Incrediweek - IncrediChat: Keith Tucker

Hello, how you doing? I'm good, I'm drinking coffee. That's good, that gets you up. I didn't have my coffee, I'm on like my eighth or ninth glass of water today, so thanks. If you see me with a red cup, it's only water.

Oh, they might have heard about this little show called Animaniacs and Pinky and the Brain. A couple of those shows as a storyboard artist. But I go way back. Feature films, Star Trek II: The Wrath of Khan, doing animated effects. Face animation for the transporters. I helped kill Spock. I pitched in on John Carpenter's The Thing, I animated the rocket trail on the spaceship. And then the first Conan movie with Schwarzenegger, I did work on the demon sequence and when the demons all came to get him. What you're talking about. And then, but then we didn't get the movie The Right Stuff, so we all got laid off. And some friends of mine were working over at Filmation, and I really wanted to get into storyboarding rather than hand-drawn animated effects, which by retrospect, they were going away, you know, you had to do it in the computer. So I practiced on this show called He-Man and the Masters of the Universe, and so got my storyboarding chops together. And then I worked on She-Ra: Princess of Power, and then I jumped ship because I really wanted to go work on Transformers. So I quit and went to Marvel and stayed there for a lot of years, almost five years until they imploded, you know, at that time. And we're starting with Transformers, Defenders of the Earth, Robotech, Inhumanoids, Bigfoot and the Machine, Jim and the Holograms, and G.I. Joe. I don't know if I mentioned that, or Dino-Riders. There are a bunch of others in there. Yeah. And then I moved on to Ruby-Spears, worked in development. The name floated, I went over to Ruby-Spears. That was wild. I got to work every day with Gil Kane. He was there every day. Jack Kirby and Roz would come in once a week with what Jack was working on, and he'd bring all this work and we'd paint it and do different things with it, his work. And Alfredo Alcala was there too, a lot of other people. People may know or not. And then I went over to Disney, and you know, we're my great film workers of America. So he kind of moved from this to that. And when I got to Disney, I did work on the origin of Gizmoduck. Wow. And when he first got to meet Launchpad McQuack. And then we did Rescue Rangers and TaleSpin. God, I left Disney, I wanted to work at Marvel again and a bunch of other shows. I mean, there's been a lot.

And the storyboards, we were taught to do that. They were expected to do them, and you know, because the work was sent overseas and it was blown up and traced right off the storyboards. Okay. And the tighter the boards were, the better the production. Now a lot of stuff was done in Filmation, was all done across the street, layout, you know, you could be looser. Mm-hmm. All right.

Sometimes, not always. And sometimes you can if you really see it when you move. But the biggest problem is head size. Okay, yeah. You know, you work on these big head, you know, two feet tall characters, mm-hmm, and then you go to seven heads tall, and only your realistic characters have these big heads. And yeah, that's... you have to really watch it. Sometimes even today I do it. Only today I can crop that head, clean it off, stick a new one in, erase the other one, layer it. Yeah. So he has it digitally then, these days more than traditional? It's a mix. And just because I know we get people and try to get in the business right now and stuff, what software do you use when you're working digital? Well, I use Photoshop, and for storyboarding, you need to do Storyboard Pro from Toon Boom. Yeah, no, I got that. That's a fun program. I like being in that.

I always loved animation. Mm-hmm. Watched all the Disney movies and with earnest, you know, yes, seen Fantasia a dozen times, you know, paid to go see it. And all the Bateman movies as they came in, you know, I was really watching it. Tex Avery was like a god to me. But I really wanted to do comics, you know. And but you had to live in New York and I was from LA. Yeah. I had grown up with the film industry. One of my stepfathers, one story or whatever, was a stuntman. And I'm like, I think it was Bonanza and some... I forget the name. Goodbye, a lot of shows back then, the westerns. So on first grade, I'd ride my bike over to the studio a lot and they knew me. Oh yeah, Keith, come on in. And I'd hang out and I wasn't a troublemaker, cause trouble. And yeah, it was Bonanza because there was a picture of me with Lorne Greene, but I never found it, it was gone. And but it was out there. And but yeah, I was bitten by the film bug early on. And I couldn't go... I didn't want to go to New York. I was really... I like it here, you know, the ocean, surfing and whatnot. So it's... I did murals for a while, and then but I kept trying to do comic books. And I fell into the film because one of my neighbors had a lot of... he was a fanzine publisher. And we all had a bunch of friends, art friends, as everybody else. Yeah. One of them was working on Conan and he knew they needed people. They knew I could draw and they say, Keith, come on. It's nice. I mean, that's great.

