Top 54 Storyboard Quotes & Sayings

Maybe I'd be a storyboard artist. Graphic novel/comic book artist. Backup dancer. Singer. It would be cool to focus on one of these full time. But I like seeing them all intertwine.

I started in the P.A. world and craft service and storyboard artist, with the eye on the prize of directing. When I was directing second unit on Babel, I ended up casting most of the unknown parts. In these weird circles, I was this guy who found these kids on the streets.

You walk on a set, and you have no idea - that's why I don't storyboard. It's all possible.

We are not accountants, We are not accountants who do number after number after number of storyboard images, a robot could do it ultimately, but what I'm doing a robot cannot do.

When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.

I didn't know the technical language of filmmaking, so I said, 'OK, I'm going to do my own storyboard,' because I had to explain to the crew and the technical people what I wanted.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

The good thing about being in advertising was a lot of the skills cross over: you have to be accountable for your jokes; you have to tell a story quickly. It's the most expensive filmmaking foot-for-foot in the world, so it does teach you how to use all of the machines and how to think of things in terms of the physical process of capturing the images. And you have to sell your work. You have to walk into whatever it is and stand up in the middle of a conference room with a storyboard in your hand and make people laugh.

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.

I like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.

That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.

I try to always be open to what the actors want to try. I don't storyboard and try to be intuitive and open on the day of filming.

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.

I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.

One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.

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.

A lot of shows are more script-driven, like a prose script. As an actor, you never see a storyboard.

Animation is so much work! I don't know if I have the skills to really hack that. Maybe as storyboard artist or something like that. But you have to go to school to be an animator. I can't just pop behind the animator's table and be like, "Here I am.".

I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.

If you just storyboard something, you've already planned it, and you're stuck in the limitations of your imagination.

In the Indian system of filmmaking, you don't plan well in advance, stick to a storyboard, or deliver only the scripted lines.

In a sense, comic books are frozen movies. If you look at a comic book, you are generally seeing the storyboard for a film. The great advantage of comic books, over the years, has been that, if they are frozen movies, they are not limited by budget. They are only limited by imagination.

We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.

The author describes how impressed she was with the detailed storyboards that outlined her movie – "not just sketches, but real art". She then describes a Hawaiian sunset as, "God painting His storyboard on the sky".

I'm not at my house storyboarding, and telling them they need to move from A to B, 'Move here and then there.' Never, ever! I used to storyboard when I was much less experienced.

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 first thing I put down on paper is a storyboard, like a film director.

I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.

We couldn't be happier with our Storyboard team's effort.

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.

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 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.

As a storyboard artist, you have to be able to draw anything.

I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.

I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.

I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.

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.

Of course there's a value in a storyboard if you do a big - let's say an action movie and actors have to move and act in front of a green screen because entire backgrounds exploding and cars flying through there have to be created separately, and in this case you better make sure the actors are precisely placed and the background action is moving in a certain moment, for this type of film you would need a storyboard.

We think that helps bring it up to a place where our storyboard writers then get the opportunity to be able to take that energy and really bring it to the show. I credit that entirely to our cast.

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.

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.

I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.

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.

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.

When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.

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.

The storyboard for me is the way to visualise the entire movie in advance.

I storyboard every shot of my thrillers in general. I draw them out and do them.

I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.

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.

The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.