All posts tagged creative director

  • A Conversation With Ben Corman, Rudius Media Creative Director

    I don't understand the significance, either.Ben Corman is the Creative Director of Rudius Media. They’re an American web publishing company founded by Tucker Max, who wrote a book called I Hope They Serve Beer In Hell which is being released as a movie in September 2009 (production blog here).

    I’ve followed Tucker Max since around 2004. Initially, because I was the typical teenage male attracted to his hedonistic story-telling; lately, because Rudius is an interesting case study as a (mostly) public web media company, given that their staff is largely comprised of writers. Corman is averse to publishing photographs of himself – he was adamant that the graffiti pictured right should be used to depict him – but he took the time to respond at length to my questions about Rudius Media, his role and their future.

    How did the opportunity to sign on with Rudius come about?

    I sort of fell into it. A couple of months after I joined the messageboard, Donika [Miller, Rudius Editor] and Luke [Heidelberger, Rudius Director of IT] started the Submitted Stories board and, being that I wasn’t doing much with my time, I started writing short stories to get posted there. I’d always (sort of) written, but it was hard to sustain any enthusiasm for it without having anyone to read my stuff. That board was great because for the first time my work was getting put in front of an audience who didn’t give a shit about me and would give me honest feedback.

    Donika noticed me and offered to help edit my stuff, which was a huge ego boost. It was really nice to have someone say, “hey, this is good and I believe in it.”

    I’m not sure what happened after that. I kept writing and about a week before I was supposed to see Tucker speak at UCLA he messaged me about my writing. We went out for drinks after the speech and talked about the company and what he was trying to put together; I told him that I’d love to come on board. I assume that Donika put my name out there as someone with a little bit of writing talent. and it was just luck that we happened to be in the city at the same time.

    How does your current role differ from what was described to you at that time?

    You assume that I had a role described to me. The night I got myself hired, I’m not sure Tucker ever said what I was going to do. He said something like “I’ll give you something easy to do, just to see how you do at it and to see if you’re a good fit. If you do well, then I’ll give you more work. If you blow it, no harm, but it means you’re not a good fit, and we’ll go our separate ways.”

    The first thing I did was some transcription work for Robert Greene’s site. Then after that I started editing a few of the projects that we had going at the time. I was just happy to be a part of the company; we never really had things like job descriptions or roles.

    How do you describe the company and your role when you meet new people?

    Rudius Media. Also pictured: Russell Crowe's silhouetteI sort of evade the question when I meet new people. For most people, what they do to pay the bills and what they’re really passionate about are two separate things. I like to get right at what they’re passionate about, because that’s always more interesting than the sort of small talk that surrounds “so what do you do?”.

    Usually, when the question comes up, I say I work for a start-up media company and I’m the creative director of the literary side. That’s enough of a mouthful that most people nod without knowing what that really means.

    Don’t get me wrong. I’ll talk all day about writing, but only because I find that sort of thing really engaging. And there are parts of my job that I really like discussing, like how the internet has changed content distribution, or what it takes to make a living as an artist. But those topics are usually divorced from the discussion of what I do professionally. Most people have some sort of creative outlet, whether it’s DJing or coding or climbing or writing or photography. It’s easy to have a wide-ranging discussion about those interests without it having to be bogged down with talk about the day job.

    Do you find that people tend to have difficulty accepting what appears to be a relatively unclassifiable, ‘new media’ company? Do you find yourself oversimplifying your role to fit into what people are able to understand?

    I think most people don’t know how the movies they watch or the books they read are made, and consequently they don’t really understand the difference between Rudius and a more traditional media company. Which is fine; I don’t expect people to know the ins and outs of either industry, and I certainly didn’t understand the nuances of this business before I worked in it. When I talk about what I do or what Rudius does, they don’t realize that we’re different from the other players out there. Conceptually, their understanding that we’re different stems from us being a start-up and that we’re still trying to establish ourselves in these spaces.

