KENTUCKY ON THE WORLD WELCOMES LEGENDARY FILM ANIMATOR CAROL WYATT HOME FOR AN EXCLUSIVE LIVE PROGRAM FEATURING HER RENOWNED CONTRIBUTION TO THE WORLD OF ANIMATION.

FOR CAROL, ANIMATION IS A PROFOUND MEANS OF STORY TELLING THROUGH COLOR, BRINGING JOY AND WONDER TO AUDIENCES THROUGH HER WORK LIKE THE SIMPSONS, ROCK OWE'S MODERN LIFE.

FOSTER'S HOME FOR IMAGINARY FRIENDS, THE RICKY JERVAIS SHOW AND OVER THE WALL.

CAROL IS IN CONVERSATION WITH BROOKE KEESLING WHO WORKS IN THE STREAT FOR DECADES AS A FILM MAKER IN RECRUITING, DEVELOPMENT AND IN EDUCATION.

>> SO, CAROL AND I GO WAY BACK.

THE ANIMATION WORLD IS QUITE SMALL AND QUITE DELIGHTFUL.

OF THE SECTIONS OF THE ANIMATION OR THE ENTERTAINMENT INDUSTRY, ANIMATION IS KIND OF THE RED HEADED STEP CHILD IN THE BEST WAY POSSIBLE.

MOST PEOPLE ARE FRIENDLY AND CAROL AND HAVE I KNOWN EACH OTHER FOR YEARS AND WE FINALLY GOT TO WORK TOGETHER AT DISNEY NOT TOO LONG AGO AND GOT TO KNOW EACH OTHER AND LIKE EACH OTHER AND NOW WE ARE BFFs HERE IN KENTUCKY.

JUMPING RIGHT IN.

ARE YOU READY?

>> I'M READY, I THINK.

>> SO, GROWING UP IN KENTUCKY, THAT STARTED YOU ON YOUR ILLUSTRIOUS PATH TO BECOMING A PROFESSIONAL ARTIST, WE WERE TRYING TO THINK OFAGE ADJECTIVES AND I SAID ILLUSTRIOUS IS THE BEST FOR SUCH AN AMAZING CAREER.

>> I STARTED OUT AN AN ILLUSTRATOR.

>> AMAZING.

>> WHAT WERE SOME OF YOUR INFLUENCES GROWING UP HERE IN LOUISVILLE.

DID I SAY THAT RIGHT?

>> LOUISVILLE: I CITY SAY LOUIE-VILLE.

>> I'M FROM THE VALLEY AND MY ACCENT IS WRONG.

>> OH MY GOD.

(IN VALLEY GIRL ACCENT) >> I'M BORN AND RAISED LOUISVILLE, KENTUCKY.

AND I SEE MY COUSIN.

HI, FIRST I HAVE TO ASK ABOUT THIS.

YES, YES.

MISS COSMOS UNITED STATES.

BECAUSE THAT IS SO AMAZING.

>> I DON'T HAVE A STAFF IN ANIMATION YET.

>> WE WILL SOME DAY.

>> BEST SOMETHING.

BUT I WAS BORN AND RAISED IN LOUISVILLE, KENTUCKY.

I HAVE A FAMILY WHO GOES WAY BACK HERE, THE WYATTS AND CLAYS 3 ON ONE SIDE, WYATTS ON THE OTHER.

SO SOME OF MY GENERATION KNOWS THE FAMILY NAME.

BUT I GREW UP ALWAYS DRAWING MY WHOLE LIFE, FROM THE TIME I WAS A TODDLER, I WAS ALWAYS DRAWING.

AND MAKING THINGS, CREATING THINGS.

MY STEP MOTHER FOUND THIS MONKEY DRAWING FROM WHEN I WAS FOUR YEARS OLD AND SHE FRAMED IT FOR ME.

AND I'M SO GLAD SEE DID BECAUSE I HAVE NOTHING ELSE FROM THAT TIME PERIOD.

AND WHAT I NOTICED ABOUT IT IS THAT IT'S ANIMATION.

IT'S IN MOVEMENT.

AND.

>> CAN PUT THAT IN THE EARLIEST ANIMATION BEFORE THERE WAS FILM.

P IF YOU PUT THAT IN THE CYLINDER, IT WOULD ANIMATE.

>> HE IS JUMPING FROM VINE TO VINE.

I DON'T REMEMBER, BECAUSE I WAS FOUR.

BUT.

>> I CAN'T BELIEVE YOU DON'T REMEMBER.

>> I KNOW.

I'M LOSING IT ALREADY.

BUT, YES, I WAS ALWAYS DRAWING MY WHOLE CHILDHOOD AND I DIDN'T REALLY KNOW WHAT WOULD HAPPEN.

I WAS ALWAYS SPENDING A LOT OF TIMES OUTDOORS WITH MY FAMILY, MY BROTHERS, I WAS A TOM BOY, SO I WAS DIRTY AND IN THE MUD AND CLIMBING TREES AND I WAS ALWAYS -- >> LIKE A MONKEY.

>> WE WOULD GO TO FRANKFORT AND VISIT MY COUSINS AND THERE IS A PICTURE.

MY MOM WITH MY BROTHER, MY SISTER, MY BABY BROTHER, EDWARD, AND MY COUSIN CLAY, WHO IS A TROUBLEMAKER.

[LAUGHTER] >> BECAUSE YOU ARE NOT A TROUBLEMAKER.

>> I'M NOT.

>> YOU ARE.

I KNOW THAT YOU ARE.

DON'T LIE.

>> I MIGHT BE NOW.

BUT WE USED TO GET INTO TROUBLE, YEAH WE HAD QUITE A BUSY CHILDHOOD AND THERE IS A PICTURE BACK HERE OF US ON OUR ROPE SWING WHERE WE WOULD SWING INTO THE ELK HORN CREEK IN FRANKFORT AND THAT'S MY CLAY SIDE OF THE FAMILY AND MY AUNT SALLY.

>> WHO IS HERE.

>> WHOSE SHE IS HERE.

SHE IS A CELEBRITY BECAUSE SHE INFLUENCED ME MOST THROUGHOUT MY CHILDHOOD IN MY LIFE.

I WOULDN'T BE DOING WHAT I'M DOING... >> AWE.

[ APPLAUSE ] >> SORRY.

>> IF YOU SEE IT, YOU CAN BE IT.

>> RIGHT.

SHE WAS A PROFESSIONAL ARTIST AND SHE TAUGHT ART AT CAPITAL DAY SCHOOL.

I GOT IT RIGHT.

AND SHE USED TO HAVE US TO HER HOUSE AND SHE WOULD PUT TOGETHER PROJECTS, NOT NORMAL PROJECTS LIKE MAKING STAINED GLASS.

LIKE REALLY AMAZING THINGS.

AND SHE WOULD GET OUT-- SHE WOULD HAVE IT ALL READY WHEN WE WOULD SHOW UP AND SHE WOULD HAVE ME PAINT WITH HER AND DRAW WITH HER.

SHE TAUGHT ME PERSPECTIVE, WAY BEFORE ART SCHOOL.

WAY BEFORE HIGH SCHOOL, EVEN.

SO LUCKILY I WAS ABLE TO DRAW BACKGROUND.

>> YOUR OWN PERSONAL Mr. ROGERS.

HAVE EVERYTHING READY WHEN THE KIDS GET THERE.

>> SHE DID.

AND SHE COOKED.

SHE DID EVERYTHING.

SHE WAS KIND OF AN EVERYTHING PERSON.

BUT, YEAH, SHE WAS ALWAYS A GRAPHIC DESIGNER.

SO I KNEW YOU COULD BE A PROFESSIONAL AS AN ARTIST.

I LEARNED VERY YOUNG THAT I SAW IT AND SHE WOULD TAKE US TO CHICAGO.

SHE WOULD TAKE US TO VARIOUS THINGS.

BUT I SPENT MOST OF MY TIME OUTDOORS.

IT WAS THE 70s.

NO COMPUTERS, NO CELL PHONES.

NO INSTAGRAM, NO FACEBOOK.

NO.

>> NO SCREENS.

WE DIDN'T WATCH THAT MUCH TV THEN.

WE WEREN'T ALLOWED TO.

WE WANTED TO BE OUTSIDE.

>> WE WERE OUTSIDE ALL THE TIME.

>> BUILDING FORTS.

CANNING CANS.

>> AND MY FRIEND, CAROLINE WHITE, WHO IS NOT HERE, IS IN ONE OF THESE PICTURES.

SHE IS GOING TO LOVE ME.

SHE IS THERE IN HER BATHING SUIT WITH ME IN THE CREEK.

YOU CAN ALL TELL CIER LINE-- YOU'RE TEXTING HER RIGHT NOW.

>> SHE IS GOING TO BE ON TELEVISION.

>> YES.

I SFENT A LOT OF TIME OUTSIDE AND LEARNING FROM MY AUNT.

