ASSORTED FILM WORK
What follows is a selection of designs I've done for a range of films. I present them not to illustrate a specific aspect of my history, rather, these are concepts and/or pieces I am simply fond of.
THE MORTAL INSTRUMENTS - 2013
At the time I created this work for The Mortal Instruments, it was being developed for production by director Scott Stewart who I worked with in 2010 on his film Priest. Subsequently, Scott has left the picture and was replaced by Harald Zwart, a director I have not met. As is often the case in Hollywood, when these situations arrise, the new director (rightfully so in my mind) will begin from scratch. These things as they are, none of the designs presented in this section will ever be further realized.
The Mortal Instruments is a supernatural tale revolving around a young girl coming to grips with the fact that she is a member of a supernatural clan of demon hunting youths.
In the script which informed my designs, these youths made use of a weapon called a "Steles" which Scott envisioned as being like a "shard of glass." Below, an early pass -- modeled in Sketchup and rendered in Hypershot, an off-the-shelf rendering solution.
The Mortal Instruments is a supernatural tale revolving around a young girl coming to grips with the fact that she is a member of a supernatural clan of demon hunting youths.
In the script which informed my designs, these youths made use of a weapon called a "Steles" which Scott envisioned as being like a "shard of glass." Below, an early pass -- modeled in Sketchup and rendered in Hypershot, an off-the-shelf rendering solution.
To conceal their weapon of choice, yet always keeping it at the ready, we designed this forearm holster -- the bottom version decorated with magical glyphs which appear prominently throughout the story. Study sketch -- pen on paper -- gray tone added in Photoshop -- 8.5" x 8.5".
At one key juncture in the script, the young protagonist is taken on a wild ride in a fanciful "Midnight Carriage," which, after much discussion, was envisioned to be all curves, chrome, and fins -- more vintage hot rod then anything the word "coach" might bring to mind. Modeled in Sketchup -- rendered in Hypershot.
Another proposed vehicle from the script was a sleek flying vampire motorcycle. Because of the action Scott envisioned for the screen, when the bike is first revealed, it is perceived to be little more than a custom motorbike. However, as the action builds, the bike suddenly careens off the edge of a steep embankment, only to transform as it falls and then zoom off into the night sky. Modeled in Sketchup -- rendered in Hypershot.
The same motorcycle design below, but with "plasma wheels" repositioned into flight mode. Another idea we developed, and which is illustrated here, was pulsing tracer lighting that ran across the body of the motor bike when it flight. Modeled in Sketchup -- rendered in Hypershot -- tracer lights effect added in Photoshop.
PRIEST - 2011
Priest is a story which takes place in a kind of alternative reality post apocalyptic future, and revolves around a violent ongoing war between humans and vampires. In the film, the "Priests," as they are known, are a committed order of fierce vampire hunters. The film, directed by Scott Stewart, contains themes and esthetics which echo back to the great westerns of Sergio Leone.
This design is for a set of martial arts throwing stars which, when not slaying fang gnashing night-crawlers, are conveniently converted into decorative religious objects.
Sketchup model -- native render.
This design is for a set of martial arts throwing stars which, when not slaying fang gnashing night-crawlers, are conveniently converted into decorative religious objects.
Sketchup model -- native render.
One of the largest set pieces of the film centers on a fight staged atop a speeding Vampire Train. Riffing on century old steam engine esthetics, I worked up what came to be known as the "steam spike" design. Sketchup model -- native render.
Though it did not make it into the final film, this design for a custom "over and under" revolver was a favorite of the director. Study sketch -- pen on paper -- gray tone added in Photoshop -- 11" x 8.5".
As I suggested above, Priest is at its heart a kind of alternate reality western, and as such "horses" are an important element. I designed several motorcycles for the picture, each attempting to echo the persona of the rider.
The bike below was designed for the character "Hicks" who is a very complex and uneasy cowboy. This motorcycle was designed to be the same -- complexity in the form of extra curves, cutouts, and finicky shapes.