    When I talk about what I do and the many hats I wear, it’s in the context of a start-up. People understand that my job can change pretty much on a daily basis, depending on what Rudius needs at the moment. So I don’t ever really have to simplify what my job is. I do whatever needs to be done.

    People are more interested in the fact that we’re a start-up and that I work from home, than what I actually do day-to-day. In some ways I live the dream. I don’t have to worry about making it into an office. I don’t have hours to keep. I travel a lot. As long as the work gets done, everyone is happy. I think a lot of people would prefer the system we have over the traditional eight hour work day.

    When you first met Tucker, did he buy you a copy of [Robert Greene’s] 33 Strategies Of War like he did for Ryan Holiday? [a fellow Rudius writer, pictured below right]

    Ryan Holiday at an American Apparel press conference. Photo by flickr user 'Steve Rhodes'Nope. But Tucker has this amazing library that I’ve borrowed more of my fair share of books from. For a while I was reading like a book a week out of it. And he has this habit of ordering books twice, so I’ve been able to get a number of free books that way.

    When I first met Tucker, I knew he was a Robert Greene fan, so I lied and said that I’d read all his books and was a huge fan myself. Things probably would have turned out the same, I’d have still gotten the job, if I’d been honest but I was reaching that night because I really wanted to work with Tucker. And once that lie was on the table, I had to go back and read Robert Greene. I was too poor to buy the actual books, so I blew off studying for my finals and spent the next week in the UCLA bookstore reading Robert Greene’s work.

    In “I’m With The Band“, you wrote: “And if you already think I’m an asshole this is where you should probably stop reading.” Can you explain that line? Why the pre-emptive self-defense?

    I was trying to say that I realize how ridiculous it is to complain about a positive. I’m aware that what’s coming is going to be good for all of us. If the movie [I Hope They Serve Beer In Hell] does well, we’ll be in a great place. We’ll have resources, we’ll be able to work the artists we want to work with, and we’ll have our pick of projects.

    A lot of people are going to look at what’s coming and think I’m crazy to miss the days when we were run out of a living room. And they’re probably right. I assume that things only get better from here on out and that I’ll have more opportunities going forward. Which is why I feel like an asshole writing that I’ll miss it. But Rudius has been such a big part of my life over the last few years that I can’t help but feel something now that we’re about to undergo this huge change.

    In September 2008, you took a hands-on approach to updating the Rudius Media homepage with new content almost-daily. What was the strategy behind this decision? Has it succeeded, or is it too early to tell?

    As we’ve grown and added sites and as some authors have fallen off from writing, we’ve not done a very good job showcasing who is writing and where the newest and best content is. The change was supposed to (in some small way) address that shortcoming, and give readers an easy way to stay on top of what’s happening in the Rudius universe. In looking around at Rudius Media, it was a pretty big oversight that a new media company wouldn’t have a portal for it’s own content.

    It was also the first part of a larger strategy to redesign the sites. I had hoped that we’d be able to get that redesign done this year, but because of the budget, it looks like that’s going to have to wait until 2010. I want to make Rudius Media more of a community instead of each site having it’s own little fiefdom. So we’re looking at features such as single login that will allow a reader to comment on any of the sites as well as log into the messageboard, dynamically updating blog rolls that show which sites have been updated and where the latest content is and the ability for our readers to interact with each other through profiles and other such web magic.

    It’s really too early to tell if all of this will be a success or not as the changes to the Rudius Media site are just the small first step. There should be a lot of cool stuff happening next year.

    How do you deal with procrastination? Have your work habits improved of late?

    I used to just throw myself at the day with this sort of checklist mentality. So if I wanted to update the blog, I’d just sit there first thing in the morning and sort of command myself “ok, now write.” Or if it was midnight but I had some editing to do, I’d sit down and try to edit. As a result, I’d just be super unmotivated to actually do the task in front of me. so I’d waste time on the messageboard or on my RSS reader.