>> MOVING INTO INFLUENCES AS FAR AS MEDIA IS CONCERNED.

WHAT FILMS AND TV SERIES INSPIRED YOU GROWING UP TO MOVE INTO POSSIBLY GOING INTO THAT CAREER?

>> FILMS AND TV SERIES, I THINK THAT'S, YEAH, I WAS A HUGE COMEDY FA MATIC-- I WAS A HUGE COMEDY FANATIC.

I DIDN'T KNOW THAT IT WAS OKAY GROWING UP HERE BECAUSE THERE ISN'T-- THERE PROBABLY IS NOW.

BUT THERE WASN'T A MEDIA WORLD HERE.

AND, YOU KNOW, YOU DIDN'T HAVE ANIMATION SCHOOLS.

YOU DIDN'T HAVE TV, LIKE AS A CAREER HERE IN LOUISVILLE, KENTUCKY.

SO I DIDN'T REALLY TELL PEOPLE ABOUT THIS, BUT I WAS-- I WATCHED EVERY EPISODE OF THE DICK VAN DYKE SHOW OVER AND OVER.

AND THE GAGS, THE PHYSICAL COMEDY.

I WAS SO ATTRACTED TO IT.

BUT BEST OF ALL WAS THE WRITERS ROOM.

SO THE WRITERS ROOM WHERE THEY WOULD MAKE UP THEIR ONE LINERS FOR THE SHOW FOR THE FICTITIOUS SHOW ON DICK VAN DYKE SHOW.

THAT WAS LIKE EVERY TIME THEY WERE IN THERE, I WOULD WATCH THAT OVER AND OVER AGAIN.

I WAS LIKE, I WANT TO LIVE IN THAT ROOM.

I LOVE THAT ROOM.

I WANT TO BE IN THAT ROOM AND I WANT TO LIVE THERE.

LITTLE DID I KNOW... >> ARE YOU SURE YOU I DON'T WANT TO BE IN THERE NOW?

>> I WANT TO BE THERE RIGHT NOW!

>> WHAT HAPPENS IN WRITERS ROOMS STAYS IN WRITERS ROOMS.

ALTHOUGH A LOT OF WRITERS ROOMS GO ELSEWHERE.

THEY ALWAYS HAVE TO LEAVE.

>> THEY'RE REALLY FUN.

>> WRITERS ARE GREAT.

SO-- BUT I WAS REALLY ATTRACTED TO THE COMEDY, THE ONE LINERS, YOU KNOW, BOB HOPE, TOO, WAS BIG ON ONE LINERS AND I WAS REALLY INTO THOSE.

I USED TO SEND JOKES TO MY GRANDFATHER IN FRANKFORT.

IT WAS THE ONLY RELATIONSHIP WE HAD.

LIKE I DIDN'T REALLY TALK TO MY GRANDFATHER, BUT... >> YOU JUST SENT HIM ONE LINERS ON INDEX CARDS?

>> I SENT HIM JOKES.

>> I WANT A GRANDCHILD WHO SENDS ME JOKES.

>> I WOULD WRITE OUT A WHOLE PAGE OF JOKES, PUT IT IN AN ENVELOPE AND SEND IT TO HIM AND HE WOULD SEND ME A JOKE BACK.

>> THAT'S AMAZING.

>> THAT WAS OUR RELATIONSHIP FOR YEARS.

WE DID THAT-- I STILL HAVE SOME OF THEM FROM HIM WHERE HE SENT ME SOME.

AND WOULD I DRAW PICTURES, TOO, OF COURSE I HAD TO DRAW PICTURES.

BUT I REALLY LOVED JOKES.

I HAD NO IDEA THAT, YOU KNOW, THAT WOULD BECOME SOMETHING, MAYBE.

AND THEN I WAS ALSO REALLY INSPIRED BY ALL OF THE FILMS IN THE 70s WERE AMAZING.

LIKE 2001, LIKE Dr. STRANGELOVE, AND I PUT SOME INFLUENCES HERE AND THERE FOR, YOU KNOW, THINGS THAT I'VE WORKED ON TO GO ALONG WITH SOME OF THE IMAGES.

BUT THERE ARE SO MANY GREAT FILMS FROM BACK THEN.

AND ALSO MUSICALS, HAIR, YOU KNOW, SOME REALLY FANTASTIC MUSICALS.

AND THOSE WEREN'T COMEDY, BUT IT WAS CHARACTER DEVELOPMENT.

I WAS REALLY ATTRACTED TO THE CHARACTERS.

AND I WANTED TO WATCH THEM AND SEE HOW THEY INTERACTED, HOW THEY SPOKE WITH EACH OTHER.

>> YEAH I MEAN IF YOU WATCH ANY SHOW, YOU CAN ALWAYS SEE LIKE CERTAIN INFLUENCES AND CREATORS LIKE TO PUT EAST EVERY EGGS IN, LIKE THINGS THEY LOVE OR, YOU KNOW, KIND OF MIMIC SOMETHING THAT THEY SAW IN ANOTHER FILM.

>> WE DO THAT ALL THE TIME ACTUALLY.

I MEAN THERE ARE CERTAIN FILMS THAT WE LOOK AT OVER AND OVER AGAIN FOR REFERENCES LIKE ALIEN.

I DON'T KNOW HOW MANY TIMES I'VE WATCHED ALIEN SO I WORK ON RICK AND MORTY SO ALIEN IS LIKE ANOTHER HALLWAY, MORE GOO ON THE GROUND AND, YOU KNOW, HOW WE ARE GOING TO DO THE LIGHTING AND DO WE WANT THE LIGHTING TO COME FROM THERE?

YOU KNOW.

SO THERE ARE A LOT OF INFLUENCES.

>> AND IT'S FUN BECAUSE IT GIVES YOU LIKE RESEARCH IS PART OF THE JOB THEN TOO, RIGHT?

>> RIGHT.

>> AND I THINK WE ALL ENJOY THAT.

>> YEAH, DEFINITELY.

>> YOU ARE IN KENTUCKY.

YOU ARE GROWING UP.

YOU KNOW YOU LIKE COMEDY, YOU KNOW YOU LIKE ANIMATION.

ALL THIS BIG MEDIA WORLD.

WHAT THEN GIVES YOU THE GUTS AND THE CHUTZPAH TO MOVE TO L.A. AND GO TO SCHOOL THERE BECAUSE YOU HAD NEW YORK, CHICAGO, COULD YOU HAVE STAYED HERE AND GONE TO SCHOOL.

WHY LAMP, WHAT GOT YOU THERE WHY L.A.?

>> I HAD A TEACHER IN HIGH SCHOOL, AT THAT TIME IT WAS ST. FRANCIS HIGH SCHOOL.

NOW IT'S FRANCIS PARKER HIGH SCHOOL.

STEWART ANDERSON WAS MY TEACHER AND YOU KNOW WHAT I REALLY WANT TO SAY ABOUT HER, AND IT'S GREAT TO BE ABLE TO TALK ABOUT HER BECAUSE SHE IS NOT WITH US ANYMORE, AND I HAVEN'T SEEN HER IN YEARS.

WE DID STAY IN TOUCH THOUGH, LIKE THROUGHOUT FOREVER.

AND WHEN I WOULD COME TO LOUISVILLE, SHE WOULD ALWAYS TAKE ME OUT TO LUNCH.

BUT IT WASN'T JUST HOW SHE TAUGHT ART, BECAUSE I DIDN'T DO WHAT SHE DID.

AND SHE TAUGHT LIKE ALL DIFFERENT-- SHE TAUGHT THE BASICS, YOU KNOW.

SO IT WAS REALLY BASIC ART CLASS IN HIGH SCHOOL.

AND THERE WERE A LOT OF TALENTED ARTISTS IN OUR CLASS.

I WASN'T THE ONLY ONE.

AND IT WAS THE FACT THAT SHE WAS AN ULTRAFEMINIST, HARD CORE FEMINIST.

AND ALSO THAT SHE JUST HAD THIS BELIEF THAT COULD YOU DO ANYTHING IN LIFE.

YOU COULD GO OUT AND DO ANYTHING.

SO I THINK SHE HAD A LOT OF INFLUENCE ON ME, JUST IT WAS A MENTAL INFLUENCE MORE THAN THE ACTUAL ARTWORK.

BECAUSE YOU KNOW, YOU ARE SITING AND DRAWING, DOING LANDSCAPES OR SCULPTURES OF YOUR HAND IN CLAY, WHICH I WAS TERRIBLE AT.

>> EVEN THOUGH YOU ARE FROM THE CLAY FAMILY.

[LAUGHTER] GOOD ONE.

SO SHE REALLY INFLUENCED ME IN TERMS OF THINKING OUTSIDE THE BOX.

AND THINKING ABOUT WHERE I COULD GO AND WHAT COULD I DO.