Though aspects of the design ultimately made it into the final film, the elaborate silhouette was simplified to better conform with a traditional motorbike wheel base. Sketchup model -- native render. Mouse over for alternative views.
The bike below was designed for the character "Hicks" who is a very complex and uneasy cowboy. This motorcycle was designed to be the same -- complexity in the form of extra curves, cutouts, and finicky shapes.
Though aspects of the design ultimately made it into the final film, the elaborate silhouette was simplified to better conform with a traditional motorbike wheel base. Sketchup model -- native render. Mouse over for alternative views.
This next motorbike design was for the title character of the film -- Priest -- a no-nonsense bringer of brute force and justice. This design was my attempt at embodying such themes. Sadly, at the end of the day (and as is very often the case) this design was abandoned for budgetary reasons. Sketchup model -- native render. Mouse over for alternative views.
PRIEST THEATRICAL TRAILER
BATTLE: LOS ANGELES - 2011
Battle: Los Angeles is the story of a world wide alien invasion and man's struggle to fight back. When director Jonathan Liebesman first contacted me about working on the film, he pitched it to me as needing to be "scary and freakish" -- "the audience doesn't know what it's seeing, but believes it's real" And indeed, that concept put a hook in me and I was on board.
Over the course of pre-production, investigation of the aliens design branched out in a great number of interesting directions, but central to them all was the idea that they were "physically modified," or even "mutilated" -- as if they had undergone some kind of horrific, disfiguring surgery of some kind -- a procedure designed to make them fierce warriors regardless of the physical cost.
At the onset of the film, I did a number of study sketches meant to promote dialogue -- this first suggesting a kind of a "hybrid warrior" composed of different lifeforms and technologies all biologically grafted together. Pencil on toned paper, 8.5" x 11".
Over the course of pre-production, investigation of the aliens design branched out in a great number of interesting directions, but central to them all was the idea that they were "physically modified," or even "mutilated" -- as if they had undergone some kind of horrific, disfiguring surgery of some kind -- a procedure designed to make them fierce warriors regardless of the physical cost.
At the onset of the film, I did a number of study sketches meant to promote dialogue -- this first suggesting a kind of a "hybrid warrior" composed of different lifeforms and technologies all biologically grafted together. Pencil on toned paper, 8.5" x 11".
From these early works, two concepts really stuck with Jonathan -- first, that the aliens would have their weapons grafted to their arm -- and second, that portions of the aliens anatomy would be covered with something that appeared like "bandages." Though the aliens went through many renditions, variations, and forms, ultimately, both concepts made it into the final film.
This next sketch explored a more humanoid form, but with legs subdivided and segmented with mechanical components. Pencil on toned paper, scanned and mirrored in Photoshop, 6" x 11".
This next sketch explored a more humanoid form, but with legs subdivided and segmented with mechanical components. Pencil on toned paper, scanned and mirrored in Photoshop, 6" x 11".
A continuation of the concept above, but with the idea of transparency added. Here, the legs are even further mechanized. Pencil on toned paper, scanned and mirrored in Photoshop, 8.5" x 11".
In discussions concerning the drawing above, the topic of how much of this kind of alien would be purely biological was put on the table. As a response, I developed this quick study. Pencil on paper, scanned and mirrored in Photoshop, 8.5" x 11".
As production moved forward and story boarding got underway, it became clear that beyond the esthetic ideals established for the aliens, they also needed to be able to function as soldiers -- run, climb stairs, open doors, etc. Driven of this reality, the design orbited back around towards a more conventional humanoid anatomy.
These kinds of "reality adjustments" occur often in film making and are never much fun to swallow. However, given the reality of production -- limited budget and time -- it is the nature of the beast. The question then becomes, what's the best way to make the adjustments? The ways that will allow for the retention of the most interesting elements uncovered in the design development process?
This drawing was an early response to these questions. Pencil on paper, scanned and mirrored in Photoshop, 7" x 11".
These kinds of "reality adjustments" occur often in film making and are never much fun to swallow. However, given the reality of production -- limited budget and time -- it is the nature of the beast. The question then becomes, what's the best way to make the adjustments? The ways that will allow for the retention of the most interesting elements uncovered in the design development process?
