David Russell is a man with a mission. Like one of his super heroes he wants to make the world a better place.

 David Russell has created storyboards for over 75 films and television specials. He has worked with name directors such as George Lucas, Steven Spielberg, John Cameron, Martin Campbell and Baz Luhrmann on films like The Return Of The Jedi, The Color Purple, Terminator II, Vertical Limit and Moulin Rouge.

 In 1996 he left Hollywood and relocated in Australia, though definitely not "down under". Russell is still one of the most sought after storyboard artists in the business. I met David Russell in Oslo at the Norwegian Film Institute where he was holding a seminar on storyboarding and opening an exhibition of fifty of his storyboards.

What exactly is storyboarding?

 Storyboarding is a vital component of the pre-production process. In large productions, especially those with complex physical or effects sequences, storyboarding is an absolute necessity. But any film can benefit from storyboarding. It is the quickest and cheapest way to realize a film before it is shot. Although most films require only one or two illustrators, big productions may utilize five or more.

All doing storyboards?

 Generally, no. There are three classifications of film illustrators. However, they are not mutually exclusive, and many illustrators are proficient in each category: 

 (1) Production Illustrator - The overall term used for film illustrators. Production illustrations are black and white or color renderings of specific sets, locations, and dramatic moments in the film, and are usually executed on large format paper. Often a series of production illustrations will be executed to establish the overall look and mood of a film.

 (2) Conceptual Illustrator - Conceptual illustrations are detailed drawings and paintings done prior to, or very early into, the pre-production process. They serve to define the visual look of a proposed film. Specialization occurs among conceptual illustrators; an artist may have specific competency, such as hardware design (weapons, spaceships, etc.). Conceptual illustrations are sometimes used as a "sales device" to raise money for a film or for a specific sequence. Conceptual illustrators are sometimes credited as production illustrators.

 (3) Storyboard Artist - The storyboard artist creates the first look of the film as it might be shot. The job of the storyboard artist is to lay out a sequence of well-designed shots that serve the needs and ideas of the screenplay, as well as to support the mood, style and intentions of the director. Storyboards are also very helpful as budgeting tools, and are sometimes used to sell a film concept to producers or studio heads, as was the case with Moulin Rouge.

How much influence does a storyboard artist have on the final film?

 You can make suggestions, but at the end of the day it's the director's film. You work together in a kind of a storytelling partnership which can be very creative indeed. It is always satisfying if you can positively influence the look and pace of a film - that, in fact, is your job.

Some of your storyboards remind me of action comics, especially when I look at scenes from Batman and Star Wars.

 There are similarities, of course. Film and comics constantly cross-reference each other. Jack Kirby was a tremendous influence on my style. Others include Carravagio, Lautrec, N.C. Wyeth and Frazetta.

Have you worked as a comic book artist?

 Not a great deal. In the early 70s I did some ghost strips for Gold Key Comics. In 1978 I created a fantasy comic strip which revolved around a young woman discovering her magic abilities and the dark underside of Atlantean culture at the same time. But thereafter I lost interest in creating comics, and began exploring film.

 In 1976 I made my first film, a 30-minute fantasy adventure based on Fritz Leiber's Fafhrd and the Gray Mouser books. In 1981 I started working in Hollywood in animation and film. Then, a year later, the Star Wars opportunity came along.

What sorcery landed you a job on Star Wars?

 I heard that Lucas was starting up the Return Of The Jedi. But getting an interview at Industrial Light and Magic was nearly impossible. I mentioned this problem to a good friend of mine, the science fiction writer Jack Vance, who at that time was in discussion with ILM regarding one of his properties. One day while I was visiting him, he called the ILM office, gave me the phone and said, "Here, make your appointment," which I did.

And The Force was with you! From Star Wars you went on to work with Steven Spielberg and other big name directors on major film projects. How do you approach a script?

 I read a script first for pleasure. Then again to notate scenes that might need storyboarding. I look for key story point sequences, special effects and action sequences - and for anything else that might be challenging.

 I have to know the script as well as the director. In a way I am actually directing on paper; sometimes I have to remind myself that it is not my film!

When I feel I have a clear idea of what the director is looking for, I start doing very rough sketches, taking into consideration location, characters, the time of day, stunts, special effects, and so on.

 I then execute finished roughs, and try to make the images as dynamic and evocative as possible. The boards are then presented to the director. After his/her review, there are usually changes required.

Does that happen a lot?

