Pablo Lara H, Bronson, Illustration, Nicolas Winding Refn 

A man escaping inward.




T he international famous Tom Hardy'd had an remarkable career in movies, since Inception or Black Hawk Down. But the most compelling images you can find on his movies are displayed at Bronson, not because of the visual effects nor the CGI. It is just because a brilliant mind is behind the aesthetics of the entire film.
The director Nicolas Winding Refn has a list of beautiful cinematographic masterpieces, like Valhalla Rising, Drive or The Neon Demon. All of them have in common the striking visual and the beautiful actors. 
I chose Bronson because it portraits Tom Hardy as a super macho man with this fighting problem, living in jail, punching everybody, full of violence. I feel like Jean Genet right now. 
So, there is a lot of symbols throughout the movie, like colors (lot of blues and reds), and the vertical lines in the background.


"Bronson is a 2008 British biographical crime drama film co-written and directed by Nicolas Winding Refn and starring Tom Hardy as Michael Peterson, known from 1987 as Charles Bronson. The film follows the life of this notorious prisoner, known for violent attacks against other prisoners, guards, and governors in prison; protests, armed robbery, and art. He was renamed Charles Bronson by his fight promoter, for his bare-knuckle fighting years. "

Wikipedia



Also, please check this interesting small essay by Sean Pettis talking about the movie psychology and symbolism.

Bronson - Psychology and Symbolism from Cinema Psychobabble on Vimeo.




And the sketches:
In this one, I finally decided not to include the naked Tom.


Pablo Lara H, Bronson, Illustration, Nicolas Winding Refn



Mr. Refn was skeptical at first. “I didn’t want to do another movie about crime,” he said. “But I was interested in the concept of someone who transformed himself and created his own mythology” — to the extent of renaming himself after the tough-guy actor Charles Bronson. Mr. Refn said he radically revised the existing screenplay. He added: “This is not a movie about a man escaping outward, which is usually the objective of prison movies, but about a man escaping inward.”

The New Yorker 2009 Interview NWR





Behind the Scenes:


Technique: Sketch in traditional way.
Final illustration: Digital.
Pencil: Faber-Castell 2b
Paper: Canson 300 m/g


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