Pro Hello: Bill Elliott
Bill Elliott began his career at Disney Jetix. He’s directed, designed and storyboarded throughout the computer games, advertising and TV industry. Credits include Lego, 'Mr Bean: The Animated Series' and 'Black Mirror'. Since establishing Kong, Bill has been one half of the directing duo Elliott Baker, alongside Tom Baker. The two have directed several 'Thomas & Friends' online series', award-winning commercials for IMAX, British Animation Award-nominated MENCAP films, alongside a wealth of commercial and personal Kong projects.
As a studio, Kong was responsible for the animation for two of the BBC’s 'Quentin Blake's Box of Treasures' 30-minute animated specials. The latest of which is due to air Christmas 2024. In his spare time, he paints, draws comics and eats.
Today, Bill shares his story so far.
LBB> What do you do, and where are you based?
Bill> I’m one part of the triumvirate that is Kong Studio, alongside co-director, Tom Baker, and executive producer, Emma Burch. We are an East London-based animation studio that works across all different styles and techniques. Our background lies in 2D and stop-motion, but our ethos is whatever style or process that works to tell the client’s story. Our philosophy is ‘It all starts with a pencil'.
LBB> What recent campaigns might we know you from, and what was your input on these campaigns?
Bill> As a studio, we recently completed two episodes of 'Quentin Blake's Box of Treasures', a series of festive half-an-hour specials for the BBC based on the books by the above mentioned illustration legend. In this case, as a studio owner, my role ranged from recruitment to animation supervisor, to colouring in, to making teas and buying biscuits. I certainly excelled at the latter. Anything to create a happy production and to get the job over the line. Check out the behind-the-scenes feature.
As the directing duo Elliott Baker, this has been a musical year. We kicked off with our debut Kong music video ‘Don’t Shoot!’ for Premiership footballer, Alex Iwobi. We recreated retro arcade classics and put them in an East London setting.
We also directed a musical promotion for best-selling fantasy author Ben Aaronovitch’s latest novel, ‘The Masquerades of Spring’. I LOVE this project. It incorporated cultural references ranging from the Harlem renaissance to Kandinsky to the ‘black bottom dance’. It’s a unique little gem.
We also directed a musical promotion for best-selling fantasy author Ben Aaronovitch’s latest novel, ‘The Masquerades of Spring’. I LOVE this project. It incorporated cultural references ranging from the Harlem renaissance to Kandinsky to the ‘black bottom dance’. It’s a unique little gem.
Currently, we are working a new opening sequence for the BBC’s flagship topical comedy panel show. This time with a sports slant, ‘Have I Got Sports for You’ is due out Christmas 2024. I can’t get the theme tune out of my head...
LBB> How did you first get into the industry, and how did you realise what you wanted to do?
Bill> As with many people of my generation, I was obsessed with 'Star Wars' growing up. 'Star Wars' figures turned into working out how the Battle of Hoth in 'Empire Strikes Back' was actually made. When I discovered it was animated, this led to my Dad introducing me to the likes of 'King Kong' and 'Seventh Voyage of Sinbad', and some ropy Super 8 animation attempts.
I studied animation up in Edinburgh, where sordid secrets like ‘reading comics’ turned out to be an acceptable pastime. From there, I managed to get a rare full-time job at a TV station called Fox Kids. Here I had a second education as a jack-of-all-trades of the animation industry. From there, a wild and varied freelancing career in the London animation scene.
I studied animation up in Edinburgh, where sordid secrets like ‘reading comics’ turned out to be an acceptable pastime. From there, I managed to get a rare full-time job at a TV station called Fox Kids. Here I had a second education as a jack-of-all-trades of the animation industry. From there, a wild and varied freelancing career in the London animation scene.
LBB> Tell us about your journey so far.