Yeah, okay. I love the Beagle Boys. Oh yeah. I'm big... actually Scrooge is my all-time favorite Disney character. Um, so I love all that stuff. I have tons of books with his, you know, packed away. But um, but I just want to add one thing. I learned to wear two hats to have a long career in animation. You have to wear two hats. Sorry, I said it backwards. You be able to work in action-adventure or comedy, because it ran in five-year cycles back then. Okay. Five years of comedies came, and then superhero suddenly you have... come back and they're exploding on the scene until they wait, and then comedy again. Or hybrid like the Rescue Rangers or TaleSpin, that's kind of a hybrid. Yeah.

No, a bunch. And one fun one that I did was the reunion special. And in it, we characterized the live-action people who were the model for Pinky and the Brain. Tom Minton and Eddie Fitzgerald. Interesting. Okay, I actually didn't know. And I drew a cartoon version of them in the reunion special. And Eddie is like a storyboard guy, I'd known him at Marvel for years. We shared an office at Marvel Productions back in the eighties. And he is Pinky. And oh, he directed a lot of Tiny Toons. One about... I worked on with him was The Elevator, Ellie Later. Yeah. So I... my Ellie Later, I can say that's the one with the like baby Plucky, like kid Plucky. Yeah, yeah. We had Tom Ruegger on a few weeks ago and that was his son, I think he said, doing the voice. Oh, and let's talk about... I assume you're a Batman fan, so I see a big Batman in the front, but I also see... is that... that's a Batcow Batman there? Yeah. Oh yeah, yeah. Oh my god, said Wacko. Sorry. Can you tell me a little bit about that one there? Oh well, there's a cosplay group here in Portland, Oregon. Mm-hm. And the... it'll come to me later, but we did... they did like a Make-A-Wish kind of small-scale thing where this child who was going through a lot of brain surgery, you know, and they asked me to take his character that he had and make it real professional. So I drew up a model sheet of his character and they presented it to him. And they made me an honorary member of the Portland Superhero Coalition. And then I was doing these sketches at Rose City Comic Con and they had these costumes of the Animaniacs. And because I had drawn the Animaniacs as superheroes, being Yakko as Batman for one of them, Brady Danger... Danger, that was his character. And when they showed up, it blew my mind. It was like, we based these on your drawing. And it was like, wow. And they did... floored me. Well, he passed away a few years ago and they said that I had to have this. That was nice of them. Slow... Brady... Brady, remember it's water.