    I’ve found that I’m better at certain tasks depending on the time of day. So mornings I can deal with the tech side and keeping the servers alive, usually over breakfast. Afternoons I usually spend on the content side; editing, looking at author applications, reading my RSS reader. And I’m better at writing post-8pm. So now I just block my day off into three-hour blocks and I just stay with whatever task I’m on for those three hours.

    It has the advantage of not feeling like I’m going to spend my whole day on one task and since I know, “okay, I’ve got three hours to get this done.”

    I also tracked myself for a week to see where I was wasting time. I realized that keeping my email open all the time was a huge problem, because every new email was an interruption to what I was doing. Now I only check it once an hour or so, whenever the natural breaks in whatever I’m working on come.

    The bigger problem though was my RSS reader. It’s easy to lose a whole day just sort of mindlessly reading articles and tagging them in del.icio.us. Now, if I find myself doing that, I make a conscious effort to close it and get back to whatever I should be working on.

    How do you define your business relationship with Tucker [pictured below left]? Do you consider him a mentor?

    Tucker Max. Six foot nothing.He’s my boss and the owner of Rudius Media.

    He’s not a mentor in the sense that he’s looking over my shoulder and giving me advice or direction but he’s always been there as a resource. And as I’ve tried to learn everything I can about this business, it’s been invaluable having him there to bounce questions off of. A lot of what I’ve been trying to learn, he pioneered with TuckerMax.com, and so when I’m not sure exactly what the next step is, I can go ask him, “What do I need to do here?”

    I’ve noticed that most people who comment on your blog entries tend to write something like “oh yeah I can totally relate, this is just like what happened to me”, before they go on to describe a similiar experience they had. I notice this happens a lot on Ryan’s blog, too. Maybe it’s a wider blog phenomenon, but it seems really concentrated on the Rudius sites. Does this kind of reaction to your writing bother you?

    Not really. I’m usually so happy that people are reading and commenting that unless someone is obviously trolling, I’m happy that they’ve taken the time to hang out at my site. It’s not like I know my readers; they have no obligation to me to keep coming back and reading what I have to say. But they do, and that’s incredibly rewarding. That they then want to share their experiences is pretty cool.

    There’s all these articles out there about narcissism, and about how blogging and Twitter and everything else is just an extension about how narcissistic we’ve gotten as a society. I’m sure there are elements of that out there, but for the most part, I think people blog and Twitter and share on flickr and goodreads and del.icio.us and messageboards because they’re looking for a connection with other people. I don’t see it as narcissism, but as us really trying to connect by saying “here’s what I’m about”, and seeing if that resonates with other people.

    Yeah, the downside is that there are a lot of people blogging about their cats, but you know what? If that person has twelve readers, I bet there’s a cool little vibe happening where they all get to just geek out about their love of cats. It’s easy to shit all over that, but most people aren’t trying to do this for a living; they just want to find other people who share their hobbies and passions.

    So if my writing connects with someone where they want to share their experiences back, I’m not sure how that could bother me.

    Since I began reading your site a couple of years ago, I found it frustrating how little you discussed the day-to-day working for Rudius Media. It’s great that you’ve recently started to write more about that side of your life.

    I tend to write about what’s going on in my life and what I find interesting at the moment. With the movie tour coming up and with the movie site about to go live, Rudius has definitely been on my mind. But it hasn’t been a conscious decision to write more about my work, or what happens day-to-day. When I sit down to write, there’s no real decision like “I have to go in this direction.” I just write about whatever happens to be on my mind at the moment.

    If you like the day-to-day Rudius stuff, there will be a lot more of it coming up. I’ll be on the movie tour, and I plan to write every day, sort of what I did with the Panama trip. So look for that.

    What are your goals with the non-fiction element of BenCorman.com? [site banner pictured below right – dude in suit isn’t Ben]

    Fake Ben Corman standing in a fake suit among a fake building wreckage.I wish I had goals for the site. A few months ago, when I was having trouble writing post-Panama, I sat down and spent a few weeks mapping out my next novel. I’ve got a notebook full out outlines and character profiles and everything else that goes into a really big project. And for a few weeks I sort of nibbled around the edges, filling in parts of the outline or writing scenes, but not doing any of the heavy lifting.

