Tell us a little about yourself and your career.
I’m Hedy Yudaw. I’m a veteran Background Painter at Rick and Morty. I grew up in Tong-men, a tiny, poor Truku village on the Papaya River in the mountains near the port city of Hualien, Taiwan. The educational system is not good, and job prospects are worse there. It’s rare for anyone to even go to college, much less graduate; I think I am one of the few indigenous Taiwanese people who has studied abroad. I started studying character animation at California Institute of the Arts when I was 32 years old. I went on to receive my MFA in Animation from the UCLA School of Theater, Film and Television. By the time I graduated, I was already 40 years old. I dream of one day returning to my village and helping my people. This is what drives me in my studies and work.
What challenges have you faced in navigating a career in animation?
My fascination with animation led me from my village to Taipei—the big city—and then to America—the big country—in pursuit of a job in animation. Just like any other artist, finding the right job for the first time in the U.S. is indeed a huge challenge. As an immigrant and a minority, the plight I faced is beyond words. Not only did I have to deal with various cultural differences and languages, but also my student loans in the U.S. When I graduated from UCLA, I was really scared. Fortunately, a year after, I received a job offer as a Background Painter on Rick and Morty. Since then I have been very, very grateful for every job I have received.
Who are your inspirations in the field of animation?
When I first started working as an assistant animator at Cuckoo’s Nest in Taipei, Taiwan in 1991, Katsuhiro Otomo, Hayo Miyazaki, Hiroshi Saito, and Yoshio Kuroda were my inspirations. Now that I am in the U.S., I have been mostly inspired by many of my co-workers, especially James McDermott and Robbie Erwin, Art Directors at Rick and Morty. I was also inspired by St. Louis artist Bill Kohn’s journey. He left his job as a Disney Layout Designer to pursue his personal artistic vision, and his success motivates me to continue pursuing my dreams, no matter how hard things may be. I was so honored to work in his studio for three years before attending CalArts.
What do you hope to accomplish as an artist in the animation industry?
I want the voices of my people to be heard through my personal animation. This is why I didn’t see coming to America more than 28 years ago as the end of my animation career and dream—I see it as the true beginning every day.
What does being in the Union mean to you?
Being in the Union is like being a member in a family and a tribe. We need each other to continue to grow stronger and bigger.
Find out more about Hedy at her website.
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