The Master of Science in Leadership for Creative Enterprises recently launched its YouTube channel. Check out our videos highlighting the program’s faculty and the courses they’re teaching.
By Amy Ross
Collaboration, no matter how high-tech the endeavor, is about people. To be a success in the gaming industry, it’s just as important to know how to critique creative teams without irritating them as it is to understand how to code. These are some of the tips that game producer and content designer Matthew Schwartz gave in his talk at the Masters of Science in Leadership for Creative Enterprises’ (MSLCE) speaker series on Dec. 3.
Schwartz graduated from Northwestern’s Radio, Television, and Film department in 1995 and has worked as a games producer at Adult Swim Games and as a content designer at Cartoon Network New Media. “I developed a certain skill at being able to deliver creative direction and input…you didn’t want to come off as hostile, but at the same time you wanted to make your perspective very clear,” said Schwartz. This task was particularly complex because much of the communication took place through computer screens and was often directed towards people in other countries with different cultural backgrounds and limited English. Schwartz’ strategy focused on conveying to his developers that the feedback was coming from a place of respect and understanding, both of the product and the vision behind it.
These are crucial elements when critiquing projects that are often a product of years’ worth of a person’s time and effort. To do so, he invested hours and hours playing the games before offering feedback. He knew that the platform on which the projects were published tracked and reported this time back to the creators. “This is a much better way to get a creative person to see your view. As a producer your job is to make sure everybody is marching in the same direction. Sometimes your coder will become obsessed with the menu and other fundamental things are broken so you have to find ways to get everyone back onto the ‘critical path,’ which totally represents the production mindset, aside from being a gaming term,” said Schwartz.
Throughout the talk, Schwartz offered students insight about pitching, teamwork and project management. He also offered advice on how to reach out and get started in a creative industry like gaming. He also pointed out some of the major differences between working in gaming on a mass scale at large companies and at a smaller one with indie gaming. The larger companies tend to have much more specialized jobs like being “the bat swinging” or “dust kicking guy” of animations, while independent productions tend to be broader.
Schwartz encouraged students to muster up the courage to contact influential people in their areas of interest through tools like LinkdIn, Twitter and Facebook. He landed his first job at MTV after randomly contacting a man his girlfriend’s aunt rode with on a bus in New York. This man happened to be the president of development at MTV and wound up becoming his boss. “There are people out there and for every person that is willing to talk there will be tons of emails that go into the black hole but you have to be resilient and not take things personal. These people are very accessible now days,” he said.
MSLCE program director, Pablo Boczkowski, hosted the event and Northwestern University professor, Eric Patrick, was the moderator. The next talk in the Speaker Series will feature Martha Lavey, artistic director of the Steppenwolf Theatre since 1995. That event will take place on January 7th. For more information or to RSVP, click here.
By Amy Ross
It is hard to imagine Oscar Torres as anything but a successful writer and film producer, but the heart-wrenching story of children recruited as soldiers that inspired his first screenplay, Voces Inocentes (Innocent Voices) offers a glimpse into his past. The movie allowed Torres to cope with and process the trauma he lived as a child in the Salvadoran civil war. He said the film not only helped him work his way into the film industry, but have also allowed him to advocate for peace around the world.
“Innocent Voices is by far the most fulfilling not only because it is so personal and has the most feeling but also because of the feedback and trajectory. Ten years after it was made, I’m still travelling to speak at universities all over the world,” said the Los Angeles-based producer. For Torres, the movie that came out in 2004 was as much therapeutic as it was a career launching project.However, he didn’t always know he wanted to work in Hollywood. Before pursuing his film career, he studied Latin American studies at the University of California at Berkeley and worked as an English teacher at a small school. Virtually every night he would try to find someone willing to go to the movies with him. “I felt that I was teaching 30 people at a time and I wanted to teach millions as a time,” said Torres, who fled El Salvador during the conflict.
He started out delivering packages in 1994 at a movie agency where he later became an actor. There he started to get some commercial jobs and opportunities working behind the camera, doing lots of free work as a production assistant. “I learned a lot and met a lot of people,” he said. With nothing more than the scripts of five of his favorite movies in hand, in 2001 Torres set out to write his first script: the story of his life. Although he had never taken a film class in his life, he said he simply understood the language of cinema.
