So in early 2010, director Rupert Sanders invited me to work with him on pitch material for a movie called All You Need Is Kill (en.wikipedia.org/wiki/All_You_…
adapted from a Japanese novel by Hiroshi Sakurazaka
with illustrations by Yoshitoshi ABe
I was never paid when the film got picked up (not that there were 'proper' contracts in place, but in my naivete back then assumed the best in people, and besides, even armed with contracts, pursuing international lawsuits that costs many times more than the work done doesn't make sense to me.) but I have to say that from a creative standpoint this gig that lasted maybe a week was thoroughly enjoyable. Some of the ideas discussed were truly fantastic, and moral discussions aside I found Rupert to be quite a visionary. From an artistic standpoint, I only wished that I could have been better equipped in skillset at the time to deliver more.
For the job, I was shown previz work by Legacy effects and was asked to put my spin on things. One thing in particular that was asked of me was to revisit the desgns of the powered armour, Rita's axe as well as the dropship and mimics, and hint at the ash covered LA in the settings I would portray them all in.
This one was quite interesting to do, I tried to portray Rita in a more humanised way, partially disengaged from her powered armour, and having the mechanical exo arm as both a framing element and an excuse to showcase the style of tech employed. That's Keiji on the ground, right before dying. The other troopers walk on by, cleaning up surviving mimics (we can see an exploration for a head in the left). The script suggested that these were a truly international force and one of the ideas here was to plaster nostalgic postcards from the cities they 'liberated' or failed to save on their campaign around the world.