A Quote by Craig McCracken
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.
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If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.
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.
If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
I storyboard every shot of my thrillers in general. I draw them out and do them.
So in terms of a large part of the job on our show specifically, what makes the show complex and interesting and funnier are the conversations about "Where's the camera?" and "How aware are the characters of the camera? Are the cameras hidden for this shot? Is it a spy shot from far away? Or is it really close and in their face, and they sort of have to play to it in an embarrassing situation?" There's a whole other level of questions and choices that come into play on our show that are not even a factor in anything else.
I don't worry about the last shot or the next shot. I concentrate. Every shot gets a clean slate. And when a shot is over, I wipe it out absolutely. Tell a joke or something. If you worry about how you looked, how well you did, you'll go insane.
I felt I have gifted my wicket. So more than technique, I need to work on my shot selection, I need to decide which ball to be hit, I was going for every shot.
After college, I really looked at every single shot that I shot. Pretty much every shot in my sophomore year and my junior year and just watched my form. I watched how I shot it from 3, and I just noticed I was a very undisciplined shooter.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
You'll still work with some directors where that doesn't happen, and sometimes it's out of necessity because you're in a really complicated, choreographed fight scene and the whole thing is being prevised in a computer, so it's been decided months before, but I think that's sneaking into the way action scenes are shot.
In uniform, I had to make judgments about the best course of action in combat when the only choices were 'bad' or 'worse.' As a member of the media, I only had to decide how to get the best 'shot' - preferably without getting shot.
That's the storyboard that we have in the beginning [of Valerian]. It's an easy shot. It's just a spaceship coming in. That's the first layout. On the first layout, we see the timing of the shot and the speed. It starts to get some shadows, and we see that everything is moving in the back.
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.
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