Following on from last week’s post, we wanted to show another example of how the storyboard has changed. If you are familiar with the book, you know that Paul just runs off to his Gran’s house – there is no additional action or explanation. We don’t know why or how Beastie didn’t spot Pete; apart from being scared, we don’t know what Pete’s journey is like. Does he get lost? Is he being pursued? You can see from the initial storyboard below that his journey was pretty quick – almost like he lived over the road. He gets to Gran’s house very quick, where we then decided to build the tension a little by having his Gran asleep and taking her time to answer the door.
There was a lot we didn’t like about the sequence and when we laid it out on the timeline, we saw that it wasn’t working. We then started on making Pete’s run a much longer, more dynamic sequence. In the geography of the town we placed Gran’s house over the other side of town and made Pete run past all the village landmarks. Using various close ups of Pete, quickly cut with wide shots of how far he still has to travel made this much more of an action sequence, complete with fear and danger.
We decided to keep Pete banging on the door for a while – after all, this is night and his Gran is in bed – but we cut a lot off of this sequence and instead use different angles to show Pete’s desperation.