HELLBOY - 2004
After establishing a quality work methodology with del Toro on Mimic, I became one of the "usual suspects" called in whenever he set to work on a new picture. As such, in the fall of 2001, del Toto set me to work designing exotic weapons and high tech vampire technology for his action horror picture Blade 2 -- squeal to the successful 1998 film Blade directed by Stephen Norrington.
While working on this picture, it was my great fortune to meet and share an office with Mike Mignola, the creator of the popular comic book character Hellboy. Over the production of BLADE 2, Guillermo spoke often of his love of Mike's books and promised that someday in the future we would all get together again to make a movie adaptation of Hellboy.
As technically challenging as the idea was, and as difficult as it proved to be to find a studio that would get behind such a project, del Toro persevered and late summer of 2002, the Hellboy call did come in.
Within days, the "usual suspects" were hard at work bringing the story of a giant, red, well-meaning, monster-bashing demon to life.
What follows is a sampling of work done as part of pre-production of the film. Please note, relevant text will appear above the image and a mouse click will open a larger version of the work or provide access to alternative studies, versions, or views.
While working on this picture, it was my great fortune to meet and share an office with Mike Mignola, the creator of the popular comic book character Hellboy. Over the production of BLADE 2, Guillermo spoke often of his love of Mike's books and promised that someday in the future we would all get together again to make a movie adaptation of Hellboy.
As technically challenging as the idea was, and as difficult as it proved to be to find a studio that would get behind such a project, del Toro persevered and late summer of 2002, the Hellboy call did come in.
Within days, the "usual suspects" were hard at work bringing the story of a giant, red, well-meaning, monster-bashing demon to life.
What follows is a sampling of work done as part of pre-production of the film. Please note, relevant text will appear above the image and a mouse click will open a larger version of the work or provide access to alternative studies, versions, or views.
HELLBOY OPENING - WWII
The opening sequence of Hellboy is set in 1944 near the close of World War II and we find a sinister mystic, Grigori Rasputin, preparing to use black magic and strange machines to summon up a supernatural demon. Grigori has been commissioned to preform this "ritual" by the a group of Nazis working to change the tide of the war.
Below, the final conceptual drawing of Grigori's mysterious "Mecha-Glove." In the film, this complex animated device is used in conjunction with the "Hell Hole Generator" to summon a young "baby Hellboy" from his alternate dimension plane of existence.
This drawing was done in pen, design marker and white correction fluid. The render measures 17" x 11" and executed on copy paper.
Below, the final conceptual drawing of Grigori's mysterious "Mecha-Glove." In the film, this complex animated device is used in conjunction with the "Hell Hole Generator" to summon a young "baby Hellboy" from his alternate dimension plane of existence.
This drawing was done in pen, design marker and white correction fluid. The render measures 17" x 11" and executed on copy paper.
Next up, a first pass study of the above mentioned "Hell Hole Generator." When I first spoke with the director about what he had envisioned, he responded, "a massive gyroscope that sparks and spins!"
Though this design would go through several renditions, Guillermo liked the top ring section of this sketch a great deal, so it "stuck" through to the final design.
This drawing was done in pen and design marker. The render measures 8.5" x 10" and executed on copy paper.
Though this design would go through several renditions, Guillermo liked the top ring section of this sketch a great deal, so it "stuck" through to the final design.
This drawing was done in pen and design marker. The render measures 8.5" x 10" and executed on copy paper.
As pre-production ramped up and Guillermo looked more closely at how he intended to block this early scene, he struck on the idea that beyond the spinning and sparking, he wanted to have the Hell Hole Generator rise up from the base upon which it whirled -- he wanted it to unfold as part of the opening of the sequence.
Subsequently, in conjunction with developing the machines design, I provided him several small studies as to how this might be accomplished -- this is the one we ultimately used in the film. This study was done in pen and design markers, on 8.5 x 11" copy paper.
Subsequently, in conjunction with developing the machines design, I provided him several small studies as to how this might be accomplished -- this is the one we ultimately used in the film. This study was done in pen and design markers, on 8.5 x 11" copy paper.
Side plan view of the approved Hell Hole Generator design. Drawing rendered in pen and design marker on 17" x 11" copy paper.
Originally designed for the opening of the film -- a scene that was later cut -- next up is my design for Professor Broom's box -- a wooden travel "toolbox" containing the magic amulets, books, and religious objects Broom utilizes in his paranormal work and research. The prop can be glimpsed just briefly later in the film, in Professor Broom's private study.
