Kadir Nelson, Whose Art Depicts Heroes & Humanity, Wins the First-Ever ADC Freelancer of the Year Award, Presented By Working Not Working

Kadir Nelson, Whose Art Depicts Heroes & Humanity, Wins the First-Ever ADC Freelancer of the Year Award, Presented By Working Not Working

WORKING NOT WORKING

Congratulations to all of this week’s announced winners across all categories in the ADC 99th Annual Awards. This year, The One Club for Creativity partnered with Working Not Working to offer freelancers a lowered entry price and the opportunity to have a bigger voice, presence, and platform in the creative industry. As a result, the ADC Awards saw hundreds of freelance applicants this year. The partnership also led to a new category, presented by Working Not Working. We’re excited to announce that the inaugural “ADC Freelancer of the Year” award is presented to artist Kadir Nelson.

Kadir Nelson is a Los Angeles-based illustrator and artist. His work is emotional and spirited; it’s painterly and figurative. It’s also a monumental task to even begin to summarize his body of work. Engaging with his art leaves a lasting impression. That may explain why his paintings are in the permanent collections of several notable institutions including the United States House of Representatives, the Muskegon Museum of Art, The National Baseball Hall of Fame, United States Postal Museum, the International Olympic Committee in Lausanne, Switzerland, and most recently, the Lucas Museum of Narrative Art, the World Trade Center, the Smithsonian’s National Portrait Gallery, and the National Museum of African American History and Culture.

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It’s fitting that Kadir sets the bar for ADC’s “Freelancer of the Year” honor, given his more than 25 years as a freelance artist. He credits his parents with inspiring him to be comfortable with independence at a young age. “My parents owned their own businesses when I was a kid, and later while I was in college my mother quit her stable job as an engineer and became a self-employed author and speaker. It was a powerful example of bravery and professional independence.” Throughout college, Kadir sold his work to support himself and pay for his tuition. Shortly after graduating, and a stint creating conceptual artwork for DreamWorks Pictures, Kadir officially became a freelancer.

“I don’t believe I’ve ever had an ‘I’ve made it’ moment because I still have to work for a living. Painting, living, and evolving is a journey, and as I’ve gotten further into my career I’ve learned to appreciate that very fact.”

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Flight of the Clotilda - 2020 ADC Gold Cube Winner

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As many Working Not Working Members know, existing as a professional freelancer means growing comfortable with uncertainty. Creativity becomes not just a job or a living but a means for survival. The independence that comes with freelancing can be a dream, but it’s not for everyone. Kadir doesn’t see arrival as part of the freelance equation. “I don't believe I've ever had an ‘I've made it’ moment because I still have to work for a living. Painting, living, and evolving is a journey, and as I've gotten further into my career I've learned to appreciate that very fact…My career has been a wonderful string of moments and opportunities.”

These opportunities over the years include working with clients like National Geographic, HBO, Nike, Disney, Hennessy, and Sony Music, with moments like frequently been featured on the cover of The New Yorker and contributing over a dozen commemorative US postage stamps honoring American legends.

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“My mission is to create artwork that illustrates the journey of the hero and to remind humanity of the best and noblest parts of itself.”

Where do you go from there? As Kadir tells us, “My mission is to create artwork that illustrates the journey of the hero and to remind humanity of the best and noblest parts of itself.” For many artists both young and established, Kadir’s career is itself the journey of a hero. What has he learned over the years from being a freelancer? “I've learned that my voice as a human being and an artist is powerful and that I can use that power to connect with, to heal, and inspire people. I would encourage artists to tell their stories with their work and paint subject matter that is meaningful to them.”

The other lesson is to keep going. Despite all of his accomplishments, Kadir doesn’t rest on his laurels. That’s why he’s the ADC Freelancer of the Year. “I was fortunate to have the opportunity to create a cover for National Geographic this year. It was a life-long dream to do this job since I'd seen their beautiful covers since I was a kid. I also won the Caldecott Medal, which was also on my dream board. I also got married in 2019, I finished the first draft for a big book I've been dreaming up, and I also began creating paintings for a monster project, so it was a very good year. Like most years, I've had also challenges, but I cannot complain. I can only keep pushing forward.”

Discover more creative talent, projects, and perspectives like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, news, or opinions to share, email us.

Meet Rainer Plank, the Head of Operations at Zooom

Meet Rainer Plank, the Head of Operations at Zooom

MIKE O'DONNELL / EDITOR

We recently caught up with WNW Member Rainer Plank, the Head of Operations at Zooom in Los Angeles, who opens up about his career path, the relationship between Zooom's two offices in Los Angeles and Fuschl am See, and how Zooom's unique origins inform its trajectory. Founded by Ulrich Grill, who used to be a professional hang-gliding pilot sponsored by Red Bull, Zooom "attracts a lot of outdoor enthusiasts who typically use the products we promote for their own adventures," as Rainer tells us. "This is probably why we are able to promote our clients’ products with authenticity and passion."

