Date: 19th – 20th November, 2022
Mentor (in alphabetical order): David Chan, Rex Ren, Tsang Siu Wang Eric, Mary Shuk Han Wong , Joyce Yang
@Incubation 2022
The guest speakers of the last two storytelling workshops included a director, a film critic, a writer, a lecturer, and a movie-goer, who analysed how directors link their minds to their stories.
In addition to one-on-one consultations, there was a sharing session on Lee Chang-dong’s narrative techniques and aesthetics in his short stories and films. His collections of stories, Soji and Nokcheon Has Fields of Shit, intensely echo his film Burning. To narrate the pain that can’t be relieved, the personal stories the characters dared not face, and those that the characters incessantly pursue but never reach, Lee Chang-dong often starts by creating suspense, moves the story forward through the characters, and invites us to feel the pain through the final plot twist. These are the pain, absurdity, and drama in everyday life.
When there are people, there must be stories. All plots and dramas are built on characters. Before and after we view the scenes, the characters already have their personalities. A character’s life goes on outside the lens. At this level, the speakers reminded us that we might as well be cruel and honest to our own characters; we need not worry whether or not they are pleasing others; we need not provide a solution to their crumbling life. In so doing, the story would be more charming and attractive to us.
日期：2022年11月19 – 20日
嘉賓（按英文姓氏序）：安娜、任俠、曾肇弘、黃淑嫻、喬奕思
@廠牌計劃 2022
最後兩場故事發展工作坊，嘉賓遊走於編導、影評人、影展評審、作家、講師、影迷等等多重身分，向大家逐一解剖創作者的內心，如何連繫各自的故事發展。
這兩天除了一對一面談，亦有一場圍繞導演李滄東的小說、電影敘事技巧與美學的分享。由小說《燒紙》和《鹿川有許多糞》出發，以《燒失樂園》的三角張力作結。關於那些無法釋放的傷痛，關於那些不敢面對的個人歷史，關於那些由始至終的求而不得；李滄東如何由設立懸念開始，故事情節透過人物推展，到達最後的「扭橋」，邀請讀者與觀眾一齊感受那種痛楚，那種其實時時刻刻存在於日常生活中的痛苦、荒謬以及戲劇性。
有人才會有故事，當所有劇情／戲劇性都是建立在角色之上；在觀眾見到的畫面前後，其實人物本身已經有自己的性格，而他們的人生在鏡頭以外應該也是持續進行著。在這個層面上，講者們亦提及：大家不妨對自己的角色再狠心點、坦承點，不需要擔心這些角色不討好，不用怕他們的生活會崩塌所以去給予一個解決方法，這樣故事才會更迷人、更令人投入其中。