‘THE STONEMAN MURDERS’ storyboards
THE STONEMAN MURDERS poster
These are original storyboards from my film ‘THE STONEMAN MURDERS’ (starring Kay Kay Menon, Arbaaz Khan). These storyboards compared to the actual scene in the film gives film students a fair idea of how a scene is conceived and then photographed. I use these storyboards and a dvd of my film to demonstrate storyboarding techniques at the workshops I conduct in Mumbai. I hope this is of help to aspiring filmmakers on PFC.
THE STONEMAN MURDERS Storyboard Page 1
THE STONEMAN MURDERS Storyboard Page 2
THE STONEMAN MURDERS Storyboard Page 3
THE STONEMAN MURDERS Storyboard Page 4
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
Thanks a lot, manish.
This must be the first Storyboard of a produced film that’s been posted on PFC. Till now we’ve only heard of storyboarding being done for hindi films.
I’m trying to storyboard my second screenplay-but that’s more as a generator of fresh ideas-since
the screenplay is in a genre that would benefit a lot from images( horror-suspence thriller).
Can you please also write a bit about the process of evolution of the storyboard?
When was it done? before after final draft of s creenplay? Was it before the dialogues were finalized? Casting was ready? Production schedule finalised? How much input from the Director and script writer came in?
Thanks a lot in advance.
Hi Ranjeet,
The storyboard was obviously done after the final draft of the screenplay and dialogues.
The storyboarding was in fact done after the selection of the locations. It was the last thing i did, it was sometimes only a few days before the actual shoot.
It was done schedule-wise not at a stretch.
I draw my own storyboards. I have never used a storyboard artist. Since I was the writer and the director both, it was a smooth process though time-consuming.
But because of the storyboard, I was able to shoot the entire film in 37 days.
As for your question of “how much input comes from the director” – the answer is ‘100 percent input’. It is the director’s job to visualize the shots and make a shot breakdown. A storyboard artist can only help you sketch the shots.
I hope I have answered all your questions.
If you have any more, please do let me know.
Thanks and Sorry Manish,
Thanks for letting the aspiring filmmakers know shot division format.Shot Division is a discipline which should be followed by every independent film-maker.
Sorry,because the storyboarding is lame.The Stoneman Murders had a great chance to be technically sharp thriller(give it’s original content),but it was an average flick.There isn’t a single shot which is memorable(Due to composition reasons of course)
I do not have enough space here to tell you how better it could have been done,but please next time.Put equal amount of time and contemplation before planning each shot.
Waiting for Hostel eagerly.
Thanks Karun, for your honest opinion. I agree the film could have been shot much better. But there were constraints that you cannot possibly imagine. The very fact that I was able to complete the film and release it is a miracle.
True, anyone who has actually gone thru the process of making and see it getting the film released can only understand.
Kudos to u manish at least u r sharing ur experience in terms of storyboard and screenplay.
Process is as important as final product and it is gr8 to c u involved in all the aspect fully. Great success is not very far from u dear manish.
Hi Deepak. Thanks a lot for your faith in good cinema and in those of us who have sworn to make it work in India.
thanks for sharing your content on pfc Manish. Welcome to PFC! Thanks for making Stoneman Murders. I went to college in Sion and this film spooked the hell out of me. What was the scene that you felt challenged the most?
The scene in the subway.
I would have to disagree with you Manish,if you are going to blame financial restraints as the cause of average shot division.Ray didn’t have more budget than you(Comparatively),Nor did Tarentino(when he made reservoir Dogs),nor did Affronsnky,Ghobedi,Nishikant Kamat, and so many independent filmmakers out there.
See I am talking here about huge crains and dollies and steadycams.I am merely talking of composition and selection of shots.I am not even talking about lighting here(Though Ghatak,Ray,Nishikant,Dennis Hopper,Iranian Lot would disagree with me on that front too:)
I am saying money might restrain you from using big camera equipments but that would affect the movement shots, not the still shots.Your film is set at night mostly(And even at daytimes it is is set in not so bright places)You had a great chance to play it noir style.And Noir is not about movement but compositions.Steadycam is needed,but like salt in food.
I know that not all we storyboard is shot or can be shot but man,isn’t that the very reason why they say Director’s job is the toughest!
That is all I have to say.Thank you for listening me out patiently,I really appreciate this quality of yours.
Best of luck man.We have high hopes from you!
Thanks for your frank approach Karun. I agree that you do have a point that the film could have been shot better. But financial constraints were just one of the many problems behind this film. I repeat, it was a miracle that I managed to complete this film and release it.
Please don’t call it a miracle.Not because it is not a miracle,but because it might make you a director who is satisfied just to complete and release a film.This approach might turn out fatal for your future films’ visualization aspect.
There are lot of filmmakers who say,”Arey at least I made a film(Films).Most of the wannabe directors are not able to do that too!”.But why think that way Manish?
There will be many directors who will make the same statement as you have made.
But there will be a very few directors who would say,”I just don’t wanna survive life,I wanna live it”
That was my point Manish.I mean if you are going to come with different films,and if you are planning to fight with those big banner mindless films.Then only making and releasing a film isn’t enough,you gotta make it look good in whatever little technology you have.
When you will make and release a film which would be a trea content as well as visuals wise,then I would say that “Manish has created a miracle”
Not till then…
correction- When you will make and release a film which would be a TREAT…
I hope Karun, you realize that talking and blogging about something is far, far easier than actually doing it.
A difference that doesn’t actually invalidate his point.
Ronak, I have already acknowledged and accepted his point.
So I don’t see any reason for this argument to continue.
It’s ok Ronak,I am not surprised by Manish’s remarks about “How making is tougher than blogging”.This is because,in both the replies he has said the same thing
“But financial constraints were just one of the many problems behind this film. I repeat, it was a miracle that I managed to complete this film and release it.”
As Manish repeated his points rathe than answering them,it merely states the fact that though he has acknoledged the my POV he does not accept it(Contrary to his statement that he accepted my point)
In any case, I have nothing but great wishes for him.If he understands financial constraints cannot affect compostions and shot division(Not now maybe in future),then it would be good.Otherwise,he will be one of the independent filmmakers who will so be forgotten.
So I do not think that we should react to Manish’s arguments much.
Thanks for your concern though.
It’s ok Ronak,I am not surprised by Manish’s remarks about “How making is tougher than blogging”.This is because,in both the replies he has said the same thing
“But financial constraints were just one of the many problems behind this film. I repeat, it was a miracle that I managed to complete this film and release it.”
As Manish repeated his points rathe than answering them,it merely states the fact that though he has acknoledged the my POV he does not accept it(Contrary to his statement that he accepted my point)
In any case, I have nothing but great wishes for him.If he understands financial constraints cannot affect compositions and shot division(Not now maybe in future),then it would be good.Otherwise,he will be one of the independent filmmakers who will so be forgotten.
So I do not think that we should react to Manish’s arguments much.
Thanks for your concern though.
Dear Karun,
I want you to understand that this site is meant for healthy interaction and not for spiteful criticism.
I took your criticism well and even acknowledged your POV. But you took my criticism personally.
Maybe as a director, I am no Ram Gopal Varma (I wrote ‘SARKAR’ and other films for him). But so what?
