We were lucky to catch up with Robert Uncles recently and have shared our conversation below.
Robert, thanks for joining us, excited to have you contributing your stories and insights. Can you open up about a risk you’ve taken – what it was like taking that risk, why you took the risk and how it turned out?
One of the biggest risks I’ve ever taken was starting my own company, Weimar Pictures, with my brother Thomas. It was definitely a leap of faith, but it came at a pivotal moment in my life and career. Let me set the stage for you: I’d just wrapped a one-year contract with Netflix’s creative studio, where I got to work on some amazing projects. Before that, I’d spent years freelancing at different agencies and shops across town, soaking up all kinds of experiences and insights.
But during my time at Netflix and other places, I started noticing some cracks in the system. Budgets in unscripted TV, for example, were razor-thin, and every dollar had to stretch. Yet, in the broader industry, so much of the money was going to management layers instead of ending up on screen where it could really shine. At the same time, I saw the same handful of artists getting hired over and over again, while a lot of fresh, hungry talent struggled to break through.
When my Netflix contract ended, I was at a crossroads: go back to the freelance grind or try something totally different. Around the same time, the streaming wars were kicking off, and there was this massive hunger for new voices in broadcast graphics and branding. My brother Thomas and I had just completed our first big show, Making It with Amy Poehler for NBC, and it was a hit. That gave me the confidence to think, ‘Maybe we could do this on our own.’
Starting Weimar Pictures was definitely scary. We had no guarantee of success, but we were determined to create a boutique company that put more money on screen and focused on high-end 2D and 3D motion graphics. Fast-forward to today, and we’ve worked with some of the biggest names in the industry—NBC, HBO, Disney, Saatchi & Saatchi, you name it.
It wasn’t easy, but the risk paid off. Looking back, I realize that taking the leap was less about having a perfect plan and more about trusting my instincts, betting on myself and my brother, and recognizing an opportunity when it came. It’s one of those risks I’m grateful I took every single day.
Robert, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
Hi, I’m Robert Uncles, the co-founder of Weimar Pictures, a motion graphics and broadcast design studio specializing in high-end 2D and 3D graphics. We’ve had the honor of working with some of the biggest names in the industry—NBC, ABC, HBO, Disney, MAX, Roku, and more—crafting everything from show packages to branding campaigns. Along the way, we’ve won 4 Emmys, a Cannes Lion, and numerous Telly Awards. While those accolades are incredible and mean a lot to us, what really tops the list is the trust our clients place in us. Handing over their creative projects and allowing us to visualize the graphic language of their vision is the greatest reward.
My journey into the visual arts started early. When I was 11, I got my hands on a bootlegged version of Photoshop and an old PC, and I’ve been hooked ever since. From there, I dived into every corner of the visual medium. I’ve been a filmmaker, producer, writer, and—here’s a fun one—a graffiti artist in my teens. Believe it or not, some of my pieces still adorn concrete walls across Europe. Pssshhhttt! Haha!
At Weimar Pictures, what sets us apart is our hunger to push creative boundaries and grab audiences’ attention. Storytelling lies at the heart of everything we do. We don’t just make things look cool—we work to find the visual voice for each project. How do we stay on theme? How do we put meaning into every pixel? Those are the questions we ask ourselves every day.
For us, it’s all about crafting work that not only stands out but also deeply resonates with audiences. Whether it’s a high-energy show package, a dark and serious documentary, or an elegant branding campaign, we approach every project with passion, precision, and an obsession for storytelling.
We love what we do, and we’re proud to be a trusted partner for some of the most creative teams in the world. It’s been an incredible ride, and we’re just getting started!
Are there any books, videos, essays or other resources that have significantly impacted your management and entrepreneurial thinking and philosophy?
Yes, absolutely! I’m a huge fan of Walt Disney and his philosophy—everything about how he marketed his brand and treated his employees was truly magical. One of the most impactful things about Disney was how he referred to his team as “cast members” instead of employees. That mindset really influenced how we operate at Weimar Pictures. We call everyone in our company an “artist” because that’s exactly what they are. It starts with mutual respect for the art, and commerce follows naturally from that.
