How has the "network experience" affected Peter Chung? : LUSENET : Aeon Flux : One Thread

(apologies if this is a FAQ) I read that you had many struggles with the network over content issues, and that the network usually won (not surprising). This problem not only affects animators, but any artist who is attempting a commercial venture. This is often one of the most difficult things for an artist to adjust to. John K is legendary for failing to succumb to network influences, staying mostly inflexible on content issues. This is the artistic ideal, as the artist should determine content in a perfect world. Of course, the commercial world is not like this at all, and John K's inflexibility has caused him great problems professionally including having to leave his own show.

From your perspective, is there anything to really be gained by trying to resist the network's input, or is it an exercise in futility that only leads to frustration?

If you believe there is still value in fighting these fights, how do you stand up for your work effectively while avoiding getting a reputation as a "difficult" artist?

Has your network struggles changed your approach or your future work plans? Some artists are avoiding the networks all together in order to keep complete creative control. Do you believe that some level of commercial success is possible, while maintaining artistic integrity at the highest level?

-- KT Roughneck (, September 27, 2001


John K is a complete asshole, I've met him and know people that worked for him. The only thing greater than his inflexibility is the size of his ego. He thinks his "style" is the pinnacle of animation, and everything else is below him and unworthy to be aired. He dismisses any artist as having "no talent", that is unless your style is obviously influenced by his - then he thinks you're a genious.

Don't get me wrong, his inflexibility is admirable; if only he could put it towards a project with meaning rather than a fart joke.

-- HPG (, October 09, 2001.

These expletive un-deletives makes me want to crack a beer but before I go let me ask a dumb question - who is John K? At first I fell into a political frame of mind but then I saw the reference to animation. Although sometimes those guys do remind one of a cartoon.

-- Barb e. (, October 10, 2001.

John K or John Kricfalusi is best known for creating "Wren and Stimpy". His style is a modern version of the classic Tex Avery or Bob Clampett cartoons. Current projects include "The Ripping Friends" showing on Fox Kids. His production company is called "Spumco" and can be visited at .

-- KT Roughneck (, October 10, 2001.

Nice. Wren and Stimpy. A tender story about a dog and his bird. Duh. That should have been "Ren and Stimpy" of course.

-- KT Roughneck (, October 10, 2001.

Peter Chung isn't what I would call inflexible. He works in commercial art. Aeon Flux was a different direction for him; he even said it was a time he let himself do things he hadn't done before with a character. I think Aeon was his 'baby' but he is realistic enough to work commercially. Multimillion dollar advertisers spend the bucks on great equipment to get their message across. Artists get to work with tools not available in smaller studios. Aeon Flux was a smaller budget but it scaled artistic heights.

-- Barb e. (, October 11, 2001.

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