Director Cris Wiegandt, who is repped by Friends Electric, enjoys choosing the teams she works with on projects. “I like to collaborate as well as learn from those artists,” she says.
Based in Berlin, this multimedia artist and director started out in crafted stop motion, but her experience now spans many disciplines, working in 2D, 3D, stop-motion, character design and illustration.
Pepsi SodaStream
What would surprise people the most about what a director does?
It’s not always obvious from a director reel what we’re capable of achieving, especially when we’re talking about animation. It’s even a bit of a Catch-22. If, for example, a client is looking to find a director for a 3D shoot, they won’t trust one that doesn’t have 3D work on her or his reel. But it’s not necessarily imperative for a director to be experienced in a specific domain.
The key is to hire and work with the right artists who specialize in the craft. I can easily direct and guide great technicians or animators for them to execute my vision. Acquiring the right team, understanding timing and movement, and having a solid concept of how 3D animation or, say, stop-motion works are what matter most for a successful project.
If you didn’t have this job, what would you be doing instead?
I would probably be a diving instructor.
Why did you choose this profession?
I’m not sure if I chose this profession or if the profession chose me. It was an inner voice or a feeling that drove me to animation.
What was it about directing that attracted you?
I didn’t plan to be a director; it happened naturally somehow. It started with a request, actually. The client saw my potential and trusted me.
Adobe’s Tales of Scales
What is it about directing that continues to keep you interested?
The possibility of working on bigger projects, getting the chance to work with people from the entire globe and with different backgrounds makes me the most excited.
What’s your least favorite part of the job?
The lack of trust I’ve at times experienced between client and director, especially as a woman. This is something I’ve mostly felt while working in Germany. I’ve found that I’m taken more seriously if I hire male DPs, for example. The DP is basically my backbone on most projects, and even more so on a stop-motion shoot — they take my vision to reality. I’ve noticed times where I have had the male DP I work with repeat what I just said for it to be heard by the client. For this reason, I’m sad that I can’t work with more female DPs, but thankfully, I haven’t experienced it as much in the UK, US or Amsterdam.
How do you pick the people you work with on a particular project?
Their skill matters most, and then how I connect with them on a personal level. I tend to choose women first, since we are still underrepresented, in my opinion.
How do you work with your DPs?
I work with different DPs, depending on the project. It’s all about trust; the DP has a knowledge that I don’t have. Their opinion matters a lot, so I want them to get involved as soon as possible.
TED-Ed’s Phantom Traffic
Do you get involved with post at all?
Yes, I like to be involved in all parts of the process. I’m a bit of a control freak, but I guess all directors are like that.
Can you name some recent projects?
I directed a 3D animation for Adobe called Tales of Scales and a 2D animation for TED-Ed’s Phantom Traffic. Also a Pepsi SodaStream commercial.
What project are you most proud of?
My Adobe Ice Cream Factory. It was a spontaneous idea, they liked it right away and gave me all the freedom I needed to do it. And the timing was only three weeks!
Name three pieces of technology you can’t live without?
My phone, my Bose headphones (with acoustic noise cancelling) and my electric piano.
