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.
I like to draw my storyboards myself.
I've always pre-vized my movies, just on my own. Even when it was, like, zero-budget things, I used this programme to do storyboards because I can't draw that well.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
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.
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.
As I began making my feature films, it was a great adventure. It was about constructing something I saw in my head or I had designed on storyboards and capturing that on film.
To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process.
I've always written the storyboards for the music videos, and it's been hard working with directors trying to get them to understand what I'm thinking.
Comics have always been storyboards.
I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
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.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
Storyboards are kind of inflexible, once you finish making them you have to stick to them. Since animation takes such a long time you become a slave to a storyboard that was created four years ago while as an artist and storyteller you change, you have new ideas.
I have trouble working off things that are too preconceived, like storyboards.
I don't have storyboards, but I have some very strict rules, like not moving the camera.