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In October 2020 I posted an interview with Michael Coldewey
https://emeric9dedos.blogspot.com/2020/10/the-making-of-heavy-metal-2000-fakk2.html
co-director of the animation film Heavy Metal 2000/Heavy Metal: F.A.K.K.2.
Today's post is an interview with Craig Wilson, who worked as a storyboard artist, character designer and assistant director for that film, and, moreover, has been extremely kind and helpful to this tiny blog. He personally provided the two illustrations shown above, and gave me permission to borrow a couple of others from his blogs. The six very low-resolution screen captures from the film were taken by me, with my low-resolution cell phone in front of my TV screen, where the film's DVD was being played. So I'm sorry for that, but I had no other way to get what I needed in order to illustrate Mr. Wilson's comments.
Interview conducted by e-mail by Miguel Ángel Ferreiro in August and September 2021.
What can you tell us about your background? What is
your résumé up until HEAVY METAL 2000?
I'm a Montreal Canadian
born to English and Scottish parents.
Growing up, I was a
comics fan and taught myself how to draw by copying from the guys who are still
my heroes: John Byrne, Frank Miller, and just about anybody
who was doing Spider-Man. Comics were becoming more commercial, but not to an
industry demand like they are today and there were no avenues into them as a
career that I was aware of at that age. The next closest thing was Sheridan, which was a community college with
an affordable animation course that was a ten minute drive from where I lived.
(Sheridan's now a university with one of the most sought out diplomas in the
North American industry).
Any career owes itself to
talent, perseverance, and some luck. My timing of enrolment was the first
unearned break. Disney had been
floundering in their "Dark Days", almost collapsing after the failure
of The
Black Cauldron [1985]. When I was in second year, Don Bluth's American Tail [1986] was released,
giving a shot in the arm to an industry many people were considering pretty
much dead. Rejuvenated, Disney came
back with The Little Mermaid [1989] and the combined successes created a
swell of work that got me entrenched right out of school.
My first gig was on a
Canadian series called The Raccoons [1985-92, produced by Kevin Gillis & Sheldon S. Wiseman]
that was being done in Canada's capital city, Ottawa. They needed wrists to
carry the show as their first feature (The Nutcracker Prince [1990]) was
taking its toll on the relatively young studio. A lot of good places went under
after establishing themselves and a good crew, only to then try the feature
route. In my case, this was the second case of lucky timing and got my a foot
in the door. I moved up from the series to the feature, followed with animating
on a couple of half hour specials after that.
During all this, I
remained prolific with my comic stuff on the side (as unpublished as it was),
and, like anyone wanting to break into the field, plastered my artwork around
my desk and set to waiting for the flood of adulation which, I must say, was
somewhat disappointing in its seeming determination not to show up.
What DID happen, however,
was a line producer that had left the studio asked her remaining right hand man
to find someone that knew action/adventure art to interview for character
design on a show that was getting rolling for her in Montreal, the most
European of Canada's cities, and that's where things really clicked in for me.
The series was Young
Robin Hood [1991-92] and they were struggling to figure out an opening
title sequence. I went home and came up with one on my own, storyboarded and
timed it, and brought it in the next day. Overnight I literally jumped from
character design (which I was always shit at) to storyboard /concept artist,
and then to director (which I also consider myself shit at).
That said, I've kept on
doing it off and on over the years, but mostly I try to stick to boarding. To
me it's the true base root of filmmaking position in animation, the bones of
the skeleton. Everything that comes after it is adding muscles and skin to the
body, while also making the dreaded concessions. I adore every aspect of
boards; telling a story visually, using angles, cuts, and compositions that
accentuate the actual acting, which, in animation, you can really get into
(although the hacks never do) as opposed to live action boarding.
It's also the most
untethered part of the pipeline. Even back then (and we're talking before
computers were anything more than word processors in their involvement in the
production process), you could get a deal for a few boards and go off to
anywhere in the world to work, as long as there was a FedEx box nearby. It's a
great position to be in, and I still try to go somewhere like Paris or the UK
to rent an apartment and just live somewhere else whenever possible. The
freedom of movement with boards and freelancing in general allowed me to pull
up stakes from the hot muggy summers and insanely cold winters of Quebec to the
more moderate climate of Vancouver on the West Coast, 5000 km away. I loved,
and still love it there, but was going to have to wait a while before I could
truly settle in.
