June FableFriday: Jill Letteney, Producer

With an extensive background in project management and event coordination, FableVision Producer Jill Letteney brings her masterful organization skills to every project she works on. She ensures that everyone knows what’s going on and there’s no miscommunication between the client and the creative team. 

“It’s certainly a balancing act with creative and timeline – they are equally important on all of our projects,” says Producer Jill Letteney. “I throw a lot into planning and scheduling in the initial stages, planning backward to ensure that we can meet deadlines.”

Read the FableFriday to learn more about Jill’s favorite type of work, most rewarding part of producing, and love of museums.

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What’s your “journey to FableVision” story?
My introduction to FableVision came quite some time ago from former Developer Erin Carvalho. I remember her telling me about the animation and games she developed from a studio housed in the same building as the Boston Children’s Museum.

Years later, once my kids went back to learning in school, I expressed interest in freelance work and Executive Producer Peter Stidwill reached out about producing a short animation for the National Action Alliance. I had the best time working that summer with the FableVision team and felt a tremendous sense of accomplishment when we completed the project. I knew I wanted to do more. When FableVision offered me another animation project, I jumped at the chance and I’ve been happy to work alongside such creative, fun professionals ever since.

Kiawah Island

You have an extensive background in project management and event coordination. How did you transition to production?
Project management has been at the core of every job I’ve held. No matter the role, special projects and events pop up, and I’m happy to take on coordinating. Transitioning to production was easy since it involves scope, scheduling, planning backward from a deadline, and breaking large tasks into smaller ones. At FableVision, I know who to turn to if I run into obstacles. Troubleshooting issues can be fun and productive when you are working with the right people.

What type of projects do you like to work on?
I really enjoy animation and seeing the components of a story unfold over time. There are so many little details that we have to think about when it comes to character designs, backgrounds, and story. It’s like assembling a vibrant, moving puzzle. 

I also like producing live-action projects, from getting to know the crew to working on set. We recently filmed a series of videos where we put in a lot of hours to get everything shot in two days, but it was a lot of fun. And the studio we partnered with, Sound and Vision Media, featured us on their Facebook and YouTube pages.

Cliffs of Moher

How do you work with other team members to produce the best possible projects?
I try to stay as organized as possible so team members have access to everything they need to do their best work, like art assets, script copies, brand guidelines, storyboards, and schedules. I work to facilitate communication between clients and project team members so people aren’t spending time shuffling through various communication tools. It’s a challenge to tell a story or deliver information in short form and I’m always amazed at how effortlessly our artists, writers, and developers can work to pull it all together.

How do you balance the creative and timeline on complex projects?
I’ll share a high-level schedule with our clients so they know where we are throughout the project. I try to schedule meeting time with team members before we enter a new phase, like design, animation, or development, so we can discuss our project goals, assess existing work, and address any concerns or potential conflicts. 

Once I’ve established a solid structure for the project and we know our direction, it’s easy to let the artists take charge of their work. And I’m never disappointed with the quality and quantity of work they put out. I truly believe we have some exceptional talent here!

What are the most challenging or the most rewarding parts about being a producer?
The most challenging part is keeping track of the moving pieces as we near a deadline. Fortunately, we use tools like Basecamp, Slack, and Trello so I know where we stand. I also work with fantastic production assistants who jump in to support so I can focus my energy where it’s needed. And without a doubt, the most rewarding part is hearing and seeing how happy our clients are at the end of a project. When they return later with new work, I get all of the good feelings again.

What advice do you have for aspiring producers?
Don’t overlook your creative intuition! Trust your gut and speak up when you notice something – that will help streamline the projects and bring them to their fullest potential. 

You’re involved with several Harvard groups! Can you talk about your work with Harvard Square Script Writers and Harvardwood?
These writing groups kept me connected with people and the outside world during the pandemic! Screenwriting is such a craft – I admire writers who can tell a meaningful, visual story in just 90 pages. Depending on my schedule, I try to review one or two scripts per month, providing notes and feedback to help writers craft more realistic characters and dialogue. I’ve read some amazing work and I always leave these meetings inspired to write and collaborate. Fortunately, I can carry that into my work with FableVision. It’s a great feeling to have my hobbies inform my professional life and vice versa.

