Axel-In-Charge: "Secret Wars" Jam Session Talking "A-Force," "Ultimate End" and More
When comic artists work in the movie industry, we see little of what they produce due to Hollywood’s love of the the non-disclosure agreement. It’s understandable: Even if a movie is stuck in development hell, that doesn’t mean the project won’t eventually begin production (Brendan McCarthy originally worked on Mad Max: Fury Road from 1998 to 2003, and that movie is only now filming). It speaks volumes of the relationship between Chris Weston and director Albert Hughes that so much of Weston’s development art is allowed out into the wild — remember his storyboards for Akira?
It’s taken just over five years to get there, but Marvel’s The Twelve is finally nearing its conclusion. And no one could be more excited than artist Chris Weston. When Weston was approached in 2007 to draw J. Michael Straczynski’s story of a group of WW2 heroes lost in time until the modern day, it was a unique chance for the celebrated UK artist to create a time-spanning work on what would be the biggest stage in the industry. But between Straczynski and Weston’s commitments outside of comics, the production went through numerous stops and starts, which led to the 12-issue series taking nearly four years to complete. But with Weston finishing the art on the book last September, he celebrated the end of one chapter of his life and the beginning of a new one.
In the build-up to working on The Twelve, Weston expanded his horizons and began doing storyboards and concept designs for the movie The Book Of Eli. Over the course of The Twelve, and thanks in part to the delays the book had, Weston did extensive work on The Book of Eli as well as director Albert Hughes’ aborted remake of Akira. Currently working on Hughes’ next feature, Motor City, Weston plans to use the money he makes to fund his most ambitious project yet: writing and drawing his own comic series. Weston has done creator-owned work in the past with other writers and has also written smaller works on their own, but this new pursuit, both writing and drawing the material, could be one of the most risky and potentially most rewarding jobs of his career. 2012 will be a formidable time for the artist as he prepares for what comes next.
Chris Arrant: First off, can you tell us what you’re working on today?
Chris Weston: I am “between jobs” at the moment. I’m reluctant to take on anything substantial as I’m getting ready to work on Albert Hughes’ next movie, Motor City. I really want to avoid another situation where my film work coincides with my comic-book work. Unfortunately, that has meant turning down some pretty cool comic-book jobs. I’m not going to name them as it would be unfair to the artists who eventually accepted them. However, I’m keeping myself occupied by doing a few covers for 2000AD, some personal drawings, research and private commissions.