Chapter 6 of 18 from Jodie Foster

Deconstructing Visual Choices: The Beaver


Jodie breaks down a storyboard sequence from her movie The Beaver to explain how she chose shots that help convey the emotional message of the scene.

Topics include: Deconstructing Visual Choices: The Beaver

Jodie breaks down a storyboard sequence from her movie The Beaver to explain how she chose shots that help convey the emotional message of the scene.

Topics include: Deconstructing Visual Choices: The Beaver

Jodie Foster

Jodie Foster Teaches Filmmaking

In her first-ever online class, Jodie Foster teaches you how to bring stories from page to screen with emotion and confidence.

Learn More


Storytelling in action

Go behind the scenes with two-time Oscar-winner Jodie Foster, star of Silence of the Lambs and director of Little Man Tate. In her first online class, she’ll teach you how to bring your vision to life. Jodie brings her experience on both sides of the camera to guide you through every step of the filmmaking process, from storyboarding to casting and camera coverage. Everyone has a story. Learn how to tell yours.

From storyboarding your vision to collaborating with actors, learn filmmaking from an Oscar-winning Hollywood legend.

A downloadable workbook accompanies the class with lesson recaps and access to exclusive supplemental materials from Jodie’s archive.

Upload videos to get feedback from the class. Jodie will also critique select student work.


Students give MasterClass an average rating of 4.7 out of 5 stars.

I have a newfound appreciation for directing & film making. It's a wonderful experience to learn from Jodie.

I love her. This course taught and touched me!

As an actor of almost 40 years, I could relate to Jodie's perspective on directing and film making. I have a solid foundation of experience on the set, how it works and the roles of each member of the shoot behind and in front of the camera. More than anything I feel excited, encouraged and determined to do what I've wanted to do and worked towards, direct.

After watching the introduction, I am eager to get started int Jodie Fosters Filmmaking Master Class.


Tim G.

I am really enjoying this class, but after watching the clip with Mel Gibson standing on the edge of the balcony and falling back into the room, hearing Jodie say, “obviously, we need to protect the actor, but more importantly...” made me laugh out loud. I know she didn’t mean to make organizing the shoot and the production costs sound more important than Mel Gibson’s safety, but it’s still funny to hear said aloud.


Jodie has such a fantastic teaching style that both informs and instructs at the same time.

The Fool

Ha! The Hanged Man. I know him, what a card. A good exercise for story-boarding practice is to copy frames from a movie. Any camera changes, actor motion, object motion, lighting change, you freeze frame on. Then doodle it into a little movie screen oriented box as best as you can quickly. You're not making art, you're making production illustrations. Write some notes about what happens. Graphical outlined arrows are used for what the camera is meant to do. A thin lined arrow from an actor or object can show what motion they make like swinging their head around or lifting the gun from their belt. Try different tools, crayon, charcoal, China marker, pen, phones, tablets, and other assorted software. Public Domain movies will allow you to legally capture frames to your computer/phone and then trace over them in some paint software that supports layers to create storyboards that are accurate to the frames if you aren't practiced at drawing. You can do some filming on your phone and then try the same thing, it might seem silly in your phone when you're zooming into a doorbell but present a wholly different story once you storyboard it, cutting to the guy in the mask inside with his hands in the safe.



Jerry R.

I've found it helpful in writing to collect pictures of characters and locations. props, and action, if I can find it. I sometimes draw something out myself. Usually not on the first draft, but in rewriting, so that everything seems to have a logical flow, etc.


Advertising utilizesstoryboarding for presentation of a concept, especially for commercials. I didn’t know that Filmmaker Directors did that too. It is great for keeping an emotional pace and even continuity. I’m learning stuff here. Whoa... I have to watch this movie. Maybe on Groundhogs Day... Lolz.

A fellow student

I love how enthusiastic she is, being back in the moment:o) I am a theatre director, and although we pay the same attention to details, we never have to worry about filming angles - extra work for me!! Yay!:o)

Julio J. I.

Great lesson! Really appreciate the expertise on the technicality aspect and importance of pre production. As I do the homework and excercises, I really am growing as a filmmaker in each lesson. Thanks Jodie!

Ricardo W.

I really enjoyed this lesson. I love the attention to details and the clip from the Beaver.


I'm not afraid to admit this but I've literally never had a celebrity crash at all in my life whatsoever until now, I've just turned 30 years of age. Other than seeing only a couple of Jodie's films a few years ago I didn't know much about her, when I get the chance I'll definitely follow up on the films she's directed. Easily the most thought provoking class on this site so far. I have such a huge intellectual crush on her now, I can tell as well, she's so empathic, she's such a beautiful, beautiful person. I'm amazed. I just love her perfectionistic nature as well, wow. So beautiful. Thank you Jodie, this is so amazingly useful, I'm presently a singer-songwriter (so not even a film maker - at least not yet) hoping to release my first album this year and you've inspired me to write songs that give a voice to more meaningful characters.


So we managed to drag out some storyboards from "The Beaver," executed by a much better storyboard artist than myself, thank goodness. You'll be able to see how we constructed quite a difficult scene. It is the scene where Walter attempts suicide. He's had a night of drinking. He's distraught. He's depressed, and he decides to try to kill himself by hanging himself on a shower curtain rod. He even messes that up. And the shower curtain rod falls, and he is in the bathtub. He drags the curtain rod with him out to the balcony. We notice that he still has this puppet on his hand that he's forgotten about. He drags the shower curtain out to the balcony, and he climbs up onto the railing. He thinks about his life and about that one moment where he's about to throw it all away and about to finally kill himself. And the beaver puppet pops up into his face and says, "Oy." And that confusion of that sends him backwards. Falling backwards into a stunt, of course, where he hits the television set, which comes crashing on his head and knocks him out. [MUSIC PLAYING] [GROANING] [CLATTERING] [GASPING] PUPPET: Oy. - We needed to storyboard that sequence because it involves a man hanging over a curtain rod, falling into a bathtub, dragging this curtain rod, standing over the railing of a hotel-- obviously this is dangerous-- falling backwards, and having a big television set fall on his head. We needed to be very meticulous about how this was going to be executed and how it was going to be cut together, obviously, to keep the actors safe. But more importantly, in order to tell the story beats that we needed to tell as economically as possible. So I'll grab my storyboards. As you can see, the storyboards start off on the curtain rod and him attaching his necktie. And we boom down into a profile of Walter. Then I like to jump back to this wide frame. And the film was filmed in anamorphic ratio-- the sort of wider ratio with these lovely anamorphic lenses-- so it allows you to have this very, you know, painterly vision of this distraught man standing in the bathtub with a necktie attached to him. A very sad image with a lot of negative space on both sides. Walter's feet step up, so we see his feet step up onto the bathtub. And we have to boom up a little bit from his feet, so that we see him about to hang. Then, we cut to a frontal, where he's tightening this noose. It felt important to me to add these pieces. To not have it all play in this big wide shot-- in this lonely wide shot. We need to understand that this man is about to commit suicide and that this is agony for him. It's important to see that on his face, to see him be distraught. One of the things that is of concern in this sequence is that the film is kind of a black comedy. There are black comedy quirky elements to it. So yes, is this a sad movie about somebody who's attempting suicide. But we have some quirky parts to it. So we don't want to have the suicide...