We heard you’re a big fan of museums – tell us more!
I love museums – they’re the first thing I want to see when I travel somewhere new. When my dad moved to Philadelphia, he and I visited four museums in two days. As an undergraduate student, I studied Classics and Historical Linguistics and spent a lot of time at the MFA deciphering funerary inscriptions in Latin and Etruscan. Then I got my graduate degree in Museum Studies and worked closely with the MFA Boston, Harvard Museum of Ancient Near East, and the Brooklyn Museum on various research projects.

Museums are responsible for so much when it comes to their audiences: quality content, meeting educational goals, and online and in-person accessibility, among others. Exhibition design has similar processes to multimedia production, except I don’t have to handle fragile, ancient artifacts.

More About Jill

Favorite show?
Mad Men! I’ve rewatched the entire series five times and always discover something new. My husband bought me the box set recently so now I’m enjoying the director’s commentaries.

Favorite game to play with your kids?
Mario Kart – I used to be able to beat them. I’ve also been playing a lot of FableVision games with them recently, like Echo Explorers, Bubble Build, Claw Control, and Lights, Camera, Budget!, to prepare for new projects. It’s fun to see what attracts their eye in games and they give me very honest feedback when it comes to what they like and what they don’t like.

Favorite holiday?
My grandfather’s birthday was March 17, so St. Patrick’s Day was a big deal for my family. We celebrate every year with a parade, live music, food, crafts, games, and prizes. I basically start planning right after Christmas because it gives me something to look forward to in the spring.

Favorite band?
I love Radiohead but I haven’t seen them perform live yet. :(

A Jill fun fact that most people don’t know?
My cousin Dillon and I inspired a children's song: “Jillian Dillon (The Hippoplatypus).” (For the record, I am neither part hippo nor platypus, but I hope to see each in their native habitats one day).

March FableFriday: Jonah Gaynor, Associate Producer

When Jonah works on a project, he brings not only his project management experience, game design background, and “spidey senses” that anticipate client needs, but also his sense of humor, creativity, and variety of interests. 

Jonah joined FableVision as a production assistant. Now, in his newly-minted role of associate producer, he takes more of a leadership role, with a comprehensive understanding of the FableVision process to ensure that projects are completed smoothly and thoroughly. 

“My game design background has a huge influence on how I produce projects in all phases,” he says. “My experience with being in the weeds allows me to better understand the needs of the project and the potential directions it could be headed in.”

Keep reading to learn about Jonah’s game design background, fun geography facts, and his fabled journey to FableVision!

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Congratulations on your promotion to associate producer! How does your position as an associate producer expand on your previous role as a production assistant?
I was very fortunate as a production assistant to work with many fantastic producers at FableVision, which was excellent preparation for moving into this new associate producer role. I learned many useful skills for the best management of a project, such as budgeting, client communication, and internal team structuring, productivity, and morale. 

As an associate producer, I take the lead on more projects and I am prepared to propose possible solutions for any issues we may run into. I’ll provide clients with a smooth process to avoid any bumps on the road.

How do you integrate your game design knowledge into your daily tasks? What’s your favorite part of the game design process?
My game design background helps me understand which direction to take a project in, while also identifying when certain ideas are taking us away from the scope of the project. I like to think of myself as a jack of all trades, master of… some.

I especially love the initial brainstorming phase of the game design process! There’s something really exciting about the first “great idea” that comes from the team. From a production perspective, I think about how, if at all, this brilliant idea will impact production, but I do take a moment to enjoy the byproduct of working with so many creative and driven people. We have a great team.

What are your favorite types of projects to work on?
I love working on projects where FableVision’s mission is compatible with the client’s mission, such as Keenville for the Georgia Department of Education. No matter the idea, aim, or timeline for a project, this meshing of visions makes the journey easy, fun, and seamless. Fortunately, this happens quite a bit!

What are some games you designed outside of FableVision?
My biggest undertaking was Maya’s Dice. It’s a 2D Cyberpunk RPG that uses the bluffing dice game liar’s dice instead of a more traditional battle mechanic. The game started as my Capstone project in my undergraduate program at NYU’s Tisch School of the Arts and grew from there. I tried to make something unique that would really put my skills to the test. It’s out now on Steam!  

