Film & TV Projects

It has been my great fortune to have worked on a wide range of projects in motion pictures, starting in the mid-1980s. Below are some of the highlights from previous years. A number of the images shown predate the advent of digital tools that has transformed the landscape of concept art. You'll see a mix of techniques from 3D graphics all the way back to "tinted adhesives applied to a board using sticks tipped with animal fur" (painting). However, the fundamental problem remains the same, namely the visualization of an idea. The selection of images here represents past solutions to this age-old problem.

Onto the projects...

Chronicles of Riddick [2003]
Helion Prime
I worked as part of a super-talented team of artists crafting a really cool sci-fi vision from David Twohy. I was primarily involved in developing the look of the planet Helion.
Charlie's Angels: Full Throttle [2002]
Hoover Dam in Siberia
This was a fun project with a surprising amount of design work to do. I worked on a wide range of environments from Siberia to Las Vegas.
The Time Machine [2001]
Time Machine Morlock Sphinx
This was a new take on H.G. Wells' classic science fiction story. I visualized the far distant future of the Eloi civilization, and contributed to a near-future vision of New York.
Titan AE [1997]
Titan AE Alien City Gouache Sketch
Titan AE was a very rewarding project, and so far my one experience working in feature animation. It was a very ambitious sci-fi film, and I had the chance to work with an amazingly talented group.
Contact [1996]
Contact Machine Hokaido
I was primarily involved in developing the visual representation of "The Machine", and the pod in which Jodie Foster's character makes her journey. This project marked my initiation into the use of computer graphics as a design tool - thanks to artist Tim Wilcox.
Waterworld [1994]
Waterworld Trimaran
I was the key concept artist for the project, and worked on it from early development well into principal photography. It was an ambitious and challenging film, and at one time or another I was involved in nearly every aspect of the visuals.
Terminator 2 [1990]
Skynet Time Displacement Chamber
This was a watershed project for me. I worked on a spectacular (and sadly, unrealized) future war sequence, and then segued into storyboarding scenes involving the T-1000 and numerous other VFX.
Total Recall [1989]
Total Recall Reactor Control Room
I went to Mexico for 6 months and lost 40lbs while working on this project. I developed visuals for the alien machine that produces an atmosphere on Mars at the climax of the film, as well numerous other illustrations.
The Abyss [1988]
Abyss NTI Manta
This was a very special project. I worked closely with Ron Cobb on visualizing his undersea habitat and the human deep-sea technology, and ultimately developed the alien creatures and their technology as well.