‘Unorthodox’ Showrunner Anna Winger on Algorithms, ‘Misused’ Writers’ Rooms and How Understanding Budgets Is a Writer’s ‘Superpower’

As a seasoned cinephile who’s witnessed the evolution of television from the golden age of network TV to the streaming revolution, I can’t help but feel inspired by Anna Winger‘s insights at the Thessaloniki Film Festival. Her experiences working with Netflix and other major broadcasters have painted a vivid picture of what it takes to create captivating content in today’s complex media landscape.

During the Agora Series workshops at Thessaloniki Film Festival, Anna Winger – a British-American writer, showrunner, and executive producer known for creating Netflix’s “Unorthodox”, co-creating “Transatlantic” on the same streamer, and co-creating Amazon Prime Video’s “Deutschland 83” – discussed extensively about the transformation of the role of a showrunner, debunked common misunderstandings about writers’ rooms, and emphasized the significance of writers having a clear grasp of television production economics.

According to Winger, showrunning encompasses the transformation of an idea into a visual story on screen, and it’s a complex endeavor with numerous components. In essence, producing a TV series is similar to managing a circus; every aspect, from music to costumes, makeup, props, and more, holds significance that I pay attention to.

In discussions with big broadcasting and streaming platforms like Netflix, Winger stresses the significance of setting up defined guidelines for collaboration right away. He explains that clearly expressing the concept of the show you’re planning to create is crucial, so the one purchasing it shares your same vision.

She explained, “That individual is an essential collaborator in bringing your vision to life, and you’ll receive numerous feedback, some of which might frustrate you. However, trust that they are equally invested in creating the same production and sharing your vision for its direction.

On streaming platforms, Winger discussed the misconception that algorithms can automatically serve shows to viewers without any promotion being necessary. However, she emphasized that promotion continues to play a crucial role in her work. “In this age of algorithms, many may claim that promoting a show is no longer essential as the computer will handle it. But I believe this isn’t entirely accurate. To initiate the algorithm’s push, some effort needs to be made first. You need to put in the initial groundwork to get the ball rolling.

The promotion could extend to additional material in select programs, as Winger notes her significant achievement with two internal films she produced about the creation of “Unorthodox” and “Transatlantic,” both streamed on Netflix together with their respective series. She explains that viewers find these behind-the-scenes glimpses intriguing and enjoy gaining an insider perspective on the production process.

As a movie critic, I found myself deeply appreciating the insight Winger shared about the significance of writers considering the financial demands of a project right from the concept’s inception. In my own words, it’s like knowing the rules of the game before stepping onto the field – the sooner you tackle the budget concerns, the quicker you can bring your vision to life effectively.

The author emphasized, “Simply producing text isn’t sufficient; you must write with the funds you possess.” While this may seem restrictive, I believe financial constraints can occasionally inspire creativity. If you can create something economically, there’s a strong link to the degree of creative liberty you can enjoy.

As a lover of cinema, I’d put it this way: If we had expressed our intention to produce a Yiddish series with substantial funds, the journey would have been more challenging. Take ‘Unorthodox,’ for instance, the four-episode drama that follows a Hasidic Jewish woman escaping an arranged marriage in Brooklyn to find herself in Berlin. Working on such creatively daring projects outside of the U.S. requires financial acumen, and knowing how to manage those resources effectively can transform into an incredible advantage, even a superpower.

Having oversight of the budget gives authors greater authority over their stories, as Winger pointed out. “If you don’t determine those adjustments,” she explained, referring to budget modifications, “others will decide what gets trimmed for you.

During her workshop in Greece, where writers’ rooms aren’t as prevalent as in the U.S., Winger encountered numerous queries regarding the workings of this format. In reply, she expressed her opinion that “writers’ rooms are frequently abused.

As the lead scriptwriter for a television series, it’s essential to be ready to revise other writers’ work. It’s unrealistic to expect that others will write scripts suitable for your show, as the distinctive style or tone that drives a series should ideally originate from you. In an ideal scenario, you would receive well-written scripts initially and then have the opportunity to make final adjustments to ensure the voice matches your own.

Winger pointed out that in Europe, writers’ rooms are often considered as “spaces for creating a series,” but this can be an issue because they don’t always have a lead writer. He explained, “You might have several people brainstorming ideas, but without someone steering the ship, it can feel like everyone is rowing in different directions. While many minds contribute to the creation, production, and execution of a TV show, I believe that at some stage, there needs to be someone who has a clear vision of where we’re heading, from start to finish.

The showrunner suggested that the secondary writer should assist the main writer, as this is where their contributions prove most beneficial,” the showrunner concluded.

2024-11-06 01:50

‘Unorthodox’ Showrunner Anna Winger on Algorithms, ‘Misused’ Writers’ Rooms and How Understanding Budgets Is a Writer’s ‘Superpower’

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