And taking a step back for a moment, what’s your “journey to FableVision” story?
You want the whole story? Here goes: Jonah Gaynor was born on Feb. 8, 1897 to Alan Gaynor and Dr. Sharon Silbiger in New York City. From a young age, it was clear that there was something… strange about this child. While most young children played with LEGO and stuffed animals, Jonah’s parents would frequently find him in his room with a Trello board open and budget spreadsheets lining the floor. His first words were, “I have a passion for multimedia education-focused production management.”

In 1917, the United States Senate voted in favor of a measure to declare war on the German Empire, entering the US into the first World War. Fearing the draft as a 20-year-old, Jonah was cryogenically frozen in a warehouse in Boston. In March of 2021, FableVision stumbled upon the frozen Mr. Gaynor, and wouldn’t you know it, there was an opening on the team for a new production assistant.

Do you believe this story? According to my research, 30/30 surveyed FableVision Studios employees did not, with one stating “Jonah, I’m a little busy right now.” I guess I love storytelling as much as FableVision does. For a more straightforward answer… 

Jonah with former soccer star Frank Lampard.

From a young age, I was hugely passionate about media of all shapes and sizes. Entering college, I didn’t know exactly what I wanted to do, but I wanted to be involved in the production of amazing media. I studied Game Design at NYU, where I learned game design, game programming, production management skills, user experience design, and more. This helped me make my own independent games, take on producer roles in larger teams, and eventually lead me to FableVision. 

Seeing the job listing for a production assistant at FableVision, a company that I had heard of even though I was still living in New York at the time, was really exciting. The FableVision mission matched my personal one perfectly, and I knew it was an amazing opportunity to contribute to something I really believed in. And now each day I feel very fortunate to be doing just that.

And what are your current obsessions in this day and age?
Oprah’s Jonah’s Favorite Things 2022:

Podcast: This American Life

TV Show: The Midnight Gospel, Taskmaster, or Euphoria. It’s hard to choose!

Movie: Sound of Metal

Album: NFR by Lana Del Rey or A Moment Apart by ODESZA

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More About Jonah!

Favorite geography fun fact?
Bir Tawil is a chunk of land in northeastern Africa that both Egypt and Sudan claim is the territory of the other. Each country claims the Hala'ib Triangle to the east (which borders the Red Sea) based on how the modern-day countries were originally drawn over 100 years ago. Now, neither country dares to enter Bir Tawil because if it did, it would be recognizing the other country’s claimed border. Check your nearest map. If Egypt’s southern border is flat, that’s the border that Egypt likes. If it’s slightly jagged and comes north on the east side, that’s the border that Sudan likes.

Favorite video game?
Football Manager. You wouldn’t believe the number of hours I put into making the Czech team Bohemians 1905 into Champions League winners.

Favorite board game?
The Mind. The elevator pitch is that you’re collaborating with fellow players to play cards in the correct order, but there’s no communication allowed, meaning the only action you can take besides playing a card is waiting.

Favorite sport?
Soccer! The tactical depth, despite the simplicity, and its worldwide nature make it an amazing lens through which to learn more about the world.

Boston or New York?
Whichever you, the reader, likes more.

Favorite new area in Boston?
Walking across the Charles River, especially as the sun sets over the Boston skyline, is a new joy of mine. It’s fantastic getting the walk in on my way to or from the new FableVision Studios office.

April FableFriday: Peter Stidwill, Executive Producer

“When there’s a lot going on, it’s a bit like conducting an orchestra,” shares Peter Stidwill, FableVision Studios’ executive producer. A working studio has many moving parts—departments, research cycles, partners—and Peter works with all of them to ensure harmonious production. 

Peter originally connected with FableVision during his time at Learning Games Network (LGN), a longtime FableVision partner, with whom the studio collaborated on the award-winning Quandary. His background includes jobs at the BBC and the UK Houses of Parliament, where he worked on game-based learning and digital educational tools.

In his role, Peter manages multiple animation, games, museum interactives, and other media, as well as oversees staffing to ensure that teams are set up to meet the varied needs of all projects and clients. From finding potential new partners to creating initial timelines to reviewing user feedback, Peter guides projects from inception to completion. “As a producer, I absolutely love being the ‘vision holder’ of a project,” shares Peter. This “vision” allows him to oversee every aspect of a project as the ultimate production maestro. You can catch him representing the studio at various panels at industry conferences—including an upcoming one in June! Read on for more details. 