Do you want me to apologize for that?
If you do, then I am sorry Karun for wasting your time by blogging about my storyboards.
@Karun
Sorry to meddle with , but Manish is absolutely right. there is huge diff in blogging about film-making and actually directing a film and i mean it.
I have shot 4 short films (10 mins) and know how many unwanted hurdles apart from known obstacles creep in during the whole process i.e from pre-production to post production and then to finally get it released.
The whole process can take a toll on “director” and I congratulate Manish for successfully executing his maiden venture and wish him luck for his forthcoming ventures.
And no one can judge a person by just one movie , madhurs, ashutoshs and so many other talented directors first movies were debacle but now they are considered the best.
So, its imp for Manish that he keeps on making films he believes in inspite of hurdles. I havent seen the movie myself hence not in a position to comment on shot-composition etc.
Its always good to have such an enlightened critic but tone of yours post is sadistic.
my 2 cents
@yaatri
First of all you should not be sorry to meddle with this interaction,everyone has an equal right to present their views here.
I know that blogging is easier than filmmaking.But then if tomorrow a corrupt politician tells a voter that it is is voting than governing a state,what would you say to him?
Because that way if tomorrow Roger Ebert(Who hasn’t directed a movie) critisizes Ramsey Brothers…will you say “Roger it is easy to critisize than filmmaking?”
As far AS Madhur Bhandarkar is concerned,he is praised for his entertaining realism not for his technique or compositions.As far as Ashutosh is concerned,I still do not think he could not match what K.Asif did in Mughal-E-Azam(Ref:Jodha Akbar) or even Lagaan which was brilliantly scripted but technically could not match it quite.Swades can be counted as a brilliant exception though,I agree.But then again watch What’s your Rashee,you will get an idea.
Watch RGV’s Shiva,Watch Pather by Ray,Watch Sanjay Leela Bhansali’s movies(They might suck sometimes in content but we are talking about visual language here).Can you ever compare Madhur or Ashutosh to them?
And as far as hurdles are concerned are concerned my friend,even director who have 25-30 crores budgets,have them.You think James Cameron or David Lean or Kurosawa were problemless just because they had a great goodwill or money?Kindly read their shattering experiences about film-making to get an idea.
And please do not glorify your short film making problems,everyone goes through them and not just in film-making but in any other field.You gotta fight them out man,I mean who said that direction is all about telling actors how to act?
If you find my tone sadistic,I cannot help it.I have best intentions for both Manish(Though I am sure he won’t agree with me) and you too.
Best wishes for your future projects.
Correction:But then if tomorrow a corrupt politician tells a voter that it is EASIER…
Karun, firstly calm down. I have agreed to your point from your very first blog. Why make such a big issue out of it?
You talk way too much.
That was for Karun
Hi manish ,
thanks for posting the storyboards, I just watched the opening 6 minutes. The shots dont exactly follow the storyboards, and i see additional dialogues and quips. But you mentioned in post above that this was done after the final draft. So u didnt necessarily follow the storyboards for the shoot ?
Yes SG,
Your observations are correct. That’s the purpose of my posting these storyboards on PFC. The storyboard is like a guideline for the director and his crew on the set but it is not a rule book. While shooting, you sometimes realise that something from the storyboard is not working so you change it for something better. This is called ‘Improvisation’ which a film maker does extensively on the set.
The storyboard is like a war strategy, like a war plan. But on the battlefield (the shooting set), things change, there are variables, so the General (the director) changes course when required.
I’d seriously like to know how a storyboard helps. If your screenplay is clear enough, wouldn’t it be good enough?
And, if you can’t draw, the artist is yet another person you have to manage. I used to have trouble managing around twenty people when we were doing a play in school, so if you are doing a movie, isn’t every person less a blessing?
Very good question Ronak,
One of the differences between a film and a play (that you managed) is that – a film is made up of ’shots’ – close-ups, wides, mid-closes, movements shots, etc.
A storyboard is the director’s visualization of a scene, a break-up of the scene in shots. The screenplay never carries that. A screenplay is a guide to the ’story’ flow. The storyboard is a guide to the flow of ’shots’ – with what shot should you begin the scene? Should it be a close-up or a wide? If close-up, how close? If wide, how wide? From which angle? – Low Angle, High Angle or Eye level?
Doing a storyboard of a scene before the actual shoot saves the time required to figure and decide all these things out.
It may not necessarily improve the quality of the shots. But it saves a lot of time on the set.
Also Ronak, whenever you work on a film, you will learn that there is something called an Axis. The ‘Axis’ means the direction in which the camera is placed with respect to the actor.
A storyboard allows the director to shoot all shots in one Axis at one time without changing the camera and lighting setup. This again saves considerable time.
Also, a storyboard gives complete clarity to each member of the crew as to what the director intends to do.This prevents a great deal of miscommunication and chaos which usually happens in the absence of a clear shot-division or a storyboard.
I hope I have answered all your queries. If you have any more questions, please feel free to ask them.
Thanks a lot. Really helpful, especially since I’m working on my own (one minute) movie at the moment. I just went and put all the description in my screenplay. Now I know a better way to do it
, and I will hereby do it that way.
I am seriously glad that my blog actually helped you. I wish you all the very best for your one-minute film.
Thanks. didn’t notice this post earlier. And dude, any blog on filmmaking is going to help people like me – who didn’t until recently know what a producer did -, if the writer knows what he’s talking about.
Ronak, this post was put up only a few days ago. Because I started blogging on PFC only a few days ago. This post was in fact my first blog.
Anyway, have you seen ‘THE STONEMAN MURDERS’? Seeing the film and then comparing it to the storyboards will give further insights on how a film is made and how dynamics change from script to set. Writing and direction are two very diverse disciplines (though inter-related).
I was going to see it but ten minutes into the film I wanted to see ‘Zodiac’ and ‘Se7en’ first, to see where it stood.
But I do remember this part and understand what you mean.
Yet again, thanks.
That is a wonderful insight! Thanks!
Purely as a layman, I must admit
a) I haven’t seen Stoneman though I 100% appreciate the 1 line concept.
b) I am not going to become a film-maker
but
c)Seeing the storyboard(which really helps you visulize how it will look on screen), I was disapointed at how “already-seen-so-many-times”, this particular RGV hangover scene was.But that is a scripting issue and a different ball game altogether.
Thanks for posting the storyboard. Is is the standard format of the storyboard followed in the industry?
No Aseem, sadly the Hindi film industry does not believe in storyboarding. This is a format followed in Hollywood and in the advertising (ad film) industry. Before becoming a writer-director of feature films, I used to write ad films. That’s how i learnt this useful technique.
omg…ek hi din mei sarkar ka screenplay & the stoneman murders ke storyboards! awesome!!
Not so awesome Amanda, because SARKAR screenplay’s word formatting went haywire during the uploading so it has been taken off temporarily till they fix the problem and reload it.If you are eager to read the SARKAR screenplay, please email or contact the PFC editors about it. That may urge them to do the needful at the earliest.
Hi Amanda, the PFC editors just uploaded the PDF version of the ‘SARKAR’ screenplay that I’d emailed them. You could download it if you please.It’s heartening to see the enthusiasm of all you young people out there.
