Scott Westerfeld Quotes

I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.

I love graphic design. I love working with design, and I love storytelling, so I've been working on a children's book for a while, and I'd like to see that through.

Directing is very close to choreography; you deal with space, time, emotions, lighting, making beautiful images.

I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.

A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

My two great loves when I'm shooting are working with great actors and composing images.

I worked for UFA as a set designer, you know.

I actually started as a model builder and quickly progressed into production design, which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

Any time you do opposing camera angles, there's gonna be some compromise in the lighting.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

Sometimes you have to delete characters from a scene just to keep from overcrowding the image.

I'm an unbelievable designer.

When I'm on set, I know what I want.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

Not every director does this, but I did: I made a list of every shot you're going to set up for every scene in the script.

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

I'm really fascinated by other directors' methods. I've done a lot of learning by observation.

The things that are hardest to shoot are the things where you want people just to feel very natural, and you want to do love scenes, and you want to do just kids hanging out and trying to get them to relax.

As a visual storyteller, a lot is learning what to include so you're not being redundant between images and text.

I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.

Visually, I'm always considering shots and composition quite a lot, and I love putting art into films, and I do a lot of the art.

The thing about acting that's unlike any other art form is that it's collaborative; directing and acting are a collaboration, and your acting won't succeed if the lighting design doesn't succeed or sets don't succeed.

My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement - having drawn a few thousand pages, I understand the language of comic books very well.

If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.

I have a background in graphic design and have been designing t-shirt graphics for years.