Nusula Nakayawi: Drawing a Path to Success

Monday 2nd February 2009

Ever thought of working in animation and spending your days sketching ideas for new cartoons? Well, 23-year-old Nusula Nakayiwa dreams of just that. Having graduated last year in Animation, Nusula took her first step on the path of becoming a professional animator by working for Little Airplane Productions, Inc. in New York, which has created and produced top children’s shows on Nick Jr., Playhouse Disney and most recently the BBC. ORIGINS sat down and spoke with the budding artist about her journey so far.


ORIGINS: When did you know that you wanted to be an animator?

I’ve had a pure love and talent for drawing from as young as five, so that creative side of me had always existed. I realised I wanted to get into animation when I was about seventeen. It was my first year at six-form and I had taken Media for the first time as a subject. I wanted to combine my drawing skills with this newfound interest in media, so together they equalled Animation!


ORIGINS: How were you formally trained in Animation?

Before I went on to do a degree in Animation, I studied a Media Diploma for one year. The course allowed me to try out different aspects in media such as Photography, Film & Video and Animation. It was a great way of finding out what I wanted to proceed with as a major. After that, I went on to do a BA in Animation at the University of Westminster where I was taught various practices and approaches to achieving animated work. The course was mostly practical based, which was useful as I discovered employers judge you based on what skills you have to offer, so it was very important that technical skills and software was the main focus in the course.


ORIGINS: What made you decide on doing an internship, and why in America?

Because no one will hire you unless you have some sort of experience in the field, or have really good connections! Going to university is not enough, so it was important that I went out and found work experience. Luckily, I managed to find an internship in America. I decided to do my experience there purely because the animation industry is much bigger. Also, I find that there are a lot more doors open to people in the creative industry abroad than there is here. I find Americans to be more open minded than the British media industry.


ORIGINS: How did you go about setting up the internship?

I started looking at various American animation companies online, like Disney and Pixar. I came across Little Airplane Productions, Inc. and emailed them. Luckily, they emailed me back and asked to arrange a telephone interview. I was absolutely ecstatic when I received that email! I had my phone interview and they asked me to come and intern for them over the summer. So, I sorted my visa through a sponsorship program and finalised my travel and accommodation.


ORIGINS: What did the internship involve?

I worked as an intern for two months, five days a week, undertaking various tasks ranging from making coffee to storyboarding. They had a morning meeting everyday where the producers and directors would go through the schedule outline of the day, and what goals had to be met by each team. I was introduced to the rest of the team as the new intern. There were about ten interns a day! I got a chance to work on some amazing things that contributed towards their shows. Not many interns got the chance, but I pushed on the fact that I was interested and good at what was required. I worked on storyboards for two episodes - from looking at the final script to putting the directions into visuals. I also had the chance to do touch-ups on some designs, as well as helping with designs for pitch bibles.


ORIGINS: Was there anything that you learned while you were there that really surprised you?

I learnt that animators were in different jobs so much; it occurred to me that when being an artist work is not always guaranteed! But, if you stand out amongst the rest and always meet your targets companies are more likely to keep you on.


ORIGINS: After your internship you started working for their London branch. What was that like?

L.A.P. had got a contract with the BBC to create a new TV series. Before I left Josh Selig, the director and founder of the company, asked me to come for an interview with my portfolio. I was shocked and in amazement! I undertook an interview with him and three other senior staff and they asked if I would like to work for them in the UK office as a production assistant and handle the research in the UK for the new series.


ORIGINS: Do you think that the internship was worth it? Were there any downsides to the experience?

Yes, I definitely think it was worth it! I learnt so much, more than I could have imagined, and it gave me a great insight into the running of a production house. It was also great because I got to interact very closely with all the departments and learned about how well they all work together. I found that I learnt a lot more adaptable skills at my work experience then I could ever at university. There wasn’t really a downside. It was one that was worth my time and money.

ORIGINS: Now that you’ve graduated and have professional experience under your belt, what’s the next step?

I have professional experience under my belt, but at the same time I'm still finding it extremely hard to find work! What I can say is that I try to maintain a positive attitude, and the key is not to give up even when things don’t seen to be going the way you planned. Right now my plan is to get my online portfolio up and running - this would give me a far better chance of getting a job, because when you are applying for creative jobs having an online portfolio increases your chances of being hired. It is also a great way to exhibit your work and show off the skills that you have. I am even seeking a bit more work experience, as it would be a great way to continue practicing my animation in a professional environment and hopefully build up some useful links.


ORIGINS: What do you see yourself doing in the future?

Ideally, I would love to be working for a major production house like DreamWorks or Framestore. I would love to work on development artwork and character design. Just to be a part of developing and designing something that people will watch and connect with gives me goose bumps! The ultimate goal would be owning and running my own production house - one that provides students and young people with the chance to get into the industry and equips them with the know how of how to move forward with their talent and skill.


ORIGINS: What advice do you give for people who are currently thinking about pursuing a career in animation?