We also ask Rainer how he caters his own creative leadership approach to allow his left brain and right brain to coexist. "I fear they don’t coexist at all. Managing the agency mostly requires my left side and the talented creative directors, art directors, and designers we hire make my right side completely redundant. Naturally, I put part of the blame on WNW for making it far too easy to find talented creatives. MEAN."

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Tell us a little bit about your background. How did your path lead you to Head of Operations at Zooom in Los Angeles?

This literally happened by accident. Sometime in 2005, when I had just finished my degree in Film Production Management in Cologne I was moving back to Vienna. After a long night of packing all my belongings and an eight-hour drive on the Autobahn I stopped by in Fuschl* for a job interview with zooom. At that point, I felt pretty sleep-deprived and it didn’t help that I arrived too late either. At any rate, things (somehow) worked out smoothly and I started working for zooom Austria soon afterward. Half a year later I relocated to Los Angeles to open our US office. I’ve appreciated living in California ever since :-).

*small village in Austria near Salzburg and main office of zooom.

We run an event series called Overshare, where we interview successful creatives and entrepreneurs about their career challenges. What were a few definitive moments or turning points that had an impact on who you are today?

Our first few years in business were smooth sailing. We had a stable customer base, cool projects to work on, and fixed retainers. Spoiled as we were I got ‘comfortably numb’ until we unexpectedly lost two large accounts despite highly successful campaign rollouts. This, in turn, taught me an important lesson never to take things for granted and to better balance project management & business development. 

Another challenge for us was to determine the scope of our agency services. In the beginning, our strategy was mostly driven by our biggest clients, to be honest. They had ever-expanding needs and we tried to cater to all of them. Today, we are more narrowly focused on branding, campaign development, and content production and collaborate with specialized partners in other areas.

Describe Zooom in a couple words.

Dream responsibly.

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What separates Zooom from other agencies? What about the culture of zooom makes it an ideal place for potential hires to work?

Our founder Ulrich Grill used to be a professional hang-gliding pilot sponsored by Red Bull. Being an avid photographer, he later started his own photo service agency in Austria. In essence, he managed Red Bull’s International athlete & event shoots and organized the content distribution through redbullphotofiles.com*. Over the years, our shop grew into a legitimate advertising agency offering branding & positioning, campaign development, and photo/video production services as well as content distribution to outdoor brands. As a consequence, we attract a lot of outdoor enthusiasts who typically use the products we promote for their own adventures. This is probably why we are able to promote our clients’ products with authenticity and passion.

*Now known as “Red Bull Content Pool.”

You’ve been at Zooom for a little over 10 years. How have you seen the identity of zooom evolve over the years?

In the early years, we offered the same services in the US as in Europe and spread ourselves too thin with a much smaller team. Over time, we focused our services on branding & campaign development and photo/video production while collaborating with specialized partners in other areas. Apart from that, we became more consistent in targeting clients in our main verticals, which are the outdoor & photography industry as well as selected Fast-Moving Consumer Good Brands (Red Bull, Bundaberg, …). 

As for the latter, we partnered up with the consulting firm Entity X and offer branding & marketing services to the Medical and Recreational Cannabis markets in the US. This is an exciting, new industry and we recently succeeded in winning one of the few medical grower & processing licenses in the State of Pennsylvania. Sports & drugs … who would have thought ;-).

Which campaigns are you most proud of?

Probably the launch of “Red Bull Illume”, an international photo contest for action & adventure sports photography in which the winning images tour the world in stunning outdoor exhibits. Over the past 10 years, this event grew into a huge contest with +35,000 image submissions from over 120 countries. It shines the spotlight on the people behind the lens and has helped kick start the careers of previously unknown photographers. This event, in turn, attracted large sponsors such as Sony, Leica Camera, etc.

Being in a leadership position, how do you cater your approach to allow your left brain and right brain to coexist?

I fear they don’t coexist at all. Managing the agency mostly requires my left side and the talented creative directors, art directors and designers we hire make my right side completely redundant. Naturally, I put part of the blame on WNW for making it far too easy to find talented creatives. MEAN.

For someone entering the field of advertising today, what do they need to succeed? What would it take to succeed at Zooom specifically?

Advertising now encompasses so many different fields of expertise that it helps to specialize early on and aim to become an expert in an area you are passionate about. That’s not to say that you should focus yourself too narrowly. Areas such as branding, content creation or digital media marketing or even verticals such as sports & photography are broad enough to give you ample room to grow. 

Is there a lot of communication between the Fuschl am See and Los Angeles offices? 

Yes, as far as our larger international clients are concerned. We also brainstorm and pitch for selected accounts together. The majority of the projects are handled independently by the local teams though.

What do you see as the similarities and differences between the creative scenes of Fuschl am See and Los Angeles?

The creative is mainly driven by the differences in design aesthetics between Europe and the US. In general, the European brands we deal with tend to have more of a product focus and present themselves as leaders in technology & product quality. US brands – on the other hand - tend to be more lifestyle-focused and aspirational. This, in turn, calls for a very different copy & design aesthetic. Of course, you’ll find a lot of examples that contradict what I just said …. just think of Red Bull Energy Drinks, which is a client of ours that originates from Austria.

