Episode 010 - Crew Sessions - Storyboarding

In this second instalment, Stuart and Dave sit down once again with David Bunting and Benedict Tomczyk‑Bowen to dive even deeper into the craft of storyboarding. Building on the foundations from part one, they explore the creative choices, industry know‑how, and behind‑the‑scenes processes that shape compelling visual narratives. It’s an engaging follow‑up for animators, filmmakers, and anyone fascinated by how animated worlds take shape from the earliest sketches and they answer that all important question of what they like on toast! 

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Transcript

SPEAKER_02 0:00

Hello and welcome to Director's Cut Animated Vision. This is one of our cruise sessions podcasts, and it's part two of a two-part podcast on storyboarding with David Bunting and Benedict Tomczyk One. Hello, my name is Dave Osborne and I've been directing for over 30 years.

SPEAKER_01 0:18

And I am Stuart Evans and I've been a director for nearly 30 years. So for this episode of Director's Cut-Through Sessions, we have two Wizards of the Wacom, Storyboard Artist Extraordinaire, to learn more about their careers, inspiration, and how they kick off the visual story that gets the whole animation process rolling. Welcome to David Bunting and Benedict Tomschick Bowen. Uh, in terms of storyboards per se, do you have a particular process in planning out and then executing your storyboard?

SPEAKER_00 0:56

Actually, the first thing I ask for, because not always provided straight up, is to have a script in advance um of a director call um because you know I'm dyslexic and I so it takes me a little longer to read that script. The advantage of that is that they uh once it it's in my brain, it stays there. Um, but I I I appreciate, you know, I I don't like to go onto a call um with us reading a script blind, you know. I think that's so important to have that sync in to understand what the script writer is trying to do, to understand the narrative arc and to maybe have a few ideas um of my own. Um having that conversation uh with the director to understand their vision, you know, coming back to what's the most important, what is storyboard, it's to bring the director's vision to life. That's the most important thing in terms of a uh the rest of those three or four weeks going smoothly for me. From then, I mean, I'll probably start a thumbnail maybe on the script in a rough form, really simple. I would say I try to craft that story and block it out. See you get the main beats, do pretty much one visual, one, one, one, one, one sort of shot for that layout. This is my shot. This is where the character comes in and out, and that's the next. So when the director came around, it was like, you know, you're not having to redo loads of loads of sketches. So generally, um, yeah, I'll follow that process. It's it it's like thinking about the cinematography of uh uh thinking about the blocking, doing and then going into a performance pass, um, and then well, we normally have a maybe a revision pass. There's not a lot of time generally in television so to to get it right. So you're looking to to establish if this story works as soon as possible. And I like to have my first pass there as soon as I can so I can um fail early and have more time to build um the storyboard.

SPEAKER_02 3:02

Okay, what about you, Ben?

SPEAKER_03 3:03

Do you have a particular process? The storyboarding process is set out usually by the director, it's very dependent on who you're working for. I am oft there have been often many times I just uh here's script, here's a few designs, off you got, yeah, off you pop, I'm gonna do that, and um I'll have to produce something in a few days. Uh that has happened. The process I like to see, which is the first day or two, say we're doing a four-wing board. I would say the first day or two would be looking at a script, doing thumbnails, and then meeting with the director and discussing it. And then that way you can sort out what shots that the director has in mind, anything that the director would like to emphasize in terms of the drama or the action of the show. Um, I usually do quite small detailed thumbnails, and I found that's been been of great help when working with directors because we can just discuss uh everything on a visual level rather than just on the script level. If there's any script issues, it really depends with the job that you're on. But it could be an off-chain system to change your mind on something or change something there and then, or maybe there's a process which you have to go back to the writer in an official manner. But yes, I would say first two days, just go from director, thumbnails, then you trot off to your studio and you work on a rough. Um the process for me doing a rough is I tend to just get it down. If it's a four-week schedule, what would that be? Five, six, seven, eight days, whole thing. The the number of panels you end up doing really depends on the show, depends on the action, but if it's a preschool show or if it's like an action show. If it's an action show, four weeks is not enough, I will say. But if it's a preschool show, four weeks tends to be enough. Three anyway, you finish your rough, um, which enters into the third week, and you'll have a meeting with your director, and you can discuss what um the director would have probably had some time with your board beforehand to discuss what they want. Uh, in terms of the process of giving notes, again, depends on who you're working for and what they like to do. You'll either receive notes in a format through Google Sheets or an email, or you can sit down. Ideally, you want to sit down and talk to the director about it. The more contact you have with the director or your supervisor, the better, I think. So you can then you will then enter a process of revision for I did a revision and cleanup at the same time. So while I'm cleaning up a board, I mean, and you might not have to clean up a board, it really again depends on the show. Some places might prefer a rough, quick board that that has a lot going on in it. Some people might want really tight drawings because again, it's being sent to an overseas studio. Really depends. But that last two last two weeks will be just fixing it up, and then that will you will have a delivery date, um, which you may or may not meet. Talk to your supervisor, and um you will send it off as probably a combination of a PDF, maybe a movie file if you've been editing, and uh JPEGs as well, uh, which will be loaded into the editing suite for them to take on board. Now, I I'd like to say, from that point on, unless they're paying you to do it and it's in your contract, uh, revisions post-edit will usually be by a revision of artists. It's becoming a little bit common these days to go back to the board artist. I have a thing personally, and I'm not so good at doing more than one thing at a time. It's really quite a lot of work, a storyboard. You've got so much going on on the board that to suddenly introduce another piece of work when in the middle of something can throw people. And I have seen that as well with other people working as a supervisor.