Manish, I’ve downloaded the pdf version as well. However, formatting still does not seem to follow the standard–do formatting rules not matter as much in B’wood?
btw, could u write a post about the making of ‘the stoneman murders’ & upload the script?
Amanda, the formatting of the PDF version is the format that i use. It saves paper and therefore printing and xeroxing cost. It also makes the script look thinner. I don’t use the Hollywood format. I am soon going to upload the STONEMAN script. Will also write a post about the making of the film.
Awaiting for the Stoneman script !!. thanks
Soon Yatri, but to gain knowledge out it, it is necessary to have seen the film, so I suggest you do that till i upload the script…
hi, can u tell me whats the best solution for someone who canoot draw to save his onw life but storyboarding is a very importnat part of their film making process. i have thought of asking someone else to do the storyboards while i describe frames to them but then i run the risk of not getting exactly what i want right?
Dear Ayush,
You are facing a problem what many directors face. The solution is – to draw roughly how you want the frame to be – a close-up or a wide, if a close-up – how close? till the eyes? or till the chin, etc. Then spoon-feed the artist to just draw the final sketch neatly. If you depend on the artist to visualize the shot, it will be very difficult for him.
There is also a very good software for storyboarding, I don’t remember the name. But look up on the net, you will find it. This software should be a boon for you.
Dear manish can u please tell wat camera set up u used in film, was it on film or on digital
Deepak, of course it was on 35 mm film. It was an ARRI 435.
why ‘of course’? Isn’t digital easier to work with while at the same time giving better quality? Is it becouse 35 mm just looks better(like old low-contrast black-and-white)?
Hey Ronak, don’t get me wrong. I used the phrase ‘of course’ because mainstream films are not typically shot on digital. The digital format is usually used in serials. The reason being that the digital format does not give you the kind of depth that 35 film gives you.
Yet, all this is changing with high-end digital cameras like the RED camera coming into play. Some Hollywood movies have been shot on digital e.g.: ‘300′. But that’s because the film had heavy CG work in each shot.
Digital technology is the future. But as on today, it is yet to enter the Hindi film industry and it largely remains the ‘jaagir’ of productions meant for TV.
Didn’t get you wrong
. Just asking. You got a personal preference?
In terms of look, I meant.
Yes Ronak, I don’t like the digital technology available in India currently. It gives you a rather flat image. The image lacks depth. Also it does not allow intricate lighting. My Director of Photography does not like the format either.
Do you storyboard all off the scenes that make up your move, or just the ones that have action or are complex to shoot?
Thanks
I storyboard 99 percent of the scenes. It helps me pre-visualize the scenes without wasting time on the set.
Really Manish???Spiteful Criticism?
Who made a sarcastic remark saying that “you realize that talking and blogging about something is far, far easier than actually doing it”?
I did not want to you to apologize for anything,that was not even my point.My point was to see a better technical film from you next time(AS content wise you are already different,entertaining and good).You still are not getting it.Alas.
I appreciate you for Sarkar,but (correct me if I am wrong),it was not directed or shot or storyboarded by you either.And we are talking about visuals here,not how good writer you are(Which you are)
And no I do not expect you to be RGV.We have enough bad copies of him.
And yes I would think that I have wasted my time by blogging here,if you have not understood the points I have been trying to make.
“…the storyboarding is lame…
I do not have enough space here to tell you how better it could have been done…”
come on karun go for it. tell manish how he should have shot it. why waste time and space beating around the bush. waiting for YOUR shot breakdown. best wishes. let it do the talking.
Lol good one!Actually I was expecting this kind of comment,you took long time man:)
What you do not understand my friend,that just like you do not have to be Bergman,Kurosawa,Kisloweski,Gordon Willis,ROger Deakins or Storaro in order to understand and praise the aesthetics of their visual language…
In a similar way, you do not have to “Design” ‘Better’ shot division if you think it is bad in a particular film either.
When I talked about lame shot division,Manish AGREED BY HIMSELF
contd.
(because we both on some level understand when we say lame shot division).
But if you have followed the discussion,it is not about whether the shot division was not that good or good…it was about if a filmmaker’s visual Language(Not in terms of equipments but aesthetics) is overly depended on the money he gets.
And that is why I cited Ray,Nolan,Affronsky etc. who managed to do it in the lowest amount of budget.
so…buddy,if I go by your logic,or rather even if you try to follow your own logic…you will not be able to critisize shot division of Even Kanti Shah, who must have made more films than Stanley Kubrick or Martin Scorsese.
Hehehe Karun, looks like your appeal is seeping out of you, which is good… however chill mate… if you were a director, it doesnt look like you are ever going to make complete a movie cuz you are gonna look at PROVING your point everywhere… tough man… your talk of “”As Manish repeated his points rathe than answering them,it merely states the fact that though he has acknoledged the my POV he does not accept it(Contrary to his statement that he accepted my point)”" , it seems the other way round in every posting of yours ….
“”Because that way if tomorrow Roger Ebert(Who hasn’t directed a movie) critisizes Ramsey Brothers…will you say “Roger it is easy to critisize than filmmaking?””" — yes, TRUE we will! So will you….
“”When I talked about lame shot division,Manish AGREED BY HIMSELF”"
–Does Manish needs to hear everything you had to say … nopes… but he did … if you find it difficult to agree to what the rest have to say, then its more like “he agreed so he is wrong, I havent so m not… ” the ostrich way of doing things…
re read all your posts this entire conversation,
“”Ray didn’t have more budget than you(Comparatively),Nor did Tarentino(when he made reservoir Dogs),nor did Affronsnky,Ghobedi,Nishikant Kamat, and so many independent filmmakers out there.”"
- hope to see you soon in either the Forbes top 10 list or worlds most influential list, which ever profession you are in…
“”What you do not understand my friend,that just like you do not have to be Bergman,Kurosawa,Kisloweski,Gordon Willis,ROger Deakins or Storaro in order to understand and praise the aesthetics of their visual language…”"
too much aye say!
“”Because that way if tomorrow Roger Ebert”"– eh, you still arent in Roger Ebert mode, and you want e very film maker to be Bergman,Kurosawa, Kisloweski modes…
“What you do not understand my friend,…” nobody want to understand anymore… when things go beyond a reason of healthy conversation into a personal point proving activity, then loses its meaning completel. everybody’s already thinking, you want yo add a dimension, go ahead, you want to substitute others thinking… nah … you not agent smith yet…
“”So I do not think that we should react to Manish’s arguments much.”" doesnt look like you can stick to your words either…
“”And yes I would think that I have wasted my time by blogging here,if you have not understood the points I have been trying to make. “” – YES… and this is where the point to be made is even more apt, that even while BLogging.. WHICH IS EASIER THAT FILM MAKING, inspite of your constant trials to make other understand your views… YOU HAVE TO GIVE AWAY THE SPACE TO THE FILM MAKERS…
inmportantly, as a film maker or a blogger, please show up your opinions till they remain respect worthy… when you can make out that they are getting meaningless, forget it before you run of an audience… cuz if that happens, in either ways the thought (cinema or blog) is a flop!
BTW yeah me too, with sincere concerns for you …
Calm down.