    Then I had a pretty rough weekend and wrote about it in the entry about my grandmother dying (“January 22nd, 1917 – July 3rd, 2009“), and ever since then, the words have sort of tumbled out and on to the page. So I put the novel away for a bit, and I’m just going to ride this for as long as it’s fun and it’s working for me.

    I go through these periods where writing comes really easily and I have a lot to say; that’s when I really just love doing it. But as to where it’s headed or what the plan is, it’s pretty undefined. Just: do this, and see if people respond to it.

    It’s actually a dumb plan. I should be working on the novel non-stop so that it’s ready when we’re a big bad player in Hollywood.

    What do you hope others get out of your writing on the site?

    I hope people are entertained. Growing up, I read a lot. Even now, there’s nothing I like more than just killing half a day getting lost in a really good book. I don’t think my own writing is that strong yet, where people will just get lost in it for hours, but I hope that they sort of lose themselves in what I have to say – for a few minutes, at least.

    Finally, how do you feel about being interviewed?

    It’s harder than it looks in the movies. Like anything else, there’s this pressure to be engaging, to be funny, to be honest, all while still maintaining that fiction that I’m cool enough to be interviewed.

    I really hate reading interviews with people that I respect that are boring, because it feels like they’re not trying. That’s probably selfish of me, to want more than they’re willing to give. But now, being on the other side of the table … it feels like you’ve given me the chance to say something, and you’ve opened your audience to me. I want to respect that.

    So much of this blogging shit is just a shell game: it’s creating content because the template is to update (x) times a week on Y subject, and link bait sites A, B and C. In my own writing, I’m trying to get past that. I’m trying to create the kind of stuff I’d want to read, and not just create content because I need to hit that content template.

    So I’d feel really shitty if I just mailed it in with two line answers. But it’s fun too. And I can only hope that this interview turns out to be entertaining, or that someone gets something out of this.

    Ben Corman updates the RudiusMedia.com homepage most days, and writes mostly non-fiction at BenCorman.com. He’s joined Tucker Max’s movie tour in the lead-up to its September 2009 US release, which Tucker has blogged about extensively here. Contact Ben via his site or Twitter.

  • A Conversation With Hunz, Brisbane Electronic Artist

    hunz_02Hunz is a Brisbane-based indie artist who intersects innocent pop melodies with dark electronica. He’s Johannes van Vliet when recording, but his killer sound is augmented by a bassist and drummer on stage. I first saw Hunz perform in support of Yeo & The Freshgoods at Brisbane’s Press Club in November 2008; his music is brilliant, which is why I bought his debut album, When Victims Fight, immediately afterwards.

    Hi Hunz! It’s 2009. There’s ten trillion bands on the internets who want our attention. Why should you have ours?

    My music is a throw back to my teens, when video games were my escape to the problems that surrounded me.

    I use glitches, beeps, pops and the original programs that were popular for writing music back then. I try to cram the songs full of my heart so that when I sing, it all comes out connected and very personal.

    I have visions as I write this music, and it is my hope that soon people will see what I see as I embark on animating my music as well.

    Your debut – 2008’s When Victims Fight – was marvelous, but I understand you’ve since written a new album.

    My new album is called Thoughts That Move, and it was inspired by the RPM Challenge. My wife read about RPM on a website and said, “You should do this”. The concept behind the site is to record an album – ten tracks, or 35 minutes – in a month.

    As I logged onto the website I started having doubts. It looked a bit dodgy – I should say I’m a graphics snob, and I feel I have the right to comment on web design and layout; I don’t – but as I looked around, it was evident that my initial doubts were wrong.

    The RPM competition is about community and creating an outline that will help people – from bedroom guitarists to performing musicians – record an album within a month, albeit within February, the shortest month! In a matter of moments, I ran out into the lounge room and announced that I would accept this challenge.

