[12:37 Sat,4.March 2023 by blip]
"Humor in Serious Times" was the motto of the Berlinale Talents Section 2023 and with Ruben Östlund a director stood on stage in front of the film students who knows how to capture this feeling in film images like few others. His satirical films are social studies of the present, full of exaggerated situations and taboo-breaking, absurdly funny and at the same time painfully true. Moreover, also very successful - Triangle of Sadness was Cannes winner 2022 and is now nominated for two Oscars in the categories Best Director and Best Screenplay.
Triangle of Sadness, 2022
In the talent session "Seriously Funny: A Good Laugh with Ruben," the Swedish director demonstrated with fascinating candor how his films are made: namely, basically during repeated and extensive pitching. Because he immediately took the opportunity to tell the professional audience about his next film project, "The entertainment system is down". Highly detailed and full of spoilers, he tells about the planned plot (a fateful flight), the turning points, challenges and more.
The film pitch is crucial for Östlund, because when you tell others about your film project, you completely engage with your material, you realize if it works or when something is not coherent, you get feedback that you can incorporate if you are open enough - ideally, you take good ideas from others. Little by little, the story that needs to be filmed crystallizes and only then, when Östlund has decided from beginning to end what will happen in the film, does he sit down at the keyboard and start writing.
You also learn a lot of other things in the very watchable session, such as how Östlund writes his scripts, namely rather unclassically like a novel at first, or how he works with actors on set (in Triangle of Sadness he hit a gong before the very last take). Anyone interested in feature film directing or screenwriting will enjoy an hour and a half with a real storyteller here.
more infos at bei www.berlinale-talents.de
deutsche Version dieser Seite: Ruben Östlund: Warum der Pitch der entscheidende Schritt bei der Filmentwicklung ist