SIMPLY STORYTELLING

by
Jamie Leclaire

As Directors, the Storyboard Supervisors and Board Artists, we are the ones that take the script
and turn it into a visual story. We create the foundation that the rest of the production builds
upon. Like the blueprint of a home, our work has to be concise and accurate. If it’s not, the
structure will fall.

I created this document to assist our story team with their decision making process and to share
ways to simplify the production without cheapening the visual experience, while still enhancing
the story.

Back in 1999, when I first got into storyboarding, I was told that Brad Bird had a sign over his
door that read, “Simple Is Best”.

I remember that hitting me very hard. It intrigued me. But what did he mean by “simple” and
what did he mean by “best”? Brad, who is a genius in storytelling from writing to boarding, to
acting and directing, clearly knows what’s best.

By this time, he had already Directed and Co-written one of my all-time favourite movies, The
Iron Giant (which I will reference) and then later The Incredibles and so on. Luckily, around
that time, someone in the studio I was working at had a photocopy of boarding notes and
direction examples from Brad Bird from his time on The Simpsons and King of The Hill. It was
called, Brad Bird on Composition. Although this was a GOLDMINE for camera angles and
making shots more appealing it didn’t go into the theory of Simple is Best.

Over the years, as I got more and more experienced with story (storyboarding and writing) and I
watched tons of movies and more importantly listened to the directors commentary, Simple is
Best started to define itself to me. These movies had to tell the story within a certain budget and
schedule and due to this, often with technological limitations. When you have these restrictions,
you have to get creative. What is the most important thing to show and how do I show it?
Especially if it is written by a writer that doesn’t truly understand the animation medium or
pipeline.

Being a layout artist and an animator, I knew how my boarding/directing choices would affect
the other departments throughout the production. So, I became extremely conscious of how I
visually told the story. I would encounter a scene, difficult or simple, and find a way to creatively
board it while keeping production in mind. I strayed from what was written but stayed in-line
with what the scene meant. And no one noticed because nothing seemed to be missing.

Once I became a director/storyboard supervisor, I realized most of the artists weren’t aware of
how their choices impacted the production or how to make the right choices to ensure they
didn’t. They just did EXACTLY what the script said. So, I had to share what I had learned.
 THE POSITIONS IN STORYBOARDING (SIMPLY PUT)

“Some live on the street, some are staying for the weekend, some are passing through”
Board Artist lives on the street/supervisor is staying for the weekend/Director is passing through.

THE DIRECTOR-Inspiring the Story

The Director is the leader for visualizing the script. They need to have a complete understanding
of the overall story(or lack of) and be aware of what’s important and what isn’t. Therefore
SIMPLIFYING. All of these points should be noted in detail within the copy of the script that get
sent to the Supervisor and Board Artist for their board launch. These notes give possible
solutions to any confusing or complicated sequences.

But these notes are not necessarily written in stone. A lot of them are SUGGESTIONS of how to
handle certain areas. The Director isn’t working on only that one script for a month like a board
artist. They are looking at several scripts plus every other aspect of the production. They are just
passing through and giving an overall opinion. Like someone giving you directions to a location,
on the road you may encounter construction, an accident, a road closure, and causing you to take
a detour. Or you may find your own way that’s quicker that they were unaware of.

A director needs to be open to others interpretations and not always expect ever thing they
suggested to be followed exactly.

THE BOARD SUPERVISOR-Supervising Structure

The relationship between the Director and the Board Supervisor needs to be a strong and trusted
one. As the board evolves, the original path can’t always be followed. During the board launch
with the Board Artist, new issues or ideas may arise and the Board Supervisor may have to stray
from the Directors original guidance. So, the Board Supervisor is given the freedom to expand
on the Directors vision, solve problems the Board artist finds or creates while still maintaining
the overall story structure. Of course, anything extremely different should be discussed with the
Director.

THE BOARD ARTIST-Engineering Story

No one is in the weeds more than the Board Artist. They are truly engineering the visual story.
They are working line by line, word by word, panel by panel. With that, they should be the most
in tune with all the minor intricacies, therefore finding things that the Director and Board
Supervisor (and writer) may have missed or not thought of. Sometimes the direction they are
given does not work as the story, shots, and acting progress. If so, a Board Artist needs to feel
comfortable to raise their questions for concerns to their leads. And those leads need to be open
to listening to their ideas.