This drawing was an early response to these questions. Pencil on paper, scanned and mirrored in Photoshop, 7" x 11".
Shortly after the drawing above was complete, we brought in a sculptor to begin working up the design in clay -- a process we relied on from that point until construction of the full size animatronic was underway.
This next drawing, I believe, was the last sketch of an alien I produced for the show -- the design above posed in a shooting position. Pencil on plain paper -- 8.5" x 11".
This next drawing, I believe, was the last sketch of an alien I produced for the show -- the design above posed in a shooting position. Pencil on plain paper -- 8.5" x 11".
Once sculpting of the full size animatronic was underway, my attentions turned towards the design of various alien vehicles and weapons. The show eventually traveled me to Baton Rouge, Louisiana, where production was setting up to shoot (indeed -- with the exception of some wide establishing shots, the "Los Angeles" in this picture was shot in Louisiana) . While in Baton Rouge, I enjoyed muffaletta sandwiches, fried pickles, and a sizable number of other really great creole dishes.
BATTLE: LOS ANGELES THEATRICAL TRAILER
STAR WARS EPISODE IV, A NEW HOPE (SPECIAL EDITION) - 1997
Without question, my interest in conceptual design, what I would have called at that time, "space ship design," began in 1968 after viewing Stanley Kubrick's 2001: A Space Odyssey -- to this day, a film I consider to be one of the greatest and most important ever made. In the years following my viewing of 2001, my childhood sketchbook pages were filled with space craft and landing stations -- planet-scapes and robotic computers.
By the time 1977 rolled around, I had moved a good bit away from such themes and was painting and drawing with a focus more on self examination and expression. I was working with the figure and abstraction, trying my hand at different techniques and media -- and most informative to me, enjoying time in the studio with my father.
Then spring arrived and an ad showed up in the local paper for a movie called Star Wars. A big two-page spread containing what was clearly space ships of some kind whizzing about against the back drop of space and some guy in a strange black helmet. In the foreground, a girl next to some kid holding a flashy sword, and though it was very small, I could make out what I thought was a tall ape man -- and that all looked pretty cool.
Of course, what happened next is history, when Star Wars hit the theaters it took the world by storm. The impact of the film just seemed to expand infinitely in all directions, I'd just never seen anything like it, but of course, no one had.
Not that it is of any deep importance, but as I opened this section by referencing 2001, I feel compelled to share that as much as I loved Star Wars, and as much as it reconnected me to thoughts of spacecraft and robots, I never drew a solid line between the two pictures, only a very faint and dotted one. Kubrick's film questions man's place in the universe, where as Star Wars is a whimsical good time fantasy adventure -- and though I might have found notions of "The Force" provocative in some kind of pseudo-spiritual way, it felt conceptually thin -- always more veneer to me than substance.
All these things as they are, along with massive Star Wars expansion into our culture, something very new came with it -- something that, until that precise moment in time unfolded, I'd never seen before -- access to the "making of the movie" artwork and many technical articles directly related to how the film's inventive special effects were actually made. These books and magazines really excited me in new ways and, most importantly, provided me an access point through which I felt I might find my way to Hollywood and the film business. After that, I really never looked back.
What all transpired between 1977 and June of 1993 when I was invited to a meeting focused on George Lucas' interest in revisiting the original Star Wars is a twisting narrative for another telling. But suffice it to say, I did end up in that meeting, along with visual effects supervisor Dennis Murren, technical director Alex Seiden, effects producer Ned Gorman, and Jim Morris, at that time ILM's general manger.
The conversation moved quickly, George laying out twelve shots in the film he wanted to revisit (clean up and improve) and another dozen new shots he wanted to add. Of course it would be an understatement to say I was excited, I mean, how did this really happen? I was not only going to be working with the Director of Star Wars, I was going to be working on the original film. And that's what happened.
Below are several designs for new elements George wanted to add into scenes set in the Mos Eisley Spaceport with the intention of establishing in the audience's mind that this desolate town on Luke Skywalker's home planet of Tatooine was actually much larger and more exotic than what had appeared in the original film.