Oh, Roger Rabbit. I... this is a granddaughter, hello, she just invaded. I drew Roger Rabbit comics. Uh-huh. I never got to work on the movie. I wish I had done it. Yeah, that's actually... like I think my all-time favorite 80s animated film is Roger Rabbit. It's a fantastic, fantastic piece of art there. You got to work on his comic book, which I see on the next screen here. So um, I'm gonna bring over what... I don't see the next screen. Well, we're gonna bring it over right now. We go, and there we go. So this is your website, which is TuckerToons.com. And I'll put that up, give me just one second, I'll make a little thing for it. This is like the old 50s TV show, This Is Your Life. So this is TuckerToons.com, and you got a lot of really cool stuff on here. So if I click on Roger... get enlarged. Yeah, you see some of my covers and some of the pencils of the covers. I did work on the Rescue Rangers comic as well as the whole run of the show. And right now I have some of those comics in my boxes. I'm a big fan of collecting, like the Disney stuff, Hanna-Barbera. You know, so this is... you know, this is fun. I was looking at it earlier, but this is just great. Okay, is there anything on here that you... you know, that you really like that you'd like me to click on to bring to the forefront? Oh, do the... oh well, here, there's a crab... that's for... that was a Little Mermaid comics. And I did these fully painted, you know, old-school brush and acrylics. And there was a little four-page story for they'd only make comics magazine on the maggot. Okay. I think I remember that. But actually, yeah, you can see it there. I was trying to... I guess that's as big as it gets. Yeah. But this is... this is great here. I love how you got the, you know, just plastic characters all around here. You know, like who's that in the back? Is that Br'er Rabbit? It looks like. And Fox and the Hound, Brave Little Toaster. Yeah, this is beautiful. Sigh. I'm totally serious. I have a bunch of these titles right in my couple of boxes over from me. If there was still gonna be Comic-Cons, I'd be in Philadelphia. I'd say bring 'em down. Oh, deface 'em. Yeah, I was supposed to be in Philly there. You know, that's actually where we met. I... my business partner and I, we run kids sections at comic-book conventions, and we were doing the kids section there. And that's where I met you. I knew you worked on some Courage the Cowardly Dog pages. And Marty Grabstein, who's the voice of Courage the Cowardly Dog, is a good friend of mine. And I brought him over and you guys took a bunch of photos that I have somewhere still. It was really funny. He had me... he told me to pet his head like he was a dog. That's it. Once. Yeah. Marty is a living cartoon character. I told him that the other night when he was on. Yeah, look, it goes pretty tune. Yes. Let's take a look at some of your storyboards here, if I can. It goes this way. So action-adventure. So well, if you click on the G.I. Joe, that's actually a little movie. Oh, it's... it's a pencils plug-in. I'm not... I'm sorry. I'll look another time and set it up. But that... what is that on anything like YouTube or anything we can look at? I forget. Hey, click on this by X-Men or Spider-Man, either one. I will do Spidey. Oh, what's going on? It's all saying I need my... I'm generating... I guess I can't if it's got some kind of... it's been there for too long. I'm sorry. I probably gotta figure out what's wrong. It's okay. Like, hear about... we can look at some of the storyboards here. Spidey swinging in, flipping in, and hitting Doc Ock. And then it looks like it's a bit more of a close-up on him. And then get afar, you know, a long shot of Doc Ock rising and his tentacles coming at ya. I'd be like a pan, so you're watching it go through. Yes, yes. Square each way in each time as another tentacle goes in and hits. As fighting, tumbles. That's great. I love looking at this type of stuff, just me personally. I've done more... I haven't done a lot of storyboard work, but I've done... not like comics and stuff, but I think that storyboards, it's just fun for me because I like to... even though I love animation, I'd like to see the behind the scenes of the animation and how it becomes animated, you know. Yeah. Well, here is tumbling away from camera as you pan along. Now if you cut to the next one, or click to the next one... I don't know if I... I don't know if I can click that way. I'll go back and go to the next one. Yeah. So that would be this one here. Yeah. So I had the idea of having a reflection of... you know, you saw the mirrored buildings, and then you see him coming towards you, but it's his reflection. And he actually comes in from stage left when he's coming toward you from stage right. Oh, interesting. And I noticed that that got used in the second Spider-Man movie. And they saw this or had the same idea themselves. That's... nothing that's right there. I'm sure, I'm sure they were