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Tony Chance has been working as a storyboard artist for huge Hollywood films for the past 42 years and helped create some of the visualisations for the Disney film set to release on May 26 this year. 

However, Mr Chance remained tight-lipped when asked about his work on the film due to a non-disclosure agreement (NDA) he had to sign.

Throughout his career, Mr Chance has worked on blockbuster Bond films such as Spectre, which was released in 2015, and No Time to Die from 2021. 

A glimpse at some of Tony Chance's storyboards (Image: Tony Chance)

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But Mr Chance initially got his foot in the door when he was an extra in Frankenstein which was directed by Kenneth Branagh in 1994. 

He said: "That film was the first exposure to the big world of movies. If I hadn't been an extra for that film, I wouldn't have gotten into films. 

"Someone suggested I should audition for the role of an extra for a film and I didn't even know what that was.  

"When I was on set, I saw the art department and went in there with my portfolio and asked for a job.

A glimpse at some of Tony Chance's storyboards (Image: Tony Chance)

Although the production company, Paramount, gave him a job the film fell through and Mr Chance said he was left feeling a bit disappointed. 

But not that long after in 1995, Paramount bosses got back in touch with Mr Chance and asked him to be their illustrator on Mission Impossible.

He said: "I met Tom Cruise while working on that film." 

Throughout Mr Chance's career, he said he has also worked on Disney's live-action remake of Aladdin. 

He said: "With a film like Aladdin there is a lot of complex sequence work." 

Mr Chance also revealed some of the other storyboards he has created for other films he has worked on in the past.

He said: "A storyboard artist will typically sit down with the director and you'll go through the script of the film. 

"And while the director describes his vision to me and I will draw it.

"Other times I read the script and draw the storyboard according to how I see it and I plan out where the character can move and I draw it how I see it.

"Then I will work with the director will take a look afterwards and make edits.

"I've worked on face replacements, explosions, and overlaying shots in the past."