At that point in time, with the advancement of digital effects and animation, designing a robot that absolutely could not be an actor inside of a suit, was very doable. So this was one of the things George wanted to add to some of the Mos Eisley shots.
Below, one of several proposed designs, this presentation drawing was rendered in ballpoint pen and gray design markers -- paper size 8.5" x 11".
By the time 1977 rolled around, I had moved a good bit away from such themes and was painting and drawing with a focus more on self examination and expression. I was working with the figure and abstraction, trying my hand at different techniques and media -- and most informative to me, enjoying time in the studio with my father.
Then spring arrived and an ad showed up in the local paper for a movie called Star Wars. A big two-page spread containing what was clearly space ships of some kind whizzing about against the back drop of space and some guy in a strange black helmet. In the foreground, a girl next to some kid holding a flashy sword, and though it was very small, I could make out what I thought was a tall ape man -- and that all looked pretty cool.
Of course, what happened next is history, when Star Wars hit the theaters it took the world by storm. The impact of the film just seemed to expand infinitely in all directions, I'd just never seen anything like it, but of course, no one had.
Not that it is of any deep importance, but as I opened this section by referencing 2001, I feel compelled to share that as much as I loved Star Wars, and as much as it reconnected me to thoughts of spacecraft and robots, I never drew a solid line between the two pictures, only a very faint and dotted one. Kubrick's film questions man's place in the universe, where as Star Wars is a whimsical good time fantasy adventure -- and though I might have found notions of "The Force" provocative in some kind of pseudo-spiritual way, it felt conceptually thin -- always more veneer to me than substance.
All these things as they are, along with massive Star Wars expansion into our culture, something very new came with it -- something that, until that precise moment in time unfolded, I'd never seen before -- access to the "making of the movie" artwork and many technical articles directly related to how the film's inventive special effects were actually made. These books and magazines really excited me in new ways and, most importantly, provided me an access point through which I felt I might find my way to Hollywood and the film business. After that, I really never looked back.
What all transpired between 1977 and June of 1993 when I was invited to a meeting focused on George Lucas' interest in revisiting the original Star Wars is a twisting narrative for another telling. But suffice it to say, I did end up in that meeting, along with visual effects supervisor Dennis Murren, technical director Alex Seiden, effects producer Ned Gorman, and Jim Morris, at that time ILM's general manger.
The conversation moved quickly, George laying out twelve shots in the film he wanted to revisit (clean up and improve) and another dozen new shots he wanted to add. Of course it would be an understatement to say I was excited, I mean, how did this really happen? I was not only going to be working with the Director of Star Wars, I was going to be working on the original film. And that's what happened.
Below are several designs for new elements George wanted to add into scenes set in the Mos Eisley Spaceport with the intention of establishing in the audience's mind that this desolate town on Luke Skywalker's home planet of Tatooine was actually much larger and more exotic than what had appeared in the original film.
At that point in time, with the advancement of digital effects and animation, designing a robot that absolutely could not be an actor inside of a suit, was very doable. So this was one of the things George wanted to add to some of the Mos Eisley shots.
Below, one of several proposed designs, this presentation drawing was rendered in ballpoint pen and gray design markers -- paper size 8.5" x 11".
At the time of this first Star Wars meeting, Jurassic Park had just come out (in point of fact, I think it was still in the theaters) and George was very keen on adding some big dinosaur like creatures to Mos Eisley as well. This sketch was one of the more eccentric designs I proposed, the strange tail being more like a fish's than land creature. Ballpoint pen, design markers, white pencil, and white correction fluid -- paper size 8.5" x 11".
An alternative design. Ballpoint pen, design markers, white pencil, and white correction fluid -- paper size 8.5" x 11".
As the design process progressed, George came to the conclusion that he really wanted to go with a more conservative dinosaur-like design, so we circled back around to something much closer to a brontosaurus. This next version is what ultimately got approved. Mouse over for alternative skin color. Ballpoint pen, design markers, white pencil, and white correction fluid on plain paper -- size 8.5" x 11".