highly inspired by what you did here. You know, maybe not. It's a natural opening. A lot of the storyboard is like, you look at your setting, you figure out how to do... to lie... what you have to tell your story, you know. Because you don't just want a cardboard cutout, hi I'm here, and you know, we will do this and that. You want to integrate it with your environment. Sorry, I'm going into teaching mode. No, no, no, it's okay. I mean, you know, a lot of people who watch, like I said, are, you know, just out of school or sometimes just in school, or just fans that, you know, either love this stuff or don't even know much about it but want to know more. So having a little educational lesson never hurts anyone. Knowing is half the battle. Exactly. But I have to say, and I want to ask you this, since you've worked on the storyboards for Spider-Man, I was interviewing someone earlier in the week and he says of all the Spider-Man cartoons, this is the closest adaptation that ever came out to the comics. Now being someone who was a comic fan, did you read Spider-Man growing up and do you feel the same about this? Yeah, yeah. The first Spider-Man I read off the stands was Amazing Fantasy 15. Okay. So it was... it was... I think every comic fan out there knows that one. We got another Rodney comment, sorry, not comic. He says if you had an opportunity to do an animation piece for a new Heavy Metal movie, would you want to do an original piece or a continuation from the original movie? Oh, well, nobody could top Moebius or Bernie Wrightson. Yeah, man. I'd want to see Captain Sternn. I'd want to see, you know, Moebius's character though, she wrote on that thing. Yeah, it's been years since I've seen it, but I know who you're talking about. Yeah, no, maybe something... yeah. I didn't... world... you know what I really want to see a movie is that they do Bizarro World. Hmm. You know, the square world. Yeah, yeah. From Superman comics. Yeah. And I think they should just play it, you know, like you just go right away, you're in that world, and you find it happening right in your face. That's interesting. Wow. Um, let me ask you, just because we're talking about this, you know, he's asking these questions, I always ask... you know, I'll remove this for a second so we could chat a little. I always ask this usually towards the end of the interview, but since, you know, Rodney's been asking these kind of questions, is there an animation job you wish you would have done? Or the thing about Heavy Metal, is there a dream project that either you want to do that either has never happened or that... well, he asked if you wish you had been part of it, but like, if you were to say I want this animated series or I want this live-action movie and you get to storyboard or be part of it in some way, what would that be? That's the big question. I know. I don't know. I mean, there's all kinds of stuff. Yeah. Is there anything that you didn't work on before you got into the biz that you would have loved to be part of? Raiders. Okay. The Last Crusade. Yes, the first one, the best. Star Wars. I did work on Star Trek. Do you want to... I need to talk a little bit about that, but if you want to, we can go into a little more detail about what you actually did for the Star Trek movie. The base animation. The director wanted the characters to be talking while they're transporting. And so they were moving, so I had to rotoscope them. And they wouldn't stay still. It wasn't like the old 60s, you know, with her like, here and we're here now. I'm moving. No, they're moving. You know, I'm like, oh, he moved his arm in the dust. You know, and I'm like, I had to do all that. Wow. And then I used an ellipse guide to set the timing for the animation. Who then? Peter Kuran. If Peter Kuran... Visual Concepts Engineering, VCE, was the company I worked for. They got the blanket credit. We didn't get individual credit on Conan or Star Trek. But John Carpenter requested all the names of all the people who worked on his film. So that's how I got in on the thing. And that was fun. Fun times. Yeah. In a way, what... dressing away, it's okay. You know, it's that... you know, yeah, you've got a great career and all. I don't think so. I don't think so. You're all... no, it'll find me at the drawing board. One at the end. That's... you know, where I think a lot of us like to spend our time. Let's bring back your page. And these are some storyboards you've done for some more of the humor, the comedy stuff here. Let me just come on over here. So let me just have it... what version of Tom and Jerry was this that you worked on? That was the movie. Okay. That was really interesting. I got to work directly with Joe Barbera, and we did it like... and Phil Roman, and we did it old-school. We pinned these up on a big board and we talked about it and bounced ideas around. These are the final tighter drawings, you know, where there were much looser. And also with Mike Peraza, who's