Word: storyboard
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Dates: during 1980-1989
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...Today those cartoons are deemed big art, and Roger Rabbit is big business. The film cost about a zillion simoleons (well, $35 million) and carries a humongous 739 names on the credits (not including Kathleen Turner, who lends her voice to Jessica). Something got lost in the move from storyboard to screen, and in the stretch from seven minutes to 103. From sad experience, Disney and Spielberg should know the perils of paying huge homage to modest genres, yet Roger Rabbit has the odor of a Toontown Tron, a 1941 for 1988. Zemeckis deserves credit for his will...
Graphic novels use, as the comics have for some time now, a whole battery of movie techniques. An artist like Miller or Dave Gibbons, who worked on Watchmen with Moore, can storyboard a zoom, a cross-fade, a jump cut or a lap dissolve with a deft immediacy that would beat many directors at their own game. Indeed, for anyone used to working the controls on a Laserdisc or VCR, freezing the frame or strobing the action, the expansive technique of graphic novels will seem comfortable and accessible...
...year-old president and chief executive. One McDonald's spot, called "Silent Persuasion," in which one deaf student uses sign language to propose to another that they visit a McDonald's on the way to the beach, was the second most popular U.S. commercial of 1986, according to Video Storyboard Tests, which polls consumers...
What is the most familiar U.S. advertisement? For years the answer was the Marlboro Man, an American icon who helped make the Philip Morris cigarette the nation's best-selling brand. No longer. According to the latest report from Video Storyboard Tests, a New York City firm that rates the ten most noticed print ads, Marlboro has been edged out by Calvin Klein, the designer whose suggestive series of underwear ads first appeared in 1982. Says Dave Vadehra, president of Video Storyboard Tests: "Calvin Klein has managed to do in three years what it took Marlboro 20 years...
...hands. The camera then focuses on the comic book as it lies in the front lawn garbage can, letting the wind-ruffled pages tell each story by segueing from animated stills to live film and back again. Other devices borrowed from comics are the occasional intrusion of storyboard frames, dialogue boxes, and in moments of horror, the heightening of unrealistic background colors...