The storyboard artist must be willing to create multiple versions of the same shot, as well as discard it if it ultimately serves no purpose in the film. They must be aware that their mission isn't to create pretty drawings but to be able to explain the shot the director has in mind.
Working with Davis Guggenheim is always a great challenge. Davis is my mentor, the first director I worked with on feature films, and from the beginning, it was clear to me the level of rigor a storyboard artist must adhere to for themselves. They must be aware that their mission isn't to create pretty drawings but to be able to explain the shot the director has in mind. That's why Davis made it clear to me from day one: "Be loose."
The storyboard artist must be willing to create multiple versions of the same shot, as well as discard it if it ultimately serves no purpose in the film.
Davis Guggenheim is known for tackling large-scale social issues by focusing on personal narratives and telling the story through the characters' perspectives. This almost always requires creating reenactment scenes, recreating scenes from the past where an actor plays the protagonist but filmed in a way that obscures their face. Therefore, he has to find concealment strategies that still look natural, such as over-the-shoulder shots, close-ups, cuts, vignette effects, distancing, etc.
Michael J. Fox's films were a part of my adolescence, and being able to learn his personal story firsthand was a source of pride. The film chronicles the actor's rise to stardom in the 1980s and his life after being diagnosed with Parkinson's disease in 1991. It's a film full of optimism and humor, and I want to highlight the work of editor Michael Harte for the incredible job he did with the archival footage and reenactments.