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Zooom is offering co-working space within its office on Abbot Kinney in Venice. What can you tell us about the space, location, and atmosphere? 

We have a beautiful office space right at the corner of Abbot Kinney & Venice Blvd and are offering work spaces to talented freelancers (designers, art directors, creative directors programmers, illustrators, you name it) for $800/month. The idea is to bring like-minded people together in a feel-good work space, inspire each other and hopefully also collaborate on upcoming projects. Freelancers can rent a space on a month-to-month basis or for longer term. Whatever fits their needs. If that sounds of interest to anyone reading this, just drop us a line at office@zooomcreative.com and we’ll show you around.  

Who's your most significant creative or entrepreneurial inspiration?

Maybe Yvon Chouinard, the founder of Patagonia. His book “Let my people go surfing” is a real inspiration for how to build a thriving brand based on authentic values and caring for the environment. He’s probably one of the most reluctant business men ever and driven by an ecocentric approach of doing business.

What do you do when “Not Working”?

Riding my old 1972 Peugeot road bike until one of us breaks down (we tend to take turns), cooking for/with friends, and playing piano when no one listens.

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Are you a WNW Member with new work, exhibits, products, or news to share? Email us!

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NSFW: Got a Fetish For Great Set Design, Art Direction, & Photography?

NSFW: Got a Fetish For Great Set Design, Art Direction, & Photography?

MIKE O'DONNELL / EDITOR

WNW Members Isabelle Rancier, Marie-Yan Morvan, and Stephanie Gonot have collaborated enough times to know how to bring out each others' strengths and consistently put forth exciting projects. Their latest, a photo series titled "Fetish," is no exception. And its perfect marriage of art direction, photography, and set design would likely have been impossible without their familiarity. As Marie-Yan puts it, "We're so comfortable with each other that you could put us in a room together at 8AM with no story or props and we’d be shooting something by noon. I can’t promise it’d be good but that kind of comfort means we feel free to experiment and build on each others’ ideas until something happens. That’s the embryo of any creative project."

This particular project displays reflections of sexual fetishes surrounded by household objects coated in skin-tone palettes. "We wanted to communicate the mundanity of what is thought of as 'kinky' or 'alternative' sexual behavior," Isabelle tells us. "It’s a subject matter that is starting to have a cultural moment and is losing its stigma (very slowly!)." "Fetish" also brought with it an impressive number of obstacles, which included but were not limited to working with both mirrors and a corner set, learning how to tie fetish knots, and finding last-minute models on the cheap for an NSFW "fetish" set. Not bad for a day's work.

Tell us a little bit about your creative backgrounds. Who are Isabelle, Marie-Yan, and Stephanie, and how did they get here?

Isabelle:  I was born in Germany, raised in France, and have lived in Brooklyn for 11 years. I started out studying German lit and painting at a liberal arts college but soon dropped out to study art in Scotland. While there, I slowly started to understand what graphic design was- and decided to pursue it. Not content dropping out once, I did so again- I couldn’t hang with the daily Glasgow rain- and landed at the School of Visual Arts in NYC where I got my degree. I am currently an art director at an advertising agency (Anomaly) but most of my career has been spent in the fashion industry as a graphic designer. I’ve held positions either in-house at media/fashion brands (Refinery29, Barneys NY) or in fashion-centric studios.

MY: I was born and raised in Paris. In 2004, I visited New York with my best friend during Christmas time and knew I had to move there.  Six months after, I started to study graphic design at SVA (this is where I met Isabelle) and got attracted to the 3D world progressively. Before coming to the states I studied cinema in Paris. Movies are like religion in France, and they were a big source of inspiration for me growing up. (The movies of Jacques Demy, Francois Truffaut, Tim Burton and Jean Cocteau mostly.)

Stephanie: I’m a photographer living in Los Angeles who, like Marie-Yan, also had a penchant for movies growing up. :) I came to Los Angeles (from Sacramento) right after college for an internship with a TV commercial and music video production company because I thought I wanted to be a director. But instead I became very interested in the production company’s extensive photo book library and decided that if I wanted to become a director that I might first immerse myself in photography. Some years went by of moving around doing odd jobs (teaching English in Spain, working in an ice cream sandwich truck, etc) but I finally landed at a photo agency in Los Angeles where I was a photo agent for three years. During those three years I really focused and got my freelance photography career going by working on projects during nights and weekends, while learning about the business of photography during the day.

How would you describe your respective creative styles? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?

Isabelle: I can’t escape my style, even though I try with every project. I aim for visual simplicity and translate conceptual messages first and foremost, but I also like there to be an extra element. I love contrasts, surprises, and humor. Humor is hugely important to me, both in interpersonal relationships and in my work. Making someone laugh is like a superpower. Visually, humor can be translated as wit, surprise, and impact. I ask myself, can I spin this into something funny, or weird?