SPEAKER_02 6:38

So, in terms of um, you know, you you've delivered your storyboard and you've passed it all over and you've gone to the pub and you've had a drink and you've gone, thank goodness that's all over. And um, and then, you know, at one point I I remember I used to if I would take the board into um the edit and I would cut it, um, and then I would actually deliver my revisions that I required through the the animatic process back to the storyboard artist. But one of the reasons I was doing it because I felt that was a way for the storyboard artist to learn the show because they would see the notes come back from the edit and they would understand that process. However, in the last few years and probably for the last seven, eight years, I've felt it's worked better having a revisionist, having somebody working directly with the editor. So, from that kind of overview, what you you've kind of partly given the uh answer, but do you want to give your thoughts maybe on um you know what what you've did you learn things from the revisions being delivered back to you, ignoring the financial implication?

SPEAKER_03 7:48

And there have been times why I've been surprised with revisions after the edit, and I'm just like, hold on. More? What? Like I've given you everything already. Um I think the traditional and and the best way of doing it is to have revisions artists. I think for me as an artist, if I get my own revisions, I'm a control freak. So I'm quite happy to do the revisions as long as it's scheduled for. Like that's that's fine. That's that's not an issue. The important thing is it's scheduled for and it's within your freelance contract, and there is payment for it. The revisions artist streamlines the process because because the edit is already going ahead and the other artists will have got and received another script. Now it it's it really depends on how messy you want your production to get as well. I've heard of schedules where like you will have a board artist do a rough, that goes off, board artist gets another rough, that goes off, the next clean comes up. So you end up with a what, an eight-week schedule for two boards. I'm not entirely sure what the I'm not entirely sure how that smooths things over, because then if there's any contractual issues or anything that goes wrong in that process, it sounds extremely messy to me. Again, if you've got something where you're doubling up a board that way, I'm not sure how you've it's just giving someone an immense amount of work when you suddenly got revisions to suddenly tackle as well.

SPEAKER_01 9:11

Uh but I suppose that as you've as you've said, uh Ben, it is very much dependent on the director you're working with. Uh and as when I've been a storyboard artist, I too have just been given a script and say, yeah, just get on with it. You go, well, okay, all right, I'll have fun. I'll have fun with that. And you think, okay, no restrictions, but here's here's my here's my storyboard Bible, but I can go away with that. But I I think I think it is always good to convey a certain vision because you don't want to it it will just come back how you really didn't imagine it. And that's where the revisions come in. You say, Yeah, I didn't see that. Story artist says, but you didn't tell me what you were looking for. So, you know, there it is. I'm on to the next one, bye. And then just walk away. So it it is, yeah, it's it's very much a uh dependent on personnel and personalities as well.

SPEAKER_00 10:12

I mean, I I I think what you said, Stuart, is just so important and actually so key. I mean, it's like we've had a really sort of technical sort of like analysis really of the storyboard process, but to bring it back to um what's what does the storyboard artist bring creatively. For me, it's it's what you said, it's it's it's allow being able to uh uh to hang on and understand uh the director's vision of a show, to understand the uh dramatic arc and sort of those characters and what the story is about, but then it's to be able to offer suggestions and to be able to uh uh go, what about this, and to to uh uh to to to meet those expectations and hopes, but uh find something new and magic in it, to take you to another place.

