Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation
Francis Glebas
Language: English
Pages: 360
ISBN: 0240810767
Format: PDF / Kindle (mobi) / ePub
Francis Glebas, a top Disney storyboard artist, teaches artists a structural approach to clearly and dramatically presenting visual stories. They will learn classic visual storytelling techniques such as conveying meaning with images and directing the viewer's eye. Glebas also teaches how to spot potential problems before they cost time and money, and he offers creative solutions on how to solve them.
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from overwhelming the audience and get them to see what we want them to? It’s simple: We point the camera at our subject and choose what goes in the frame. In effect, every shot is a closeup. But wait, what about all those charts in film books that show wide shots, medium shots, close-ups, and extreme close-ups? The description of shot sizes is useful for a director to communicate their vision to their crew, for instance a shot list will call for a long shot, over-the-shoulder medium shot, or
Story Functions ....................................................................... 282 The Hero’s Journey or the Neurotic’s Road Trip ...................... 283 Three Levels of Story Analysis ................................................... 285 Mentors ......................................................................................... 286 Paradigms of Changing the Impossible to the Possible ......... 287 Ending, Beginning, and Turning Points .......................................
lower teeth.” VENTRILOQUIST: “And third, they make the dummy’s lips move when they want the dummy to talk. This distracts the audience. For example, when I want you to talk, I will move your lips and the audience will watch you.” DUMMY: “Are you calling me a dummy? I’ll have you know I’m a vent figure. That is short for ventriloquist figure.” VENTRILOQUIST: “Oh, one more thing, they direct the audience’s attention to the vent figure by looking at him and engaging with him as if he is real. Please
Pocahontas alone, which is exactly how she felt. The images didn’t match the story we were trying to tell. However, I felt that it could be more. So I asked for the opportunity to rework the sequence. Now, how would I do this? Pocahontas had the unique distinction of being Disney’s first feature to run counter to the Disney brand. This wasn’t going to be a “happy ever after” movie. Originally, the film was to be modeled after Romeo and Juliet and West Side Story. They thought they had a tragedy.
It has to be one of the most passionate kisses in film in close-up. It is as if their souls are one and should never be parted. The moment needs to linger. How do you show they don’t want to part? Their hands slowly, painfully part. Remember, it is all about story-delaying. Pocahontas waves good-bye, the one Pocahontas taught to John Smith earlier in the film. It is all the more poignant because Smith had said let’s stick with “Hello.” 186 How to Direct the Eyes In order to convey how alone