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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.
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.
I write scripts in storyboard fashion using stick figures, and thought balloons and word balloons and captions. Then I'll write descriptions of what scenes should look like and turn it over to the artist.
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.
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.
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 only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
The first thing I put down on paper is a storyboard, like a film director.
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.
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.
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.
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.
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.
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 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.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
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