Issue link: https://digital.copcomm.com/i/760821
DGA QUARTERLY 35 PHOTOS: STORYBOARDS COURTESY OF RIDLEY SCOTT; (TOP, RIGHT) DGA ARCHIVES You gotta make believe that you're in a game, it's the ninth inning, you're playing shortstop, the bases are loaded, and it's two out. And there you are at shortstop and what you're thinking determines what to be. If you're thinking, "Oh, the crowd's going to be looking at me, I hope my hat looks good, I hope my head looks good from behind," then you should be an actor. If you're thinking, "They're going to hit the ball to me, it's going to bounce up, hit me in my lip, I'm going to bleed and crawl and get the ball and throw to fi rst," then you should be a writer. If you're sitting there thinking, "You know, there's not enough people in this stadium. Why didn't they advertise this game more, this is exciting," then you should be a producer. If you're sitting there thinking, "Well, the ball comes to me, I can throw to second for the double play, or I have a choice, I could throw to fi rst. Or, I could turn and throw home." If you're thinking that then you should be a fi lm editor. If you're thinking, "You know what? The ball could come to me, it could bounce at my chest and I could lose the game. It'll be all my fault., I should feign a stomach ache and get outta here so it couldn't be my fault." If that's what you are thinking, you should be the head of a studio or the head of a network. … Finally, if you're sitting there thinking at shortstop, bases loaded, two outs in the ninth, "Hit the ball to me, I'll make the play, just gimme the ball, I'll get us out of this," then you should be a fi lm director. That's how I picked becoming a fi lm director. » For more on Scott's story- boards, the USC School of Cinematic Arts will be exhibiting a collec- tion of his work in January 2017. FOCUS I N M E M O R I A M Garry Marshall Cinematic H E V I S I O N, J O Y and camaraderie Garry brought to life didn't stop behind the camera. He channeled his love for the craft of di- recting into serving our Guild—dedicating himself to protecting the creative rights of its members, as well as teaching newer genera- tions of directors how hard-fought the DGA's journey has been, and the importance of carrying it forward. All the while, he kept us smiling—no mean feat. The following is an excerpt from his DGA visual history about how you know if you are suited to be a director, refl ecting the wit and wisdom he shared with us all. How You Know If You're Suited to Be a Director T Ridley Scott, who will receive the Lifetime Achievement Award for Distinguished Achievement in Motion Picture Direction at the 69th Annual DGA Awards in 2017, is famous for drawing the storyboards for his fi lms. Scott trained as a painter at London's Royal College of Art, and his storyboards allow him to fully envision a scene before the cameras roll. Here is a look at a few of Scott's renderings for Alien. Ridley Scott: Master Artist S T O R Y B O A R D S