“I read the scripts one page at a time and learned how the flashbacks, transitions and cuts were done. That is how I did it,” said Torres. Cinema Paraíso, Forrest Gump and Before Night Falls were among those screenplays he studied. Since then, Torres has been the involved in productions like Máncora, which was in the official selection of the 2008 Sundance Film Festival (writer); Pulling Strings, directed by Pedro Pablo Ibarra (screenplay and producer); and more recently Bravetown, a project that is still in post-production and is starring María Bello, Laura Dern and Josh Duhamel (screenplay and producer).
As for choosing which films to pursue, Torres said he always makes his decisions out of genuine love for the projects, focusing on stories that are inspiring or fun to him. “I know that as long as I respect that I can achieve the quality that will let me connect with audiences and that allow me to be financially free as well,” said Torres. With four other major productions on the way, including his directing debut and a television series, his goal is to continue taking movies from all the way from their inception to the big screen. The key to success, said Torres, is to be your own biggest ally.
“There is a process that you can’t do out of money, but out of love and desperation. You do it as much as you want to breathe. I don’t think I could live without making movies and the sense of creating and sharing, the giving, the receiving: thats my life,” he said. Stay current with all things MSLCE, click here to join our mailing list!
Before he pursued video games as a career, Matthew Schwartz became a devoted player. He brought an SNES back to his senior year apartment in Evanston, and a video game fan was born.
Then, he graduated and looked for work in the film industry.
“I didn’t think of games as a career possibility,” Schwartz said during an interview. “Now you can study game making, but the only game knowledge I had was as a player.”
After working for three years in New York as a location scout and a manager on small independent films, Schwartz was ready for something new. He ended up landing a job at Cartoon Network, and moved to Atlanta to work on the television channel’s flash game development.
“All of the sudden I learned that when you waste your life playing video games, all of the sudden I had this huge wealth of knowledge of games that was hugely valuable,” Schwartz said.
The job taught Schwartz that “making games was something fun and you could make a living doing it,” two lessons that have stuck with him through a career of games development. He worked at Cartoon Network for four years before joining a unique project based around providing internet users with retro video games.
“It was a Netflix for games,” Schwartz said, “just not current ones.”
The company didn’t last long, but the experience was a fun and valuable one for Schwartz, who then returned to Cartoon Network’s digital group to work on a huge MMO (Massively Multiplayer Online) game. Because it was so big, it took three years for the game to finally launch. Schwartz enjoyed seeing a game through from beginning to end on such a large scale, but decided that he preferred working on smaller projects. He’s worked on small games and large ones in different capacities, and his experiences have given him valuable perspective on the gaming industry.
“The Matt Schwartz perspective has always been the business interests fuel my ability to do the cool content and the cool content drives the revenue,” he said. “I really like the indie space I think it’s where interesting stuff happens.”
Schwartz has noticed that while the work available for game designers has increased dramatically since he was an undergraduate, the path for obtaining those jobs is as unclear as ever.
“It unnerves me how unequipped some students feel for… if their dream job is to work on Sky Rim… there’s no clue of what that path is and part of that is because the industry is just a younger industry and also technology changes so many things and changes so quickly,” Schwartz said.
He hopes to take on this uncertainty when he speaks at Northwestern this Wednesday. Schwartz will be speaking at the Masters of Science in Leadership for Creative Enterprises’ speaker series event this Wednesday at 5 p.m.
“What I learned about movies,” Schwartz said, “is that the things you like to consume as a customer is not always what you’ll love to do as a profession. If you love Madden you may not love making Madden.”
By Amy Ross
Chicago film director Jason Knade sees his name as a brand. And as with any brand, success is all about standing out: having a clear identity, consistency and boldness. “As for building brand awareness, my manager and I put a lot of time into my social media presence, and I’m always reaching out to new people and making new connections,” Knade said in an email.
This year, he was voted Best Filmmaker of Chicago by the Chicago Reader, a title he had earned once before in 2011. For Knade, attending events and investing time in face-to-face networking are crucial components to a successful career in the film industry. The efforts of this young director appear to be paying off. His narrative films have screened at over 50 festivals around the world, winning multiple awards. Aside from receiving attention from local news outlets, Knade’s work has also made it under the radar of prominent national media such as The Huffington Post and the Los Angeles Times, who have described it as “intelligent” and “heartbreaking.” In July of 2013, Knade got the most unforgettable telephone call of his career from an Associated Press reporter.
