Quotes of All Topics . Occasions . Authors
As a storyboard artist, you have to be able to draw anything.
The first thing I put down on paper is a storyboard, like a film director.
You walk on a set, and you have no idea - that's why I don't storyboard. It's all possible.
I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.
I definitely storyboard, but I only start once I have cast and location. I like to find the world first.
I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
If you just storyboard something, you've already planned it, and you're stuck in the limitations of your imagination.
In the Indian system of filmmaking, you don't plan well in advance, stick to a storyboard, or deliver only the scripted lines.
I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.
The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.
When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.
A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
I'm not at my house storyboarding, and telling them they need to move from A to B, 'Move here and then there.' Never, ever! I used to storyboard when I was much less experienced.
I didn't know the technical language of filmmaking, so I said, 'OK, I'm going to do my own storyboard,' because I had to explain to the crew and the technical people what I wanted.
On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
I put the storyboard down and came back to it like two weeks later and saw that I had written 'Butt-Head' next to the picture, and it kind of made me laugh and I thought, Well, might as well go for every laugh you can get.
When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.
Interestingly enough, the storyboard... that I did for 'Psycho' went precisely as I laid it up, and there was no change on that. And frankly, I myself at that point didn't even really understand the impact that some of these things would have.
I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.
I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.
I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.