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.
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.
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 think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.
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.
We couldn't be happier with our Storyboard team's effort.
A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.
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 for me is the way to visualise the entire movie in advance.
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'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.
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.
In manga, nothing actually moves, and you just have to draw the poses in each panel, but in anime, you have to draw the movements between those poses.
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 roughly draw the scene beforehand to be more confident on the set. Instead of talking and explaining certain things, I try to visually communicate the scene to my team with the story board. This is how I work.