“He wanted to talk about a music video that I directed. The most exciting part was how excited he was; he told me the video was going to be huge and to expect lots of news coverage and success,” Knade said. The journalist’s comments were referring to the “All American Boy” video clip Knade directed for artist Steve Grand, which has been viewed more than 3.5 million times on Youtube. Other successful projects include the short “Cyclicity”, and Knade’s first narrative feature with an upcoming release, Searching for Venice. Striking a balance Although he has done work as a cinematographer and a producer, Knade identifies the most with directing, which he also feels is the most difficult to sustain financially. “Prolific narrative film directors are lucky if they do a project or two a year, just because of the massive time commitment required during the development stage all the way through the film’s release,” Knade said.
Knade doesn’t live entirely off of his artistic endeavors. While narrative film may be his biggest passion, much of his paycheck comes from his long list of commercial clients, including the Joffrey Ballet, Subway and Jos-Cacciatore & Co. Striking a balance between the two is an enormous challenge, as they both require large amounts of time and energy. However, in his view, they aren’t as distant as they may seem at first glance. “Actually, it’s that storytelling background and passion that sets me apart and makes me so good at other types of projects. I also just enjoy fast-paced, dynamic commercial environments.
The whole business atmosphere,” he said. Knade shoots in over a dozen cities a year, although most of his projects are developed in his hometown of Chicago, where he has built his career. He considers the film scene to be small and intimate in “The Windy City,” but recognizes that the opportunities are rapidly expanding. “It’s great and keeps getting better! We have Cinespace, up to a 30% tax credit, talented crews and actors, and great statewide locations,” Knade said. “I’m very excited about the future of Chicago filmmaking.” For more details on Jason Knade’s work or to keep up his career, you may visit his website www.JasonKnade.com or follow him on Twitter.
The Masters of Science in Leadership for Creative Enterprises’ (MSLCE) speaker series continues on Dec. 3 with Matthew Schwartz, who will speak about his career in the gaming industry.
Schwartz has worked as a games producer at Adult Swim Games, the game publishing arm of Adult Swim Digital, which is part of the late-night comedy programming block of the same name. He also worked as a content designer at Cartoon Network New Media. He’s worked with independent developers around the world.
In a post about his job at Adult Swim that he wrote in February, Schwartz wrote that his job was “maintaining the vision of the game.” Before he started working in the gaming industry, Schwartz worked for MTV as an original animation developer.
“I also spent a number of years as a location scout and manager for independent films in New York. And before that even, I was just like you, wondering what the hell I was going to do with my life,” Schwartz writes.
Schwartz graduated from Northwestern’s Radio, Television, and Film department in ’95, and writes that he is eager to offer his perspective and guidance, “especially to those willing to sign a liability waiver absolving me of any culpability when things go horribly awry.”
The event will takes place on Wednesday, Dec. 5 at 5 p.m. in Frances Searle Building, 3-417 on Northwestern’s Evanston campus. A networking reception will immediately follow. Click here to RSVP.
Hollywood is an a business of apprenticeships. If you want to make it as a writer, producer, or actor, then get a job working for someone who can teach you how it’s done.
That was the advice given by Kevin Crotty (WCAS92), a partner and board member at the major literary and talent agency ICM Partners, at the second speaker series event hosted by the Masters of Science in Leadership for Creative Enterprises (MSLCE) program on Nov. 5. Crotty spoke to a packed room during a talk moderated by RTVF senior lecturer and screenwriter Bill Bleich. MSCLE program director Pablo Boczkowski introduced the event.
After graduating from Northwestern in 1992, Crotty graduated moved to Los Angeles with no prospects. He found a job as a runner, taking scripts to people around the city. Eventually he got a job as a production assistant, and from there found his way to an agency, where he sold books and television.
“It was a great job I had material to sell… and I did it very well,” Crotty said.
Now, Crotty is a partner and board member at ICM Partners, one of the largest talent and literary agencies in the world. His company represents “Breaking Bad” creator Vince Gilligan, “House of Lies” creator Matthew Carnahan and “The Blacklist” creator Jon Bokenkamp.
