From the course: Artists and Their Work: Conversations about Mograph VFX and Digital Art

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From the course: Artists and Their Work: Conversations about Mograph VFX and Digital Art

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and there's always assessment that follow... So, yeah, it's really... We're one of first guys in because we're inexpensive and we're, you know, we're just part of the discovery. We have a saying that says, there's a point where the movie is pregnant, still with them for now. - [Rob] Fantastic. And, is there a current project you're working on that you can mention? - [Kris] Not really, no. Everything is kind of all hush-hush. - [Rob] Yeah. - [Kris] Top secret. - [Rob] That's the interesting thing. So you find yourself working on things, you know, years in advance that you can't talk about. - [Kris] Yeah! I mean my kids see it all. - [Rob] Yeah. (laughs) And how do you get them to not blab it to their buds? - [Kris] We're living in the entertainment age where there's so much stuff out there, I think, you know. As long as, you know, I'm not on the Internet actively talking about it, what my kids say in the classroom isn't gonna... - [Rob] Yeah. (laughs) - [Kris] And they know. They know how to be discretive about stuff, you know what I mean? They've been lucky enough to get into a lot of our early screenings and stuff, like the "Lego Movie" and what have you. It's like, they feel, like, you know, they love it when the guys come up and say "Okay, so you're gonna see this before anybody else." You know what I mean? There's just something really cool about it. - [Rob] So how has it been, we mentioned it earlier, that you have things where you, that make you go take a walk. And I guess, maybe I'm answering my own question as I ask it, because if the story were such a formative process, but I mean do you ever have, you don't really have problems you can't solve because you can always come back and just draw something different. - [Kris] Yeah, and, we definitely use each other, I mean, so if I'm having a hard time on a sequence I can go talk to somebody that I trust on my crew and they help. Sometimes a conversation is all you need to unlock it, sometimes it's talking to the director, sometimes it's, you know, putting something off on the wall and pitching it, seeing what happens. - [Rob] How many people are usually collaborating with like, you know, in "Cloudy" how made storyboarders where there? - [Kris] Um, I think at our high we had 10. - [Rob] Wow. - When you kind of get down to the final throws of the film you're really working with three or four people, so, you know. And then there are certainly people you hop on and pitch in and help out for a little while, you know, and then they go into other movies. And I've been that guy on films, you know what I mean? So, it's, it's good. And, you know, there are times when you get tired, like, you've been on the movie for four years and you've lost all objectivity, and it's nice to bring in somebody new. - [Rob] Yeah, who see it with fresh eyes. - [Kris] Yeah, yeah. Like I said, I've been that on films and it's great when that happens to your movie, you know what I mean? So, it's... It definitely hang on to your relationships. You read that? - [Rob] Absolutely. (Rob laughs) Do you find with the collaboration, like, how do you guys coordinate drawing styles within the storyboarding process?

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