SPEAKER_03 11:03

Yeah, I I like having something that you say is yours, where you've got like it's you've done everything. But I think that an element of that though is that it really is not yours. And I've seen this happen before with board artists where like I've had someone come up to me after screening of an animatic, and they were like, you know, it's changed so much since since I worked on it, and it doesn't feel like mine anymore. And I I turned around and just said, it's not really yours, it's everyone's it's like we've all done this. Like the revisions artists, yourself, you paint they they they put an amazing board together, but there was gonna be changes. This there was change. This is on a uh big American show, and there was gonna be changes because there's time in the schedule to do it. So as soon as it goes into edit, oh no, you've not stopped the writing, you're still writing, you're gonna have maybe four or five people then put their or in as well after that edit's completed, and then that will change, and then maybe it'll change again just before it gets sent off. So, yeah, I mean one of the things I've found is storyboarding is quite an isolating job. Um, having done it for 25 years now as a freelancer, you have to be good at being on your own, but also you have to remember that you are part of a you're a cog in a in a in a machine. You need to remember that everyone's coming after you has to be able to do what you're drawing.

SPEAKER_00 12:28

I I I I love the part that we're all part of this amazing team where loads of different artists um are coming into the project and creating something that no singular artist can do themselves. Um, those are generally part of the project that I've been a part of. And that's one of one of the huge things about animation that really appeals to me um, you know, as a career. It is not being, you know, sort of like an individual in your garret, sort of working away. Um, you you're you're part of this collective effort. Um we both are speaking from our uh remote rooms. That's the thing.

SPEAKER_03 13:07

That's the thing about storyboarding, though. You are usually working from home. And it's been the thing for storyboarding since probably the 90s that you are going to be working from home. Some people can't hack it. I I've met boarders who can't hack it, who would prefer to be in a studio, usually people with a film background, because films tend to have all the board artists in one place. But increasingly, I've been working on films for your way as well. You have to feel part of the team. And I think the point I was trying to make before was that you want to feel part of that team, and you want to feel uh a good director and a good supervisor has to give you the occasional massage because a board artist only ever hears a criticism.

SPEAKER_01 13:44

It yeah, it is it is a collaboration, and yeah, if you're if you're worth your thought at all, you will appreciate that, and you know that yeah, it's it's the the idea of well that's that's mine. Well, no, it's it's it's everyone's, it is, it is a team effort, and if we could all do this, all of this on our own, then we would, but we can't, so we just have to work with people and as part of a team. And one of the questions that we were coming to was preferring to work in-house or uh in a studio or at home, and one of my best following on from all your uh both of your points, one of my best experiences as a storyboard artist, and and then taking this experience into my work as a director was working for Tony Collingwood in his studio in Acton, which was on different levels. It was converted Wesley and Chapel, and there was me and Chris Drew on a mezzanine level, and we were doing the boards, and across across the chasm on another mezzanine was layout, downstairs on the ground floor was all the production, and in the basement, wherever they should be, were all the animators. And and we would we would be producing these boards, and we would get we would get visits all the way up, and it was a long way up from the from animation, and they'd say, You've drawn this. What exactly did you mean by this? Did you mean they go this way? Are they running or are they walking? So said, Oh no, they're running. They go, Okay, thanks. And then they go all the way back down. And it's that sort of collaboration that and City and that it was it was a whole, it was a whole team, and we were so so tied in. And and Tony was just uh just a great director, and and I see him as very much one of my one of my absolute idols in the way that he he took everyone's ideas, and this is what you should as a director, you've got your own vision, you've got I've got the whole thing planned out in my head, and I know all the shots that I would like to I would like to use. But I'm relying on the board artist and the animators to give me something fresh, but be open enough and not sort of no, it's got it's my way or the highway. Just be open enough, and I've seen it with him a great director, and I I came up with ideas and I said, What about this? He went, Yeah, okay. I think I think that's I think that's better than than the one we wrote. Yeah, so that stays in. And I oh my goodness, oh what? Okay, really? Yeah, he said, yeah. Well, it it should be all we're working for is to produce the best show possible. And we have egos, but it should be what is good for the show, also what is good for everyone all the way through. And as you said, a happy crew shows on screen. So everyone has to be considered, and if someone is struggling, then you help them out, you don't let them sink, you don't you don't just get rid of them and say, Yeah, you're not producing. No, there's a human there trying to do their very best and trying to help this whole process. So there should be a there should be a consideration, and it's it is more difficult being a storyboard artist, and that because it's an isolating job. By by rights, you just say, sometimes you say, Okay, give me that, thank you very much. I'm gonna go away, I'm gonna sit in my garret, in my dusty, dusty, freezing cold garret with my with my Magie old dog at the side there, and I'm just gonna draw this for two weeks, and no one needs to look over my shoulder. I think that's what some people like to do with having a board board artist in-house is just be constantly peering over them, saying, No, no, I wanted it like that. No, I've got to you've you get into a flow. I found that when I'm doing boards, I get into such a flow that just say, yeah, please, you can you can you just wait to the end? You can comment to the end, I'll just go all the way through it, I'll plan it out the way that I the way that I see it and the way that I've been directed to do it, and then you comment on the end. You just you just let me get through my process, let me get through my work, and then comment and give constructive comments, as you were saying, as you were saying, Ben. No, don't don't just say it's wrong. Well, that doesn't help anyone. That just delays the whole process. It's it's demoralizing for the for the board artist. And who who's that gonna help? No, you're the director, you tell exactly how you want it, exactly how they want it. And if and if you have given something that is so wrong that they say that's wrong, then that's on the director, usually, for having not made themselves clear.

