INTERVIEWING MATT BUSCH
By Alex Ness
12/09/24
My first encounter with Matt Busch's work was fun, random, and less important than most events later, but it definitely caught my eye. And with each interaction with his work, I gained more interest and the more I saw his work, the more he had gained prominence. I came to really appreciate him because, of all the people in entertainment who asked me to run PR, or interviews or reviews, he thanked me personally for each one. Few do that.
Alex: I've been pretty amazed at your work, your personal kindness to me, a measly little fan press dude, and how you've created a huge amount of work, from art, to teaching to creating a family and brand new creation, your adorable child.
Since we are chatting at least to begin with due to your new movie, for the purpose of letting readers of this know, could you please give them a brief publisher's blurb or movie teaser description of your work, Aladdin 3477?
ALADDIN 3477: The Jinn of Wisdom
From Artist Matt Busch (Star Wars, Lord of the Rings, and Indiana Jones) comes a live action super-charged reimagining of the Aladdin tale,
literally ahead of its time. In the year 3477, a resourceful Hong Kong
thief fixates on the Princess of India, propelling him on a
globe-trotting odyssey where he crosses paths with an enigmatic ancient
sage. 15 years in the making, Aladdin 3477: The Jinn of Wisdom is
the first in Busch’s magnum opus trilogy of films. Strap into your
skysail, because the epic adventure releases on Apple TV+, Amazon Prime,
Fandango at Home, and more this January 3rd!
Website: http://www.Aladdin 3477.com
I've been made aware that your work Aladdin 3477 is related to your work with the Empire of Star Wars productions, doing art and writing a story that isn't the center of that universe, but nonetheless part of it. How did you get work with that storied franchise, and beyond your own project, what are some of the projects you participated upon for it?
Star
Wars was obviously a huge inspiration, not just the amazing visuals and
story, but the way George Lucas revolutionized cutting edge effects and
visual storytelling. I was more interested in filmmaking early on, but
back before everything was digital, film school was incredibly
expensive. Art was something much less expensive and seemingly more
achievable.
My
lucky break came when I discovered that West End Games (publisher of
the original Star Wars Roleplaying Game) was looking for writers for
their books. I had an opportunity to write a spec story. They already
had official artists, so creating the art for my proposed story wasn't
necessary, but I created some anyway and submitted my pitch. It turned
out that they were a pass on my story, however, they really liked my
art, and the rest is history. One gig led to another led to another, and
this year I'm celebrating my 30th anniversary of illustrating official
Star Wars art.
During
this time, I've had the pleasure of illustrating numerous books,
posters, apparel, and more. George Lucas personally owns nearly 400 of
the drawings and paintings I've illustrated. I'm hoping to do a big art
book at some point, perhaps for my 35th anniversary.
As someone involved with one of the largest fiction franchises, does it liberate your imagination of images, by working upon an established work, or does it constrain you? Like writers debate a locked room mystery, do your talents determine, or do editors and producers determine how much you are allowed to "create"?
It
just depends on the project. At times, I'm given an incredible amount of
freedom to give my own spin with ideas incorporated into that galaxy
far, far away. Other times, the powers that be are very specific with
what they'd like, and the work isn't as creative.
Still,
at the end of the day, no matter what the constraints are, it's still
illustrating official Star Wars work, which is always fun!
Aladdin 3477 is real Earth linked, is it a great jump to relate real Earth's future, or is that a subject that the Star Wars franchise has always thought the case, or are you breaking new ground with that? Forgive me for not otherwise knowing, my son is the keeper of all SW knowledge. I am a historian by degrees, and a political scientist who loves art and film. Would the acceptance of your work as part of that universe mean that the force goes deep in the ancient real Earth, and does that cross dimensions meaning, our world is only real in SW future, but not prior or beyond?
What's
interesting is that when I was originally coming up with my ideas for
my epic sci-fi series of films, the plan was always to have something
another place, another time. One of the things I've always loved about
Star Wars is that it's not tied to Earth or any particular time,
technology, etc., so the story can be the main focus and the fantastical
can just work, because it's not bound to anything we know here on
Earth.
My
story focused on an intergalactic con artist with his hovering robot
Fidgi. There were some similarities to Aladdin I had realized early on,
but over time, the idea of just blending my story into Aladdin became
more appealing. However, I felt it was then more interesting to have it
take place on Earth, in the distant future.
Having
now been on both sides of this kind of creative sci fi, I would say
creating something that takes place in another universe/time is easier
to write, but harder to film, whereas creating something in the future
on Earth is harder to write, yet easier to film. In the example of the
Mad Max movies, because it's a future where manufacturing is dead, it
was much easier to just take modern day junk and upcycle it into new
products. We definitely did some of that in Aladdin 3477. Most have
probably noticed Aladdin's sidekick robot he created, using a CD/radio
player for the head.
In
terms of anything magical with the Jinn, and how it fits into a
realistic Earth, that you'll have to see in the film. I'm purposely
keeping specifics about the Jinn of Wisdom tight lipped. What makes our
genie special is meant to be discovered watching the movie. I think
people will find it refreshing. It's a lot more subtle than what we're
used to with the Robin Williams / Will Smith version.