AND I DID THINK ABOUT CHICAGO ART INSTITUTE AND I VISITED CHICAGO A FEW TIMES AND I WENT TO-- I VISITED NEW YORK.

I VISITED CINCINNATI ART INSTITUTE AND YOU KNOW, I THOUGHT I COULD BE LOCAL OR COULD I GO TO NEW YORK.

BUT WHEN I WENT TO VISIT L.A., I JUST FELL IN LOVE WITH LOS ANGELES RIGHT AWAY.

I IT WAS AN INSTIRNGHT.

I IMMEDIATE-- IT WAS INSTINCT.

I IMMEDIATELY FELL IN LOVE WITH LOS ANGELES AND WHEN I WENT TO VISIT OTIS PARSONS-- NOW IT'S OTIS INSTITUTE.

OTIS IS IN NEW YORK AND PARSONS IS IN LOS ANGELES.

>> THEY DIVORCED.

WE ARE NOT REALLY SAYING THAT.

>> UNFORTUNATELY I DO KNOW.

>> YOU DO KNOW.

>> I'LL LET THEM TELL THE STORY.

>> I HAVE RECRUITED TALENT FROM BOTH SCHOOLS SO THEY'RE BOTH AMAZING.

>> THEY ARE BOTH AMAZING.

I LOVE LOS ANGELES.

I FELT-- I JUST FELT RIGHT.

AND I LIKE THE WEATHER IS GOOD.

THE OCEAN.

>> I'M FROM LOS ANGELES AND I CAN SAY OUR WEATHER IS VERY EASY BUT IT'S PRETTIER HERE BECAUSE YOU HAVE FALL RIGHT NOW.

SO GORGEOUS.

>> WE DON'T HAVE FALL.

>> NOT REALLY.

>> IT'S ACTUALLY NICE AND WARM BACK THERE.

>> WE JOKE IN L.A. THAT WE HAVE THREE SEASONS, EARTHQUAKE, FIRES AND AWARDS.

>> AWARD SEASON RIGHT NOW.

>> EMMYS INTO OSCARS.

THIS YEAR BECAUSE OF THE STRIKE, WE'LL DO IT LATER.

>> THEY'RE BACKED UP.

>> IT'S A FUN SEASON.

>> WE ARE MISSING A FEW SCREENINGS THIS WEEK ACTUALLY.

>> BUT WE ARE HERE.

>> WE ARE HERE AND IT'S NICE.

>> SO YOU GOT TO L.A. AND YOU HAD THAT GUT FEELING.

THAT'S WHY I THINK IT'S IMPORTANT FOR YOUNGER PEOPLE TO VISIT THE SCHOOLS THEY WANT TO SEE AND NOT BELIEVE THE WEBSITE OR GLOSSY BROCHURE.

GO VISIT AND SEE IF YOU FIT THERE BECAUSE I TEACH ONE NIGHT A WEEK AT MY ALMA MATER AND THE STUDENTS WHO DON'T LIKE THE SCHOOL AND ARE NOT DOING WELL DIDN'T EVER VISIT.

THEY JUST THOUGHT IT WAS GOING TO BE SOMETHING THAT IT ISN'T AND, YOU KNOW, EVERY SCHOOL ISN'T FOR EVERYONE.

>> RIGHT.

>> A BIT OF ADVICE THERE.

>> YEAH, WHEN I GOT TO OTIS TO VISIT, I HAD AN INTERVIEW, AND I REMEMBER WALKING DOWN THE HALL.

THEY HAD A LIFE DRAWING CLASS GOING.

WITH A NUDE MODEL.

TO FOR THOSE OF YOU WHO ARE ARTISTS, YOU KNOW THIS IS NORMAL.

THIS IS WHAT WE DO.

THERE ARE SIX HOUR CLASSES AND YOU PAINT NUDES FOR SIX HOURS.

>> YOU GET OVER-- >> SIX HOURS, NOT FOUR.

YEAH, SIX.

I'M SORRY AUNT SALLY.

IT'S HARDER THAN THAT.

AND OIL PAINTING, TOO.

OIL PAINTING IS.

BUT I REMEMBER WALKING DOWN AND I HAD HAD A LIFE DRAWING CLASS BEFORE THAT.

BUT IT WASN'T WITH NUDES.

I WENT TO TENNESSEE AND I WENT TO-- I DON'T KNOW WHERE IT WAS.

AN ART COLLEGE SOMEWHERE IN THE MOUNTAINS NEAR CHATTANOOGA.

>> LIKE A SUMMER PROGRAM?

THAT'S WHY, WHEN YOU TEACH HIGH SCHOOL, YOU CAN'T DO NUDES.

>> YOU CAN'T DO THAT BEFORE 18.

>> NO.

AND, YEAH,.

>> BATHING SUITS OR BALLERINA OUTFITS.

>> DRAPERY, COSTUMES.

>> YOU HAVE TO DRAW NOT JUST NUDE.

HAVE YOU TO DRAW EVERYTHING SO YOU UNDERSTAND HOW TO DRAW DRAPERY, CLOTHING AND LIGHTING.

WITH THE NUDES YOU GET THE ANATOMY.

>> YOU NEED THE THE ANATOMY.

SO I HAD THAT CLASS.

SO WHEN I WENT TO OTIS AND I WALKED DOWN THE HALL AND I SAW THIS INTENSIVE LIFE DRAWING CLASS, I THOUGHT THIS IS AMAZING.

I LOVE AND THE TEACHER CAME OUT AND STARTED TALKING TO ME.

DO YOU KNOW THIS, DO YOU KNOW THAT?

I WANTED TO GO THERE.

IT WAS GREAT.

THIS IS WHERE I NEED TO BE.

>> IT'S SO FUNNY BECAUSE I HAVE TO GO THROUGH HUNDREDS OF PORTFOLIOS A WEEK WHEN WE ARE HIRING ON SHOWS AND WHEN I GO THROUGH THE LIFE DRAWINGS, I KNOW ALL THE MODELS.

I'M LIKE, THERE'S THE CIRCLE OF MODELS AND THEY'RE AMAZING.

>> IT'S A SMALL WORLD.

>> IT'S REALLY HARD.

HAVE YOU TO HOLD THAT POSITION FOR A LONG TIME AND IT'S NOT JUST LIKE SITTING AROUND LIKE... >> AND WHEN THEY'RE TEACHING YOU ANATOMY, THEY GET THE SKINNIEST MODELS.

WHEN THEY'RE TEACHING YOU DIFFERENT PERSONALITIES, THEY GET THE HEAVIER MODELS SO YOU LEARN EVERYTHING.

THEY WANT YOU TO KNOW EVERYTHING.

>> YEAH.

>> YEAH.

>> SO HOW DID YOU EVOLVE AT AN ARTIST WHILE YOU WERE IN COLLEGE?

LIKE ONCE YOU GOT TO OTIS, I SEE SOME OF YOUR TEACHERS ARE HIGHLIGHTED HERE: TELL US ABOUT THAT.

>> EVERETT PECK, WHO DIED A FEW YEARS AGO.

>> HE WAS LOVELY.

BELOVED.

>> YEAH.

>> HE WAS IN CHARGE OF THE ILLUSTRATION DEPARTMENT AT OTIS PARSONS A FAMOUS ILLUSTRATOR AT THE TIME, LIKE COVERS OF NEWS WEEK AND TIME AND, YOU KNOW, AT THAT TIME, IN THE 80S, LIKE DOING AL BUT COVERS-- ALBUM COVERS AND NEWS WEEK COVERS WAS A BIG DEAL SO THAT WAS THE THING.

THEY BECAME VERY FAMOUS ILLUSTRATORS AND PLAYBOY, TOO WAS A BIG HIRING OF, YEAH, MAJOR ILLUSTRATORS.

>> THAT'S WHY PEOPLE BUY PLAYBOYS FOR THE ILLUSTRATIONS AND THE ARTICLES.

[LAUGHTER] THAT'S THE ONLY REASON.

>> EXACTLY.

SO, YEAH.

>> OKAY, TALKING ABOUT YOUR PROFESSION-- >> EVERETT.

SO HE WAS IN CHARGE OF THE DEPARTMENT HE WAS REALLY INFLUENTIAL.

HE WAS VERY LAID BACK AND I ACTUALLY EMULATE HIS TEACHING STYLE NOW AT CAL STATE LONG BEACH WHERE I TEACH.

I EVEN LET THE KIDS COME UP WITH THEIR OWN STYLES AND THEIR OWN THINGS.

I DON'T TELL THEM THEY'RE NOT DOING IT RIGHT.

I DON'T-- AND HE WAS THAT WAY.

HE WOULD JUST SEE, KIND OF WHAT YOU WERE DOING AND THEN COME OVER AND, YOU KNOW, KIND OF GIVE YOU A LITTLE PUSH.

>> PUSH YOU IN THE RIGHT DIRECTION.

