For over two decades, Randi Wilens has been managing animators and producing a wide array of projects for music videos, global tour visuals, live concerts, promos, feature film title sequences, branded content, commercials, animated installations on historical buildings and documentaries. Most recently she has produced animated projects for the likes of Bad Bunny, Paul McCartney, Metallica, Odesza, Blink 182, Billy Idol, Hulu, The New York Times and The Atlantic. She was kind enough to answer a few of our questions about her special brand of animated content.
Animag: Thank you so much for finding time for us. Can you tell us a bit about your background and how you became interested in animation?
Randi: I am a native of Los Angeles and a graduate of USC’s school of cinema with a degree in film production. In 1997, I was at a movie theatre and a commercial played before the film. It was a stop-motion spot for LA NPR station, KCRW. It just blew me away it truly resonated and I had to know who created it. I called the radio station and was introduced to the brilliant James Caliri. I signed him immediately and knew at that moment that I was in love with animation.
What was your first foray into animation?
Our first animation project together was a music video for Cypress Hill featuring The Fugees. It was a wonderful experience. Our next project was Grammy nominated for best video of the year Morphine’s “Early To Bed.” Other projects were Clio winning United Airline spots and Emmy winning film title sequences. James subsequently became an animation entrepreneur when he invented Dragonframe — the globally utilized animation software. Having come from a live-action background, I knew I had a keen eye for animators. I was hooked!
Can you tell us a bit about your current projects?
I am currently producing exciting animation projects for feature films, commercials, music videos, short films, branded content, tour visuals. Recent projects include Bad Bunny, Hoka, Billy Idol, Blink 182, Nina Simone, The Smashing Pumpkins, Brandi Carlile, Anderson Paak, Odesza, a film title sequence for an upcoming feature film, cover art for Harper Collins, and a five-minute music video for The Polyphonic Spree, which will be screened in a planetarium in Dallas!
What drew you to explore animation in alternative formats such as music videos and concerts?
When the pandemic hit I knew labels and agencies would still want concerts and I pursued animation projects with a fervor. Tour visuals became the new MTV — animation globally resonates with all recording artists and tour visuals at live concerts is a truly viable art form. My animators have worked with Metallica, SZA, The Weeknd, Matchbox 20, Travis Scott, Lil Nas X, as well as music festivals such as Coachella.
Please tell us about your installation work and building projections?
One of the animators I represent introduced me to an art curator who was soliciting artists to create motion art to be projected on the Daniels & Fisher Clocktower in Denver… which was viewed by thousands of people. My animator Chris May created one piece that was highly regarded… Subsequently, I introduced the curator to my roster of animators I represent and he was wowed. He subsequently hired me to curate ten art pieces for 2024. I am now working with the city of West Hollywood to create content for billboards on the Sunset strip. We have also created an art installation screening on a major billboard in Tokyo. It’s a very exciting endeavor and only just the beginning.
What are some aspects of the job you absolutely love and what are the big challenge?
I love that animated content is globally respected as an art form in all genres and people will take chances on innovative and experimental content. The challenges come about when there is not enough time or enough money or both. But I always find a solution.
What excites you about animation in the year ahead?
The sky’s the limit – the future of animation content will be trailblazing.
What kind of advice do you offer young people who want to get into animation, beyond taking the usual studio and TV animated content route?
I lectured and mentored film students at USC for 10 years. My advice to young animators is to ‘just do it’! Create your own content — a music video, a spec commercial, an art piece. Don’t wait for things to happen: make them happen.
For more info Randi and her cutting-edge animation projects, visit rwmedia.tv. You can watch some of her animated projects below:
