Download - Storyboard Notes 3
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8/18/2019 Storyboard Notes 3
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I
The
Art
of the Stor
y eer4
The
storyboard
s a means
of
writing
a film and planning its
production
which began
n animation and has
spread hloughout the film
industry.
ANIMATO launches
a
semi-regular eature n this issue,
The
Art
of the
Storyboard."
With the production
of many animated ilms divided
between various
animation
studios, he
storyboard
along
with model sheets
and
layouts) must
be a
strong
guide
to insure
what the writer and director of a
film actuallywanted is accomplished y a team of animators requently half-
a-globe
away.
Storyboards
ary according
he creative
process
n
a pioduction,
and
they reveal
much
on how an animated
ilm is created
1n
this issue,
we presenta look
at how
the
Disney
Studio
in its prime
worked
on
a
storyboard,
and then a partial
storyboard rom
"The
Laughing
Fish," from
Batfiafi: The
Animated.
Series.
GMD
The
legendary
Cart Batks
(left)
and Harry
Reeves resent
a stotyboard or the
1938
cartoon
Good
Scout. ndividual
drawings
replesenting
he flow of the
narrative
wele
literally
pinned
up
on
the wall,
and
the writers would act out
the dialogue.
@
Walt
Disney
Studios)
ixlrDmof
41
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the
blueprint production
o doLrbt
oLtr
t le
pictLrres.
sent
our
cieas.
CaptLire'rhese
them.
BUL etr,veenou,
irs: .oea-p
tLrir
and
yoLrr
inal
cut
there'sa
loi
to
clo
and
a lol
of i : inyolves
eoole
oiher
han
yo
:
self
You
mlrst
ommlnicaie
oLtr
rear
ideas
o these
pecpie.
e
theycl i-
enis
or camera
ooeraiors,
iearl , /
enougit
o
tllat rhey
see
he same
pici i t res
or-r
lo.
How an
you
be so
sr:re
or: 're
i l
on
he same vave
ength?
By
gett ing
hose clea
jctLtres
Lrt
of
your
heaci
ancl
clo,, ,rn
n
paper
where
veryone
an
And
hat s where
comes
n.
for
rnincl
'/irls
/:ih
rt-
prctures
hat
repre-
' '
ic lea
ictLrres
on
see
nem.
the
storyboar
vicleotape.
nd errerybocly
an enjoy
Picture
hisVideo
A slo'yboards a graphicepresen
tarion
f
your
ideo.
Like
he comics
yor_t
ee
in
the
newspaper,
i consists
f a
series
of
picrLtres
l l . tsLrat iqg
hescenes
+
your
icleo.
SLri lg
hese
scenes
al l ogether.
and
hese
pictLrres
el l
yoLrr
ic leo
story.
Thegraphics ee(l otoe farcy-
hand-clrawn
tick f igures
wil l c lo.
Which
is not
to discoLlnt
ancy
graphics-from
he rnost
laborate-
1y
airbr. rshed
,re art
Locomputer-
generated
lnages.
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l . i , ,d
or
noL. l ,esc
8,
phi .s
u\ , rLl)
\vind up pasted ro
a l.rge bori{I,
rhc
s.eDcs ictured
h l i ( t lc bolcs co.re
spotrdnrgo
r ideo's hrcc
b
four Io.
mar. Crpr ions
undcrnci th.ach pic-
rLrrcdcsc. ibc
rhe audio sto ' l . . .whrt
t l recha ctcrs ry,
Nhrt k ind
oi
tuusic
ph$.
\'h^t so.rsofsound cnncrsbinil
i\rtr1 i| Ihc bnckground.
Obioush, dctailed storyboxrds rc
no
nt.esary
on
elery vidco. Rough
sro| . |bolds sumce
for docrmcnra
r ies lhcre s simpl) no
*ry to kno\f
ex.rctlv
vhrt sceDcs ou ll caplurc bc-
Ibrchrnd. But on dr,nati.
produc
tio.s invohiDg cl;ife.ent
r.Lo.s rnd lo
or ion5,I
detai lc. l toryboard,n
hc\ ,
you nDriciprre
an.l aloid problcorsou
rhe shoo(. Using
storyboi.ds bcfofc
p.oduc;ng conmerciils
xrd compnr..
rninitions caD nrein thc difie.eDcc
bc$fecn
more, i I rhebrnk andbtsof
Srryou
re shoodrga shorr l ru,at-
i . p icce
nnolving spacc l icns D lhc
old U'est. lbu
\vrite dre s..ipt, and
rhcn bre.tk rhe script into sccncs, lrc
sceDes
Dto shots.You
PrePxre
a
Pi(,
duct ion schedulc.
You f i ink
)ou
re
You re nor. Go ahead and tale
(hit
extra sleP.
PrePafea storyboar.l.
You don'
hale to be Nlichel.ngelo
to d.a\v these
pictures.
Stick
tlgurcs
and vagueshapes
wi l l
sene
t l rc puf
pose nicely
(as
long as yo crr tell
rvha h.l blob
on dris side ofthe shot
You dfa\v fi. first shot. Thc alieDs'
5plce ship descendsuro Nlonumcnl
Val le l . In he nexrshot, heygetoutol
rhe ship. Cur o
a
strgecoach
moling
$vifdy, clouds of dus trailing behind
it.Janes, he d dver, whoops
vildly
an.l
cracks his long
*hip a
the
team
of
The aliens watch from bchind r
bu(e. At
the lasrmoneni, theyjump
from rhei.
hiding place
and
try to hol.l
up rhe siage. G2bry,
.idiDg
shoLgun,
lets thcnr have it
\vith
borh barrels.
The aliensgo dor{r, spla(ering gfcctr
slimc. The doclor
jL'i:ps
tronr
tllc
sl.lg. aDd quickly cxamincsonc of thc
.rci t r res. Thc ddlc. N.tcheserpect
xDdy. hc doctor ooksLrp r l rcdrn
cr
aDd
sars
hoa6cly, He
s dead,Jnr.
Y.n, bok
ove.
/our
a,r
\vork. fs
rough, but nonclhelcs ; t sc^cs thc
Purposc:
ou
8et
you.
(rca
a.ross.
R(t ,s
)ou
look
closc, ,a
naggi, ,g
stagecorch olh
o\er
hini. Fo. rdother
shot, he u need
to ic lc onc of
(hc
sragecoach ofses as he roclses back
at t l rcdrne.. .d he l . r lso ccd $Ne
sort ot har.ess for
the orerhca.l 51,o1
thar s i f tu ldtes
hc spaccship rnsh
lnnding
Of coursc,after.e\icwing dris
wirh
him,
vou
miy
also nced a
nc\
You can sho\ dre acto.s ho\ ror'll
.ur rhe di f fe.enr
sccnes ogcrhcr , o
ihcycangc
a ber ler ndcrsl inding l
their
chincres and rhe nrotnadons
' 'So
I shoorml guD r rhe, l icnsand
not rhcdocro. ,
Lhc ctor pla) i t rgGrb-
bl sr)s aftcr sccinq thc sro,_r'boa(1,
point rhat obr iounv
ncedcdclcui , ,g
up. I Io\Lc\cr hc
sr i l l has qucsr ion
Fronr
)our
pcrsPccr i (cs thc dir .c
tor
ofr l rc shoor, l rcskr l l )oard L. lps
rou
'nakc su.c the
sho$ iou
vc
plaDn.. l r i l l \ * ) rk
r fc l l rogedrc. . ou
I ' rvc
sho( l
Jrnr
ol lo,rc{ l
f
\ i , i , i l r r
( l o L , b t c , e c p \ I n b ) o n ,
, i , , d . h . n i (
s l r o r
l G ^ D b . v
r o n r r h c s r o i b o l d
conreso pu. Youpl.nned ro use p-
,vou
cal ize
hi t
th is nr ighr ook l i l .
a
si(lc{loNn
pic plx(.s lor thc spi.eship.
jutup
cur\vh€r
you put drc nLo osctll
This s in c lo.
rhe ong shot,bur
you
ef. Yougr.b
i pcnci lan
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conre
in rrith
tlrei,
id.xs rnd \vc
go
okr rltos€ dels with d1cm.
On.e
Ne
tno\ tlhat th.v(ant, wc tr^nsfer hese
insuarctions o thc arrist drawi.g the
"Cl ieDts
sual ly hxve an idea
of
how
rhet
wrnr
(he
boxrd ro look.
They might want t drawD vi tha car
toon st l le or theymight want; t ro
be
.eal ist i . . f the cl ient$antsa
scene o
look l i te i r was
shot
wi lh
a special
lcDs,
uchaswideanglc, hcafr istcan
do thar, roo. And Ne cxn do quick
pencil
skerches10
malte
sure that $e
camen anSles re corrector rhar he
people
shown on
the
sloryboard are
the
r ight
ages."
For theseadverdsingagcncyclienLs,
the storyboard s no.c dran i produc-
t ioDplanner, t 'san al l impotun
sel l '
'ng
(ool .
'-fhe
agenciesuse the storyboards
to sell their conmercials,"
C.ner says,
'1o
showhow they,vould ike o shoor
i t and where hcy
vould
ikc ro shoor
i(. They can have t sct in Nliarni or in
NoNay. li's a visual tool ro help thei.
clienLs
elrer
understand vhat
rhe fin-
ished
produ€t
will look Iike."
,lni'nated loryboards
Srorybo$ds
also prove
invaluable
\(hen planning
computer animarions.
,{nyoDewho's workcd wirh an anima
tion packagc knorvsNhlt a tidre-coD'
suming process t
car be.Ifyou're cre-
ating
an animation for someone clse,
rhem;orhenvise .oukl
de.n hou6
or er€n da)r oi€xr.x
\fo.k.
Say
F
t U
)onr
cl icnl
NI. . NI iUe.
that the logo
you,c makiDg or hin
will bc r huge
thfee-dimensiooal reel
sirurcturcand
thar rou're
drNving the
doton drc
' i
;n
'Nl i l ler ' ro
bursrnlro
flames,he mxljusr
srare r you, glNy-
eyed.
B hvhip o r
i sroryboafd lltre
rrdng
tlrc process
of rhe logo gros.
iqg"
on the pige \vhile
liglrr plays
on
the metal
of rhe lerrers, he
ll follorv
your every siep- If the dor oD the "i
then burns ; €
the suD, vlr lvlillerwill
leave oursession
wirh
slars n hiseyes.
Storyboards or
computcr anima-
lion aren t necessarily
rawn wnh cl.s-
sic artist tools
such aspencils
or b.ush,
cs.
Jos€ph
Eagle, arr di.ecror
and
anima or
atTraces,a
computer anima-
tion firm in Brla
Cm\ryd, Pennsylvania
uses a unique
apPfoach
lo ffearing
storyboards.
His clieDrs
inchrde the
Philadelphia
Plillies
and drc Unisys
"We sit dovn and talk rbou lhar
they rvant,
Eagle s:ys. 1\'e may
s ar
out bydoing
some eal quick
and d;rqv
thumbD^il sketchesjusr
o make sure
ive .e sPoking
the same language.
Now,
sa/ a clienr
comes in and she
want5a }D Wavefront
animadon. In-
stead of spending
limc on dre Wave-
front, rvhich s
an expensivenachine,
$hat I'lldo
is
ger
on rhe
d;gital effects
systen, and lvith
lhe 2'D
rysrem,
can
crcxrcprct , rLs
' {h r number
otcl i f
"l ger
a pro(l,rcr
and rhen \Le
sel
up
the
35.tm crnrc.a
xnd
Jusr
shoor
sr'aight oll
rhc nronito.. TheD ige
ger
rhe picrurcs cleloped,
ut
rhcm our,
paste hem on i board nrld \rite littlc
descriptions
bencrth rhcnr
oi he ac-
riviq rhaas
goidg otr in thc picrufes-
The
i'Dagcs ook
lery high qualjy.'
and
in so.re
c8es, thq
look
almostex^ctly
how rhev
fe goiDg to look i.
fie 6n-
ishe.l piece, so rhey get a real good
idea olrvhat
it s going to look like. \Ve
srarred donrg
rhat because e found
rhar
sroryboardsd.iwD
Nith
marke6
and
colored pcncils doD t conrey as
much as
idco does.
You cai
mike storybonrdsdo lots of
things,bur
iftlre storyboardconsisGof
picrLrres as(ed
o r boa.d, rhe.e's
one
thing
it \ on t do....ro e.
Using a
cap-
t ion,
otrcaD el l lhe
pe6oD ookidg.r t
th€ boxrd rha( rhe c^.x'.a is prnning
or dolli,ing,
butyou i.e odce agatuex-
pecrjng ihe
vieNer ro be able to "see"
thi.gs
rlre same
wayyou do. The.e a.e
'A
ser ies f
pictures vi l l do drar ,"
sats
Eagle, becxuse
r looks ike some
frades
thal hale been
plued
ou ofnD
animadon.
So there rvould be impl ied
move'n€nr
ron picrlrre ro picrure. If
it: one
picrurc ud
I \vant to
sav
dr€
logo nies
do\vn here l
\fould
put a
i
Spiel-
i
though thev
gsl
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8/18/2019 Storyboard Notes 3
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or .1, , t shov
up
in $c actual
iccc.
'l-o
add
movement
to
r srorybo.rd
Nrpolon
vidcogrlphic5
takcs
he p c-
hnrs ind
ransfcrs
th€nr to
vdcot^pc
Ihen
thcy
use
a
Process
alled
drinrar
r.s
\vhich uscs
loose
Picces
ro conle)
nrc .mcrL
ror example,
srv
urerc
{xs
h one of
ihe
story_
boi,d
s sceDes
nd
this nrar
needed
o
lra\c at the
cameE
The
ca(oon
mnn
s
rnn
\lould be a
loose
Piccc-1gmPh'c
imr not
auchcd
(o
$e
Pict tre
of
thc
Drrn.
Then
when
You
shoot
rhe mani
\ou could
nove
$e
loose
ann backand
ionh *
il he
were
waving
T\vo ofier
examPles:
l)
A character's
enli.e
bodv,
Nhich
rou
mole lorvard
de camera,
and
2) Sevcral
different
versions
of
a
ch,racrer's
head,
vith each
head
veaF
ing
2
dire.€nt
exPression.
.Advertising
agencies
seAn'ma 'cs
r lot wirh
testing,"
Carre.
says,
efcr
ridg
to test
marketing
whsc
grouPs
rieN rouEh animated co
scc
borv the
audienccs
will reacr'
'They
use
Atimatics
in fiese
focus
groups
because
Cs
a lot less
e\Pensi\€
dris rvay.
fan
agency
has en
ideas, lt
,lot more
cost elTective
odo
il inAn
matic fo.m
and to
test
t in the
focus
grolrps
around
the
united States
heD
ro make ten
finished
conrmerciah.
Thcn
after tesdng
they
ook
at the re
sulls,
aDd
the storyboard
witb
re
highest
scores
bccomes
a realspot
"
TheEverchafl ingStorYboard
In
6e profcssional
world,
sroryboards
arejlst
a
part of th€
ProcesFnot
an
cnd
ii thenrelvcs.
That s
*hv art'str
aren
r uPsct
when
clicnB
ask
lor
"Tbey
re ahvays
making
ch^ngcs
sals
Eagle.
GcDerally,
it's
undcrs ood
rhat
thc storyboard
s not
a dcvicc
or
nriling
down
cvery
st dctail
Rathe.,
i fs
a gcneral i ,cd
ook
and
e let hed'
know
$at i fs
iust
an aPPr
\vhar hey'll
bc
getting on
thc 3-D
sle
reh. I I tbcycomc
n ̂ nd say,
1hc
st(>
,aboa(l
is finc
but thc
fituh o.
si\{h
prnrrc
nn r r ighf
i t ' s
no
PrcUdn
w. 11do
tovcr .
Everyihi lg
st ; l l in
hc
sv\tcn.
we can a.ljrsr
thcm
or crcn
.cdo
thcnr
ftom scratch
.Sto.ybo
ds
arc dcsigDcd
ro be
n,,rgh pPfoximrt ions
f \vhr t
wi l l
b.
p, ,x i lccd
Sotrrc rc
rcal Fnrgh
and
irnc
rrc
Pft : t y
nished, lnr l
gcnel
l ly
i r 's
wi : |o l ( )ok
at t l )cm
s r gutr le
o
\ har you
re go,.g
(o
s.e
'"Th fs
thc
ponrr of
thc storyboxtu
Whcthc.you
e
sel l ins
hejob
ni t i . l l l
o.
you
ve gor the
job
al,erdv,
)ou
rc
iu5t
t$ins to establish
vhxt cxlctly
is
going-to
appen.
fs sr i l lonl)
rhe
n i-
ll
you think
all this
P.cP
aoon
seems dnccessary,
hin\ rgrin
'Thcre
are a lo
of
PcoPlc
\vho
don t
ftink
vimally," srvs
Eagle
Even
berween
.tists,No.ds don t rcallycon_
vey picrures.
T\vo ardsts
ca s't
rhc.e,
and one
artist can
dcscribe
sonrething
and
can write
it dorvn
and
get as
verbal
as
you want
sith it, and
rhe odrcr
$ill
be listenins
and
getting
a nsual
'mrge
in his head,
and
it rvon
be the
same
image.Itwill
be real
diffcrent
\ork in
olhcr
n,cdir ,
Srcraboa'dc'
cG
rou set thc
rspcct
ratio to
nulch thosc
of
hodon
picrN.s
or
HDTII .
\b(
ll
fin
iects
for
to"r P 'ct t ' . .s
'u
rhc pro-
.qram's
ibmrr.
Or.
if
lou
rercrer
koN
r l \ r t
ar t
phobia, ou
cin
Producc
nn_
ases
s inq
vlacPai | t
Yorr aD lso
rN
p;rt
pictures
by digitizing
irems f.om
ridcotape
o.
by scanning
lat
^rnvork.
.{noth..
prograrn
or sro^boa.durg
is thc $430 ShowscnPe fom Lxkc
Compufratues.
Avrilablc
fot eitlrer
Ilacinrosh
or
IBNI
Plafonns
it nrtc_
grates
hand{rawn
or
scanned
nrages
Any
paint
Package
an
uncdon
rs
a
basic
storyboard
gene.ator.
Snnplv
make
a standard
emPlr te
then
ut ' -
'The
only
\iay
dring
in rvords.
Using
storyboard
will
give ou
com
mu
n catio
powers
ou
cannot
acquire
ny
other
way.
ftis
Deeds
to be biSger
over
herc
Those
arc the
kind oi
dctails
no
^'nount ofvords canconle).
Sottwareo
the Resc €
I fyou
have
an trat ional
car
ofd.1w
irg
(r
phobia raced
o
that untor lu
n"te incidenr
n your
r l r i rd
Srade
art
cl , rss) ,
herc s
si i l l hoPe
Thcr.
a.c
a
couple of
softlva.e
Packagesavailablc
fo. thc Macintosh
drat crn
gc
You
sr^.ied on
rhc
road to srorybox..l
The
fi6t
is thc Storyboaftlcf
liot'
^nrcr ic in
Intelhvxre.
At
just
uI( lc l
$500,
t borlrs
somc p.ofcssn,ral
po\v
cr .Th,o' rgh
a sc. i ts
of mcnts,
yodcan
.ustomizc your
storyboard
hptrr fof
r
You can
add SN{PII
drne
co(lc
( \vhc.c
cach
f.ame of
idco
hrs
irs
oNn
unique
ID Dumbc.,
'c l r
at
l L:22:33:01),
hc, lu.r t ion
t inr(s
ro.
crch
picturc
n your norybord
aD(l
c c
t,rnsitional cllcc$
b{:tlvcen
Pnr
trdcs
ik{ : {Lpcs or
d;s) lvcs
I l
} ( ) ( l
rou
co'nmunicaho'r
Po\rers
ot
can'
not
rcquire
any
orner
waY
Your clients
rvill undershn.i
ror.
biza.re
conccPLs
mmedirtely
nloNer
ingyou
widl
money
to carry
henr
out.
Youf
camera
operator
Nill
Pick
uP
on
\our
subdc
magery,
elPinglou
brnrg
fofrh
hidden
mcanings
add subrc\ls
i
your
comPosidons
vcn
tou
didn
r
And
your
actors
will hile
a bcttcr
rhan
fifty-fifty
chance
of frciig
in
thc
ri{.hr
dnec
on
drriDg
rhcir s.encs.
ObliouslY,
sroryboards
an
bc
\ery
i por tant
o
a vidco
Producr ior '
B ' r t
\ rhxfs
nro,e nportaDt
s thi t
I
n.Le'
uscdrhc phrasc, r sroryboa(l islodr
r thousind
No s
id th is
ic lc
At
lcrst ,DoL
nul
DoN
Mdonaker
conirihdnS
.dibr
lMlliam
Ronat
otrns
r
priucoon
.omPrnt
alraontA
vaLUAnON:
n fte
Rda'lo
S'drt
drd
op0o t r r cpa l 2s . . i r de teaop rcp r i a tnunbsb
0 '
.dr
vou
o0in n
ol thi5 dn
C5ovdaLrvdu€
le3 l k i n
e i c l r 94 l romeva l € l
9s mo
va l d
-
8/18/2019 Storyboard Notes 3
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STORYBOARD
NOTES
1.
TITLE & SHOW NUMBEB
Regular
nd
pan
panel
heetsor storyboards
vailablen
storyboard
ept.
To
avoidhaving
o
write
he show,s ame
andnumber n
everv
sheet
you
should...
A. Make
ure
ou
are
provided
ith
hesheetsor
eachshow.
or B. It youhavebegunwithpanel ads eave heshow's nameoffand
l'l l
stamp'
it on ater.t
would
e a
good
dea o number
heets
with
shownumber,
o
avoldmix-uDs
2.
PAGE NUMBEBS
Neat,dark,
lear
please.
lf there s a
page
out
ndicate
n the oltowing
age
NO
pAGE
plus
he
number
f he
page
out.
3 . SCENE NUMBERS
Number
ndcircleirst
panel
only)
f each
scenewith he
appropriate
cene umber.
It hescene ontjnueso thenextpage,numberhe lirstpanel
f
the new
page,
do
not
circle) rite
,'(contd),
under he scene
number.
4. PANEL NUMBERS
ACT
I I
Number
ll
panels
ith
panel
umber
traction
ype
EXCEPT
For
one
panel
cenes hich
anbe ett
without
panel
number.
(Don't
other
ith
l/1"
-
seesc. 1.
)
When
you
arenumbering
he
pages,
cenes nd
panels,
remember
hat
the numbers
ontinue onsecutivelv
hrouoh ll
theacts.Act l doesnotstartwithpage , scene iranel
ll
you
areboarding
hesecond
alfot
the storyboard
etthe
storyboard
o-ordinator
o
find
out
he
ast
scene umber
nd
page
number
rom
Act
l.
5 . IN DIALOGUE
BOX
Does
ql
requirequotation',
arks.
Underline
peaKersame,
(bracket)
elivery
irections,
ndicate
oundEFX.
nd he restof
what
s n
the
box
s
dialooue.
6. IN
ACTIONBOX
Circleransitions.UT X-DISS WtpE
Underline
amera
moves.
RUCK
N.
pAN.
etc.
7 .
UNUSED
PANELS
Please
o not
cross
utunused
anels
alono
with
deleted
panels)
hey
will
brjcovered
itn
blant<
aoerl
-
8/18/2019 Storyboard Notes 3
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1.
TITLE
& SHOWNUMEER
ACT
II
3. SCENEN
4. PANEL
NUMBER
4,<
B:gEC
:
A.a{f,c
F,c.,. C.i
:
^G.arN/
Fe|s|Z.t7
SEAK.AB,€-
us /
,a4vtet-
2.
PAGE
NUMB
. rd |
rEr
E-a22
".E
,ryts
rt -;\
cor)
FAN
a6
ioL
tt
l4
t ,
BE
3
UM
@[u02i1993
6. DIALOGUE OX
7.
ACTION
BOX
-
8/18/2019 Storyboard Notes 3
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sTOR:FOARDI
C
SUGGESTIONS..
0f course
'" tere
arg o""hei-
echnlques
and
the
trick
ls to
ffid
a
s;.5+-srl that
o.ks bes'.
for
you.
?.en€irer
ihat sDe?d and eff ic ieicy
ere
essentiaL
ri i t : r
+,he
u-r-co[ ing scxedufe.
There
are
ju5',
as neiy techniques
' ,o
gei
frcl i l
rougr bo..d
',o
ilnj-sr3C. So::te
jusi
use
+ he r
rou;hs
es a gJi ie
arC :_gCrav,
ie:hE_:s in 51ue
pencll
then
bL:ck. sofle
clean
up
',heir
th,r, b-
naifs
ard
xe:_ox
+-:1en
u?
to
s:ze.
egein
the
question
is
a.e
l rou
t:kjng ioc nany sieps?
f
,ould
:e.cne:rd
trac:ng
i ro:
the
rough
_-o
f inished siane,
I '"rs eas-r ' o i€ke
correci . lo;ts
in detai f
anC coricos 'Licn..
-aid sevgs
a
s'Lep.
thus sevixg 'Llire .
Sor€lhing to
'eiie:r.:ei
is that
pecple
terd
to
conpose thsir per?1s
rLoo
tightLy.
The
use of
the
"Fost:t"
:€rels,
then
.lracln€
ircn
thal
size is e
Aocd
riay o.i
ivoidj.ng
' hat
iendency.
RoD6q
P&a- StLe
Once agaln
coriceriaa:e
o:: L.hai,rs
lhe i tost
inporLant.
. .
' -a
irg
ihe nc.- i .cn,
ercrbss ion,
.pos1n6.
ho.c.. . i id
do:i ' t
6ei
boEsecida,, .n
n
a lot
of ef: .eieous
Ce:ai1-
nough,
scetclJ..
bEckgr.und
indicat ions
are
f ine
i f
there
Ls
gocc
design
rele.ence ro
p.ss
cn
to
the lar-cu."
elai tnent.
'r;hen
r,ul"i:ie pe:leis :ie .eqcl..ed to shd,, the
action
in a
sh:fg
sceie,
l t
ls
not
necessary
to
redrar
"re
bg.
e.. /e.: .
t i : re unless i t
s
affecieci
5cielcJ
q,-
the
ection
cr there
is a.
pan
lnvolved.
0Qk
{ .u/
-rrut5ipp
nua-<
&e
-
8/18/2019 Storyboard Notes 3
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-
8/18/2019 Storyboard Notes 3
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fHlNGrS
TD
WA-TC+{
OvT
FaR-
A.S Yo\J
'TH
e r./^.BNAl r-
Yo
uR_
6E4l.rENcE
I
BL.oc.RrN(.a'
-
KS.EP
11- SIMPL-E l r.aa.rr\r
tv1
.st{ctTs
(rNC-€,
-THEIR
POS\TIOIJS SA\/E.
BEEN
E=TAB,I-I,SH
ED
\\l
-F (E-
w
IDE
srid-r
.
DIA -.o
-
8/18/2019 Storyboard Notes 3
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C rE'rr.J
Gr
sE?vgN
-
8/18/2019 Storyboard Notes 3
19/81
vueJL
oa
t lc
-
8/18/2019 Storyboard Notes 3
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v u u l L
r o r
r l e d L
TANTRUM
( i L t ]e sn i f
f
)
The MEAN
A,IIDERTTIATS o
a double taKe
to
the
TANTRUM sAURUs.
TANTRUM
(congested
menacj ng
grow
[
)
.
. .
fk\,rooooooodddddd. .
. .
The TANTRUM'S mouth opens wide as he begins to bui ld up to a
sneeze -
. . . . aaaahhhhh.
. . aaaaahhhhhhuHHl{.
The MEAN ANDERTIIATS
squirm helpl,essfy,
knowing fu1I
weI.L what
is
abou t Lo
haDDen.
SPIKE,/SQUfRT,/IUMP(in
un.ison)
AHHHHHHHHHHHHHHHHHHHHHHHHHHI
I
I I
hannock bet\,reen
the
back like a giant
sits snugly
in the
q
l i nd ah^ f ^^^ r .a+
STONEY 'S
.POV
-
as
he a ims the
They
refease
Lhe hammock.
ANGLE
ROCK
-
as
it flies
past
the first
intended
targ,et.
(very
fa.r off)
(ndghty
sneeze)
'
.....ccccccHHrffooooooooooooot
The CAVE:i
KIDS
l:;'eact
over thei.r
shoulders
as thd
three MEAN
ANDERTIIALS
cone
iflying
.lnto. the
cave,
landing
in the hot watej:
poo-1 . .
. i . . . .
. . : .
'
' ' ; .
' l l .J ' .
' : l i ;
: : ,
i ' l
. ,
.MEAN
A.I,IDERTIIALS
.
(3. they
fly by)
GAAAZOOONTIT
rTE I I I
i
'; STONEY
Iat
her
go
I
Ir{T. I{EAN ANDNRTEAI-S' CAVE
The
CAVE KIDS have tied the
MEAN
ANDERTIALS
two
s ta l ag rA i tes
and a re
s t re tch ing
i t
sl ingshot.
The l i tt le
baseball
size
rock
r ^ . k . l _ + h - 1 - - - - i ^ ^ L
' : : ' ] '
TANTRUM
t ne . '
. J : '
. i '
-
8/18/2019 Storyboard Notes 3
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"Quest For
Heat"
-
Continued
CAVE KfDS,
watchinq
it l ike
spectators
at
a tennis
natch as
it
bounces
al1 over the
place.
BUMPS'
head pivots
back
and forth on
his long
neck along \"r i th
the others.
The
rock bounces off a wall . shoots across
the cave
over the
ugaN
i
ANDERTHALS ' heads , r i coche ts o f f a
s ta l ac t i t e ,
bounces
o f f
.
another
q'a11,
skips off a stalagrnite and
finalfy
hits BUMPS
in
Lhe beh ind caus ing h jm to leap
h igh in to the a i r .
BUI4PS surprised shout
)
wHEW-HOOOOOO-HOOOOOOOOOOOOOI
ANOTHER
ANGLE
-
as BUMPS drops onto the
Iog,
.loosening the
boulder and
sending, i t rolf ing right towards the steam
pit.
ANGLE S'IIONEY his tr iujnphant smile
instantly fades
as...
AIIGLE
THE BOULDER
-
as i t rol ls r ight
over the hole
and keeps on
go i
ng .
Tt heads s t ra igh | - fo r and c rashes in to the wa l l ,
crunb.l ing into
a mil l ion
p1...:.
_
ANGLE $HE CAVE KIDS
-
\,r i th blank
looks on their faces.
sPrKE (vo)
HA t tA l No bou lder , no
p lug l
SQUIRT
You said i t,
Spike
I
ANGLE.BACK TO THE
KIDS
-
who
look devasted. BOW
o f f s c x e e n . '
'
:
r :
'
j -
r '
i ( i '
i '
Look
Bow
. r l
ANGLE
TIID BOIJITDER,/WAII
-
as a srnall
crack opened by
the
impact,
-
runs
up..the,rwaf]., al"ong
.the xoof and right up to a
giant
stalacti te
above:
I
SFX:
,
CRICK,
rE i a1Ls .
ANOTHER
ANGIE
-
as the nassive Etalactite
drops like a Elrord
:--
-
right towards the
steam
pit.
The MEAN
ANDERTIIALS leap for
their
I ives as the stalacti te buries it 's entire length-in the pit I ike
a monstrous
cork.
Ya
hal
STONEY
We
did
i t l
plugged
the
hole I
' . : : : '
-
8/18/2019 Storyboard Notes 3
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.
t t
*fi
u
T
t.\
e(
a
rs
s
:
:
ts
b
z
R
v
z
I
-
8/18/2019 Storyboard Notes 3
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)-
it
hlt,
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tz)
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/.
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/'/
/a
,,4;-\.,-
-
8/18/2019 Storyboard Notes 3
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'l
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Year-|..
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-
8/18/2019 Storyboard Notes 3
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.g.
4
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?a'. w
I t l nn
I YTI ) | ) i . ) n ^
\ - t t vv
(
_rHlrP
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-
8/18/2019 Storyboard Notes 3
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t^kkAA/4../
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F4
MAL_-
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:
e9:- t
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.
A CrI+l S
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e
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bu i,,o
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-
8/18/2019 Storyboard Notes 3
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)
dD
@*'ttw
Vv NI"AA L
.
(9atL
\Jo 1Q4c1tDtJ
Bat{B
rd+irs-
-l-..
u)
(A*tb:
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ffit,anr'-'@
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ld,)
Ya'.
w
orp
ct
r,r,gmrS
SP"rts
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rr.
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Pt
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ul
-
8/18/2019 Storyboard Notes 3
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CHARACTERS
By and arge,
ali DOG CITY
characters
le eitherdogs
or
(very selectively)
ats'
while
they
usua
y
behave
n a hurnan-like
ashion
i.e.
wearing
clothes,
walkiEg
upight,
tipping
poorly),
they ;ll
exhibit distinctly
canine
and
eline behaviour'
rom sniffing
a stranger,
o
howling at
the moon,
o chasing
ars,
o driving
with
their heads ut
the
window,
o
scratching
hemselves
in public. For specifics ee he "DogTics" addendun t thebackof drebible)
ACE'S
(ANIMATED)
DOG CITY
Ace Hart
Ace Hart is a
private
eye's
private eye, a shamus
whose
wit is as
quick as
his
paws He believes
in truth,
Jusrce
and
helping
Littleold
labradors
across he
street
Well,
not
quite
lf the truth be known
that
is the way
Eliot wants
Ace to be;
what
Eliot
wants
his fars to see;
what he intended Ace
to be
when he
first created
him. But
Ace evolved
He came alive in a
sense,
ulgrowing
EIiot's
homogenrzed
elo, aking
on his owa
unique
a'1d
annoylng ral ls
To that end,
Ace believes oniy
in himself.
He is the
archetype
of the
private eye
guy in that he
watches out for number
one. He's
got
an
ego as big as
his Hudson
and
isn't
quite as clever,
heroic, or
effective as he
professes
o
be. This
is not to say
that Ace
isn't
good at what
he does'
because
e is. It's
just
rhat Ace's bigger
than
life opinion of
himself
tends
o
dilute
his real, and
genuine,
qualities
and abilities.
We see this
most v,/henAce
and Eliot
are interacting.
When they
are
at odds
as 10
how Ace
should handlea given situation.Ace alwayswants o burst in for effect, throwing caution o the
wind, thinking only of
how
great
he'll
look doing
it. His only
agenda
s himself
Eliot's agende
is to do
what'sbest or the story
he's elling,
and fthat means
Ace
has o
slip on
a dressand
slip
past
he hired muscie then,
embarrassing
s t may seem,
that's
what
Ace
rnust
do
--
because
f
Ace squawks
oo
much,
Eliot can
ust
as easily um
the frock
into a
tu-tu
ard have
Ace tip toe
right through
those wo drips.
This undoubtedly
causesa bit of
friction
between
hese wo' but
Eliot is no tyrant and
Ace is no
whiner, and compromises
ate
made
(A
note about
"whining",
an annoying
rail that Ace fell
into last season,
making
him sound
ess
than the tough
guy
hero he
is
supposed
o be.
There are times
when
Ace has
to stop
the actlon
to question l iot abouta particular irection he show
s
going n. Often,
Ace's
complaining"
sounded ike
whining. Writers should steer
away from
Ace complaining,
opting
for
Ace to spout
his
opinions
in the form of sarcasm,
disgust,or
out and out
anger.
Eliot
will be
quick on tire
uptake
and either accommodate
Ace wilh
a changeor tell him
to take
a hike
--
either
way, Ace
hasn't
much choice in the matter,
and will continue
he scene
without
complaint
or whiningl)
We've
talked about Ace aad Eliot's
working relationship,
now
let's talk
about
the
result
of that
relationship.The snrff that
Eliot's fans
get
to
see
(when
Ace
is in his
element,
screenlng
a
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potential
client,
waxing
poetic to Eddie,
exchanging
verbal
foreplay
with Rosie'
or slapping a
collar
on Bugsy
and
his boys)
is a
cartoon
private
eye
--
a
cool and
coliected
canine whose self
assured,
elf serving
attitude
s
so
pronounced hat t borders
on
pure
parody And
who ca:rblame
him? Ace
is. after
all, a
cartoon
character'
His
good
points
and bad
points
should
be equally
cartoony-- pushed o extremes n order to get the most out of his comic, heroic, ald dramatic
momeDts.
Ace fancies
himself as
a
hardboiled
detective,
cut from the
same
cloth as
Sam Spade,
Philip
Marlowe
and Mike Hammer,
but
his
delivery
is so
puffed
up
that it always
comes
out soundrng
like
Leslie
Nielsen from
"Poiice
Squad".
Ace is soffhearted
only
when
it comes to
Eddie
(his
worshipful
wehosed sidekick)
and
in those
rare moments
when
he
gets
a
glirt
in
his eye for
Rosie.
When
it comes
o tracking
down
a criminal
there'sno m4tch
fo
Ace His
uncanny
"nose"
for
clues s legendary,but on a number of occasions
t's
gotten him
into deep
doggie doo
After
picking up the
trail, Ace's
nose ales
over,
leaving him blindiy
oblivious
to
whatever
danger t's
leading
him into.
Being
the
"against
he
grain, bending
the law" maverick
hat Ace
is tends
o
land Ace in more
then his share
of hot
water.
(And
since
he's a real
"dog's
dog",
Ace hates
taking a
bath'
physically
or figurarively).
The dangers
he facesshould
be comicai,
but real
enough o
male the
Lids
"t
ho."
worry for
his safety.
But somehow,
always at
the last
minute and
always by
the
skin
of
his teeth, Ace
is able
to
pull his self absorbed
hide out of
the fire, saving
the
day and
slamming
yet
another
cell
door on the
evil-doersof
Dog City.
Rosie0'Grary
To
find out
where Rosie
is
going (first season ersessecond
season)
et's review
where she's
been-Last
seasonwe tried
to apply
the Lauren
Bacall,
girl
friday
romantic
angle between
Rosie
and
Ace; a role usually
given to a character
hat works in concert
with the
hero' or
at the
very
least, shares
he same
goals/opinionscase-wise.Our
problem was that Rosie
and Ace
(by
the
book
cop
and shi{lless
pivate
eye)
where always at odds, eaving
no room
for casual
lirtations,
and thus,
no roorn to serv1ce
his side of
their chalacters-And
whenever
we
tried to shed some
light on this
unspoken
omarrce,
iving
Rosie ines like,
"There's
goes
one
heckuva
dog", Rosie's
impact asa tough Police Dog went right out the window. The bottom line being: in trying to do
both,
(tough
cop/girlfriend)
Rosie
(the character) elt flat and undefined.
So
what's the answer?
How do
we mai
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Ace,
who is as far
from
perfection
as
any
dog can
get.
As a.L e, Ace follows
his
gut
instincts.
This usualiy breaks every
rule in
the book, but Ace
doesn'tmind. It
gets
results, and
as
a bonus,
it rubs Rosie's
ur the wrong
way.
Anything to
yank
Rosie's
chain-Having said
all that. let's
get
down to
the nitty-gritty.
Rosie O'Grary
is Dog City's Chief
of
Detectives. A real take
chalge kind of
gal,
determined o
do her part by taking a big bite out of crime. Is Rosiegood ooking?Well, let 's
ust
say she's
fetchingl) Law enforcement s
more
than ajob to Rosie,
t's
an O'Graq,
famiiy tradition. She
s
the daughterof Red O'Gravy, a legendary rish Police Dog, famous
or single
handedlyslapping
the collar on
Al
Cabone.
Living
up
o a family name is an incredible
load to bear, and
it's
especia.llyough for Rosie, being a
woman,
in what mary narrow
minded
dogs say
is
a man's
game.
Like the
Muppet character hat is her
parallel (Terri
Springer)
Rosie is extremely
efficient,
organized,and
obsessedwith her ability to do
a
job
well
--
but where
Terri comes
off as kind
of screwy, Rosie comes off as some kind of
goddess.
n his foot
thumping affection
for Terri,
EIiot is blindedby her failings and oniy sees erfection. n transposing his perfectiononto Rosie,
Eliot has created
a
superwoman;
a
police gal
incapable
of
making a \4rong move;
and a real
pain
in the ass or Ace.
Rosie
s also the
possessor
f an ex{remelyvolatile Irish temper. Ace
has been
(and will
be)
on
the receiving
end
of
"the
wrath
of
Rosie" and will tell
you
that it is set off,
mainly, by even he
slightest hint of sexism conceming what some dogs
(Bugsy)
see as a
womar doing
a man's
(police)
work. Often, Ace can see that an eruption s immalent and, even
tiough thesedumb
chauvinistic
animals
deserve
t,
he tries his best o steer hem clear ofthe
blast radius.
"You
don't
wanna say that. You really don't wanna
say thaf'. BOOOOOOOOOOOOOOOM
Chaos
Mayheml Incredible off screenOoo's and
Ouchesl
Then reveal he thug all tied
up like a
pooch
pretzel,
with Rosie
standingover him, looking refreshed.
Ace
grins. "Aw,
you
went and said
t".
Being the
perfect
Police Dog isn't easy.
There are momentswhen Rosie
exposes he tiny
chinks
in her armour, but only during times of self doubt,
and only
in
the
presence
f her dad;
a framed
photo that occupies
ar honoured spot on her
office wa1l.
Although Rosie can't stand
Ace's
disregard or
procedure,
she
can't
argue with his winning record,and has a
gaudging
espect or
him. There are
times
when
Rosie needsAce,
but asking Ace for help
is a bitter
pill
for
Rosie to
swallow.
And
you
can bet dollars o dog
hairs that Ace isn't
going
to make
it easy or her. The
only
reai weight Rosie
has on Ace is that
she has he
power
to
yank
his
private
eye dog
license
anytrme she wants- t's a
threat
that
Ace tates very seriously
-
one
that keeps Ace
on his toes,
and off of Rosie's.
Being a high level
official of
Dog
City, Rosie
answers o only one dog, the
Mayor of
Do8
City,
a shallow, credit
grabbing politician
who
prefers
photo-ops
o backing
cops. A dog
who rivals
Ace as Rosie's hief
sourceof aggravalion.
As Chief of Detectives,Rosie is
forever finding
herself n the middle of
great
danger.
During
the course
of
his
investigation, Ace
will often
come to Rosle's
escue,ard, almost
inevitably,
Rosie retums he favour,
sometimes o the
relief, but more
often
the dismay of loner,
Ace
Hart.
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Eddie
Eddie
s a
young
spaniel,
enetgetic,
venly enthusiastic
og
City
newspup
who
ancies imseif
as
Ace'ssidekick
ld a
pivate-eye-in-training.f Jimmy
Olsen
were
a dog
he'd
be Eddie Eddie
worshipsAce.
He thinks
Ace is the
cat'smeow
(pardon
he
er?ression).
Like
all frisky
pups,Eddie s eager
o
please nd s always
p for
new
andexciting
experiences,
so much so that he can hardlycontainhimself (Hence he newspapersll over Ace's office)
Unfortunately
or Ace,
Eddie
nevershuts
up and appears
ut of
nowhere
at
even he slightest
mentlon
f a case, ot
wantiflg o
missevena second
fthe
action.
Remember
he Wdner Bros'
cartoon
with
Spike
and Chester?
he
frisky ittle
puppy
who
is always
bouncing
aroundSpike
yammering,
Whaddaya
wa$nado
today,Spike?
Ya want should
scare
us up a
cat to
punch
out?
Huh, Spike,
huh?"Eddie
s Chester).
He'salso
a;uvenile
authorityon
ust
about
everysubject,
gift
that
s, at
the same
ime' a help
and
a hindrarce
o Ace. mean,
who
wants o heal he casualty
ate
of
Acapulco
liff divers
ust
when
youlre
about o
take hat
en story
plunge
o savea drownilg
client?
This
is the cross hat
Ace must bear.And even hough t's crysta.l
lear hal Ace
is calling
he
shots,
we ca$\ help
getting he sense hat Eddie
s often
a half step
ahead f Ace,
nnocently,
nd unintentionally,
cluing our
imageconscious
ero n to
the blatantlyobvious.
But
even
hough
Eddie
s more
knowledgable
factswise) hanAce,
knowledge
oesn't tackup
against
xperience,
r thinking
on
your
feet,
and
in that department,
Ace
Hart always codes
out on
top
Eddie can be
a colossal
ain in the neck,
and Ace often catches
imself
antasizing
ew and
exciting
ways of shutting
him up, but
in the end,
Eddie's
enthusiasm
nd
excitement
le
contagious
.nd, s Ace
would say,
"A healthy eminder hat
n this
flea-bitten
world of ours
there's
till a few
patriotic,apple
pie-eyed, ll Americanine,
et
nosed
upsout there
Dog
love
eml"
BugsyVile
BugsyVile is a dumb
versionof Vito Corleone.
decidedly ense
Dogfather
whose
pe[chant
for senseLess
cts
of
violenceandover he
op antrums ave
madehim
the
most eared riminal
caaine
n Dog
City.
Every ime
we
see
Bugsyhe s
plotting,or in
the act of
commltflng,
ome
totally
ridiculous anine aper hat,
he eels, s so senseless
hatnobody
would
expect
im to try
itl Bugsy ivesby a strong
codeof ethics.
Aboveail elsehe
prizes
andoften
ewards) enseless
behaviour, enseiess otrves,
nd senselessiolence.
Is
therea
pattem orming
here?)
