StoryTANK

About StoryTANK

Bringing together screenwriters & researchers

Publisher

© StoryTANK

Category

fiction · science · tv & film

Language

en

Explicit

No

First episode

24 Mar 2021

Latest episode

15 Nov 2024

Latest episodes

67 episodes in the feed.

1. 

   15 Nov 2024

   Jan Schomburg – français

   Scénariste & Réalisateur (Allemagne) qui a contribué à la conférence-table ronde 04 : Création de récits : l’affaire de tou·te·s ? (http://storytank.eu/creation-de-recits-affaire-de-tous/) https://youtu.be/YuJUBSe2u90 in English (http://storytank.eu/jan-schomburg) Jan Schomburg a écrit et réalisé des films (Above us only sky - 2011, Forget my Self - 2014, Divine - 2020), a écrit des scénarios avec Maria Schrader (Stefan Zweig – Farewell to Europe, I’m your man) et a écrit deux romans (Das Licht und die Geräusche - 2017, Die Möglichkeit eines Wunders,- 2024). En secret, il a même écrit et réalisé des sketchs comiques pour la télévision allemande.  Ses films ont été projetés à la Berlinale, à Locarno, à Rotterdam, à New York, entre autres. Il a reçu le prix du cinéma allemand pour le scénario de I’m your man, le film Stefan Zweig – Farewell to Europe a remporté le prix du public de l’Académie européenne du cinéma. En 2024, il est l'auteur principal et le showrunner de « L'argent des autres » (WT), une série télévisée internationale en huit parties pour ZDF et DR. — un entretien réalisé par Guillaume Desjardins - auteur et réalisateur, membre de Les Parasites de films documentaires et enregistré aux Champs Libres (Rennes), en décembre 2023, dans le cadre de la saison 04 du StoryTANK : « Quelles histoires pour notre temps ? ». Jan Schomburg Le récit : sa responsabilité envers l’art « Écouter les détails et à les laisser se développer d'eux-mêmes. » Décomposer le processus d’écriture : des détails au général. J’ai écrit des scénarios et des romans, j'ai réalisé quelques films et je suis, ce que l’on appelle aujourd’hui : showrunner. Showrunner a de nombreuses connotations et interprétations, notamment en Europe. J’ai participé à un workshop organisé par des producteurs européens « The Creatives » qui questionnait la série, son existence dans le paysage de la création, la potentialité d’un réseau européen et plus précisément ce qu’est la narration européenne, en termes de série. Chacun de ces producteurs a demandé à un scénariste de ces différents pays de venir pour réfléchir, écouter, contribuer. Cette semaine a en quelque sorte révolutionné ma manière de penser, en termes de ce qu'est une idée et de la façon dont on peut inviter le hasard et aussi le collectif dans le processus de son développement. Quand nous acquérons une certaine maturité professionnelle, nous nous développons souvent dans un sens où l’on sait déjà où l’on va. Un processus structurel que nous avons décomposé, du général aux détails. Nous avons appris à écouter les détails et à les laisser se développer d'eux-mêmes, d’une manière ou d'une autre. Je me suis distancé de mon propre processus industriel d’écriture alors que j’étais un peu coincé dans un chantier d’écriture sur 8 épisodes inhérents à un scandale financier. Une décomposition qui m’a vraiment beaucoup inspirée. « La structuration de narration d’un film explique, en partie, pourquoi notre planète est là où elle est aujourd'hui, dans la mesure où l'individu est ultra-valorisé et le collectif, que trop peu. » La structure dramatique classique et narcissique du récit. Une histoire au cinéma est surtout vue comme un récit, à partir d’un personnage et l'identification du public inhérente liée souvent à un qui a un problème particulier. Il s'agit principalement de problèmes binaires qui apportent différents concepts dans la structure dramatique comme celui de "...

2. 