What does a day in your life as executive producer look like, and how has your daily task list changed since first joining FableVision?
Although my transition to executive producer meant taking a step back from some of the detailed day-to-day production tasks, it allowed me to play a bigger role in finding and meeting clients and partners—brilliant people doing engaging and impactful work—and collaborating with them to shape the overall approach of new projects. A typical day for me includes talking to potential clients to scope out new partnership opportunities, mentoring and supporting our talented team of producers, working with FableVision’s skilled art, technical, and creative directors to plan resources, and meeting with individual production teams to kick-off new projects and review deliverables. And snacks. Lots of snacks. (Is it snack time yet?)

What sets FableVision apart from other studios?
It’s all about the amazing diversity of people and projects. My FableVision colleagues bring enthusiasm, joy, and thoughtfulness to all our projects. And our clients and partners allow us to create some of the most worthwhile and important products, campaigns, and media that I could hope to work on, whether that’s bringing age-appropriate playful assessment to kids across the State of Georgia, or helping children and parents destigmatize conversations around mental health through an animation and graphic novel right here in Massachusetts.

What is challenging in your role? What is rewarding?
Each of our projects is unique at FableVision, and that’s what keeps them both challenging and rewarding! We have strong, solid processes for all the different types of media we create. At the same time, we constantly refine and customize our tools, approaches, and skills in order to meet specific goals, leverage new technology, and react to user feedback. It’s truly inspiring to see our production teams create so much fun content every day across such a broad range of projects, whether it’s a digital prototype to test a game mechanic, a cute raccoon character for an animation, or music for our latest app.

You’ve worked on large projects like Zoombinis and Quandary! How do you approach projects of that scale, and what’s your favorite part about working on those kinds of projects?
The idea for a Zoombinis relaunch began while I was still working at Learning Games Network prior to joining FableVision, so I was excited to be a part of the team making the game a reality after coming to FableVision. One of my earliest roles was to write the game design document, which required me to have a strong understanding of the original game in order to reverse engineer the game logic. We also made alterations to the logic according to feedback we received from fans of the original and the original game designers: Scot Osterweil and Chris Hancock. The project truly was a team effort between TERC, FableVision, and LGN, and that strong partnership—as well as always honoring the original vision of the game while also modernizing it to maximize its impact of end-users, both those who have been fans for years and first-time players—was truly what made it a success.

Quandary was my first project at LGN, and being able to see the process from both the client and developer sides was very interesting for me. With a game like Quandary, which teaches ethics and perspective-taking through story and a card-sorting mechanism, it’s important to keep the game goal top of mind, along with considering scale, timeline, and other budget needs. In approaching a game like Quandary, the learning objectives and the impact of the game on the user are important to consider throughout the game design process. We’ve received incredibly positive feedback from educators and students, as well as the educational gaming industry through conference awards and talks, which really show the impact that a game can have on teaching social-emotional skills, such as problem-solving and comprehension.

In my role as executive producer, one of the most fun parts of a large-scale project is to map out the overall approach, beginning with an empty slate and blank timeline, and sketching out the components of the project, as well as balancing everything out to meet the needs, timeline, and budget. It often involves a lot of number wrangling in spreadsheets and planning software, but I find it to be a rewardingly creative and collaborative process in its own right.

You have a background in engineering, with a focus on “virtual learning applications.” How has your background influenced your work at FableVision?
I always knew I wanted to combine art and technology in a way that helped inform and entertain. I also knew that I loved creating—be that films, games, or elaborate models of theme park rides. So educational media and technology was a perfect fit. That’s what I specialized in during my engineering degree, where I focussed on researching, creating, testing, and iterating on technology approaches that made a real impact for teachers and students. I’ve always tried to build on that experience and approach throughout my career.

You came to FableVision from Learning Games Network, who we’ve had a strong partnership with for years. What was it like working with FableVision as a client? How was the transition into FableVision’s production process?
I absolutely LOVED working with FableVision as a client. FableVision genuinely took the time and effort to understand and build on the goals of the projects I worked with them on. I think that’s part of FableVision’s secret sauce: each team member that touches a project during its development is empowered, encouraged, and motivated to add creativity to the finished product. It was a natural transition from LGN to FableVision, as I knew the people and mission was aligned with my own.