A lot of TV series are
still animated at overseas studios, and at that time, there was a large amount
being done in Seoul, South Korea, with an equally large contingent of overseas
supervisors over there acting as the boots on the ground for the then
predominantly American productions. I went over for Where on Earth is Carmen San
Diego? [1994-99] and came back with Emmy wins for best animation in an
animated series, and best series, two seasons in a row.
I did a few other shows
over there, got back to Vancouver and did more directing, but essentially
became known as a freelance board guy that specialized in the superhero /
action adventure arena. The Savage Dragon [1995-96], Wolverine
and the X-Men [2008-09], Young Justice: Invasion [2012-13], Ultimate
Spider-Man [2012-?], that stuff.
Throughout 30+ years,
I've kept at the comics, doing a short horror story here and there for anthologies
as well as appearances in:
Marvel [Iron
Man 2001, October 2001, with the 10-page story Black and white],
Graphic Classics [#23: Halloween Classics, 2012,
with a 13-page adaptation of H.P.
Lovecraft's Cool air short story; and the cover art to the Edgar
Allan Poe's Tales of Terror compilation, 2020],
and Heavy Metal Magazine [Mary
Lou, in issue #277/Horror Special, 2016; and America
Owns the Moon, in issue #282/Sci-Fi Special, 2016; both
stories were also written by Wilson
himself].
[Wilson also published the short story Creature converts in issue #3, February 2012, of the anthology series Zombie Terrors.]
[In the digital comics market, Wilson's work can be found at the drivethrucomics.com website, including adaptations of The time machine, Frankenstein and Nosferatu, and originals like Jimmy Ricochet, and his collected short horror stories in the anthologies Bloody Hell #1-3]
I tell folks getting started regularly that their own work is infinitely more interesting than anything being done out there by the big studios, and keep at it. Don't become known just as a company guy and have nothing to show but your years on Pound Puppies. To me, that's death.
As far as I know, the HEAVY METAL 2000 project was started in 1996 by the Canadian
animation studio CINÉ-GROUPE, with GEORGE UNGAR as director. Three German
enterprises helped with the funding, and another animation studio, Germany's
TRIXTER, teamed-up with CINÉ-GROUPE in October 1997. TRIXTER's MICHAEL COLDEWEY
eventually replaced UNGAR as director. When did you join the project?
I heard about Heavy
Metal in 1998. Montreal had just suffered an ice storm that winter; the
weather would warm up a bit and they'd get hit with rain followed by quick
drops in temperature that just screwed the city royally. The streets were
covered in ice causing traffic to come to a standstill or slide out of control,
sheets of it were separating from skyscrapers and hurtling down onto the streets
below, power lines broke and plunged the entire island into a blackout. The
situation was bad enough that the military were called in. I drove out at the
end of May and the signs of collected debris and detritus were still visible
everywhere.
I'd gotten a called from
a guy I knew back in Ottawa named Rob
Clark; we'd bonded over a mutual interest in action/adventure stuff
(drawing big breasted babes with swords, essentially). When the project got
rolling he naturally thought of me as Canada was a relatively small animation
community despite the enormity of it at the time, specifically outside of
Toronto. Also, coming from a studio that housed so much talent as the one in
Ottawa had, I still run into someone from that place on just about any job I
get on.
George's
background -- as I remember it -- was from the National Film Board of Canada (NFB)
who are responsible for many Oscar winning shorts and renowned artists that
were integral to shaping the history of animation not just in my country, but
globally. That said, he might have been deemed a bit too "artsy" for
the project, though with the struggles that ensued during production I believe
some folks in decision-making positions didn't quite understand the nature of
this beast. It'd been 17 years since the first film, and the fans had kind've
grown out of it while the magazine itself had lost a bit of the electric sheen
it once had. I met up with George,
and it seemed to me that he wanted to follow a lot of the lead from Melting
Pot [the comic that served as the starting point for the movie's plot].
There's some pretty grand thinking in it, and it might have seemed a bit out
there for the bean counters, who knows? One thing is for sure; there was one
ego that was determined to be credited as the writer of the film (if not
director), and he wasn't the type that was going to accept someone else telling
him what film to make. This was all before I came onboard.
I was offered the
character design position (remember, I consider myself a horrible character
designer, and proof of that is in the film, particularly Julie's design), but Disney
had opened offices in both Toronto and Vancouver to make direct-to-video
sequels to Beauty and the Beast while flooding the independent studios
with knock-off series like Timon & Pumbaa. I couldn't
settle into that stuff, so the timing was perfect.
