Justin Sweet Reflects on 20 Years of Disney’s ‘Narnia’ and Teases Return for The Magician’s Nephew (Exclusive)

When Disney and Walden Media’s The Chronicles of Narnia: The Lion, the Witch and the Wardrobe arrived in theaters twenty years ago, its world was the result of years of collaboration among many creatives — including concept artist Justin Sweet, whose work helped shape the early visual tones for Narnia.

Sweet would go on to contribute to Prince Caspian and The Voyage of the Dawn Treader, and for many fans, his artwork remains one of the most beloved elements of the trilogy.

With the film celebrating its 20th anniversary this December, we spoke with Sweet about discovering Narnia as a child, the creative process behind developing the look of the series, and what it was like collaborating with the filmmakers. We also asked whether he had discussions about returning for Greta Gerwig’s upcoming adaptation of The Magician’s Nephew.

Below is our full conversation.

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NarniaWeb: Can you share how you first became involved with Walden’s The Lion, the Witch and the Wardrobe? What were your first impressions when you heard you’d be helping bring Narnia to life?

Justin Sweet: I got involved because the production designer at the time, Grant Major, had seen some of my artwork in the annual Spectrum: The Best In Contemporary Fantastic Art book, in which I received an award for an illustration I did of a centaur. It was my first film job.

I was very excited as I had been a fan of C.S. Lewis all my life. In 3rd grade my teacher read our class The Lion, The Witch, and The Wardrobe. She asked us to illustrate our favourite part. I chose to illustrate what Lewis wrote with the line, “other creatures whom I won’t describe because if I did the grown-ups would probably not let you read this book”. I chose to draw and color a picture of Aslan flying through the air to fight those “other creatures”. My teacher had this framed and in her office for years until she retired and returned it to me.

NarniaWeb: In those early days, what was it like working with Andrew Adamson and team developing the project’s visual identity? What kind of direction or reference were you given?

JS: They were all great to work with. My favorite by far was Grant Major, and I was very disappointed when he left. I think there was probably some sort of art book of reference that Grant put together but mainly, it was ‘let’s just start painting pictures and see what starts to stick’. Most of what I was tasked with was more on the inspirational side.

NarniaWeb: Do you remember the first images you began working on?

JS: Lucy walking through Narnia for the first time. I still have some of those original drawings. I think I started sketching even before I started officially working on the film. I spent a lot of time illustrating scenes, usually with Aslan in them. I enjoyed working on the White Witch too. Lots of concepts of her.

NarniaWeb: Could you walk us through your process of developing the scene where the Pevensie children arrive at Aslan’s camp? How did you approach thumbnails/explorations before settling on this to work up to the final concept?

JS: I don’t remember exactly but I think that image just sort of came out of me. I don’t think there was any direction. Grant more or less just let me go with what inspired me and the image of the kids seeing Aslan for the first time was huge. I’d like to give that scene another shot someday…

NarniaWeb: How soon after LWW did you start working on Prince Caspian? What was it like getting to explore a notably darker story?

JS: I think I started as soon as pre-production started. I loved the whole idea of Prince Caspian. That there were these legends of creatures in the dark woods and that a place called Cair Paravel existed and could possibly be found. It was like us thinking about if there really was a King Arthur and a holy grail etc. A lot of mystery in the story. Reuniting with Legends and seeing Lucy meet Aslan again really moved me.

The Prince Caspian production moved to Prague, and I was allowed to fly over there and work on it. I brought my wife and 3 little kids and was housed in a little apartment 100 feet from the old Square. We were there for a few months and remember that time fondly.

NarniaWeb: Did you have a favourite character and environment to design for in Prince Caspian?

JS: Probably Lucy and Aslan’s reunion. I also liked doing concepts of the forest with Glenstorm and the other creatures. Lucy and Aslan was the heart of it for me though.

NarniaWeb You’ve mentioned before that working on The Voyage of The Dawn Treader was one of your favourite experiences working in film design. Why is that?

JS: Probably because I got to work with my two closest friends in an office right next to Michael Apted. We didn’t have a production designer initially and so it was just Michael coming in and chatting with us often about this and that. We all enjoyed Michael a lot. Michael pretty much said ‘paint what inspires you’ — so we did.

NarniaWeb: ‘Dawn Treader’ started development very early, even before filming on Prince Caspian, and went through several script iterations. What were some of your favourite ideas or concepts that ended up getting cut?

JS: I think there was probably quite a bit but I don’t know if I can recall [the movie] now, haven’t seen it in many years. I do remember being disappointed though.

NarniaWeb: What tools or techniques did you use to create your designs? Do you have a preference? (Question from Forum Moderator Starkat)

JS: I’d usually start doodling in my sketchbook. Once I found something interesting, I’d scan it in and paint it up in Corel painter and or Photoshop. Sometimes a sketch might actually get some watercolor that I’d then scan in and finish digitally.

NarniaWeb: Regarding the unused concept of the albatross and Lucy in ‘Dawn Treader’, what was the brief and thought process on this design? (Question from Patreon supporter ElykRindon the Emerald Minotaur)

JW: One of the best scenes in the story. “Courage dear heart,” and the voice, she felt sure, was Aslan’s, and with the voice a delicious smell breathed in her face.”

There was no brief on this from anyone —just me, recognizing what Lewis was saying here and wanting to illustrate it. As a man of Faith, it was powerful to me.

NarniaWeb: Do you have a favourite Narnia book, and what do you love about it? (Question from Patreon supporter Bethuel)

JW: I don’t know if I have a favorite. I recently went through them all again in audio format and loved different things about them all. Favorite scenes were some of the stuff I’ve already mentioned. If I had to pick one, maybe the Voyage of the Dawn Treader?

I liked Eustace’s story with Aslan. I liked the episodic, almost psychedelic quality. Ramandu’s island with his daughter, Star Girl. So much cool stuff in that book. We had a great playlist of music in our little office with that show, Joni Mitchell’s ‘Dawn Treader‘ was of course in there. I remember Douglas Gresham coming in there once with some of his assistants.

NarniaWeb: Are there any images across the three films that you’re most proud of or have stuck with you? (Question from NarniaWeb’s Graphic Designer AJAiken)

JS: There were a couple that I did of Lucy and Aslan that mean a lot to me. My daughter was the model for those. I’m sure there are others.

NarniaWeb: Netflix and Greta Gerwig are set to release an adaptation of The Magician’s Nephew next year. You’ve worked with its production designer, James Chinlund, before on The Lion King — were there any conversations to return to Narnia?

JS: Honestly, not sure what I can say about that other than maybe I did return to Narnia…

NarniaWeb: Looking back twenty years later, what stands out to you most about your experience working on The Lion, the Witch and the Wardrobe and the Narnia series?

JS: I was given a lot of freedom to paint what inspired me, which isn’t generally how things work as a concept artist for film. I had some great times being involved on those films. I think my approach is more or less the same. The better projects for me are the ones that I can connect to emotionally. The Narnia books were surely that.

You can find more of Justin Sweet’s work on his website and Instagram account.