MY: The story of the picture we make is very important to me. I like to ask: what's the narrative here? And I need to have an answer. Otherwise there's a problem. I'd describe my style as very graphical and whimsical. I like simple shapes and strong colors.

Stephanie, Isabelle and I go way back. We're so comfortable with each other that you could put us in a room together at 8AM with no story or props and we’d be shooting something by noon. I can’t promise it’d be good but that kind of comfort means we feel free to experiment and build on each others’ ideas until something happens. That’s the embryo of any creative project. If you don't have that, you won't make something really memorable.

Stephanie: I’ve definitely developed a style over the past however many years and I like to use it as a starting point for projects. It’s nice to know that I can predict at least a bit what something is going to look like when I set it up with my lighting. Then from there, I like to push it a little further into unknown territory so that my style keeps evolving.

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How did the initial idea for your latest project “Fetish” come about?

Isabelle:  Stephanie, Marie-Yan and I were collaborating on a personal project where we were also using mirrors in colorful sets. We kept catching glimpses of our disembodied limbs and faces surrounded by saturated colors, and that sparked the idea…

MY: We were shooting a different project and sometimes Isabelle is really funny. She was looking at herself in one of the mirrors that was on set and joking around with her body kind of playing with the shapes she could make and her reflection. That's how the idea was born!

Stephanie: I feel like the further I get in my career the more it becomes clear that ideas don’t just come out of the blue… they come from getting your hands dirty and working on projects/collaborating with others.

“The night before the shoot we found a youtube video of someone tying the knot we wanted to use the next day in the shoot. But I had to learn how to tie it! Isabelle and I are just friends but we got to spend the night practicing how to tie fetish knots on each other in bed!”

Can you share some of the creative challenges and breakthroughs that came with this undertaking?

Isabelle:  I will spare you the details of trying to cast models for a NSFW project ...with a low budget. Regardless, I feel lucky that the three of us are always aligned creatively and share similar sensibilities. We are on the same page from concept to execution and this project came together pretty smoothly. One creative challenge we encountered was the tone; it can be difficult to shoot nudity tastefully without it veering into a soft-core world.

MY: Isabelle and I rented an AirBnB in Silver Lake for this shoot, a little house with one bed in it. The night before the shoot we found a youtube video of someone tying the knot we wanted to use the next day in the shoot. But I had to learn how to tie it! Isabelle and I are just friends but we got to spend the night practicing how to tie fetish knots on each other in bed! We also had a little incident when one of the models we cast dropped out at 6pm the night before the shoot. Normally I think it'd be hard to find someone for a fetish-related shoot the night before, but we reached out to a few friends of friends and they loved our brief and that we were three women doing this shoot. I think there was a lot of trust there. Also, whenever I get to work in LA, it feels like a mini-vacation, coming from the craziness of NYC!

Stephanie: As mentioned, it was quite an ordeal to find models on the cheap for an NSFW project. Aside from that, we were working with mirrors AND a corner set, which made it difficult for me to light on my own. We basically created a big obstacle course for ourselves because we were seeing in front of the camera and also the reflection of a body which was sometimes almost right next to the camera. I wish we had a picture of the full set-up to share. It was pretty funny having naked people NEXT to me while I was shooting them reflected into the set in front of me.

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“I wish we had a picture of the full set-up to share. It was pretty funny having naked people NEXT to me while I was shooting them reflected into the set in front of me.”

How do the household items like the telephone and coffee mug tie in with the theme of this project?

Isabelle:  We wanted to communicate the mundanity of what is thought of as “kinky” or “alternative” sexual behavior. I feel like it’s a subject matter that is starting to have a cultural moment and is losing its stigma (very slowly!). The objects like the telephone, the keyboard, and the blinds speak to communication and visibility. The coffee mug and the houseplant tie into the notion of mundane domesticity.

How did you settle on the color palette for this project?

Isabelle: Millennial pink or bust! That's a joke - we just wanted colors that were in harmony with our subjects’ skin tones. I love how the photos almost feel like a color bath.

Stephanie: Gotta love Color-Aid! ;)

Were there any particular fetishes you considered covering that didn’t make the cut?

Isabelle: Yes, a few. We explored some related to pain and body modification but scrapped them. We could have easily veered into a gory or hardcore tone.

Which photo in the series is your favorite?

Isabelle:  I love the threesome photo… The different skin tones look harmonious together and oddly peaceful.

MY: The group sex one: It's very sensual, and it reminds me of a sculpture. In a way. It's not as aggressive as the other ones. It's just the human body - nothing else.

Stephanie: I really love all of them as a series, but the ball-gag one I think is very pretty and strange with the house plant.

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What do each of you do when Not Working?

Isabelle: I watch sci-fi movies, look for weird Corgi mutts on petfinder.com, and shop for vintage Levi’s.

MY: Travel and I have shifts to do at the Park Slope Food Coop. Food is very important to me!

Stephanie: Makes me sound boring but I’ve been getting into running! I ran a race with my mom for the first time a couple of years ago and got hooked. It’s nice to have a set running schedule when your freelance work schedule is inevitably all over the place.

