Have you ever been curious as to what goes into visualizing movies before any production starts? Well we hear you! We sat down with one of the industry’s most respected and versatile storyboard artists, Darrin Denlinger.

With over two decades of experience, Darrin has worked on every genre and scale of production imaginable, and has helped shape some of the most visually iconic sequences in modern cinema. Here’s what he had to say about the art of storyboarding and the enormous amount of planning it takes to make controlled chaos look cinematic.

Q: Where did your love for visual storytelling begin?

It actually started when I was a kid. I’d sit and copy Marvel comic covers when I was about 10 or 11, trying to get everything right down to the little logo seal in the corner. If you told that kid he’d grow up to work on Infinity War or Winter Soldier, he wouldn’t believe it. 

Q: You’ve worked with so many directors — how does your approach shift depending on who’s leading the project?

Most directors trust me to do an initial pass based on the script or story breakdown. With James Gunn, it was different — he came in with every shot thumbnailed already. I polished it from there. Some of my best-looking boards came out of that process. The Russos, on the other hand, are the opposite. They give you full creative freedom in the beginning. It's all about ideas with them. I've been lucky that my instincts usually line up with theirs. It’s been that way since Winter Soldier.

Q: Let’s talk about The Electric State. How did that project come together for you?

I loved the book — it's beautiful, haunting. The film had to go its own way, but we worked hard to keep the spirit of those visuals. The Russos were really committed to that. They foster such a collaborative environment. When I joined, there was already a massive amount of concept art from earlier versions. That helped a lot.

Q: And now you’re deep into Doomsday. What makes that project stand out?

It’s probably the most intense project I’ve ever worked on. The cast is huge, and everyone is leading their own franchise, so scheduling alone is wild. But Chris Castaldi, our head of physical production, is a total rock. His calm under pressure keeps everything moving. I was there for one of the craziest shoot days — a Thunderbolts tag with seven or eight A-listers. And it all ran smoothly.

Q: How many storyboard artists usually work on these big movies?
Right now on Doomsday, there are six of us. One of them is the head of the story department and the action designer—he’s done a lot of animated work for Marvel and has been on several films with me. He brought in the other four artists. I kind of operate separately—more directly with the Russos, or sometimes with the VFX team or second unit. I prefer that setup; it gives me a bit more freedom.

Q: Have you always worked with the same team?

Mostly, yeah. I’ve been with the same core group since Infinity War — David Krentz, Brian Andrews, Todd Harris. We all kind of roll from one project to the next together. Marvel and AGBO are incredibly loyal that way.

Q: I heard you’re working on a book?

Yeah! It’s a Marvel book. I’m collecting my storyboards and adding journal-style notes for each film. Marvel used to include boards in their art books, but now it’s mostly concept art. I want to bring the storyboarding process back into the spotlight. It’s through Clover Press and Marvel Publishing, so fingers crossed!

Q: How has your process changed over time?

Honestly, I don’t really have a "style." I tend to mimic whoever I admire on a project. It probably slowed down my growth, but it’s been a great way to learn. I used to post a lot on Instagram, but once I started on Doomsday, it got too busy. That said, it was fun sharing that work. I think the last thing I posted was from Muppets from Space.

Q: What about all the unused work? Does any of it ever get revisited?

I'd love to include some of it in the book, but Marvel is pretty strict about that. I once posted a fully drawn Captain America vs. Black Widow fight from Civil War that never got shot. It went viral, and Marvel security reached out fast. So now I wait until after the movie's out. ;) 

Q: Favorite project you’ve worked on?

Tough call. Best experience? The Incredible Hulk. It was my MCU debut and the vibe was great. Favorites? Definitely Winter Soldier, Infinity War, and Endgame. Being involved before the scripts were even locked was insane. During production, it feels like just another big movie. But after release — when the fan theories start flying — that’s when it really hits you.

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Check out Darrin's Instagram (@denlingerdarrin) for more of his storyboards throughout his career! 

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