Hildebrandt is a name that is synonymous with Star Wars.
From the very beginning, Greg and Tim Hildebrandt collaborated on many Star Wars art projects and the multimedia release of Shadows of the Empire was no stranger to them either. The Brothers Hildebrandt were tasked to create a trading card series, which had 100 cards in the set for Topps.
We recently caught up with Greg and asked him about the Shadows project and their involvement.
Jedi News – Hello there Greg, welcome to Jedi News! How are you?
Greg Hildebrandt – I’m good thanks.
At the start of your career, you and Tim held on to the dream of working as animators for Disney. What specifically drew you and Tim to art and animation from a young age?
Walt Disney’s Pinocchio. We saw it when we were 6 years old. That was the very beginning of our obsession with animation and art in general. Tim and I had no idea what animation was. But we left the theatre and we knew we had to figure out what it was and how to do it. It was also reading all the illustrated books that our parents had like the N.C. Wyeth series of adventures and Gustaf Tenggrens illustrated children’s books. We also had a great love of comic strips and comic books.
What was it like to share that passion with your brother and work with him so closely throughout your career?
Tim and I worked next to each other most of our lives. With the exception of 1981 to 1993 when we went our own ways. The years we did work together we worked side by side. We discussed every aspect of the pieces we created with each other. It was more like one person with two bodies.
The first time the Hildebrandt name came to mean anything to me was when I used to walk past the Odeon Cinema in Wolverhampton, UK in late 1977. A certain film was about to land in the UK and a poster was displayed on the wall outside where they advertised the movies that were ‘Coming Soon’. I used to stand and gaze it at longingly letting it transport me to a galaxy far, far away. The Star Wars ‘style B’ poster for me is the most iconic movie poster ever produced and it evokes so many happy memories. What do you recall from the design and production of this poster?
The original composition for that poster was created by Tom Jung. We got a call from the ad agency in NY that they had a rush job. They knew Tim and I were very fast so we went in. They knew nothing about the movie. We were told it was a Sci-Fi film and that the big guy resembled The Man in the Iron Mask. They gave us a few B/W movie stills, told us no one knew the actors so likeness didn’t matter, and that they needed it back right away. They wanted the basic composition from the Jung design but they wanted it more comic booky. George Lucas was very specific that he wanted it to have a comic book sense to it. He also knew that Tim and I had a following from our recent success with our first Lord Of The Rings calendar in 1976. We analyzed the idea of Comic Booky on the train ride home. We figured that Lucas wanted high contrast with stronger colors. We painted it in 36 hours round the clock. Brought it into the agency in NY. They photographed it and sent a photo overnight to Lucas. The next moring the asked us to come back in which we did. Lucas wanted us to paint our signature larger which we did at the agency. I suggested that the space in the lower right portion was too emptry. I suggest that we add the big hairy guy. They called Lucas and he asked us to add the droids instead. We went to an art store in NY. Bought the paint and brushes went back to the agency, painted in R2D2 and C3PO and went home.
Just over a year ago you posted a YouTube video looking back at the Shadows trading cards and the artwork you developed with your brother Tim. You talk fondly of the project. What do you remember from the initial meetings about developing the Topps trading cards for Shadows?
Initially we met with Ira Friedman, President at Topps. This was going to be a big project for Topps and we all wanted it to be great. They did not have a lot of reference to give us. We contacted an UBER FAN who had dozens of Star Wars costumes. He was a lawyer by day and a geek by night. Boy were we happy we found him. For at least a week we had storm troopers and Darth Vader and the droids walking around our studio as we did our posing sessions. This was the second massive trading card set we were doing. Our first for Marvel was 158 paintings. So doing 100 Star Wars seemed that it was going to be easier and quicker. All of our sketches had to be approved by Topps and Lucasfilm. So it actually took about that same amount of time as the Marvel set.
We really enjoyed working with Ira and everyone at Topps and Lucasfilm. When it was ready to lauch we were invited to San Diego Comic Con as guests of Topps. They surprised us and at the end of the convention they took us to Skywalker Ranch for a day. Now that was a treat!
I have read that part of your creative process is to use models to pose for stills for you to help create the final image. Can you explain the process you use for this?
