A month or so later Coolio reached out to Gary and said he needed some 3D for some projects he wanted, mainly a laser disk and website project and he wanted Gary to move to Los Angeles to be nearby. Soon after, I joined him to provide the concept art from which he could model. And now working for Coolio was paying our rent. We used this time for Coolio’s project, and to further our Status Crow project. We’d show Coolio our progress on our film concept and he started to get really excited. Proud to see his likeness as the main character. He’d offer advice here and there, but pretty much let us do our thing.
Once we had Coolio on board we were able to leverage this to get meetings with the likes of Film Roman, the producers of the Simpsons, among others. Still, our project seemed too dark for anyone to take on. We continued working on our project in LA as we finished our work with Coolio. Then we worked for his producer on some 3D projects and after a few months time, things sort of fizzled out. I moved back to San Diego to continue working freelance in art and design. This is about the time my pastel work started to take off so my focus shifted and the group grew apart.
Every once in a while I wonder what this whole project was all about. I’m one of those “everything happens for a reason” people, and the way those things came together as quickly as they did, seemed like some sort of witchcraft happening. It could’ve been that Gary and his work was inspiration for me for something later to come in my life. Who knows. Until then, I have some pretty unique memories of a wild set of circumstances that led to one crazy winter in LA in 1997. Now I know when a group of random people want to see my sketchbook, I’ll hand it over without even thinking its weird this time. It may just be the one crazy LA adventure that doesn’t fizzle out.