Tell us a little about yourself and your career.
I’m a writer and a former pre-med kid. My parents immigrated to L.A. from El Salvador, and growing up we didn’t have a lot of money. I always wanted to write and loved comedy TV, but the financial instability scared me. My mom is a nanny and my dad is a bus driver, so once I had the chance to be the first in my family to go to college, I basically picked “doctor” out of a hat.
After graduation I was working in an ER as a medical scribe but also had a secret humor blog on the side. I would post satirical pieces just to make myself laugh, but the blog got pretty popular, and after some soul searching I decided to pursue my writing dreams. I was so anxious to tell my parents, but they were both incredibly supportive and happy that I was taking a chance on myself. I started as a PA at DreamWorks in 2017 and worked my way up to production coordinator, then script coordinator/writers assistant, then wrote some freelance scripts, and am now a writer on an unannounced show at DreamWorks. I’ve also written for Archibald’s Next Big Thing Is Here!, unannounced Apple TV+ and Netflix projects, and I have a book of funny short stories out called Rags to Rags.
Who are your inspirations in the field of animation?
Niki López and Jorge R. Gutiérrez are really inspiring to me. The way that they’ve created these rich worlds and pull from their own Latinx culture just fills me with joy and makes me feel seen. I’m also inspired by the way that Chris Amick and Ben Mekler are comedic powerhouses who run our writers room with such kindness and openness, especially during this wild year. Shane Lynch, Jasmine Chiong, Joy Regullano, Bethany Armstrong Johnson, and Noëlle Lara are also incredible writers who inspire me with their creativity and enthusiasm for lifting up other female writers.
What challenges have you faced in navigating a career in animation?
The biggest challenge for me was the technical learning curve when I started as a PA. I could take notes, but it took a little while to learn the entire CG pipeline since I started off not even knowing what an animatic was. But thankfully our Kung Fu Panda: The Paws of Destiny crew really took me under their wing and taught me everything. Once I got into writers rooms, another challenge was often being the only Latina in the room, something I still encounter regularly today. It’s an unfortunate truth that our industry is lacking in the Latinx creators department, but I feel that as we rise through the ranks and others become more aware of this issue, we can open more doors than ever.
How has the animation industry helped give you representation, and how can it improve?
Animation is really leading the entertainment industry right now in terms of on-screen Latinx representation with projects like Maya and the Three, Vivo, Encanto, The Casagrandes, and so on. It’s also great because we’re getting to see different cultures and countries and show that we are not a monolith. However, we need to see representation in writers rooms and in leadership roles like producers, showrunners, and executives. Also, in terms of fostering socioeconomic diversity, it is crucial to compensate lower level positions fairly so we don’t foster a system where only those who can afford to not worry about money are the ones who stick around and move up.
What words of wisdom would you give to people in your community who would like to get into animation?
I know imposter syndrome runs rampant in people like me who are honestly just grateful to be in the room, but we’ve got to shake it off. We’re just as deserving of these opportunities as anyone else, and we need to be our own biggest cheerleaders first and foremost. I would also advise people to look into organizations like LatinX in Animation and Rise Up Animation; they often have panels and mentorship opportunities. Also, if you want to be an animation writer, I would recommend having a solid sample and sharing with other aspiring writers so you can give each other notes and lift each other up.
What do you hope to accomplish as an artist in the animation industry?
My main goal with my career is to make people laugh. I just love comedy so much, and growing up as a kid crammed into a tiny one-bedroom apartment with my parents and sister, laughter was my escape. I want to make funny shows for all types of audiences, and I want to open doors for other creatives like me who feel like the only poor kid, or the only Latinx kid, or the only one that didn’t go to film school. The fact that as a writer I can create funny stories and also infuse elements of my own cultural upbringing in it and help others like me feel seen is an absolute dream come true. I aspire to run my own shows someday, and I want to boost up emerging talent as much as I can.
What does being in the Union mean to you?
I grew up in a household where my parents often worked non-union jobs like nannying, housekeeping, freelance mechanic work, driving, you name it. They were often treated unfairly, and it broke my heart to see them without options. I saw firsthand how once my dad entered the bus driver union, his work life improved dramatically. Being in a union means having people in your corner and knowing that you are not alone. It means seeing your best interests represented and being able to speak up and advocate for yourself and your colleagues. That, and cool shirts!
Learn more about Guzman at her website.
Follow her on Twitter at @ellie_guzman.
.png)