After seeing the first Matrix film , I was intrigued by the possibility of working on the sequels. Ridley Scott’s “Blade Runner“ and “Alien“ films inspired me at an early age and I wanted to work on an intelligent adult science fiction film. I sent my portfolio to the Wachowski Brothers and was elated when they asked me to join their team. They were still writing the scripts in Chicago when I was commissioned to start helping the visual development process from my home in San Francisco. I later moved to Los Angeles and joined the production designer Owen Patterson and a small department of extremely talented designers, storyboard and previsualization artists. Over the course of the next four years, my role as conceptual designer evolved into Visual Effects Art Director at ESC Entertainment, where I currently work as Creative Director.

By mid-2000, the directors needed to break down all the sets and visual effects work to help budget and plan for the huge amount of work to come. In the beginning I was asked to draw industrial design concepts for set interiors and vehicles. There were several thousand visual effects to do and these had me dedicating the remainder of my time to drawing and painting key sequences from the scripts. After carefully studying a portion of the storyline I would meet with the Brothers to discuss that particular sequence. This would happen a few times a week. They always had a clear vision and incredibly imaginative ideas, which were truly inspiring! My role was to help them translate their ideas onto paper before any cameras began rolling. What was unique was the attention the directors paid to concept design and graphic story telling – very refreshing and creatively fulfilling.

During my stint on Matrix: Reloaded and Revolutions, I produced about a hundred drawings of how set designs, miniature models and visual effects shots should look. I painted hundreds of color storyboards including several high-detail production paintings. I helped visualize much of the dark futuristic landscape of the Machine world for Revolutions, specifically. This encompassed sequences of the power plant, Logos journey, armada battle, and the confrontation with the Deus Ex Machina.

Images: The process always starts by talking through the script with the directors and sketching out designs or scenarios. I would then ink in more detail and finish them into color paintings or storyboards (as shown to the right).