Who are some WNW Members whose work you admire and why?

Isabelle: I’m a huge fan of my friend Dan Cassaro’s work. I also devote a good amount of time to trolling all the photographers.

MY: I'm new to the site! I need a little time to explore.

Stephanie: Also a newbie!

Anything else you’d like to add?

Isabelle: Hire us for your next project?

MY: Oh yeah!

Stephanie: Can’t wait to work with these ladies again!

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Are you a WNW Member with new work, exhibits, products, or news to share? Email us!

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Meet Neil Mahoney, Editor of Key & Peele, Drunk History, & Portlandia

Meet Neil Mahoney, Editor of Key & Peele, Drunk History, & Portlandia

MIKE O'DONNELL / EDITOR

If you're even remotely into modern comedy, you've seen the work of WNW Member Neil Mahoney. Neil, based in Los Angeles, has worked as an Editor on an amazing range of broadcast and internet shows like Key & Peele, Portlandia, Drunk History, The Life And Times of Tim, and Between Two Ferns. In our interview below, Neil talks about his approach to editing, but we first kick things off with his creative background. "I grew up in a sleepy vacation town in Massachusetts like the one in JAWS. Crazy stimulating during summer months but left us year-round kids starving the rest of the year. We made spy movie parody videos, skateboard 'sponsor me' tapes and overall mischief to fill out the rest of the year." It's clear that Neil developed a discipline, resourcefulness, and sense of humor early on that has kept him afloat then and now, and enabled him to build an impressive career.

Neil also discusses the importance of building an ever-growing community of lasting connections that have opened priceless opportunities, what he sees as his role as an editor, and how he imparts his particular style. "The key to my sensibility for comedy is to deliver a believable world, just as you would in a drama, so that when the comedic elements are introduced, they seem even more absurd." We also asked Neil what's next. "I'm wrapping up an Amazon series that I can't really talk about that's really nuts, especially in the editing. But after that, I'm going to try and go outside and get some fresh air.

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Tell us about your creative background. Who is Neil Mahoney and how did he get here?

My name is Neil Daniel Mahoney and I grew up in a sleepy vacation town in Massachusetts like the one in JAWS. Crazy stimulating during summer months but left us year-round kids starving the rest of the year. We made spy movie parody videos, skateboard "sponsor me" tapes and overall mischief to fill out the rest of the year. Eventually, whenever there was a big assignment at school, I would ask if I could make a video instead.

Then I went to college, maybe I shouldn't have, but I received some book-learning to tug around while trying to make a living via humor. I interned with a music video house, and with the production company that made Mr. Show and Tenacious D, which I held in very high regard. Through that, I forged a lot of the relationships that have been keeping me employed on really fun projects. 

What were some of the challenges of getting started as an editor? And how did you end up working on the likes of Drunk History, Key & Peele, and The Life and Times of Tim?

I never intended to be an editor, although I really enjoyed watching the process, and piecing together the logic and decision making while observing guys like Steve Welch and Dean Holland and later, Peter Atencio. I wanted to be a writer and see my career now as an extension of that: protecting the writers' vision while hiding mistakes made along the way and accentuating the contributions of the production crew. Eventually, I hit the point where it was impossible to pitch networks as an unknown writer without a "presentation" reel. So I learned to edit because editors were the only people I couldn't convince to work for free.

I enjoyed editing some web series I'd produced which lead to a job at FUNNY OR DIE which was like grad school. Getting to work beside so many funny new people and super experienced SNL folks like Andrew Steele was a real gift. When I decided to leave to try and get traditional TV kinda work, Life and Times of Tim was my second interview. It was a bizarre technical process but an amazing crew of writers and producers and cast. I think BJ Porter made a big push for me to get that job. I owe him a lot.

I worked on Drunk History because Naomi Odenkirk introduced me to Derek Waters, and I produced and edited a series called Derek and Simon with him and Simon Helberg and we all got along, so when Drunk History hit, he knew we would be like-minded. Same basic story for Key And Peele; Peter Atencio, the director and co-EP, had made a web series with Jonah Ray and myself called The Freeloader's Guide To Easy Living which I co-wrote and produced, but mostly breathed over Peter's shoulder and got free editing lessons. I was initially brought on to just cut the improvised live audience pieces for K&P but eventually got to cut whole shows.

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“I wanted to be a writer and see my career now as an extension of that: protecting the writers’ vision while hiding mistakes made along the way and accentuating the contributions of the production crew... I learned to edit because editors were the only people I couldn’t convince to work for free.”

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What do you see as the most important part of your job as an editor? Can you give our readers a glimpse into the process? Is comedy, really, all in the timing, like they say?  

It's really about protecting the process that's lead to the footage being put in your hands. My basic rule of thumb/order of operations is to first make sure the script and story is being conveyed, then make sure the best work by the actors shines [including ad libs, improvising], then look at the contributions of the director and what style they want to present the first two in. And finally if all of those things are clicking, throw some editing cherries on top. Timing is of course important, but that's very much up to the performers more than someone in my position. I have a little bit of leeway to adjust the timing of performances, but only in rare occasions do you want the editing to draw attention to itself as comedy.