>> BUT REALLY ENCOURAGE YOUR OWN STYLE, WHAT YOU DID AS AN INDIVIDUAL.

AND WHO YOU WERE.

AND THEN GEORGE DEAN WHO LIVES IN JOSHUA TREE AND SLEEPS IN A BED IN THE DESERT EVERY NIGHT, SHE IS AMAZING.

>> ECCENTRIC.

>> SHE IS SO ECCENTRIC.

SHE WAS REALLY FAMOUS FOR DOING LIKE THE OINK OWE BOINK OWE-- OINGO BOINGO ALBUM COVERS.

NOW SHE IS MORE OF A FINE ARTIST.

SHE JUST DOES HER FINE ART AND SHE SENT ME THAT PHOTO.

AND-- >> HER FINE ART SHOW, SHE IS AMAZING.

>> SHE IS AMAZING.

SHE IS ALSO A FEMINIST AND THAT WAS ANOTHER THING THAT WAS GREAT.

BUT SHE CAME ALONG AND I WAS TRYING TO BE LIKE-- I HAVE A-- I HAVE FRIENDS FROM MY CLASSES AT OTIS WHO ARE SO FAMOUS NOW.

THEY'RE LIKE DIRECTORS AND THEY TEACH AND THEY WRITE BOOKS ON ANATOMY AND DRAWING.

AND THEY CAN DRAW AN ANIMAL, WE WOULD GO TO THE ZOO, DRAW ANIMALS AND THEY WOULD DO THESE PERFECT RHINOS THAT YOU COULD FEEL THE RHINO AND FEEL THE MUSCLES AND I WAS LIKE, I'M NEVER GOING TO BE THAT GOOD.

AND GEORGEA CAME ALONG AND SAW THAT I DID CARTOONY DRAWINGS AND I WAS STRUGGLING TRYING TO GET EVERYTHING ELSE GOING.

SHE SAID WHY DON'T YOU DO WHAT DO YOU?

AND I THOUGHT HUH.

I DIDN'T KNOW ABOUT THAT.

BECAUSE YOU ARE COMPETITIVE WITH YOUR CLASSMATES IN COLLEGE.

YOU WANT TO BE BETTER THAN EVERYBODY.

>> IN A GOOD WAY.

>> IN A GOOD WAY.

>> IT'S FRIENDLY COMPETITION WHERE YOU ARE HELPING EACH OTHER ALONG.

BUT, YOU KNOW, A LOT OF TEACHERS SAY THIS IS THE RIGHT WAY TO TO DO THINGS AND SHE CAME ALONG AND SAID-- SHE IS FROM TEXAS.

SHE GOES, YOU DON'T HAVE TO KNOW HOW TO DO THAT!

SHE'S LIKE DO WHAT YOU WANT!

SHE'S GREAT.

I DID.

I STARTED-- I ACTUALLY WAS REALLY INFLUENCED BY HER ARTWORK AS WELL.

SO I STARTED DOING MY OWN THING AND REALLY KIND OF PUSHING MY OWN STYLE AND I STARTED GETTING HIRED LIKE IN MY SENIOR YEAR OF COLLEGE AS AN ILLUSTRATOR.

>> THAT'S GREAT: DID ANY OF YOUR TEACHERS HOOK YOU UP TO THAT WORK?

>> NO.

>> YOU JUST FOUND IT.

IT WOULD BE LIKE LOOKING AT ADS FOR ILLUSTRATORS?

>> NO, YOU KNOW, LIKE I WAS TELLING, YOU KNOW IN THE STUDENT PROGRAM EARLIER, WE HAD TO DOLED CALL.

>> JUST COLD CALL.

>> WE WOULD CALL ART DIRECTORS.

YOU WOULD CALL THE L.A. TIMES ART DIRECTOR, DESIGN DIRECTORS IN DIFFERENT DEPARTMENTS AND SAY HEY, I'M AN ILLUSTRATOR.

I WOULD SET UP-- I WAS PUSHY AND SET UP AN INTERVIEW SO I WOULD GO IN AND GIVE THEM ALL MY-- >> YOU WERE NOT PUSHY.

YOU WERE ASSERTIVE TAKING CHARGE OF YOUR LIFE.

>> I WAS ASSERTIVE AND TAKING CHARGE OF MY LIFE.

>> AND IT WORKED.

YOU WERE NOT PUSHY.

[LAUGHTER] >> I SEE ALL MY FRIENDS WHO ARE LIKE SUPER FEMINISTS UP HERE WHO ARE LIKE, YEAH, THAT'S RIGHT.

>> THAT'S FINE.

>> YEAH, AND SO, YEAH, I WOULD CALL THE ART DIRECTOR OR DESIGN DIRECTOR AT L.A. TIMES AND SAY I NEED TO COME IN AND GIVE YOU MY STUFF.

AND WOULD YOU GIVE THEM ARTWORK TO HOLD ON TO AND THEN YOU WOULD KEEP CALLING THEM SO THEY REMEMBERED YOUR NAME.

AND YOU CALL THEM ENOUGH SO THAT YOUR NAME COMES UP WHEN THEY GET A JOB, THEY GO CAROL WYATT.

OKAY, LET'S CALL CAROL.

AND THEN YOU GET THE WORK.

SO I LEARNED VERY QUICKLY IF YOU JUST REPEAT OVER AND OVER AGAIN.

>> SQUEAKY WHEEL.

>> SQUEAKY WHEEL.

>> SQUEAKY WHEEL IS NOT PUSHY.

IT'S TAKING CARE OF ITSELF.

>> MY GRANDMOTHER USED TO TELL ME TO BE A SQUEAKY WHEEL.

>> IT'S IMPORTANT TO BE A SQUEAKY WHEEL, JUST NOT A HORRIBLE OBNOXIOUS DOESN'T GET THEIR JOB DONE ON TIME WHEEL.

>> THAT'S RIGHT.

>> SO YOU ARE AN ILLUSTRATOR.

YOU ARE NOT EVEN THINKING NECESSARILY ABOUT ANIMATION YET.

HOW DID YOU SEGUE FROM ILLUSTRATION INTO ANIMATION?

DID ONE OF YOUR TEACHERS HOOK YOU UP?

DID YOU THINK OF IT OR YOUR OWN?

HOW DID IT HAPPEN?

>> AT THE TIME IN THE 80s, THERE WERE ONLY A FEW STUDENTS PUTTING OUT ANIMATION STUDENTS.

SO THEY WERE LOOKING FOR ILLUSTRATORS, PEOPLE WHO COULD DRAW AND PAINT FOR ANIMATION.

NOW EVERY SCHOOL IS PUTTING OUT ANIMATION STUDENTS, AND IT'S SO COMPETITIVE.

AND SO BACK THEN, YOU HAD A GOOD SHOT BECAUSE YOU COULD DRAW AND PAINT.

SO YOU MAY NOT KNOW HOW TO ANIMATE.

>> RIGHT.

>> AND, YEAH.

>> WE STILL HIRE PEOPLE WITH ILLUSTRATION DEGREES.

SO IF YOU ARE STUDYING ILLUSTRATION, YOU CAN STILL END UP IN ANIMATION.

THAT WAS A TIME PERIOD WHERE-- BECAUSE THEY HAD HIRED EVERYONE AND THE JOKE WAS IF COULD YOU HOLD A PENCIL, YOU COULD WORK IN ANIMATION BECAUSE THERE WAS SUCH A NEED.

ANIMATION HAS GONE UP AND DOWN WHERE THERE IS A LOT OF WORK OR LESS WORK.

SO YOU CAUGHT IT A GOOD WAVE WHEN THEY WERE NEEDING A LOT OF SKILLED PEOPLE.

>> RIGHT.

BUT THERE WASN'T MUCH WORK-- IMAGINE A TIME WHERE THERE WERE NO ANIMATED TV SERIES ON TV.

REMEMBER?

ANYONE WHO IS YOUNG DOESN'T KNOW.

SO THIS IS PRE-SIMPSONS, PRE-...

SO THERE WERE ONLY SATURDAY MORNING CARTOONS.

>> RIGHT.

>> SCOOBY DOO, AND AFTER SCHOOL SPECIALS.

>> RIGHT.

>> AND I STARTED ON AN AFTER SCHOOL CARTOONS.

>> BECAUSE THE FLINTSTONES AND JETSONS, THOSE WERE IN RERUNS AT THAT POINT.

THEY WERE ON BUT NOT BEING MADE ANYMORE.

>> RIGHT.

THOSE WERE FROM A LONG TIME AGO, YEAH AND SO I STARTED WORKING ON LIKE THE REAL GHOST BUSTERS AND COPS AND, I HELPED OUT ON ANYTHING THAT CAME ALONG AT DEEK.

HE WAS TRYING TO PRONOUNCE THAT.

>> IT'S A HARD ONE.

>> WHEN I STARTED WORKING THERE, I WAS LIKE REALLY?

