When Chad Hellmuth, Associate Department Manager, Artist Management at Sony Pictures Imageworks, sits down to explain why he schedules time for Sony artist mentoring on ACME, we’re all ears. Chad’s resume sparkles with digital production management and visual effects credits that include The Chronicles of Riddick, Dr. Seuss’ the Cat in the Hat, Daredevil, Scooby-Doo, The 6th Day, Battlefield Earth, End of Days, and Alien: Resurrection, and a seven year track record of engaging artists at Sony while getting the job done for management. Why does it make sense to schedule time for mentoring? The answer is: ACME helps Sony with artist development and recruiting– a competitive advantage.

Chad says, “The connection with ACME gives our artists a fresh take on mentoring and critique and helps to further develop their talents. It not only encourages ACME’s students, but it helps our professionals gain experience in giving positive and effective feedback. This kind of mentoring helps our artists practice the type of skills that come into play when they’re leading a unit or team or working as a supervisor. It helps them see both sides of management.”

“Mentoring also helps our artists creatively,” Chad says. “As our artists speak to students, they revisit the founding principles. When they return to work, they’ll practice what they preach, because now it’s top of mind. The basics never go out of style.”

“And of course,” Chad says, “There’s an advantage for Sony to see students’ artwork early on. We keep an eye on them for our internship program. ACME helps prepare its members socially, creatively and mentally. Sony is then able to see their work progress and get a sense for what students have the communication skills, the hunger to learn and grow, and most importantly, the ability to work collaboratively.”

Chad recalls, “We had one of ACME’s college students in our Internship program last summer. We knew from working with her on telecasts and watching her respond to feedback, that the hunger to learn was there. She came in and was willing to work. It’s not only or always the best animator—or the person who thinks they have great ideas. We have great ideas too; it’s can they listen to the director and help achieve that vision? And she helped with that. The piece she worked on, I don’t think it was in the final film, which happens all the time. And she was great. She was willing to run with what she heard from us. You have to be willing to start somewhere. The opportunities are out there,” he concludes, “You just have to know to take them and make them a reality.”