Time management is key for a Board Artists success. How many pages is the script? How many
days are allotted for the board? How many pages are needed to be done a day to be finished?
But what is more important is how to tell that story SIMPLY.
 SIMPLY PLANNING

THEME

Before any drawing is made, you have to read the script thoroughly and decipher the overall
theme of the story. What is the story about? What is the point that they are trying to make?

For example: The Iron Giant

Hogarth tells Dean about his struggles with school kids

DEAN
It’s really not my business kid, but um..
Who cares what these creeps think, ya know?
They don’t decide who you are, you do.
You ARE who you choose to be!

----------------------------------------------------------------

Hogarth stops the Giant in War Mode

HOGARTH
It’s bad to kill. Guns kill.
You don’t have to be a gun.
You ARE who you choose to be.
You choose. (winces) Choose.

----------------------------------------------------------------

The Giant flies towards the Nuke.

IRON GIANT
Superman

Clearly, the theme in The Iron Giant is you choose who you are. No one else does.

Once you know the theme of the script you are working on, you have to make sure that the theme
is laced throughout. Each sequence should subtly help accentuate that theme. But how?

Let’s just say, 3 is the magic number.

 SIMPLY PLANNING (cont’d)

THE BEGINNING, THE MIDDLE, and THE END

With theme in mind, start thinking about breaking things down into thirds. Not the “Rule of
Thirds” regarding composing a shot, but the thirds of story. The BEGINNING, the MIDDLE,
and the END. To simplify, let’s refer to it as B-M-E.

Obviously the story has a B-M-E. But you need to find where they transition from one to the
other. Longer format scripts may do it for you by labeling Act 1, Act 2, and Act 3. Typically
scripts we work on in television do not. So read the script, find those sections, and define them
like their own short stories.

Now that you have clearly defined the B-M-E, you then have to break of each of them into their
own B-M-E.

The beginning of the story has a B-M-E.

The middle has a B-M-E.
The end has a B-M-E

But it doesn’t stop there.

The beginning of the beginning has a B-M-E

The middle of the beginning has a B-M-E
The end of the beginning has a B-M-E

Each sequence has a B-M-E which are then broken into a B-M-E. Even each line has a B-M-E.
Let’s look at Dean’s line from Iron Giant when he’s advising Hogarth about bullies.

DEAN
It’s really not my business kid, but um..
Who cares what these creeps think, ya know?
They don’t decide who you are, you do.
You ARE who you choose to be!

https://youtu.be/1pbziQt3Aqk

In the beginning, Dean contemplates on giving his opinion, in the middle he decides to voice it,
and in the end he defines his statement with the actual theme of the movie.

Giant’s one word line is a little less clear by his dialogue alone. But if you know the story and
the theme…

IRON GIANT
Superman

Watch from 1:38 to 1:54

https://youtu.be/D4dT2eBWI2M

It’s about the B-M-E of his emotions. While the Giant flies towards the nuke he hears Hogarth’s
voice in his head saying “You ARE who you choose to be”. He goes from determined to destroy
the nuke in the beginning, to happy he knows who he finally chooses to be in the middle, to at
peace in the end when he closes his eyes knowing he is not a gun.

Now that you found the theme, and understand where the beginning, middle, and ends are
throughout, you are now able to set up your stage.

YOU
Set up a STAGE?!
When do I get to draw?

ME
Soon. You just need to
know what to draw first.

YOU
I thought you said
this was simple.

ME
All of this is what will make
it simple. We’re gettin’ there.
 SIMPLY SETTING THE STAGE

Cinema comes from stage plays. For thousands of years, people watched plays at outdoor and
indoor amphitheaters. People designed the specific set for each specific scene. With the
invention of motion pictures, storytelling evolved. It was no longer limited to one stage and a
number of sets. But stage set ups still exists in film.