You’re presenting in a Serious Play Conference panel in June on game-based assessments with MIT Education Arcade and Playful Journey Lab. How are game-based assessments gaining momentum in the edtech industry, and how has FableVision stayed at the forefront of this trend?
Game-based assessments are becoming more popular as an alternative to traditional testing that often takes the stress out of the assessment process. We’ve found that game-based assessments show a lot of promise in their ability to level within grade levels for students struggling with mastery of the standard. There are multiple entry points along the learning continuum to assess the standards in a game.

In designing game-based assessments, FableVision tries to approach them in a similar manner to our non-assessment projects, marrying content and game design. Good games—whether educational or not—inherently assess the player’s ability to perform in the game and provide appropriate leveling, feedback, rewards, and challenges in real-time. That’s what makes games such a great learning tool. And as they are digital, there is huge potential, but also potential pitfalls, with capturing that data and presenting it back to players and teachers. So when designing game-based assessments, we try to bring in our extensive knowledge of game design and user engagement, while adding on the additional assessment layer. 

Formative assessment, in particular, we find is where the benefit of a gaming approach can really shine through and where teachers can get insights into how the kids are doing and provide targeted interventions to help them. We design the backends of our assessment games so they collect data throughout and present that information to educators. The data that we deliver to teachers is always at the forefront of our minds. We are fortunate to have worked and continue to work with incredible partners and clients, in both the commercial and academic worlds, to apply the best practices from researchers, the feedback and insights from educators, and the experiences of players in this field over diverse subject areas and for all ages across a large number of games.

You’re also an avid gamer—both playing and creating! What is your favorite game at the moment, and what overlaps do you see between the work you do at FableVision, the games you play for entertainment, and the projects you complete in your spare time?
I’m currently playing A Short Hike, a delightful and relaxing exploration game that builds a wonderful sense of place and adventure. Like many of the games I play and that FableVision makes, it fuses story, characters, and mechanics to create a fun, uplifting, and moving experience.

April showers bring May flowers! What’s your favorite rainy day activity, and how do you keep yourself entertained while stuck indoors?
Rainy days are always a great excuse to play both computer and board games. I’ve also recently got back into an old hobby of mine: video editing. While I love making non-linear experiences, I also find a lot of joy in the creativity of compiling linear stories.

More About Peter:

Next on your to-read list: Hag-Seed by Margaret Atwood.

Favorite hiking trail: Franconia Ridge Loop Trail, White Mountains, NH—conquered on my second attempt!

Best ride at your favorite theme park: Avatar: Flight of Passage, Disney’s Animal Kingdom.

Public figure you’d most like to meet (dead or alive!): Kylie Minogue.

Favorite word: Omnishambles.

Preferred way to have a cup of tea: PG Tips with milk! (Good old English builder’s tea).

August FableFriday: Michael Fogarasi, Producer

“I was drawn to FableVision because of its emphasis on mission-based projects” says Michael Fogarasi, FableVision Producer. “This coupled with working with creative and technical teams here at the studio brings a uniqueness to what might otherwise be a traditional project management role.” As producer, Michael manages not only his own schedule, but those of his team members. He also keeps track of task lists, reviews, and other items to ensure the projects he produces are running efficiently and delivering high quality content.

Michael is also no stranger to stepping up when it comes to a new project. As evidenced by his transition from Associate Producer to Producer and his role as Production Internship Coordinator, Michael not only understands the production process, but is also passionate about guiding and mentoring FableVision interns so that they can understand and become familiar with it.

Although every project is different, Michael welcomes every unique challenge and works hard to keep the team on track to deliver a project that meets both the client’s mission and the studio’s goals. And since we work with like-minded organizations to move the world to a better place, his managing of our teams is seen and felt by staff and partners alike. Let’s jump in and learn more about his process for approaching new projects, what he looks for in a production intern, and where he’s headed on his next vacation!

How did you come to be at FableVision?
I started college around the time when educational technology websites and apps like Quizlet and Duolingo were first coming out. Once I tried them, I was immediately hooked—they not only became an integral part of my learning experience, but also sparked a passion for educational technology. Pursuing this passion, I ended up as an intern in MIT’s video production department, where I helped film and edit courses for MIT OpenCourseWare. Then, a good friend of mine and former FableVision associate producer Katie Tusch, let me know the team was hiring for the associate producer position, and I jumped at the chance.