It is very simple. First we do a rough sketch then we pick the models. Then we pose the models in costume in the lighting set ups that we have decided on in our sketches. Then we do final sketches and then we transfer those sketches to either board or canvas and paint. It sounds simple it is not. You have to understand composition, attitude, lighting and photography.
What research did you undertake before starting the rough sketching for the Topps card series?
Very little. They gave us a pre production book copy of Shadows. We read the book. Outlined the possible scenes. And started rough sketches.
How collaboratively did you have to work with the team at LucasArts and Steve Perry (novel author) during the creative process?
We never met Steve. We rarely spoke to Lucas’s people. Our agent Jean Scrocco was the inbetween. Any and all conversation was between Jean and Topps and Lucasfilm. We painted very long hours for a number of months. If Topps or Lucasfilm wanted a change in a piece they told Jean and Jean told us. It is the way I have been working with her for 41 years. It has allowed me to focus on my art. Jean takes care of everything else for me.
Are there any characters that you created specifically for Shadows in these paintings?
No the characters were all by Lucasfilm.
Do you create the artwork used for trading cards on medium of the same dimensions or are they larger and reduced for the printing process?
If I had to paint anything the size of a trading card I would go mad. I also would not do it. Most of these paintings were were 11 x 17 inches and some were as large as 36 inches tall.
There are many tools in the weaponry of an artist. Pencils, oil paints, weather colours, pens… the list seems endless, but what is your preferred medium for creating art to be used in this way?
I have tried most mediums in my career. Tim and I tried oils once and the drying time made us nuts. So we landed on acrylic paint many years ago and we have used it primarily since we were young. My weaponry is a pencil, paper, a brush, acrylic paint and canvas.
To create 100 images must have been a tall order. How did you select the subject for each image?
We read the book and marked off 150 possibilities. Went back and decided which were the best 100 and that was that.
Is there an image which is your personal favourite that you produced for Shadows?
I never have favorites. I always look at what is on my easel as my favorite.
How aware are you of the impact Shadows has had on so many fans of Star Wars?
Actually not aware at all of that impact.
What can you remember from the launch of Shadows?
Nothing except for the San Diego Comic Con show.
What can you recall from the launch at San Diego Comic Con?
In the middle of San Diego in the main aisle at the intersection of the Topps and Lucasfilm and Marvel booths my brother, Tim who was a diabetic went into a dangerous low blood sugar reaction. He began to shout and curse loudly and a few hundred people gathered round to watch. They thought it was a show that Tim decided to put on for the crowd. I knew his sugar was dropping like a rock. So I broke though the crowd tackled my brother to the floor, while screaming for a medic I poured orange juice down this throat and the crowd watched in horror. Once he came around they cheered as he was rolled away on a stretcher. He was fine and he was back on the floor in an hour. That memory will stick with me forever.
Wow, I’m not surprised that memory would stick with you!
You had quite an illustrious career and worked on many Star Wars projects, how did Shadows rate amongst those projects?
I look at all my Star Wars are equally. As I said I don’t have favorites.
Shadows was a true multimedia release that included the novel, comic, soundtrack, video game, toys, trading cards and more. Do you own any memorabilia from Shadows?
Yes, I have a Don Post Xizor head mask and hands. Xizor was a favorite of Jean’s so she bought them for me.
You post frequently on your YouTube channel and the videos are really interesting. Are you still actively working? If so, what are your current projects?
I paint between 6-7 days a week every week. I have a white board in my studio that Jean endlessly adds jobs to. Which I greatly appreciate as I am still doing what I love at 82. I am presently painting a Lady Death commission. Then I go to Godzilla fighting Tiamat, a 5 headed dragon. Then I start designing for The Trans-Siberian Orchestra’s Winter tour. And somewhere in there I think I may take a vacation.
Greg, it has been absolute honour and pleasure to speak to you and we would like to extend a huge Jedi News thank you to you for being part of our Shadows of the Empire 25th Anniversary celebration.
Thank you very much for including me. I cannot believe it has been 25 years. So much art still yet to do. Be safe everyone.
Greg Hildebrandt is still busy working on new art projects. He posts regular updates on his YouTube channel and you can also visit his website or follow him on Instagram and Twitter.
The team at Jedi News would like to say a big thank you to Greg and Jean Scrocco for taking the time to talk to us.
