Buscar en este blog

viernes, 17 de septiembre de 2021

The making of "Heavy Metal 2000: F.A.K.K.2" (Interview with CRAIG WILSON)


(This astonishing illustration has been graciously created by Craig Wilson as an exclusive treat for the readers of this interview)


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)

craigwilson (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


Elektra

In case you're interested, there's another interview with Craig Wilson available online, in the Animation Insider website:

http://www.animationinsider.com/2015/06/craig-wilson/

No hay comentarios:

Publicar un comentario