I would definitely recommend anyone getting into animation to do work experience. It is one of the hardest industries to get into and the best way in is to make good connections and continuously build a name for yourself by working with people. An internship is a great way of going about it, because when you do land a good one it can teach you so much and give you great insight into how the industry works. From there you can hopefully build up your own action plan and possibly start something of your own, or even just get you on the right track towards your dream job!

For more information visit:
Little Airplane Productions, Inc.
www.littleairplane.com

Nusula Nakayiwa’s sample show reel
http://uk.youtube.com/watch?v=Dp2DScEqHOE


PUBLISHED IN ORIGINS MEDIA

Neesha Sharma: UK’s Urban Fashionista

Thursday 19th March 2009

Neesha Sharma has been fashion styling within the UK urban music industry for over 5 years, and has made quite a name for herself due to her daring fashion sense and her vivacious personality. Starting out in music promotions, Neesha networked her way to the top and has racked up an impressive resume along the way, working with big artists such as Keisha White and Amerie, as well as styling for various tours including Sean Paul, Kylie Minogue and 50 Cent. ORIGINS caught up with the fashionista to find out how she styled her way to the top.

ORIGINS: How did you get into fashion styling?

I studied fashion and ended up working in music through DJ Swing. I used to go clubbing a lot and he just was like, “I watch you all the time - you know all the words, you know all the tracks. You should go into music!” My first job was in specialist promotions, which was marketing and promoting records to specialist radio, pirate radio, street teams, a little bit of student press and student radio. I used to specialise in hip-hop and reggae. It was hilarious – when I used to phone up the radio DJs I couldn’t understand a word they were saying! From there I worked for Mark Morrison – I was his PA. Everything sounds greater than it is! He was a pain in the arse, but I learned a lot.


ORIGINS: How did you move from music promotion into fashion?

All the while I used to be out I used to make loads of clothes, or design stuff and have it made. People would always say, “You should do fashion.” How I got into styling, Mark had a girl group and they had a stylist, and they came into the office one day and they were like, “Oh my God, it’s you! We see you clubbing all the time; we love the way you dress! We’re sacking our stylist and we want you!” I didn’t really know how the whole game worked at the time, in terms of styling, but it went well – they were happy.

After that I used to work on the door at Sound and I met someone whose friend was a stylist and needed an assistant. Working on the door of a club you meet a lot of people! From that I learnt how styling worked – what you don’t see, you know. The running around, going to press offices, the begging, the borrowing, the lying - how physically demanding it is. From working with her I learned the groundwork. I was with her for a while and then one of her clients requested they sack her and employ me! And that caused a whole hoo-hah and then that was it!

From that point I started doing more stuff on my own, building up my portfolio, doing test shoots, meeting photographers, putting shoots together, networking, networking, networking!

ORIGINS: How would you describe your style?

The best! I would actually say I’m very adaptable, even in my personal style – one day I might be quite glam, one day I might be quite fashiony, one day I might be quite trendy. With my styling it will always be sharp, slick, and a little bit sexy. I believe women should look like women, and men should look like men. I do like glitz and glamour, you know. I like sex appeal.

ORIGINS: How do you style an artist? Is it what you want or what they want?

I would prefer to sit down with an artist, or have a conversation with them, and feel them out. For me, it’s really important to harness something from their personality. I don’t like to tell someone, “This is in fashion, you’ve got to wear it,” because I think you’ll look really contrived and fake, like you’re trying too hard. A lot of people look like that right now.

ORIGINS: Do you use the same methods when styling for a company?

To be honest, most companies come to you with a pretty clear idea! With a company there are certain things you’re tied into, and normally in those situations you’re working with a team. The problem with being a stylist sometimes is everyone and their Mum has a point of view, and you’re just there trying to appease everyone!

ORIGINS: Is most of your work based in London, or do you work abroad?

I haven’t been abroad a lot yet. I would really like to work in America. The money just isn’t here. Personally, my style is more in tune with the Americans – it’s a bit more daring, more sexy, more glossy. The budget’s there, the money’s there. Over here when you do black acts it’s almost frowned upon, whereas over there that is the culture. Maybe urban music isn’t big enough here. In America it’s mainstream.

ORIGINS: What are your plans at the moment?

I’ve just done the Phoenix video; there’s a girl called Danni Harmer – I styled her video and album shoot; the K.I.G. photo shoot; a few things for TV. With styling you constantly have to hustle. I was really busy in January and February but then you get times like now when it’s really quiet.


ORIGINS: Career-wise, have you got any goals that you want to achieve by the time your, say, 50?

To be honest, I would genuinely like to have an artist – I don’t want a big star, I just want someone now that’s on the verge – to be with them at the beginning, and then grow with them, you know, develop their look over time. I don’t want someone who’s big already because it’s more fun! It’s a challenge. Can I make them look hot on no money? It’s a bit more exciting, and a little bit more fulfilling.

ORIGINS: Looking back, has it been really difficult to get to where you are now?

For me everything was random. Nothing has been like I’ve really applied for it. All these jobs were random. I didn’t anticipate that working on the door of a club would lead to styling!

ORIGINS: How helpful was your degree?

