DreamWorks Animation Nurtures Female Filmmaking Talent Frame by Frame

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DreamWorks Animation Nurtures Female Filmmaking Talent Frame by Frame
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Launched by Steven Spielberg, Jeffrey Katzenberg and David Geffen as DreamWorks in 1994, DreamWorks Animation celebrates its silver anniversary, marking 25 years since embarking on its first voyage…

For Cook, joining a nascent studio such as DreamWorks Animation from her position as a story artist at Disney was “a big leap,” but she had enormous confidence in the founders’ vision. “We were a new studio and we were really small,” she says. “I think there were about 80 people in the beginning. I remember seeing our first group shot — it was just tiny in terms of the people involved, but it was also exciting, because we were doing a really big kind of film. We dove in, and there was an energy.

Looking back, Cook finds it “extraordinary” that the studio had five female directors on its talent roster. “I think Jeffrey was actually quite proud of that,” she chuckles. “He worked very closely with women, and we just took that for granted, but it’s really quite incredible. We’re in a shift in consciousness on so many levels right now, but I wish more studios would follow suit.

Bogan started out in DreamWorks Animation’s storyboard artist training program in 2005, and was hired full-time at the studio later that year. As a story artist, she worked on designs for “How to Train Your Dragon” and “Monsters vs. Aliens” before transitioning to the television division, where she directed numerous episodes for Guillermo del Toro’s “Tales of Arcadia” trilogy and the “DreamWorks Dragons” series.

Nelson recalls the intimacy she shared with the “Kung Fu Panda” production crew, including franchise producer Melissa Cobb, now VP of kids and family at Netflix. “For about 12 years, we worked as a really tight team, traveling from one film to the next, doing three films together,” she says. “The tightness and the trust in that group was always something that I’ve really treasured.”

She says Katzenberg’s “vision was to have a safe haven for artists to be creative in what they brought to the screen and what they brought to DreamWorks.”

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