I have understood and accepted your point of view from your very first comment itself.
I tried explaining something to you, but you refuse to understand. On the contrary, you misinterpreted my explanation as an excuse.
I can’t help that.
cool.Peace from my side.
Hey Manish, good to see you on PFC. By the way, when’s the Stoneman Murder’s DVD gonna come out (or is it already out) ? I missed this movie in the theaters but really wanna catch up.
Hi Abhishek,
The dvd is not out as yet. I don’t know when will the dvd be out. I will keep you posted. Thanks for your interest.
hey manish,
It is great to have u here. Thanks for posting the screenplay and the storyboards but most of all thanks replying to each and every comment on this post even to the criticism with so much dignity. This speaks a lot about the person you are. Would love to have more of you here and do blog about your journey and experiences.
Looking forward to Hostel. Cheers
I will Ashwini. Thanks.
Hi Manish,
It’s always great to see directors making the effort to make storyboards which are in most cases a great tool to communicate their vision to the crew. I would like to make a suggestion for your next project. Make two sets of boards, one by yourself and another by a talented artist. The reason I say this is that it’s always useful to have a fresh perspective. One of my friends is a storyboard artist with films like Minority Report, The Rock and The Game amongst his credits. When I asked him what his MO was he said that in most cases the director gives him carte blanche to let his imagination run wild and later the two of them work together to knock out a coherent vision.
Best of luck with your future films.
Good suggestion, thanks.
However in India, actual storyboard artists are rare to find. Most of them can only sketch what you tell them to.
If you know any genuine storyboard artist in India, please do refer him/her to me through this blog. Thanks
Hi Manish,
I have written one indie full length screenplay- as a tool to understand the process and am currently in the middle of writing my second one.I’m trying to storyboard the 2nd script and would like to know more about Shot divisions. Is deciding Shot divisions necessarily intrinsic to Storyboarding? Or can it be done equally well independently (in your opinion)? Can it be turned inside out during post-production/editing (provided one has the luxury of enough stock)?
Yes,
Most Indian directors do not use storyboards. They do a ‘Shot Division’ which is a simple list of shots listed in the order of the edit. This is good enough. And of course, the shot division gets changed and improvised on the shoot and further on the edit.
Thanks for this one too..I applaud your contribution towards wannabes’ learning process…
Not wannabes, ‘aspiring’ filmmakers…because I was one too, not very long ago…
hi manish how ru? just wanna say thanks 4 showing the story boards.
just want 2 ask u 1 thing that, after the whole thing is complete means shot division, ground plan, camera movements and on the day of the shoot if the actor is not comfortable doing the scene which we require then, in this situation wat u do?
Very good question Navin because it happens all the time. Then what the director does is – he either puts his foot down and convinces the actor to follow the storyboard or he slightly alters the shots to satisfy the actor’s ego while largely maintaining his overall shot division so that the shoot moves on smoothly, finishes on time and the end result is also not affected.
Hi Manish,
Good to see a story board on PFC about a Hindi Film. I haven’t watched ‘StoneMan Murderers’, but will watch it soon
Actually I haven’t gone through the entire comments, so if my question is a repetitive then please excuse. You mention, during the actual shoot there is always scope for improvisation, then my question is that ‘improvisation’ is never ending and it will follow during every/any shoot so why invest your good hard time in creating a story board? I know it’s good to sync the team members as to what’s running in your(director’s) head before the shoot, but practically during the shoot the director is improvising.
Thanks,
Suraj
Dear Suraj, in any business process there is always a plan, a strategy. But as the process is carried out, certain variables spring up and the plan has to be improved upon accordingly. It is the same with film-making.
If there is no shot division or storyboard, what will the director improvise upon? The shot division or storyboard is like a blueprint of a building, it is the foundation, the raw material. Without it, no one will know which is the first shot? Which is the second shot? How much are we shooting today? etc, etc.
There are many directors who shoot without a storyboard or shot division. But they spend almost double the time actually required. Expensive shooting time is wasted since the visualization of shots is done on the set, at the last moment. Whereas in a storyboarded film, the visualization has been done before hand. This saves a huge amount of time on the set.
Storyboarding may not necessarily help you improve the quality of your shots. It mainly helps in saving time and avoiding confusion and chaos on the set thereby ensuring a smoother shoot. Thus it also saves a huge amount of capital for the investors.
Thanks Manish for that clarification,
It’s good to see a filmmaker ready to explain the questions put up by anyone irrespective of his/her film background!
I agree with your thoughts, so are the investors demanding the filmmaker to follow the process of storyboarding!
Thanks,
Suraj
No Suraj, most Bollyood investors (producers, financiers, distributors) are completely clueless about the process of film-making although it is their money on line.
I will share an incident with you which will help you understand what space many Indian producers come from – the producers and distributors of ‘THE STONEMAN MURDERS’ forced me to put a cheap item song in my realistic film which was based on true events. The song did not suit the film yet they wanted it for ‘commercial’ reasons. To the contrary, the audiences pointed out the song as the only flaw in the film.
Anyway, as filmmakers it is our responsibility to tackle all these hurdles and deliver a product of optimum quality in the least budget possible.
Hi. great job and thnks for taking the time to reply to people. One question: How close (or how far) did the movie come to recovering its costs?
thanks!
It managed to break even.
Thanks Manish for the storyboards… Its heartening to see full length pdf scripts for Indian films. Can u gud folks at pfc get some more writers/directors to put up their scripts on pfc?
Also, I would definitely like to know what exactly Karun meant when he said the storyboarding was lame and that there wasnt enough space here to explain how it could have been better.
Karun, can I humbly request you to write a post and explain your views in detail as to how the board could have been un-lame. Also could you tell us HOW exactly the greats Ray, Bergman, Lieslowski achieved everything despite the constraints. Also please tell us a bit about you and what you do.
This Karun guys needs a brain enema. He should be a cricket commentator or summin.
arre guys, now give karun a break as well yaar… at times we neve know how we can sound while on writing… its been a few days now..
Whoppeee we are getting more and more close to film making process! First we had some scripts (3). Next Vijay has posted some fab info about cameras for small indie films, then MAnish came up with the screenplay for Sarkar and now this storyboard. This storyboarding is superb. I am going to get my hands dirty by starting to buy frameforge3d adn then learn to use it. Uns was the only Indian film to have used FF till now.
Thanks 4 the reply Manish. and 1 more question, do u really think that if ur script is really good then u don’t need any big actors. coz every debutante director has 2 work with small actors and he has a very limited budget.
Not necessarily. If it’s a low budget film, then you don’t need stars. If it’s a big budget film, you need stars.
Some debutante directors have worked with big stars in their debut ventures. That happens when a big producer like Karan Johar or Aditya Chopra plays mentor to them.
Hi Manish
Thanks for sharing something which is quite uncommon..!
Would like to know something about your childhood days and how you started out in the industry.
Dear Monotosh,
I am a mechanical engineer. I used to work as a shopfloor engineer in an engineering firm.
I realised only after 6 years of working in the engineering field that my heart lies in the creative arts.