Like his Muppet
parallel, (Bruno) Bugsy is a character
f extremes-
xtremely
senseless
Extremelydense- xtremely
volatile.And exfiemely
aln abouthis
iooks
_-
a humorous
spect
of Bugsy'scharacterhat
we intend o
play
up more his
season.
This
diabolical
Don
dons
tailoredsuits,snappyshoes, nd
an egregiously ad oupde
-
an ill
worn
rug that
often
gets
Bugsy nto embanassingituations,
lying off
(as
hey end o
do) at
moments
f exfieeeeeme
crisis,necessitatingetrieval
at extreeeeeme
eril.
To one of
his boys.
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Bugsy
also ends o speal
with the
circumlocutory
ver-vocabulatiol
hich
s demonsfrative
f
a
pefionage
om of
Damon
Runyon-esque
xffactionSo
to speak
He's a
stocky ire-plug
of a
guy,
who
nevertieless
s iight on
his feet
and,whenca1led
pon,can
do a
great
ango-
A dapper
Don
who rules over
his
gang
of hapless
enchdogs
ith an iron
paw,
but
is tumed into
a
cowering
pup
by even he
slightest
f snarls
rom his cuddly eline
moll'
Kitty Litter'
Kitty Litter
AlthoughBugsy
s the boss,and
maste of
his world, Kitty
is the cat
who
pulls his
srings.
Because
ugsy s so dependant
ll
Kitty for love, companionship,
rd
status
all
mob bosses
require
a
gorgeous
abe
o their arm)
Kitty is able o
ride herdover
him using
a subtleblendof
feline lirting,
mild manipulation,
nd
pronouncedouting.
This
s not to
imply
that Kifty has
designs
n running he
show.That
would be too much
work- She simply
uses
her hold over
Bugsy o
get
all
the really
neat
stuff
in the
worid; wildly expensive
itty
curios
and
ewelled
playthings
or the
much
pampered
ussycat.
nd
judging
by
how tightly
Kitty
has Bugsy
wrapped round er ittle
claw, t's safe
o assumehat
whatKitty wants
Kitty
gets
Think of her
asMercedes uehlof "Maried to the Mob", or asa moremanipulativeercionof the character
Adelaide
n
"Guys
and
Dolis."
With Ace Han,
Kitty hasa soft
of
"Catwoman-Batmar"
elationship.
he ikes
him' but they
are
on opposite
idesof the
law. This
relationship houldbe treated
s a
mild flination
on Kitty's
pan,makingAce uncomforlable.
nd
Bugsy ed acedmad.
Kitty always
emergesrom
everyscrape bsolutely
rccratched,lipping
nto
the shadows rd
leavingBugsy
o take he fall.
She s owner/hostess/star
erformer
f
the Kitty
Kat Club, he
back
oom of whichserves s
he mainheadquarters
ndmmpus oom
or Bugsy
and his
gang.
F isky
Frisky is a
psycho.
He's
like Joe Pesci
in
"Goodfellas"
times
ten.
His total enjoyment
of
psychopathiccriminal behaviour
can
be
played
to the hilt. He lives
to test the
limits of crazed
behaviour,
ald his extreme energy
is his signature rait. Frisky's
frail little
frame is always
in
motion, like Peter Lorre on
a thirty cups of coffee,
his little
paws
wringing
like a fly on
a cow-
pie.
At times it's hard to
pin
down what Frisky enjoys the most;
the act of
doing something
insanely crazy
or
the anticipation of same.
Frisky's nicknamederives rom his natureand his onetrue talent.Frisking. For him it's noi only
a
quick
ix but an art orm.
"Ooooo emme risk him, BosslCaa huh?Can
pleeeeeeeease?1"
He is so overly enthusiastic bout
t
that
any dogs he frisks endsup thoroughly
dishevelled;
heir
clothes are on backwards,
inside out, their
pants
on their
heads
and
tieir shoes
on
thelr ears.
Frisky is
a
cr.urningmanipuiator and can
easily
con
Bruiser,
Mad
Dog, even
Bugsy,
into doing
things his way. But not Kitty.
Frisky hatesKitty, notjust because he's
a cat, but because
hehas
Bugsy's eaJ.Too many times
has Kitty swooped n and re-routedBugsy
to her
personal agenda,
DOG CITY BIBLE (Rcviled 01.93) l l
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just
when Frisky had him
primed
o do things
his way.
Frisky and
Bruiser
have an nterestingeiationship.
They are
a
team,
with Frisky
playing
he
masterand
Bruiserplaying
he malleable
lave.
nnocent
ulk that he is, Brujser oves
Frisky,
but
Frisky resents ruiser,
not for his
size,but for
the act
that
Bruiser s Bugsy,s ephew,
fld
chief heir o the family business.
he mere
hought
of this sendsFrisky into fits
of rage,
prompting
Bruiser o snatch im
up in that
protective
way
he does, ver-stroking risky's
head
andsaying.Tlere, here. iFlle ella
When t comes
o Mad Dog, Frisky
s the
gang's
hief ranslator
nd
wrangler.
Frisky ranslates
Mad Dog'sunintelligible
mutteringsnto
ntelligible
mutterings nd s in charge
f flipping him
his doggy
biscuit ewards.
Largely
because obody
else
n the
gang
s crazyenough o
get
hat
close o Mad Dos's
mouth)
Bruiser
Bruiser s stupidity-squared,lwaysat easta stepor two behindwhat,s oingon. probablyan
ex-boxer
the
sport,
as well as
the breed),Bruiser
doesn't
ust
have
cauliflowerea$, nes
gor
cauliflower rains.
Confusions
his metier-AIso,
Bruiser
akes bsolutely verything bsolutely
literally.
(So,
whe4
Bugsy says I
don't know
the meaning
of the word fear,,,Bmiser would
naturally espond
Duh
tlat means,
-h, ein'scared,
oss',.
Or somethingo that effect).
He's
big,
strong,
unchy
and,despite
is life of crime,
ather
weetand nnocent.He
ust
fell
in with
a
bad
lot and
really doesn't
know
the difference.
Bruiser
also
happens
o be Bugsy Vile's
nephew, nd since
he's
family,"
he'sabove
riticism.
This car be very embarrassing
or Bugsy
who, having
ust
defended
is sister's id
for dropping
a
safeon Frisky,s oe, henhas o
suffer
the ndignily
of having he
self-same
afedropped
n his
toe. But the
gang
needsmuscle,
nd
Bruisers muscle
ersonified.
Mad
Dog
Mad Dog is the missing
ink,
Dog Primeval, ure
aaimal
aggression, lone wolf.
WhereFrisky
is a tiny bundle
of energy
andBruiser
a big,
shambling aloot,
Mad Dog s long and ean;a
dark
presence
loping hrough
he
shadows,
o hin his pa,rts
eem o be held up by air. Most
of the
time he's narticulate.
e
ql\ly
spealsafter
eceiving
sha$
blow to the head,at which ime he
will
speak n a short
burst
of
intellectual
cuity.
Sort
of a
"talk
toggle', f
you
will,
that Bugsy,
Frisky, or Bruiser
can
usewhen
n need
of a.r
eniightened
dea or opinion. No
one
has
ever
figuredout where his comesrom, especiallyMad Dog.
In the
Muppetcanon,
e's
closesto Animal
rom
,,The
Muppet
Show,,
-
kind of hanging
ack,
breathing eavily,
eyes
half closed,
ntil
somerhing
etshim
off, thenZANG All he
has o do
is twitch and
he others
hold
their collective
reath,
bsolutely nsure
f
what
he's
going
o do
nextl
Sometimes e'll
viciousiy
che\rr'
p the
umiture,
or
bury t_he
eta\\ay
car,or somerimes
he'll
J
ustdo nothing.
You'reneverquite
surewith
Mad Dog.
He,s ast
as ightningandabsolutely
mercrless
-
an
unstoppable
oe
except hat
he responds
utomaticallyo doggy
commandsike
DoG
CITY BIBLE
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"Fetchl"
and
"Stay ",
and
can
be
totaily controlled
y bones.All kinds of
bones,
of which
t\e
members
f the
gang
carry
on theit
person t a.ll imes.Theoniy downside
bout
his bone
etish
is
rhat
Mad Dog can
go
tolally
qll
of connol
ar hesightof it.
AlthoughMad Dog
is with the
gang
at all
tines, he is
often
obscured
y
whatever
doglike"
pursuit
e'sengagedn.
(Napping, hewing owna fle4 snarling
t
his reflection
n a minor, etc)
He can be
summonedwith a simple command
r whistle,and
will always
appear lutching
somethingn his slobberingaws -- a clue o wherehe'sbeen,be t a garbage cow,a used ar
lot,or a
graveyard.
Drop
t, MadDog Drop ti" Smack
Alas
poor
Yorkie,
knewhim
weli".
Smack
OTHER CHARACTERS
ln addition, Ace's Dog City
is
populated
by
assoneddogs and cats
of
vaious breeds,
markings,
pedigrees
and occupations.
They can be doctors,
awyers,
police Labs,
politicians and fire
commissioners,
ews hou:rds
TV
Newscaster
Bowwow
Wowwow
is a
pafiicular favourite) and
any other kind of
canine or feline careerswe need o depict.
