From Mickey Mouse to “Trolls”: Heinz College Alumni Shape the Future of Animation

Alumni of Heinz College’s Master of Entertainment Industry Management (MEIM) program have successfully pursued careers in animation, helping to bring iconic stories and beloved characters –– from Mickey Mouse to “Trolls” –– to audiences around the world. 

Bryan O’Connell (MEIM ‘13), for example, has worked for the Walt Disney Company for over a decade. He’s now the director of development for Disney Jr., focusing on the preschool series and special programming that will air on Disney Jr. and Disney+. His role doesn’t involve drawing or animating; rather, he works with the artistic teams of an upcoming show or special and manages its initial development and production.

O’Connell said he aims for Disney Jr.’s programming to incorporate “those ingredients of music, magic, humor and heart.”

“We’re looking for characters that are aspirational, whether they're characters that our audience wants to look up to, or wants to pretend to be, or wants to be best friends with,” he said. “Part of the fun of this is not just reimagining legacy characters for the preschool space, but also getting to bring them new content that makes a difference in their life.”

So far in his time with Disney Jr., O’Connell has helped develop the stop-motion holiday special “Mickey Saves Christmas” and collaborated with Marvel Studios to produce the animated television series “Marvel’s Spidey and his Amazing Friends,” among other programming. He’s also worked to develop a new iteration of the global hit series “Mickey Mouse Clubhouse,” which will debut this summer on Disney Jr. and Disney+.

O’Connell loved animated films growing up–– he remembers his amazement when he first watched “Fantasia” on VHS –– and he said a childhood trip to Disney Hollywood Studios made him want to be an animator. He studied film as an undergraduate student at the School of Visual Arts, in New York City, but eventually realized he was more interested in storytelling than production. 

That’s what brought O’Connell to the MEIM program at Heinz College. “The program supported me in every way,” he said. Dan Green, director of the program, connected O’Connell with a friend who worked at Disney, and that person eventually became O’Connell’s mentor. That connection at Disney helped him launch his career with the company.

Beyond the industry connections, the MEIM program also gives students a strong foundation in business and management. O’Connell took courses in economics and statistics, which he said challenged him and “formed who I could be as an executive.”

“I came in wanting to make sure I got everything I wanted to get out of this program. And Dan Green supported me around every corner, and challenged me as well, in the best ways. I think, without him, I wouldn't be where I am today,” he said. 

Before she came to Heinz College, Marina Cavalcanti (MEIM ‘21) didn’t know a career in animation was possible for her; she believed she lacked necessary artistic skills and technical knowledge. Then, she attended an alumni panel at the college. She heard from a panelist who worked in production at DreamWorks Animation –– and also had lacked prior experience. Cavalcanti realized she could pursue a career in the field.

Cavalcanti is now an associate producer at the animation story studio Toonstar, where she oversees the animation, design and storyboard teams. She reviews the teams’ scripts and storyboards to document what is needed for each scene, including the characters, props and backgrounds. She answers the teams’ questions, provides the materials they need and manages their deadlines. Occasionally, she’ll provide feedback on scripts. 

Being a producer allows Cavalcanti to pursue the management work she enjoys while nurturing her creative side. “I'm not the creator, but I'm enabling the creators to do their job in the best way possible because I'm the one taking care of all the details. That helps me feel close to the creation process,” Cavalcanti said.

Since joining Toonstar after graduation, Cavalcanti has helped produce a season of “The Gimmicks,” an adult comedy about a group of “washed-up” wrestlers who are looking to return to glory with a rookie’s help. At Toonstar, Cavalcanti has also collaborated with Parker James, of the popular YouTube channel “StEvEn & Parker,” to animate James’ characters and offer videos in multiple languages.

Several other MEIM alumni are helping to bring animated characters to life and share new movies and television shows with audiences worldwide. Here are their insights, in their own words.

John Peck (MEIM ‘15), lead in-house producer for Toonstar

Current role: I oversee the creative on all projects, which can mean different things for each property. Sometimes our client is a writer who has a show concept, and with them, I will revise scripts and give notes. Sometimes our clients are not writers, and in those cases, I'll write content alongside them. I also oversee the production pipeline, so I usher our projects from the idea phase to the finished product.