In a stage play, the set has to be built to include the key elements for the players to act with or
within. So, before you start boarding you have to build YOUR stage and your set for that
sequence. You need to understand where the key action is happening and what is import to have
In your shots. Once you know your key shot, that is your main set on that stage for that sequence.

Now, picture your stage in a theatre with all of the seating. See Diagram below. Notice there is
no seating behind the stage…That’s the 180 line not to cross. All of those seats are cameras.
From front row center to the top left in the nose bleeds. Each seat has its advantages. Think of
being front row for a monologue; that’s your close up camera. Think of sitting in the far back at a
Cirque De Soleil where everything is happening at once; that is your wide camera. Imagine
sitting in those seats and decide which seat is best for the moment you are boarding.
 SIMPLY SHOTS etc.

CUTS, SHOTS, SHOT COMPOSTION, AND CAMERA MOVES

CUTS happen for a reason. They are determined by the emotion and the action for that moment.
Cuts are about timing (fast or slow) and are used to direct a viewer’s attention. You should never
cut because… “Well I haven’t cut for for a while so I guess… I better cut.” Think of a stage play
where they are no cuts. When a new character barges onto stage and the audience looks to that
character…That’s a cut. Or a spot light shines on a character or object. That’s a cut.

The SHOT shows the viewer the information that they need to see to move the story forward and
SHOT COMPOSITION emphasizes the most important aspect of the shot . The shot and how it’s
composed can have a great emotional impact. An upshot of an individual character can make
them feel powerful and strong while a down shot of that same character all alone can make them
feel weak and intimidated.

CAMERA MOVES can add a very dramatic feeling to shot. It helps focus the attention of the
viewer. Moving the camera can give a feeling of curiosity, awe, mystic, fear, power, uncertainty,
adoration…etc. Making the Camera feel like the eye of another character.

Let’s look at a simple example.

Indiana Jones and The Raiders of the Lost Ark-Indiana discovering the Golden Idol
https://www.youtube.com/watch?v=mC1ikwQ5Zgc

WHAT’S THE SHOT OF - Indiana in a dark tunnel.

WHY THE COMPOSITION - Mid shot of Indy center frame in darkness and framed by light.
He walks out of the darkness and becomes fully lit. To emphasize that he has come to the end of
his search.
CAMERA- Drifts In on Indy

WHY THE CUT – to reveal what he sees and has been searching for.

WHAT’S THE SHOT OF-The Golden Idol.

WHY THE COMPOSITION -Wide on the Golden Idol to show that the Idol is still unattainable.
It is centered and highlighted by light to emphasize it’s importance to the viewer.
THE CAMERA-Drift In to solidify the focus of the scene and Indy’s desire to achieve the Idol.

Scroll to the end of the document for a list of shots and camera moves that you can use.
 SIMPLY SUMMING IT UP

Now that you know the theme, have identified the B-M-E’s, built your stage and understand the
reasoning for cuts and camera moves, it’s time to put them all together. And this is the part that
causes the biggest problem for the Director, Board Supervisor and the Board Artist. In the past I
was co-directing and board supervising on two shows at once and I had a fairly green team…and
one superstar. That superstar I never had to worry about but the others were struggling. So, I had
to think about a way to teach them how to focus on what was important and how to achieve it
simply.

After all we talked about in this document, it is in this next section where I defined for myself
what Simple is Best truly means.
 The 3 E’s of Storyboarding
Every scene should be effective, efficient, and entertaining. Not 1, not 2, ALL 3!

Effective-What’s the point of the scene? Figure out what is necessary and get rid of the useless
clutter.

Efficient – Are you thinking how your scene will affect all of production after you? Each
episode has a certain number of frames. Are you choosing the best places to use those frames?
Think smart. Work smart. You will board faster by choosing a simpler yet creative approach.

Entertaining- Are you making it something interesting to watch? Are your shots appealing to
the genre? Funny if a comedy, suspenseful if a thriller, dramatic if a drama, etc.

Now let’s use something as simple this:

INT. LIVING ROOM-EVENING

Phil sits on the couch playing a game on his cellphone. His

roommate Kyle comes in through the front door.

KYLE
Hey Phil! Wanna come see
John Wick 4 with Jamie and I?