THIS IS THE NAME?

DIC.

>> KIDS IN THE VALLEY WOULD SEE THAT ON THE BUILDING AND WERE LIKE, HA HA HA HA.

D-I-C.

PRONOUNCED DEEK.

>> IT'S DEEK.

>> IT'S ALSO GONE.

THAT STUDIO IS GONE.

>> IT'S NOT THERE ANYMORE.

SO I DO REMEMBER GOING IN.

SOMEONE ASKED ME TO COME IN AND PAINT CELLS.

I DIDN'T KNOW WHAT A CELL WAS.

AND I SAID SURE.

SO I LEARNED LIKE, YOU SAY YES, YOU ALWAYS SAY YES.

YOU SAY YES AND THEN YOU GO IN AND DO THE JOB.

AND SO I REMEMBER GOING TO THE BUILDING AND GOING UP THE ELEVATOR AND I WAS IN THE ELEVATOR GOING I'M GOING TO WORK ON A TV SHOW.

HOW AMAZING.

AND I MEAN I DIDN'T EVEN KNOW WHAT I WAS DOING, BUT I WAS SO THRILLED-- I REMEMBER GETTING CHILLS IN THE ELEVATOR, LIKE THIS IS TV.

I'M GOING TO BE ON TV.

I'M GOING TO WORK ON TV.

I CAN'T WAIT!

AND-- >> IT IS AMAZING.

>> IT IS FUN.

A FUN THING TO DO.

>> I DON'T GET CHILLS ANYMORE.

>> I DO SOMETIMES.

>> DO YOU?

>> YEAH, I DON'T KNOW.

LIKE WHEN I WAS WORKING AT CARTOON NETWORK, WE WERE IN NEW YORK FOR THE UP FRONTS WHICH IS LIKE THE SALES, THE AD SALES THING.

AND I WAS WALKING OWE ON UNWITH OF THE CROWDED STREETS IN NEW YORK WITH LIKE THEY SHOW THE STREET SCENES OF CROWDED SIDEWALKS AND I WAS LIKE WOW, WE ONLY HAVE LIKE 200 PEOPLE AT CARTOON NETWORK AND I'M ONE OF THEM AND I'M ON THIS REALLY CROWDED PLANET AND I GET TO DO THIS JOB.

ONCE IN A WHILE IT WILL HIT ME AND I FEEL VERY LUCK AGREE RIGHT.

AND FOR THOSE WHO DON'T WORK IN TV OR FILM, IT'S HARD TO DESCRIBE BUT IT REALLY IS KIND OF THIS PASSION THAT WE HAVE LIKE ONCE I GOT INTO THIS BUSINESS, I DIDN'T EVER WANT TO LEAVE.

I WAS.

>> ALL OF THESE SHOWS AS A CHILD, ALL THE CARTOONS, THE INFORMATION I WAS TAKING IN, WHEN I WAS YOUNG, I DIDN'T-- I HAD NO IDEA THAT THAT WAS REALLY WHAT I LOVED AND REALLY WHAT I WANTED TO DO.

LIKE IT'S OKAY TO LOVE TV AND MEDIA AND FILM AND GO FOR IT.

>> RIGHT.

>> SO THAT WAS A BIG DEAL.

>> YEAH, I MEAN IT'S REALLY HARD AND IT'S NOT EASILY-- IT'S NOT GUARANTEED.

LIKE IT'S JOB TO JOB.

LIKE GIG ECONOMY, AS THEY SAY, BUT IF YOU LOVE IT, IT'S LIKE WHAT ELSE WOULD I DO?

SO SO HOW DO YOU LAND YOUR JOB ON THE FIRST FOUR SEASONS OF THE SIMPSONS BECAUSE YOU WENT FROM LIKE DEEK TO SMALLER THINGS WHEN YOU GOT TO THE SIMPSONS, IT WASN'T HUGE YET.

RIGHT?

>> IT WASN'T THE SIMPSONS.

>> IT STARTED ON THE TRACY ULLMANN SHOW.

THE COMEDIENNE, IT WAS LIKE LITTLE BUMPERS ON HER SHOW.

>> RIGHT.

DURING THOSE TIMES-- AND I LOOK BACK AT MY TIMELINE, THIS WAS ONLY A YEAR.

SO I DID SO MANY JOBS, SO YOUR NAME GETS PASSED AROUND AND ALL OF A SUDDEN I WAS GETTING CALLS LIKE CAN YOU WORK ON THIS COMMERCIAL, CAN YOU WORK ON KEEPLER COMMERCIALS.

>> KIEB KEEBLER ELVES.

>> I WOULD WORK DURING THE DAY AND THEN FREELANCE AT NIGHT.

IT WOULD BE LIKE VENICE FOR ONE JOB AND BURBANK FOR ANOTHER.

>> IF YOU KNOW L.A. TRAFFIC, IT'S NOT FUN.

>> INSANE.

I WAS SO DRIVEN TO LEARN EVERY JOB AND SO I WAS BEING HIRED FOR ANIMATION ASSISTANT, ANIMATION DESIGN, PAINTING, LITERALLY EVERY JOB.

AND SO I WAS LOOKING FOR WORK AND I SAW, YEAH-- >> IS THAT MAX HEADROOM?

DID YOU WORK ON MAX HEADROOM?

>> NO.

>> IT'S A GREAT STUDIO.

>> I'LL TELL YOU.

SO I WAS-- [LAUGHTER] I WAS LOOKING FOR A JOB.

I WAS LIKE IN BETWEEN, AND I SAW THE SIMPSON SHORTS.

THIS THING, AN AD FOR CLASSKI.

I CALLED.

I WANTED AN INTERVIEW.

I LOVED THE SIMPSON SHORTS.

I WANT TO WORK ON THAT.

I SAID THAT ON THE PHONE AND HE HAD ME COME IN THE NEXT DAY AND HE HIRED ME ON THE SPOT.

AND TO THE RIGHT, HE PUT ME ON A BEASTIE BOYS VIDEO.

SO THAT WAS MY FIRST JOB AT CLASSK YI CHUPO IS SO IMPORTANT.

THEY WERE DOING ALL THIS REALLY COOL UNDERGROUND.

>> CUTTING EDGE.

LEADING EDGE.

>> YEAH SO I WAS ALL OF A SUDDEN IN THIS GROOVE AND IT TOOK ME EVERYWHERE.

AND THEY WERE STARTING AT THE SIMPSONS SERIES.

SO I JUST HAPPENED TO COME RIGHT AT THE RIGHT TIME.

I FINISHED THE VIDEO AND ROLLED RIGHT ON TO THE SIMPSON SERIES FOR A SEASON.

THAT'S HOW I STARTED ON THE SHOW.

>> AND NO ONE KNEW THEN THAT 20 SOMETHING YEARS LATER IT WOULD BE ONE OF THE STEADIEST JOBS ONE CAN HAVE.

I MEAN THERE ARE PEOPLE WHO HAVE JUST BEEN ON THERE... >> RIGHT, LIKE NEW YORK APARTMENTS.

HAVE YOU TO WAIT FOR SOMEONE TO DIE OR LEAVE OR RETIRE, LET'S SAY, TO GET LIKE, YOU KNOW, SOMETIMES WE'LL HEAR FROM PEOPLE WHO WANT TO BE DIRECTORS BUT THEY HAVE BEEN ON THE SIMPSONS AND THEY CAN'T MOVE UP AND THEY GO TO OTHER STUDIOS TO GET THE DIRECTING CREDIT BUT WHAT AN AMAZING PLACE TO START ON.

AND I WANT TO SAY THAT THE WAY TO GET A JOB IN ANIMATION ISN'T JUST TO CALL THE STUDIO AND EXPECT THE OWNER TO ANSWER.

>> NOT ANYMORE.

>> THAT DOESN'T REALLY HAPPEN.

>> THERE ARE TOO MANY PEOPLE NOW.

>> STUDIOS ARE MOSTLY BIGGER, BUT YOU KNOW, THERE ARE ALWAYS SMALLER STUDIOS.

I GOT MY FIRST JOB IN VISUAL EFFECTS THAT WAY.

I WAS OUT OF CAL ARTS AND NEEDED WORK AND THE OWNER HAPPENED TO ANSWER, WHICH HE DOESN'T USUALLY AND IT WAS A NICE MOMENT.

SO, YOU KNOW, BUT WE, NOW WE LOOK FOR ARTISTS ON INSTAGRAM.

WE ARE LOOKING ONLINE FOR PEOPLE AND THEY APPLY ON WEBSITES BUT THEN THERE WEREN'T WEBSITES.

YOU WOULD BRING IN YOUR PHYSICAL BIG PORTFOLIO, PAINTINGS.

>> ORIGINAL ART.

>> YEAH AND, YOU KNOW... >> AND SOMETIMES IT WAS HUGE.

YOUR PORTFOLIOS WERE, YOU WOULD DRAG THESE BIG THINGS AROUND.

