00:00you worked on sinners as well yes can you share a little bit because i actually didn't know that
00:05until we first met because you talked about i was like what why did i know this so can you
00:08talk a little bit about um what was your role on sinners and and what was the scene or i
00:13wish it
00:13was bigger um they called me the tail end of eyes wakanda i was deep in post and you know
00:19i was
00:19juggling four chainsaws and uh for some reason zinzi called me up that's ryan's wife uh and
00:26producer on the film and producer and i was like why is she calling me and uh and she was
00:30so sweet
00:31she was like listen i know you're busy and i was like yeah what's going on it's like ryan really
00:36wants wants you to work on this movie or wants specifically a scene and i was like sure you
00:43know because i can't be that busy of course i'm gonna help ryan out um and uh but ryan's such
00:48a
00:48nice guy he forgets he's a boss sometimes and um i was like yeah he could have called me and
00:54be like
00:54listen man i need you to storyboard the scene and uh do some hair like i would have done it
00:59because ryan's aces and um so they you know they called me up and um they asked me to do
01:07the scene
01:08inside the speakeasy uh when it was the the time transition scene where we get to see all the music
01:15and the big wonder that happens uh and ryan has some ideas i pitch back some ideas and and you
01:22know he
01:22let me go as ambitious as i wanted and uh um and it kind of turned to what it turned
01:28into and it was
01:29you know i was shockingly close to the boards uh um because it was very early on in production but
01:35uh
01:35ryan had a you know he was like this is going to be a centerpiece of the movie and i
01:39was just happy
01:40enough that he would think of me to help make that possible so i mean it's it's such a iconic
01:47so many
01:47iconic moments in the film but that one i think stood out to a lot of people for a lot
01:51of reasons and
01:52honestly i think you just never seen that done ever before oh he was he was anxious he was so
01:57like when i when i delivered the first storyboard he was like audibly happy about it and because you
02:03could tell how much it meant to him to to communicate that so yeah can you talk a little bit
02:09about like
02:09the ideas you guys are pitching or what were the conversations and how to choreograph or draw it out
02:14i guess well that's the you know that that's the illusion of language because you can be abstract
02:20and and and the uh the thought experiment in your head is crystal clear but once you start to put
02:25it on paper you the the things the parts of your imagination that kind of propped it up quickly fall
02:31apart um and so i'm the first one to deal with you know what's falling through the cracks and so
02:38i try
02:39to solve the problem as much as i can send it over ryan i'm like listen man this is you
02:43know this is my
02:44uh stab at it i was able to kind of because also knowing your director's taste is a big part
02:49of it
02:50too because you're an extension of that of that taste um so kind of absorbing ryan's pitch
02:58and contributing to it in a way that i thought uh forwarded his agenda in terms of what he wanted
03:05to
03:06communicate was uh that's kind of what i led with and i you know i got pretty close to the
03:12mark yeah
03:12and it was a lot of high fives and you know could we do this and that and i'm like
03:16yeah no problem
03:16and you know and by the end of it it only took like maybe two or three passes and we
03:21were
03:21wow off to the races did he tell you like specifically what to include because there's
03:26so many kinds of music genres and you know what i mean through history some of them were in there
03:31yeah yeah i like to keep everything i do as simple as possible so i draw like a really
03:35broad brush to give it more of an impressionistic lots of shadows um and and shapes and strong
03:41composition um one of the things because you can play with it more is a foreground middle ground
03:46background when you're just using pen and ink so like having a b-boy kind of pass in the
03:51foreground on top of a bar have things and and wash past lights and and trying to find ways to
03:57keep
03:58that camera involved in the abstractness of the sequence so that was that was the big thing about
04:05it so uh because also a continuous camera is very hard to communicate in static drawings so and for for
04:12their purposes i gave them a little animatic i gave them uh boards you can print out and i gave
04:17them
04:17click throughs you can click through so you can control the time it's awesome
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