“I don’t want to represent Coke, I want to represent writers, directors, producers, actors,” Crotty said. “We want to be known as the place an artist can go and spend their career.”
Corti said that his years in the business have taught him what works towards success and what works against it.
“My blanket advice… if you want to work in the entertainment business, you have to be in the entertainment business,” he said. “Get a job in the business, that’s the best way to learn.”
Crony explained that even good writers need years to improve their craft, and that often the first script from a writer is not the one that turns into a television show. The creator of the new character-drama “Kingdom,” for example, started as an assistant to Crotty. One day he handed him a script. Crotty said it was brilliant, and got him a job working on the Showtime program “Huff,” which Crotty said “got his career going.” Now “Kingdom” is airing on DirecTV.
Crony also encouraged people interested in working in Hollywood to work hard and, equally important, be unafraid to be themselves.
“I’ve been more successful the more authentic I’ve become,” Crotty said. “Work really hard be likable, be pleasant to deal with and have a point of view.”
The next event in the MSLCE Speaker Series will take place Dec. 3, featuring Adult Swim Games producer Matthew Schwartz (C95), at 5 p.m. in the Frances Searle Building, 3-417. It is open to the public. For more information, email firstname.lastname@example.org or RSVP here.
By Amy Ross
Far from the confines of Pixar and DreamWorks, unusual looking characters and unconventional stories will come to life this week at the annual Eyeworks Festival of Experimental Animation. Surreal narratives and abstract animation don’t have it easy in the competitive markets of major studios. However, independent showcases like Eyeworks allow artists to bridge the gap between their creative techniques and audiences curious to try something different.
The fifth Eyeworks Festival of Experimental Animation will kick off this Tuesday, Nov. 11 at 6 p.m . in a free screening of shorts at the Museum of Contemporary Art, in Chicago. The selection includes animations from 1992 to the present. The following screenings will each have a cost of $10 each or $30 for a full festival pass. These will be held at the Nightingale Cinema (1084 N. Milwaukee Ave.) on Friday, November 14th at 7:00 p.m. and Saturday, November 15th at 5:00 p.m. and 8:00 p.m.
Festival directors Alexander Stewart and Lilli Carré selected around 30 pieces from all over the globe and for the four screenings. The lineup includes films by Australian artist Neil Taylor, the classic “69” by avant-garde master Robert Breer, “Eager” by Allison Schulnick, which was awarded Best Experimental Animation at Ottawa earlier this year, and “Jeu de Paume” by Joshua Mosley, which was included in the 2014 Whitney Biennial. Eyeworks’ mission is to showcase experimental work of both amateur animators and professionals whose productions often fall outside the boundaries of the commercial realm. According to Stewart, this avenue is particularly important in the field of animation since most festivals in the United States tend to be oriented toward sales rather than art.
“Animation is very time consuming and much is done in studios and teams, but we are responding to animation expressing the individual creative vision,” Stewart said. For Stewart, there is an important difference between visibility and commercial viability. However, having an avenue to display particularly original or compelling creative work can potentially open doors to new opportunities. “Visibility through festivals or online distribution can give artists momentum in their careers. I know many animators who have started with experimental films and have used it as a springboard to the industry, especially in LA.” For more seasoned animators, spaces like Eyeworks also provide a creative outlet that enables them to go back to the basics of the craft and rediscover their singular style, albeit in an alternative setting.
Frequently in the industry, the most basic and elemental animation is shipped overseas and in that sense, animators get “promoted out” of tasks like drawing and 3D modeling. “I have many friends who work in industry and get burned out. Some do this work on the side, although it doesn’t fit the industry expectations,” Stewart said. Aside from exhibiting modern experimental animation, Eyeworks will include classical films like John Whitney Jr’s”Terminal Self” (1971). The festival also encompasses a broad range of animation techniques from paper cutouts and stop-motion to 3D computer animation.
For more detailed lineups, information, or to buy tickets, you may visit the festival website at http://eyeworksfestival.com.
“What I wanted to do in writing this adaptation was make this story accessible to both ends of the spectrum,” Sandrock said, “People who never read the novel, seen the movie or at the other end read the novel before many, many times.”
