You’ve talked about this relationship in romantic terms. Bedelia makes that even more explicit in some of her conversations with both men this season. Was there any thought given to having them do more than embrace at the end, or would that in some way be diminishing the very unique and strange nature of their relationship?
Bryan Fuller: Mads and Hugh, there were a lot of takes where they got very intimate, and lips were hovering over lips. I definitely had the footage to go there, because Mads and Hugh were so game. They called me and warned me: “We really went for it!” And then I saw the dailies, I thought there was a fine line from that #Hannigraham fan fiction motive to give the hardcore audience exactly what they want in terms of this actually being a homosexual relationship between these two men, and what is authentic for the characters in that final moment. I mean, it’s not “Brokeback Mountain.” Mads isn’t gonna be spitting on his hand and getting to work.(laughs) We felt we had to keep it genuine to the tone of the relationship as we’ve been telling it in the series, and even in that moment when Will asks if Hannibal is in love with him, and Bedelia says, “Of course he is, ya big queen!” Even in that moment, it’s not quite dipping into the physical passions that would be the case if they were both homosexual. But I feel one is ominisexual and one is heterosexual and there’s a lot of influence going back and forth, who knows with a six pack of beer what would happen.
VULTURE: It’s interesting because he’s not just seen, he’s held by Hannibal. And I think that holding is in some way mutual. FULLER: Absolutely. Will puts his head on Hannibal’s chest, and Hannibal puts his chin on top of Will’s head.
VULTURE: Like a puppy! FULLER: They nuzzle! And actually they went much further than that. There were lips hovering above lips and they were like, “We wrote that part, we hope you like it!”
VULTURE: You mean when it was shot originally? FULLER: Yeah, but it felt like it became something else in that moment and sort of verged on fan service that felt inauthentic to me for this adaptation. So, I rode that line very closely, but I had the footage to go much, much further in terms of, Oh yeah, they want to mack.
VULTURE: I totally want to see that. FULLER: Maybe we’ll put it on the blu-ray, who knows?
Hannibal doodles I did last night because life is dumb and the show is gone now and I don’t know how my heart will go on. How will we ever know if they find Jack’s neck? *weeps softly*
time-space-sound: Hello, I'm currently a college student and I was wondering if you had any advice for getting into the animation industry or tips for things I should be doing now to get my foot in the door. How was your journey to becoming a professional storyboard artist?
Hallo! Sorry it took me so long to reply. I started a draft and then realized it was too much for one post. Then work of course got in the way.
To be honest, my journey isn’t the best example for how to get into the industry. I was lucky enough to have just enough skill to show up on my college storyboard professor’s radar when he happened to need someone for a project. Everyone at LMU (Loyola Marymount) knew that he hired people from his class, I just didn’t expect to be hired while TAKING his class. He had me come in for a week of freelance on an episode of YJ, I didn’t completely suck, and he brought me in when he had a slot available on another project. To be honest, I don’t actually have a portfolio currently because I’ve just been rolled onto new projects at WB this entire time.
To avoid writing an entire course on how to get into the industry, I’ll try to simplify it to a couple things. Friends and colleagues please feel free to add onto this or correct me.
Have a portfolio(s) ready NOW
Don’t be like me. Start working on putting together samples of boards you feel best show your skills. I’m not sure what year you are currently, but you should have something you feel comfortable posting online/sending to studios by the end of this term. Once you get something together you can always update it with better samples as you complete them. Creating a portfolio website is the easiest way to get your work out there for people to see. I know whenever I recommend someone to a director for a position they like to get a link that they can look at instantly. I like to recommend e1n‘s portfolio site because it’s easy to view and looks snazzy.
For now you should try to include these for your portfolio:
Resume with current contact info
2-3 short stories or sequences (include an acting scene, gag scene, and/or action sequence)
Some figure drawing examples
When I say short sequences, I mean keep it to 1-2 minutes AT MOST. If you have an animatic (a quicktime) put together for any of them include them on the portfolio site. Or you can put up PDF/JPEG pages that someone can easily tab through. Some people do it 1 panel per image or 3 panels per page.
Also keep in mind that the portfolio should cater to the type of show you’re applying for. If you’re trying to get onto an action-adventure project, having an action sequence will help. If you’re applying for something like Looney Tunes, having a sequence that shows you know comedy and that you can act helps.
Network
The best way for people to hear about you is to get your name out there. A lot of people I know get into the industry because they know someone at a studio who can get directors/producers to view their portfolios. Posting your stuff online is one way to do this ( meowmixeightysix got hired through deviantART because someone with hiring power was following her) as well as going to networking events like CTN in Burbank, CA. The nice thing about CTN is that it’s less about catering to fans (like SDCC) and more about networking with professionals. They will have lectures on different topics, portfolio reviews, and more. Getting professionals to review your portfolio will really help you find areas to improve on.
You can also network by taking classes outside of your college. If you’re in the LA area, Concept Design Academy is worth looking into. A lot of currently-working professionals teach the classes that both amateurs and professionals take. It’s a great way to meet people who are already working and to learn from them. The guy who hired me used to teach there as well. They’re actually about to open their fall enrollment so if you’re able to, you should jump on it. They have weekend classes. You can also take classes at the Animation Guild.
As for how to get your portfolio to studios outside of your network, I’m actually the worst person to ask. Again, I was brought in without a portfolio because of my professor who became my director. I suggest maybe start by looking up studios near you and keeping an eye out for job openings. For someone new to the industry, you can apply to storyboard positions or storyboard revisionist/clean-up artist positions. When I was brought in, I started as a revisionist then was bumped up to boards when they thought I was ready. Starting out revising is a great way to learn different styles of story-telling and draftsmanship. You’ll pick up different tricks just by being exposed to different board artists’ work.
I hope this helps for now. Keep asking other professionals for tips! There’s not just ONE way to get into the industry.
Working from home is the best. I love all of my coworkers, and instead of taking lunch and other breaks, I get visited at random times by all my favorite people throughout the day.
Sometimes it makes for long work days, but I love the flexibility I have to wrestle on the floor or play dress up for a few minutes in between work assignments.
Thanks to my wife and kids for making every day the best day… even when there’s no popcorn.
I originally went on this rant because I was frustrated with all the steps required before one can call storyboards “done,” but it looks like a lot of people found the venting informative. So here you go!
Please don’t remove the artist’s caption/comment when you reblog a drawing/comic/etc.
I obviously can’t speak for everyone, but in my case the caption is often an addition to the joke, and if you take it away, you take away a part of my comic.
Seriously, guys? Seriously? Why would you do that?
Hi, I'm Tim Lai! I'm a cartoonist living in Ontario, Canada. I like drawing cute and colourful things. This blog is a hub where you can find all of my Tumblr, DeviantArt, Flickr, Blogspot, and other posts in one place.
About My Work
I write and draw Lemon Inc., a comic about a seven-year-old who wants to be a business tycoon when he grows up. Until then, he runs a lemonade stand. You can read it at www.lemon-inc.com.
I have done some professional web and graphic design work, including designing the website for the webcomic, Just Joel. I'm also a member of the webcomic collective, Ink Bomb Comics.
August 30, 2015 02:24
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