You have to balance a lot of schedules when producing projects. What does a day in your life look like? And how do you keep your team(s) on track?
My day starts and ends with a variety of productivity tools and schedules. Every morning, I’ll check in on FableVision’s weekly schedule and my own schedules for each of my respective projects. I’ll then make sure that each person on my team knows what they have ahead of them that day—sometimes that’s through project stand-ups, Slack check-ins, or I’ll just head over to their desk. 

For projects that are earlier in the process, we tend to meet fairly frequently, so I’ll gather the team for brainstorming sessions or production meetings to start the problem-solving process. I’ll also frequently meet with clients to present what we’ve been working on, making sure that we capture their feedback.   

All of this information ends up getting organized on my personal Trello board. Anything that comes my way gets immediately noted and categorized—I rely upon it heavily! I probably run through my to-do list 10-20 times a day to determine the next steps that need to be taken. Then, I’ll do one final swoop at the end of the day to ensure we’ve hit all of our deliverables, while also previewing the next day—just to make sure there are no surprises! 

What is your process for approaching a new project, and what advice do you have for new producers starting their first project?
The beginning of a project is an exciting time—it can go a million different ways and it’s the producer’s job to help find its footing. Beyond setting up all the organizational infrastructure, my advice would be to become intimately familiar with the client’s goals and wishes for the project. I like using the project kickoff to explore the client’s background and reasons for coming to FableVision. Those early conversations can set the tone for the entire project—if you’re able to keep these discussions in mind, you can make sure that every decision is made in the project’s best interest. 

What’s the biggest difference in producing animation and game projects?
Animation and games are quite different in the way they are experienced—animation conveys its information to curious viewers, while games need to get their message across through a series of interactions. 

In animation projects, I like to think of the storyboard as the end-product of the ‘plan’ phase. Once the script has been written and the storyboard drawn—both major feats on their own—our team has a pretty good sense of whether the piece is engaging or conveys the intended message. If we’re happy with the piece at this stage, we can be very confident that we’ll similarly be happy with the final piece—and so it just becomes a matter of executing on the storyboard, which requires tracking all the assets to be created, scenes to be animated, and audio to be recorded. 

Meanwhile, an interactive project’s ‘plan’ is typically a game design document, which describes all the interactions a user may encounter throughout the experience. Ultimately, the design process requires careful testing and tweaking of the document’s mechanics over the course of the development cycle to ensure that we create something fun that simultaneously gets the content across. Because of that, our team needs to act much more quickly—constantly meeting, reviewing game builds, and discussing potential improvements—while also figuring out which assets need to be tracked and created. It’s a process that keeps you on your toes!

You’ve produced some pretty large projects during your time here. Can you tell us a little more about one in very recent memory, Project Here Games? What went into getting that project to the finish line?
Project Here Games was a really fun and challenging project to work on. The project was commissioned by the Massachusetts Attorney General’s Office (AGO) as part of their Massachusetts-state-wide Project Here initiative to combat substance use through social emotional learning and healthy decision making. As you can imagine, that’s a pretty hefty task to fit into an engaging website for middle schoolers—but none too big for the project’s creative masterminds, Leigh Hallisey (creative director/writer) and Loren Lee-Flynn (user experience designer). Our team devised a series of quizzes and games, which were designed to model real-world situations and reward healthy decision-making. Combined with a really fun art style from our art team, Keith Zulawnik and Christina Kelly, the website was an instant hit. And collaborating with associate producer, Mikaela Johnson, and really dedicated teams at the AGO, Human Resources in Action, and GE, allowed us  to wrap up the project smoothly and successfully. 

You also project managed The Paper Girls Show! What’s your favorite thing about that animated series?
The series Paper Girls Show depicts two friends, Caily and Reese, who are both totally enamored with STEM and use it to solve all sorts of creative challenges. The show aims to break down gender stereotypes around STEM subjects and empower more girls to join those fields. It was inspiring to work with a team of people who were passionate about the mission. This created a fast-paced, creative environment that was amazing to be a part of—we could barely keep up with all the backgrounds, characters, and designs our art team was producing. And at the end of our first season, it was exciting to receive validation for our hard work once we took home animation awards at Cannes, Palm Springs, and KidsScreen!