one hell of an artist, he was the art director on the film. And this actually didn't get made, but it was done directly with Joe Barbera. And I... what I'd love to see this actually get animated. It looks nice. Go ahead, I'm sorry, I don't want to cut you. Because it was directly with Joe Barbera, you know, the co-creator of Tom and Jerry. Yeah. And he had... you know, he talked about what he wanted to see, what happened. Oh, we can do this. Oh yeah. And do that. And um, they should do it. Yeah. Well, I got to talk to Warner Brothers now. Oh yeah. They moved their offices when they closed down Hanna-Barbera. They had offices at Warner. And I got them to sign my Hanna-Barbera books. Yeah. It was that the thing at the end here, that one of the things. Yeah. That's great. Yeah. Now we always, you know, we've talked to a few people who've worked in the... who's worked in the industry, who worked for Hanna-Barbera or some sort. They always say they have a good Joe Barbera story. Do you have a good Joe Barbera story you can share with us? I don't know. I'm not good at stories. Okay. Just had a fun time working with him. And that's... and that, you know, to me, that's important. You know, that's the best thing. I just... you know, we just ask because they always say he gives... he leaves you with some good stories sometimes. So. And we got Victor comment said, I don't get why many people hated that Tom and Jerry movie. I thought it was a lot of fun. But what you said is this one wasn't made. So this was for... he must be talking about a different Tom and Jerry. No, see, wasn't... it didn't make the final cut. Oh, that's... you're saying your pieces there didn't. But it was the same Tom and Jerry movie. Yeah. I'm sorry, I got confused. What we did is we tried to open it up like an old Tom and Jerry cartoon. This is it, the opening title before the title sequence. So it was like a cartoon, an old cartoon before the movie began. And they didn't want that in there. They changed their mind or what they wanted to do. I don't know why. I wasn't privy. All I know is we created an old Tom and Jerry styled cartoon with Joe Barbera and Mike Peraza and Phil Roman. And it's sitting there boarded. I mean, bringing back Looney Tunes, why not? Uh, you know, why not Tom and Jerry? And they are doing the new... what is it? What is it? They're doing a new Hanna-Barbera called Jellystone. Correct. If you heard about that. Yeah. So I don't see why they couldn't bring back Tom and Jerry like that. Well, sometime. Yeah. Let's... let's do... is there any one particular on the storyboards here that you like, like an Animaniacs or TaleSpin that you want us to pull up? Well, how about Pinky and the Brain? Pinky and the Brain. That's a detailed image. I get carried away. I like to draw. They give us more time. Exactly. And bigger res. Oh, that's it. I know. You know what, let me do this. I'm gonna remove us from the stream. Let's... we're going away. Can I... and let me see if I can zoom in and see if it doesn't ruin quality on it. That's as big as I can get. That's pretty big. Yeah. This is also an outtake. This is a Beach Blanket Bingo. And Brain was trying to win the surf contest so he could take over the world by getting all the surfer kids to follow him. At any rate, he falls under the sea. And you know, this is all in the script. And a lot of things that we do get cut. And can you go to the next page? Yes. Where's my mouse? There it is. He goes to the bottom of the sea, can't get up. And he's like... he's like... and then he falls down. And here come the sea monkeys. And the shadow comes over him. And if there's another couple of pages, I think you have to get out of here to go to them. But he's rescued by the sea monkeys. I only put two up. Okay. They're beautiful drawings. I love looking at them. And I'm pretty sure our fans and people watching are just enjoying looking at this stuff too. But yeah. And so you spent a lot of time though, I'm thinking, and that was one of your... was that one of your longest running like gigs as a storyboard artist? No. I mean, I've got a lot of runs. I mean, we did 65 half hours of Rescue Rangers. There's been a whole bunch. I can tighten... zoom in on Rescue Rangers. And we'll zoom in on this here. Nice. So you left Disney after TaleSpin, so you didn't work on any like the Goofy stuff or Darkwing Duck? Oh, okay. No, I quit. My idea of a raise and theirs were two different things. I understand. This is nice. They were telling me you're giving up a job you could have for life. But the person who told me that and our entire crew ended up getting laid off a couple years later. Oh wow. So it's a bit... yeah. I mean, you know, I'm... I have a very secure retirement because I was an artist, but I was also aware of the business. Yeah. You know, it's all fun, especially when you're young and you're learning to do as much as you can. But you still need... you're gonna do this the rest of your life, you...

