When I look at my childhood art, it's the same. It's animals dressed up as people in patterned clothing. It basically looked like concept art for 'BoJack.' It's kind of uncanny.
I have a cartoon I'm developing with Adult Swim called 'Monster Town U.S.A.,' so I'm busy doing that. Trying to do a coffee-table book of my photography that's been requested of me a couple of times. I'm constantly busy.
I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.
Look at related industries. Concept art for games and film. Animation. Lots of places to hone your skill as an artist and still earn a paycheck while you're waiting to kick the door down. If you're stubborn though, and you absolutely must draw comics because it's your life's dream (and I don't blame you...) you just better make sure you've got something special.
The number one thing is creating this world ["Trolls" ] - what the world is going to look like, feel like and what technology will we need to use to get there.
My first ambition was to be an animator for Walt Disney. Then I wanted to be a magazine cartoonist.
If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.
I spent a lot of time on my own working out the physical vocabulary for how Gollum moved. As I say, I drew on a lot of Tolkein's descriptions of how he moves, but also the conceptual artist sketches.
The other great development has been in photography, but that too was influenced by Conceptual art.
I think it would be lovely to see some features on a disc of 'The Rocketeer,' with some reminiscing. I think that would be dynamite.
The purpose of concept art as a genre is to unbrainwash our mathematical and logical faculties.
I'm an artist. I've been doing storyboards for a long, long time.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.
Science fiction is what we point to when we say it.
Basically, I'm always coming up with ideas for mixing the things I want to draw with things targeted at children.
I have tons of drawings of 'Star Wars,' whether it be stormtroopers, Darth Vader, Star Destroyers, or the whole thing.
Philosophy has a great sort of appeal in terms of an artistic or aesthetic organization of concepts. It's a conceptual art.
Art is supposed to be about creativity. But the same people are the same art darlings every month, and it's a bit annoying. It's supposed to be diverse and interesting and conceptual and have weird concepts in a comfortable place.
When I did 'Alien: Resurrection', a lot of the guys worked on planned production, and one of them was really into comic books and would draw all sorts of characters, and I was impressed with his sketches.
I think a lot of times, in a lot of modern-day movies, a lot of things are CGI, but so much of the stuff in 'Star Wars' is built and created by these artists.
David is purely a conceptual artist. He didn't play any instruments or paint or anything. We were painters.
The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').
I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.
I am particularly interested in creating a relationship between ideas of reception in conceptual art and theater.