But at that time, I hated Hindi films since Hindi cinema was at that time dominated by guys like Karan Johar, Aditya/Yash Chopra, Sooraj Barjatya, etc. I hated their films. So I went into advertising. I joined an ad agency (PERCEPT ADVERTISING and then later RK SWAMY/BBDO). I began working as a copywriter. My job was to write ad films and radio ads.
That’s about the time when i saw ‘COMPANY’. The film blew my mind and I decided that Ram Gopal Varma is the man I wish to work with. But it wasn’t easy. Because like any established director, he ignored me – a newcomer. But I was persistent. I kept coming to meet him under some pretext or the other. I even chased his car in a rickshaw and I even stalked him! Finally after a year and a half, he read something I had written. After that, there was no looking back for me. I wrote every film of his from that point onwards – SARKAR, ‘D’, JAMES, DARNA ZAROORI HAI. With DARNA ZAROORI HAI, he initiated me into Direction. I directed one story of the six different stories in the film.
But then, he rejected my story for SARKAR-2, which I had visualized as a prequel rather than a sequel to SARKAR. After that, it became difficult for me to work with him. And i ventured out into the market and became an independent director with ‘THE STONEMAN MURDERS’.
Actually my complete story is much longer. But the space here and the patience of the readers is limited. So maybe some other time.
Regards.
1 more question 2 u, when ur scripts were being made into films, wat drove u 2 become a film maker from a script writer. And wat kind of research work did u do 4 this film of yours Stoneman Murders. I mean sorry, but i have not seen this movie, but i have heard that it was based on the guy who used 2 kill people and keep the beer cans close 2 their dead bodies.Did u meet any cops who were investigating the case, weren’t u nervous coz i have heard that if ur movie is related 2 any person who is involved in any criminal activity and the case is going on in the court. Then the government does not allow u 2 release the movie till the verdict is over. I guess that’s wat happened 2 the movie Black Friday.
1) Writing does not give you the recognition that you deserve for your contribution to a movie’s success. All the credit goes to the director. Therefore, most writers land up becoming directors.
2) Your information is wrong. ‘THE STONEMAN MURDERS’ is based on a serial killer case from 1983. This man used to crush his victim’s heads with a stone and was hence dubbed by the media as ‘the stoneman’ or ‘Patharmaar’. This case was never solved and this killer has not been caught till today.
3) ‘Black Friday’ was a docu-drama which showed us real people with their real names connected to real events. ‘THE STONEMAN MURDERS’ is a fictitious film very loosely based on a real case. So there is no question of anyone raising an objection since the entire thing is fiction.
@manish
not to mention in this industry writers don’t even get paid peanuts. more power to you mr. director
Victor, that writers don’t get paid much in this industry is a misconception. Writers get paid quite well in major production houses. They do get paid less as compared to the actors. But there is a reason for that.
Have u done any script writing course from any institute?
Of course not. No course on this planet can teach you to ‘write’. Shakespeare never did any course, I assure you. Writing is a very personal and instinctive process. It cannot be taught. Direction, however is highly technical and it can be learnt by working with a talented director.
It was interesting to know that you wrote a prequel to Sarkar. Curious to know on whom the prequel concentrates on. Was it about how Sarkar establishes himself? Does Shankar figure in it? Is it a mix of past and future like Godfather 2?
Please ask me a question using your real name. I am not really comfortable sharing serious views with a blog named ‘Scriptlarva’ showing a buffalo’s face.
In this short chat with u, i have noticed that u very often give the example of Shakespeare, i guess u really like his work..
If u want 2 change anything about ur film now”Stoneman Murders” wat would that be.
I love Shakespeare, especially his tragedies, his comedies don’t excite me so much. Centuries back, he had the maturity that we Indian writers are still struggling to achieve.
Dear Manish,
I respect your feelings regarding pseudonyms. But at the same time I respect my own right to use a pseudonym and a ‘buffalo face’ if I have to. May be I have my own reasons. May be I don’t.
I should have stopped here. But then I saw this comment of yours.– ‘But when I get questions from weird and anonymous names like ‘Maximus’, ‘Scriptlarva’, ‘TVampire’, etc, I begin to wonder whether I am blogging with a genuine film buff or just someone out on the net looking to do some ‘timepass’. That gives me a feeling that I am wasting my own time.’
I dont want to get into the embarrassing position of having to explain how I have proved I am passionate about something. If actions cant speak, all the ocean of words dont matter. And what I have put in my site (www.scriptlarva.wordpress.com) is the maximum that I want the world to know about this aspect of me right now. Thats my choice. You have the right to form your own interpretations about it.
Any way, I respect you as a writer. And its my loss that you wont reply to my question. But I will have to live with it.
Best of luck for your next venture. And best wishes to get rid of all time passing buffalos who get into your path.
Hey Scriptlarva! Please don’t get me wrong. It’s a free country and everyone has the right to do what they want. I am no one to suggest anything to other people.
All i wished to express is my personal comfort level. I am more comfortable blogging with someone with a real name. That’s all. That does not mean I won’t answer a question put forth by ‘Scriptlarva’, ‘Maximus’ or ‘TVampire’. Of course I will. I have been doing it so far.Haven’t I?
But, heeding my advice ‘Pollyanna’ blogged with me using her real name ‘Deepanjali’ And see – I even remembered her name.
Anyway, enough gyaan about names. Here’s the answer to your question –
The prequel to ‘SARKAR’ that I had written chronicled the life of a mill worker Subhash Nagare in the seventies and essayed his clashes with the mob-dominated trade unions and followed his rise in due course to becoming the union leader himself and his eventual entry into politics.I wanted Abhishek Bachchan to portray a young Subhash Nagare (Amitabh’s character). I wanted to give Abhishek a 70’s Amitabh look with bell bottoms, hair over the ears and collar, stubble, etc (like the Amitabh of ‘DEEWAR’). But Ramuji had some other ideas and he put this story down. That was the end of our working relation.
@Manish
Your prequel looks exciting , why dont you take up this project as you are now an independent film-maker and have one full length feature film under your belt !!
Because Yaatri, the copyright for the ‘SARKAR’ series lies with K SERA SERA and RGV film company.
That means !!
RGV bought the script from you and then decided not to direct it, Strange . Why will he put money into something in which he is not interested.
No Yaatri, you got me wrong. RGV has the copyright for the name ‘SARKAR’ and the likeness thereof, the names and look of all the characters in the series.
The ‘SARKAR’ prequel story is mine but I cannot call it ‘SARKAR-3′ or connect it to SARKAR in any way unless RGV approves of it as per copyright law.
As an scriptwriter another question pops up i my mind is about location and costumes of the chracter.
e.g I write
Politician enters into the PM office and sat down on his chair.
or
Politician enteres into the PM office, its a hugh state-of-the-art office with frames of great leaders all around, Politician is dressed in white dress, he goes upto his chair , pulls it and sits down.
What is the correct way to write in screenplay! I always find myself confused with the description of location and costume. Till now , i have written only short film script , that also for myself , so I include location and costume description and sometime camera angles also in screenplay !!
But I want to know the correct style.
The second version is the correct way. And it is quite good i must say! I wish you all the best!
Thanks Manish for your response!
You could call it- Manish Gupta ki Sarkar!