I wanted to have a secure job. I'd worked union jobs mostly and have a secure pension and be able to take care of yourself and have a nice retirement. I won't let it go to the next one though. Go back to the storyboards.

Yeah, okay. Oh, I don't know if I have anything in Tiny Toons. I'll take a look and maybe empty.

That's human.

I was about to say Tiny Toons, but Earthworm Jim, another great cartoon series. I really enjoyed this show. They left me alone. I used to call in and ask, 'Can I change this in the script? Can I change this?' And they'd say, 'Okay, okay, yeah, you can.' Then about the third show, they hand me the script and say, 'Keith, if you want to change anything, we love what you do. Just have fun. You can rearrange dialogue, you can rewrite dialogue. Wow, go for it.' And it went on for the rest of the show.

No, no. It just shows how, like Rodney said, you're an amazing talent. That just goes to show that you really have great ideas, you know what you're doing, and you know how to enhance a scene. I learned a lot from listening, working at Marvel and Warner Brothers, and with the older guys that have been in the business. I listened to them. There were a few people like, 'Oh, those old guys,' and I'm like, 'What the hell?' I'd bring my own lunch and sit there and play chess and get told things that I used in my career.

Yeah, yeah. I mean, I remember working with Ken Monday. He worked on Peter Pan and he would, you know, the Wild Wild West TV show, the opening title, he did that. And the company he did it for, but he's the guy who did the boards and the animation. But he would come in and say, 'What we're looking for is to go this way. And if we're gonna do a party, we don't need to focus on a crowd of people. You want to start somewhere close and move through the people and you get a feeling that there's a lot there, but you don't have to show it all.' Or, you know, like in Dumbo, or there was like you saw everything happen right with shadows on the tent. A lot of classic shots that have been used a lot since then. But in those early days, you know, we were looking for... I'm sorry, I lost my train of thought. It also started going into Miyazaki in my head, and he is a master that I never met. But all of this stuff, even now, it's just phenomenal. One of the things I've always told my students is, just because I'm your teacher doesn't mean you can't have teachers that you read from, watch. I take everything that I've learned, I've learned everything from everything I've... you know what I mean? It's just if you watch something enough and you follow, you can see and learn just from, 'Oh, that guy did that, that's an interesting angle he used, and why did he use that?' And I'll look at that and I'll see that in films or comics and I'm like, 'Oh, okay, I'll study the artist's work and look at more of that artist's work and see is it something he did or was it script related that he was supposed to.' So I like to do that.

Pinky and the Brain. Yes, that show kept going on our time slot, we didn't get renewed.

I think two. I'm not... at least two. But the enemy... well, I was gonna say they were part of Animaniacs, and the new Animaniacs is coming back. I don't know how that's gonna be or who's involved. When we talked to Tom, he said he doesn't know anybody from the original show involved.

You know, that's exactly what I'm looking for. It was a directive from Spielberg that it appeal to adults and kids simultaneously, like the old Looney Tunes, because those were aired in theaters. We used to get a cartoon before the movie instead of commercials before the movie, and we still had trailers, but we had a cartoon. And it had to appeal to adults and kids. And that's what Spielberg wanted with Tiny Toons and Animaniacs and Pinky and the Brain. Bob, he knows what he's doing.

You know, it all depends on what's happening. I... a wish list... Animaniacs, Pinky and the Brain, they would do those comics. And I have them in my box. I don't have the whole set, but I have a good amount of them. You know, I notice they use some of our storyboard, they had our storyboard. So I saw things like, 'Oh, you know, does a parody shows that we did.' It was like, 'Oh, how interesting.'

The Brain, of course.

No, it's usually both. I'm saying, are they, are like Pinky and the Brain your most common like commissions or something?

And Victor says, 'Animaniacs and Pinky and the Brain were fun, but I really loved Tiny Toons.' Oh yeah, I also did some work in Tiny Toon magazine, some of the centerfold. They were crazy.

Yeah, whatever, whatever. What would they do, like The Reader's Digest and stuff like that, the Enquirer, all those magazines, they had the little kids sections in some of those. And I remember getting things like that. They had a Disney Adventures book.

That's right, 'cause we only got a few minutes. I don't want to say... we got about 10 minutes left. I did want to ask a little more about comics. You worked, you know, we saw the images that you worked on. Let me just go back to the page for me. So you've also done educational stuff, obviously, it says here.

Well, you did things that are interesting to me. So I'm going to share the screen real quick. It's a stream here. So like, you got the Fighting Yank for Will Meugniot. He was, it was a pinup and, oh god, I forget the name of the book, I'm sorry, he was working with that was public domain characters. Yeah, yeah. And I just have a love of the public domain characters out there. Oh, you should see what Will Meugniot's about to come out with, his Agents of Earth. And he's taken like Fighting Yank and all these guys and it's set in the sixties. It's pretty cool.

I started telling, I did a comic of that. No, it's self-published. And what if ancient Polynesia really was invaded by tikis from outer space? So I took the stage, it did, it was originally Tiki magazine, and it was like a half-page comic. It's serialized and I did it for about six, seven issues. And then they sold the magazine, but the new owners, I asked them, 'Do you wanna continue this comic strip?' And they went, 'Oh yeah, we love it.' Okay, same deal. And they went, 'Oh, we can't pay you, but you'll get exposure.'

I think the magazine actually died because I don't think they ever came out with it. It's like they bought it and died.

So what's, and you want to explain, was this Rocket Tina? Yeah, but it's really Hello Nerds in Space. That's what I figured it was. There's a comic he did, or just like a pinup or something. Yeah, I was trying to do an EC style comic book and she was like the horror host on space. And I did a few stories and Diamond didn't want to carry it because they said, 'We don't think you'll sell 15,000 copies.' And I mean, I don't think I'll sell 1,500, but you know, it's all printed here they are. No, well, if it doesn't sell that much, we don't want it.