Do you feel a lot of pressure to help the mood and jokes land for the famously funny (& powerful!!!) comedy people? 

Of course. The most stress I have been under is editing stand-up comedy because, for a network like Comedy Central, you are under very tight time constraints for act-breaks and overall show length. We often had to tighten and kind of re-write people's performances to fit in those limits and it feels very invasive. You really want to do your best to honor their intentions and create an honest portrayal of their stage act.

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“The most stress I have been under is editing stand-up comedy because, for a network like Comedy Central, you are under very tight time constraints for act-breaks and overall show length. We often had to tighten and kind of re-write people’s performances to fit in those limits and it feels very invasive.”

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You’ve worked as an editor on comedic masterpieces like Key and Peele and Between Two Ferns with Zach Galifianakis. Have you worked on dramatic projects as well, and does your approach change with genres?

I've done a few films and series that weren't straight comedies, and I really enjoyed that process. Without the pressure of trying to deliver laughs every thirty seconds, you are freed to deliver something more visually interesting, if that helps the story and the pacing. That being said, the key to my sensibility for comedy is to deliver a believable world, just as you would in a drama, so that when the comedic elements are introduced, they seem even more absurd. 

What comedic films, shows, or sketches showcase some first-class editing? Do you always pay attention to the editing when watching movies or shows? 

I try to ignore the editing of shows, and just enjoy them. If the editing is apparent, it's probably not very good. That's why I can't enjoy any reality shows, because it's so blatantly emotionally manipulative, and meant to create misleading expectations. I honestly have been into Ice Hockey lately, because there's no artifice to it, it's just happening live and at the end, there's a winner and a loser and the drama was all genuine.

As for scripted shows, I think Veep has some great editing because it's just so fast paced. I also think Last Man on Earth on Fox, and Detroiters on Comedy Central has excellent pacing. And on the opposite end of the spectrum, Baskets and Better Call Saul are really luxurious in long takes and visually interesting.

Who are some of your biggest creative idols and influences? And have you been able to meet or work with any? If so, who surprised or surpassed your expectations?

I've been really lucky in that I came to Los Angeles with a goal to work with Mr. Show and that whole class of writers and performers and I've worked with almost all of them. I worked on an episode of Portlandia last year that featured Mitch Hurwitz and watching the dailies of his scene was so crazily impressive of how fast he was on his feet, and so insanely funny. Maria Bamford was a huge thrill too because her genius is only surpassed by her generosity and real concern for others.

What moment or project in your career so far has made you the proudest?

Working on Key and Peele was pretty much the first time anyone in my family had heard of something that I'd done, so that's up there. I was proud to be nominated for an Emmy for the last season alongside Nick Monsour and Rich LaBrie, in no small part because somewhere my name will be next to theirs forever and I think they're both really great editors.

Biggest career failure?

That's the best thing about working in Post Production; you aren't really done until the thing you're doing is as good as it can be. There are some projects I've directed or edited that could have been more successful, but I can't call that a failure. They were all fun to make. Maybe that I turned down an opportunity to direct a pilot because I had concert tickets that weekend, and now that show is in its third season. That was pretty dumb of me.

What’s next for you?

Not sure! I'm wrapping up an Amazon series that I can't really talk about that's really nuts, especially in the editing. But after that, I'm going to try and go outside and get some fresh air.

If you weren’t an editor, what do you think you’d be doing instead?

I'd like to try writing, like on a show that has writers-rooms. I like that kind of collaboration and have a fun time preoccupying myself with structure and enjoy re-writing.

What do you do when Not Working?

I just took a trip to Sweden, so I think I'll try and travel a lot more when I've got time. I tend to pick up little projects like restoring a piece of furniture or other little home art projects to relax.

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“When editing with clients in the room, and they ask for an alternate take of something and while you’re trying to pull alternates up the same take plays again, and the client says “Oh yeah, that’s much better” is too frequent, and too embarrassing.”

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What cultural and creative venues do you frequent in Los Angeles? 

Largo at the Coronet is my favorite place to see live performances in LA. It's a theater that has loads of history and is really generous to its little family of regular performers, so I like to support that. Cinefamily has a lot of revival screenings and other weird video art nights that are fun. There seems to be a new craft fair every weekend so I enjoy snooping around those, as I have a lot of crafty friends who make cool stuff.

Do you thrive off of being part of a creative community or are you more in your element as a lone wolf?

I like the communal environment when generating ideas, but when I'm sitting down to cut I prefer to be alone. When editing with clients in the room, and they ask for an alternate take of something and while you're trying to pull alternates up the same take plays again, and the client says "Oh yeah, that's much better" is too frequent, and too embarrassing.

Any album, film, television or book recommendations for your fellow WNW members? 

