Here are some examples of storyboards I produce with Royce FooRay Southerland, an illustrator from Seattle Washington. I use my boards as a blueprint for the films I build. The storyboarding process helps me watch the film before I start production, the only other time a screening experience like this happens is when I am writing a script or outline and watching the final cut.
Your Own Worst Enemy Music Video
A motorcycle whips into frame, the road is long and lonely and the biker is determined to get to his destination. Behind him the clouds darken, the darkness follows the companionless rider. In the reflection of his helmet’s visor is the echo of a vocalist chanting words.
Down the road is a soulless hitchhiker. (hoodie shading out his face, tattered jacket, think condemned). The Biker neglects the drifter; he is to obsessed with his trek. He passes the wanderer only to encounter the wanderer in the same setting like an instant play or a rerun. This time the rider looks over at the thin-man as he motors pass. His drive keeps looping himself into the same scene but each time he pushes forward a band member is added to the frame playing the sound of death behind the hitchhiking vagabond. The hawg passes the drifter one last time and then slides into a stop. He looks over his shoulder towards the drifter and his band; they simultaneously look back at the rider in a surreal, fucked up Village of the Damned fashion. The band doesn’t stop venting with their instruments and the drifter doesn’t stop being creepy.
The Cowboy abandons his metal steed and foots forward. The blackness swallows the hitchhiker and his band, it’s hungry and it knows what it wants to eat. The biker desperately attempts to escape his stalker. The hitchhikers appearance develops in front of the pervading blackness, he is behind the cowboy and closing in. The cowboy’s run deteriorates into an exhausted hybrid; part walk, slight jog. His stupor falls into a crawl, through each stride he looks back at his predator. The biker rips his helmet off and throws it back at the mysterious intruder. A hand clutches onto the struggling biker’s ankle and pulls him into the darkness. The biker reaches for reason but grabs emptiness. He slides past the drifter and into the mouth of death. The hitchhiker watches his soul being swallowed then looks at the lens, he de-cloaks his hood and reveals… nothing. Perhaps a glimpse of the bikers face but his bust disappears before recollection.
Phoenix Falling Short
INT. STUDIO – NIGHT
The sound of faint strings depress into a dim canned instrumental. Black cloth covers the windows. The room flickers with the rhythm of an antique television projecting an image. (A well dressed man walks into a bright white frame from the television set. He is DOCTOR ISAAC. In the lower third of the screen a title is visible, the logo reads: PHOENIX. A set of animated wings expand from the “P” in “Phoenix” like an angel preparing to fly.)
Assorted Canvases decorate the walls of a dark art studio. Newer paintings sit on easels waiting to dry. They are dismal portrayals of murk with flat blacks colliding against tempered reds. One painting in particular portrays a gliding man caught between suspension and plummet, he is ICARUS.
In the middle of the studio is a workbench. On its surface lays all the appropriate art utensils: dabs of mixed paint curing the perfect drear, dank rags, torn canvas, scattered sheets of abused paper, balding brushes next to numerous Campbell cans containing oil paint and two loose brushes with black and red oil coats covering their hair.
A dingy glass jar containing cloudy water sits to the right of the brushes. A single whisk pokes tail end up out of the glass mouth. Next to the jar is a peculiar red and blue pill, to the right of the pill is a couplet of pills followed by an empty pharmaceutical bottle lying on its side, its insides are missing.
Knocks beat at the studio door. Next to the bench on the floor is a shadowy figure dying in the fetal position, she is LOUISE SWANSON.