SPEAKER_00 18:35

Thinking about this, because yes, the industry has changed such a lot in the time. And earlier on in my career, I I was in-house, um, learned a huge amount from people around me, you know, which I think is harder now. And I think early in your career, you should um go and uh um be in that room where you can have people around you. Um because now, frankly, um, you know, it it it's I I think the industry has has moved and opened up and and having a family. I mean, I'm like, you know, two hours away from London. Um and ironically, one of the things I think that really connected with me and made me a better story artist working in children's television is actually being a father and actually having interactions with with with children. I think in the past the industry um has not been that good in being able in balancing um personal and professional. And uh and I think you know, in being in a really lucky space um to be able to work from home, have have a family here, and to be able to connect like we are doing now and have a real-time conversation. You know, that's amazing, isn't it? But I I I think when you get into the board, you do need that quiet space. And and you actually just need, you know, it's like people will say, Oh, you, you know, you're an animator or something. Isn't that a really how how do you have the patience for doing that? And it's like, well, no, it's like it's the most fun job in the world. It's like you'd be a bit it's like time is just different, isn't it? And you absorb like anything into that creative space.

SPEAKER_03 20:21

You want to have people making the effort to try and make it feel easy in a way, but particularly when we're all online during COVID. Now, since we're always so used to it, usually I'm in Wales, so a lot of my stuff's done on Zoom. You have to make you make the effort to go out of your way to make people feel feel comfortable, regardless. And to and to have conversations in person like we're doing we're doing now. I mean, in person, but like the the conversation is always important, regardless if you're the editor, the story artist or the animator any.

SPEAKER_02 20:51

I I think it's important that you have a production team that understand that communication. Yeah, because that to a certain extent you need them to help facilitate it. Now, at the end of the day, uh apologize on behalf of all directors, not all directors are great at great communicators necessarily with individuals, and that's that's the nature of it. But you actually need um production management and that sort of that sort of leadership in that part of the process to go, I need to put these people together at certain points for an all of them to operate, even if we're working through a sort of uh studio without walls situation like this where you know everybody's remote. Um, and I think that's something that has to be acknowledged, you know, whilst it's individuals who can communicate equally, it has to be provided for within the time frame, the you know, the expectation and what that produces in terms of you know the thinking, ideas, and actual well being as well, so that people are actually happy in what they do. And if they're happy in what they do, generally they do a better job and they may even do it a little bit quicker because they know what they're doing, you know, and not sort of going off in the wrong direction. So I you know, from that perspective, I would always say. Production have to take some leadership and and uh responsibility and role in that. And my experience is generally that most of the people I've worked with over the last few years have really seen the importance of that uh and and done that.

SPEAKER_01 22:12

Yeah, ensuring ensuring there's a there's a real um sense of team about it, no matter no matter where everyone is. And occasionally if if you get an get an invitation and everyone does sadly have to travel, David and Ben, uh all the way down to town, they just say, Yeah, but you've you've had the invitation or just something online just to bring everyone together. You can put names to faces and you can just have a bit of a chat and just bring everyone in and say, Yeah, an equivalent of a group huddle, really. Just say, yeah, let's have a chat about it and just yeah, be a be a bit more social. It it is a lot harder nowadays, but it is as you as you all say, it's essential, and production teams do have to recognize that that sense of team is is so important in this.