PHIL
(enthusiastic)
You know I do!

Phil gets up from the couch, grabs his jacket, and heads out the
door.

Effective- The point of this scene is to have Phil get invited to the movie and accept.

Efficient- Do we need to see what game Phil is playing on his phone? No. Therefore less assets
to create that don’t add to the story. Do we need to see the door open? Do we need to see Kyle
actually enter or can he already be in the doorway? Use the sound of the door opening in the
previous scene to instigate the cut to the character already there. Do we need to see Phil get up
off the couch, grab his jacket, and head out the door? No. None of that is important. If something
doesn’t push the story forward, then it will never be missed.

Entertaining-What can be done to make this short scene entertaining? Phil’s reaction to being
yelled at and “You know I do!” are the keys spot to make this fun.
EXAMPLES of The 3 E’s

These are all so effective. So efficient. So entertaining.

The Iron Giant train scene. I use this regularly as an example for Brad Bird’s Simple is Best
genius. From efficient techniques like hearing The Giant squat down at the tracks but not seeing
it, to the fact that you hardly ever see the train but still feel the threat is amazing. There are lots
more simplifying moments, watch for them.
https://youtu.be/BpD-yFpxwjk

This live action example in The Sixth Sense by M. Night Shyamalan is brilliant as well. We see
nothing happen on screen yet are freaked out.
https://www.youtube.com/watch?v=cFR796HdoUk

What how the The Iron Giant’s war scene plays out. Explosions are hidden, destruction is
limited, the tanks just vaporise or launch off screen, yet the moment is super threatening.
https://www.youtube.com/watch?v=VL3nTqMu3vc

To really show you how to make a story hit the 3 E’s compare the original scripted opening
animatic of The Iron Giant that was boarded as scripted and the final cut.

Original Animatic Opening

https://www.youtube.com/watch?v=Lm5dL0ZEyPQ

Was this effective? Yes, the point of the opening is to introduce the Giant during a storm.
Was it entertaining? Yes. It’s a drama and this was dramatic.
Was it efficient? No. It was very long, introduced characters that were not necessary(assets) and
would have been much higher budget to produce.

Finished Opening
https://youtu.be/SVuFJSgwoM0

Was this effective? Yes, the point of the opening is to introduce the Giant during a storm.
Was it entertaining? Yes. It’s a drama and this was dramatic.
Was it efficient? Yes. It was short, used only one other character.

Or even more simplified, on the next page, read what The Iron Giant ending was like before it
was boarded…
EXT. SPACE - UPPER ATMOSPHERE
The Giant takes off after the first missile. He
concentrates, and the panel on his arm opens up, revealing
the now familiar weapon. He FIRES at the distant glare of
the missile rockets ... igniting the warhead on the second
shot. There is a blinding FLASH, followed by a shockwave,
but the Giant remains intact.
He doubles back in pursuit of the second missle. Sighting
it, he FIRES --and MISSES repeatedly, losing valuable time
as he moves closer and closer to the missile.
Finally he hits it. It EXPLODES too near him, pummeling him,
throwing him back. The Giant recovers and tries to shoot the
remaining missile.

EXT. CLIFF

Several jeeps pull up beside Hogarth who is staring at the

sky. The General and a group of soldiers jump out. Kent,
flanked by soldiers with pistols on him, sits silently in
the back of the jeep. The Captain scoops up Hogarth in his
arms and stares at the sky as well.

IN SPACE - ABOVE THE ATLANTIC OCEAN

The Giant spots the third missile arcing down toward Maine
and his beloved Rockwell. He CUTS IN HIS AFTERBURNERS,
zooms toward it.
The giant catches up to the third missile, but his weapons
are CHARRED, unable to fire. There's only one option
left...

WITH THE GIANT

The ROAR of his engines fades into silence as a look of
peace falls over his iron face. He wraps his arms around the
nose of the missile, closing his eyes and slams his fist into
the tip of the bomb. The blackness of the night sky goes
brilliant WHITE.

