LCV Winter 2012 - (Page 12)

alking into william Joyce’s moonbot studios is like walking into one of his books. the space is entirely inviting and comfortable, but the office environment nevertheless produces a sense of having stumbled across life in another dimension, one that is whimsical but serious, collegial but private, one that crackles with energy and ideas, though hushed with concentration. Located in what was planned to be a biotech research park in shreveport, moonbot’s interior was redesigned to reflect the studio’s personality. after threading one’s way through enough security to conjure up thoughts of Cia headquarters, the visitor opens heavy glass doors to enter a slightly futuristic environment gleaming with glass and chrome. a receptionist sits behind a curved desk under a suspended oversized lamp, perhaps ten feet in diameter, apparently activated by a pull chain of wooden balls. (actually, it turns on by the flick of a switch on the wall.) a lighted case exhibits three Emmys, a Gold medal from the society of illustrators, and other awards Joyce has earned. the oscar he and his partner Brandon oldenburg won at the 2012 academy awards for The Fantastic Flying Books of Mr. Morris Lessmore has yet to be displayed. the lobby features deep, multihued chairs, some of them mounted like lazy W William Joyce at work on Santa Calls in his home studio, 1993. susans that revolve, and above, exposed pipes gleam in foil wrapping. Every surface sports bold primary colors. on either side of the hall leading from the foyer are rooms housing work pods specially designed to give employees space and privacy without putting coworkers beyond reach of one another. Books are stacked high on desks and tables, while framed illustrations from The Leaf Men, Dinosaur Bob, and other books and films by Joyce hang on the walls or lie propped against them on the floor. office whiteboards are crowded with lists of projects, deadlines, and assignments. storyboards charting moonbot’s projects in progress cover the walls of two large rooms. the main corridor ends at a screening room where staff can examine the craft of moviemaking (the film library includes Buster Keaton titles and Singin’ in the Rain, among others) or review their own projects. oversized red beanbags that spill across the floor seem to be the seats of choice. the Bots, as the studio’s young, energetic, and talented employees are called, work in a space that combines innovative technology with the best of artistic imagination. at the heart of all this enterprise is william Joyce, a bespectacled artist of 55 years whose seriousness about visual storytelling is betrayed on occasion by a sense of mischief. for his attendance at the academy awards, for example, he and oldenburg wore tuxedos made by 12 Louisiana EndowmEnt for thE humanitiEs • Winter 2012-13 FTER COLLEGE JOYCE SPENT SOME TIME IN NEW YORK, BUT WHEN AN ART DEALER VIEWING HIS PORTFOLIO REMARKED THAT JOYCE COULD DO WHAT HE DID ANYWHERE, HE RETURNED TO SHREVEPORT, AND STAYED. A PHOTO BY NEIL JOHNSON 

Table of Contents for the Digital Edition of LCV Winter 2012

LCV Winter 2012

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