You're credited, alongside ROBERT CLARK and MARK
DUBEAU, as "key character designer" for CINÉ-GROUPE. According to
MICHAEL COLDEWEY, it was the TRIXTER team who first did the preliminary
designs, that were later refined and expanded upon by the CINÉ-GROUPE artists.
What do you remember about the whole design process?
I'm surprised that Michael Coldewey says they were
involved in character design, as that's erroneous (by my memory, anyway). If
they did any, I never saw them. When I came on the only designs that existed
were the ones from the magazine. While Michael
was acting as an overall director, Trixter
was strictly the 3D designed animated portions of the film. A couple of those
lads pitched in on the early stages with boarding, but were soon back in Munich
for the 3D work once the ball started rolling.
Do you remember what specific characters did you work on?
I would say Julie's costume was designed by Simon Bisley, but for animation purposes, I came up with the rotatable design with the centred hair bangs on the front. (Which I hated, and there was always interest in making it more appealing, but the simplicity of the design worked and never got revised.) I know I also designed her earlier outfit and the post crash ripped up version of that.
Lambert [Tyler's navigation officer] was definitely me.
After that it gets a bit hazy on the key players. I know Rob Clark designed Julie's sister. And Zeek was again pretty much pulled from the book.
Zeek, as drawn by Kevin Eastman and Simon Bisley for issue #4 of the Melting Pot comic
and as seen in the film
While Tim Deacon was designing layouts and Michel Guérin was apparently directing the 2D backgrounds, there didn't seem to be any real art direction going on from my viewpoint.
As it turns out, Michel was the art director, but he
didn't really branch out from the background department, and from what I was
seeing, those were very classic and tastefully done while to me, Heavy
Metal needs to be rebellious, punk in attitude. I started pumping out
more concept heavy illustrations to try and lock in a more definitive style and
give the project a different look.
I wanted to make Julie's costume more black bands,
rather than the red while introducing more blacks to the background palette so
we could create moments celebrating negative space. There's sketches out there
I did to help sell a finale fight between her and Tyler where the blacks of their costumes would fall into the black
of the background except when lightning (or whatever sky effects) flashed and
revealed their entire body silhouettes. It would have been a signature sequence
and would have been easy to integrate, but there was no way the powers that be
were going to play with the brand that was the red F.A.K.K.2 costume. Toys were probably already in the pipeline
stage.
As I got more involved
with the overall look of the film and storyboarding (more on that later) Mark Dubeau freed up from another commitment
and got pulled in for the character designs. The guy is an incredible talent,
just unreal. Tyler was his design
mostly, and just about every other character in the film. Once he was in there,
we just let him crank. When there was any space of time, I was happy to do the
rotations of his models for the overseas studios' animators reference. I think
he did a pass over all of the characters, giving them that unique look of his
and unifying the design.
The division of labour
just kind of fell that way.
Mitch Lemire and Michael
Coldewey and Kevin Eastman were
having trouble getting a script locked, layouts and backgrounds resultantly
stalled, and I became more involved with firing off storyboard sequences that
would feed the myriad teams (characters, backgrounds, colour design, and
animatic) if the story could just get sorted.
Rob Clark's
talents leaned more towards character and layout, so without being titled as
such, we worked together to oversee the character department. He became more
integral to that department as an overseer as I started liaising between the
upper decks and the trenches, so to speak.
There's a book devoted to SIMON BISLEY's paintings for
F.A.K.K.2. He was one of the artists
of the MELTING POT comic, but he is
not credited at all on screen. Did you know if BISLEY did some kind of design
work for the film?
Bisley
didn't create any work during the production, I don't think he would have
legally been allowed to. His work was hanging all over the studio, and we did
the best we could to implement it into the designs, but the difference between
illustration and animation is that you can change things to get the desired
effect at any time.
If Julie kept coming in with different costumes in the film, the
audience would wonder what just happened? Was there a sequence missing?!
Heavy Metal Magazine released an adaptation of the film [Heavy
Metal F.A.K.K.2 Illustrated Movie Special, Summer 1999] drawn by him
afterwards (that's the only post-feature work I'm aware of), and it's a perfect
example of this freedom to accentuate anything he wanted. It would have been
awesome to have his input, though. His designs were brilliant in that, and
would have certainly elevated the look of the project.