Exactly, exactly. But that's what happened with Diamond. They basically got taken over by the matrix. So yeah, you got these great, like I said, EC looking... is this anyone in particular or is this your own creation? Those look familiar to me.

Well, no, I knew the pose, but I'm saying the character, me, is some silly idea. This is ancient history. I just love your style though, like with this. So there's one, go back up, The Matter of Time, or it's Strange Alien Tales. That is the cover of the comic I did that we were just talking about. And you know, zombies in space and stuff like that. Then the next one is a color version of The Matter of Time. This was inked by Dave Simons and it was done in 3D for Eclipse's Alien Worlds or something, I forget the title. And 3D Alien Tales, something like that. It was in 3D, so I thought I'd take and do a color version of it. I like that. I like it. And Dave Simons was a phenomenal inker and a good friend and storyboard artist. He left us quite a few years back, he had cancer issues. So these are one of these pages from something I was doing with Elliot Maggin. And it was a project that just the publisher kind of went under. Oh, just kind of, that was it, it never happened.

Oh, you skip it? Okay, yeah, okay, no problem.

Tucker Tunes on Facebook. I post a lot there.

Oh yeah, Keith Tucker. If you see the Animaniacs, you'll know you're in the right place.

Okay, I would, but this is like from the Robocop 3. Okay, so this one, looking, I'm just trying to see the actual piece based on, so he's looking down a tunnel, yeah, and that he gets attacked by the Otomo. Forget it, dealt with the actor's name. You know, there's robot, this other robot.

Yeah, I was gonna say, I was gonna ask, it looks like pencil from the scan. I can't scroll down on here, please, but if you go... yeah, that's where he gets kicked in and you cut to another cut. This really is, and that's him, and that's him falling down towards camera, right?

Yeah. Oh, you did. I remember that quite a bit. And was it, was that a Saturday or a Sunday morning show, I believe?

Interesting. You know, it's funny 'cause, you know, you watch this stuff and you don't think about the storyboard aspect on Robocop with someone having to draw his point of view looking and how the lines would be on there. It's very... and here he is getting kicked and then falling backwards. And so this arrow, just for people who aren't storyboard people, this arrow is showing the direction of what, how, where the person is bouncing back from.

Okay, yeah, he's coming on at five. If you want to come back, I'll send you an invite to the link and you can hang out with them too.

Oh, I see it. What is it? It's a Rocco's Wish. Oh, okay, yes. And they're going off to the wishing star. And let me get this right. No, they're wackos, goofy case. And the last shot, and so Plots is coming, not Plots, I forget his name, but the wagon's coming towards camera. Huh. Wow. And he brings the reins down. It was all part of the same shot. And then we cut to a down shot and he comes through with the wagon and Rita and Rut pop out the back of the wagon as the wagon goes away from camera. Mm-hmm. And then the wagon comes towards a bridge and goes over and the Panamanians come on. Oh, this is being, the Animaniacs are leading. And oh wait, we've cut to a different part, it's out of order. Well, sorry. It's okay, it's beautiful to look at anyway. You know, just what you're showing us, like this is actually out of order, but this would be, you see the buildings and you'd see the wagon will come through frame and you'd see Farfegnugen with racing along with his head shot and then it's just his hoods and then you'd see that. Yes. And Plots raises up and he brings the reins down. And this is a shot that was supposed to follow where you get to the bulls and they're hummingbirds camera. Then the wagon comes to Racine and followed by the Animaniacs. You see the wagon off in the distance going away, the Animaniacs come in and go, 'I get to my finger would be first.' It's okay. Any rate, that's a few things. Oh, and I've been taking a lot of my storyboards and collecting them into the storyboard sketchbooks.

Yes. I forget who he did though. I don't think he did the Brain for me. I know in the action one you did the Trinity, weren't you? You did Optimus Prime, right? You did a Ninja Turtle, you did... they did Prime and a Ninja Turtle for me.

They're still available. I will let people know so they can find you on Tucker Tunes and on Facebook at Keith Tucker and reach out. And when cons start up again, I'm sure you'll have them. Is there a way for them to purchase off the website?