The pair met at the Dreamworks studio. Michelle was a producer, whileOlivier joined the studio as an animator after training at Gobelins. Since then, they have worked together all over the world.
A ‘power couple’ as they say across the Atlantic (or rather across the Channel, where the Staphylas are based) who now use their cross-disciplinary expertise in animation, directing and production to work with major international studios.
Currently working (among others) with Warner Bros, the duo agreed to talk to us about a sector they consider to be very dynamic, but difficult to navigate if you haven’t mastered the codes and tools.
Two sets of skills that are both similar and complementary
Today, the couple work closely together, while each running their own business on either side of the same company.
Michelle is Executive Producer for Warner Bros. and is responsible for guiding directors through the approval process for their projects. It’s a job that requires both managerial skills and a keen creative eye.
“My role here is to prepare the artists as well as possible, as well as their pitch, to help them obtain the famous green light“, explains the producer. “This involves compiling the artworks, and putting them into shape so that these representations reflect the filmmakers’ vision on the one hand, but also so that they can be understood and heard by the studio directors on the client’s side. And alongside this role, I’m also a production consultant, from a more budgetary and HR perspective, to help projects come to fruition, particularly the one we’re currently working on.”
Olivier, meanwhile, is hard at work as co-director and head of character animation on Bad Fairies, a project combining British humour, punk and musical comedy, in which Cynthia Erivo(Wicked) was recently announced as one of the headliners. Produced in partnership with Locksmith Animation, the feature is officially set for release on 21 May 2027.
Trained at the Gobelins in Paris, it was at the Dreamworks studio that he landed his very first job on Kung Fu Panda, before moving on to Dragons and working his way up through the ranks. It was a once-in-a-lifetime opportunity, but also one that he seized with no ulterior motive, in a sector that is constantly changing.
“We are paying today for the consequences of yesterday’s excesses”.
For the couple, there is no denying that the sector is currently going through a crisis, a direct consequence of the COVID years and the rise of streaming platforms. The after-effects of this boom period have been keenly felt over the last few years, not only in terms of employment but also in terms of storytelling.
“With the arrival of platforms, the ideal production process for a film has been turned upside down,” explains Olivier Staphylas. “As a result, we reached a stage where it was no longer the original idea that was paramount, but rather the platform or distribution channel for which the content was intended. And it’s this way of operating that I think we’re now paying the consequences of. Michelle and I are very happy to be working with Warner Bros. because it’s one of the majors that still believes deeply in the cinema. Creating films for the cinema is a risky and tough business, but it’s very satisfying, and it’s the idea that comes first, through the relationship of trust that is established between the studios, the filmmakers and the public. It’s a real pleasure to be able to recapture the energy that was at Dreamworks when we both started there.”
Neither would comment on the future of the industry, between cinema and streaming. But if we put the idea back at the heart of the creative process, they both agree that it will have a positive effect on the sector as a whole.
“KPop Demon Hunters has just reshuffled all the cards,” adds Michelle Staphylas. “And it also shows that if you want to get people into cinemas (and not in front of their televisions), you have to be able to offer them stories at least as powerful as these, and for people to say ‘I WANT to see this on the big screen’.
I don’t want to rule out streaming either, because that industry saved a lot of careers during the pandemic. I think that today, we’re in a process of readjusting our trajectory, and that it’s a context that’s both singular, but also very promising for young people.”
A mantra of openness to opportunity
When asked what makes a good professional today, and how to break into the sector, the couple stress the need to seize every opportunity, keeping an open and curious mind. “These days, you have to have the courage to say ‘yes’, even if it’s not exactly what you had in mind as a goal,” insists Michelle Staphylas. “Life presents its share of obstacles and challenges, and being able to pivot, adapt and remain open to opportunities is the best way to achieve your goal. This first proposal may not be the job you dreamed of, but it may be the one you need to consider today. From my point of view, these experiences are sometimes the most rewarding, and they’ve forced us to redefine our approach and work on new skills. In the end, we’ve grown from it.”
Another point to bear in mind is the ability to adapt, not only within a team but also with collaborators from different generations. “Sometimes there are three or four generations working on the same project”, the producer points out. “Successfully working together requires both empathy and patience, both upwards and downwards. On a film, you have to make friends quickly, and work with them for sometimes almost three years. The challenge is to be able to adapt and solve problems as a team, while at the same time having your own opinions, sharing your feelings and combining them with those of your colleagues.
It’s not enough to be good to be hired,” adds Olivier Staphylas. “What counts is the artistic, technical and human value that you bring to the project. And sometimes it’s also a question of timing. So you have to continue to develop your skills, while keeping an eye out for opportunities so that you can seize them when the time comes.
Despite everything that COVID put us through, it also opened up new opportunities. Today, it’s perfectly possible to work for three weeks on a project on the other side of the Atlantic, without having to move to New York. It’s a chance that we have to be able to seize too.
A balance between good communicator, artist and technician
Another important point stressed by both Michelle and Olivier is the importance of knowing how to present yourself, and to present yourself as a professional. “Twenty years ago, having a degree from a prestigious school might have been enough, but that’s no longer the case. What makes the difference is the ability to understand how a studio environment works, and to prepare for it”, insists Olivier.
“The school is a unique ecosystem that fosters creativity, I think we can go further in the way students are prepared for studio work. This involves routine, the ability to pass on feedback quickly, incorporate iterations and explain them, all day-to-day aspects of the job that are essential to have in mind in this industry.”
At ESMA, this dynamic is being put in place in most student groups during their end-of-study project. Many students appoint production managers to ensure that plans are delivered every day and that quotas are respected. And, as the duo emphasise, this is reflected in the quality of the projects.
“That’s not to say that you have to be extroverted and at ease orally to join the sector,” moderates Michelle Staphylas. “But being able to put together, in a few sentences, a presentation of a character or an asset, and explain its process, is essential for joining a team and contributing seamlessly to a large-scale project.”
So do you need to be better at technical, artistic or communication skills? Without answering the question, the duo note: “In the end, if you’re only good in one of these three areas, you’re going to cause someone problems. A person who is aware of their strengths, who can strike a balance between these different parameters and who is prepared to work to overcome these weaknesses, that’s what studios are looking for today”.
An informed worker is worth two
Lastly, the couple stress the importance of knowing the different types of contract common in the sector, while being able to set their rates with a clear conscience. Not too low, at the risk of being undervalued. Not too high, at the risk of being seen as the wrong price. It’s a judicious balance, but one that schools can prepare students for.
In contact with many professionals, ESMA students have easy access to this information both in France and abroad.
“These are small tricks, but they change everything. Knowing market rates, conducting a job interview properly, whether face-to-face or via Zoom. Being able to present yourself properly can change everything,” stress Michelle and Olivier Staphylas.
But both firmly believe in the future of the medium, and are delighted with the public enthusiasm for animation. “Once again, KPop Demon Hunters has achieved something incredible,” concludes Olivier Staphylas.
“This feature film has succeeded in uniting generations around a unique animated film and universe, which has now become a cultural phenomenon.”
Michelle adds: “When we pitch a project to studio directors, the question that always comes up is: why does this have to be done in animation? It’s a unique medium that allows you to tell stories that can only be told through it.
Seeing all the young people who now want to work in this sector, and discovering their creative visions and fresh approaches, is extremely refreshing, and I’m very proud to be part of this industry today.”
If you’d like to find out more about Olivier and Michelle Staphylas’ projects, check out their LinkedIn page 2 OAKS.
The Love Louder video by The Meeps, directed by Olivier and produced by Michelle, is also available on Youtube.