Storyboarding

Why is a storyboard an essential part of the film making process?

-It is a graphical representation that enables the film director to visualise how the narrative will flow in a sequence.

-A story board provides information of location, characters, props and setting for each shot and captions detailing action, camera directions, lighting directions and basic dialogue.

-It is the first step a director will take in visualising a script or screenplay and therefore makes it easier for them to see if their ideas will work

-It helps the director and DoP (director of photography) to decide the sequences of shots, composition the lighting and camera directions, the movement of the actors and equipment needed to achieve the right look and feel for the movie

-It can help to break down complicated action or special effect sequences and tricky camera moves

-It provides clarity and a visual depiction of what the director is trying to convey

-The film crew refers it to in order to ensure they are all on the same wavelength with the director’s vision

-It is also essential for actors shooting green screen or special effects sequences that are altered in postproduction to know where they need to be and what to react to for a convincing performance

-Editors use them for special effects sequences where timing is precise

-It serves as a blueprint of the director’s original intentions and a framework against which spontaneous changes during filming can be compared against

'P' is for Psycho

a)      What is happening in the opening sequence of the film?

First, we see a low angle wide shot of a toilet door with low key lighting, already creating an intimidating and tense atmosphere and establishing the location. The shot mixes into a low angle of a man’s legs and tilts upwards until he is revealed bending over a sink. The sequence cuts sharply to a high angle close up of various objects (the sudden low to high angle switch creating an uncomfortable feel for the audience) including a photograph, a watch and a wallet, panning very slowly from left to right, encouraging us to really absorb the relevance of these objects. The sequence then cuts to a close up of the sink with blood flowing into the plughole and before the audience can speculate on what has occurred, cuts to a CU of the man bandaging his hand allowing us to deduce it is his blood. The next shot is a CU in a mirror of the mans clenched, bandaged fist (the mirror isolating the character from the audience).  The camera pulls out of the shot to tilt up the mans torso and finally revealing his face. The characters head turns quickly creating a blur and a sense of sudden panic perhaps suggesting that someone has entered the bathroom. The shot cuts to a MS of a boy entering the room and pans right to left, following his movement. The man at the sink is shown tucking his gun into his belt in a MS before cutting to a sharp shadowed ECU of his narrowed eyes and the line “bad move kid” before fading to black and hearing gun shots. We can only assume that this man has shot the boy who at this point in the story is seemingly innocent; already suggesting the main protagonist is a villain.

b) How is the narrative flow established?

The sequence is chronological but begins ambiguously, raising questions such as who is he? Why is he here? And why does he have blood on his hands? Immediately in doing so, manipulating the audience’s curious nature leaving them to want to continue watching. The sequence features a range of shots from close ups to wide shots and ECUs to keeps the audience interested. Close ups are the favoured shot choice in this scene so we can establish a connection with the character and feel involved in the action. Sharp cuts from differing shot types help to keep the pace quick not allowing time for the audiences minds to wander. However, this is juxtaposed by slow pans and tilts that draw attention to vital clues, perhaps foreshadowing later events and building tension by d-r-a-g-g-i-n-g the scene out.

c) If you were directing this sequence, what aspects of the storyboard would you like to change?

I would start the sequence with a fast, slight HA CU forward track of the characters feet walking towards the toilet hurriedly, blood drops splattering on the floor every few steps. This would just introduce an element of danger and edge to the film and create the illusion he is escaping from somewhere. Instead of a close up of the clenched fist in the mirror, I would have a MS of the man leaning on the sink counter looking at his reflection, contemplating himself and his actions. In this we will hear the noise of the door creaking and as the characters head turns sharply the camera would do a whip pan to reveal the door opening but not see the person walking in. The camera would cut sharply to a steadicam forward track in the boys POV accompanied by footstep sound FX. I would keep the ECU and dialogue but would then have a CU of the gun, just allowing the audience to make out a blurry reflection of the boy before seeing it fire and BANG BANG. This would be followed by a sound FX of a body dropping to the floor and a cut to a long shot of where the boy was previously standing if he were in profile, in his place behind a toilet chain swinging like a pendulum.