Confidential Adult series in Development
Presented with the opportunity to pitch to a major streamer, I partnered with an experienced live-action feature screenwriter. We crafted a deep and fresh take on a legacy IP from a hot estate. A reimagining that shakes conventions and lands it squarely in the new pantheon of prestige animated action dramas.
To elevate the fresh idea from the page, I took a few weeks to draw and edit a one minute proof of concept. A teaser that introduces the visual world, the central character’s appearance and his voice.
The result: an animatic of mostly rough black and white storyboard art, woven with the title character’s voice-over, music and magic of sound design into an immersive scene.
The producers were delighted by some left turns I took.
For example, at the time of writing, my character design challenges the dashing good looks traditionally associated with such action heroes. He’s a balding, haggard middle-aged loner, whose life of violence took a toll on him. His voice over narration projects an uncompromising world-view, only to be betrayed by a moment of weakness in the scene climax.
By externalizing the inner conflict with the unexpected picture and sound treatment, I make the case for this project.
Confidential Adult Animation in Development
Presented with the opportunity to pitch to a major streamer, I partnered with an experienced live-action feature screenwriter. We crafted a deep and fresh take on a legacy IP from a hot estate. A reimagining that shakes conventions and lands it squarely in the new pantheon of prestige animated action dramas.
To elevate the fresh idea from the page, I took a few weeks to draw and edit a one minute proof of concept. A teaser that introduces the visual world, the central character’s appearance and his voice.
The result: an animatic of mostly rough black and white storyboard art, woven with the title character’s voice-over, music and magic of sound design into an immersive scene.
The producers were delighted by some left turns I took.
For example, at the time of writing, my character design challenges the dashing good looks traditionally associated with such action heroes. He’s a balding, haggard middle-aged loner, whose life of violence took a toll on him. His voice over narration projects an uncompromising world-view, only to be betrayed by a moment of weakness in the scene climax.
By externalizing the inner conflict with the unexpected picture and sound treatment, I make the case for this project.
Space Jam: A New Legacy
I was fortunate to join the Space Jam sequel as head of story to supervise the storyboard team while supporting the director in solving story challenges late into production.
My focus was first the fully animated "Server-Verse" section where Bugs Bunny and LeBron James meet and assemble the Toon Squad, and then the big game in the second half. We had script pages for those sequences, but the live action film was running long, so we had to compress a lot of plot into less and less screen time.
Despite the aggressive post production schedule, I scheduled bi-weekly director meetings to pitch story solutions and review storyboard sequences with director Malcolm D. Lee.
In parallel, I took steps to recharge and energize the storyboard team. I identified who of them still had gas in their tank, and brought in a couple of fresh pairs of eyes that brought a new perspective to the work. I also implemented a weekly self development meeting where we took turns reflecting on our favorite film and series references. We’d then discuss how we might implement these lessons in our film, benefitting the project and ourselves as artists.
Space Jam: A New Legacy
I was fortunate to join the Space Jam sequel as head of story to supervise the storyboard team while supporting the director in solving story challenges late into production.
My focus was first the fully animated "Server-Verse" section where Bugs Bunny and LeBron James meet and assemble the Toon Squad, and then the big game in the second half. We had script pages for those sequences, but the live action film was running long, so we had to compress a lot of plot into less and less screen time.
Despite the aggressive post production schedule, I scheduled bi-weekly director meetings to pitch story solutions and review storyboard sequences with director Malcolm D. Lee.
In parallel, I took steps to recharge and energize the storyboard team. I identified who of them still had gas in their tank, and brought in a couple of fresh pairs of eyes that brought a new perspective to the work. I also implemented a weekly self development meeting where we took turns reflecting on our favorite film and series references. We’d then discuss how we might implement these lessons in our film, benefitting the project and ourselves as artists.
The Incredibles
My time as a feature animator at Pixar Animation Studios was foundational to my methodology as a director. Working with Brad Bird on The Incredibles was a masterclass in cinematic storytelling and creative leadership.
At animation dailies, Brad would discuss acting choices with deep reason, searching with each animator for the most compelling and original idea by likening our scene to familiar real life situations. I also learned how to prioritize ideas based on the bigger story purpose of the scene over the immediate laugh or thrill audience reaction.