Jokes aside, I think this was one of the best post and comment section I have read in the last couple of years on PFC. Thanks!
One question- Storyboards will help visualise shots, but how do visualise and document the look or colors in the movie. How much do you depend on the cinematographer on this?
I think Storyboarding must be the most enjoyable part of the writing process. You are done with the bloody seventh draft of writing. Finally, lets storyboard!
Very good question!
Before making the the storyboard, I pull out ‘reference visuals’ to convey to the cinematographer what is the look of the film.
These ‘reference visuals’ can be obtained from the internet (Google images, Google photos, etc), also from magazines like VOGUE, GQ and from a book called ‘THE BLACK BOOK’. This black book is a collection of photographs meant for this purpose.
I group all the scenes of the film into different categories like – Night road scenes, Police station scenes, Hero’s residence scenes, etc…
Then I show the cinematographer the ‘reference photographs’ (from Google, Black book, etc) that match the look of how I want each group of scenes to look visually.
The cinematographer then gives his own inputs on this.
I have these photographs that I selected for ‘THE STONEMAN MURDERS’.
I would have attached them here but there is no facility for attachments. I will try to put up a blog about it.
@Manish
Man, you are becoming a darling, such an helpful person and that too with such humility.
I am going to make a list of all your comments from this post as well as from Sarkar post.
Please upload them (photographs) or start a blog.Waiting for more learnin and I might throw up a few more questions.. be ready
Thanks a lot !
this has been intriguing me infinity… but you are the guy who wrote James… come on! James! What the hell? Not that I’m a big fan of Sarkar or even Stoneman Murders but James is down in the drain list for me and PFC. What made you write James? RGV? Or you were just whooo whoo out there during those times?
Superb question OZ!
One that I was dying to answer. It might be an eye-opener to many about how topsy-turvy things are in Bollywood.
I initially wrote ‘SARKAR’ and ‘D’ for RGV. He was very happy with my work. At that time, he had a film called ‘JAMES’ for which he had shot 2 songs and 2 fight sequences but there was no script!!! This was because the financiers were ready with the funds before the script could be ready. And RGV could not let the financiers back off. So he went ahead and got these songs and fight sequences shot without a script. These sequences introduced the various characters – the hero, villain, heroine, hero’s friend, etc. In this way, all the actors were pinned down to the project and the project seemed to be on its way. I was nowhere in the picture at this moment. Some South Indian writers and the director Rohit Jugraj had written these scenes.
But for the next one year, the director Rohit Jugraj and a record number of 13 writers tried and tried but could not come up with a script that made sense of the songs and fight sequences already shot. To keep the financiers happy, RGV would approve a few scenes and Rohit would go and shoot those. Still – there was no script ready!
That’s when RGV asked me to do it. I tried to refuse knowing that it would badly taint my reputation later (like it has) but when RGV insisted, I had no choice.
Thus, i entered as the 14th writer. Now, I faced further bewilderment when i discovered that the director Rohit Jugraj was an excellent technician but not a writer at all. He wanted to make a slick action film like the ‘KILL BILL’ series. While RGV insisted on ‘James’ being a ‘WANTED’-style Telugu-style masala flick. RGV was convinced that a film like that hasn’t been made for a long time. And it would click with the masses big-time.
The actor Mohit Alhawat agreed with neither of them. But RGV’s say was final. The problem was Rohit was not in agreement with RGV. But he did not have the guts to oppose RGV – in fear of losing the chance of directing his first film.
Now since I was not involved in the film for the first 2 years of its making and a lot of footage had already been shot, there was little I could do. I tried very hard to make sense of the whole nonsense and balance the politics between the producer, director and actor. But I failed miserably. The result was a product that none of us were happy with.
In all my other films – ‘SARKAR’, ‘D’, etc, I have been a SOLO writer i.e. my name is the only name in the credits of WRITER/SCREENPLAY & DIALOGUES.
But in ‘James’, 2 of the previous 13 writers have also been credited alongside me. Anyway, that does not completely absolve me of the responsibility.
Anyway OZ, I hope I have answered your question. But now I have a question for you – why do you call yourself OZ? (I know your real name) And why is your snap cut off at the head? You are running an excellent website here, undisputably the best film-related website that I have ever visited. But I don’t really understand the funda of these anonymous names. Please enlighten me…
Oz has been hiding like this since the days when internet anonymity was a rage!
I guess OZ fancies himself to be like BATMAN – a mysterious figure with a secret identity.
“I’m Shiva the God of Death” ~ Michael Clayton
the name’s stuck but I’ve met most on PFC when I was in India last February. Thanks for clearing the air around James. There are more horrifying stories I’ve heard of how absolutely brilliant scripts got twisted and turned in trash.
Oz, I know your real name.
Next time you are in India, please let me know. We must meet.
There are a million more stories I could tell you.
Is it Pankaj Tikka?
You can know his name for $1.
Just donate to PFC! 
WOW!…talk on James going on here. Incidentally i happen to be one out of the other twenty people who must have seen James in a theater. Had still not lost hope on RGV those days. This was supposed to be the movie which would create a star bigger than Hrithik, Shahrukh and Salman. This is how he sold this movie to naive fools like us. Lol. Where is Mohit Ahalawat these days.
Gone with the wind.
Thanks for the reply Manish.
My name is Ansh.(I dont want to appear inflexible about this pseudonym thing as I realise that you are flexible about it).
Regarding the prequel, I can guess why RGV killed it. He wanted to cash in on the ‘Amitabh Bachchan factor’ with the next Sarkar movie which was not possible with your version.
Ansh, try blogging with your real name, try uploading your recent photograph too. I assure you that you will get a better response from film-makers.
And the same is my message to TVampire, Maximus, SG and all the others with pseudonyms.
I liked Stoneman murders. I am eager to know what film are you working on currently. One small point that I’d like to mention: I didnt like the Background score of Stoneman. The loud forced rock track was totally out of place. An understated music would have given a more eerie feeling. The rock tracks were kind of 80ish and didnt do justice to your visuals.
Neeraj, the film is set in 1983, hence the 80s feel of the rock track was deliberate.
Still, I felt like the track was killing your amazing visuals. Nevertheless it was a good movie.
Yes Neeraj, some other people have also told me that the background score could have been better. I guess you do have a point. Thanks for pointing it out. It helps a film-maker improve himself.
Dear Manish,
Firstly, congratulations on making a wonderful movie in Stoneman Murders. I saw it at PVR Phoenix at just 80 bucks a ticket at 6 o clock one weekday with my family (parents, aunts, cousins) and everyone was surprised by the movie. We went in not excpecting much, and not knowing who made it. But we came out gleefully discussing the movie and the uncertain ending, and theres not many movies we discuss after watching. Loved the twist.
Second, its great to see a half decent artist in India! I have been a comics fan from childhood and you can see some of my sketches on the ‘art’ link on my website.
Third, I have never before seen a movie being storyboarded in India, so its great to see it being done finally, and that too in a movie I loved. Which I think proves my belief that if a movie is made intelligently it will turn out to be good.
Fourth (I have a habit of numbering my points), the songs in the movie sucked, and if you do get a chance please give me a hearing for your next movie – I would love to compose for a thriller! I am currently composing for a horror film. I have completed a traditional themed Road to Sangam which went for Cannes and a contemporary romantic movie (unreleased).
