Animation Articulation: Ricky Santana

How's your weekend, guys? I had a blast--it was TOYCON here in the Philippines! Much happiness. Very toys. So wow. But other than that, we're going to be kicking it with another cool animator, Ricky Santana!

P.S. He worked in the Wild Thornberries. Who doesn't love Nigel!?!?!?

Hi, Ricky! How did you get so cool--I mean, start in the animation industry?

In 1989, I was privileged to be among a batch of artists coming from outside the industry that was trained to become animators. This was at Fil-Cartoons, Inc., a Hanna-Barbera subsidiary at the time. At one point, I was also elected by my fellow animators to be the Animation Department Representative, a position that entailed being the channel between the department and management. In 1994, I left for the United States.

Wow, all that in just five years! What would you say is your greatest achievement?

I am at present a Storyboard Artist and Retakes Director on one of the most popular and enduring characters, Dora the Explorer. I have been on this show since 2001, and I think that the length of tenure in itself is already quite an achievement because of the animation industry's volatility. In the late 1990's, I was also fortunate to be a partner in a small animation studio based in Los Angeles, called Reeldraw Animation,  that took in subcontract work from the likes of Warner Bros., Clasky-Csupo and DIC Entertainment. The studio lasted only two years but I am proud to have helped provide jobs, even it were just freelance, to other Filipino artists at a time when the industry was at one of its lowest points.

Were there any obstacles?

Being a minority in America is always a challenge. To gain respect from peers in the animation center of the world has not been an easy task.

So what are the shows you've done?

In the Philippines, I did animation on a lot of Hannah-Barbera shows like The Smurfs, Captain Planet and Johnny Quest. In my early years in the US, I was a Directing Animator in a CD-Rom company called 7th Level and worked on games for characters such as Ace Ventura and Timon and Pumba. When I had my own studio, I was really ecstatic to have animated for commercials that featured Wile E. Coyote and Road Runner, and also Tom and Jerry. I also did storyboards for The Wild Thornberries. This was also an opportunity to diversify so I did designs, timing and slugging for various shows such as The Avengers and Clifford the Big Red Dog. At Nickelodeon, it was Dora the Explorer, and now the new series, Dora and Friends, which I'm proud to say is taking shape with the collaboration with Snipple Animation in the Philippines.

What can you say about the animation industry in the Philippines? 

The early to mid-90's is what I consider the golden years of animation in the Philippines. The industry had been severely affected by the transition from traditional to digital, and also by the resurgence of Korean studios. Now for the first time in a long while, a major American company, Nickelodeon, is again putting its trust on the talent of Filipino animators by way of Dora and Friends. I am confident that with the right combination of proper management and homegrown creative skills, the second coming of this golden age is just around the corner.

Any advice for the people who want to get into Animation?

In this digital age, traditional skills are still very important. It is the foundation that ultimately defines an artist in the industry. Also, as much as it is great to excel on one department, to diversify is what can help you in the long run. Learn what you can!

That was awesome, Ricky! Thank you! Hope to talk to you again real soon!