If anyone has that special adaptation: there's a chapter with character designs in there, and Rob, Mark, myself and others are all in there as aliens (we all appear in the bar sequence of the film, as well).
You were initially hired as a character designer, but ended up drawing also storyboards. (The storyboarding team, by the way, was relatively small for a film this size: only 9 artists are credited on screen.) And you have a third and final credit on screen as an assistant director, alongside HALLEY BUTERA and L.H. FRANÇOIS ST. AMOUR.
As I've said, boards are
mostly what I'm known for, and I'm an aggressively quick board artist. As the
script fell more into spit-balling and searching for direction, I became almost
a visual stenographer, pounding out 70 pages (generally 3 panels a page means easily
210 drawings) over a couple of days after brainstorms to create the jigsaw
pieces that had to be put together. It was an intense time.
For example, back at this
time John Woo was gaining popularity
in North America, I think he might have just done Face/Off [1997] maybe
even the second Mission: Impossible film [2000]. Kevin wanted to get some of that balletic action choreography into
the home planet attack, and I did a sequence with Julie rising up from behind carnage holding a chain she's just
released on a construction crane while firing at the goons kidnapping her
sister. Slow motion jumping through the air ensues, all that stuff. There's
plenty of sequences that were done and didn't make it like that floating
around. Random inputs and ideas as conversations, jokes, drinks, whatever else
was in the creative process. Some are in there, and others, for good reason,
aren't. You can't capture an essence like that John Woo stuff and just squeeze it in willy-nilly; it's the
"religion" of a film, there can't be just one section like that. It
would stick out like dog's balls.
It certainly wasn't a
smooth production for a lot of reasons. There's a type of person that's
attracted to a project like this, and like it or not, it's going to be rock 'n'
roll boys that are into sex, drugs, and rock 'n' roll. The calamities that
happened on this production are a hoot (in hindsight) that combined to make it
the most fun I'd ever had with a crew on a gig. There was also the roller
coaster of racing, racing, racing, contrasted against waiting, waiting, waiting
while the script started and stalled repeatedly. It was all over the
place. With the disorganized production
rubbing against unclear assignment duties, it became a studio divided into
cliques, more akin to M*A*S*H than Disney.
One explosion happened
when the Ottawa Animation Festival was being held over a weekend while one of
the writers -- Jon Minnis -- wanted
to finalize the sequence of Tyler
taking over the bridge of the mining ship, killing any crew that defied him.
Despite all the odds and pressure against getting the scene finished, it was
delivered, edited and timed for him to review while we crew went off to the
celebration. Sitting with Mitch, Jon watched as Tyler enters the bridge, blows away a couple of nobodies that
offered resistance, then asks "Anyone else?" The seat next to Lambert turns around to reveal a Roger Rabbit-style bunny who begins to
break into a song, only to have his brains blown out. I would've LOVED to have
been in that editing bay at that moment. Apparently Jon went absolutely batshit, demanding that me, and all the design
crew were fired immediately. I can see Mitch
laughing his ass off as I write this. Thing is, again, that WOULD have suited Heavy
Metal! Look at the humour in the books and the first film. It's
SUPPOSED to be subversive, flip-the-table-over riotous. Needless to say, we
didn't always see things eye to eye. Maybe I should have put tits on the rabbit.
When you say there were 9
board artists on the movie, I honestly can't see their faces in my mind. I know
there was a very rough board done at an early stage by Jim Caswell, perhaps under George's
direction, that was left mostly under the bus with rewrites, although there's
definitely some of it still in the end product. That's what happens in a
project like this, a lot of things change, a lot of things come full circle.
Very early on, I made
up the sequence where Tyler, in
front of his assembled lizard army sees the distant explosion of the ship
containing the bodies that generate his immortality fluid. (There was no
scientist, or anything at this point, we were just throwing darts at a wall,
looking for inspiration. It was
literally the first scene boarded). Outraged, he grabs a nearby lizard, one of
his supposed loyal followers, throws him to the ground and starts chopping him
to pieces. It was a fast, effective shot that sold his desperation and the
tilting mindset of the character while also being hilarious.
Thing is, over the production, everyone and their dog thought they could make the gag better. It became a fat lizard, a pink homosexual lizard, over and over, someone tried to take a moment of throwaway inspiration and make it their own. Resultantly, in the end the humour of the scene dies on the screen. It's just one of those things that happens.
Honestly, I'm all over
this movie, both in boards and concept, hence the assistant director credit.