Fifth – why did you title the movie in English? 90% of people seeing the ads didnt know it was a Hindi movie. I put it on the top of my list when I give examples to producers/directors to ask them not to give their movie a full English title as it will confuse the audience. It can work for heavily promoted movies with big starcasts like Welcome, Do Knot Disturb, Wake Up Sid etc, but not for smaller movies who people might only come across in movie listings or small newspaper ads. Do you think the english title went against the movie?
You can post your resumes in PFC’s resume section that filmmakers regularly check – here’s the link http://passionforcinema.com/club/forum/resumes
I think we should meet up.
Hi Nitin,
I wish to try you out as background score composer for my next film that starts shooting this month. Call my assistant Amit Kumar on 9820087527 immediately. He will fix an appointment for you.
Hi Manish,
Thanks for remembering me. I have called up Amit for an appointment. Looking forward to meeting you!
Nitin
Thanks a bunch mate
Thanks for what Bhavesh?
Hi Manish,
Its heartening to see someone like you taking the trouble to interact with people on the other side. I’ve been on the fringes of ‘wanting to write’ for some time now and have one screenplay that I’m dying for feedback/criticism.
I know its a shot in the dark but please let me know if you’d have the time/inclination to take a look at a 3 page synopsis. The full 120 page Syd Feild recipe script has taken me more than a year to write.
manish gupta sir..i m waiting for ur reply..help meout..i m continously mailing to vishesh films..i m searching mahesh bhatt sahab..bt all in vain..so pls if u get my message than pls contact me..i will meet u soon..
stoneman murders ek achii film thi ye alag baat hai ki movie chali nahi..ek aisi hi movie aayi thi sehar naam se uttar pradesh k organised crime pe vo bhi achii film thi par chali nahi..manish sir for ur kind information..m bikaner se hu aur hamare yaha se ek movie ban rahi hai..sankariya kanpatimaar..jo ki ganganagar ka serial killer tha..aur hammer ki help se logo ko maarta tha..ye movie bhi achii ho skti hai..esko pradeep maru sahab bna rahe hai jo ki bikaner ke hai..stoneman murders me agar todi si cruelity aur dikai jati..to movie me aur maja aa jata tha jaise ki wrong turn movie me cruelity dikai gayi hai..bas todi si cruelity me kami reh gayi..baki picture literaaly bahut achii thi..mujhe es movie ka climax achaa lga..halanki kay kay menon ke bolte hii ki ye aadmi impotoent hai..mujhe 100 percent click kar gya ki vo hawaldaar hi katil hai..any ways movie achii thi..aapki baki likhi movies me sarkar achii thi..par james normal si thi..darna jarooro me amitabh sir wali aur arjun rampal wali kahani mujhe achii lagi..sir main aapse milna chahta hu..mujhe cinema se deewano ki tarah pyar hai..main esi me jana chahta hu..pls contact me..09982036008..
Dear Dushyant,
I will not be able to meet you since I am busy these days. Also I hope you understand that i get a lot of requests from actors, writers, technicians wanting to meet me everyday. I cannot humanly attend to all of them.
You can ask me your queries on PFC and I will answer.
Also, meeting me will not really help you. It is best that you continue your efforts with RGV, Mahesh Bhatt, etc. Your efforts will bear fruit.
ok sir i understand ur condition that now a days u r so busy with ur projects..but sir i have some queries regarding this industry..sir now a days rgv sir are in hyderabaad..i went to their office at millat nagar..so sir is it any other way to contact rgv..on other side i m struggling to meet mahesh bhatt sahab..but their is not a good response from office..since abhi tk main un se mila nahi hu par office se hamesha ek hi jawab aata hai ki sir yaha nahi aate..i know that their office is at jvpd scheme..but most of time vo waha nahi milte..so sir now i m trying to locate anurag kashyap sir address..i can make a screen play regarding their upcoming film doga becz i m also a huge fan of doga..so sir if u just guide me that where can i meet mr anurag kashyap..i will be always thankful to you..i search all the net,internet but there is no link regarding mr kashyap address..sir i m trying and trying..but sir if u can help than it would be easier for me to reach my destination..so pls ..tell me the way..or any link which u know..i m confident abt my story but i m searching just only one chance..so pls..and one more thing that wats ur opinion abt rgv sir..will they give chance to newcomer..sir pls solve my queries..thnks for replying
or sir if u know any link how to contact vikram bhatt/mohit suri/anurag kashyap..so sir pls let me know..
ok sir i will manage..thnks
Dushyant, please don’t feel bad about this. But I have my own limitations. I am really sorry that I am not able to help you further.
Hello Sir,
I read the screenplay of Sarkar and went thru the storyboard that u have posted. Its so kind of you to share this information. M an AD and i know how precious this info is…. Sir which other project ur currently wrkng on..?
It’s in the pipeline Kalpesh and so it’s too early to talk about it.
sir do u have an idea abt one another serial killer from mumbai..ok let me explain..
sir ek serial killer hua krta tha bombay me jo ki marine line station se lekar grant road,mahalakshmi ke beech me local train me murder kiya krta tha..aur victim k paas ek beer ka cane rak diya krta tha..do u have any idea on this topic..
Dushyant, please stay focused. Please read through the questions asked by other readers here. You are asking me irrelevant questions.
Hello Sir,
I read the screenplay of Sarkar and went thru the storyboard that u have posted. Its so kind of you to share this information. M an AD and i know how precious this info is…. Sir which other project ur currently wrkng on..?
Manish Sir,
I am a debutant director in Kannada film industry I’ve a few points to ask you,
1)Type of 35 MM stock you use and ISO speed ,focal length or f-stop and exposure rate.
2)Wy write Hindi film dialogues/ Screenplay in English for a Hindi film?
3)Was sarkar an adaptation or remake of Godfater in your POV ?
4)Feroze khan ad done it way before in DHARMATHMA before SARKAR,so wHy do it now?
5)Opening scene is same in two of te films i.e. poor man asking daughters rape be avenged could’nt u make it different or better?
6)Do u think Would tHe Film Have worked without tHe Bachans in tHe Starcast?
1) Kodak 350T, 500D and others.
2) Because the various scripting softwares are in English.
3) Sarkar is an adaption.
4) Feroze Khan did it. But inspite of that, RGV wanted to do it again with Amitabh Bachchan.
5) The opening scene is the same because I could not think of a better opening scene.
6) It would never work without Amitabh Bachchan. Without Abhishek, it would still work.
It’s in the pipeline Kalpesh and so its’s too early to talk about it.
I have visualized a movie and i feel i am not able to express it while writing/scripting. Shall i jump on to storyboarding. (I sketch quickly).
NO!!! the script is the first step. Without a script, there will be no movie.
Thanks Manish. I was in a bit of dilemma. The reason was i have these visuals in front of me and the dialogues. Since i hardly write, i thought it easier(faster) to simply draw and put the dialogues.
As i went through one of Anurag’s article, he mentioned that final movements,BG,camera angle etc (i guess, storyboarding) depend a lot on locations you choose and the resources, you got.
