On the 'Tom and Jerry's,' Joe and I would sit across a desk from each other and develop the story. Joe would do the storyboard and I'd do the timing and the direction of the animation.

A film is a story told in pictures. The beginning process of the film is coming up with the idea, developing it into a story and writing a screenplay, although in an animated film, it's possible to storyboard to create the story.

When I'm plotting out a book, I use a storyboard - I'll have maybe three lines across on the storyboard and just start working through the plot line. I always know where relationships will go and how the book is going to end.

The first thing I put down on paper is a storyboard, like a film director.

The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.

When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.

We storyboard a lot, but I love when we are just going in there and just, almost on the fly, making stuff and discovering moments. It's just fantastic, where you can really go in there and be creative and everything.

I didn't know the technical language of filmmaking, so I said, 'OK, I'm going to do my own storyboard,' because I had to explain to the crew and the technical people what I wanted.

A lot of directors want to storyboard you, whereas the best way to get a performance out of an actor is a collaborative process where you listen to the actor's input.

Interestingly enough, the storyboard... that I did for 'Psycho' went precisely as I laid it up, and there was no change on that. And frankly, I myself at that point didn't even really understand the impact that some of these things would have.

In the Indian system of filmmaking, you don't plan well in advance, stick to a storyboard, or deliver only the scripted lines.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

I definitely storyboard, but I only start once I have cast and location. I like to find the world first.

I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.

It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.

I was influenced by autobiographical writers like Henry Miller, and I had actually done some autobiographical prose. But I just thought that comics were like virgin territory. There was so much to be done. It excited me. I couldn't draw very well. I could write scripts and storyboard style using stick figures and balloons and captions.

One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.

I put the storyboard down and came back to it like two weeks later and saw that I had written 'Butt-Head' next to the picture, and it kind of made me laugh and I thought, Well, might as well go for every laugh you can get.

I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.