I've always been that way. I get involved in a project and get connected to
lots of aspects of it, it's hard to pick out scenes.
There's an extra on the
DVD [found in "Animatic comparisons – Final fight"] with the
storyboard running alongside the finished product for the finale fight with Julie and Tyler. That's all me up until the bit where she's on his back
stabbing him with her forearm blades. I don't know who did that portion, but it
was inspired, really cool stuff. (I was back in Korea supervising Invader
Zim's pilot episode at that point... another story).
One sequence that comes
to mind was that one in the ship when Julie
finds all her people in tubes and has the fight with the crazy doctor who turns
out to be a robot. I wrote and boarded that over a weekend at my apartment with
my foot up on a box because I'd broken my leg horseback riding and was
subsisting on cigarettes and coffee. At one point I was aware that I was on the
verge of passing out (I hadn't gone to the French hospital for a cast, and was
instead limping around like Igor). I
managed to get myself down to the floor and take a break for a while before
getting back up into the chair. Like I said, a wild production.
One guy passed out drunk
under his motorbike after arriving home and woke up only to discover his engine
had burnt a hole in his leg. Another one called me from jail telling me he
needed me to bail him out as his angry ex-girlfriend had told the police he'd
assaulted her (he hadn't). Even Mitch
got hit with the curse: he directed the last few months of the film with back
issues so bad he had to be strapped to a board like Hannibal Lecter.
That's rock 'n' roll,
folks.
Were there much rethinking or reworking of the
designs?
In regards to designs,
the characters really stayed like they were early on (much to my chagrin).
The twist to the Odin character being an Arakacian creature I think came later, at least as a design. It was a good idea to make him 3D, so Trixter did that design.
The players were all
there early on, it's always about the script and getting them in the right
place. That was the real challenge of the project.
When I had to leave for
another commitment, the finale was still in flux.
Were there any particular characters or sequences that
you particularly enjoyed drawing?
I did enjoy drawing Julie, but my drawings didn't really
look like the final animated drawings of her. Again, it's just the nature of
the beast; by the time it got overseas to be animated, the only way it was
going to get delivered on time was for the studios to subcontract scenes to so
many satellite studios that Ciné-Groupe
had to send over a production person to track it instead of a supervisor that
could have sat and drawn with the artists, bringing the quality up to a
standard as high as possible. The facts are it's a massive financial agreement;
the bank had loaned the studio money to make a Heavy Metal film and
deliver it on a specific date, and that's that. It's a shame so much time was
wasted getting the story together, but it's honestly not a new experience in
this business.
According to MICHAEL COLDEWEY, he was the director of
the film, with MICHEL LEMIRE -- credited on-screen as co-director with
COLDEWEY, and also as one of the producers for CINÉ-GROUPE -- brought in by
COLUMBIA PICTURES as an English-speaking "overseer". Would you agree
with this statement? Did LEMIRE function more as a producer or as a
co-director?
In terms of direction, I
think Mitch came in somewhat
reluctantly as I think he wanted to stay back as producer, as there were other
productions going on the studio at the time. From my interactions, he was the
prominent director, which is logical because also being producer gave him final
decision. That said, I had my nose to the grindstone and he was really my main
contact when the shrapnel was flying. That said, I would run into Michael now and again outside the
studio and his hands were all over the pie as well. Again, it's the nature of
the beast. He was in the editing suites, dealing with 3D, I don't even know WHO
was on the music. It was a runaway train at the end, but I don't doubt Michael and Mitch were co-directors. It's a miracle what the two of them pulled
off, for a variety of reasons.
I should add that Kevin Eastman was in there
wholeheartedly as well. He gave it a lot, and when Julie Strain actually had moments in her schedule to come around
the studio, she was so excited and likeable that she broke every heart in the
place.
Any final comments on the film?
Heavy Metal 2000 or Heavy Metal - F.A.K.K. 2 might not reach the heights (which were somewhat modest to begin with) that the first Heavy Metal hits, but for the fan that seeks it out, it DOES deliver. My real complaint with it is that I believe now, as I did then, that sticking to one story for the film's full length was not only unfaithful to an anthology book, but a mistake in production savvy. In the first film, there's sections that shine as well as some that don't necessarily work, but at worst you're only in any of them for 10 minutes or so. Short stories also hit dramatic beats faster and could have kept the energy and music more edgy instead of locking the audience into one 70-minute concept that might not be to their liking. To me, the bomber sequence in the first film is the highlight (but I AM a horror guy), and it's only, what, 7 minutes long? As with anything, think more in the front, and work less on the line. Maybe Julie and Kevin wanted a franchise, but he owned one with a wealth of different stories, and I think she would have shined better as the crown to the piece like Taarna did in the original film.