So, i guess, i have to simply work on my writing to the extent that i am able to convey the visuals.
Also, what’s your opinion on passionforcinema internship program based on the annual festival?
(you might ask someone to provide more details about it. specific issues like, what can an animator gain by it?)
I have no idea about the PFC internship program. Nor about the film festival you are talking about. Will you please enlighten me?
http://passionforcinema.com/pfcone-2010-the-third-online-one-minute-film-festival-call-for-entries
It is PFCOne festival. I have pasted the link. It was this contest that got me interested in PFC initially but as i started exploring the site further i am coming across a lot of useful information. Here is the link for PFCOne 2008 winners, http://passionforcinema.com/pfcone-2008-day-five-the-winners
I am working on an animation(for PFCOne) but as usual in stead of working started wondering on how much effort shall i put into it considering job constraints. Anyways it’s a pleasant surprise that you respond most of the queries here.
Hi Manish
Storyboard + Screenplay – Wow !!
Thankyou for the Knowledge & information shared here. You are really motivating many people.
In line with the topic of storyboards,this information might be of use to some.
1. Frameforge – Storyboard Software – Can definitely be used to analyse the shots and plan before shooting. Simple to learn & simulates real camera motion.
2. The examples given by Steven Katz in his book “Film directing Shot by Shot” is very useful.(especially the “Empire of the Sun” boards)
3. This guy has some amazing examples of storyboard in production ( before & After Shots). More for TV spots.
http://1.bp.blogspot.com/_JptkPPUTkFg/RmRpuLemQJI/AAAAAAAAAGc/c6fxo0_moN4/s1600-h/story+chrysler.jpg
http://antoniosantamaria.blogspot.com/search/label/Storyboard
A suggestion : Why don’t you post a page from one of your screenplay. Many here would do a visual development of the same and upload it to PFC. You might find your next Storyboard artist (someone who understands films) right here.
All the best for your next film !!
Hey Manish i read the whole thing u said about the movie James.But still i’m not sure that a writer of your caliber and status who have written some of the finest scripts couldn’t do justice 2 the movie.First of all i think it is RGV who should be blamed 4 such a blunder, but honestly in this industry every body has 2 please some other people.Even if they have shot for the fight and dance sequences i don’t think it was a tough job 4 u do deliver wat they wanted.
Manish wat is active illusion ?
I have no idea what active illusion is Navin. Try searching in WIKIPEDIA.
Manish, if I learn storyboarding through softwares like frameforge3d or something else, is there a career to be formed here
Hi Manish,
Its really great to talk to you directly as I wanted to congratulate you, when I saw the movie a few months back.
Anyway, now I would like to request you to read the review written at my site and would love to have a response from your side too.
Thanks & Keep up the Good Work!
Bobby Sing
Bobby, please send me a link to your site. How else will I know how to access your site?
Manish, click on his name.
yesterday i saw the world tv premiere of the movie 13b directed by vikram kumar. can u tell me that why suspense or thriller movies are so rarely made in india and when they r made, they don’t get that good response.
Navin,
Thriller and suspense movies don’t get much of a response in India because in India most people prefer no-brainer comedies where they can laugh, enjoy themselves and forget their worries for 2 hours.
But suspense and horror films have their own (though limited) audience. It is known as a ‘niche’ audience in filmi language.
hi,
kindly answer few of my queries
1) what all problems does a film maker face when he is making serious/realistic film?
2)Why is it so difficult for a serious film to find a theater?
3)why the general audience does not prefer serious films to commercial films in the market today?
4)how difficult is it for serious film makers to finance their films?or release their film?
5)what remedies do you suggest for making serious films reach out to a large audience?
i have seen film enthusiasts in this community.hope to get some answers
regards
nitin s.rana
Hi Nitin,
1) The first problem a filmmaker faces while making a realistic film is – getting a producer who is ready to invest his money in an offbeat subject.
2) The second problem he/she faces is actually executing a good quality product within the meagre resources available.
3) The third problem he faces is getting a distributor to release his film.
4) It is difficult for an offbeat film to find a theatre because the audience for such films is very limited. Therefore, the theatre owners give last priority to such films.
5) The general public goes to the theatre to enjoy themselves. So they prefer films that ‘entertain’ – comedies, love stories, masala action, etc. Our type of serious cinema is the kind that disturbs you, makes you think, sometimes depresses you. A majority of the urban audience today does not want that. They have enough stress in their lives. So they go to the theatres to relieve that stress for 2 hours and have a good time.
6) Serious films can reach out to a larger audience if – they are marketed as aggressively as commercial films are marketed. UTV has achieved a great deal of success in doing this. The other remedy is to rope in ‘Stars’ to act in your offbeat movies. Vishal Bharadwaj achieved this with ‘Omkara’, Prakash Jha achieved the same with ‘Gangaajal’.
Hey I read in one of the comments that you are looking for a composer. Ive worked on 2 projects, one was an adlabs short film, the other was an international film fest. Both got canned, one because of “creative differences” between the producer and director…hehe, and the other because of scheduling problems.
So Id really like to meet you, looking forward to your reply.
Please email me your resume.
Dear Rajesh Ravi, please email me your resume.
Manish,
I like your passion of sharing your thoughts, process and script content… and good to know somebody is following methodically script, story board etc before shooting. These are basics which we need to handle… where spark of gems (main idea/message) can be highlighted properly.
Do you draw these storyboard yourself…and you get it done by somebody?
I draw most of my storyboards myself. I had an assistant who was good at drawing. He finished some storyboards which I drew roughly.The budget of my film did not permit me to employ a professional storyboard artist.So i had to do it myself.
Manish,
Is it possible to share complete story board… it is much faster to read and very useful from film makers pov…
Thx…Ravindra
I could upload a few more scenes. The entire storyboard will be too heavy to be uploaded here. Also, it will be a huge expenditure for me to scan the entire storyboard of 700-1000 pages.
Hi Manish,
Thanks for sharing screenplay,story board and above all ur views & experience
. I have one question that as writer you wrote fiction( I am assuming this frm movies u have mentioned in discussion) , Then why u have chosen ur directorial debut on real life story.
Thanks
Pundirs,
You misunderstood my comment. What I am trying to say is:
All the films that i’ve written – SARKAR, ‘D’, etc and the film that I directed ‘THE STONEMAN MURDERS’ – all of them are fictitious. But they are all ‘based’ on true events.
None of my films were docu-dramas like ‘Black Friday’ or ‘Bandit Queen’, etc. These films depict true events exactly as they happened with actual names of people, places, etc.
My films are not like that. They are works of fiction based on reality.
Hi Manish, I am new bee in this row but have excellent exp of choreography, music, dance and lyrics writing at local level.. Now these days I am in Mumbai and struggling to metalized my songs… can you guide me, who are the right contacts and what i have to do. For your information I have written few dedicated songs for RGV upcoming subjects. Your advice will work for me at this movement. Kapil
Dear Dushyant, I cannot share my phone number since I already get too many calls in a day. I cannot entertain all of them.
Please put forth your specific doubts on PFC and I will reply.
Also, I advise you to read through each and every comment on my two blogs here on PFC. That will answer a lot of your questions about scriptwriting because I have already answered many such questions by other readers.