I've deeply enjoyed running PR for you, (I think for five years or so, if I am remembering right) and while I get asked questions about the subject of PR, the story and all kinds of wonder you are creating, I often don't know the answer. So I'd like to ask quick questions that I've been asked so those readers have a correct answer since not only is my memory poor, I might just be dumb.
Is this film going to be the start of a trilogy?
Yes!
In fact, the 2nd and 3rd movies have already been filmed. There is
still a fair amount of editing and visual FX work that needs to be done,
but they are definitely happening.
Did this project begin before George Lucas left direct control of the franchise?
Yes,
about 3 years before, but that was still in the preproduction phase
where I was still writing, creating concept art, and building props and
miniatures for in-camera practical effects. Ironically, and this wasn't
planned, but we began filming the exact same day that Lucasfilm/Disney
began filming Star Wars- Episode VII: The Force Awakens. Of course, the
Disney machine completed all of it and had it in theaters while we were
still about half way through our 5 year journey of principal photography.
How the hell can you work for SW, teach at a College, and do your own projects? Some people (the interviewer included) have difficulty doing one project?
To be fair, it did take me 15 years to complete the first film and have it released!
I
think I just really try to manage my time well. If have somewhere to
go, but have 10 minutes before I have to leave, I make the most of those
10 minutes. In the end it all adds up. It also helps that I love all my
jobs. When you can take the things you love and turn them into a
career, you never work another day in your life.
Who are your favorite artists, and who are the ones who you aspire to be similar or at least considered an equal to from the past?
I
have so many faves, but I when I think of artists that inspire me, I
kind of lop all creatives in together. When I broke into the Star Wars
scene, I was kind of like the poor person's Drew Struzan, so clearly he
was a big influence. I also admire a slew of comic book artists, like
Travis Charest, David Finch, and Adam Hughes. I also really enjoy
evocative comic book artists like Ashley Wood, Dave McKean, Bill
Sienkiewicz, and David Mack.
It's
all visual storytelling, so I admire Lucas and Spielberg, obviously.
Sam Raimi. Edgar Wright's sensibilities are great. And then there's
animators. Andrew Stranton and Sanjay Patel at Pixar. Tim Burton. The
list goes on and on.
I'm
also super inspired by musicians. Everything from John Williams to
Edward Van Halen. I'm not a professional musician, but great music
inspires the way I draw and paint, and also the timing and pacing of telling
stories. At the end of the day, it's all expressing yourself creatively.
I know I said 5 questions so
feel free to ignore this one, but, how did you decide to be an artist,
what creative mentors helped you find your right future role?
This
is going to sound off the wall, but probably my greatest creative
mentor was Rikki Rockett, drummer for the mega rock band Poison. When I
was living in LA, I was working for his comic book company, No Mercy
Comics. Together we did a comic book called Coven 13, which he wrote and
I illustrated. He's such an interesting guy, who in addition to all the music, is an advocate for
animal rights, he studies Brazilian Ju-Jitsu, motorcycles, loves all things horror
movies, and even creates videos about urban legends and haunted places.
In the 90’s, he kind of took me under his wing before
anyone else did. Underneath the rock star that most people see,
he's incredibly down-to-earth, really funny, but most of all, he's an
artist in every way you could imagine. Everything he does infuses
creativity, and his home is like a creative laboratory with all the
different things he's into. I always felt like- that's what I want one day- a
multi-faceted workspace where I can do it all.
So
that's kind of what I've done with my home studios, a sprawling set-up
which let’s me be productive wherever that artsy itch strikes (or
deadline dictate what must get done). It's not the same
set up Rikki has, but he was the genesis showing me what was possible
and
how to build the ultimate creative playground.
And of the many roles in work you've had, what field is your favorite?
I
honestly love it all, but for that reason, working on the Aladdin 3477
project was the greatest role. I got to do it all- write, direct,
storyboard, create concept art, edit, and at the end of it all, I got to
illustrate the movie posters! The entire project really covers all the
creative bases I love. I’m so grateful for the opportunity, and that
after all the blood, sweat, and tears, the first film is finally being
released!
And what are your links for readers to find more about the world of Matt Busch?
Follow Matt Busch!
INSTAGRAM: http://www.Instagram.com/matt_
FACEBOOK: http://www.Facebook.
TWITTER: http://twitter.com/
TWITCH: http://www.twitch.tv/
You can find out more about Matt at: http://www.MattBusch.com
Purchase Matt Busch Books, Posters and more at: http://www.MattBuschStore.
Sign up for Matt Busch’s Email Newsletter here: https://lp.
==============================
Follow ALADDIN 3477!
YOUTUBE: http://www.YouTube.
INSTAGRAM: http://www.
FACEBOOK: http://www.Facebook.
TWITTER: http://twitter.com/
Find out more about ALADDIN 3477: http://www.Aladdin3477.
Purchase ALADDIN 3477 Books, Posters, Toys and more at: https://aladdin-3477.
All images, words, quotes are copyright © their respective owner and no ownership or anything free use of such images is asserted.
All images, words, quotes are copyright © their respective owner and no ownership or anything free use of such images is asserted.
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