I really enjoyed Cuplicated on Vioobu.com this weekend. I'm a big fan of deep set-ups and really committing to a bit like that. The "Craig Healy" character was something they came up with almost ten years ago at Funny or Die. I'm reading a book of critical essays on the show Deadwood but it's kind of terrible.

Anything else you’d like to add?

Not really! It's been difficult to talk about myself this much. Thanks for your interest in my life.

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Are you a WNW Member with new work, exhibits, products, or news to share? Email us!

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WNW MEMBER DIANE LINDQUIST GUIDES GURL MUSEUM DAYS

WNW MEMBER DIANE LINDQUIST GUIDES GURL MUSEUM DAYS

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As the temperature and humidity rise in the coming months, you'll be desperately searching for air-conditioned escapes with cool marble flooring. You should be thinking museums. And if you're a "gurl" in LA, you can hit up the best museums and galleries with your own "gurl" gang. WNW Member Diane Lindquist is the founder of Gurl Museum Day, which includes both organized field trips to the latest exhibitions and installations, and a branded magazine that celebrates female artists, their journeys, and girl-focused exhibits.

In our interview below, Diane offers generous insights and openness into her creative background, in part shaped by the loss of vision in her right eye at a young age due to retinoblastoma. "In the years after surgery and treatment, I had many tests to make sure the cancer had not returned. The tests would be made up of shapes, color palettes, and other cognitive exercises. It was during this time that I began to develop my creative background."

She also shares the impetus behind GMD and its growing headcount. "My gurl friends would tease me about the galleries and museums I would visit. So I invited them to go with me. The next museum we went to they invited their friends and, soon enough, I asked everyone to document their experience on Instagram using the hashtag #gurlmuseumday. After a few more museums, other girls began to ask for information about how to be included. During one night of spontaneity–and lack of sleep–I developed the branding and website and GMD was born. I later discovered that only 5% of female artists had their work shown in reputable galleries and museums. That set in motion a series of events that deepened my mission to increase those numbers."

If you're in Los Angeles, you can learn more about GMD here and below. And New York, stay tuned for when GMD officially becomes bicoastal.

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Tell us a little bit about your creative background. Who is Diane Lindquist and how did she get here?

The story of Diane Lindquist starts in the city of stars, Los Angeles, a city where there are many shiny bright lights, but for me those lights were a bit blurry at first. At a young age, I started to lose vision in my right eye. It started out very minor and it quickly worsened. I can remember feeling so confused by what I was seeing that I would bump straight into walls. It turned out I had retinoblastoma (a form of cancer) in my right eye. My parents were immigrants, working-class, and this was something beyond their understanding and reach. If it wasn't for my mother's love and determination I might not be here to tell this story. With her help, I fought and survived cancer, but it took my right eye. I spent countless nights in the hospital, making friends with other kids with cancer (many of whom lost their battle) and developing a sixth sense — what I call my "killer fine eye.” 

In the years after surgery and treatment, I had many tests to make sure the cancer had not returned. The tests would be made up of shapes, color palettes, and other cognitive exercises. It was during this time that I began to develop my creative background. I had to wear eye patches, which weren't a friendly look for other children. I would dwell in the sounds, colors, and type around me because I lacked the vision I felt I needed and missed. I tried so hard to capture as much in my memory. Over the years, I always felt a creative spark within me. Coming from a humble background, I still felt a need to be practical. 

At the age of 16, I started working. I had excelled in strategy and liberal arts in high school, so it was natural to pursue them in college. I put myself through higher education by working nights and I also set up a backup plan. While design is my passion, I decided to hedge by earning a BS in Marketing and a minor in Graphic Design. The world needs designers, but I felt like marketing was a skill I could always support myself with. Afterward, I worked my way from a junior to senior designer. I taught myself web design, later UX/UI design (with some established education) and so on. While I have come a long way, I will always be learning. I think one has to be constantly learning to be successful. 

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How would you describe your creative style? Do you recognize a signature style that links all of your projects, or do you try to excuse yourself and approach each project as its own entity?

It took me a while to figure this out. My creative style is a combination of clean, stand-out designs with a fresh, bold, modern, and minimal aesthetic. I use lively colors, a synthesis of my Mexican-American heritage and love of Swedish minimal design. My creative style is completely different for projects I work on. I really try to keep a piece of my style within each project while I create designs that are based on what the client's or users needs are.

What was the impetus behind GURL Museum Day? What’s the project all about?