 Of course. Films are organic and change throughout the production process. A storyboard is a way of keeping the film on track; it helps ensure that everyone is "seeing" the film in the same way. Even in the editing room, the director and the editor may refer to the storyboards to remind themselves of the film's original intent, or to utilize them as an editing guide.

It would be great so to see the storyboards from some of the old classics!

 Unfortunately, most of the early storyboards were filed into studio dumpsters. Only recently have storyboards been preserved, and recognized as significant artworks in themselves.

Any "stars" in production illustration?

 Ralph McQuarrie is one of the best. Lucas had the wisdom to hire him to virtually design the Star Wars universe. Syd Mead is another significant talent who contributed to the look of TRON, Blade Runner, Star Trek, Aliens and many other films.

 The late Mentor Huebner was the king of illustrators; he designed storyboards and illustrations for wonderful films such as Forbidden Planet, Ben-Hur, Blade Runner, and many other classics.

You work on some of the most technically advanced films, yet you still use a pencil!

 Or ballpoint pen or charcoal. The use of materials is determined by the feeling I wish to evoke, and by the director's vision. Illustrators generally use traditional drawing materials; it's still the fastest way of realizing a concept, though most - including myself - use digital arts to some degree.

How much time does it take you to storyboard a film?

 As much time as the production allows. The average assignment is three to six months. By comparison, Mentor Huebner was given almost a year to storyboard the chariot race in Ben-Hur, and two years to storyboard The Longest Day.

How do you get the most out of a screenplay?

 I try to mentally place myself in the character's universe. Project myself into their situation in order to make the scene more emotionally authentic. I try to feel empathy with the characters and walk through the story with them. It helps that I have a background as a writer.

What attracts you to fantasy?

 Fantasy is a kind of hyper-intense reality, which can exhilarate and educate us better than any other genre. Contemporary fantasy writers absorb myths, archetypes and folklore, and shoot them back at us in a new, more accessible framework.

 The original Star Wars films had a profound emotional and mythical quality which deeply affected audiences. Where Christianity puts forth a universe ruled by two angry and vindictive deities, the Star Wars universe is governed by The Force, an elegant and non-judgmental energy source which is available to everyone. No wonder its message continues to resonate today.

Wasn't Tombstone a bit off the beaten trail?

 I wanted to do Tombstone for personal reasons. When my father was six he was taken to visit Wyatt Earp, who at that time resided in L.A. The encounter with this living legend made quite an impression on my father. Of course I heard this story when I was growing up. So when the Tombstone opportunity came along, I enthusiastically took the job. My principal assignment was to storyboard the pivotal OK Corral gunfight. The sequence presented some interesting problems.

For example?

 Well, for one, what action ignited the shoot-out at the OK Corral?

Oh, I know that! The Clancy Brothers had a feud with the Earps. Didn't your father fill you in on the details?

 Sure. But something was needed to set off the action. Val Kilmer, a brilliant actor, came up with a sly wink - just what was needed to set off the most trigger-happy of the cowboys.

You work in different genres, are there any types of films you avoid?

 I stay away from horror films. They tend to have few redeeming values, are unreasonably gory, and usually quite misogynist. Other types of films I avoid are those that revolve around rape, brutality towards women and children; those that perpetuate racial stereotypes, and films that glorify the U.S. military or the U.S. secret services.

I believe that everyone in the film industry should adhere to high ethical standards. Remember that amongst filmmakers - like any other slice of human society - there are nasty people, and they inevitably make nasty films. They can't be stopped, but one can certainly avoid working with them. All serious players in the industry are quite aware that films do influence societal behavior, so there is a great responsibility attached to filmmaking.

I can understand why you left Hollywood, but why Australia?

 Australian filmmakers are passionate, personal and positive about their work. They are risk-takers. In any event, OZ is a fabulous place to live, and the society, unlike that of the U.S., is expanding its horizons.

Baz Luhrmann is definitely one of those risk-takers.

 Baz is one of the industry's most creative and free-thinking directors. Working on Moulin Rouge was a terrific experience. The challenge was to create, in Baz's words, a "real artificiality." Christian and the Bohemians experienced life in an absinthe-enhanced state. Baz wanted to create a dreamy, out-of-body kind of atmosphere, and was very successful in doing this. At the same time he delivered a poignant love story, which had as much to do with truth and art, as the love affair itself.

Was Baz very specific in his vision?

 Yes indeed, but he values input. I was left to work out some things on my own, which was a great privilege. There was trust between us; he extended this to his entire art department, and they delivered for him. I was given a free hand in designing certain sequences, such as Satine's first appearance. However, I always had concepts and feedback from Baz and relevant department heads.