Interview with Remus Low

What do you enjoy most about your work? What has been your favourite project so far?

Animating is always a joy. When I’m thinking and finding interesting ways to bring characters to life, the process brings me a unique sense of fulfilment.

I've only completed my first film, so my favourite one will have to be Scoob!

Was being an animator your dream job? What is it like working with ReelFX?

I've set my goals of becoming an animator when I was 15. That was 2009 when UP was just released. After watching the movie, it just felt like animating was my calling. 

Working on a feature film is as amazing as I thought it would be. I got to meet many industry veterans, directors and amazing artists.

What made you take the leap and venture to Canada?

I've always set my eyes on working for the feature film industry,  and Canada is one of the countries that has many opportunities in this field.

How did you get noticed by ReelFX? What was your portfolio like then?

After I'd completed my course at AnimSchool, I compiled my shots and sent out my demoreel to multiple companies - more than 20 of them!

You can have a look at the demoreel that I'd used in my application here!

Working in Singapore and in Canada, what are some of the differences?

The main difference will be in the language spoken.

Here in Montreal, French is the primary language: so signboards, etc, are all in French.

However, most people here speak English as well, and have all been really friendly and nice to me.

When I first arrived, it was the beginning of winter. It was a huge contrast to the hot and humid Singapore. Winter here spans over, what feels like, 6 months. The coldest it ever reached was -24 degree, and it can be difficult to adapt to. But if you're well-prepared, it can be a nice and refreshing experience.

What are some of the challenges you’ve faced along the way? How did you overcome them?

As with many artists, I’ve been through phases of self-doubt and imposter syndrome. My method of overcoming these is to talk to people I trust, who can help me stay grounded and put me in perspective.

Living away from my family amidst this COVID-19 situation is challenging. Thankfully, they are just a video call away, so I make a conscious effort to call them more often.

How was your experience furthering your craft with AnimSchool?

Animschool was great! The instructors are all working in the industry, so they are all very up-to-date with the latest software and skills.

It was also really inspiring and motivating to be in a class with other aspiring animators all over the world. I've had many classmates whom I look up to, and learned so much from in the process.

How has SIDM helped you along your exciting journey?

SIDM laid down the important foundation for me to even begin this journey. The technical skills I've learnt during my three years allowed me to be competent at Cum Creative, and ultimately, enabled me to juggle school and work at the same time.

Having a good grasp on the software allowed me to be able to animate without having trouble navigating Maya, which I feel is a huge oversight of many 3D animators.

The lecturer who had the most impact on me was Mr Carlos. I came into the course with no background in arts (I was a pure science student in secondary school), and his guidance helped me hone my foundation in art.

I went from a person who didn't really know how to draw to someone who is decent enough. He gave a lot of assignments and practices, and constantly encouraged me along the way. His teachings and his words of encouragement have stuck with me ever since. Till this day I feel incredibly blessed to have learnt from him.

What advice would you have for your SIDM juniors/ young artists?

Don’t be distracted by fancy tools, flashy advanced tips and tricks that you see others pull off. Focus on your foundation skills first. 

Many people often jump into animating a complicated scenario (e.g fight scenes), but I'd encourage you to focus on the foundation - it's often the most important.

With a strong foundation, you can make a simple bouncing ball more 'alive', and that will be far more impressive. From there, you can build up step by step, and feel an exponential growth in your development.

On the contrary, if you're doing something too complicated for you to handle at the start, you may end up feeling discouraged and, in turn, affect your confidence.

What advice would you have for those who are considering working overseas?

Do your research first. Everything: from the places you want to work, to the country you are going to live in. That being said, go out and explore with an open mind, take in the new experiences and appreciate everything around it, good and bad.

Map out your goals and think about the many ways you can achieve it.

Beyond that, it's all up to your own effort and believing in yourself that you can do it.

Do you think going to university is necessary to get a job in the industry?

The short answer is no. But there’s more to this and, it varies with each individual.

Employers will be able to recognise your ability and potential if your skills are of industry standard, regardless of your paper qualifications.

There are many artists who drop out of college upon receiving a job offer.

Attending university or not has its pros and cons.

Besides growing your skillsets, studying at a university increases your likelihood of meeting like-minded individuals and building connections which will be beneficial down the road.

Having a degree also gives you an edge over others in visa applications to work in places like the US.

Will you return to Singapore and contribute your expertise to the local industry?

As I’m still relatively early in my animation journey, I cannot say for sure when. But, I would like to return to Singapore at some point, perhaps to teach.

Lastly, where will you go from here?

I look forward to honing my skills further, and becoming a better animator every day.