35 lectures about: Storytelling
“Good editing is like good sex,” for Susan Korda. “You create an expectation in your audience – and then you fulfil it.” Susan teaches you how to surrender preconceived preferences, or in other words, to kill your darlings.
The experience of nascent and confusing feelings is a recurrent theme in the films of André Téchiné (Farewell to the Night, Competition). Join us as the French director takes us through the evolution of his work and the ambiguous characters he creates.
Developing ideas is a meandering process. Talents alumnus David Lowery (A Ghost Story) returns to the Berlinale with the aim of unpicking his own thoughts and creative process. So seize this opportunity to wander off the beaten track and into a filmmaker's mind.
Director and editor Susan Korda gets critical. Don't worry, it's for your own good: sharing skills learnt from Walter Murch and Michael Rabiger, Susan shows you how to turn mistakes into the stuff of editing room magic.
It’s hardly a mistake to question aspects of a beloved art. International Jury members from the fields of acting, directing, curating and film criticism get together to face up to their personal mishaps and faults in the film world. Don’t let this chance for a collective catharsis go by!
Storyboard artist Jay Clarke (Isle of Dogs, Competition) illustrates in a drawing session how he connects with Wes Anderson's unique vision and points out the potentials of storyboarding for filmmakers.
Director Samuel Maoz and Israel Film Fund's legendary director Katriel Schory trace the evolution of the controversial, yet Oscar-shortlisted Foxtrot and why cinema is a haven of free speech in stormy times.
The legendary Gus Van Sant shares insights about his new film in Competition, as well as what it means to be one of the most influential outsiders in indie film today.
Designers, urbanists and artists engage with the audience in a lively World Building session to visualize the stories that emerge literally on a street corner set in a future city.
Reflecting on Transit (Competition), German auteur director Christian Petzold explains how he uncovered the core and characters of the original historical novel in an open dialogue with actor Barbara Auer and the crew on-set.
Sharing tools learnt from Walter Murch and Michael Rabiger, director and editor Susan Korda lays bare secrets of the editing room in a practical case study.
Reflecting on their “feminist Western” Damsel (Competition), Nathan and David Zellner show that it is possible to disrupt the dustiest gender and genre stereotypes with a good laugh and a stiff drink in the saloon.
Berlinale Jury president Tom Tykwer (Babylon Berlin) kicks off this edition of Berlinale Talents and unpacks the secrets of his uniquely collaborative approach to both film and drama series during development and on-set.
Highlighting in her films the experiences of immigrants caught between two worlds, Gurinder Chadha (Viceroy’s House) tells her story of how the outspoken British-Indian girl, who refused to cook, ended up bravely taking the film world by storm.
Spanish director Isabel Coixet presents her brand new short It’s Not That Cold Siberia, an ode to writer and artist John Berger, and her joyful experience that the best inspirations often come from chance encounters on the road.
“Good editing is like good sex,” exclaims editor and director Susan Korda (One of Us). “You create an expectation in your audience – and then you fulfil it.” Sharing tools learnt from Walter Murch and Michael Rabiger, Korda lays bare secrets of the editing room.
Talents alumna Ana Lily Amirpour (A Girl Walks Home Alone at Night) takes us on a ride through her dynamic process of inspiration and the discoveries she makes on the roads to her films.
Interdisciplinary experts engage the audience in a world building session to holistically visualize the future reality of cities and the stories that will emerge within them, highlighting the role of the cinematic storytellers in this complex media landscape.
Tireless advocate of free-spirited cinema, Polish director Agnieszka Holland (Spoor, Competition) compares the creative potentials she experienced working under censorship in communist Poland to those in the industry now.
Sharing tools learnt from Walter Murch and Michael Rabiger, director and editor Susan Korda lays bare the secrets of the editing room, helping your film to discover you.
The phrase “on the move” suggests not only the filmic dramatization of flight, deportation, new beginnings – but also the political dimensions of migration: how are social and cultural relations affected, and what social structures and horizons…
HBO executive Steve Matthews and editor Molly Stensgaard (Norskov) reveal how to find the cinematic language of a drama series, stay true to narrative frameworks and react to contingencies met along the way.
A film is often conceived with a good idea, the embryo of a story and a rather basic set of imagined visuals, sounds and scenes. But how can this nucleus of a project evolve genetically into something that shapes the characters and lays the foundatio…
Two-time Oscar® nominee and winner of the European Film Award, Irish filmmaker Tomm Moore shares his artistic approaches to develop ideas into animated movies that enchant audiences of all ages.
The short film curators from the Berlinale, Toronto and Tampere explore how the short is ideal for testing new ideas, exploding the limits of the form and expanding the possibilities of storytelling.
Thinking of audience from the beginning is key when developing a film. Paul Tyler shows how to physically see an imagined audience and its interaction with the story – with LEGO® bricks.
Filmmaker Denis Côté (Competition 2016: Boris without Béatrice) reflects on his enigmatic movies, how he connects with mysterious characters and why a question can be the better answer in the dialogue with an audience.
These are the world’s promising untold stories waiting to be narrated. "World Building" designates an iterative and collaborative narrative practice in which the design of a world precedes the telling of a story. The richly detailed space becomes a…
No matter how many experiences you have in the film business or how many movies you have seen in your life, there is space for more. Berlinale jury president Darren Aronofsky (PI, BLACK SWAN, NOAH) and jury member and winner of a Golden Bear Claudia …
Taiwanese filmmaker Hou's films often tell stories of growing up in Taiwan in the 1950s and 1960s, a time in which the island transformed from a rural society with many mainland refugee families into the modern and urbanised Taiwan we know today. Com…
Master of distinctly British, yet universally poignant real-life dramas, Mike Leigh, President of this year’s International Jury, has directed awardwinning films such as VERA DRAKE, the Palme d'Or winning and Oscar®-nominated SECRETS AND LIES, and…
Finding the right people for a film interview is one thing, getting them to deliver an on screen conversation that moves and directly connects with audiences, is another. How can filmmakers guide and direct interviews to draw out target stories and e…
Before the Internet, the way that stories were told, delivered and shared were restricted by running times, distribution formats and platforms. The impact of new technologies coupled with an audience that has way more control over their media than ev…
Where storytelling is concerned, the three different stages of the filmmaking process – the development of the script, shooting with actors and finally, the editing of the film – can crucially influence the narrative structure. But to what extent…
In cooperation with Berlinale Panorama.
The accomplished experts on this panel, their versatility matched only by their ambition, who shifted from one stream of filmmaking to another, narrate first hand experiences and the trying times that …