You’re also the coordinator for the studio production internship. How do you work with the interns to insure they’re getting the most out of their time here, and what do you look for in a production intern?
At the beginning of a student’s internship, we meet to determine what sorts of projects they are interested in and subsequently pair them with a few. While assigned to a project, the interns become part of the team, helping out in a variety of capacities. When I was an intern at various companies, I didn’t always get a sense of the company’s bigger picture beyond the project I was assigned to, so I also started a series of weekly meetings with our interns, in which studio members discuss their roles and backgrounds. Through these meetings, the interns are able to see how all the different pieces of the FableVision puzzle fit together. 

Regarding prospective candidates, I’m most interested in whether they have demonstrated a real interest in either children’s media or educational technology. We’re looking for students who are really passionate about the field and made efforts to contribute to or learn about it. 

What are your favorite ways to unwind after work?
I really enjoy running, biking, or cooking when I get home in the evenings. I don’t have a car in MA, so I’ve been able to get out and explore the area by biking deep into the suburbs and countryside. I also love trying out and perfecting new recipes, particularly with unique ingredients or new flavors I haven’t experienced before. 

You’ve lived in and travelled to a lot of countries. How have your travels influenced you, and what’s your next vacation destination?
I was lucky enough to grow up in a foreign service family, which meant moving to a new country every three to four years. It’s hard not to love travel with that kind of background. So since I moved back to the US about 10 years ago, I’ve been trying to get out as much as possible. I love seeing unique places (especially city skylines), trying new foods, and⁠—though I’m a bit of an introvert⁠—meeting new people. 

In terms of next destinations, one of my good friends is moving to Argentina for a few months and I’m hoping to get down there in the fall. It will be my first South American destination, but I’m hoping to travel throughout the continent at some point. 

More about Michael:

Current show you’re binge-watching: Anything from Bon Appetit’s YouTube channel.

Favorite game: Mario Kart Double Dash.

Any podcast recs? It’s not the cheeriest rec, but I’ve been listening to Slate’s Slow Burn about Bill Clinton’s impeachment. I’ve been trying to revisit political events from my childhood and this fits in perfectly. 

Go-to dish to bring to a potluck: Homemade hummus or a dip with too much garlic.

Favorite book you’ve read recently: Bad Blood: Secrets and Lies in a Silicon Valley Startup by John Carreyrou.

April FableFriday: Beth Santarpio, Senior Producer

Senior Producer Beth Santarpio took a risk early on in her career to find what she truly wanted to do professionally. Upon graduating from the University of Miami with a Bachelor of Science in Communication, Beth drove to Los Angeles with no job or housing lined up in search of a meaningful job.

“The desire for a fun job wasn’t a new revelation upon graduation, but rather one that had been evolving for quite some time,” says Beth. “I knew that I wanted to do something that would be impactful to people, and it was Jerry Bruckheimer who ultimately inspired me to go against the grain and pursue something in the media arena. There’s something unforgettable about reaching and resonating with an audience and having them affected by your work.”

After working for Disney Character Voices and Buena Vista Games in LA, Beth moved to Boston and worked as a producer for a game developer for a few years before ultimately joining the FableVision team. As Senior Producer for FableVision Studios, Beth manages a number of multi-faceted creative and technical projects. A seasoned media producer, Beth expertly balances product quality and client service in all of her work with FableVision partners.

Beth’s path to FableVision shows the importance of taking risks and adapting to change in the pursuit of her passions. A skillful and accomplished producer, Beth has a lot of advice for up-and-coming professionals interested in entering the media and edtech fields. So let’s dive in and learn more about how Beth came to FableVision and how she creates a supportive and creative team dynamic!

You’re a new FableVisionary. Welcome aboard! What brought you to FableVision and what are you most looking forward to?
I actually encountered FableVision a couple of times in different capacities throughout my professional career. I was first introduced to FableVision by a business colleague a long time ago when I moved to Boston. Then, a handful of years later, I worked with FableVision as a client during my time at Houghton Mifflin Harcourt. As a result, several months ago, when I began to reevaluate what I wanted to do professionally, FableVision immediately came to mind. One thing led to another, and here I am! I’m excited by the diversity and purpose of our projects and the amazingly talented team of people I get to work with on those projects.