When it comes to books and resources that have shaped my entrepreneurial and management thinking, there are a few that stand out:
Be Our Guest – This book dives deep into Disney’s customer service and company culture, and it’s one of the best resources for understanding how to create exceptional experiences for both employees and customers.
Hit Makers by Derek Thompson – This book explores everything from the MAYA principle (Most Advanced Yet Acceptable) to why we gravitate towards repetition in music. It’s a fascinating exploration of why things become hits and how to connect with an audience.
Unfu*k Yourself by Gary John Bishop – This one is pure motivation. It’s all about taking responsibility and taking action, no matter the obstacles. It’s a no-nonsense approach to getting out of your own way.
For writing screenplays (which ties into our work in visual storytelling), a few classics have been incredibly influential:
Save The Cat by Blake Snyder – Yes, it’s a bit of a cliché in the screenwriting world, but it’s a fantastic tool for understanding story structure and how to craft compelling narratives.
A Hero’s Journey by Joseph Campbell – This is a timeless exploration of how all great stories, myths, and legends follow a similar structure. It’s a deep dive into human nature and how stories resonate with us on a fundamental level.
Screenplay: The Foundations of Screenwriting by Syd Field – This book is essential for understanding the building blocks of great storytelling.
All of these resources have shaped my thinking, not just in terms of entrepreneurship but also in how we approach creativity and storytelling at Weimar Pictures. They remind me that the core of great work lies in respect for the craft, staying true to your audience, and always pushing forward with purpose.
What’s a lesson you had to unlearn and what’s the backstory?
A big lesson I had to unlearn was the idea that “doing it all” myself would guarantee the best results. Early in my career, I was a perfectionist and felt that if I didn’t have a hand in every detail, the outcome wouldn’t be up to my standards. I was wearing a million hats—filmmaker, designer, producer—thinking I could manage every aspect of a project without help. But as we grew at Weimar Pictures, I realized that this approach was limiting not just my growth but the potential of the team around me.
The turning point came when we started working on bigger projects for networks and agencies, where the scale and demands were so much higher. I couldn’t do it all, and trying to would’ve meant burning out. That’s when I had to unlearn the notion that I needed to be the sole creative force behind everything.
What I learned was that great leadership is about building a team of talented individuals, giving them the autonomy and trust to execute their expertise, and fostering collaboration. It’s about recognizing that you’re only as good as the people around you and empowering them to contribute their unique skills. This was a game-changer for both the company and my personal growth.
Unlearning that perfectionist mentality allowed me to step into a role where I could guide the creative vision without getting bogged down in the day-to-day tasks. It also helped us build a company culture where everyone feels valued and supported. Now, instead of trying to control everything, I focus on curating the talent and ideas that make our work special.
Another lesson I had to unlearn was the tendency to haggle people down on their rates, especially when it comes to creatives. Early on, I was guilty of trying to negotiate prices, thinking I could get a better deal. But what I realized is that it starts the relationship off on the wrong foot—it devalues their work and creates a sense of distrust. Paying people what they ask for, within reason, is key. If their rate doesn’t fit within the budget for a particular project, that’s when we find another project or client with more resources and make it work.
One of my personal philosophies—and something I often say—is, “It’s not about making it right, it’s about making it work.” The goal isn’t to beat someone down to meet your budget; it’s to find a way to collaborate that feels fair to everyone. When you respect people’s worth and pay them accordingly, it sets the tone for a strong partnership that motivates everyone to give their best work.
Another thing I had to let go of was injecting myself too much into the creative process if the direction wasn’t “what I would do.” As a founder, it can be tempting to steer everything toward your personal vision, but I’ve learned that the power of a creative team lies in giving people the freedom to present their own ideas. If it doesn’t turn out the way we expected, it’s my responsibility for hiring someone who didn’t fully understand the client’s vision and the story we were trying to tell. That trust in their expertise has allowed me to step back, empowering the team to bring their unique visions to the table. Imagine what you are missing by forcing your creative onto an artist!
Contact Info:
- Website: https://www.weimarpictures.com
- Instagram: weimarpicturesgfx
- Linkedin: Robert Uncles