How Deadpool's director went from drawing Playboy centrefolds to making hit movies and series

I grew up in the suburbs outside Washington DC, in Fort Washington, Maryland. I had a great childhood with all the usual stuff growing up in the US brings, if you’re lucky enough to have good parents, enough money, and no real trauma.

Most fortunate of all, I’m the child of a huge reader; my dad’s library was like a treasure vault. I was that kid who’d get lost in the worlds of Edgar Rice Burroughs and Robert E. Howard – real pulp adventure stuff. I’d read anything, but those stories were like gateway drugs to my imagination.

And I loved to draw. Comics were my jam because they mashed up the best of both worlds: heroic stories and fantastic art. All that geeking out over art and story set the stage for what I wanted to do.

Beyond traditional art, my two major influences are genre literature and computer technology. Immersing myself in science fiction and fantasy novels sparked my imagination and ignited a real passion for storytelling beyond the visual within me. Then the emergence of computer technology as an art tool came along, and that completely absorbed me. It offered tools and possibilities that I hadn’t believed were possible.

Equally significant has been the opportunity to work collaboratively with other artists. Co-founding Blur Studio in 1995 as a place for animators and artists to come together was incredibly satisfying.

I’ve learned so much through collaborations with visionaries such as David Fincher on Love, Death & Robots, and James Cameron on The Terminator. Those ideas have altered my perspectives, demonstrating the power of collective creativity when trying to push the boundaries of storytelling.

Like many genre artists from my generation, Frank Frazetta was a massive influence and inspiration. There are so many great paintings, but I’ll pick The Destroyer, a painting done for the cover of a Conan novel.

I can’t remember, actually. I’d draw things, and sometimes my friends would want them. If I had to guess, it was probably a Frazetta or comic cover rip-off, or a Playboy centrefold, which, now I think of it, was likely my fourth great inspiration… like many 13-year-old boys!

In my role as a director that would be a Love, Death & Robots short titled The Screaming of the Tyrannosaur. Now I think about it, it has many of the same elements found in Frazetta, comics and Playboy! It’s unsurprising since I still feel like a kid inside.

It’s been much, much more. I didn’t expect to be given as many fantastic opportunities as I have. I’m the luckiest nerd on the planet, and it’s been a wild ride, full of unexpected twists. Growing up, I just loved to draw. I thought I’d end up as an editorial illustrator or helping to create comic books, but breaking in was more challenging than I’d imagined.

That’s when I stumbled upon computer graphics, and it was transformative. This was in the late 80s, and it was all brand new. Eventually, that led to co-founding Blur Studio, where I could blend my love for art and technology.

Projects like Deadpool and Love, Death & Robots have been a dream come true to work on. So, while the path wasn’t what I initially envisioned – is it ever? – it’s been better.

I’m not sure I’d do anything different – and I can only offer advice based on what I did that seemed to work, at least for me. And let me say again how much luck played in my opportunities. Anyway, the advice would be to be persistent and grab every opportunity, even if it doesn’t align perfectly with your dreams.

Early on I faced challenges breaking into the comic industry, which led me to explore computer graphics, a field I hadn’t initially considered. This pivot opened doors I never anticipated, eventually leading to projects like Deadpool and Love, Death & Robots. Unexpected paths can lead to great destinations.

Always keep pushing forward, remain adaptable, and don’t hesitate to take that first step, even if it’s not where you envisioned starting.

It’s so utterly different in terms of capability and technology. Digital tools and computer graphics have revolutionised artistic creation. When Blur Studio started, we were at the forefront of integrating the tech that’s now industry standard. Artists have unprecedented access to software, lessons and online communities today.

This democratisation has lowered the entry barriers, and a diverse range of voices and talents have emerged. The interconnectedness of the internet has made global collaboration the norm.

Artists can work together across continents, and the demand for visual content has grown with the vast numbers of streaming platforms, video games and digital media. This means more opportunity to showcase work and reach wider audiences

I’ve always sought ways to tell stories with as much creative freedom as possible. Projects like Love, Death & Robots and Secret Level have allowed me to explore narratives without the typical constraints, collaborating with talented artists to bring stories I find interesting to life.

However, navigating the industry’s gatekeepers remains a soul-draining exercise. I’m continually looking for opportunities to get more autonomy in the work Blur does, seeking partnerships and platforms that allow more art and less bureaucracy. The goal is to keep pushing boundaries and finding new ways to share stories