A Quote by Kenneth Lonergan
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.
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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'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 like to draw my storyboards myself.
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 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.
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.
Comics have always been storyboards.
Coincidences always happen if you keep your mind open, while storyboards remain the instruments of cowards who do not trust in their own imagination and who are slaves of a matrix If you get used to planning your shots based solely on aesthetics, you are never that far from kitsch.
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.
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.
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.
I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
You can tell a story clearly in the storyboards, but if you don't keep the correct focus in the animation, it can be ruined.
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.
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