I want to have the fun of doing anime and I love anime, but I can't do storyboards because I can't really draw and that's what they live and die on.
I have trouble working off things that are too preconceived, like storyboards.
For a film I shot on the most difficult mountain on God's wide earth in Patagonia for a sequence where there was high probability some digital effects were needed, somebody made storyboards and I quickly ignored them, after half an hour I ignored them and I never used any digital effect.
I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.
Bringing words to life, storyboards show you things that words can't.
In silent films, quite complex plots are built around action, setting, and the actors' gestures and facial expressions, with a very few storyboards to nail down specific plot points.
Comics have always been storyboards.
One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.
I like to draw my storyboards myself.
You have to make sure that people are still motivated and happy and creatively challenged so that it can all be stitched together. The voice acting starts after a lot of the storyboards are done.
I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times.
I think drawing is really the basis of all art, even sculpture, film. The greatest filmmakers have always been able to at least roughly sketch out their ideas in storyboards. And black and white in particular is a good place to start.
When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers.