>> OR YOU COULD MAKE MULTIPLES BY MAKING COLOR XEROXES FOR A DOLLAR EACH.

>> AND THAT WAS EXPENSIVE BACK THEN.

AND THEY WERE TERRIBLE.

>> THEY WERE KIND OF TERRIBLE.

>> THEY WERE AWFUL.

>> AND COST YOU MONEY 678.

>> TO HAVE A TERRIBLE REPRODUCTION.

>> I REMEMBER THOUGH WHEN WE START THE THE FIRST SEASON AND WE HAD OUR PARTY.

REMEMBER, THERE IS NOTHING ELSE.

OKAY, THIS DOESN'T EXIST.

AND IT'S AIRING ON FOX.

>> RIGHT.

>> FOX WASN'T IN EVERY STATE.

AND IT WASN'T KNOWN FOR ANIMATION.

>> YEAH, IT WAS SO CRAZY.

AND SO I MEAN I DON'T EVEN THINK FOX WAS IN HALF OF THE STATES YET.

IT WAS LIKE REALLY MINOR.

AND SO AT OUR PREMIER PARTY WHICH WAS AT A BOWLING ALLEY,.

>> AWE.

>> IT WAS REALLY COOL.

THEY PUT TV ON EACH LANES AND WE WATCHED, YOU KNOW, AT THE BOWLING ALLEY.

AND THEY MADE BOWLING SHIRTS FOR ALL OF US.

>> AND DID YOU BOWL?

>> YEAH, WE DID.

OH YEAH, WE HAD A PARTY.

ABSOLUTELY.

BUT WE WATCHED IT AND WE WERE ALL AT THE PARTY, NOT KNOWING WHAT IS GOING TO HAPPEN TO US, YOU KNOW, WE MAY BE OUT OF WORK NEXT WEEK.

WHO IS GOING TO WATCH THIS, COME ON?

WHO IS GOING WATCH THIS CHRISTMAS SPECIAL, THE SIMPSONS WHO CARES?

WHO?

>> THESE ARE JUST BUMPER-- AT THE TIME, WHO KNEW IT WAS GOING TO BE THIS HUGE... >> THE RATINGS WERE IMMEDIATELY HUGE.

AND THEN, OF COURSE, YOU KNOW, EVERY EXECUTIVE FROM FOX IS COMING IN AND HAVING OPINIONS ON WHAT YOU ARE DOING AND, YEAH, IT JUST TOOK OFF FROM THERE.

>> THAT'S-- AND IT'S STILL GOING AND PEOPLE STILL LOVE IT, INCLUDING US.

>> YEAH.

>> SO CLASSKICHUPO GAVE YOU YOUR FIRST PUSH, OWNED BY TWO PEOPLE AND THEY WERE KIND TO YOU AND TOOK YOU AS A YOUNG ARTIST.

WHERE DID THAT LAUNCH YOU TO NEXT?

>> THEY DID SO MUCH FOR ME.

I CONTACTED GABOR BEFORE THIS PRESENTATION BECAUSE I WANTED TO MAKE SURE YOU COULD USE PHOTOS.

>> GABOR-CHUPO.

>> HE WAS SO SWEET AND SO TOUCHED.

AND HE WAS SO WONDERFUL TO ALL OF US.

IT WAS A SMALL STUDIO.

AND I WAS ABLE TO WORK WITH COMEDIANS.

I WORKED WITH LILLY TOMLIN WHO IS ALWAYS A HERO OF MINE.

>> SHE WAS FROM HERE.

>> FROM PADUCAH.

>> LILLY IS NEXT.

TELL HER I SENT HER... NO, SHE MIGHT NOT REMEMBER ME.

SHE MIGHT.

I DON'T KNOW.

SHE SAID I HAD NICE EYEBROWS.

[LAUGHTER] >> YOU HAVE NICE EYEBROWS.

>> SHE DID.

SHE DAME INTO WORK WITH HER ENTOURAGE AND DOGS AND EVERYTHING.

IT WAS REALLY FUN WORKING WITH HER AND JANE, HER PARTNER JANE WAGNER WHO IS THE WRITER WHO WRITES EVERYTHING SHE DOES.

WELL, THEY WRITE IT TOGETHER.

BUT, YEAH, I WAS ABLE TO DO ALL THESE PROJECTS.

>> DON'T TELL THAT WHEN THEY COME HERE.

>> NO, JANE WAS REALLY SWEET.

I REALLY LOVED HER.

BUT, YEAH, I WAS ABLE TO WORK WITH ALL OF THESE AMAZING PEOPLE AND GET EXPERIENCE ON LIKE THE RUG RATS PILOT AND DUCKMAN PILOT AND EVERY PILOT, PRETTY MUCH AND THEN I WAS HIRED TO ART DIRECT THE ARNOLD PILOT.

>> HEY ARNOLD?

>> HEY ARNOLD.

>> I WAS AN INTERN ON HEY ARNOLD.

>> NOT ON THE PILOT?

>> ON THE SHOW.

I WAS AN INTERN ON THAT.

WE ALL GET OUR BEGINNING CHANCES.

>> YEAH, AND CRAIG BARTLETT WAS REALLY GREAT.

STILL GREAT.

STILL IS.

YEAH, AND SO ALL OF THESE PEOPLE HAD JUST STOPPED-- THEY HAD JUST ENDED ON PEEWEE'S PLAY HOUSE, IT HAD JUST ENDED.

>> THEY WERE ANIMATORS ON IT?

>> THEY DESIGNED AND, YEAH, CRAIG HAD HIS STOP MOTION, PENNY.

AND SO ALL OF THESE PEOPLE WERE AT CLASSKY-CHUPO AND I HEARD CRAIG BARTLETT WAS IN THE BUILDING AND I RAN DOWNSTAIRS TO FIND HIM.

LIKE WHO IS CRAIG, WHO IS CRAIG.

AND I WENT OVER TO HIM AND HE HAD A LITTLE THING WITH DRAWERS ON HIS DESK AND I WAS LIKE HI.

I'M CAROL WYATT.

OH MY GOSH, I LOVE PENNY AND PEEWEE IS LIKE AHH AND HE OPENED THE DRAWER AND HAD ALL THE LITTLE PIECES FROM PENNY AND HE SHOWED ME THEM.

>> IT'S STOP MOTION BUT SHOT FROM ABOVE.

IT'S VERY CHARMING.

>> I MET HIM AND HE HIRED ME TO ART DIRECT.

>> HE HIRED YOU BECAUSE YOU WERE ASSERTIVE, NOT PUSHY.

YOU WANTED TO MEET SOMEONE THAT MEANT SOMETHING TO YOU AND IT LED TO WORK.

>> TRUE.

, YEAH YOU KNOW, IT'S TRUE.

I WAS VERY ASSERTIVE.

>> SO WAS THAT-- SO RIGHT FROM CLASSKI DID YOU GO TO... >> HE DID THAT SEPARATE.

WAS IT DISNEY?

>> NICK.

>> I CAN'T KEEP TRACK.

>> HE HAD RECESS AFTER HEY ARNOLD.

>> AND AT THIS TIME, YOU KNOW, THE SIMPLE SIMPSONS HAD TAKEN OFF.

IT WAS A TON OF WORK.

THEY HAD MAY ME A SUPERVISOR.

FOR THOSE OF YOU WHO KNOW, YOU MAY NOT KNOW SOME OF THE NAMES BECAUSE WE ARE ALL LIKE IN THE GEEK WORLD OF ANIMATION, BUT BRAD BIRD WAS ONE OF OUR DIRECTORS.

HE IS AN OSCAR WINNER.

>> HE DIRECTED THE INCREDIBLES.

IRON GIANT AND MANY OTHER THINGS AMAZING.

>> RICH MOORE, WHO IS NOW AN OSCAR WINNER AS WELL.

HE WAS ALSO A VERY GOOD FRIEND OF MINE AT THE TIME.

AND WES ARCHER WHO WAS THE ORIGINAL ANIMATOR ON THE SIMPSONS SHORTS.

AND THESE PEOPLE WERE TEACHING ME.

>> THEY WERE LIKE HEROES IN ANIMATION.

THESE NAMES MIGHT MEAN NOTHING TO YOU BUT BEER DROOLING OVER THEM.

BROOD BIRD!

AMAZING.

>> I LOVE BRAD.

BUT BRAD WAS REALLY IMPORTANT.

SO BRAD BIRD WAS, HE HAD FINISHED SOME OTHER THINGS AND HE WAS CONSULTING ON THE SIMPSONS AND HELPING WITH THE WRITING AND HE DIRECTED AND I WAS WORKING WITH HIM ON THIS EPISODE AND HE SAID WE WANT YOU TO HEAD UP THE COLOR DEPARTMENT.

THAT'S WHAT WE WANT YOU TO DO.

