I haven't shot anything like a "scene" in quite a while now - but when I did my method was to watch the scene unfold in rehersals and walk around the rehersal looking at it from different angles and getting a kind of four dimensional idea of it in my head.
I'd then re-imagine the scene in terms of shot angles.
But this is never enough.
The scene, as played out in rehersals isn't for a camera. A camera working with such a scene is sort of just fitting in and not really doing anything. So the next trick is re-arrange the scene to better exploit the camera angles.
But that's not enough either. For it's just the reverse problem. The scene is just fitting into the camera.
But through this process one starts to find beautiful co-incidences where it's neither the scene nor the proposed camera angles that are determining the magic you are after, but a kind of amazing tension between them which one then seeks to amplify. Sometimes you see something that just has to be done regardless of other shots, and either rework the other shots, or work out some way of jumping across any edit barrier between them. Those performers who are always glancing off screen provide a lot of leeway (ha ha).
It beats storyboards I reckon because you are working with a live scene rather than one in your head. And it beats just shooting quantity and giving it to the editor to solve for they'll never really resolve lazy photography.