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Directing the story: professional storytelling and storyboarding techniques for live action and animation
Author
Publisher
Elsevier/Focal Press
Publication Date
[2009]
Language
English
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Description
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Table of Contents
From the Book
Preface
Acknowledgments
Part 1
1: Goal: Why Do We Watch?
Why do we watch movies?
1001 nights of entertainment
What's at stake is nothing less than life and death
Dramatization through questions
1001 nights entertainment revisited
Critique: Is it too late to turn back?
Entertainment explained
Opportunity from criticism
What is the audience doing?
Reverse-engineering approach
Why do we watch and more
Promise to the reader: Intuition illuminated!
Secret of storytelling is story-delaying
Points to remember
References
2: Common Beginner Problems
Where do you begin?
Catch-22 of the character-driven intuitive approach
What can possibly go wrong?
What do directors direct?
Speaking metaphor
Show and tell
Every shot is a close-up
What is a story?
What is character?
Critique: Introducing Scheherazade
Points to remember
References
3: Beginning Basics
History and function of storyboards
Various types of storyboards
Production process
Beat board
Storyboarding overview
Story reels
Refinement process
Pitching
Gong show
How to tell a story with pictures
Breaking down the script: what are story beats?
How to storyboard a scene
Staging the action
Critique: Scheherazade's storytelling
Points to remember
References
4: How To Draw For Storyboarding: Motion And Emotion
Only 99,999 to go
From stick figures to balloon people
Walt Stanchfield's gesture drawing class
Caricature
Designing interesting characters
Story drive of emotions
Drawing the four main emotion groups
Miscellaneous drawing tips
Drawing for clarity and the use of clear silhouettes
Mort Walker's The Lexicon of Comicana
Technical aspects of storyboards
Critique: 1001 drawings
Points to remember
References.
Part 2
5: Structural Approach: Tactics To Reach The Goal
Once upon a time
Critique: Developing character relationships
Points to remember
References
6: What Do Directors Direct?
How to get attention
Map is not the territory
Selective attention
Keeping attention
Keeping structure invisible: tricks of attention
Power of suggestion
How the brain organizes information: Gestalt
Director as magician
Hierarchy of narrative questions
Critique: Scheherazade directs attention
Points to remember
References
7: How To Direct The Eyes
Visual clarity
What I learned from watercolor artists: the missing piece of design
Where do I look?
Design equation
Directing the eye with composition
Magical effect: How a picture makes you feel
Light and shadows
Points to remember
References
8: Directing The Eyes Deeper In Space And Time
What is wrong with this picture?
What to use: telephoto or wide-angle lenses?
How to use framing to tell a story
Camera mobility
Alternative approaches
Trick for planning scenes
Proximity
Point of view: Subjective camera
Town of Dumb Love and SketchUp
Beware of depth killers
Points to remember
References
9: How To Make Images Speak: The Hidden Power Of Images
Fancy word for clues
Why should you care about clues?
How movies speak to us
Mind makes associations
Crime story clues and signs
Significant objects
How images ask questions
Speaking indirectly
Everything speaks, if you know the code
Semiotic square
Semiotic analysis of the Scheherazade and "Dumb Love" stories
Points to remember
References
10: How To Convey And Suggest Meaning
Continuity and causality: how we put juxtaposed images together
Multiple types of causality
Screen geography: letting the audience know where they are
Eyeline matches
Time continuity
History of film editing
Why do we have to tell stories?
Film as time machine
Why cuts work
Why we speak the narration to ourselves
Points to remember
References.
11: Dramatic Irony
Who gets to know what, when, where, how, and why (including the audience)
Can you keep a secret?
Pendulum of suspense
Places for dramatic irony
Critique: What does the Sultan know?
Points to remember
References
12: Big Picture: Story Structures
Primitive filmic structures and Propp's story functions
Hero's journey or the neurotic's road trip
Three levels of story analysis
Mentors
Paradigms of changing the impossible to the possible
Ending, beginning, and turning points
Types of scenes
What happens if you move the structure around?
Points to remember
13: Aiming For The Heart
Do we really identify with the hero?
Fears, flaws, wants, and needs
Love stories: what keeps lovers apart?
What is so scary about horror?
Rubberband theory of comedy: aiming for the backside of the heart
So many crime shows
Emotional truth
Music and color: not meaning, but meaningful
What is it all about?
Happy ever after
Piglet's big compilation
Why we watch movies, revisited
Story knot and the formula for fantasy
Emotional engagement of a story
Points to remember
References
14: Summary: Recapitulation Of All Concepts
Asking questions and getting answers
Reference
15: Analysis And Evolution Of The Scheherazade Project
Story evolution: making it clearer and more dramatic
Thematic analysis and dramatic structures
Story parallels and repetitions
Hierarch of narrative questions of the Scheherazade story
Cuts for length or to make the story move quicker
Changes made to make the story more dramatic or resonant
16: Conclusion: Now We Must Say Good-bye
What they don't tell you
Tips for keeping your dream alive
Things are not always what they seem
Bibliography
Index.
Excerpt
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Author Notes
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More Details
ISBN
9780240810768
9780080928098
9781136138690
9781136138706
9781282737471
9786612737473
9780080928098
9781136138690
9781136138706
9781282737471
9786612737473
Appears on list
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