WE NEED YOU TO... >> THAT'S GREAT.

>> HE HELPED GIVE YOU A BOOST, TOO.

>> HE DID.

HE WAS THE FIRST PERSON TO TEACH ME THAT I COULD DO ANYTHING WITH PAINT AND COLOR.

HE WOULD SHOW ME MOVIES AND SHOW ME CLIPS.

AND HE IS A VERY EXCITED GUY.

IF YOU EVER WATCH ANT INTERVIEW WITH BRAD BIRD, HE IS ALWAYS STANDING UP AND DOWN AND TALKING.

HE IS REALLY MOTIVATING SO HE WOULD GO, YOU GOTTA WATCH, YOU KNOW, YOU GOTTA SEE THIS MOVIE!

LOOK AT THIS PART!

FOLLOW THIS LIGHTING!

I WANT TO YOU DO THIS!

AND HE TAUGHT ME THAT I COULD DO ANYTHING I WANTED WITH ARTWORK, SO I LEARNED TO SUPERVISE BUT I ALSO LEARNED THAT I COULD PUSH IT AND DO REALLY FUN THINGS, WHICH, OF COURSE, ON RICK AND MORTY WE DO CONSTANTLY.

>> YOU KIND OF CAN'T KNOW-- WE WERE TALKING TO A GROUP OF STUDENTS EARLIER, YOU CAN'T KNOW WHAT YOUR PATH IS GOING TO BE EXACTLY WHEN YOU ARE YOUNGER BECAUSE ESPECIALLY IN ENTERTAINMENT, THEY'RE ALL SO DIFFERENT.

YOU DON'T KNOW THAT YOU ARE GOING TO HAVE SOMEONE LIKE BRAD BIRD AS A MENTOR AND BRAD BIRD ISN'T YET THE BRAD FIRE DEPARTMENT THAT HE IS GOING TO BE AT THAT POINT YET.

THAT'S PREPIXAR.

SO, YOU KNOW, IT'S ABOUT ALWAYS WORKING HARD AND BEING ASSERTIVE.

>> BEING ASSERTIVE.

[LAUGHTER] AND TO ANSWER YOUR QUESTION, BECAUSE I SEE WHAT-- >> YOU CAN ANSWER THE QUESTION.

>> I'M SO SORRY.

>> I HAVE QUESTIONS ON THE CARDS, YOU CAN ANSWER THEM.

>> SO FROM ALL OF THOSE EXPERIENCES, I WAS STARTING TO MEET A LOT OF OTHER VERY TALENTED PEOPLE, LIKE CRAIG McCRACKEN, WHO IS FAMOUS FOR POWER PUFF GIRLS.

AND HE HIRED ME TO DESIGN.

>> WANDER OVER BEYONDER.

>> WANDER OVER YONDER.

>> I DIDN'T DESIGN THAT.

>> I'M JUST SAYING CRAIG McCRACKEN, IF YOU DON'T KNOW THE NAME.

>> PROBABLY MOST FAMOUS FOR POWER PUFF GIRLS.

AND WE HAD WORKED TOGETHER AT HANNA BARBERRA ON A SHOW CALLED TWO STUPID DOGS WITH DONOVAN COOK AND CRAIG WAS THE ART DIRECTOR, I BELIEVE.

SO WHEN HE STARTED UP FOSTERS, NO WAY!

10 MINUTES?

WHOA!

>> OOPS.

>> WE GOT A LONG WAY TO GO.

SO, ANYWAY, I DID THAT.

AND THEN I STARTED GETTING A LOT OF WORK DESIGNING SHOWS, ART DIRECT DIRECTING AND IT PROPELLED MY CAREER WAY FAR.

>> I'M GOING TO THE ASK YOU MORE LIGHTNING ROUND STYLE.

IS THAT GOOD?

>> YEAH.

>> >> HOW DID COLOR AND PAINTING BECOME YOUR FOCUS?

>> I JUST ANSWERED THAT.

>> OKAY.

>> I KNOW.

WE ARE JUST RICK AND MORTY IS ANOTHER POPULAR AND ICONIC SHOW.

HOW DID YOU MAKE YOUR WAY TO THAT SHOW BECAUSE THAT'S LIKE THE SIMPSONS PART TWO.

LIKE POPULARITY.

THOSE ARE TWO HUGE SHOWS.

>> WELL IN BETWEEN THE SIMPSONS AND RICK AND MORTY, I WORKED ON... >> A MILLION THINGS.

>> LIKE 30 YEARS OF OTHER TV SHOWS AND FEATURES AND, YOU KNOW, POWER PUFF GIRL MOVIE, YOU KNOW, COMMERCIALS, MUSIC VIDEOS, ALL KINDS OF THINGS.

SO, YEAH, AGAIN, I WAS HIRED TO WORK ON THE PILOT FOR RICK AND MORTY.

PILOTS, IF YOU DON'T KNOW WHAT A PILOT IS, THAT'S WHAT YOU USE TO SELL A PROGRAM TO A NETWORK SO THAT YOU CAN GET THE FUNDS... >> THE FIRST EPISODE, PROOF OF CONCEPT, LIKE THIS MADE YOU LAUGH.

WE'LL GIVE YOU MORE.

>> AND THEY GIVE YOU MONEY.

SO I WORKED ON THAT PILOT.

IT WAS THIS TINY LITTLE CREW.

AND THEN WHEN I WENT TO SERIES, THEY HIRED ME FOR THE SERIES.

AND I STARTED OUT AS A PAINTER, JUST PAINTING ON IT, YOU KNOW, IT WAS FUN.

AND THEN, AGAIN, PUT ME IN CHARGE OF THE COLOR DEPARTMENT.

I FIND MY WAY INTO SUPERVISING COLOR ALONG THE WAY.

>> GOOD.

QUICKLY.

BECAUSE WE ARE RUNNING OUT OF TIME.

CAN YOU GIVE US A LITTLE BIT OF LIKE WHAT IS THE JOB OF A COLOR SUPERVISOR?

I MEAN YOU ARE SUPERVISING COLOR.

WHO IS UNDER YOU?

>> SO THIS IS IMPORTANT.

WE DON'T JUST CLICK AND FILL COLOR.

NEVER!

NO SUCH THING.

SO EVERYBODY THINKS THAT BECAUSE YOU WORK ON THE COMPUTER.

IT'S PAINTING.

>> THEY THINK THE COMPUTER DOES IT.

>> I DON'T KNOW HOW A COMPUTER COULD DRAW OR PAINT ANYTHING.

NOT BY ITSELF.

SO I'M IN CHARGE OF ALL THINGS PAINTED.

SO BEFORE IT COMES TO ME, EVERYTHING IS IN BLACK AND WHITE.

BLACK AND WHITE DESIGNS, BACKGROUNDS, CHARACTERS PROPS, EFFECTS AND SO AT THE END, WE ARE PUTTING IN COLOR WE ARE FILLING IN EVERYTHING.

BUT IT'S MORE THAN THAT.

YOU ARE DOING THE LIGHTING, THE MOOD.

BEFORE YOU HAVE COLOR, YOU HAVE NO EMOTION.

AND I THINK COLOR AND MUSIC ARE THE EMOTIONAL COMPONENTS OF ANY FILM.

>> ABSOLUTELY.

>> AND IN ANIMATION, IT'S, YOU KNOW, ALL SEPARATED BY DEPARTMENTS.

>> WHEN I'M STRESSED WATCHING A HORROR MOVIE, I TURN THE SOUND OFF.

IT'S TOO STRESSING BUT THE COLOR IS THE OTHER THING.

>> IT IS VERY IMPORTANT.

>> RICK AND MORTY IS GREAT BECAUSE WE SPEND SO MUCH TIME WITH SCI-FI AND DOING LIGHTING AND REALLY DESIGNING FEELINGS, YOU KNOW, ALONG THE WAY, SO WE HAVE A LOT OF REVEALS.

SO WE WILL HAVE THINGS THAT LEAD UP TO THAT BUT IT'S ALL DONE IN COLOR AND IT'S SUBLIMINAL.

YOU DON'T KNOW YOU ARE FEELING WHAT YOU ARE FEELING.

>> WE ARE MANIPULATING YOUR FEELINGS WITH COLOR.

>> WE ARE MANIPULATING YOU.

>> DO YOU HAVE TIME TO SAY IF THERE IS ANY MEMORABLE FAVORITE STORIES YOU HAVE?

>> I DO WANT TO SAY ONE.

>> SAY ONE.

GIVE US ONE.

>> SO DICK VAN DYKE SHOW WAS MY FAVORITE SHOW AND CARL REINER, THAT WAS HIS SHOW.

IF ANYONE KNOWS CARL REINER AND HOW AMAZING HE WAS.

I MEAN THE PRODUCERS, DICK VAN DYKE.

SO I WAS WORKING ON THIS SHOW CALLED CLEVELAND AT FOX.

