for the status of your clients you should be in this for yourself and to build your own arts and your own voice to a place where in 20 years from now or 50 years from now you can really feel good about it the luster that comes with working on some big-name project for a film studio like Disney for example it's cool but it fades but what doesn't fade is how your art resonates with people and really that's all to do with you and not the client anyway here's some close-ups of the finished little Halloween painting I did during the story I hope you enjoyed watching it hope you enjoyed the story as well I hope there were some kind of takeaways for you if there's any kind of topics you guys would like me to cover on a future installment of these art Talk videos just put them in the comments let me know because sometimes it's a have a hard time deciding what's important when it comes to you know personal experience and advice and stuff lastly I'd like to thank all my patrons that have graciously supported this channel for the past few months if you would also like to support here's the link here I would be flattered to have you a part of the community I do my best to provide some behind the scenes content on my patreon page as well as cool rewards that come on each tier level so check that out if you're so inclined so happy Halloween once again stay safe out there and I will see you in the next video

50 Comments

  • Chief Captn says:

    He wanted your style, with his vision, not uncommon in the industry to ask, but obviously asking a freelancer to act like a studio artist isint going to work out

  • joe spadaford says:

    Spielberg gives notes like this as does Lucas. They are just busy. They have a short hand. I don't know if thats who you worked with, but it does happen. Hard to anticipate. pleasure to get right.

  • Ale Blanco says:

    Lessons learned

  • Jason Noyb says:

    It's better to have failed…than to have never tried. If I were you, I would do it all again. That was a great story of how we each get major opportunities to display or skills or just general opportunities.

  • Hidden America says:

    Thanks, that story and advice were both terrific. That picture is awesome too.

  • ojay Z says:

    The Director is JON FAVREAU….. tell me if i am wrong
    no no
    STEVEN SPEILBERG for BFG

  • Ekaterina Vasilchenko says:

    thank you for sharing your story!

  • Jack Kemp says:

    I love Name Redacted, he's my favorite director

  • Tarquin Castle says:

    Man that was a pleasure to watch and listen to. Thanks!

  • QuesoGr7 says:

    Was it Stephen Spielberg?

  • Yul Hubbart says:

    Lol, that's Hollywood for you. The director loved your style, and when your submitted your work he didn't like your style. It's not your fault if he didn't know what he wanted. He also sounds very unprofessional.

  • Max Nocete says:

    so Name Reducted is Disney? >.<

  • Gin Martin says:

    He's not more important than you.

  • Antank says:

    do work where you stay true to yourself

  • Minuta Video says:

    you should have been sanding 1 by 1 for the first approval – not 12 AT THE TIME

  • Matt Kaz says:

    Great story – I felt personal stress just listening to this – the workload and level of direction you had sounded like your task was near impossible. I like your style too – it started off so loose I thought it was going to be a mess, but came out lovely.

  • Blah Blah says:

    Don’t sell your soul. Awesome story and painting—thanks for sharing!

  • vonstrous says:

    just listening to this story makes my anxiety fire up

  • Griffly Art says:

    8 mins in, and the big takeaway so far is “trust your gut”

  • Rafael Benedicto says:

    I feel like his email which essentially said he fired you was written by someone else. Too eloquent and a far cry from his previous ones.

  • Xiaoying says:

    Do they think that art just comes out magicly to give you 30 days of deadline with 12 illustrations?! And handpick you ,telling you that your style is perfect then afterwards asking you to change your art style? What?!

  • Xiaoying says:

    What, the ,freaking hell.

  • Reiji Coast says:

    I loved your story. I liked your humility. I would've yelled, kicked and screamed the first time i noticed the "name redacted" couldn't communicate his idea clearly. inspiring to me…also, it would've helped to have your humility in my last breakup. lol.

  • Leinard Esteves says:

    Hey Marco, I'm not sure if you check the comments but when you signed the contract to be terminated did you also return their first payment? Or you get to keep it since you still worked on the project and wasted time and money for it anyway?

  • Drip Godz says:

    nice story bro…. u had some very key points

  • Yumetsuā says:

    Que laburo! Muy bueno!

  • Hiccups Animation says:

    weirdly enough, i feel so familiar to your problem but on a much smaller case. i'm an art student and kind of having a bad time with my teammate. they want me to work exactly as they want and it drove me through so much stress. whatever i did was wrong, it never come close to the taste of my teammate. honestly, it ruins everything i believe in and i dont even believe in my skill for weeks, months and even semesters. i dont even know if i'm the one at fault or is it theirs. weird that this video was recommended me at the exact right time.

  • BOBONOPOLI says:

    Omit, name Omitted.

  • 0vrStart says:

    Oof yeahhh that's impossible. Like a herculean test, man.

  • Airbrushing By Nick says:

    Interesting… What you drawing? 😂

  • Lisa - says:

    Thank you for sharing your story! I probably would have fallen for that too q.q

  • Κώστας Λουπασάκης says:

    Wow, I'm a computer programmer and can relate with this story on multiple levels

  • 起床う圭敏 says:

    Im a business man an entrepreneur. owned a land that generated incomes enough said. For me at least i think what your friend meant was like "Comn Marco GET HIGHER AND HIGHER!" but what i think is that the hollywood Director should have given more information about what he wants. I know you know this already but i think you should have just slammed the table "in a respectful way" and just Ignore the fact that his a director, get any Information on just what the damn Director want.in a "get to the point attitude".

