It Starts With A Concept (Artist)
Storyboard and concept artist, Doug Brode, details his illustrious career, working for films including Iron Man, Star Trek and Planet of the Apes, as well as discussing his new book! Storyboard and concept artist, Doug Brode, details his illustrious career, working for films including Iron Man, Star Trek and Planet of the Apes, as well as discussing his new book! Chatmosa Session - It Starts With A Concept (Artist)
In this engaging session titled "It Starts With A Concept (Artist)," the hosts welcomed Doug Brody, a seasoned storyboard and concept artist, to discuss his dynamic career in the entertainment industry and his recent ventures into novel writing. The atmosphere was lively, filled with personal anecdotes and valuable insights about the intricacies of the creative process, both in visual arts and literature.
Doug Brody, known for his work on iconic films such as *Star Trek*, *Planet of the Apes*, and *Iron Man,* shared how his journey began with a childhood passion for comic books, leading him to a formal education at Joe Kubert School and Columbia College in Chicago. A pivotal moment in his career came when he discovered the art of storyboarding while watching Francis Ford Coppola’s *Dracula*, stating, "I really noticed the art of it. I learned he'd also done some storyboards... and I didn't know what that was." This curiosity sparked a career that has spanned over two decades, where he explains, "Only 25% of storyboards has anything to do with drawing."
Brody explained the duality of his work as both a storyboard artist, who translates scripts into visual formats, and a concept artist, where he designs props and settings. His approach to storyboarding focuses on conveying ideas rather than obsessing over the minutiae of drawing, guided by a “10-year-old rule” — that if a child can interpret the drawing, it’s effective. He emphasized the importance of understanding screen direction, camera angles, and the collaborative nature of filmmaking, stating, “You’re being paid for your perspective.”
A significant takeaway from Brody's insights is the relationship between writing and visual storytelling. He articulated the challenge and necessity of adapting to different directorial styles, noting, "I've learned the nuances of filmmaking over the years," and illustrating this with his experience on set during productions, where he often had to adjust his storyboards on the fly. For instance, he mentioned the demanding timeline on *Men in Black International*, where he storyboarded scenes based purely on outlines, leading to an iterative process that contributed to budgetary constraints.
As the conversation shifted towards Doug's recent novel, *Shelly*, a narrative about an android detective navigating human complexities, he reflected on the freedom of owning one’s intellectual property. Unlike screenwriting, which often leads to a loss of creative control post-sale, Doug expressed satisfaction in the direct engagement of readers and the positive reception of his work, noting the careful balance between art and marketing in today’s literary landscape. “For any artist who might hear this, the only barrier anymore is the marketing aspect…getting your work out there,” he advised.
The session also touched on the challenges posed by emerging technologies like A Click to https://chatmosa.com/live/summary/7GU1MDBR1R0CMDUIIWYFCEID13158 [https://chatmosa.com/live/summary/7GU1MDBR1R0CMDUIIWYFCEID13158] to learn more about this episode and see the visuals being shared on the jumbotron.
