The storyboard for me is the way to visualise the entire movie in advance.
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.
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.
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.
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.
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.
I storyboard every shot of my thrillers in general. I draw them out and do them.
We couldn't be happier with our Storyboard team's effort.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
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.
