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Beginning with the

concept sketch that visualizes a selected scene from a script

narrative or making on-the-spot

thumbnail sketches for the preproduction team, the

storyboard artists not only impress those involved but also realize that it is a rewarding

creative experience. They note the pleased expressions of the directors and producers

when they see the scene created for them visually as the movie takes shape

“before their very eyes.” Now they have actual images that have come alive, springing

up from the script’s printed word and translated into reality by the storyboard

artist. The art director and the production designer will also relate to the storyboard

artists “on demand” output.

From the beginning, the evolution of the storyboard is intertwined with the history

of 20

th century cinema. Some directors like Sergei Eisenstein made simple sketches

in the margin of the script (Figure 2-1).

Other directors probably kept them in their heads, like John Ford or Cecil B. DeMille

in the silent fi lm period. It’s my guess that if the early master directors didn’t use a

storyboard per se; creative visionaries like D. W. Griffi th, Eric von Stroheim, Charlie