Ridley Scott – Animation Insider

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What is your name and your current occupation?
My name is Alexandre Belbari, I am 24, and at the moment I work as a Creature Animator in a Film company called Trixter,Â I am animating Wolves for an Upcoming BBCÂ Series.

What are some of the crazier jobs you had before getting into animation?
My best memory of work would be pizza delivering in France, I was doing this job at the same time of my animation studies. Â It s bloody dangerous but really fun for a small period. As you get a low salary, you put all your efforts on getting a maximum amount of tips from the client ;p

What are some of your favourite projects you’re proud to have been a part of?
As I am a total fan on Marvel films, I was really proud to work on the last Xmen- First Class, and it was also my first film project. Â Another favourite project would be Prometheus , it was a really good experience! ( I haven’t seen it yet but I usually love Ridley Scott movies )

How did you become interested in animation?
When I was really young, when I saw for the first time Jurassic Park and Terminator 2. From that moment, my dream was to work in visual effects,Â Then I saw Continue reading

A fascinating look into the mind of Ridley Scott (Blade Runner, Gladiator, Thelma & Louise, The Martian) and how he uses storyboards in his process. And this unlike many other interviews is interesting to me at least because the whole thing is about storyboards. Scott is an artist himself and works out his own boards and thumbnails for his films.

When I draw, I get sucked into the scene, and when I get sucked into the scene I start to visualize other opportunities which aren’t just pictures but suggestions for actors, how the scene can go and how you can adjust and maybe even find how the words are used.

The storyboard becomes rather like a sophisticated comic stripÂ well in act nowÂ comic strips are really sophisticated and ideally that’s what storyboards should be, because you’re seeing the dynamics of,… and if it’s really well drawn, then you can follow the dynamics of the sequence and even if it’s dialog you always do something that isn’tÂ just two talking heads but then of course two talking heads can also be interesting.