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Screenwriting, more than any other writing form, is bound to be collaborative. So here is a space for writers, screenwriters, movies lovers. A place for anyone with a strong drive and a creative soul. Feel free to contribute, suggest, comment. Let’s connect, share and grow together.
It’s been a while since mankind made to herself the gift of writing. We’ve been practising for a few thousand years now, and the land of stories has been explored, dramaturgy masters set a bunch of guidelines, and millions of men and women dedicated their souls and lives to this fascinating experience.
Then cinema came in and brought a mind blowing revolution to the art of writing. Deep to the core of what our brains are able to conceive and structure, modern screenplays represent the rare flowers of an art that is both entering complexity and challenging our perspectives.
I deeply believe that team writing is not only the only modern approach, but even more important, the more valuable working frame that will lead us to a whole new sense of what stories really are, and how to enlighten the creative, cognitive, mental and relational processes that give birth to them.
If movies are to connect more closely to the audience, we writers must enter a new era. Now is the time of opening new doors, pass new frontiers, make the process of writing a lively process of sharing. Because we all know that stories are a gate to mysteries and secrets that none of us can fully apprehend alone. Let’s invent new methods, regenerate storytelling and come up with stories for tomorrow. This is the purpose of this space.
Thibault Arbre est un réalisateur français qui compte déjà de nombreux projets à son actif. Après Aurores Boréales, très remarqué lors de sa sortie et que vous aviez pu découvrir ici même, c’est Ero, qui vient tout récemment de remporter le Premier Prix au Festival de Senlis. J’ai le plaisir de vous inviter à découvrir ici son tout dernier court métrage, Souplesse et Occlusion Poétique, avec Victoria Oberli et Rudolph Sumac.
The writing life has a time and a pace. Respect it, nurture it, celebrate it : this is the true knowledge of the writer. Don’t listen to yourself, don’t listen to the world. Just listen to the tender and terrible flows of your writing life. The music will flow, freely, when the time comes.
We all died, morally, symbolically, emotionally once in our real life. We’ve been crashed, sometimes by terrible events, sometimes by a sort of invisible hand of evil over our destinies. From now on, let’s write beautiful pages of a unique masterpiece that is called : Our life.
“Teaching” means rules, structures or maps of paths which others took before you and drew. However when you have to teach a creative way all this is not enough. In fact, sometimes, all this might be a problem. If your students are creative people, they are going to feel those maps like a prison; if they are not, they might think those rules are a solution, a magic key and, what’s worse, the only way to do a script.
As screenwriters we qualify on the evolution ladder to be somewhere between coconuts obsessed chimps and cold blooded high tech engineers. More or less we all work using the best of each approach which makes us high tech chimps or coconuts obsessed engineers. In my wildest dreams, I envision what one may call, well, a step forward.
Écrire, toujours écrire. Harnachés à notre table de travail comme chevaux de traits, labourant nos rêves. Ruminant nos univers, remaniant cent fois nos méthodes. Comme englués de brumes floues, de promesses et d’enchantements, plus brillants pour nous que l’immédiat quotidien de nos demeures.
One of the most difficult points is to find a manner to teach to understand the media, that is, how cinema transmits a story.
Students arrive to you with a very clear and concise idea about what script is: something similar to a form to fill in. And they usually do it using a very long dialogue. Nothing could be further from the truth.