Brad’s use of his own experience as inspiration material convinced me that good storytelling is deeply personal. Beneath the supersuits and the epic fight scenes was the beating heart of a family man struggling to balance his career passion with being a husband and father. Spectacle only lands if it’s anchored by a relatable truth.
True leadership means identifying hidden specializations within a team to elevate the work. Years prior to Pixar, I spent six months in an Air Force pilots program. While I didn’t graduate, I spent my remaining mandatory service in artillery -- and I remained an aviation nerd. When the production required my help on a couple of shots in the missile lock and the island chase sequences, I took ownership of those sequences and became Brad's unofficial military action animation expert for that awesome film.
The Incredibles
My time as a feature animator at Pixar Animation Studios was foundational to my methodology as a director. Working with Brad Bird on The Incredibles was a masterclass in cinematic storytelling and creative leadership.
At animation dailies, Brad would discuss acting choices with deep reason, searching with each animator for the most compelling and original idea by likening our scene to familiar real life situations. I also learned how to prioritize ideas based on the bigger story purpose of the scene over the immediate laugh or thrill audience reaction.
Brad’s use of his own experience as inspiration material convinced me that good storytelling is deeply personal. Beneath the supersuits and the epic fight scenes was the beating heart of a family man struggling to balance his career passion with being a husband and father. Spectacle only lands if it’s anchored by a relatable truth.
True leadership means identifying hidden specializations within a team to elevate the work. Years prior to Pixar, I spent six months in an Air Force pilots program. While I didn’t graduate, I spent my remaining mandatory service in artillery -- and I remained an aviation nerd. When the production required my help on a couple of shots in the missile lock and the island chase sequences, I took ownership of those sequences and became Brad's unofficial military action animation expert for that awesome film.
Condorito
Condorito is a classic Latin American satirical comic strip about a jovial slacker condor who lives among the regular folk of a fictitious iconic town of Pelotillehue. First published in Chile 1949, Condorito quickly became popular for his cheeky humorous portrayal of local family and social life, which was later embraced and canonised throughout Latam.
When Hugo Rose and Abraham Vurnbrand set off to make a family theatrical CG animated film about their childhood classic, I was fresh off directing animation on Looney Tunes shorts for WB animation, as well as supervising animation on Yogi Bear 3D for WB pictures. More than just converting classic 2D cartoons to contemporary premium 3D, I was versed in bringing decades old IP and reimagining it for a new generation.
One interesting challenge was that much of Condorito’s old appeal centred around inappropriate themes for children, like substance abuse, misogyny and crime.
The more we cleaned him up for the PG-rated story, the more boring the film became, so I had to find new hooks for him by studying the old materials and reframing the result through the new content guidelines .
It was a delight to spend substantial time at Aronax Animation Studios in Lima, Peru, where the production had gathered a rare collection of cgi animation talent from across Latin America. About a half of them spoke English, and for the rest, I quickly learned enough Spanish to direct animation with the help of some fabulous department supervisors, my friends to this day.
Condorito
Condorito is a classic Latin American satirical comic strip about a jovial slacker condor who lives among the regular folk of a fictitious iconic town of Pelotillehue. First published in Chile 1949, Condorito quickly became popular for his cheeky humorous portrayal of local family and social life, which was later embraced and canonised throughout Latam.
When Hugo Rose and Abraham Vurnbrand set off to make a family theatrical CG animated film about their childhood classic, I was fresh off directing animation on Looney Tunes shorts for WB animation, as well as supervising animation on Yogi Bear 3D for WB pictures. More than just converting classic 2D cartoons to contemporary premium 3D, I was versed in bringing decades old IP and reimagining it for a new generation.
One interesting challenge was that much of Condorito’s old appeal centred around inappropriate themes for children, like substance abuse, misogyny and crime.
The more we cleaned him up for the PG-rated story, the more boring the film became, so I had to find new hooks for him by studying the old materials and reframing the result through the new content guidelines .
It was a delight to spend substantial time at Aronax Animation Studios in Lima, Peru, where the production had gathered a rare collection of cgi animation talent from across Latin America. About a half of them spoke English, and for the rest, I quickly learned enough Spanish to direct animation with the help of some fabulous department supervisors, my friends to this day.