I promise to refrain from getting too sentimental, but I want to take a moment to say thanks to the Watchmen cast & crew. You have all been phenomenal. It has been quite an experience and I could not have done it without the hard work and determination of each and every one of you. A film adaptation of Watchmen has been in the works for almost 20 years and thanks to you, it is finally in the can. It has been such a pleasure to be surrounded by a team that is so dedicated and that has given 110% each and every day. I am extremely grateful for the level of attention to detail put forth by each department to capture all of the texture that makes Watchmen the incredibly unique property that it is. Although we still have a lot of work to do in post, the shoot has been an experience I will not soon forget! Thank you, -Zack P.S. While I'm in the process of thanking people, I figure it's a good time to say thanks to the Watchmen fans for all of their continued support. Since the crew got wrap gifts, I figured you deserved a little something as well. So, to bring a little closure to the previous "Storyboard" blog, I've included a frame from the film that shows what it looks like when it all comes together. Thanks!

As we approach the last days of shooting Watchmen -- yes, the end is nigh -- it's time to reflect on the whole Watchmen experience. I think back to January 2007 when I first met Zack and he walked me through his drawings for the title sequence. I remember my initial reaction was, How can we shoot all of it? Why do we have to shoot all that? And if we do, how do we shoot all of it? We spent the next two months scouting, researching and budgeting locations all over the world, including Australia, London, Prague, Spain -- at one point we even considered New York -- and, of course, Los Angeles.

I now sit in my Vancouver hotel room one year later, and guess what? We did shoot all of it -- every frame of it, and not just the title sequence drawings but all of Zack's drawings are now committed to film. The combination of modern-day technology and the level of artistic ability of so many people has made the Watchmen experience second to none. The spirit behind the making of this film was nothing short of total pleasure and love. As I wandered from room to room at the wrap party, there was not only a sense of accomplishment from everyone involved but a feeling of sadness that it's coming to an end. The one thing that remains for me is the anticipation and excitement of seeing the finished product, knowing that we’ve all worked on something very special.

Thank you Zack, for allowing me to be a part of it.

-Herb Gains Watchmen Executive Producer

Alongside the graphic novel, I always keep a copy of my storyboards with me on set. Storyboards are without a doubt, the most efficient way to communicate what’s in my head to all the departments throughout the project. Storyboards play a vital part in my process long before I start sharing them with my team. I’ve always storyboarded my commercials and movies. It is a key part of my process for envisioning the entire film from beginning to end. In addition to using that drawing time to figure out blocking and action, it is also when I can begin to get a sense of whether the dialog and pacing are working. As you can see from these frames, my storyboards aren’t necessarily super-finished art pieces on their own. I often find that the frames that get the most detail are the ones where I’m stalling - thinking of the next shots. In contrast, if I already have a sequence sorted out in my head, the boards tend to be much sketchier. In the past, once I had completed my sketches, I would have a clean up pass done by an artist. Lately, I have foregone that step. Instead, I opt to distribute my original boards. This speeds up the information dissemination process and also ensures that the boards going out to each of the various departments are 100% accurate and that no details are lost during an illustration polish pass. Once completed, the boards play a key role throughout pre-production, mapping out every frame that I intend to shoot. Visually presenting the what, where, why, who, when, etc. of every frame. This gives us a starting point for discussions. As we break down each frame, department by department, they help clarify everyone’s responsibilities, needs and expectations. The boards often spur discussions that raise important questions. Many times the answers to these questions are crucial to a successful shoot. Once we finish pre-production and start shooting, mini storyboard sides are distributed to the crew at the beginning of each day. Many of us refer back to them countless times on any given day. The bottom line is that, although it takes me a tremendous amount of time during pre-production to draw each and every frame (2,581 in the case of Watchmen), in the end, the shooting boards become one of my most useful tools. -Zack

On the movie backlot, like a sailor on shore leave, I gawp in wonder at a New York City that never really was. Once a Canadian lumber yard, it's become a complex of American city streets. At the corner, a Treasure Island store promises a bounty of pulp thrills; down the block, the Gunga Diner beckons, fully fitted out in chrome and purple leather and, over there, the Rumrunner sign looms luridly. Even the austere facade of the Institute For Extraspatial Studies can't spoil the gaudy fun. On an upper floor, I spot the windows of the Judomaster Martial Arts Studio. I’m stopped in my tracks. Judomaster? Detail piles on dizzying detail. Rain's falling hard now and I'm led inside, through a grubby little hovel crammed with dressmaking dummies, past the huge halls of Karnak, into Dan Dreiberg's homely brownstone and down to where the Owl Ship sits. I clamber aboard in giddy delight. The rest of the visit kaleidoscopes crazily by: I watch footage of Rorschach pulling Nite Owl off a bloodied Knot Top; I flip through an issue of the Black Freighter; on a laptop, I see raw CGI blocking for the Vietnam sequence; I hold a smiley face pin splattered with what looks like real human bean juice; sitting in my own personal director's chair, I sign dozens of books and posters for cast and crew... Finally, tired but happy, arms around my new buddies, costumed and otherwise, it's my turn to smile for the camera. A month later, I'm smiling still. -Dave Gibbons December 2007

It's perhaps the most surreal experience of my life. There they are, in a shadowy clubhouse, standing around a map of the USA, just as we'd imagined them. The smoke of the Comedian's cigar hangs in the air as I drink in the details of the scene. Framed old copies of The New York Gazette tell stories of past exploits; trophies glint in glass-fronted display cases; Moloch's solar weapon shines in a dusty corner and over there, on its mannequin stand, the faded costume of the original Nite Owl keeps silent vigil. Then, a sudden flash of unearthly blue light announces the arrival of Dr. Manhattan and the tableau comes to life. The voices of quarreling heroes rise and fall, a Zippo flares and the map catches fire. Somewhere, someone shouts "Cut!" And I'm standing amongst them. Nite Owl shakes my hand. The Comedian slaps me on the back. Silk Spectre smiles a dazzling greeting. I'm overwhelmed by the depth and detail of what I'm seeing. But more than that. I'm overwhelmed by the commitment, the passion, the palpable desire to do this right. I'm starting to feel a glow that eclipses even Dr. Manhattan's... -Dave Gibbons December 2007