? Visual Story Development from Script to Screen,” included creators from the Tallinn Black Nights Film Festival’s Black Room and writers from the Face to Face program. Prop maker and modeler Simon Weisse, production designer Jacqueline Abrahams, and writers Jana Burbach and Hanno Hackfort took part in the panel.
“This concept of showrunner becomes more and more important in Germany,” he said. “Then you’re not just a writer, but you can also work together with the others. It has nothing to do with controlling the others, or to be sure that your vision is transferred exactly on screen. But it’s the joy of this collaborative way of working.”
“On a big blockbuster production, mostly with Americans, you have to follow what is coming from the top, and you can give some ideas, but you need to be careful and to be sure that what you propose is really good,” Weisse said. “On smaller productions, on low-budget productions, you need to find solutions to make it as cheap, but as good as possible, to make good for the audience.”
“I still have these discussions sometimes with broadcasters that they’re very afraid that the audience won’t understand things,” she said. “There’s really the assumption that you have to explain everything really clearly, and that stories shouldn’t be too complex. And, so many people said to me, ‘[Bad Banks] was just amazing because it was challenging, it was confusing, it was complicated.'”
German_Films Simon Weisse is a model maker/prop builder— not a screenwriter, guys...
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