    A summary of what followed in the month of February was as follows:

    • “Optimistic” Hunz would wake me up.
    • “Creative Ideas” Hunz would hug me during my day-job and whisper sweet nothings in my ear
    • “Realistic” Hunz would put me to sleep (well, keep me awake).

    Halfway through the month, “Realistic” Hunz would wake me up. “Creative Ideas” Hunz had stomach cramps and had to go bye-bye, and “Optimistic” Hunz was being bashed.

    In the last week, I just let everything go, and it all fell into place. Out popped this album Thoughts That Move, and wow, RPM was done for this year. There’s a more detailed account of the challenge at hunz.com.au.

    As an electronic artist, the ability to quickly tweak and modify your songs lends itself to this sort of time-constrained project. How much live instrumentation did you use?

    For this album, I asked a friend of mine in Nashville, Jesse Palmer (from a band called Skate Party, who did some tunes for HomeStarRunner) to work on a guitar part for You Said Hello. That was it. Everything else is mostly hand-drawn, which involves drawing in your waveform; another name for this is an oscillator. I would then do some basic ADSR (Attack – Delay – Sustain – Release) on it and use multiple channels to do the Add, Subtract, Multiply setups. It’s like creating your own SoftSynth VSTI plugin, but doing it right in the program instead.

    I used the Renoise audio composition software for this project. The other instrumentation was from a lot of old, old loops I have found over time. I love flavour in drums, so I love to cut up live loops and shove them into new beats. I love it when hi-hats ring into snares or kick drums. It adds imperfections, and electronic music needs this to make sure it isn’t so rigid. I used string and Rhodes samples for a few tracks too.

    I will eventually merge the live aspect of the music into the recordings, which will be heard on the next album. The guys in my band are amazing, and I would be silly to not have them influence the outcome of my tracks. There are parts they have both come up with that I miss dearly when I listen to When Victims Fight, and I’m not going to let that happen again. The only track on When Victims Fight that mixes electronic elements and the live band was Who Knows, and I feel like it’s a good start.

    hunz_03When do you expect the RPM album to be in stores?

    This album will be free.

    We are currently working out how to present this though, as people have requested physical copies and others are interested in paying something. We are also looking at ways of getting it into some digital distribution outlets so that people get it how they want.

    I’m also releasing the original song files in a tracker format for Renoise (.xrns), which means they are 100% destructible, a bit like a GarageBand session.

    I really want to pay my respects to the scene that inspired most of how I write music today. Back in the early days when I wrote music, it just got shared around the internet for everyone to pull apart. I guess with this album, I’m going back to that mentality a bit.

    So the free album release is more a recognition of your past musical experience than a comment on the nature of musical distribution in 2009?

    For me it was just how I used to release music in the past. You just released it online and hope for the best.

    I was so excited when I saw that Nine Inch Nails and Radiohead successfully released music this way, for free. It is a step in a different direction that feels like it might just work.

    ‘Free’ for bands like NIN means that they can live off their live shows.

    ‘Free’ for bands like me may mean that more people will be attracted to the idea of my music, and then fall in love with it, which will thus provide more demand for me to tour around a bit.

    It certainly is a game of “wait and see”, because I have no idea. But it just feels right, and ultimately, I won’t be disappointed. I’m doing music because I love it, and my close friends asked me to release it.

    Kickass mindset, man. You’ve already won. I love that you’re already planning the next album. Have any themes solidified yet, or are you still mulling it over? Is it going to be another free digital release? Or more importantly – do you see any alternative to releasing music for free or near-free? I have this notion that music in 2009 primarily exists as a vehicle to get bodies to shows, which you seem to believe as well.

    The next disc is going to be more like what our live show sounds like. I’ll create the initial song ideas, work with the guys in creating fresh bass/drum ideas, then take that all into the studio and record. Then I’ll take that home and manipulate it and then go back for mix-down later on.

