After speaking with director Michael Chapman, I got right on it and churned out some more active Clan of the Cave Bear paintings. My new images were promptly sent to Michael and Tony Masters in Cannes.
The film got financed.
Here are all the paintings I did for this project:
In digging up these paintings, I rediscovered that my wife had posed for all of the Ayla images.
I would have loved to have done more work on Clan of the Cave Bear — but what could I do that Tony Masters couldn’t? I felt I would have been a redundant hire, so I didn’t push it, although I know I could have learned a lot about production design from Tony. Because of the nature of the film and its story, there weren’t a lot of sets that needed designing and building. Mostly, it came down to choosing fantastic locations where we could tell our story.
So, I was on to my next movie.