That’s me, Terry Shakespeare, ringing up some bowling shoes. I met Sue Piper at Celebrity Sports Center in Glendale, Colorado while working there in the 70’s. An avid swimmer, Sue taught lessons and was a lifeguard at the olympic sized indoor pool. After I got promoted to lane supervisor, I finally worked up the courage to ask her out.

I learned she was an animation buff too, so I took her to see Fantasia on our first date. Working at the Disney owned recreation hotspot only fueled our dreams of someday working in animation. So, we packed our bags, I got down on a knee, we tied the knot and were off to sunny Los Angeles to pursue our dream.

David Molina grew up in Southern California. In 1979 Don Bluth and a handful of people left Disney to form Don Bluth Productions. At a ripe ol’ age of 20, David and his younger brother Dan were among some of the first to join the crew on Don’s first independent film, Banjo and the Woodpile Cat.

Starting from the days when the studio was still in Don’s garage (pictured above), David quickly rose the ranks to become a trusted animator at the studio. As Sue and I joined the fledgling crew, a friendship formed that was the beginnings of a professional partnership.

Sue excelled as Don Bluth’s assistant director, defining production techniques and systems the studio would implement for years - meanwhile she was learning how to run a studio herself. Left - Sue’s with Gary Goldman checking footage on the moviola. Right - Posing in the music room (production center of the movie).

My chops weren’t bad and I was promoted to Lead Key Clean-Up Artist early on Nimh. About halfway through Land Before Time the studio was moving to Ireland and after 7 years, three features and two video games, we three decided to stay in town for other opportunities.

Sue would go on to produce other films, forming the beginnings of Capers, while David and I moved to Disney. We had a strong foundation in animation thanks to our Bluth years, and now wanted to get our hands into Parks, Experiences and Products.

David and I joined the Mouse House as Art Directors at the Disney Consumer Division where amongst toys and posters, we delved into theme park and retail space design.

It was a dream doing blue sky development for our favorite theme park’s newest land, Mickey’s ToonTown.

David and I were in charge of the art direction and decor fabrication for all the Disney Flagship stores. It was crazy seeing our ideas come to life from sketches to sculptures and murals.

By 1989, we had launched Creative Capers Entertainment and started development on our own ideas while taking on work for hire as a studio. Through the early 90’s we did major work for Mattel, Universal, and Disney.

By 1996 after years of working closely, Creative Capers entered into the largest overall deal Disney had ever made with an outside studio. We made over 55 games, feature film segments and tons of Disney merchandise for the Walt Disney Company during this time.

It was April of 2002 and we had just signed up for a mad idea. Make three CG films in three years - the first LEGO films ever, with their most popular original brand ever, in 2002! This was early CG, a huge leap for us and LEGO. The films’ huge success launched the LEGO entertainment division.

This was our first time doing pre-production and post here at home, but outsourcing the bulk of animation to an overseas studio. CGCG was an amazing partner, and has grown into an incredible studio. It was a joy to work with them in their first years and we are incredibly proud of our crew to this day. Did we say three movies in three years already?

Our continued success has come from the great partnerships and clients we’ve kept over the years. As we’ve stepped fully into the 2020’s we’re excited about where the animation industry is headed.

With an incredible team of exceptional artists, we’re always pursuing new technologies and processes. We’ve had an incredible 40 years in animation so far, and don’t see an end in sight.

But we’ve never lost sight of our pencil on paper cel animation roots or that it all starts and ends with people.

We have had the privilege to work on incredible projects millions have seen. We are so proud of our staff and our work, and look forward to the next 40 years of the Creative Capers Legacy.

Hoity Toity
Hollywood Societies

Sue is President of ASIFA Hollywood, in charge of the non-profit organization founded over thirty five years ago with the mission to promote, preserve, and encourage the craft of animation.
‍
Since 1972, they’ve hosted one of the most prestigious award ceremonies of the year, the Annies. (Think "The Oscars" for animation.)
‍
Speaking of the Oscars, Sue is also a member of the Academy of Motion Picture Arts and Sciences. She is a member of the animation branch and the producers branch and oversees the shorts committee for the oscars every year.

An animation house, a home.

Select Clients

Our Caperheads

Sue Shakespeare

Terry Shakespeare

David Molina

Jessica Hendron

Christian Weyne

Phillip Hall

Matthew Bates

Ron Harris

Amanda Donahue

Gold Stars and
Cap Feathers

Hoity Toity
Hollywood Societies

The Studio

An animation house, a home.

Select Clients

Our Caperheads

Sue Shakespeare

Terry Shakespeare

David Molina

Jessica Hendron

Christian Weyne

Phillip Hall

Matthew Bates

Ron Harris

Amanda Donahue

Gold Stars andCap Feathers

Hoity ToityHollywood Societies

The Studio

Gold Stars and
Cap Feathers

Hoity Toity
Hollywood Societies