I spend uh long time in a hotel room alone with Roger deakin and my story board artist in Montreal caught out from the world for weeks weeks and weeks dreaming about the project storyboarding drawing and I really I'm me I'm more and more and more and more in love with the the pencil you know that that I I I it's it's like um too much too many artists today works with the computer to create art concept art and things I really strongly believe uh to be along with the guy drawing in a corner and so
I was able to digest this universe and make it if I can say My Own by spending all this time storyboarding and making the story the story My Own is a very long process replicants are like any other machine they're either a benefit or a hazard if there a benefit it's not my problem when you're working with Deni does he have a shot list in mind that you then storyboard or do you storyboard and from that emerges kind of a shot list that's interesting because what you know essentially we call the storyboarding process process shot
listing I I have seen it where directors will just write down you know okay we'll have a medium closeup of someone we'll go to a you know we'll cut to a closeup we'll have a wide of two people and then you know in a tracking that takes and so on but I mean that's very open to interpretation for a storyboard Artist as well because you know that's anything and uh and so to go through and sit down and do this process and we do it you know live where um you know if you're doing a
drawing and if I'm doing a drawing and and trying to get into the mind of a director and say like you know like you know so you're thinking like this and they'll go you know ideally exactly um or you know I know I was thinking a little bit more frontal profile what whatnot yeah and you said too um at one point that you and Denny and um say Roger and the production designer um or are not always in the same place right yeah the best thing that Roger would say is yeah not unlike that yeah
not unlike that excellent okay but High compliment from I mean Den is an incredible person and he's an incredible he an incredible director and and in mind um and he was in fact cutting rival in the mornings uh and then and Roger and I were in a hotel in Montreal and he would come and join us in the afternoons and that was the beginning of BL Runner but we started in a room with a blank page and I'm pretty sure my my hand kind of trembled he said you know people are going to come to
this movie with baseball bats you realize I mean we storyboard it quite a lot but then sometimes you storyboard a scene and you throw it out the window when you go to shoot it but you've always got that as a back St you know you always got the basics worked out I think it's really good story I learned this probably more than anybody from the Coen Brothers you know you storyboard something and it kind of teaches you to sort of focus on the essence of the scene and what that what that is to you you
know to of the film in that particular film because a scene in you know particular kind of fil scene in one film might require a different perspective than uh the same scene in another movie so you know you kind of work like that storyboards are very good for that there is an order to [Music] things for St for
