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‘No Country’: From Sketch to Screen
As told to American Artist, storyboard artist J. Todd Anderson (who has worked with the Coen Brothers on every film since 1987’s Raising Arizona) on the conceptualization process. (via Goldenfiddle)
“His role, he stresses, is less creative than interpretive. He reads the script a month or two in advance, then he meets ‘the boys,’ as he calls them, in their New York City office, and they start from page one. Joel has a shot list, and Ethan has already done thumbnail sketches. ‘I take dictation and try to make sure their vision is clear,’ Anderson explains. ‘I go inside their heads, try to understand what they are thinking, and put it on paper. I always try to make the drawings theirs, not mine.’ As they talk, Anderson draws. ‘It’s like they’re making a movie in front of me,’ he says. ‘They tell me the shots. I do fast and loose drawings on a clipboard with a Sharpie pen—one to three drawings to a sheet of regular bond paper. I try to establish the scale, trap the angle, ID the character, get the action.’”
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