Scenes 1-4     Scenes 5-7     Scene 14

Scott Keiner wrote and directed this delightful fantasy short about mystic teenager SIZZLEAN who leads his tribe of post-apocalyptic orphan children on a perilous quest to find their families.

A fairy tale first, and influenced by City of Lost Children, Pan's Labyrinth, 400 Blows and Mad Max, Sizzlean explores the interaction between reality and make-believe, children and adults, lost innocence and the eternal resilience of an endless imagination.

With salty wisdom from the Captain in a bottle guiding the helm, Sizzlean keeps his loyal teen troop focused on finding their lost families.  Using fantasy as a shield, Sizzlean struggles against real loss and tragedy and offers us the hope of redemption through perseverance.

Scott's feature screenplay Sizzlean was selected for FIND Screenwriters and Producers Labs.


GIF2 Dogs Inside

Scenes 1-8     Scenes 9-14     Scenes 15-18

Does your conscience bother you? This psychological thriller based on Inuit lore claims two dogs exist inside us – one mean and evil, the other kind and good.  The two dogs are always fighting – the one most fed always wins.

CLAIRE, a career-motivated perfectionist at every step, has one tiny problem.  Contracting TWO THUGS to murder her doofus HUSBAND was easy, but evidence-for-pay photos the thugs took at the crime scene really bother her.

Never wake a sleeping dog, as Claire quickly learns after stumbling upon the crime scene during her nightly jog through the park.  While the thugs beat her husband to death with a golf club, Claire flees with second thoughts – is she a witness to a crime or does she play innocent?

The well-fed dog knows as Claire follows her conscience to the evidence. 


GIFI did commercial storyboards at agencies, but they vanished.  No one stayed at any LA or NY agency long enough to keep anything, back when paper was a limitless commodity that could be flown or thrown from anywhere.

Designing storyboards for film, shorts or TV commercials with a director and/or cinematographer is a whole different world to drawing cartoons, maps, graphs or illustrations for an editor or reporter.  In both cases, the artist is dealing with words.

But any similarity between the two media ends there.

ews illustrations highlight a single climactic point without competing with the reporter's story – someone falling off a ladder or running to put out a fire.  But in film or animation, the story and plotline is connected through multiple scenes where each scene may have several six-panel illustrated storyboard pages for the director, cinematographer and a grateful crew who can finally grasp the director's vision without maniacal hand gesturing, cursing in tongues and Ouija board clairvoyance.  Alfred Hitchcock never shot a foot of film until the storyboards were completed down to the last move.  The frenzied storyboard artists might've been dialing M for murder over multiple changes, but their work probably kept cast and crew from going psycho.

he storyboard artist must know the script's concept and the director and cinematographer's vision (and when to run if either has a temper) before they arrive raving about hundreds of camera angles or dolly moves they can't wait to experiment with. 

Whatever your favorite entertainment media, artists are behind every scene or page, feverishly working words into visual delight for a demanding global audience.  They work inside film production trailers waiting for the next script change, in crumbling newspaper buildings or harsh overhead light shining down on an acre-sized, corporate cube farm rooms where the only sound is scribbling or painting or electronically designing the next anime or Pixar adventure at their desks.

o one knows where creativity comes from exactly – except artists...  GIF