    The theme for the next album is  introvert versus extrovert relationships, and I’m nearly done with the creation of the first phase.

    I haven’t yet decided how I’ll approach the release of the next album, but I love the idea of free music. I agree that music might move into a promotional realm for the artist, instead of being a source of major income.

    It’s hard for me, because the city in which I work is small. If I play every other week in Brisbane and have people come along, they’ll burn out quickly and will only come to shows every 3-4 months. So my crowds thin out until I have a major release; then it packs up again.

    If you’re a touring band around the globe, I could see this working a treat; or at least, somewhere where the population can support it.

    Maybe having options for the user would be a treat. Or you sell your album with a ticket to come to any show. So people can just buy the album and support, or people can get the album for free with their ticket purchase. And that ticket works anywhere you play. Maybe it’s universal. Haha, still thinking about that one…hunz_01

    I’m guessing you’ve got a pretty sweet home recording set up.

    I have:

    I then use Buzz, Renoise and Cubase to create everything from there. I stay away from VSTIs (virtual studio technology) and instead draw the wave forms – which can represent percussion or synth sounds – into Renoise.

    I also never got into the gear race, which makes me kinda feel like I missed out on something. But it’s been only over the last few years that I’ve played my music live, so I know my future will be more gear-centric.

    I imagine that you have some mundane day-job, and that your music is your creative outlet. Am I on target? Hunz – accountant by day, musician by night?

    Haha, that’s so great. No, I’m a Creative Director for a production company running the motion design team. Motion design is best generalised as “very pretty movie titles”, but like music, it has very, very deep paths that push to the other side of the spectrum.

    I’ve just embarked on setting up my own motion design company called iv motion [eye-vee mo-shun]. It’s a partnership with the company where I work now. It has been a big dream of mine to see music and animation together, all made by the same creative agency, so this is a step in that direction.

    In the past, I tried to do all the music and animation on my own, but I couldn’t. I need help. I need crews, and I need to pay them for their work. I am hoping this year brings about some completeness in Hunz, where people will see the two together and understand the music more. My graphics team used to be a part of a production house, but by breaking off on our own, iv motion can work with many production houses to get a broader range of work.

    Okay, so I was (thankfully!) way off on my accountant-by-day assumption. Creative Director – that’s awesome. This certainly explains the kick-ass artwork and animation that accompanies your music. I friggin’ love the promo vid that you did for When Victims Fight [below].

    You mentioned that you’d like to try and integrate visuals into your live show – what do you have in mind?

    Thanks for the love on the promo vid! I stumbled on that idea during another job and saved off my work knowing no client would want zombie-like people walking across the screen! It often happens as you work: something will glitch out, but it looks so freek’n cool that you have to show it somehow down the line, and Hunz works out perfectly for that.

    The live video aspect of Hunz will happen over a long period of time. It’s more a money/time thing, and then wanting to do it right. I have invested time into researching some fresh ideas, and with technology, the proper implementation wins over simply being the first one to use it.

    I am aiming for interaction of the artist with the video to enhance the mood of the songs. The way that NIN just did their last tour was exactly along the lines of where my head space is at. I haven’t seen it, and I don’t think I am going to watch DVDs of the tour. I’ll try and remain fresh and not taint my creative ideas just yet. I heard Reznor would push on these LED displays and the video on them would move around him to make it look like he was pushing through it. Just so good to see this happening.

    Your well of creativity seemingly runneth over. Music is your passion, that much is obvious. Do you have those moments where you wake up in the middle of the night and have to record something, or do you stew on ideas before working on a track?

    Melodies greet me often. I’ll be walking along, looking around at life and then the shapes and colours start singing in my head. So I have a phone that records these moments as I hum in the melodies. Most of the time I sit down on the computer and start messing with sounds. Usually it starts talking to me, a flood gate opens up, and then the song is complete.

    I feel like I watch the music being made for me and then I pass it on to everyone else. I had this one song that didn’t make sense to a few years back and I thought “Man, How neat is that? I can sit there and create and not know at the same time”.

