Production Frustration

I want more money.

More specifically, I want more time.  I started my animation career at Walt Disney Productions sharing a room with Ron Clements, Glen Keane, Randy Cartwright, Ed Gombert, Randy (Randall) Cook (do a bit of Googling on those guys and you'll see I was in some pretty sweet company).  Even then, when features cost well under 10 million, there was time to consider every detail of production, story, gags, color, composition, animation -- everything could be adjusted.  You might not agree with the artistic choices that were made but I envy the luxury of those production schedules.

Production schedules are set by a number of factors, largely out of the control of the artists working on the movie.  We look at the schedule and do the best we can under the circumstances.  We have enough time on HELLBOY ANIMATED to turn out a strong piece of work -- if we can get smart fast enough.  People think that hindsight kicks in after a project is over.  Are you kidding?  I'm questioning decisions I made last month!  Because we're setting a look that we hope will have a long life and tell many different stories, we're constantly trying to improve things by tweaks or redos here and there but have to balance that with the need to move the production forward.

To the left is an example of a finished layout that was thrown out.  Nice work by Ed Ghertner but it had too fanciful a feel for the BPRD.  And since Mike and I have talked about a story that would feature a bunch of cool James Whale-Frankenstein's lab type weird science, we didn't want to blow it in the backgrounds of Hellboy's HQ.

So that's my whining for awhile.  Yeah, I'd like more time and money and I'd also like a goose that craps gold.  (Do you know how much a goose craps in a day?  A lot.  Take gold crap over gold eggs if given the choice.  A goose can stop laying eggs but if stops crapping -- wait.  Have I digressed?)  Anyway, we're a putting a lot of work into getting this thing right.

Okay, a few odds and ends from comments, emails and postings on other boards.

The publicity release lagged the start of production by over two months so we're completely staffed.  For those few positions that haven't started yet, we have artists who are awaiting their start date.  Storyboarding is approaching the halfway mark on the picture but are only roughing things out for now.  They'll return to these sections after Phil Weinstein and I have given notes to clean up their work and add details.  Character design is almost completed.  Background design and layout are almost finished with their key designs.  They will then go into some of the storyboards to catch things the sb artists added or plan out camera moves and compositions for tricky scenes.  Same with the props guys.  It's scary how fast it's going.  So for all of you asking about work,  thanks for your interest - really, not just saying that - but we've got a full house.

Some have noticed that I'm fairly nebulous about how many projects we're doing and just what they are, or when you'll be able to see them.  Several have commented on how early links disappeared after Hellboy Animated first hit the net.  Here's something I posted at the CBR Hellboy Forum.:

One of the reasons "Men in Black" rush around trying to plug Internet leaks is that there can be any number of deals ranging from talent, merchandising, broadcast, distribution, etc. going on that can be delayed or broken off because incorrect information, or even information that IS correct, or information that might someday be correct is spread throughout the Internet.

So, as frustrating as it is and even as illogical as it seems, there's information that can't be clarified. So if I don't answer questions posted on the board or emailed to me, it's because I can't. Even "just between you and me."

Finally, Mike Mignola will be a special guest at Wondercon so if you can make it to the Bay area in February, register now.  I'm sure he'll be as candid as always.
       -- Tad

Comments

[dany boom]

you dont say why it was thrown out... story chnages ?

it is a beautiful drawing to be sure. but listen - track down that series called the maxx, i beg you. youll see lots of ways you can achieve a great effect with a minimal amount of pencil mileage.

just like mignolas comic work, there is maximum effect, graphically, with subtle stylized imagery and lots and lots of black. black is your friend...

you think im crazy, a negative nelly, but the way to make an effective show is not lots of doodling and noodling. its by believing in the power of your source material. those mignol guides are exactly what im talking about, theyre great.

its all in the comics, its right there in front of you. knock of this disney baloney and get back to basics.

look at samurai jack, too. but PLEASE try and see this thing called the maxx, made for mtv, i think. not sure its on dvd.

dany

www.danyboom.com

lover of hellboy

[David Davis]

That design is really fantastic.

Being someone who wishes to get into the animation field, I find this blog to be wonderful, keep up the good work.

[bannister]

First : thanks for making this blog, it is really interesting to be part of the process. How many people will work on this project ? How much time do you have to finish it ?

Second : keep on posting as often !

[+++++++]

Dany, let it go dude. Quit trying to single-handedly change the way the HB animated team are working. They're operating with Mignola's blessing, so- like it or not- it's not going to be a moving version of the HB comic. The team are working hard on this, and it looks really promising... so again, leave them be, willya?