AND WE WERE CALLED IN TO BLIFN LISTEN TO A TABLE READ.

WHERE THE ACTORS SIT AROUND THE TABLE AND DO THEIR FIRST READING.

AND THAT WAS REALLY FUN.

AND CARL REINER WAS THERE.

AND HE WAS SITTING AT THE HEAD OF THE TABLE AND HE WROTE THE SCRIPT AND HE WAS DOING THE VOICE.

AND SO I WAS BLOWN AWAY.

I WAS JUST LIKE COMPLETELY IN SHOCK, LIKE THIS IS MY HERO.

AND THEN WE HAD A LITTLE BREAK BY THE COFFEE MACHINE AND HE AND I WERE THE ONLY PEOPLE IN THERE AND I WANT TO GET A BAGEL AND I WENT UP TO HIM AND I SAID, OKAY YOU ARE LIKE MY IDOL.

AND HE WAS LIKE YOU'RE TOO YOUNG, YOU KNOW.

THERE IS NO WAY.

AND I SAID SHOW OF SHOWS, DICK VAN DYKE SHOW, YOU KNOW.

AND HE IS LIKE, HOW DO YOU KNOW SHOW OF SHOWS?

YOU'RE TOO YOUNG.

AND I WAS LIKE, RAINY DAYS, WHEN I WAS SICK?

AT HOME WATCHING SHOW OF SHOWS.

AND HE WAS BLOWN AWAY THAT I KNEW WHO HE WAS AND THEN WE JUST STARTED TALKING.

I COULDN'T BELIEVE IT.

I ACTUALLY GOT TO WORK WITH HIM.

SO WE WORKED ON THE SAME EPISODE.

I WORKED ON HIS SCRIPT.

AND IT WAS AMAZING.

SO THAT'S ONE OF MY FAVORITE STORIES.

>> I LIKE THAT STORY.

I ALSO LIKED WHEN YOU TOLD ME THAT BOB HOPE FOLLOWED YOU AROUND ONE TIME AND WAS LIKE AMUSING YOU.

>> OH MY GOSH.

FIVE MINUTES?

GOTCHA.

IT'S GOOD.

I GOT IT.

SO THIS IS FAST.

SO WHEN I LIVED IN STUDIO CITY, THERE IS A STORE CALLED GELSONS WHICH IS A REALLY NICE GROCERY STORE.

VERY NICE.

AND WHEN YOU LIVE IN STUDIO CITY, I MEAN WHEN YOU WORK IN ANIMATION, YOU RUN INTO CELEBRITIES ANYWAY.

YOU ARE WORKING WITH THEM ALL THE TIME.

>> AND THEY'RE MOSTLY VERY NICE.

>> MOSTLY AND YOU JUST GET USED TO IT.

BUT YOU DON'T NORMALLY BUMP INTO LIKE ICONS, YOU KNOW, YOU WORK WITH A LOT OF CELEBRITIES.

SO YOU JUST GET USED TO VOICES AND PEOPLE AND, YOU KNOW, BUT I WAS GOING TO THE GROCERY STORE RIGHT BEFORE IT CLOSED.

I RAN IN TO GELSONS.

IT WAS EMPTY.

I WENT TO GET FRUIT AND I WENT OVER THERE.

HE IS STANDING, BOB HOPE IS STANDING NEXT TO THE BANANAS.

[LAUGHTER] >> I KNOW, WHICH IS FUNNY ALL BY ITSELF.

>> LOOK BOB HOPE IS BY THE BANANAS.

>> HE WAS BY THE BANANAS.

>> DID HE SAY YES, WE HAVE NO BANANAS.

>> HE HAD AN ASSISTANT WITH HIM AND BECAUSE HE WAS PRETTY OLD THEN.

AND HIS ASSISTANT WOULD BRING HIM IN BEFORE IT CLOSED A LOT OF NIGHTS.

AND I WENT UP AND HE HELD UP BANANAS AND HE SAID JUST A COUPLE OF BANANAS HERE.

AND I CAN'T DO HIS JOYCE-- I CAN'T DO HIS VOICE BUT IT WAS THE ONE LINER THING AND I WAS LIKE OH MY GOD AND I JUST STOOD THERE AND STARTED LAUGHING AND THEN HE STARTED SINGING.

AND I WAS LIKE THIS IS-- I DIDN'T KNOW WHAT TO DO BECAUSE I NEEDED GROCERIES.

[LAUGHTER] BUT.

>> YOU HAD YOUR OWN PERSONAL... >> I DIDN'T KNOW WHAT TO DO.

I COULDN'T WALK AWAY.

I KIND OF TURNED AND I SAID I HAVE TO GO TO THIS AISLE AND HE FOLLOWED ME THROUGH THE STORE AND HE JUST KEPT TELLING ME ONE LINER JOKES AND SINGING TO ME BECAUSE HE HAD HIS OWN PERSONAL AUDIENCE.

AND I WAS JUST-- I JUST REMEMBER WHEN I LEFT I WENT BACK HOME AND I WAS LIKE YOU WON'T BELIEVE THIS.

LIKE I JUST... WAS SERENADED BY BOB HOPE AT THE GROCERY STORE.

>> IT WAS PRE-CELL PHONE AND CAMERAS.

>> NO CELL PHONES YET.

>> CAN WE QUICKLY GET TO SOME OF THESE.

YOUR KIDS HAVE GROWN UP IN THE BUSINESS.

HOW HAS THAT EFFECTED THEM DO THEY THINK IT'S COOL OR ARE THEY LIKE WHATEVER MOM.

>> DO YOU WANT TO GO TO A SCREENING OF SPIREDMAN.

-- OF SPIDERMAN.

NO.

NOT REALLY.

I WANT TO GO PLAY A GAME.

AND, YEAH, NO.

BUT IT'S FUNNY BECAUSE I WAS TALKING TO MY OLDEST DAUGHTER WHO IS THE ONE ON THE RIGHT THERE.

SHE IS NOW 25.

AND I WAS TELLING HER MY BOB HOPE STORY.

AND HOW COOL IT WAS AND SHE GOES, MOM, I GREW UP IN THIS BUSINESS.

WE MEET THESE PEOPLE ALL THE TIME.

IT'S JUST NOT A BIG DEAL.

AND I WAS LIKE WHAT!

BOB HOPE!

AND SHE GOES,... YOU KNOW, WE KNOW EVERYBODY.

LIKE WHAT IS... >> IT'S PART OF GROWING UP IN L.A. MY DAD HAD A MODEL TRAIN STORE AND BOB HOPE WAS ONE OF HIS CUSTOMERS SO I MET HIM WHEN I WAS A KID.

BUT I DIDN'T HAVE HIM STALK ME THROUGH THE MARKET DELIGHTING ME.

LIGHTNING ROUND WHAT ADVICE WOULD YOU GIVE TO THESE FINE STUDENTS WHO ARE GOING INTO COLLEGE AND INTO THEIR CAREERS BECAUSE WE HAVE SOME STUDENTS IN THE AUDIENCE.

ANY ADVICE FOR THEM.

>> ADVICE FOR EVERYONE.

>> ADVICE FOR EVERYONE.

>> FOLLOW YOUR DREAMS AND DON'T GIVE UP.

AND BE PERSISTENT.

SAY YES.

IT'S LIKE WHEN YOU DO IMPROV, IF ANYONE EVER DOES IMPROV, YOU SAY YES AND.

YOU DON'T SAY I DON'T KNOW THAT.

IF YOU DIDN'T IMPROV AND YOU WENT, I DON'T KNOW ... >> I YOU WOULD NOT BE A FUN IMPROVE PARTNER AND IT HAS BEEN THIS WAY AND YOU KNOW, FOR EONS MEN HAVE BEEN VERY COMFORTABLE SAYING, YOU KNOW, YES, I'LL TAKE THAT JOB.

AND GO IN, NOT KNOWING HOW TO DO THE JOB BUT GOING AND DOING IT AND LEARNING IT THERE.

I DON'T KNOW WHAT MADE ME DO THAT.

I HAVE ALWAYS DONE THAT.

BUT A LOT OF WOMEN THAT I HIRE WILL SAY TO ME, I DON'T REALLY KNOW... NO, STOP EVER SAY THAT.

SAY I WOULD LOVE TO LEARN THAT.

I CAN DO THAT RIGHT NOW.

YEAH I CAN LEARN THAT.

>> FAKE IT UNTIL YOU MAKE IT.

>> FAKE IT UNTIL YOU MAKE IT.

ALWAYS FOLLOW YOUR DREAMS AND SAY YES.

>> BUT THEN WORK REALLY HARD AND ACTUALLY BE GOOD AT IT.

>> WORK HARD!

>> YES.

WORK ETHICS ARE UNDERRATED.

>> THEY ARE.

>> DID WE DO IT RIGHT?

ARE WE IN GOOD SHAPE?

[ APPLAUSE ]