   15 Nov 2024

   Jan Schomburg

   Screenwriter and Director (Germany) who took part in the conference 04: Storytelling: the Business of All? (http://storytank.eu/storytelling-the-business-of-all/) https://youtu.be/YuJUBSe2u90 en français (http://storytank.eu/jan-schomburg-francais) Jan Schomburg, *1976 wrote and directed movies (« Above us only sky » 2011, « Forget my Self » 2014, « Divine » 2020), wrote screenplays together with Maria Schrader (« Stefan Zweig – Farewell to Europe », « I’m your man ») and wrote two novels (« Das Licht und die Geräusche », 2017, « Die Möglichkeit eines Wunders », 2024). Secretly he even wrote and directed sketch comedy for German Television. His films were shown at Berlinale, Locarno, Rotterdam, New York, among others. He was awarded the German Film Prize for the screenplay for « I’m your man », the film « Stefan Zweig – Farewell to Europe » won the Audience Award of the European Film Academy. In 2024, he is the head author and showrunner of « Other people’s money » (WT), an eight-part international TV series for ZDF and DR airing in March 25. — an interview by Guillaume Desjardins, Writer-director, member of Les Parasites, recorded at Les Champs Libres (Rennes) in December 2023 in the framework of the serie "What stories for our time?". Jan Schomburg The story: its responsibility to art « We learned just to listen to detail and let it grow on itself somehow. » Break down the writing process: from details to general. I've been writing a few screenplays and a few novels. I've directed a few films and now there's a new position coming up which is called "showrunner". I wrote a series that will be shot in January 2024 and I will be the showrunner, whatever that means, because in the European context there's, I think, a very different interpretation of this job. I took part in a workshop organized by a few European producers called "The Creatives" and they asked themselves: "What is the story again? Why are we here? What's the series? How could a European network look like? How could European storytelling in terms of a series look like?" Each of those producers asked one screenwriter from these different countries to come together without any task except thinking, listening, developing a little bit. This week somehow revolutionized my brain in terms of what an idea is and how you can invite chance and also the collective into this process. And how after some time when you become a professional, you just develop in a sense that you already know what it will be and so on. It's very structural, it's very from the general into the details. So first you have the general structure, then you work on the details. We learned just to listen to detail and let it grow on itself somehow. For me that was really a very beautiful process because I was stuck a little bit in this, "I have to write eight episodes about a financial scandal". It's just an industrial process of writing. So that really inspired me a lot. « I have the feeling, this idea of storytelling is part of why our planet is where it is right now. In that that the individual is valued very highly and the collective is not valued very highly. » The classical and narcissistic dramatic structure of the narrative. Generally, I would say a story in film is mostly seen as something that is told of a ...

3. 

   8 Nov 2024

   Samah Karaki

   Neuroscience Researcher (France & Lebanon) who took part in the conference 04: Storytelling: the Business of All? (http://storytank.eu/storytelling-the-business-of-all/) https://youtu.be/5Zdo_VLnPmc en français (http://storytank.eu/samah-karaki-francais/) Samah Karaki is a French-Lebanese neuroscientist. She founded and heads the Social Brain Institute (SBI), an association that uses knowledge from cognitive science to manage environmental and social issues. Her first book, “Le talent est une fiction” (Talent is a fiction), was published in 2023 on the label Nouveaux Jours, by Lattès (Le Livre de Poche, 2024). She deconstructs the mythology surrounding individual success stories. — an interview by Vassili Silovic, Writer and Director of documentary films, recorded at Les Champs Libres (Rennes) in December 2023 in the framework of the serie "What stories for our time?". Samah Karaki The narrative, with empathy. « The creative act is actually to swim against my own current. » Accept the complexity of the story to accept the other. We are all storytellers and what I mean by that is that the minute we open our eyes to the world, we are perceiving and creating images and meanings. The difficulty is to perceive the world differently from what I already stored as perceptions. It's easy for me to talk about the pains that I've experienced, to talk about the pains that are similar to the ones that I've experienced. What's more difficult is to be able to get into the perspective of someone that I don't know, of a group of people that I don't know, that I don't have shared experiences with. The creative act is actually to swim against my own current, in a way, my own flow. And maybe, if I tell it this way, it sounds like something that comes with effort. But it could come from effort if I decide actively to look inside my thoughts and think: "What would you say? How would you behave? What would be the reasons that would make you behave the way that I am considering wrong?" And it could also come from the implicit knowledge that I can get through knowing you, through just the act of meeting and listening. And it comes with love, I should also love your story. It doesn't sound like effort when we're listening to loved ones. This is how I understand love: that I consider you as a complex person, I consider your story as complex as I could consider mine. « Fiction can help me look at the external reasons that make people behave the way they do. And enlarges my empathy scale... » The story: a shortcut to the existence and reality of the other. I'm not doing it as a gift. I'm not living it as a gift. I'm doing it because I am sincerely open and interested in what you have to say. It doesn't happen if I don't meet you if I don't ask you questions, if I don't see you living around. And this can happen through literature, that I am delving into the reality of someone else. And the ability of fiction, actually, on us, that enlarges the perspective that we have of the world, because we kind of have a shortcut towards the existence and the reality of others. The neuroscience and cognitive science, we have something called the fundamental attribution error. That when I behave, I see my behaviours with the external conditions. I explain my behaviours, putting them in the centre of conditions that led me to do stuff. But I have less compassion for others because I don't see clearly the conditions, the external conditions. I attribute to their behaviour’s internal reasons,

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