{"id":1226,"date":"2013-01-14T13:11:57","date_gmt":"2013-01-14T13:11:57","guid":{"rendered":"http:\/\/echo.coralhoutman.co.uk\/?page_id=1226"},"modified":"2022-09-09T13:59:00","modified_gmt":"2022-09-09T13:59:00","slug":"storyboard","status":"publish","type":"page","link":"https:\/\/coral.ncvp.net\/echo\/designs\/storyboard\/","title":{"rendered":"Storyboard – Leonie Sharrock"},"content":{"rendered":"

This is the wonderful storyboard that Leonie Sharrock<\/a> created for us before we shot Echo and Narcissus<\/strong>. Humphry Trevelyan<\/a> (cinematographer) and I used it during the shooting, in order to remind ourselves what we were supposed to do. What’s great about it is not just the style – look at the way the Gods are portrayed as tragedy masks for example – something we couldn’t capture in the final film, but also the accurate emotion conveyed in faces and in geography.<\/p>\n

However, we shot in quite a hurried way for 8 days, at about 6 – 8 hours per day, and we didn’t slavishly obey the storyboard. Rather, Humphry took advantage of the location to get the best shots, and I tried to allow the actors freedom to move in a way they thought comfortable.<\/p>\n

What the storyboard enabled us to do was to envisage the five screens all the time. There were problems in continuity – actors entering and leaving frame,and timings between screens, but this could only have been solved by shooting an animatic (cartoon version of film) in advance. I didn’t want to do this, partly because we didn’t have enough resources, but also because I would have got bored and been unable to keep the momentum of the production going.<\/p>\n

Drama:<\/h2>\n