^{Storyboards by Simeon Wilkins.}

^{As Hellboy moved closer to production, del Toro began to record ideas for specific scenes, including images of Hellboy silhouetted against the moon.}

GDT: These illustrations [opposite] were done closer to production, but not yet in production. And, again, I knew that Mignola drew the shoulders more sloping, and I knew that there was no way to do that to a human silhouette, because the thing that determines how you do the architecture of monsters is the articulation points. That’s the only thing you cannot change in a human body. You have a joint, or you don’t have a joint. I didn’t know how to make the shoulders more like the drawing, so I came up with the idea of a Civil War–type of coat, with the little cape on the shoulders. And I was praying that it would work in leather, and it came out very well, I think. I was trying to see if it was still Hellboy with big boots and pants, because in the comic, again, he doesn’t wear boots—he has hooves—and he has short pants.

Then on the top right I knew I wanted him to rip off a sword, a sword from a statue, and use it to battle a tentacled monster. And that’s in the movie.

There’s some other stuff that didn’t make it into the movie, though. Some compositions—him silhouetted by the moon, certain roofs, and stuff like that.

MSZ: There’s these little arches again, these pointed arches.

GDT: Well, I always like architecture that frames the characters, if I can do it.

MSZ: Also, there are references to Wind in the Willows throughout these notes. Was that a project that you were working on?

GDT: Well, it’s a project that I wrote with Matthew Robbins for Disney, and I think it’s a really good screenplay. We tried to make it really, really as true to the book as possible, and then we went to Disney and they said, “Could you make Toad skateboard?” And I left the project.

^{NOTEBOOK 3, PAGE 34B}

–Hellboy uses a broken sword. It could be made of bronze and enormous enough for a statue

–In Wind in the Willows there could a duel between Toad and Weasel on the gable roof. There Toad [?] him in the face

–Chase through skylight valley. Hellboy.

–The lightning overexposes TOAD WEASEL.

Attic in Toad’s mansion

Redesign Hellboy’s overcoat for the movie…

Embossed BPRD patch into the leather of the jacket.

Should the upper part be any darker??

–Collar kept standing up with TAPE.

–Military campaign–style cape helps give him a “Mignola” outline

–For the machine that opens the cosmic portal (the gyroscope), CGI needs to be used for realism.

Make it longer than in the comic to help the outline and hide the tail.

GOTHIC LINES

GOTHIC LINES

^{Del Toro named Hellboy’s gun “The Good Samaritan” and asked his art team to develop a series of studies, including those by Sergio Sandoval at DDT}.

^{Here, del Toro instructs Ron Perlman (Hellboy) on how to point the massive gun, which somehow looked the right size in Perlman’s large hands.}

^{TyRuben Ellingson came up with the final design.}

GDT: Well, one of the gags here [opposite] is in the movie, which is Hellboy sliding. I wanted him sliding and shooting backward.

Above him is a really early design of the Samaritan, and this is the page where I came up with the name “The Good Samaritan” for the gun. People think it’s in the comic. It’s never been.

The bottom was something that I wanted to do that is not there. It was like a Jacques Tourneur moment in which you see Sammael’s shadow in the foreground.

Then in the middle, I like to play with the flashlights. We did some of that, but not to that degree.

^{NOTEBOOK 3, PAGE 36B}

–He grinds his teeth so hard when he smiles that one of his front teeth breaks. With push in.

–We need to give the pistol a name

–Ellipses with fluttering of moth wings.

–Hellboy falls down a ventilation shaft while fighting with Sammy

–Even though it’s a revolver, the pistol should eject cartridges like an automatic. The silencer might retract

The Good Samaritan.

–When the underground dwellers are killed, hobos warn them about Sammael and his enormous appetite.

FLASHLIGHTS

–Shadow and bone noises in the museum.

–Hellboy gets punched but manages to land well. He breaks the tiles in a straight line as he slides across them.

–Kroenen should listen to his Wagner records with a refined, absolute delight.

^{NOTEBOOK 3, PAGE 41A}

^{was inspired by a Japanese mask del Toro recorded in his notebook.}

–Kodo drum ensemble, but without techno elements.

–Trip to Japan with Lorenza, Marianne, and in- laws courtesy of Blade II. I hope the movie is a hit in this country. I want to take my girls to Ghibli Museum to see Miyazaki’s stuff.

Hellboy sets a booby trap filled with barbs. He’s the one who sets it off: “Trigger” in the floor

Yellow light.

–Concrete tunnel in Tokyo.

–Dessert: NATAREKOKO.

LANDMINE sends barbs flying when it explodes.

NATAREKOKO

Scarlet

Kroenen’s mask. Made of white porcelain or black leather with a bright red device that fits over his mouth

^{Sergio Sandoval at DDT did numerous conceptual iterations of Kroenen’s face and mask.}

^{NOTEBOOK 3, PAGE 41B}

–Push in and follow HB as he backs away.

–There should be some Oriental influence on the design of Kroenen’s Nazi uniform. Flags with [swastika]

–Amaniga moves his creatures really quickly despite the fact that they’re so large.

–Sammael’s voice should be made by fusing three voices played backward that alternate pronouncing letters:

–We left the hotel early and ate sushi in the street—a disaster.

Amber light illuminates Sammael as he eats a guard.

The smoke from a blackout heightens the backlight.

–Paint job a la Z II on his face.

–The world’s greatest paranormal detective. He doesn’t really detect that much. He’s a bit of supernatural bouncer.