ABSTRACT
This chapter looks at several instances where the “script” of a film is a far more visually driven affair. The animated promo made use of a very striking visual concept, in which the elaborate, painterly aesthetic of an animation film’s production art is applied to a series of quickly intercut images that tell a story. Beyond having the solid germ of an idea, the actual act of describing environments or writing dialog can be something that is more organically achieved through a visual process. While Robert Morgan’s prior work never shied away from troubling premises and visuals, Bobby Yeah is a masterpiece of unrelenting, hallucinogenic excess, one that earned him a British Academy of Film and Television Arts nomination in 2011. While Robert’s spontaneous method of idea generation is incredibly freeing, it carries with it a high risk factor if applied to most other types of film than the surreal or horrific.