  • Josue Vega says:

    I don’t know why but I feel it’s name redacted is zack Snyder

  • canadiansmarties says:

    One liners, really vague, lack of communication, always right, never happy, unrealistic deadlines, kind of rude and dismissive.
    Michael Bay?

  • Michelle Chao says:

    What a (horror) bedtime story for a freelance artist … and a valuable lesson. Thank you for sharing it.

  • Doppe1ganger says:

    You're very good. I think at the time you weren't mature yet. I wouldn't go into anything without having a clear picture of what is wanted, and if what is wanted is something that i can't or don't want to do, than i'll communicate that. It's not about not wanting to sell out, it's about believing in your art, because if you don't than why would anyone else. If you're collaborating with someone else, you also need to be interested in their vision, you should have asked examples and discussed things beforehand, have a feel for what they're going for. Edit: heh, funny, that's pretty much exactly what you concluded later in the vid.

  • Lozan says:

    You can "chew", but you must paint like a plastic toyes or gummy head heroes, not like a REAL ART but reality!

  • sayvion williams says:

    I honestly think that you were being too nice, you should have been more assertive and demanding even though you were getting paid you should want them to understand what they are getting themselves into and to help YOU to understand what they are thinking.

  • Simeon Galda says:

    Lovely

  • Tihomir Celanovic says:

    It's so true what you said about waiting for the "dream job"! It's just a myth that show business documentaries planted in our brains. I worked for Luc Besson on a comic adaptation of "Taxi" and it was a great experience, he was fine, the editor was fine, but the deadline was insane. AND to make things worst, I was so streesed out with thoughts about "the dream opportunity" you know? Like "now it starts!!!" 🙂 The best thing you can do is be true to yourself, no matter what, but it's a thing one has to learn. Nice story, thank you for sharing.

  • Ray Wil says:

    Experience is invaluable

  • ChuckandMax says:

    I really liked your story, but what I really enjoyed was watching you put your piece together. I worked in the film industry and the theatre as a scenic artist and storyboard illustrator. When I did this work there were no computers to work from or at least there were no practical computers with the tools we have now. I had to do everything on paper with a pencil a pen a brush or work on a huge piece of scenery painting with broad strokes. I did a lot of children’s theatre designs and I had a style that I was comfortable with. Well after years of being a freelance artist and starving between gigs I decided to leave the industry and go into the corporate world. So I went to work for the phone company in 1998 and used a computer for the first time. I worked for 17 years and then retired early took a nice pension and bought a house. I had insurance and security that I didn’t get in the industry. During the years that passed I got to learn how to use computers and I have embraced them. I have a iPadPro 12.9” with an Apple Pencil and I so want to pick up my art again but everything has changed. I’m using Procreate but I have found that the kind of art that people are expecting is no longer my style and I have not been able to learn how to use the digital tools confidently enough to say that I have a style developed. I’m just trying to figure out how to use layers and masks and everything is so foreign that I feel like I am no longer an artist and that I no longer fit in the world. I try to create a piece and I use my usual techniques but find that in digital art you have to work microscopically where I do a piece in full view and add all my shading I find that if you look close it all looks like scribbling and I get so disheartened. I like that your art has a loose feel to it and I would love to be able to have that style but I’m so detail oriented that my work has to be photorealistic to make me happy. I don’t know why I’m writing this you will probably never read it and I’m just feeling old and out of fashion a stranger in a foreign land. Where I once was the master I am now the slop bucket cleaner again. I don’t know if I’ll ever be able to adapt I keep thinking if I get this iPad or that tablet I can do this but there are so many techniques that I just don’t have any knowledge of and it’s hard to self teach yourself digital art because I’m doing everything the hard way, I guess I’m just not going to be able to call myself an artist anymore and I should have been smarter in 1980 when I was asked if I wanted to take a computer class. I really thought it was just a fad that would come and go like 8 tracks I had no idea. I was so certain that computers could never replace me but I guess I was wrong. They have made me obsolete.

  • Patrick Casey says:

    I think it's the director's fault for not being communicative enough. You were hand picked, they could have given reference of a specific work you did or a specific realistic style that you could follow. I can really understand this and it's so sad you had to go through that.

  • SloppyPastrami says:

    I've watched this a few times, really good information and its good to hear about this as most artist don't know where they should draw the line /pun intended

  • Sönke Grewe says:

    Love how you talk about "business people". 😀 I will put"business person" on my card.

  • co-wee says:

    I just won a game of fortnite while gaining knowledge about art and business from a super rad dude = epic victory royale

  • KoyBlue says:

    The director: "We need 12 traditional drawing by 30 days"
    Me, hearing that: Dear lord, poor guy…

  • Ben Shpigel says:

    as good a storyteller as an illustrator

  • sam Nini says:

    I chuckled when he said "30 day" thinking hot dam that's gonna be hell. Lol

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