Bill> I’ve been freelancing across the animation industry for nearly 25 years. Kong Studio grew out of the series of 'Thomas & Friends' online shorts that, due to their scale, necessitated the formation of a company. When coming up with a name, the long list seemed to consist of a list of food-related ideas that referred to my appetite more than my love of animation. It seemed a good fit then to name the company after my Dad’s favourite film, which in turn inspired my love of animation – 'King Kong'.
Tom Baker worked on the original Thomas shorts and is one of the most talented people I’ve ever met. He also can do everything, and yet his skill set complimented mine brilliantly. One example is that he’s a fantastic character animator, whereas I’d much rather stop at the joyous process of storyboarding.
Emma Burch joined us in 2016 as executive producer and added many of the production and client-facing skills lacking in a directing duo. That said, Emma is an award-winning director in her own right. She can also do everything! Since then, Kong has grown into a fully-fledged award-winning animation production house. We remain a lean outfit, capable of scaling with our fantastic roster of creatives on a project-by-project basis.
LBB> What projects / campaigns that you’ve been involved in have been the most personally satisfying to work on, and why?
Bill> There are so many! I’d say MENCAP ‘You Being You’ was one. The project came along at a very dark time globally, but also for the future of the studio. We actually signed on the day we had to close our studio due to Covid-19. A year and a half later, Kong was not only back to full strength, but expanding, and ‘You Being You’ was nominated for a British Animation Award. As a piece of creative, its well-conceived and beautifully designed, technically executed -- and there is a joyous charm to the final film.
LBB> What’s been your proudest achievement?
Bill> I think when strangers are impressed that we are Kong Animation Studio! It shows that our hard work and high standards were worth it, and that we have created a business and culture worth persevering with. Likewise, it also gives me a warm glow when freelancers (and particularly juniors) say they enjoyed their experience working at Kong. We believe loyalty goes a long way, and quality of life is an essential ingredient to creating good work.
LBB> What do people (clients, agencies etc) come to you for specifically?
Bill> I’d say, as a studio, what sets us apart is actually our lack of house style, and this can be a real benefit. Our roster of work is wildly eclectic, and is a result of our love of taking a deep dive into styles and subject matters. There are so many studios I admire whose work has a very specific flavour, but at Kong we really love trying something completely new and different!
I also think it’s about the journey, and that journey needs to be an enjoyable one. We really want our clients to get excited by the process as well as the final product.
LBB> What are your strongest opinions relating to your specific field?
Bill> I’d say the complex question and dynamics regarding our art schools, what they offer and how much it costs. I know a list of fantastic lecturers who are going well beyond their job description to enthuse and educate the next generation of talent. That said, the establishments are frequently not fit for purpose, and are certainly not value for money. Art college should be an exciting creative life experience, but also an opportunity to learn a trade. I think frequently students are getting neither now.
LBB> What sort of projects really get you excited at the moment?
Bill> Anything slightly different, whether visually or narratively. So often, we get a little hyper, saying "Ohh, we haven’t got anything like THAT on our website!". That said, our own little projects and IP development are always really exciting.
LBB> Who are your creative heroes, and why?
Bill> Willis Obrien (of ‘King Kong’ fame) and Ray Harryhausen sparked my love of animation. Watching ‘Clash of the Titans’ as a kid blew my mind, and really all I’ve wanted to do my whole professional life is to create stop-motion monsters destroying cities. I also grew up a massive comics fan (and realising I wasn’t alone when I got to art college was a gamechanger!).
The varied list includes Jack Kirby, Cam Kennedy, Wil Eisner -- the list of artists is endless. I’d happily sit in Tate Modern looking at Rothko’s Seagram murals or Lucian Freud’s paintings. And then there is Kurt Vonnegut, Tom Wolff, and of course, Tony ‘Two Ton’ Galento...
LBB> Outside of the day job, what fuels your creativity?
Bill> Painting... I wish I did more. Writing comics I’ve yet to draw... I will -- and the therapeutic qualities of my sketchbook. Taking a deep dive into whatever my boys are into is really aspirational and great for enthusiasm levels. Luckily, one loves aircraft and comics, and the other loves football. I don’t know where they got that from...