Another idea George had for Mos Eisley was to add in some wild alien outlaw bikers. This is the version that was ultimately chosen. Ballpoint pen, design markers, white pencil, and white correction fluid on plain paper -- size 11" x 8.5".
To assist in the 3D modeling of the alien bike riders above, I provided this more detailed study. Ballpoint pen, design markers, white pencil, and white correction fluid on plain paper -- size 8.5" x 11".
Within the first five minutes of that first meeting with George, he talked about putting back into the film a scene with Jabba the Hutt that he'd filmed for the original 1977 Star Wars theatrical release, but was cut for technical reasons.
What he had photographed back in the day was a scene that takes place in the run down Mos Eisley hanger where Han Solo has stashed the Millenium Falcon for a little "hotrod" tune up. After Han hammers out his transportation deal with Luke and Old Ben Kenobi, and has returned to tinkering on the Falcon, Jabba makes a surprise visit with some of his "Scum and Villainy" playmates in tow.
In the original footage, Jabba is played by an actor in a big fur vest who was (later in post production) suppose to be replaced with a stop motion creature of some kind, but as I recall, the production ran out of time or money (most likely both), so sadly, the scene didn't make it in.
A number of years later, in Return Of The Jedi, Jabba is established as being this giant slug of a bad guy, and in that film, does little more than waves his arms around and slobber out his tongue -- he never really moves around. So, in this first meeting, the issue of Jabba being able to move around enough to match the action George had "in the can" was a hot topic. All these things as they are, the idea was proposed that perhaps Jabba could simply float around on some kind of levitating chair. Up next is my study for such a design. Pencil on plain paper -- 8.5" x 11".
What he had photographed back in the day was a scene that takes place in the run down Mos Eisley hanger where Han Solo has stashed the Millenium Falcon for a little "hotrod" tune up. After Han hammers out his transportation deal with Luke and Old Ben Kenobi, and has returned to tinkering on the Falcon, Jabba makes a surprise visit with some of his "Scum and Villainy" playmates in tow.
In the original footage, Jabba is played by an actor in a big fur vest who was (later in post production) suppose to be replaced with a stop motion creature of some kind, but as I recall, the production ran out of time or money (most likely both), so sadly, the scene didn't make it in.
A number of years later, in Return Of The Jedi, Jabba is established as being this giant slug of a bad guy, and in that film, does little more than waves his arms around and slobber out his tongue -- he never really moves around. So, in this first meeting, the issue of Jabba being able to move around enough to match the action George had "in the can" was a hot topic. All these things as they are, the idea was proposed that perhaps Jabba could simply float around on some kind of levitating chair. Up next is my study for such a design. Pencil on plain paper -- 8.5" x 11".
Shortly after I presented this design, upon close review of the existing footage, it became clear that, if Jabba simply rose up a bit more like a cobra than he manages to do in Return Of The Jedi, he should be able to hit the marks of the scene without the complexities of the hover throne -- and that's exactly what was done.
As most all of the work undertaken for the Special Edition of Star Wars was done in fits and starts, it was still in process when I got the call from Guillermo del Toro to come work with him on Mimic -- which I did ultimately do. These things as they are, by the time the Special Edition was complete and in theaters, I'd been away from that production effort for two years. This gave me the nice opportunity to get some distance from the project and really appreciate the rareness of the opportunity -- to take stock in the good fortune I'd been afforded to come full circle on such a personally empowering, and culturally relevant film. Viva GWL!
As most all of the work undertaken for the Special Edition of Star Wars was done in fits and starts, it was still in process when I got the call from Guillermo del Toro to come work with him on Mimic -- which I did ultimately do. These things as they are, by the time the Special Edition was complete and in theaters, I'd been away from that production effort for two years. This gave me the nice opportunity to get some distance from the project and really appreciate the rareness of the opportunity -- to take stock in the good fortune I'd been afforded to come full circle on such a personally empowering, and culturally relevant film. Viva GWL!
STAR WARS SPECIAL EDITION TRAILER
©2012 TyRUBEN ELLINGSON