Drawings rendered in pen on plain paper, gray tone added in Photoshop. Mouse over for alternative views.
Drawings rendered in pen on plain paper, gray tone added in Photoshop. Mouse over for alternative views.
HELLBOY - PRESENT DAY
As the historical opening to the picture ends, the audience encounters an informative montage which transitions them to present day. After a brief scene set in a snowy mountain pass in Moldavia, the action moves to the underground headquarters of the The Bureau for Paranormal Research and Defense (the B.P.R.D.)
Glimpsed even so briefly in the hand of B.P.R.D. Agent Clay, this next design is of an electronic "Circuit Key" used to open the massive door to Hellboy's room. This drawing was done in pen, design marker, white pencil, and white correction fluid on copy paper -- it measures 15" x 11".
Glimpsed even so briefly in the hand of B.P.R.D. Agent Clay, this next design is of an electronic "Circuit Key" used to open the massive door to Hellboy's room. This drawing was done in pen, design marker, white pencil, and white correction fluid on copy paper -- it measures 15" x 11".
The character Abraham "Abe" Sapien is an "aquatic man" who, when he leaves the comfort of water, requires a mechanized "gill cap" collar to breath on dry land. This design for the collar, along with special "eye moistening goggles," was the first assignment I addressed upon arriving on the show.
This drawing was done in pen, design marker and white correction fluid on copy paper -- it measures 11" x 15".
This drawing was done in pen, design marker and white correction fluid on copy paper -- it measures 11" x 15".
At one point in the film, Abe is attacked and injured by aggressive supernatural creatures. To mend his wounds, he is fitted with special "Mecha-Bandages" and placed into his tank at the B.P.R.D. headquarters. Drawings rendered in pen on plain paper, gray tone added in Photoshop. Image size 11" x 11".
Besides employing brute force and mystical powers to fight his supernatural adversaries, Hellboy also makes use of a variety of more conventional weapons. When heading out to a crime scene or site of an occult calamity, he often travels with his rolling weapons cart.
This drawing was done in pen, design marker and white pencil on copy paper -- it measures 15" x 11".
This drawing was done in pen, design marker and white pencil on copy paper -- it measures 15" x 11".
One of the explosive weapons one would find inside the weapons cart above would be a number of Vulcan 65 Grenades. This illustration executed in pen, design marker, white pencil, and white correction fluid on copy paper -- it measures approximately 5.5" x 11".
A big monster fighter needs a very big gun and Hellboy is no exception -- hence, the Samaritan pistol. Final render executed in pen, design marker, white pencil, and white correction fluid on copy paper -- it measures 17" x 11". Mouse over for preliminary blue line sketch, and detailed plan views used for prop construction.
When confronted with monsters of a particulate nasty persuasion, Hellboy can load the Samaritan with "Special Load" bullets, this one containing holy water and a bit of Saints Bone. Vacuum sealed for freshness, just tear open, load, and good-bye bad monster. Illustration done in pen, design marker, white pencil, and white correction fluid on copy paper (text and graphic details added to original line drawing, copied and rendered)-- it measures 6" x 11".
Hellboy's most diabolical nemesis is Karl Ruprecht Kroenen, a strange "clockwork" machine man. Though his back story remains largely a mystery in the film, what is clear is that he will stop at nothing to foil the protagonist's efforts to save the world from ultimate doom. This large study sketch was the first of perhaps half a dozen zeroing in primarily on Kroenen's clockwork vest -- the source of much of his formidable physical strength and ability.
Sketch render in pen, design marker on copy paper -- it measures 11" x 17".
Sketch render in pen, design marker on copy paper -- it measures 11" x 17".
This is the final version of Kroenen's clockwork vest used by the costume department for fabrication. It was rendered in pen, design marker, white pencil, and white correction fluid on copy paper -- it measures 11" x 17".
When it's all said and done, Hellboy proved to be one of my most interesting work experiences as I had the good fortune of sharing an office with Mike Mignola the creator of the character and author of his many comic book adventures. Working side by side for a quarter of a year provided me the opportunity to not only study his practices at the drawing table, but more importantly, through our many lively conversations, gain an interesting glimpse into the highly inventive methods of his imagination.
HELLBOY THEATRICAL TRAILER
©2012 TyRUBEN ELLINGSON