Book description
Francis Glebas, a top Disney storyboard artist, shows how to reach the ultimate goal of animation and moviemaking by showing how to provide audiences with an emotionally satisfying experience. Directing the Story offers a structural approach to clearly and dramatically presenting visual stories. With Francis' help you'll discover the professional storytelling techniques which have swept away generations of movie goers and kept them coming back for more. You'll also learn to spot potential problems before they cost you time or money and offers creative solutions to solve them.Best of all, it practices what it preaches, using a graphic novel format to demonstrate the professional visual storytelling techniques you need to know.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright
- Contents
- Preface
- Acknowledgments
-
Part One
-
1. The 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!
- The Secret of Storytelling Is Story-Delaying
- Points to Remember
- References
- 2. Common Beginner Problems
-
3. The Beginning Basics
- History and Function of Storyboards
- Various Types of Storyboards
- Production Process
- The Beat Board
- Storyboarding Overview
- Story Reels
- The Refinement Process
- Pitching
- The 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
- The 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
-
1. The Goal: Why Do We Watch?
-
Part Two
- 5. Structural Approach: Tactics to Reach the Goal
-
6. What Do Directors Direct?
- How to Get Attention
- The Map Is Not the Territory
- Selective Attention
- Keeping Attention
- Keeping Structure Invisible: Tricks of Attention
- The 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
-
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
- A Trick for Planning Scenes
- Proximity
- Point of View: Subjective Camera
- The Town of Dumb Love and SketchUpTM
- Beware of Depth Killers
- Points to Remember
- References
-
9. How to Make Images Speak: The Hidden Power of Images
- A Fancy Word for Clues
- Why Should You Care about Clues?
- How Movies Speak to Us
- The 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?
- The Film as Time Machine
- Why Cuts Work
- Why We Speak the Narration to Ourselves
- Points to Remember
- References
- 11. Dramatic Irony
-
12. The BIG Picture: Story Structures
- Primitive Filmic Structures and Propp’s Story Functions
- The 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?
- The 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
- The Story Knot and the Formula for Fantasy
- Emotional Engagement of a Story
- Points to Remember
- References
- 14. Summary: Recapitulation of All Concepts
- 15. Analysis and Evolution of the Scheherazade Project
- 16. Conclusion: Now We Must Say Good-bye
- Bibliography
- Index
Product information
- Title: Directing the Story
- Author(s):
- Release date: October 2012
- Publisher(s): Routledge
- ISBN: 9781136138690
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