Impact: Toonstar is seeking to eliminate the gate-keeping around animation and make it more accessible to people who do not have access to a gigantic studio with a gigantic budget. We’ve developed animation tech to allow us to produce rapidly and more cost-effectively, so we've been able to work with people who would never be able to make a cartoon in the traditional world. That has been really fulfilling, and it's helped us bring new, fresh intellectual property into the mix.

How the MEIM program helped: The MEIM program, first and foremost, did a lot for teaching work ethic. It's a little intense, but in a good way. The program has given me the tools to participate in bigger business and finance discussions, which someone working on the writing and creative side would typically have no knowledge of. That’s helped me make decisions that not only make creative sense but are also strategic for the company.

Lisa Briggs Sachs (MEIM ‘11), production manager at DreamWorks Animation 

Current role: Production functions like a factory: There are multiple departments, and the product –– assets and shots in this case, driven by the story –– travels through each one until we get our final animated feature. As a production manager, I manage the long-term and day-to-day schedule and priorities of the feature film I'm working on. I also partner closely with the producers and provide strategies to ensure we’re getting the directors’ vision on screen while remaining inside of our budget.

Impact: I have stayed at DreamWorks for most of my career –– over fourteen years –– because of the sense of community and culture the company strives to maintain in an ever-changing industry, and because I’m surrounded by some of the most talented artists and filmmakers in the world. My main goal when helping to run a film is making sure the entire crew, from the artists to the production staff, are having fun and enjoying what they’re creating. One of my mentors once told me, “We’re making cartoons… if the team isn’t enjoying the process, something is wrong.” I couldn’t agree more, and I live by that statement each morning when I drive through the gates.

How the MEIM program helped: One of my professors was a director, and another was an executive who had worked at multiple studios. We also had producers come in to talk about their experiences, and even did a role-playing exercise of the various positions in production –– that ultimately sparked my interest in production management. Being exposed to those perspectives led me to where I am today, along with the MEIM program and Dan Green’s dedication to getting students in the door via internships and networking. I’m from Michigan and had very little access to the entertainment industry, but the program provided me with the experience and connections I needed to start an animation career.

Katie Felix (MEIM ‘15), production supervisor at DreamWorks Animation

Current role: I'm in the lighting department and the look development department. My role involves ensuring the artists have what they need and are hitting their deadlines, and I relay any problems or delays to the show leadership. Every day, I run meetings where we review the artists’ work in front of the production designer and the visual effects supervisor. I also mentor a team of three coordinators.

Impact: My favorite franchise is “Trolls,” and I got to work on the first movie in the effects department. I will never forget the first time I was in an early screening of the movie – I felt so overwhelmed because I loved the story and liked the characters so much. It was a magical feeling.

How the MEIM program helped: MEIM students study in Los Angeles during their second year, and I wouldn't be here at all, probably, without that experience. The program gave me a great baseline for the entertainment industry and how it operates. Dan Green and the advisors in the program were so helpful and tried to help us reach our goals.

Brandon Hamilton (MEIM ‘21), founder of Insufferable Creatures

Current role: Insufferable Creatures is a development and production company. My business partner and I are working to identify and curate exciting video game franchises that want to reach audiences across other forms of media. We bring them together with talented creators and approach studios with an entire package: “Here's what this idea is. Here's what it looks like as a television show. Here's what it would take to make it. Let’s make it!” We want to be a trusted partner for studios.

Impact: Before I founded my company, I helped bring to life “Secret Level,” an animated anthology with each episode based on a different video game. Last December, the series was released on Amazon Prime. I focused on managing its development and production, especially on the business and legal affairs side of things. I was working with people across the U.S., U.K., France, Poland, and China to create something truly special.

How the MEIM program helped: In two years, I got to learn so much about the industry that takes people's entire careers to learn. The program equipped me with the tools I needed to negotiate contracts with agents representing talent and review agreements with production partners across many shows happening simultaneously. I don't think I could have done that without the MEIM program.