Maddie Wagg is a Creative Director and Founder of Moonwalkers Motion, a Los Angeles-based studio specializing in visual identity, broadcast design, and visual effects for film, television, and streaming. She leads the creative direction of opening title sequences, graphics packages, and large-scale visual systems across documentary, reality, live, and branded formats. Her work has appeared on platforms including Netflix, HBO, Peacock, Bravo, Amazon, FOX, and The History Channel, where she works closely with producers and networks to shape the visual language of each production.

How many years have you been a judge?

This is my first year!

What excited you about judging for the Telly Awards?

I was excited to be invited to judge because the Telly Awards celebrate excellence in video and television across evolving platforms. It’s rewarding to help recognize work that truly stands out in craft and storytelling, and to contribute to defining what exceptional creative looks like in this moment.

What was your first job in the industry? What did it teach you?

My first role was at Network Ten in Australia, working in motion design for on-air promos. It was fast-paced and deadline-driven, with daily turnarounds and constant creative problem-solving. That environment taught me speed, decisiveness, and how to make strong design choices under pressure. I was fortunate to work under managers who held a high creative standard while also being kind and inspirational mentors. They trusted me with responsibility early, which shaped my creative confidence and continues to influence how I lead teams at Moonwalkers.

What project are you most proud to have worked on?

What Happened, Brittany Murphy? stands out for me. The opening title sequence required an emotional arc that honored her innocence and early promise before gradually shifting into the complexity and mystery surrounding her death. It was important that the piece celebrate Brittany herself rather than lean into sensationalized true crime. We had to explore the darkness while still giving her light, humanity, and respect. It was a delicate balance, and I’m really proud of the final piece!

What’s the most challenging part about your job and/or the industry?

The most challenging part of the job is making ambitious work in an environment that’s collaborative and fast-moving. Timelines are tight, perspectives shift, and projects naturally evolve as they move through production and network review. The balance is staying adaptable without losing the core idea that made the work strong in the first place. I’ve learned that when the creative intent is clearly defined early on, you can use it as a compass – something to return to as everything else moves around you.

What do you look for to determine excellence in video?

I look for clarity of concept first. Strong work has a clear point of view and executes it with intention. Then craft – typography, pacing, composition, execution – all in service of the idea, so every creative decision feels deliberate and cohesive from start to finish.

What are your current roles and responsibilities and what do you love most about your job?

I’m the Founder and Creative Director of Moonwalkers Motion. I lead projects from concept to delivery, building the visual identity for shows and films through opening title sequences, broadcast graphics packages, and VFX-led finishing when needed. Setting the creative direction, defining the design language and motion approach, and working closely with producers, post teams, and networks to make sure the work lands both creatively and technically.

What I love most is taking a conversation about tone, audience, and “how it should feel” and shaping that into a clear visual system that holds up across an entire project.

What initiatives or projects are you working on now that excite you?

At Moonwalkers, we’ve just begun developing the graphics package for In The City, an upcoming Bravo series. Building a visual identity from the ground up and shaping how a new show introduces itself to an audience is still one of the most exciting parts of the job for me. I’m also focused on expanding our work across film and live formats.

Do you have any specific practices you lean on to spark creativity?

I start with immersion – really understanding the tone, the audience, and what the project is trying to say before designing anything. Then I gather references beyond television to define the emotional direction and narrow the world. Clear emotional direction sparks creativity for me. Exercise is also part of the process. A run or any kind of movement clears my head and creates space for ideas to connect in ways they don’t when I’m sitting at a screen.

What inspired you to pursue your career path?

I’ve been drawing my whole life, illustration was my first passion. While at university I attended a conference in Melbourne where South African illustrator Ree Treweek presented an animated interpretation of Here Comes the Sun by The Beatles. Seeing her bring her illustrations to life through motion completely shifted my perspective. It connected drawing, storytelling, movement and music in a way I hadn’t considered before. I left the conference determined to learn After Effects, and that decision shaped my career direction before it had even really begun.

In your experience, what is a significant change you are seeing happen in the video, television, and/or film industry, and what insight can you share about how to navigate it?

AI is one of the most exciting developments in our industry right now. I’m interested in how it can expand creative exploration, accelerate iteration, and open up new tools and possibilities within our pipeline. Used thoughtfully, these tools can support teams at every level – freeing up time for deeper thinking and stronger craft. I see it as an opportunity to work smarter while continuing to raise the bar for design and storytelling.