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watch this scene carefully this is Jay

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Todd Anderson top Hollywood storyboard

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artist he got here by praying of car and

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joy because to show me how he works

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he's storyboarded his own arrival to be

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interviewed the persons flying an

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airplane correct and you could probably

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see the image of the person inside the

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airplane correct

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that's your first shot now what is your

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next shot so let's just shoot through

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the window well here he is

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he's in here so we'll probably cheat

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this shot brings his watch up so I'll

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make a black arrow which will imply

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movement of the person that's set up to

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because the airplane lands on the runway

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straight down the middle is our access

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line of the camera right down the middle

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around the nose size of the airplane you

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about that big playing stopped this is

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the secondary action the guy and he's

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coming toward us right that's the end of

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that setup right and the next setup it

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is here's the car and our guy will

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probably run into frame probably from

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the left-hand side and it's going to

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drive away so you want to get low so you

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okay next setup so the car is entering

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frame right so it's going to pull right

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dead on to the axis of the lens and stop

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you should stab my camera just a little

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low at the end of the hallway only

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suggestion okay

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you will be so low and cowboying into

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the lens it's the right stuff shot that

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we talked about good shot new deal okay

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how will this enter feature is that

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doing the storyboard for a BBC arts

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documentary is slumming it by Jay Todd

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standards he usually works for big-time

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movie makers like the Coen brothers for

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every shot in all of their movies such

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as oh brother we're out there that are

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drawing behind it by Jay Todd Anderson

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the storyboarding process is a practical

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tool used throughout the film business

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that enables films to be made not just

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Johnathan's only parameters are there

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imagination

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it's my job to get what's inside of

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directors head on the paper it's not my

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job to create the shots it's my job to

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interpret their language into a visual

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it's very important that I get as close

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to the images in their brain on the

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paper so that everybody when they walk

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on the set is making the same movie

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they're not all imagining what's going

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on

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the drawings for a feature film take

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about six weeks to complete

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but they're not just static images they

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have their own language a set of codes

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denoting action and movement oh my car

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always depicts action by the characters

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or inanimate things anything it's moving

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within a frame or in and out of the

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frame is usually done with a black arrow

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and that way you know instantly that

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it's action anything that has a big

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thick white arrow is generally camera

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because it's so easy to see immediately

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what's going on and you do that at the

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end of the process what you get is like

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a comic strip version of the movie

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before the shooting even begins but

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there's an analogy with high art - when

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old master paintings are x-rayed

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preparatory under drawings are often

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revealed and I think that's exactly what

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Jay Todd's pictures are for the movies

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under drawings for entire films the

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framework that makes the whole

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composition possible take a scene he

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worked on from a movie directed by

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George Clooney

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although Jay Todd's drawings remain

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hidden there beneath every single

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celluloid frame this is a sequence from

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one of my favorite projects I worked on

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this was George Clooney's movie

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sorry batch of teeth this falls in one

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of my favorites George it's such a

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vision and this is a really cool scene

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there this is when Sam as Chuck Barris

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the game show host has to go out and

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make his first kill right after his

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message and there in the slab side to

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Lincoln they're out there in the middle

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of Mexico just driving around and sam is

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talking to the guy he's gonna kill

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camera goes down just as it goes down

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pulls this gun out and it's time for him

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to kill him buddy he flinches for just a

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second and then a scuffle ensues and so

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he's struggling he's struggling and

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usually what people do is just show just

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a small portion of the gun struggle they

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don't show the people struggling and

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then the gun goes off bang and it shoots

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the driver the driver falls forward and

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now the car doesn't go very fast it just

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goes really slow and uh Sam brings the

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gun up and he shoots at this guy and

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misses him and hits the door and as the

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guy trying to get away Sam shoots him in

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the ass there and he's still not dead

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yet and all these people coming down the

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street and Sam looks down there and he's

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got to do something you know because

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they're going to create some sort of

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distraction so he sang shut up and die

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shut up and die and he