    The influences of artists like Boards of Canada, Radiohead and Nine Inch Nails are identifiable in your sound, but your MySpace mentions that you’re interested in “anyone who complements music with computers”. Can you elaborate on this statement, and describe how your music taste began to lean toward electronica?

    That “anyone who complements music with computers” is a way to say ‘hey’ to all the demo sceners of the day, and also to give people an idea that they don’t always have to use guitars for accompaniment. It also is a subtle request for people who use computers to send me their music. I’ve come from the demo scene, and we all used computers to help bring our ideas out into the open, and this helped introduce me to electronica. I’ve always had a soft spot for hand-drawn sinewaves and sawtooths.

    The lyrical content on When Victims Fight seems intensely personal; is this a trend you plan to continue?

    When Victims Fight was a complex one. It was about all those arguments you have in your head as you’re thinking. I do write about myself, but very exaggerated versions of it. Enough to protect the source but to still be honest and feel it. It will continue out like this; it’s just how I work.

    I have a few songs that didn’t make that album because the lyrics were so argumentative. One line is “you should do this”; the next is “well, I’m not sure if that’s where I need to go” .. and it flips around like this with no resolve.

    I’m not really into much resolve either, I’m really into the reality of the journey. It’s beautiful to watch the process of people.

    You currently handle most aspects of the Hunz project – production, visual, booking, promotion – yourself. Have you accepted this as par for the course due to the part-time nature of your musical career, or do you envisage enlisting external assistance?

    I’m really fortunate to have a helpful band. Both guys in the band are helping me out in any way they can, but that is dependent on how much I can “let go”. Which I am learning to do. I have very high standards; some would say too high. So I’m learning that it’s okay to accept what is “second best” in my eyes, because that is still higher than what most people might expect.

    I don’t know if the truth of that statement is in my heart yet, but I think it will get there.

    My wife also helps out as well and has challenged me – as only someone who knows you can – to do things differently, which has been awesome.

    Apart from that, I do need help. I’m creative, and although I’m learning that business is very creative too, it still isn’t my strong point. I do know what I want to achieve, and where the music is heading; I’ll just start constructing that now, and hope that I meet the right people to make it happen.

    hunz_04Finally – as a musician in 2009, what’s the biggest barrier to getting your music heard? How do you overcome that barrier?

    As I’ve developed as a musician, there are a few ways I’ve noted that you can explore as a band to get heard. I think for Hunz it’s all about people discovering the music kind of on their own. Because these themes are in the music, to do it any other way would be a lie.

    I don’t want to push Hunz. I want to let it sit and take on its own life. It’s been wonderful to watch, because often when someone connects with Hunz, they become a fan and want to help me out, which just overwhelms me in the best way. Because of that approach, things take a longer amount of time, so it’s finding the balance between that and connecting with the right people who can help build a platform for you.

    I will continue to perfect my art, video art and music over the years to come, and I hope you all decide to watch this process as it unfolds!

    Watch the process unfold in real time by following Hunz on MySpace, Twitter and his website. You can stream his newest creation, Thoughts That Move, through the RPM Challenge site.

  • A Conversation With Tim Kentley, Creative Director at XYZ Studios

    Note: This one is on behalf of FourThousand.com.au as part of their sponsorship of the Semi-Permanent creative conference, which is being held in Brisbane on 8 April 2009. The original article can be viewed on the FourThousand site here.

    The interview subject shifted from Executive Producer Hamish MacDonald to Tim Kentley shortly after my initial contact, which rendered most of my initial questions useless. Cue additional research, a hasty rewrite and resubmission. Tim got back to me soon after, which was awesome. Junior‘s 2008 interview with Tim is a great source of inspiration, so I was thrilled to build upon that initial conversation.

    tim_kentleyTim Kentley founded Melbourne’s XYZ Studios in 2003, and they’ve since gone on to produce consistently high-quality, innovative animated commercials that you’ve mostly likely seen on television – for clients like McDonalds, the World Wide Fund For Nature, Dodge, Havaianas and Honda – and wondered aloud: “how did they do that?”  As director at an oft-awarded, highly respected animation agency, Tim’s expertise and advice is highly anticipated at April’s Semi-Permanent creative conference. Tim kindly answered FourThousand’s call in the midst of several campaign deadlines: what a guy!

