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

After a couple months of shooting at various locations and on stages, last week we finally made the transition to our New York City backlot. Since the New York City that is rendered in the graphic novel is so particular, it was very important to me that our backlot speak the same language, the vernacular of WATCHMEN. In addition, the backlot needs to function as many different parts of the city, countless store fronts, street corners, alleys, etc. So, with that in mind, we set out to build own own custom backlot here in Vancouver, BC. In my opinion, the results speak for themselves. Thanks to all of the many talented people who contributed to making this backlot a reality! Here are a few interesting facts about the backlot: • 5,800 feet of neon requiring 24,000 watts of power • 100 unique and custom-designed graphics created for the various storefronts • 5,000 square feet of custom posters • Street had to work for 1938, 1945, 1953, 1957, 1964, 1974, 1975, 1977, and 1985 • 1,040 feet of 1:1 scale New York streets • 98,400 square feet of exterior scenery • 12,500 square feet of interior scenery • Building heights range from 23'9" to 42'6" • 10,325 16-foot 2x4s • 3,600 sheets of OSB (plywood-like construction material) • 384,000 square feet of foam brick • 200,000 nails • 3,500 tubes of construction adhesive • 160,000 lbs. of steel I-beams support the facades • 300 cubic meters of concrete • 6,000 square feet of glass • 4,800 square feet of plexiglass • 20,000 donuts were consumed by the construction crew • 20,000 gallons of water and 3,000 gallons of Gatorade was drunk by the crew -Zack

Here’s a quick peek of the "War Room" at the production office. It’s a huge space. We used this room frequently for meetings during pre-production. Surrounding the many seats and long tables in the middle of the room, all the walls are covered and sectioned off into individual scenes – all the concept art, visual reference and any other related materials are grouped together for display. One of the things I love about the graphic novel is the incredible attention to detail. Here in the war room, we have created a place where all the departments can combine and display applicable reference, rendering a similar level of detail. From set concepts, to location photos, concepts for props, costumes, vehicles and even product logos, the surrounding walls incorporate it all. These walls are very useful in helping us keep track of so many different elements. Walking through this room gives one a real sense of each set or location – outlining the overall vibe of what we’re trying to create. I feel like this room captures the essence of having a clear blueprint for everyone to ensure that everyone is working toward the same vision. If you happen to be checking these pictures out wishing you could see more of the art, I assure you that sometime in November I will post a series of first look photos to show you in more detail what we’ve been up to. Please stay tuned. -Zack