Word: storyboard
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Producer-director John Kricfalusi examines the storyboard for a future episode of The Ren & Stimpy Show. Beaming with satisfaction, he congratulates the staff. "This is it," he announces. "Not a glimmer of good taste anywhere...
...director of Tate, she amassed storyboard details on each scene -- not just the camera blocking but the underlying emotions of each character. "Films are too important not to have a drawn road map," she says. "I won't wing it. When I come into a shot, I always have an idea." She has an idea too of the field-marshalry of directing a movie. "You must learn to lead, to be a benevolent king. You try to communicate your vision and monitor those who don't get it. I feel safe there. I can be vulnerable. The code is, they...
...director, Ethan as the producer and both as screenwriters; but it is hard to tell where one leaves off and the other begins. Nor will they discuss the quite separate private lives they lead when they leave the Manhattan studio apartment where they meet every day to write and storyboard their films. They also refuse to lay out the meanings of their films or make any large moral claims for them. They say the Barton Fink script arose in part out of a writing block of their own, in part out of a desire to write a good role...
...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...