A Quote by Frank Bruno
I usually use quick sketches that I accumulated from the figure drawing classes I once instructed.
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People were very nice to me. They knew I didn't have the money to do figure-drawing classes, so they let me annex the figure-drawing classes that the animators had.
I've done figure drawing classes or whatever.
I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes - basic elementary painting classes and drawing classes of all sorts.
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting and no figure drawing, still-life drawing, various things, they miss a great deal.
I use filming as an excuse to take classes. I got my certification in sailing for 'Wedding Crashers,' and now I can handle a 26-foot boat. I played a seamstress once, so I took sewing classes. I love dipping into these other lives.
With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.
The kitchen was bright, cheerful yellow, the walls decorated with framed chalk and pencil sketches Simon and Rebecca had done in grade school. Rebecca had some drawing talent, you could tell, but Simon's sketches of people all looked like parking meters with tufts of hair.
Once I accumulated a bunch of sounds and learned how to use Logic, I was like, 'Wait a second, I don't need to work with any producers. I can do this on my own.'
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
My university degree is in art and, yes, I do a lot of drawing for all my books. I have a big drafting table set up in a spare bedroom and I cover it with maps and house plans and sketches that I use in the books. Also, I truly love architecture, so that plays a big part in all my books.
When Tim asked me to do Frankenweenie, he had his original sketches from before he did the short, of what Sparky looked like, and he drew Victor and some of the other crucial people. The remarkable thing about working with Tim is that, once he's read a script, he sketches out everybody else.
In the middle of my second year at school, in 1943, I got drafted into the army, was gone for three years, and when I came back, I tried to get into the painting classes which I wanted, but because of all the returned GIs [the GI Bill], everyone was in school and the classes were all full. So I looked at the catalogue and found that there was a ceramic class offered and that there was space in that. I registered for a ceramic class and some drawing classes.
I accumulated in those years so fine a surplus in the Book of Observance that I have been drawing confidently upon it ever since.
I tend to write first thing, and then do my drawing later. I like to draw at night. But often I go for long stretches without drawing, because I'm trying to figure out what I'm writing.
I've been drawing as long as I can remember. I think all children draw as soon as they figure out the thumb and can grab crayons. The only difference with people like myself is that we never stopped drawing.
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