What advice do you have for budding producers?
Be confident, be humble, and work your butt off.

As a senior in college, I interned at the Miami-Dade Film Office and worked 40+ hours a week at a local advertising agency, handling South Florida film marketing and PR for Buena Vista, Paramount, and MGM. After graduation, a great student resume put me on the short list at a few go-to temp agencies in LA. One of my first jobs was with Disney Character Voices as Production Coordinator. To say I loved it was an understatement. I learned every inch of the department and even designed an online production management system (that was innovative back then!) for them. After about 6 weeks, though, the position I was trying to fill was temporarily given back to a former employee. I was devastated. However, I trudged forward and paid some dues, putting in a week at Hollywood Records and a week at Def Jam Records (both in Finance) before getting the call that Disney wanted me back! And that’s how it all started.

How do you create a supportive environment where everyone feels they can share ideas?
I really encourage my team(s) to be as involved as possible from the launch of a project. This gets everyone invested from the beginning and helps to establish a good foundation for the inevitable production tensions. I also communicate with my team regularly and try to create a dynamic where they feel comfortable expressing their thoughts, even when there are disagreements. Although the producer is in charge of keeping the team on course to meet the client’s objectives, the process won’t run smoothly if operated like a dictatorship. My role as producer is to provide information, resources, support, and guidance, as well as to empower my talented team members to do what they do best.

How do you balance the creative and production processes?
I tend to share a lot of the big picture thinking behind any particular project. There are often a lot of competing objectives on a project, and I feel like everyone has a much smoother time tackling the “what” when they’re informed of the “why.” When working with tremendously passionate people, it’s natural to get attached to your own part of the process and lose sight of how it fits into the larger goals, especially in the context of change. Change is inevitable in production, as are creative differences and sacrifices. Production is as much managing the human element as it is dollars and deadlines. There’s an art to it all; every day and every project brings new opportunities to learn from and build upon.

What team dynamic do you feel is most important for a production team?
There’s never just one, or a couple of things, that make or break a great team. Personally, I’m big on accountability. Early on in my career I was told: “As the producer, it’s always your fault.” This sounds harsh, but it taught me that, to be a successful leader, you can’t defer blame or make excuses. You have to own it and move on. Getting bogged down in mistakes or setbacks doesn’t benefit anyone. There’s a tremendous amount of respect that comes from accepting responsibility and maintaining the focus and determination needed to reach a successful outcome.

It looks like you’re a Disney veteran. What were some of your most magical moments as a Disney employee?
Every moment was magical, of course! I had an amazing role with Disney Character Voices for a number of years. I’m grateful for the time I spent there because we really were like family. The hours were long, but we all truly loved what we did, so we couldn’t imagine it any other way. It was an incredible time in the company too. From attending VIP Walt Disney World press events, to being on board the maiden voyage of the Disney Wonder to roaming New Orleans with the Fab Five, I don’t even know where to begin!

We heard that you’re a “tinkerer.” What project(s) are you currently working on and how does making in your spare time relate to your professional life?
My chickens are my latest personal passion. I love animals, but I never thought I’d be a chicken whisperer. When my flock grew from six girls to twelve, I decided I would design and build a larger coop out of primarily salvaged materials. Let’s just say that it’s coming along at its own pace. It’s kind of an enigma really, to thrive and enjoy working in a deadline-induced panic professionally, but to have personal projects that seem to get caught in the perpetual hamster wheel.

Rumor has it you and your husband enjoy the outdoors. What are your favorite activities?
We’re a couple of adrenaline junkies. At various times in our lives, we’ve been avid motorcyclists, motocrossers, and snowmobilers. These days, mountain biking is something we enjoy and can do as a family. Even our German shepherd gets in on the action!

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More About Beth:

Favorite Disney character? Scuttle from The Little Mermaid.
Cubs or Red Sox? Bruins.
Sweet or salty? Sweet.
Favorite season? Fall.
Favorite animated movie or TV show? I love SO many of them, but I will always have a soft spot for The Little Mermaid.
Which has the worst winters: Boston or Chicago? Chicago, no doubt!
Best piece of advice you’ve ever been given? “It’s always your fault.”
Favorite vacation spot? Disney!
Favorite place to mountain bike? I’ll try any location as long as the odds are decent that I won’t break something!