The current plan is to turn the script into a graphic novel, or a similar format, upon its completion. When working alone, as I am, animation is such a labor-intensive process that it rarely makes sense for the sorts of projects I have cooking up. My main interests tend to lie in narrative. Ideally I like to convey that narrative visually, but I also immensely enjoy dialogue, and occasional forays into conceits that cannot be expressed without a bit of dialogue. I have nothing but absolute respect for the John Lasseters of this world who can convey sophisticated emotional experiences, often in very brief runtimes.
It's a skill I need to improve, it certainly isn't easy. Like the quote that's usually attributed to Blaise Pascal goes, "I apologize for writing such a long letter, I did not have time to write a short one."
Anyhow, with all that said, I may as well explain the images at the top of this post. They're from the script I'm working on, as I attempt to establish a tone and aesthetic. The former is approaching the intended look of the bulk of the piece, with the middle approaching the intended look of a recurring sequence of traumatic flashbacks for the protagonist. The last one is the intended aesthetic for the third act clash, borrowing liberally from the climax of Seven Samurai, if I'm going to borrow, I may as well borrow from the best. These were all done in Corel Painter XI. Usually I work from a sketchbook, scan the drawing, then paint, but in these cases I decided to try my hand working digitally from scratch. For all you lose in immediacy using a tablet instead of paper, you gain a lot in flexibility after the sketch is done.
And finally, just because Ireland sensationally clobbered England in the closing round of the Rugby Six Nations, a quickie little sketch from the week before that turned out to be somewhat prophetic.
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| Ireland finally coming into form in the 6 Nations Rugby, as imagined a week earlier |
