Within the framework of the 65th Thessaloniki International Film Festival Agora Series, Anna Winger, leading British-American writer, showrunner and executive producer, delivered a masterclass titled "Running the Show", on Saturday, November 2nd, at Pavlos Zannas theater, in collaboration with Oxbelly. The discussion was moderated by Rachel Eggebeen (Content Managing Director, Amplify Pictures).
The event was prefaced by Angeliki Vergou, head of the Agora, who thanked the audience for their presence. Caroline von Kühn, Executive Director of Oxbelly, organising the Oxbelly Retreat in Messinia, an annual, international gathering of literature, cinema and television creators, took the floor. "I think one of the reasons why Oxbelly collaborates with the Festival is that through exchange and communication, new ideas can be born that will contribute to cinema and television growth."
Rachel Eggebeen introduced Anna Winger to audiences and reflected on their collaboration on Unorthodox and Transatlantic for Netflix: "I would say that working with Anna has been the highlight of my career over the last 20 something years." Anna Winger then took the floor, via on-line video call, as due to an unforeseen event, could not be physically present. Anna Winger thanked the Thessaloniki International Film Festival and, referring to the series she has worked on, stated: "Unorthodox is about a young woman in Brooklyn raised in an Orthodox Jewish community. It was filmed in 2019 and screened in 2020, when the pandemic started. Set in 1940, Transatlantic is about a refugee crisis. These two series are very different, on many levels, though I think they have something in common: we figure in both of them a hopeful approach, an optimism in the face of great challenges. That's why I believe they have the same vibe, even though the shows are about very different subjects."
Rachel Eggebeen said: "I love working with writers who are also producers. They think about the series holistically and have a vision from day one of the idea to the launch of the show." She then asked Anna Winger to talk about the duties and responsibilities of a showrunner. "The production of a series kicks off the moment you pitch the idea. And in the case of both of these projects, there were books that I have optioned that provided the starting point of the series. The important thing in adaptation is that books are entirely in someone's head. A way must be found to activate on screen all the characters, thoughts and feelings described in a book. So I would say that the starting point for both of these projects was a proposal of how these books would be adapted on screen and how to put these characters in motion in a cinematic way. Maybe we should take a step back and say that showrunning is really about TV production," she said, before adding: "TV is so much writing that is a writer’s medium. Constant plot changes, repetitive structures, and twists are often complicated. Unlike television, cinema gives more space to directors to influence the final outcome. A screenwriter can write a film and deliver it to a director, who will undertake its implementation. Whether it's a series of a few or many episodes, creators are faced with some limitations. These limitations lead to a certain structure, where the plot often reverts to previous points or presents recurring patterns. You have to think that if something is shifted in one episode, it will reverberate on the rest of the show. In a movie, you're dealing with much less material. Starting the process of creating a series, it is very important to know what kind of series you want to do. It's important to know where you're going and how you want to tell the story. In both Unorthodox and Transatlantic I brought the books to Rachel and outlined my vision for adapting them," Winger said.
Then Anna Winger made reference to the budget. "Screenwriters need to take responsibility for managing the budget to have more control over the final product. Budget constraints can encourage creativity and lead to more innovative solutions. Screenwriters need to find a way to realize their vision without going over budget. Budget control gives screenwriters more autonomy and allows them to protect their work. In fact, I find it very positive to have that control, because if you don't learn how to make such decisions, others will make them for you and then your whole work will be compromised." Rachel Eggebeen added: "The writer focuses primarily on writing, while the showrunner has broader responsibilities including managing all aspects of producing a TV series. Showrunners must make decisions about how available resources are allocated. They collaborate with directors, producers, actors and other professionals. They often have to make difficult decisions, such as cutting scenes or changing elements of the script to stay within budget."
Winger underlined that "creating a TV series is a team effort that requires the collaboration of many talented people, from writers and directors to production designers and technicians. Visual storytelling and how the choice of locations, colour palette and setting can enhance the narrative and create a certain atmosphere are also very important." Referring to the challenges she faced in filming the series Unorthodox and Transatlantic, she referred to the difficult process of transforming modern locations into historical settings and creating an invented version of real cities. At the same time she noted that even the smallest details, such as the colour palette or the choice of fabrics, can contribute to the atmosphere of a series or the way it is adapted to the book. According to Rachel Eggebeen, "working with a writer who is present and active at all stages of production is essential to creating a successful series. You have a partner all the way who has a specific vision in mind, imagines the show and reimagines it at every turn."
Winger went on to talk about the importance of a writer working with a network manager to create a TV series: "I think that the way you articulate the show you're going to make is very important. It is also of great importance that the person who buys from you signs on with that same vision." Eggebeen added: "For a series to be good, we need to follow the character, show emotion and the story we want to tell. We shouldn't worry so much about whether a shot is perfect or if everything is beautiful, but about whether viewers will feel something watching the scene. If a scene has no emotional basis, it doesn't matter how well it's shot."
Winger emphasized the importance of music as a powerful tool in storytelling and referred to the need for a balanced approach to its use: "Music offers an extra dimension to the writing of a performance, allowing creators to express emotions and tension that may not be easy to convey through writing or directing alone. It's easy to exaggerate the use of music, but its proper use can enhance emotion and underline elements that are not obvious." Rachel Eggebeen stressed: "It is important to have a clear view of the roles and services provided by all involved. This will help avoid misunderstandings and ensure the success of the project. I made this mistake in the beginning many times: I expected too much from writers who weren't paid to do this job."
Finally, Anna Winger underlined the importance of cooperation and mutual understanding between writers and producers. "If you're a producer, I'd suggest you involve the writer in the production process so he/she can learn how to really help you, because you want him/her as an ally. And if you're a screenwriter, try to find a producer who will see you as an ally and bring you along on this journey," she concluded, ending her masterclass.
