![]() Now they do it digitally on a tablet, but it’s still the same process. We sit there with our chunk of the movie, and transcribe it from script to visuals. ![]() Then it gets handed off to storyboard artists, and again that hasn’t changed since I started storyboarding back on Mulan. We had to do it on an accelerated schedule on the first film just because there wasn’t very much time left, and Chris Sanders and I had been brought in quite late in the game. You pick what makes sense to you and leave aside anything that doesn’t, and continue to shape the story. Director Dean DeBlois.īut eventually you have to turn in something, and that goes through a notes process as well where you get feedback from the studio execs, and from your crew. It’s a a lonely and difficult process for me, because it’s full of self loathing and procrastination, and just feeling like a failure. Then we take that outline and transcribe it into script pages, fleshing it out and really developing character and plot that way. We’re trying to work out the structure of the story. ![]() Just with pads of paper and lots of crumpled sheets in the trash. But there is always a moment where we isolate ourselves from everyone else, and it’s just the two of us, in the case of the first film, or alone on the second and third, where I just work with an outline and kind of hammer that out in the most classic way possible. Like the initial part of the process for me on all three films – it was concentrated on the first film, and it was with Chris Sanders. Cartoon Brew: How has your process for making these films changed, and how have they stayed the same, over the years?ĭean DeBlois: Some things always stay the same.
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