The production is being put on by GreenMan Theatre Troupe, a community theater in Elmhurst that Sandrock has been involved with for years. He first got the idea to adapt Mary Shelley’s horror story about a man who creates a monster seven years ago, after adapting the works of Edgar Allen Poe for the same theater.
“At the time we talked about what could be other literary works we could adapt that we think would work well for our stage,” Sandrock said. “Frankenstein came to my mind right away. I wanted to make it closer to the novel — less about the grunting guy with the bolts.”
A Northwestern alum who majored in theatre, Sandrock has always been interested in live performance. After college, he moved to New York and then Chicago to pursue a career producing, writing and directing plays.
“I always felt like I was not explaining the business part of it correctly, so a couple of years into that arc of my career I went to go get my MBA,” Sandrock said. “Interestingly, when I got my MBA I really liked the economics and finance classes, and so ever since then the quest has been how do I keep both sides of my personality happy.”
Sandrock, who now works as a vice president at Northern Trust, will be teaching an Masters in Science for Leadership in Creative Enterprises course this winter about finances in the creative industries. He wishes the MSLCE program had been around when he was in college. His advice for aspiring theater professionals?
“Continue learning and looking for new opportunities to do interesting work regardless of where that interesting work is,” Sandrock said. “You can always find a way to do the parts of your life you want to be involved in.”
To buy tickets for Frankenstein, click here. The show is now in its final week, with performances on Nov 5, 7, 8 and 9.
Kevin Crotty loves the television show “The Blacklist.” But why he loves it is different from why the network show’s millions of other fans love it.
“It’s going to pay for my children’s education.”
Crotty is a partner and board member at ICM Partners, one of the largest talent and literary agencies in the world. His company represents “Breaking Bad” creator Vince Gilligan, “House of Lies” creator Matthew Carnahan and “The Blacklist” creator Jon Bokenkamp. Crotty will be discussing his career in television at Northwestern on Wednesday, Nov. 5 as part of the Master of Science in Leadership for Creative Enterprise’s speaker series.
On Thursday, I spoke with Crotty, who is also a Northwestern alum, on the phone about his experiences working in the entertainment industry, and how the world of television has changed since he first started.
“The television business as a whole has expanded,” Crotty said. “There are a lot more outlets to sell scripted television… it’s a very good marketplace right now for the creators.”
Referring to “new players” like Amazon, Netflix and Hulu, companies that have recently begun creating original television programming, Crotty said that the advent of so many new outlets has made it easier for television show creators to get their material produced.
“For someone who is a very good writer, there almost is no excuse to not be able to sell it anymore,” Crotty said.
He was quick to point out that this doesn’t necessarily apply to new writers who have yet to be discovered. Though there is more opportunity for new shows, there are diminished learning opportunities for novice television show creators. What’s more, television networks have significantly less patience for a new show than they did in the past, which means cancellations occur much more quickly than they did before.
“They [networks] spend so much money on marketing these new shows now if it doesn’t break out of the clutter they have to move on to the next,” Crotty said. “It’s very hard to grow a show from low ratings to success.”
I asked Crotty if he believed in the hype around Netflix’s programming model. The company famously said it relied on algorithms about it user preferences in deciding to make its hit show, “House of Cards” with director David Fincher and actor Kevin Spacey.
Crotty gave a resounding no.
“I don’t believe the hype from Netflix,” he said. “I believe in the right time with the right script and the rest of it is, ‘Does the audience respond?’”
Crotty believes there will always be a place for talented programmers making gut decisions about what should and should not be made.
“The reality is Netflix is going to have stinkers and so is everybody.”
When asked about his favorite shows (besides “The Blacklist”), Crotty listed off “Breaking Bad,” “Kingdom” (a new show on DirectTV about Mixed Martial Arts), “Modern Family” and “Homeland.”
“I also love Shonda Rhimes,” Crotty said about the creator of the hit shows “Grey’s Anatomy,” “Scandal” and, most recently, “How to Get Away With Murder.” Rhimes is also represented by Crotty’s company.
“She pays for everything here.”
Crotty will be speaking on Wednesday, Nov. 5 at 5 p.m. in Frances Searle Building, 3-417. The event is free, and a networking reception will immediately follow. Click here to RSVP.