    Tim, I’m a big fan of Junior and I love the interview they did with you last year. You suggested that there’s no such thing as a shit job, and that any young creative looking for a career has to make the most of every opportunity. I’m supposing that you still hold the same ethos; has this notion of grasping every chance only became more important, as companies tighten the pursestrings of their advertising and marketing endeavours in the face of the current economy?

    I absolutely do believe that. It’s true of life in general. Like Dick Pratt taking the cardboard nobody wanted and turning it into billions. But to qualify, you will need to pick your fights – not every job is going to destroy the status quo. If its bread and butter, get out the bread knife and lard it up. But every once in a while, the stars will align and it’s time to re-invent the wheel.

    Your studio’s credo is that if the idea is original, then the depiction of that idea should be original too. I admire your desire for innovation, but realistically, how does your team avoid cliches and material that’s been done before? What’s the procedure for dealing with creative briefs?

    The procedure for dealing with creative briefs is to have creative bones. Then you will put yourself into the work – and nobody else’s. For truly creative people this is hard wired. I really spend little time looking at what other people are doing in the industry and more time looking at my brief, and the ideas simply start springing from it. I’m a director as well as a writer, animator, compositor, designer; wearing heaps of hats really helps, as you’re aware of what’s possible, what hasn’t being done. All XYZ animation directors have this skill. I think it’s key in animation, so you can really push stuff along without having to say to another brain – “can we do this?”.

    Do you find it’s difficult or painful to compact hundreds of hours’ worth of storyboarding and character modelling into a thirty-second ad spot? As the studio’s director, do you ever feel a sense of frustration that the target audience might ignore the art that you and your team produce?

    Yes to all. You know the industry well mate!

    XYZ is in its sixth year of operation now, and the studio continues to win a swag of awards each year. What have you got in store for the rest of 2009?

    Well, touch wood, I am glad to say the studio is pumping. I am directing a work for Grey in Amsterdam at the moment, using a photocopier tray as the animation tool which I am really excited about. This years ‘swag’ as you put it, is en route, with Stephen Watkins’ WWF job winning a Cube at the Art Directors’ Club in New York last week, and we are again a finalist for Australian Creative Hotshop of the Year and the First Boards Awards for Best Motion Design. Speaking at Semi-Permanent will be a blast, but here is the hot news off the press – the studio has just bought its own pad in South Melbourne. It’s an awesome space and we can’t wait to get in there, we’re setting sail on July 1! Oh yeah – a state of the art facility with no more body corporate, rent or landlords!

    Here in Brisbane, the last couple of months has seen more people either freelancing or starting their own business, at least in the circles I frequent. Conventional wisdom suggests that it’s best to start on the bottom floor – in a down market – to keep costs down. Do you have any advice for these startup businesses based on the hard slog you experienced when kicking off XYZ?

    Well it’s a hard time for businesses, and I do think it’s a harder time to start a business, because clients don’t want to take risks with unproven vendors, as every job is now critical. There is now little-to-no overflow from busy studios, so no hand-me-down jobs to give new studios a break. BUT – if it’s in your blood – do it. If your experience is anything like mine, it takes years in the trenches taking everything you’ve got, however you can get it. Just start and dig deep; with time, talent rises to the top.

    You’re a speaker at the Brisbane Semi-Permanent creative conference next month. Can you drop any hints as to what to expect from your presentation?

    I’ll pretty much just come out all quiet-like and take you though a few jobs. Nothing crazy!

    A thorough examination of Tim’s mad animation and direction skillz on the XYZ Studios website comes with my highest recommendation. Thanks again, Tim!