Issue link: https://digital.copcomm.com/i/1546606
When I taught a storyboarding class at Otis College of Art and Design, I told my students that a storyboard is not a drawing so much as it is a tool for facilitating the physical production. As artists, we can obsess over rendering an image all day, but unless we are greasing the wheels of inter- departmental communication, we're just wasting everyone's time. It's always fun to watch a movie I've worked on for months (and sometimes years) and see how closely the final images compare to the ones we originally crafted. Obviously, there are factors that enter into physical production that will necessitate change from the ideally envisioned, best-case scenario, dream shot sketched out long ago, in a sterile environment, unstrained by the realities of shoot schedules and production budgets. But sometimes what we drew is what gets shot. Much of what Zach Cregger and his crew planned for in the storyboards were executed directly onscreen. Even though I know exactly what's going to happen, I still expect it to scare the $#!% out of me—but this time, I promise to watch it all in one sitting. ADG