One set of characters
worthy
of
particular
menfion s:
Rottweiler & Leon Burger
Rottweiier
s
an ultra-evil German
Baron,
saddled
with an eager o
please,
etch-happy
henchdog
named Leon Burger. Ahhough he'd like nothing better, Rottweiler
never
gets
to be
in a full
episode,
elegated
only to
the
opening easerofthe
Ace Hart adventures,
rd only
when we feel
l ike usinghim.
The
general
consensus morg the creative
powers-that-be
s that
we usedRottweiler
a few
tlmes
too
many last
year.
He becamesort of a one note
gag
that
gets
harder
o top.
Whenever
possible
the Miter should find a way to hook the audiencewith the story that
Eliot is currently
working
on, saving Roftweiler for those divinely
silly cameos hat
inevitably spring
to mind.
The
Telephone
When the Telephone s picked up in either Ace'sor Eliot's World, all we hear on the
other end
,>
c^rc , 'ucu ud^rn ts .
In Eliot's Worldr This
may be Eliot's boss,Eliot's Mom, A Lucky Dog
Contest
Call or
some
otherset-up or or:r episode, tc.
ln Ace'sWorld:This
may be Ace'sMom, A Lucky Dog Contest all,
a
potential l ient,
r
simplya
gag
DOG
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Fgoxtr.
'xucE
-rDo
.rBou'
{AD
DG'
PA\ T/
- . . , . ac
+e(ro+J
\r'DTg
Aca
Lcors
o-s,P
.
cu€\ . 3 PAt
O\je'
ro
vlo*a
'',,:l
p€+Q
cuf
\\\N\Fv\
[^, R A_1_
l+|s
coQ-
'
--
;so*
-..
a"err-,".,*.
jr |.(o -\P SJNC .
?Ar.\
EG
--t
e(1.?.r.\ce
Ha
i-N\qr{T.
A
-
8/18/2019 Storyboard Notes 3
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4
./'I
lo
ttF
af)
,'44
L/4
bo,
vtx.tutE)
$l9E'
'"uo*S':,,,ncrl
ACE
a*^"#.d
\t
.o)
efrekA
-
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PRrSoFr
Se-Q
-
l^J\-rt
AL-
scR\
P_I
\rdTe-=
I
Itq?aE.ssr
oF\S
.
R . O U G T ]
D I A L
(codthued)
ryg
BqARD
El-iot
shuffles
back into
his
desk,
dusting hinself
off,
EL IOT
(con t ' d
)
And I
ceitainly
don't. want Bowse
runninq things.
Can
you
imagine?
(ears prick up)
Wait-a-ninute. . .
El-iot
reaches OS then
plops
on his Ihinking
Cap
--
a doctored hard
hat
w-ith a ]ight bulb attachment.
EL IOT
(s ing
song )
I'n
gretting
an idea I
DING The
lightbulb
l ights, then Eliot starts excitedly looting
through
a
pile
of
painted
backgrounds. El iot smooths a new BG down
on his
drawing table as
he says:
ELlOT
Bu t f i r s t ve ' ve
qo t ta
pay
a v i s i t t o
Poor
old Bugsy.
AXCLE
ON
EL IOT 'S
DESK
o
revaF l
F n i i n r i nd ^ f
BXT. TIta DOG CrFr DOG POIIIID
(BST.
SEOT
OMINOUSMUSIC sets
the mood as we PUSII
IN &
INT. lTEa DOG
POI'}TDVISITING
CEI;IJ
A NrGq"r
SHa-r
ese
5*vrL'(?+r_rs
i
s,
LH.
ar-rY
/€.evs1
CUT EO:
FRISKY,
KITTY, and BRUISER
are huddled
apprehensively together .in
the centel
of the
heavily shadowed cel l ,
(Mad Dog
paces
back
and
forth
in front of
the bars l ike
a caged animal
--
which he
is.)
CLOSE
ON
THE
GANGas we
hear the
OS SOUNDSOF LOCKS and HEA\'I DOORS
OPENTNGAND
CLOSING. Each
CLANG nakes the
gang
fl inch. Then
FOOrSTEPS
re heatd.
cetting
closer. And closet.
The cang huddfes
even tighter
as the Visit ing
CelL door explodes
opent CLANG Then
a welf
padded
GUARD
DOG
wheels
in
a
frightening siqht.
It.s BUcSy
VILE.
trussed
up in sone
elaborate muzzle
a Ia Hannibal
Lecter.
The
Guard Dog
parks
Bugsy
in front of
the cang, each of
then
reacting wide eyed at the sight. And just when the tension can get
no higher,
the
Guard ki11s the nood by
unceremoniously
"snapping,'
o f f Bugsy ' s
muzz le .
He
saunte rs ou t
t i r ed l y say ing :
GUARD
DOG
You
gots
five minute6.
And
stay off
the
furniture I
Bugsy-scowls
at
the
Guard. then
lrisky col lapses
at
cl-rngrng
to Bugsy,s
legs the way
dogs do,
u) lAf5
,
/
(fttHc.
04)
.r
Bugsy ' s fee t ,
-
8/18/2019 Storyboard Notes 3
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*
FRTSKY
(wiLd
sobs
)
t
Say i t
a i n ' t . so
Dog fa the r t
I
Hoe ,w i f l
+ - \
*
we qo
on wj.thout
you-hoo_hooooo
t |
\
*
Bugsy
pats
Prisky,s
head,
T=.|
+
* ,Bugs
laps F
(
ih,
Fher.e
+E
lruthin,
-
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'Bor6
BruL 6r '
(coatLlued)
BUGSY
--
mlmephewBru
ser.
CI,ANG
Frisky's
chin
hits the floo .
BUGSY
After al
I
,
this i6 a
family
business, and Brui6er is fanily.
ANOTHER THOUGHT BAILOON APPEARS oveT FTisK\,. In i t,
Frisky
breaks
kicking and sclea$ing l ike a spoiled kid.
aa.-,t€
FRISKY
(
OS,/ECHO-Y
tshouldabinme Itshouldabinme
ment
complete
by
Frevrovs
BAtrldi'
ng Mad D og o n t h
i t ty
head ,
B uise
a i t r ' t
nak the a
ing him to ris and sing Bert
Barks:
Therrrrrre
Do9-faut
_.--3
--- J
Lo-sa
ce tha
hi
Brui
noves ne
here .
Brf i -
'5
-rsoear.d
Sal.eo$
teFi+-rE-s.
ese
fte
oR
It ain ' t*, arq€E.
,. L-r\t(=.
eg
Ea^crs
No-)
.
Prisky k+€k€--+*+--€€t e€rfts,
E D T e r v r d ^ I . t h i n d \
T r r i n ' + + : i ' r + a l l , 5 t
Bruiser
scoops
Frisky up to console
hirn. near
stroking the skin
right
off his scran'ny
spine.
BRUISER
There the re
l i t t - l e fe l ta .
I , 1 I n i ss
6
unca Bugsy
too. . .
'-_slc{s
wroE
oN THE
GROUPas Bugsy
gets
all secret-ive-
like . Ite--l:oelfuef t
:::i
l+'-= g t he1
srle*Ely
be
D
_^-o
IN'r 'O
SHO? (in€lEding
a sEil l
apo lectic
F=i+lq4-
1tu
*
The
Gang leans
even closel
as we
CUT TO:
L--l
BUGSY hush-hush
)
Witt
da foist order
of business
now
in
conpletion. da
second
itetn on our
co l l
ec t i ve agenda i s
thus Iy . . .
ssssss
rrrrrrrrrr : I
6 Kitty, waving and
fawning at an
y gestures
to
Bugsy. He reluctantly
"pres
Kitty to RIIIIIIIIP off his toupee and
p ison
. (Bugsy guickly covers
his embarrassment \,rith
striDed hat l
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Ef,r, r,EEDOG
porrrfD
(
COmrNUoIts
BUcSy (
OS, bettows
)
BUST
I.(E THE HECK
OUTTA
HERRRRRE
I
* The vrhole place shakes at the sound of Bugsv,s c
*
TO:
A BI,ACX
A
WEITE
TV
II{AEB
The
AINOUNCER
(fron
"Radio
Daze, ')
e a r l y - d a y s
- o f - l i v e - T V
c u r t a i n .
-re-r}rt-
.s€q
?
|
7-l r,a.t_ -^"r_.1
stands
in front
of
your
basic
-_
as we CUT
f .+z
L'
ANNOT'NCER
Friends,
has a
beagle
burgled your
bungatow?
e
poodl6
p,rrloi""o
io"i
t l l
property?
A heinous
hound
heisted
Your hydtant? Then give a whistle
for
Ace
Ha t,
private
Eye Dog
The
Announce
WHISTLES
pOR
THE
DOG,
cuing the
curtains
to open.
Behind
is a IRIO
OF SINGERS/DANCERS.
hey
are costumed
as
ace
Of
Healts
in the
styLe
of
the cLassic
Old cold
Cigarette colunercials,
tap dancing
across
the
screen. (They
sing to
the tune
of the
D .
whippet
Jingle
fron
',Radio
Daze.,
slowed
1o a
tempo
nole suitable
for
tap
dancing
)
.
TRIO (
singing
)
Ace
Hart.
he,s
the private
eye
hound
/ sends
thugrs'n
crboks
striiqht
to
the pou4d /
Tl:{
".up
.gu"""_-gq.
Ace,
sranding
in
a cool pose
unde
a
ramp.
