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Not only was I to the challenge of figuring out my first feature film to direct, but halfway through I was sent home to figure out how to do that. We were not even a year into the making of it and we were all sent home to our living rooms. That was one of the most challenging parts about the production. But that song is known as “Fearless.” This was your first animated feature, and done in the pandemic, what was that like? She had these lyrics that she imagined were just temp music. The final product in the film is her first pass.
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Finally, we needed to come back at the end of the movie and for it to be this big, celebratory journey.Īmie went away and came back. Later in the movie, we needed that same theme music to come back into the score and remind the audience that Lucky is thinking of her mother. In the beginning, it needed to be a lullaby being sung to a baby by her mother. We needed the song to serve multiple purposes. I remember having a big conversation was about having a big hook theme song. The more interaction we had with Amie upfront when we first started working with her, the more crucial that music and that score became in supporting the story and the emotional journey the characters were all going through.Īmie took this concept right away and ran with it. Music became a big and important component of that. What was the process of working with Amie Doherty and the score idea?Ī big goal for me on this was to make sure we were telling our story with every element in the film, as possible.

I can only hope that that lends to every member of the audience being able to at least deeply connect with one of those characters in a special way. There’s such diversity in their personality, in their culture and their backgrounds and in the way that they all approach problems. We have this really great cast of three young women and they’re all so different in so many ways. This was an amazing platform to tell a story that would not only empower the characters within the story but also help empower young female voices watching the movie by letting them see pieces of themselves up on the screen. We just needed to figure out how to take that and dive much deeper into a bigger cinematic world, and figure out what story we were telling with these characters.
#Elaine teamspirit series#
When I first came onto the project there was a very popular TV series “Spirit Riding Free.” Coming on to the project, the studio already knew who the characters were, and where the characters live. How long did it take to come together for you?įrom start to finish. It’s about relying on the strength of your friends. It is about family dynamics and relationships and struggling to fit into new places. It is not just a story about a girl and a horse.

With this project, there was so much of that. As soon as the project was on the table and being offered as something I could come on to, I was immediately excited by that.Īs a storyteller, one of the most important things is being able to authentically connect to the story and the characters that you’re communicating on screen. I’ve been riding horses since I was a young tyke. Retreats and workshopsĮlaine is often called upon by retreatants at Spirit in the Desert to lead contemplative walks through the desert, teaching history and botany along the way.Įlaine, along with colleagues Jim Hanson and Tonja Snyder, leads the retreat Prayer: The Practice of RE-membering at Spirit in the Desert in Fall, 2022.Where did the idea for “Spirit Untamed” stem from - it’s a beautiful story about a girl and this dynamic with this horse too? Also, she was taught that “we are made in God’s image and likeness” and “healing is a natural law.” As she progressed through her adult life with its challenges, she sought to expand her capacity to cope with hardships, learn how to love better, appreciate and seek diversity, and cultivate a feeling of oneness with all forms of creation.
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A love of nature (and need to make a living!) has drawn Elaine to most of these positions.Īs a child, her parents regularly took the family out of the Phoenix desert to creek-side places where they were free to explore flowers, bugs, birds, and mud. She helped implement the city’s plans to create walkable, safe and visually appealing commercial and residential development, including preserving forest resources. Moving to northern Arizona in 2005 provided an opportunity to work as a planner for the City of Flagstaff (retired 2020). Her experience ranges from working at the Desert Botanical Garden (Phoenix), Arizona State Parks, and landscape architecture and planning firms. Elaine Averitt’s education background includes a BS in Botany and Master’s degree in Environmental Planning.
