"The main questions a director must answer our: 'Where do I put the camera?' And 'What do I tell the actors?'; And a subsequent question, "what is the scene about?" […]
Most American directors approach it by saying, “let’s follow the actors around,” as if the film were a record of what the protagonist did. […]
There’s another way to make a movie, this method has nothing to do with following the protagonist around but rather is a succession of images juxtaposed so that the contrast between these images move the story forward in the mind of the audience. […]
If you listen to the way people tell stories, you will hear that they tell them cinematically. They jump from one thing to the next, and the stories moved along by the juxtaposition of images – which is to say, by the cut.
People say, ‘I’m standing on the corner. It’s a foggy day. A bunch of people are running around crazy. Might have been the full moon. All of a sudden, a car comes up and the guy next to me says…’
If you think about it, that’s a shot list: (1) A guy standing on the corner; (2) shot of fog; (3) full moon shining above; (4) a man says ‘I think people get wacky this time of year.’; (5) A car approaching.”
That’s a comic script as well.
My comics are very often guilty of simply following the characters around and seeing what they do from one panel to the next. I’m trying to learn to pick the subject of each panel more deliberately. I’d like to see if I can get the images to do more of the heavy lifting of storytelling instead of simply showing what the characters are doing while they say the lines that are driving the scene.