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GURL Museum Day (GMD) stems from my childhood. I didn't have many opportunities for recreation, but at school, we had field trips. The first museum I visited with my teachers was The Holocaust Museum in Los Angeles. I was about eight years old. For those who have never been, it's very impactful. I felt shocked and learned so much during my visit. The exhibition was fully interactive (with videos and other interactive installations). It evoked so much emotion in me. The empathy I felt struck those feelings I had from children teasing me for wearing an eye patch or even the rejection of my father's approval (since I was not 'normal' to him). I remember tearing up, touched deeply by their struggle. It also opened in me the desire to learn more about others through the conduit of the museum experience. Thus my love for museums and galleries carried me through my teenage years. When I could, I would use holidays to visit them. I learned about creating and exhibiting work. Some prints I made were shown at an LA River Gallery and, to my surprise, they were featured in The LA Times. I sold out half of my digital prints, which was a new thing for me. This also led me to volunteer in the expansion of the Downtown Los Angeles Art Walk, where I was seeing art reshape the inner city. My gurl friends would tease me about the galleries and museums I would visit. So I invited them to go with me. The next museum we went to, they invited their friends and, soon enough, I asked everyone to document their experience on Instagram using the hashtag #gurlmuseumday. After a few more museums, other girls began to ask for information about how to be included. During one night of spontaneity–and lack of sleep–I developed the branding and website and GMD was born. I later discovered that only 5% of female artists had their work shown in reputable galleries and museums. That set in motion a series of events that deepened my mission to increase those numbers.

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Can you give our readers and potential GMD attendees an idea of what a Gurl Museum Day looks like?  

We have GMD Tours monthly, currently in Los Angeles (coming soon to New York). The day begins with meeting at a selected spot (usually in front of the museum). Gurls start arriving and we allocate thirty minutes of meet 'n greet. There we make a collective circle and I introduce myself, welcome them to GMD, and pass out name tags for gurls to write down their Instagram handle (towards the end I like to collect them in a printed promo piece to make sure I tag the girls in the photos I take). Then I ask two to three questions: (1) What are you passionate about? (2) Your most recent obsession or (3) Your favorite artist or type of art? This really gets all the gurls to open up and loosen up. Then we enter the gallery or museum. Sometimes we have a docent, sometimes we do a self-guided tour. It's fun to see all the gurls talk to each other and bond over art. The last thirty minutes we usually say where we are going next, say our goodbyes, and hit up the gift store (of course)!

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Of the museums and galleries you and your gurls have visited thus far, which ones do you recommend most highly? Which exhibits sparked the best discussions afterward?

The Broad is the brand spankin’ new museum of Los Angeles. It’s been all the rage and it doesn’t disappoint. My favorite gallery in LA is Ace Gallery. Most people don’t know about it but it’s amazing space. The beginning of the year we went to the Annenberg Space for Photography’s Skylight Studio for #GIRLGAZE. That generated a lot of conversation and interest because it was a range of photography in the perspective of females views. We talked about how powerful and important it was to feel represented within each photograph. 

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Was a magazine always an integral part of this project or did it come about later on?

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It’s wasn’t at first. However, after sharing this with so many girls, it clearly became the most needed part and I was happy to find collaborators that wanted to assist in the development. I partnered with Erin Remington. She’s an art curator and blogger at AFINEREYE. She helps with the interviews and the rest of the development of GMD. The magazine is strictly focused on sharing stories of gurl artists. Supporting their journeys or reviewing exhibitions that are related to girls. 

In what ways has this creative undertaking surprised you and challenged you?

I had done other projects, but they were planned out and systematic. This developed organically and every step has been a discovery both creatively and strategically.  

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Will you be planning a good number of air-conditioned museum trips this summer to escape the L.A. heat?

Oh yes! Summer in LA is the best. Everyone wants to go out and it’s the best time to visit galleries and museums. We have a whole year planned out. We are heading to visit Hauser Wirth & Schimmel, MOCA, MOLAA, Blum & Poe, & CAAM, to name a few. We are also planning to expand to New York by the beginning of summer.

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Who/what are your biggest creative influences?

As far as designer legends and greats, I admire and respect: Susan Kare, Aaron Draplin, WNW Member John Maeda, Paul Rand, Saul Bass, Jessica Walsh and Stefan Sagmeister. There are also many designers out there that are equally amazing and talented like Mig Reyes, Janet Longhurst, and Tobias van Schneider. I also find inspiration other ways from companies, products or agencies like HUGE and am heavily into art and culture. I have a whole list of female artists. At the top is Barbara Kunger, Maria Lassing and so on.

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What’s next for you? What are you working on now?

I have another project called Compassionate Landspace. This is a collection of visuals—posters and social cards—created and donated by designers that encourage empathy in the name of fairness, equality, and progress. Our goal, as a collaborative effort, is to allow a different type of visual messaging in our current landscape with compassionate visuals to be used by marginalized communities, organizations, protestors and the general public who aim to share the same message. I am working on another collaboration project and just hoping to expand GMD in different exciting avenues. 

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What do you do when Not Working?

Galleries and Museums… no really! I still go to so many opening receptions (aside from the ones we do with GMD). I am highly addicted to coffee, but as I like to say, “Coffee is addicted to me!" I enjoy visiting and collecting coffee shop experiences. I am also a mentor and love those relationships dearly. We can only shape our industry if we share our knowledge. 

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Who are some WNW Members whose work you admire and why?

Lately, I admire gurls who are in a cross-disciplinary sector between a designer and artist such as Tuesday Bassen and Gabriella Sanchez. 

Anything else you’d like to add?

Thanks for sharing my story!  

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Are you a WNW Member with new work, exhibits, products, or news to share? Email us!

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