SPEAKER_02 23:03

Moving forward, do you have a preference for 2D or CG storyboards if you actually had a choice? And what are the programs of choice for you both?

SPEAKER_03 23:15

I don't have a preference. The two are very different styles of direction. So you've got like your proscenium arch sort of theatrical style preschool stuff, which can actually be a lot trickier than people think it is to get right, due to, you know, particularly if you're cutting in and out stuff and trying to do jump cuts. So with 2D and 3D, I mean, something like the 99 was something that Dave and I worked on. I boarded that in 2D, and I think it's very dependent on the skill of the storyboard artist as to whether or not the stuff that they're actually doing will work once it goes into layout. The storyboard artist, I think if you're going to be working on shows that are in 3D, you need to know your perspective. And having a firm grasp on perspective when you're doing something in 3D is quite important, I find. Um, increasingly, with stuff like Storyboard Pro, people building in Blender, and other programs, I'm sure there's others. With that, there is a good argument which says, which which can say that you are removing some of the work from the board artist in terms of you don't have to draw the backgrounds, which can be a bit of a boon. But also there is an element of reskilling and hoping the team of board you have to then ask, what are you doing when you're hiring a board artist at that point? Do you hire the layout artists or you hire the board artists? You have to like be very aware that a lot of these 3D programs, the layout, the stuff you're going to get back that you'll then possibly feed into the layout department might not make any sense because a board artist has so much to do. Um, I actually really like working in 3D and Storyboard Pro, and have been for the last year, because it's opened me up to being able to do incredibly slick stuff with a camera and learning more about 3D layout, and just I've been doing a lot of action stuff, a lot of flying stuff recently. And doing that in 3D and also being able to facilitate drawing in 2D on it for the models and so on, being very aware of your sizing. I think I think what artists have to do. Scale is very important. It gives you a lot of freedom to work with sets that are given to you in other models and do stuff that might be quite hard to draw. Um so I personally don't if you're talking about a preference, I guess I am enjoying that side of things at the moment. But there's something to be said, and right and this is my OCD speaking, possibly, but like the drawing really detailed backgrounds is something I really love doing. I just love doing 2D layout as well. So, in terms of my preference, I guess, currently leaning towards 3D, but it really depends on the day.

SPEAKER_00 26:01

Um, I love both of those programs for for different things. Um, I mean, Storyboard Pro is the first big storyboard program that came my way digitally. Uh and it was a revelation when it came along. Um, I I started at Artman working digitally, um, but it was on uh it was a paint program, so it wasn't designed for storyboarding, but it was designed for drawing. Um thing with that is, I mean, it was wonderful because it's like I didn't have to scan in backgrounds and so all of that stuff that I was aware of that had gone before, and I realized that this was, although I didn't work in that time when anyone was drawing and photocopying, this was a whole this was an amazing thing. Um and in terms of being able to scale and adjust, it's like suddenly story, so many of those storyboarding and compositional choices became wonderful. And just being able to actually have a background, right? You can just go, that's my background, and not having to draw it all. It's gonna be black for the next few frames. So um digital storyboarding um opened up so much. Um, but being dyslexic, what was a nightmare for me um before things like Storyboard Pro came along is that uh you'd then have to sort of renumber everything through another program. And I'd just be so many times I lost panels completely because I overwrote panels and things. Oh no. So Storyboard Pro just like saved my career for that, because suddenly it was numbering it for you. And and you didn't have to think of that side, you could think about the creative side.

SPEAKER_03 27:34

When you have a team of board artists, it's really focusing in on whose skill is best served by what and bringing that to the fore, if you see what I mean. Like you said, I think drawing on model these days is less important as we've moved into digital, um trad digital or whatever they call it the buzzword is these days. So you've got your teambooms, you've got your moho, you've got all of the others. I can't think of at the top of my head. Um, but you don't need to necessarily be drawing on a model these days. Um, and that's opened up a lot of people who probably weren't in the days of traditional 2D drawing on paper, probably would have struggled a lot. But I think some of the strongest boarders I've had weren't necessarily the best artists. They were probably the people who could see the overall vision. And maybe they were really funny and their visual gags were just spot on. You know, it's it's a funny old it's a funny old game, I guess, isn't it? Really? When you have such so many people working on so on one thing, there's always going to be people who struggle with something and people who excel at something. And sometimes people struggle and sell in one area, sometimes people excel, struggle in other areas. So putting the jigsaw together has always been fascinating.