I did Fashion Marketing, but I don’t think you can be taught style. You either have it or not. It’s very personal and objective. There are things that some people think looks great, and I think it’s horrid! You know, each to their own.


ORIGINS: Lastly, what advice would you give to people currently looking to pursue a career in fashion styling?

Don’t. Just joking! It’s not as glamorous as it might appear. You’re lugging bags around with you everywhere you go. You have to beg, borrow, steal. But on the other side you have a really good easy day! So I would say just not to give up, be focused, get out there and try and get work experience, meet as many people as you can. Believe in yourself, and develop your own sense of style. Try and work out where you want to fit in and get in in that world.

To find out more about Neesha Sharma’s designs and fashion styling, visit:

Luminary Fashion Styling
www.styledbyluminary.com


PUBLISHED IN ORIGINS MEDIA

Silver Screen: With Robert Powell & Friends

Saturday 7th February 2009

On a frosty night in Guilford, Surrey cinema history was reborn. Presented on an intimate stage in The Mill Studio at the Yvonne Arnaud theatre, UK legend Robert Powell and ‘70s actress Gabrielle Drake gave a whimsical account of the history of the silver screen from past to present. Written by sound-editor-turned-playwright Ian Fuller, who has worked on hit productions such as The Rocky Horror Picture Show and Notting Hill; Silver Screen takes a “nostalgic romp” through the roots of the movies.

Accompanied by the playwright’s nephew, budding actor Adam Bambrough, my first observation upon arrival was the amount of thinning hair and woolly cardigans present at the reception, and the array of surprised and almost proud smiles at the onset of ‘youth’ that had walked through the entrance. Not at all fazed by the fact that we were the youngest people there by generations, we proceeded to make our way to our seats. The stage was set with two chairs placed either side of a polished wooden table, which was laid out with a jug and two glasses of water – reminiscent of talk show Inside The Actors Studio. To the left of the stage was a grand piano accompanied by a stool and small music stand. As the audience settled in their seats, the lights dimmed and the show began.

First onstage were pianist Christine Croshaw and musician Clive Conway, flute in tow, followed by Gabrielle Drake and the show’s main attraction, Robert Powell. To my surprise both actors brought with them scripts, in which they proceeded to give an account through the first hundred years of “the talkies” in the form of a rehearsed reading, starting from the first film by the Lumiére brothers in 1895 to Britain’s well-loved James Bond in 2008. Powell later commented that the audience would “expect scenes and costumes” had they not been reading from scripts, and it was Fuller’s stylistic intention to provide an intimate and natural “storytelling” experience to the crowd.

The night’s highlights included excerpts from classic films such as Gone With The Wind and Casablanca in which Powell and Drake re-enacted the films’ most memorable scenes; as well as little-known facts about the fruition of Hollywood and the, at the time frowned-upon, creation of Walt Disney’s Mickey Mouse. The show ended with Hollywood’s best-known one-liners, leaving the audience in cinematic euphoria.

When the curtains closed, Fuller’s nephew cheekily described the evening as “gently entertaining”, which indeed it was. The mild humour and placid interludes of Chroshaw and Conway’s music surely provided a stimulating night out for our fellow OAPs, but would hardly attract the adrenaline-junkie of our generation. Nonetheless, Silver Screen may prove a treat for anyone with a specialised interest in film and cinema history, or a fun night out with Granddad.

Joe Budden ‘Padded Room’ Album Playback

Wednesday 11th February 2009

On Wednesday February 11th hip-hop lyricist Joe Budden’s album playback was held for his second-coming official record, entitled ‘Padded Room’. With already much anticipation for the delayed album, which was originally due to be released last October but was held back by Amalgam Digital due to “complications with the physical product”, industry-heads seemed eager to hear how Jersey Joe’s next instalment would compare to his critically acclaimed line-up to date.

Held in the basement of trendy bar Market Place in Central London the event, which was organised by RGS Entertainment and sponsored by Hip Hop Connection, drew a surprisingly mere handful of industry specialists, with Jump Off TV’s Ara, MTV Japan’s ex-VJ Ia, and Face4Music’s Charmaine Hayden present among the very few guests.

In a more networking-soiree fashion than an album-listening event, the afternoon progressed with guests milling about the room, sporadically perching at each table to chat and exchange business cards with fellow hip-hop experts, all the while with Budden’s vocals playing in the background.

However, amongst the schmoozing and chitchat, what could be heard of ‘Padded Room’ seems like a natural progression for the Harlem wordsmith, who used various unknown up-and-coming producers to make the record. The sophomore’s debut single ‘The Future’ featuring The Game, and ‘Now I Lay’ are two of the few up-tempo beats that grace the 13-track record. Powerful lyricism can be heard in songs such as ‘Exxxes’ and ‘In My Sleep’, two of Budden’s personal favourites, and are heavily contrasted by grittier beats like ‘Blood On The Wall’. All in all, amid his increased street notoriety over the past 5 years with underground releases due to continuing setbacks, this latest album has enough commercialism and edge to welcome him back into the world of the mainstream.

‘Padded Room’ is set to be released in stores on February 23rd.

PUBLISHED IN ORIGINS MEDIA