What I Learned From Working on Blue’s Clues • Part III

What I Learned From Working on Blue’s Clues • Part III

A long time ago, in a galaxy far, far, away… I worked on a little TV show called Blue’s Clues. If you’re just learning this now, go back and start with Part I: Before Blue’s Clues.

Part III: Okay, I’m here. Now what?

1515 Broadway today. It doesn’t look much different than it did in 1999.

Imposter Syndrome-zilla

I still remember my first day walking into The Viacom Building at 1515 Broadway. I felt like a country mouse. Taking the N train from Queens and navigating Manhattan was pretty easy, but I had no idea what working in an animation studio would be like. Thankfully my boss, Nancy, was friendly and made a big effort to make me feel welcome before I even got there.

Email from Nancy to me, welcoming me on board at Blue's Clues.
Yes, I printed this email. It was 1999. We printed emails, okay?

When I got off the elevator at the 46th floor, I was worried that I was in the wrong place. It looked like a storage space, or my old art school. Later on I learned that sometimes new shows got placed into less-than-optimal spaces in case they didn’t catch on. Blue’s Clues was into its third season, very much a hit, and we soon moved up the street to swanky new digs (more on that later).

Nancy and I met up and she took me to meet my fellow storyboard artists, Kevin Cardinali and David Levy. Even though the furniture and walls were lacking in style, the equipment was all top notch. I was surprised to learn that the storyboards were mostly compiled in the computer, and everyone had two monitors (two!). Back then they used behemoth CRTs, emitting their special rays from the tubes inside. It’s a wonder that anyone over the age of 25 can still see.

Nancy then led me to a conference room where we crashed the Animation Department’s weekly meeting. It was a little intimidating to be introduced to the group, mostly because I realized that I was wearing a striped shirt and khakis. What was I thinking? I’ll never know. No one harassed me for it or threw anything heavy at me, so I took that as a testament to the friendliness of the crew. These people were the lifeblood of the show, so their opinions meant the world to me.

I can’t remember if I met the creators of the show or Steve Burns that day or later. I was mostly trying to keep myself from peeing my pants and wondering if I would fit in. Any moment, I expected someone to come out of a room, point at me and shout, “That one! That’s the imposter!” Security would escort me off the premises and that would be the end of my career in animation, before it even got started.

Today, I can gladly report that did not happen. I just met a bunch of informal, friendly, and sometimes weird artists – at least as weird as me, so I increasingly felt like I would fit in just fine.

D.J. in Wonderland

First of all, it’s New York City. Love it or hate it, nothing compares to the experience. The difference between living in NYC and being a tourist is kind of like looking at a bottle of whiskey and getting drunk on a bottle of whiskey. I got drunk on NYC. I love living in big cities and NYC is the big city. It’s not for everyone. It’s gritty. It’s loud. You learn quickly how to dodge taxi cabs. But hey, you want a coffee? It’s right over there. A slice of pizza? Take your pick, which corner? Want to pick up a book or a funky old lamp? No problem. NYC has you covered, my friend. Also, the diversity of people just can’t be compared with anywhere else. And who’s taking the subway? Everyone. Lawyers, actors, bakers, construction workers, homeless people. It’s the great common denominator of life in New York.

Working in the Viacom building was not boring, either. It was MTV HQ, and on any given day walking through the lobby, I would see actors and musicians from my favorite bands. There was a coffee bar in the main lobby and a company cafeteria called the Lodge on a 4th floor enclosed terrace. As a teen, I had been glued to MTV all day, every day. In 1999, I still had my MTV geek card glued to my forehead. One day while waiting for coffee I turned around and saw MTV VJ Alan Hunter standing behind me. Suddenly, I was thirteen again and I couldn’t manage to say a word.

The Lodge was more of the same. You never knew who would be waiting in line with you while you picked up your stir fry, pizza, pasta, or whatever special they were creating that day. The only way you could get in was by swiping your building badge, which also served as a way to pay for your food – the money came right out of your paycheck. After only a week, I felt like a veteran when I helped a well-known producer/director figure out how to fix his key card at the entrance. I was in ’80s heaven.

I also learned to avoid leaving the building around 4:00 PM. That was when Carson Daly was hosting Total Request Live and Times Square was wall-to-wall teens. We could hear the screams on the 46th floor.

Time to make the storyboards

Sometimes it was easy to forget that I was actually hired to do a job and not gawk at celebrities all day. It was time to get down to business and do the work.

I was terrified.

Read Part IV now: The First Lesson

Tune in next week for the continuation of What I Learned From Working on Blue’s Clues!


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One response to “What I Learned From Working on Blue’s Clues • Part III”

  1. […] Ready for Part III? Let’s go! Read Part III […]

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