When you draw, you’re drawing. It’s not as much about the drawing as it is about how much a picture, when you lay out your outline on paper or whatever, it’s a lot of fine-tuning, a lot of adjusting things that are going to be in there. Once you start penciling, then you have the freedom to do that more and just put something down on paper and there’s no fine-tuning necessary on the drawing; you go at it. It’s just the sketching. It’s the freedom to really put something down in there and to get your ideas down, or at least be able to get down those ideas.
Does sketching come in with the first day of work?
We always draw. It’s when you start that you try and develop your style, and what you’re feeling the most comfortable with. You can look at a sketch, say, from the first day or second day and you’ll be like, ‘Oh wow, that’s so great.’ Or if you got some great ideas from the first day I might be like, ‘That’s great.’ Then you get to see the whole story through in a different way, and I think that’s really important. I think that’s the advantage of doing it at the studio; because you’re in a place where you’re drawing your little thing before a movie, or maybe to show to a director.
Do you ever have problems getting a point across?
No, not at all. You gotta get that out of your system and if you do, that’s great. If you’re having trouble though, it’s more the story, the structure, or some other visual aspect that you want to draw to, not the writing. I think that’s where a good storyteller can really shine and use all its skill to add clarity to something that would otherwise really be a big mess to work with.
In a good way.
Did you have any input into the screenplay?
No. [Laughs.] I just was in the process of researching and writing.
What did you think of the script, by the way?
The script is fantastic, it’s very cool. You know where it is in terms of the style of the story that it’s about, it was the same in the first movie where I was making that [the script] was the ’80s classic, The Texas Chainsaw Massacre,
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