As rhey
GAIN
os we
supER THE
A PHONE
NID,iBiR
across
the
o f the
sc leen :
555-54 I3 ,
TR IO
(
CONr 'D
CalI
f ive
five
five
six
four
one
three,
and
fet
Ace
Hart
solve
vour
nys-ter_y
I
Ace
takes
the
toothpick
from
his
nouth
to add:
*
The
Announcer
ACE
( fol lowing
cadence
)
That,s
Ace
Hart,
private
Eye Dog
/
I
guarantee
your
case
f,I l
crack
/ Or
you
wil l
get
--
and
Trio
but
in
to bring
it hone.
. . -
ANNOUNCER/TRrO
s ings)
--
ooub-Le
your
noney
baaaaaaaaackl
street
bottom
3 tL
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ACT TWOr
BxT.
POT CE DOG
ETADoUARTERS
-
X
Nlkrrf-
6l
qe
l{r.s
oFJ
Y@E_
-
gaN
E-
\r.9\S,
-ir-{F
ROSrE (O.S .
)
Clearly this is the work of
cxininala'
nastefirdod.
*
rNT. ETADQUARTARS
(
COIITTNUOUS
)
fhe ir:ate
BANK PRESIDENT fumes
as Rosie
and the
police
Dogs
study
a huge
map detai l ing
the
cu1prit,6
tunnels.
n
BANK P.RESIDENT
Chief
o'crar-]/ | (
YAr*.c.-peoi+eks
j
'npin+_ihfot+91+-haaF
-end -. '
r-to
rAds )
3
are you going
to do??
* Rosie vrheels on the Bank pres. and gives
on of these
I
I don,t
\nant
catch phrases
I
L+--rafit
rcsEltsil
I want
my boltes
backl
Nq9o I
- -= : - -
Fr \ ls . T .v .
Pre-sident
hops
up and down
in
a
rage f-A
nearby
tv-YEi
t
or
from
the
jrnpact.
An Ace
Hart
co[ulercial
is
alreadv
in
l ie
hear the
famil iar
j ingle,
then
Ace
says:
ROSIE
$baierer-i$.-+€+ee,---SD
t.
BANK
PRESIDENT
Fr
es_\- lN
A
cEr^4e
wA\€
wH'.8
HA.S
\< o
-
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'Bo.r
Brufucr'
(coatltrEad
18
ACT TWO
EXI. POLICE DOG
EEADQI'ARTERTI
-
DAY
r02.
RosrE
o.s .
)
Clearly
this
j-s
the itork of
a
criminal
mastermind.
rNT. EEAnQInRITERS
(
CONr MUOI'6
)
The
irate BAIIK PRESfDENT
fu[es
as Rosie and the Police Dogs study
a huge
map detailing
the cul-prit 's
tunnel-s.
103.
ROSrE (CONE)
The hit on
your
bank was
the first
in a cli.[le
wave
which
ha6
klocked
Dog
CitY
on its haunches.
104,
BANKPRASIDENT
Chief O'Gravl'l
... These clooks have
had
you
jumping
through hoops
for
weeksl be E are You going to do??
Rosie wheel,s on the
Bank Pres. and
q.ives
hiJn
one of these:
105 .
ROSrE
I'n
leaving no bone untuned Every
lead is
being checked and all known
criminals
put
under 24-hou
surveillance
...
EyCgqLllg
by the
book.
IO5. BANKPRESIDENT
f don't want catch phrases I I want
my bones backll
8ts1
The Bank Plesident hops up and down in a rage. A nearby TV set
switches on from the impact. AIt Ace Halt conunercial is a.lready in
progress.
We hear
the
familia
Jingle,
then
Ace
says:
107 . ACE
(on
sc leen)
I
guaran tee your
case f ' lL c rack , o r
you lri
11
get
--
108. ACE/ANNOITNCER/TRIOon screen)
--
dou-ble
your
mo-ney baaaaackl
The Bank President snaps up a
phone
and
dials.
109. BANK
PRESIDENT
Operato ? Get
me
Ace Hartl
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@
=..\2->-
oot
F I N A r -
B C 2 A R D , , , ,
\INC€
AJATALS
A
sut+i
kre
('r)n\e
g6
6":-qoop
BAAP...
.lL
v\ 5.
trr
q5s.€.
$
MAP,,.
F€'A'iA,,R
t
Axr
E
,,-.
ta-os rl
b
ll\ffE:t- lN
s
o
E,
1RK
o|Jl_
4
Wtu,Ql(
f1\u
PqN
_|.E
p11241
P
x
c\ur&
r,Jtue
hA\q\
t{As
WVEN
fud
V\'YbVEV
90(/t
vJr_ah
tu | r..l1-€F
tt
oL-D)
For. " cro
,
.llii
-c'tes, "
iD l
rft,(
op
(tl
-
8/18/2019 Storyboard Notes 3
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w
_#Lffij
finE
&rv- lo
ottogtE,
Bgsr,
Qiaq.ct'")
f-ostz
puN"<
/ t l t P a '
L4\tvr
fo
o(,
\tor
-
8/18/2019 Storyboard Notes 3
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_ v
t J
41e,
'i.,,
ono
o.-
V-No\)hJ
0urNM
,
?uf
,*nO"14
t\oo(Z
q/nra\wNo€
r'1
\L . -hE :
PtaVtloA4:
Posre
R-rs
_-
'
r'nr.,ls
Bet'r\ ttE
3\cL,
@
hl\9e,
{?€fomg{a(
N
sudOq
T{'\lN6.t'
^'Are
\toq-':
7
f(4' '
, , ,
ccsle
siPa,E-S;.A^)A
L r F r s
E ' | c . ' @ " e
ar
_rb
sEE
@
ve+.re-
oo-r
.d)
v t9
Y\ '
/.
el"o .(.--Tah-----
"i,.Iro"r
lYrup
uac
c,Fr1/"1
AvAw
-
8/18/2019 Storyboard Notes 3
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fEDQfl
dAtffii
Dt,|-,E|lct
3ANL?ttz(
T.
v-JAF.Yt
MU\
gonwr
n
bx:v
?oo
-
8/18/2019 Storyboard Notes 3
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t s:
_d&tffi
flnle
/r'
7t
ft'fAL
@ApR
o6
otx.QrE'
V-'+
AOFANT\U&
Cloov
-
8/18/2019 Storyboard Notes 3
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l@gz
_5661ffi
u9-19
otneE,
glnv
&.E<
ao blt.,&
P"e
Gq
l'\t
fle
f&i\E
l(r
AhV;tl
o
-
8/18/2019 Storyboard Notes 3
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r- zr,-- r
-lz
@pr-
W,
1-o
SAAP
Qw<
9*,*?we,
,"9a.lrq.g*
QTvpn
t
4/o
7<
rt9
o
+
4
tbX'tV
r2.<
Tde":
,uu
6er,..
9wvQrt*v
r-e
-
8/18/2019 Storyboard Notes 3
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rw
_Effii
Atl'el
.rt
,+
vtnfrJa
rco
(
Nl,u-
t s
t/+
@
ra*a-
o.r-
euoP
[uD
&l
\Hr
r,JA4
41|tr
@
A
-
8/18/2019 Storyboard Notes 3
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PFrS€F-r BP.a)
'Boar
Brulser'
(cotrthueal)
N4eS
{
r MPRf:-SS' 6N-S
C.e
\ rak
D 'aL .
- , tY rNa
ELIOT
Look,
you're just
gonna
have
t rus t me . fh i s i sn ' t as c razy as
1ooks .
*
Bruno \ratches
Eliot for
a beat. He
perforns
the universa.l sign
for
*
"Screwball"
then
groes
back to
raiding the
fridge as rre
WIPE fO:
*
eyeballs
with picks
and
shovels.
fhey
stop and
Bruiser
*
load,
CLAI'IKITY-CLANXITy-CLANG
I I
Friskv
fr;aks.
\
B:rT.
DOG POIrllD
-
NIGHT (ANIUATION)
K a.,t
-
13
s,-rL,a-E-D
,i)
D.u
i-trerN
/-nv
'
r,P.-a-fi*.r.
+
WIDE
ON THE
SCENE. Searchl ights
s\reep
the area as
three
SILHOUETTES
*
tip
toe along
the tovrering prison
i.ral l .
---
'-"-=--'
'
c:,osE
oN Bruiser,
Frisky
and r{ad
Dog as rhey
stink
-
8/18/2019 Storyboard Notes 3
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Reveal
Kitty sl inking
into scene.
Brui6et
whips
around
to
h is shove l send ing
Pr i sky f t y i ng
O,S . (SFX:
CLANGI )<
K ITTY
(con
d )
A*?'( '":";-
Your
plan
is rd
dig Bugsy
right
,."t-:Jjif:__
"t:
ltflr-Fo:ff cG*r, -r*c loa pooND.
s-t^..'{6c.v s
86
^ E ^l^l.o
.#
s,.z.g
oe'*l--
s*,i.
4'
C'
ON FRISKY.
He
peels
hinself out
of a Frisky-shaped
indentatioi
Lhe
prison
waIl
and staggers
back
to the
q;oup.-
BRUISER
Oh
yeah.
Did I think
o, that?
KITTY
tet's
just
say
it came
to
you
on the
,
\@@
ae9