Derek Thompson storyboarded eight episodes for the Cleopatra in Space TV series. He is known for his work on Phineas and Ferb, The Iron Giant, and The Prince of Egypt. He also was an animation timer for Futurama, a colorist for Lucas Brothers: On Drugs, animation director for two of Futurama's made-for-TV movies (Into the Wild Green Yonder and Bender's Big Score), animator (and storyboard revisionist) for Tom and Jerry Tales and character layout artist for The Simpsons Movie, along with much more. He was also a storyboarder for Mission Force One,Brickleberry, Duck Dodgers, X-Men: Evolution, Cars 2, and The Drawn Together Movie!. In his words, he has worked in "every aspect" of the animation industry for the past 20 years.
He lives in Canyon County, California with his wife Crystal Chesney (known for her work on The Simpsons Movie and The SpongeBobs SquarePants Movie) and children. He enjoys rock climbing and martial arts in his free time.
- Derek Thompson's IMDB page
- Derek Thompson's LinkedIn page
- As stated on IMDB
- He was also a story artist for Brave, animation timer for Sit Down Shut Up, animation timer for Drawn Together (for which he was also a storyboard artist), animator for various shows (Curious George, Cock-a-Doodle-Duel, Hare and Loathing in Las Vegas, My Generation G... G... Gap, Leprechaun 6: Back 2 Tha Hood, Museum Scream, Looney Tunes: Back in Action, Little Go Beep, The Tigger Movie, and Quest for Camelot. He was also am assistant director of four Phineas and Ferb episodes (also directed two episodes), and two Sit Down Shut Up episodes.
- On his LinkedIn page he says that "Having worked in the industry, first as an animator, and then in story, I have worked in every aspect of the industry over the past 25 years. I have done development for several shows and have storyboarded and animated on others and I have timed and written for yet other productions. Story boarding has been very rewarding over the past 10 years and with tech like Story board pro I am able to do so much more so I have a bigger impact on what the final piece looks like. How I envision it is pretty close to what I present to the client or executive. A bit scary because if they don't like it, its all on me but more often its very well received and there is very little changed. there is real ownership when you have boarded the entire episode. sure its a lot of work but I wouldn't have it any other way. all these years and I still love visual story telling."