Recently, artist K. Douglas MacRae took the time to answer a few fan questions about storyboarding, comic books, and his work on La Femme Nikita.
Doug has a BA in Fine Arts from the University of Regina, and has worked on such films and series as The Long Kiss Goodnight, Blues Brothers 2000, Vendetta, Peacekeepers, Superstar (Saturday Night Live) and is currently storyboard artist on the hit Warner Bros. series La Femme Nikita. In addition to storyboarding, Doug is a huge fan of comic books and is currently in negotiations with Warner Bros. to develop Nikita as a comic book. In his spare time, you can find Doug kayaking, camping, wall climbing, playing racquetball, biking, hiking, cooking, photography, writing, sculpting, musical instruments (Guitar/Piano), and of course, drawing.
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| How did you come to choose storyboarding as a career?
Actually storyboarding chose me in a way. Originally, I was hired to be an Assistant Director on Nikita however due to a few circumstances beyond my control I ended up taking a position as a production assistant (multiple jobs). I was leaving "le femme NIKITA" to do "Earth: Final Conflict" and I asked my producer Jamie Paul Rock for a letter of recommendation. He (knowing that I could draw)asked me if I do storyboards. I said that it was a field I was trying to get into. He offered me the chance to do the storyboards for LFN and here I am. What does your job entail, exactly? I meet with the director, and sometimes the producer, to go over a shot list (a breakdown of the shots needed to complete a scene(s)). He explains to me the way he sees the scene and then I take the information and draw it out in frames. Are you handed the script with specific scenes marked to board by the director during prep? Yes, pretty much. The producer and director usually have the scenes that need boarding marked. Sometimes the producer will drop the script in my lap and say "I need scenes 31-40 storyboarded". I love it this way since I get to make up the shots myself. Do you mainly storyboard action sequences, or anything that involves complicated setups and angles? Yes. I board the scenes that involve heavy action, big stunts, or tricky camera angles. It makes it easier to film when the pictures are laid out before you in their proper sequence.
What are your favourite kinds of scenes to storyboard? I love to storyboard any scenes that involve reaction in the faces of the characters. I have a lot of fun doing things that get a laugh out of the actors and the crew. What percentage of a script is storyboarded, or does it vary from show to show? This varies from show to show. Also, it depends on budget. Storyboards aren't cheap! I'd say on average I board only 5% of a script. But it's usually the most exciting 5%. Do you go onsite to certain locations, or do you work from photographs? Both. I almost always go to the location with the director or survey team and "act out" the scenes. I enjoy this too since I get to put myself in the role of Michael or Nikita or whomever. I do this to get the feel of the scene and also to make sure that I understand the director's "vision" completely. I take photos and video footage of the area as well for later visual reference. Do you work more with the assistant directors, or the director? Primarily I work with the director. I may approach the ADs for information on upcoming changes to the script. Drawing the scene and then having someone slap script revisions on your desk really sucks! How many episodes do you work on simultaneously? As a rule I work on one episode at a time. Not all episodes need storyboarding though. During that time you'll find me cleaning out the coffee filter, bugging crew on the set, or sucking up to the producer for more storyboards. What are the unique challenges of storyboarding? What about it is most rewarding? I'd say the most challenging part of storyboarding is the deadlines. I'll work the entire weekend (as I usually do) to get them done. The most rewarding part is kicking back at home, turning on the TV and seeing LFN is on and they've cut the scenes almost exactly the way I boarded them. This is a true rush!!! What was it like the very first time to see a finished, edited sequence from someone you'd storyboarded? Do you remember how you felt? I remember doing boards for my first episode, "Rescue" in season I. It was a 2nd unit shoot involving one of the largest TV explosion ever done. My ex-girlfriend's mom had broken her hip that weekend so we were at the hospital. I sat on the floor in the hospital room drawing around 60 or 70 frames for Monday. A couple of weeks later I saw the finished edit. I was told that the folks in LA were ecstatic. I felt like I just gave birth! A proud momma.
I read many titles growing up but my favourite was, is, and will always be "Spider-man". Aside from running around in tights, I feel that he and I have a lot in common. My favourite artists include: Todd McFarlane, Jim Lee, Michael Turner, and J. Scott Campbell. Today, I'm still reading "Spider-man" but also many newer titles from companies such as DC, Image and Marvel. I love the "Danger Girl" series from Image, as well as "Witchblade". Why do you think Nikita lends itself to the comics medium, and what kinds of stories do you want to tell? Firstly, I think Nikita is the kind of character that can go through several different routes. She's beautiful and deadly at the same time."la femme NIKITA" is the kind of show that can take many turns and branch off into an infinite number of situations. It's a psychological, action-packed entity. There is no limit to what the folks in Section can do. Also, I feel that LFN can go so much further in comic book format. The budget for a comic book is totally different from a TV series. If the comic book Nikita wants to chase a Russian spy into space via the Section One space shuttle, she can do it! If she wants to bungee jump off the Eiffel Tower, she can do it. Secondly, I wouldn't be writing the stories. DC Comics (owned by Warner Brothers) have their own staff of writers. If you were asked to choose between writing or illustrating the comic, which would you choose? Illustrating. Without words you have no story. Pictures without words can still tell a story. I feel that telling the story through the artwork is as vital, if not more, as the writing. If Warners and USA Network do agree to sell the merchandising license to a publisher to do a comic, how can the fans best help ensure your name is attached to the project as first choice? The outpouring of support I've received from LFN fans has been nothing short of fantastic! I can't imagine them doing anything that they haven't already done. The rest is up to Warner Brothers.
To help make a Nikita comic a reality, forward your letters of support to: |
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For a chance to win the set of original storyboards (not copies!) from "Someone Else's Shadow" pictured above, answer the following question correctly: of the film The Long Kiss Goodnight? Write your answer on a postcard, and include your name, email address, and mailing address. All entries must be received before May 31, when Doug will randomly draw one winning entry to receive the boards! The winner will be announced that night on the Warner Bros. La femme Nikita Discussion Board. Send all entries to:
565 Orwell Sr. Mississauga, Ontario L5A 2W4 ATTN: CONTEST ENTRY 
For more information on Doug's work, check out Isle of Skye Productions. |
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