We've featured storyboard artist extraordinaire Mark Bristol here at Birth.Movies.Death. before, and we're thrilled to have him back with an all-new collection of images. This time, the art-in-question comes from Alex Kurtzman's The Mummy (read our review here).
Mark - who's previously worked on such films as Memento, Dazed And Confused, Mission: Impossible - Rogue Nation, The Thin Red Line and Edge of Tomorrow - was kind enough to send these images along to us earlier in the week, and they're reall cool to look at, particularly if you've already seen Kurtzman's film. There are some shots in here I absolutely recall seeing onscreen, and it's cool to see how close Kurtzman's camera came to capturing Mark's imagery.
Here they are:
Above, a look at a lightning strike from the film's opening. Below, a walkthrough of the "Tom Cruise wakes up inside a morgue sequence", which you'll be familiar with from the trailers. This section's basically beat-for-beat the same as the film:
Another memorable sequence involves Cruise and company raising the Mummy's cursed sarcophagus up out of the ground, right past the giant stone face carved into the cavern's walls.
Next up: a look at the sequence wherein a special forces helicopter transports the Mummy's liberated sarcophagus through the Iraqi desert.
Later in the film, following the crash of a transport plane, a few armed guards come to examine the wreckage...
Once he's encountered the Mummy, Cruise's character - Nick Morton - begins to have visions of the Mummy as she once appeared, standing radiant in the desert and tempting him into...well, you'll need to see the movie to find out. But I wouldn't trust that lady.
Later in the film, The Mummy (Sofia Boutella) finds herself imprisoned in a secret lab, being pumped full of mercury. It's not long before she mounts a daring escape, the majority of which can be seen in the images below.
Upon freeing herself, the Mummy calls forth a gigantic sandstorm in the middle of London, which then chases Cruise and Annabelle Wallis through a number of buildings and out onto a street.
Maybe it's just because I'm an art nerd (or maybe it's because I found The Mummy to have plenty of goofy charm) but I love looking at storyboards and production sketches. There's something really cool about seeing how a production got from Point A to Point Z, and it's particularly satisfying when the real thing's so close to the storyboards that inspired it. Big thanks to Mark and the folks at Universal for sharing these with us!