Storyboards 

So cool seeing you guys go through the old Matrix art book. The drawings I did were done over a period of a couple years, never a green lit movie, the cycle was that we'd get a little development money, we'd work for a couple months and then they'd pull the plug. The W's were able to get Warners to pony up eventually but it took Reeves interest to really get green lit. the sequences in the books would often have frames that were done months and years apart. So many funny stories of them trying to explain to old executives what the story was about, 'How'd they get from the sewer to the city?' was an often asked question from the executives. Eventually they created an oversized book to take executives through the story beats, it was almost identical to the 'Art Of' book, minus the comments. Darrow doesn't trace, he draws in a light hand first and tightens up with an HB after, I posed for most of the shots in the sequence you showed. Darrow often drew ejaculating penises all over the boards right before I had a meeting with the W's, we all had a laugh. Years later I tried the same joke on another artist on another movie. He wanted to beat me up, the lesson? Don't swipe! You guys are a source of daily inspiration, fucking love what you're doing!!!

Ok it's official. I will literally sit here and watch whatever you guys want to sit down and talk about. I end up fascinated and appreciating something new every time.

I always thought it was interesting that Ridley Scott drew the storyboards for Alien himself.

I work at a union office for Film Technicians here in Winnipeg and one of our story board artists is Nicholas Burns who did some comics previously (Arctic Comics being one of them) and in the last couple of years because it’s been so busy he managed to get George Freeman some work as a storyboard artist as well. It’s great to talk to Nicolas about the process and how much or little detail he goes into with the storyboards depending on the Director, and of course the money they have ...! Great episode. Anytime Saul Bass makes an appearance, you’ve got my attention.

Hello from the future! Lol ! Great job guys!

totally agree about the Jodorowsky DUNE documentary, it's a must watch as far as I'm concerned. The other thing that stands out to me about that doc is when Alejandro is talking about working with Moebius and he's talking about the individual scenes and the sheer speed that the drawings are being pumped out as he's talking, allowing that energy to just keep going, mapping out the entire thing.

One of my VERY favorites, Alex Toth.

Cannot stress enough how much I appreciate the content. Fantastic.

Saul Bass was very talented. He did great title sequences and movie posters. He directed the crazy ass Phase IV

Steranko uses that Japanese vertical track (so you're reading from top to bottom) on his storyboards for Bram Stoker's Dracula. I think it's a more natural way to take in a story, rather than zigzagging from tier to tier and could be a way to do comics with smoother continuity. Just think of something like Hitchcock's "Rope" which was designed with (basically) one continuous camera shot and no jumps, though the available tech sort of forced him to fake it in some of the pans.

Great work guys lots of inspiration

the first storyboards i had ever seen was when I was twelve and my friend showed me was Superman the movie. I still remember the Krypton scenes.

Love this episode. Storyboarding is a huge part of my process for comics. It was nice to see your openness to going between and gleaning from the study. I’ve run into a fair amount of condescension, especially in indy comics, about whether or not they’re of value to comics art.

Another great video! This is the first time I'm hearing about Stephen Platt doing Iron Man storyboards, that's cool to know.

I missed those Moebius books from Caliber - didn't know they existed I will have to find those!!!

Great video like always!

They need to reprint that Batman Animated book… I've been hunting for this one for a while and it’s pretty pricey!

Do a series on Taiyo Matsumoto, he's one of the greats.

I recommend everybody to check out The Fountain comic. The story behind it is that when Darren Aronofsky first pitched the movie to the producers, they didn't wanna invest in it, cause the budget was huge and the story was kinda experimental, so it was risky. So, instead he made a deal with Dark Horse to turn it into a comic book. However, later he found a way to change the script in the way, that would significantly lower the budget, and the movie was made. So now you have both the movie and the comic book, and you can compare them and see all the changes between them. I find these kinds of things fascinating.