SPEAKER_01 28:51

Do you have any helpful advice for those wanting to become a storyboard artist?

SPEAKER_03 28:58

No film. No language of film. Um I think there was a book that David recommended me called Shot by Shot, which is an excellent book, which I recommend to my students. No film, no language of film. Even if you're introverted, the ability to be able to act, the ability to be able to put yourself in the position of others and and read uh script and emote it, I guess is another thing. The brush up on your technical skills in terms of your um digital software as well, because that's increasingly important these days.

SPEAKER_00 29:35

Generally, and I agree with everything that Ben says is that someone said to me, he said it in theatre, and it absolutely relates to this until I think probably anything, which is you love the watch it. So in this case, watch films, and I would say for animation that absolutely includes live action as well as animation. It's like um we sturdy film grammar and uh and and everything we borrow from a lot of what we borrow from comes from the masters of cinema. So find a film you really like and actually watch it silently because when you turn the volume off, you'll see how those shots get cut and a good story should be able to be told, you should be able to understand it without the sound, but you will understand the process. Suddenly, when you turn the sound off and you watch it once, twice, three times, you'll see how that works. So watch and learn from films and directors you really admire. Um do the same with storyboards actually. You know, look at some great storyboards um and see how they're done, and a few because you know it's like there'll be different styles and different techniques in there. Um but watch, do it yourself, and that, you know, and and that so that might be, I mean, it's you know, a short film. And and be the beauty of a storyboard art is just you don't have to go on and make it necessarily. You can just so you know, pick a one-minute thing or something. I mean, I started as you know doing that all the time, just making films and and storyboarding them myself. And you learn a lot from doing. So the more you do it, the more you learn. So watch, practically do it, and then also study, study it as in study the mechanics. And there aren't a lot of grey books out there, still. I still think for um what um Brad Bird's notes on story, what is it called, storyboarding The Simpsons Way, is just an absolute goal of mine.

SPEAKER_02 32:01

And so now, Stu, I think we're coming to that point where you ask the really difficult questions.

SPEAKER_01 32:06

Don't know if they're ready for this. They're ready for this. I've got the got the big book out to record the answers. Okay. Uh, right, Ben First, you're ready now. Tea or coffee.

SPEAKER_03 32:19

It's got me tea.

SPEAKER_01 32:20

It's got because I just drink allen's a tea. And David, tea or coffee. As a good Yorkshireman, come on.

SPEAKER_00 32:28

I was just thinking this. Coming from Yorkshire, I have to be careful um not to be promoting Yorkshire tea. Um, although gold Yorkshire tea is particularly good. Um, but no, I mean I've I've I've got through this with a great big mug of coffee. Betty's in Yorkshire do exceptional coffee. I'm a bit of a a coffee snob, so it's like um it's like just an old gotta be coffee beans.

SPEAKER_01 32:52

Caffeine, caffeine, caffeine, all the way. Three important three important things about boarding caffeine, caffeine, and caffeine.

SPEAKER_02 33:01

Yeah. Okay. Now, having had your beverage of choice, the snack of choice, can you tell us what your favorite thing on toast is?

SPEAKER_00 33:10

Well, that depends. Um we're very neurodivergent, isn't it? We have to qualify everything. Um, I mean, it's like if if if it's a morning, I'm gonna have like um marmalade on toast, bit like Paddington. Can't go wrong.

SPEAKER_03 33:24

Yes, I think that's one of the things we should have said about like to be a board artist, also be neurodivergent. I think that helps. In terms of like stuff on toast, I'm partially it's marmite. It's it's butter and marmite. It has to be lots of marmite, not just a little thin, like spread marmite, it has to be the whole pot.

SPEAKER_02 33:46

You like it so it catches the roof of your mouth a little bit.

SPEAKER_03 33:49

Oh if you're not burning, yeah, you're not you're not winning.

SPEAKER_01 33:56

Yeah. Oh, gotta write down that quote. If you're not burning, you're not winning. And thanks to our special guests, Benedict, Tom Chickboin, and David Bunting, who have given us fantastic insight into the role of the storyboard artist in the animation process.

SPEAKER_02 34:12

As always, please like and subscribe to the channel, check out our other videos, and be sure to tune into further thrilling episodes of the cruise session.

SPEAKER_01 34:22

And of course, remember that even though it is massively important to us and many others, we're not saving lives. It's just a cartoon. See you next time. Bye bye!

SPEAKER_02 34:38

Bye.