THe Horseman, BusStops and Economy of Icons

So this week we watched the 2009 australian film, The Horseman. It's a pretty raw and gorey movie about a father in a revenge rampage against men who had a hand in the death of his daughter. Andrews says it's quite a powerful movie in that as an audience we totally understand what motivates and drives this man, yet the sheer violence he dishes and receives leaves us conflicted on how deep is this man going before he's in over his head. He ain't superman and he ain't a super ex-spy like Liam Neeson was in Taken.

Assignment wise we had to do 5 different ways of drawing a dude waiting for a bus at a bus stop.
I thank the lucky stars a friend and classmate tipped me off that the key to this assignment was that one had to see a road, a person waiting and a bus stop.

The red notes basically indicate why the shot doesn't really read as 'waiting for bus' and could be

interpreted as something else entirely.

 So when story boarding, one doesn't give a lot of care on making really well rendered settings or scenes. This is storyboarding, not scene building. If we're going to be doing 300+ shots, we need to be as efficient and economic with what we draw to get a point across. The bottom half is basically a note that visually intense shots are best made when a visual pattern was established first before breaking it.




And finally, Mark's comment about Storyboarding to answer a classmate's question about the difficulty of the subject.