Honestly, it's the best ride I've had on a project with a great crew, and in the right town to do it to the max. I also met a sweet gal there who's now been my wife coming up on twenty years.
Aside from HEAVY
METAL 2000, you were storyboard artist for the second season of YOUNG JUSTICE, which was titled YOUNG JUSTICE: INVASION, in just two
episodes, EARTHLINGS (#2) and BENEATH (#5). Was this your only gig for
WARNER BROS. ANIMATION/DC COMICS? How did that gig come about? Any reason why
you didn't do more boards for the series?
I'm not sure if those are
the only WB boards I did...
Actually, I did boards on Scooby-Doo! Mystery Incorporated
[2010-13] as well... It becomes a bit of a blur without looking them up. Keep
in mind I've been at this for the better part of 30 years, and while there's joy
to be found in all the shows I've worked on, there's been dozens and dozens.
In regards to why only
two on this one or more on others, it comes down to how the schedules are
worked out by the studios (some like to split acts, giving one section from every
show to a different artist, others give the full half hour), and my
commitments. I might have months where I think I'm free to work on my own
project, then a studio asks me if I want to help out on a Spider-Man episode. I'm never
going to turn down Spidey!
On the MARVEL COMICS animation front, you collaborated
in ULTIMATE SPIDER-MAN (four seasons,
2012-17) and WOLVERINE AND THE X-MEN
(one season, 2008-09).
Spider-Man was a fairly straightforward gig. The L.A studio
would send me scripts and models to Vancouver, I would board it and send it
back. If there were any revision notes I'd implement them, but they were
generally light enough that the studio handled them.
Wolverine and the X-Men was a great show, and a hoot to work on. It was also
very well received, so I was looking forward to the follow up season but it
never came to fruition, and it's a mystery why. The X-Men was still in Sony's hands rather than Marvel's filmically, and the first Wolverine
solo movie was slated to come out around the same time. One would think an
animated series would complement the live action release, but maybe they
thought it might detract... who knows? I never did get a straight answer on
that one.
The first sequence I did
for this show was a Wendigo one, and
it was a lot of fun. I also had an act with a nice car chase with Emma Frost being pursued by Archangel through a tunnel which came
out well. One last thing in there that I'm proud of was a scene with the team
meeting a shy young Jean Grey. I put
a cross in the home's door window so that when Jean tentatively peered out from behind her father to look at Scott, the shadow from the window cast
an "X" across her face with her eye in its centre. I've seen that
image reused elsewhere a few times. It's really fun and well written series, I
highly recommend tracking it down.
It seems to me that you always were a freelance in the
animation business. Or were you at any time on staff for any particular studio?
Yeah, I'm pretty much a
lone wolf freelancer by nature.
When I have a job, I
rough it out, get everything prepared for clean up, then give myself a daily
quota. Once I've hit that mark, I move the show to the side and use the day's
remaining time to work on something else, whether it's my own thing or some
other project. You can't do that in a studio, even as a board artist, really.
I've directed about 40
half hours of television, was overseas as a supervisor for close to 5 years...
I'm not against a studio, but it's a younger man's environment. When you first
get into the industry it's galvanizing to be surrounded by other talent, and
you can't get enough of being there. If I was intent on becoming a studio owner
or producer I'd have stayed in there, but I simply enjoy creating too much.
It's more about the work and covering as much as I can now, and there's lots of
other ways to stay involved with the animation community and break free of the
dreaded "vacuum" effect.
Finally, would you care to list the blogs where your
fans can reach you?
Absolutely. This timing
has been great, as I'm on vacation and have time to myself, so thanks for the
chance to wander down memory lane a bit, and thanks to everyone that continue
to get enjoyment from F.A.K.K. 2! I have both storyboard
and illustration websites here:
Home | storyboards (wixsite.com)
For more regular updates,
my blog is:
boardguy (money-shotz.blogspot.com)
I can be reached through
the websites, don't hesitate to drop a line, request a commission, or check to
see which images are purchasable prints; I'll get around to setting up my shop
one of these days.
Stay safe,
C
In case you're interested, there's another interview with Craig Wilson available online, in the Animation Insider website:
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