Was this effective? Yes, he stopped the bombs and saved the town. But was it effective to the
overall theme? No. The theme is, “You are who you choose to be”. And what did he not want to
be? A gun. Therefore using his weapons still made him a gun. He needed to destroy the bombs
without weapons.
Was it entertaining? Action wise, sure. But this isn’t an action movie. It’s a drama. And since it
doesn’t follow the theme, the ending they settled on was more emotionally entertaining.
Was it efficient? No. It much longer and would have been a much higher budget to produce.
Watch the finished version of the ending from 1:16 - 2:04
https://www.youtube.com/watch?v=D4dT2eBWI2M&t=115s

Was this effective? Yes, he stopped the bombs and saved the town and it stuck with the overall
theme. He chose to be who he was, and that was not a gun. He chose to be Superman.
Was it entertaining? Yes. It was tense and emotional.
Was it efficient? Yes. A very simple ending yet strong.

SIMPLY REVISIONS

INTERNAL REVISIONS
Of course there will be internal revisions. If a board artist left out some much needed acting or
just went in the complete wrong direction with a scene or sequence, it will need to be revised.

But the Director and Board Supervisor need to realize the more revisions we give internally, the
more stress we put on our teams to stay on schedule. So as a Director and Board Supervisor we
have to ask ourselves…

Does a scene work? Does it do have the 3 E’s? If it does…Then DO NOT CHANGE IT! Just
because you might have approached it differently does not mean it needs changing. Let the client
make that call. Otherwise we may be revising sections that they may not have called or they may
want revisions on the revisions we already did.

At times a Director or Board Supervisor can get hung up on trying to predict what a client wants.

CLIENT REVISIONS
Truth is 95% of the time, you can’t predict what they want. Sometimes they don’t even know
what they want until they see it. Now there are some incidents where we know for sure.

Ex: Client says “Kyle’s character never takes his shoes off.” Then we know that we can never
board him in bare feet. If someone does, then yes. REVISE.

As a Director you can question Client notes. If you truly think it is in the wrong direction or if it
will have a ripple effect on other scenes, let them know. Often a client is happy to hear the
confidence a Director has. If they still want it, well they pay the bills so it has to get done. But
there is a good chance the director is more knowledgeable about the subject matter and the client
will listen.
 SIMPLY CAMERA MOVES

Pan
• Gives a panoramic view of a location, object or character.

Zip or Whip Pan

• Mimicking a quick head turn from one shot to another.

Truck In
• The camera slowing zooming in and stopping to focus the viewers’ attention on the
desired subject matter.

Drifts In
• The camera slowing zooming in to focus the viewers’ attention on the desired subject
matter but not stopping.

Truck Out
• The camera slowing zooming out and stopping before the cut, giving the viewer more
information of the surrounding area. Also used to make a viewer feel like they want to
get further away from something. Perhaps a threat.

Drift out-
• The camera slowing zooming out but not stopping before the cut.

Snap Truck In
• The camera pull from wide to close in very few frames

Snap Truck Out

• The camera pulls out from close to wide in very few frames

Track
• When there are slight moves left, right, up or down that do not require a full pan.

Dolly Zooms
• When the camera moves forward but zooms out at the same time. This causes the
character to get closer to camera but the BG to become wider. Creates a sense of awe.
• Ex. THE LION KING-The moment Simba realizes that there is a stampede approaching.
• Invented by Irmin Roberts for Alfred Hitchcocks, Vertigo.

Drone Shots
• Floating, roaming cameras that can go anywhere.
 SIMPLY SHOTS

Wide shots
• They provide information of surroundings and gives room for physical acting.
• It defines where characters are in comparison to each other

Mid shots
• Great for when the character/object has reason to be more important than the
surroundings the majority of the surroundings. Great for defining relationships between
two character.
• They work with a mix of physical and emotional acting.

Close ups
• This focus’ directly on a single character or object that is important.
• Used for emotional acting.

Extreme Close ups

• For deep internal emotions that are usual acted out only with eyes or mouth.
• Used internal thoughts as well.

Tilts/Dutch Angles
• Creates uncertainty, makes the viewer feel there is something off.

Upshot
• Makes something feel large, powerful, intimidating.

Downshot
• Makes something feel small, powerless, intimidated.

Reverse shots
• Used to cut around something to show the opposing view.