Having studied martial arts, Warren Drummond understands how to draw action and exactly what is needed when shooting a scene. He’s worked on over fourty feature films including The Fast and the Furious: Tokyo Drift and Bourne Identity.
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Daily Blog
December 20, 2011
Hello there, and HAPPY HOLIDAYS. I wish everyone a Merry Christmas and a Happy New Year. I just did and interview for DVD INSIDER on my work as one of the storyboard artists on RISE OF THE PLANET OF THE APES. It’s a very detailed piece on the mechanics of storyboards. Here is the link http://www.mydvdinsider.com/2011/12/17/mdi-exclusive/
ENJOY!
November 14, 2011
Yes, it has been a very long time since I have blogged.
My priority during the first part of the year was finding work. And, I was very Unsuccessful at that. There was hardly anything going on. Just commercials ans some very short stints on films. Five days on re-shoots on X-MEN: FIRST CLASS did not really cover bills when you have a family to feed.
I wasn’t until the dawn of summer that things finally picked up. I did about a month of development work on a Disney film with several other artists. I got more commercials, which really helped.
Recently, I’ve enjoyed doing reshoot storyboards on THE AMAZING SPIDER-MAN. Great gig. Extremely cool director to work for in Marc Webb. Nope, I can’t say anything about it, except it’s been fun. Lots of fun. Things really picked up.
Two films I worked on came out to varying success. RISE OF THE PLANET OF THE APES & ABDUCTION. TRESSPASS (with Nic cage) was four days of work for the action finale and went straight to dvd.
I’ve also been writing screenplays. Doing Kung Fu.
What I am saying is that you can see why I haven’t written a &^%%$# thing on this blog. Time isn’t my friend. I’ll try for some updates of greater frequency.
February 15, 2011
I would say that anyone who does storyboard should expand his or her horizons of where to look for work.
So far this year, I have gotten links to work in other cities that helped me stay afloat. These aren’t necessarily film gigs, but I have done advertising and shooting boards for companies in New York City, Maryland, Colorado and Texas
I say this, as Los Angeles has been very slow and it’s been hard to keep things going.
Thankfully, I’ve had good friends who steer gigs my way, when things have slowed down. Like in many industries, you need help from time to time. It’s very important to have a community around you.
In other words, it doesn’t help to be a hermit. Unless you always have work coming at you and are self-contained in your universe.
July 27, 2010
When one is working at a production office for a feature films are commercials, I don’t worry about getting paid.
Yes, there can be a snafu here and there, but you know that a bonded company has accountants set up and a payroll system. You will get paid with a week if you are on a film (studio film, indies can be dicey) or a few weeks on a commercial.
The two things that you enter on your own risk are music videos and when someone pays you out of their own pocket.
On a video (better to work with a large company that does commercials as well) the director often gets paid off the top of a job, particularly if they are an owner in the company. This has backfired on me many a time. I have waited a month to get paid on smaller companies as the check from the record company went to the director to get their bite and THEN the rest went to the crew.
If a director is paying out of their pocket, you might want to write out a simple contract, showing what each of you must bring to the table and what the penalties are for NOT doing this.
I recommended a friend to do boards for a director friend. The director gave my friend the assignment at the last minute. Then, he was told that as he was trying to get a studio gig, ten great boards would look better than thirty rushed boards.
The storyboard artist did the job (ten frames) and the director had the big meeting. What happened though, was that the director was pissed that he was charged a full day for ten frames, great or not.
What should have happened is this. The director messed up by NOT locking down the price as something he was cool with. The artist was charging for his TIME (days work) not how many frames he was doing. He was still working a full day in his yes.
The director also thought that he should get a discount as it was coming out of his pocket. Again, he needed to establish that early. If Steven Spielberg is paying me, I am charging my full rate. It is not the artist’s job to know what the director has in his/her bank account.
What has also happened is that the director said he would pay right away, but by now, almost a month has passed. If you work with a contract, you have it signed that you must be paid by a certain pre-described amount of time after completion of the job.
If a director won’t sign, then you take your chances.
Talk things out completely before you work with an individual or a company you don’t know. Get that contract, baby!
June 15, 2010
I have yet to see the movie as of this writing. I worked on it for five months when John Singleton was directing. When he left the show do to Fox putting the film through “development hell”, I was done. Joe Carnahan’s filmed version had a mostly new crew, though one storyboard artist was rehired. I worked on a prison escape scene which may be somewhat similar to what appears in the filmed version. Go to http://warrendrummond.com to see the early version. I know the scene with the tank falling out of the plane was similar to something we had done.
